Analysis

The Greenbaum premise: there is not a complete correlation between the sentence types
and the communicative uses, David Crystal, and Joan Cutting theory give the general
categorization of frequent combinations in the non-concordance between the form and function
of the sentence.
Interrogatives function as statement
The following examples, taken from the corpus, show that the interrogative sentences
only give information to the hearer because the latter knows that this is a rhetorical question
which is not suppose to be answered.
Form of yes-no questions:
[1]

JOHN:

[] (he extends his hands as if handcuffed) Eh, have you got a nail file,
these handcuffs are killing me. I was framed. I was innocent. [p.17]

[2]

NORM:

Will you all stop it, you're like a gang of school kids. I knew this was going
to happen one day. [p.35]

[3]

GRANDFATHER:

Isn't it always the way? Picking on us little fellas. [p.51]

[4]

RINGO:

(snatching back his book) You can learn from books.

GRANDFATHER:

Can you now? Aah... sheeps' heads! You learn more by getting out
there and living. [p.59]

[5]

GRANDFATHER:

Do you think I haven't noticed ... do you think I wasn't aware of the
drift? Oh ... you poor unfortunate scuff, they've driven you into
books by their cruel, unnatural treatment, exploiting your good
nature. [p.60]

Form of wh-questions:
[6]

PAUL:

(indignantly) Course he can talk. He's a human being, like. Isn't he?

RINGO:
[7]

[8]

(grinning) Well... if he's your Grandfather, who knows? [p.5]

PAUL:

[] Honest, Grandad, why? I mean, why do you do these things?

GRANDFATHER:

(cutting in) You're left-handed, aren't you, Paul?

PAUL:

Yeah ... so what?

GRANDFATHER:

Why do you always use your left hand?

PAUL:

Well, don't be daft, I've got to.

GRANDFATHER:

And I take a left-handed view of life, I've got to. [p.20]

JOHN:

Well, remember, its Leathery Magee up ahead in that convertible, so cover

me in the stake-out.

[9]

GEORGE:

I don't think that bit's right.

JOHN:

What do you expect from an ad lib ... Raymond Chandler? [p.35]

RINGO:

(briefly) You were twanging too loud.

JOHN:

How'd you like a dirty great drum roll giving you a clout right in the
middle of your solo? [p.52]

[10]

GRANDFATHER:

(confidingly) And that lot's never happier than when they're jeering
at you ... and where would they be without the steady support of
your drum beat, I'd like to know.

[11]

RINGO:

Yeah ... that's right.

GRANDFATHER:

And what's it all come to in the end?

RINGO:

(defensively) Yeah ... what's in it for me? [p.61]

POLICEMAN:

Ain't you got no more bleeding sense than to go round chucking

bricks about.

Before RINGO has time to answer the man has disappeared.

RINGO:

(shouting after him) Southerner! [p.64]

[12]

PAUL:

D'you know something, "They" don't worry me at all. Anyroad, I only

fancy listening to you... that's all but if it worries you ...well ... [p.74]

Declaratives function as questions

These examples demonstrate sentences which have the structure of a statement (S + V +
C). Nevertheless, the implication is not to give information but to expect an answer from the
hearer. To make this possible, there are two sub-classifications in which the declarative sentence
is forced to function as a question:
Ending in a question mark:
[13]

JOHN:

(delightedly) He can talk then? [p.4]

[14]

JOHN:

He's got you worried, then? [p.5]

[15]

SHAKE:

You got on all right then? [p.5]

[16]

RINGO:

(surprised) And they want me? [p.26]

[17]

BLONDE:

You had a lovely little pair, y'see.

GRANDFATHER:

I did? [p.28]

BLONDE:

They're yours.

GRANDFATHER:

They are? [p.29]

[18]

[19]

GEORGE:

Oh, you mean that posh bird who gets everything wrong? [p.70]

[20]

SIMON:

I beg your pardon? [p.70]

[21]

SECRETARY:You mean an early clue to the new direction? [p.71]

[22]

PAUL:

Oh, you're the understudy, sort of thing? [p.76]

They are not difficult to identify in the analysis of the script, due to the question mark at
the end and the ordinary order of the declarative sentences.

Ending with rising intonation:

[23]

[24]

GEORGE:

That's not your Grandfather.

PAUL:

It is, y'know. [p.3]

JOHN:

Aye and fond of fresh meat and all.

PAUL:

(seriously) No ... it was his sweetbreads. She was dead kinky for
sweetbreads. Anyroad, me mother thought it'ud give him a change of
scenery, like. [p.4]

[25]

[26]

NORM:

He can come with Shake and me if you like.

PAUL:

Well, look after him. I don't want to find you've lost him. [p.7]

JOHN:

Yeah, but there are four of us, like, and we'd like it open, if it's all the same
to you, that is.

JOHNSON:

(rudely) Well, it isn't. I travel on this train regularly twice a week, so I

suppose I've some rights. [p.8]

[27]

[28]

PAUL:

Aye and we'll have to watch it and all.

GEORGE:

I suggest you just give him the photos and have done with it. [p.11]

MANAGER: (beaming) Lord John McCartney, he's the millionaire Irish Peer, filthy rich
of course.
CUSTOMER: Oh I don't know, looks rather clean to me. [p.31]

[29]

MAN'S VOICE:

(off) I suppose you know this is private property. [p.44]

[30]

SERGEANT:

So you just brought the old chap out of the crowd for his own good.

POLICEMAN:

Yeah, but he insisted on us bringing him to the station. [p.85]

These sentences do not have a question mark at the end, thus rising intonation is the only
justification. This is possible because there is an antecedent which gives information as a
response of the hearers when they listen what has been said perlocutionary act.

Declaratives function as exclamations

These sentences end with an exclamation mark and the force conveyed is a more emphatic
message, although the sentence order (S + V + [C]) is present.
[31]

RINGO:

Bet you're sorry you won! [p.9]

[32]

JOHNSON:

I'll call the guard! [p.9]

[33]

GEORGE:

(coyly) Oh, Paul, you can't have your own way!!! [p.12]

[34]

PAUL:

(choked) I'll murder you, Grandfather! [p.12]

[35]

JOHN:

We've broken out, oh, the blessed freedom of it all! [p.17]

[36]

PAUL:

[] (He grabs GRANDFATHER by the arm.) I'll refuse me consent, he's

over-age! [p.18]

[37]

AUDREY:

(pulling) You dare to say that when even those ridiculous clothes you are

wearing were bought when you forced him to sell out his gilt edged
Indomitables!! [p.18]
[38]

GRANDFATHER:

(bitterly) And to think me own grandson would have let them put
me behind bars! [p.19]

[39]

PAUL:

Oh, it's all right for you but those two girls were scared to death! Honest,
Grandad, why? I mean, why do you do these things? [p.20]

[40]

GRANDFATHER:

(taking card from Norm) Quite right, invites to gambling dens full
of easy money and fast women, chicken sandwiches and cornets of
caviar, disgusting! [p.26]

[41]

NORM:

I'll brook no denial! [p.26]

[42]

GRANDFATHER:

Who are these ruffians?... I've never seen them before in my life ...
(etc.) [p.32]

[43]

FIRST P.R.O. MAN: (more menacingly) Theyre waiting now! [p.36]

[44]

NORM:

Will you all get a move on! They're waiting for you! [p.49]

[45]

JOHN:

You know you're only jealous! [p.55]

[46]

JOHN:

Well ... it wouldn't be any fun if it was! [p.56]

[47]

GRANDFATHER:

Any old where ... but not our little Richard ... oh no! When you're
not thumping them pagan skins, you're tormenting your eyes wid
that rubbish! [p.60]

[48]

GRANDFATHER:

(marching up and down the canteen) That's it, parading the streets...
trailing your coat... bowling along... living! [p.60]

[49]

RINGO:

I'm going parading before it's too late! [p.61]

[50]

JOHN:

Can't he? He's done it, son! [p.62]

[51]

SECRETARY:Oh, there you are! [p.67]

[52]

SIMON:

She's a trend setter. It's her profession! [p.71]

[53]

SIMON:

Get him out of here. He's knocking the programme's image!! [p.71]

[54]

DIRECTOR: (watching the clock) Only half an hour and you're on! [p.87]

[55]

INSPECTOR: That's all we need to start a real riot! (to Boys) Come on lads, they're
waiting for you. [p.90]

[56]

PAUL:

Look he's a mixer and a trouble maker! [p.91]

[57]

NORM:

No, we're not! [p.92]

[58]

NORM:

You're a swine. So hurry up ... we're travelling! [p.93]

Imperatives function as exclamations

These sentences end with an exclamation mark and the force conveyed is a more emphatic
message, although the sentence order (V + [C]) is present.

[59]

JOHNSON:

Make up your minds, will you! [p.7]

[60]

PAUL:

Shurrup! Look, Mister, we've paid for our seats too, you know. [p.9]

[61]

JOHNSON:

And don't you take that tone with me, young man! [p.9]

[62]

GRANDFATHER:

Before you go, I think it's only fair to warn you about me
Grandson... don't let our Paul have his own way all the time, 'cos if
you do he won't respect you! [p.11]

[63]

RINGO:

(protesting) Now look here!! [p.13]

[64]

VOICE OFF: That's one of them... stop thief! [p.19]

[65]

PAUL:

Shove up! [p.20]

[66]

NORM:

(to the driver) Go like the clappers, son! [p.23]

[67]

BOYS:

Read 'em! [p.27]

[68]

JOHN:

(to RINGO) Aah, shurrup, misery! [p.33]

[69]

JOHN:

(urgently) O.K. Driver, follow that car!! [p.34]

[70]

JOHN:

Yeah, you know, "O.K. Buster, follow that car, there's a sawbuck in it for
you if you get real close!" [p.34]

[71]

PAUL:

Ah well. Eh, look! [p.38]

[72]

FLOOR MANAGER:

[73]

JOHN:

Come on speedy! [p.41]

[74]

GEORGE:

Wake up! [p.42]

[75]

RINGO:

Oh, leave off!!! [p.48]

[76]

BOYS:

Shurrup! [p.51]

[77]

GIRL:

Get out of it, short house! [p.64]

[78]

BOY:

Oh don't be so stroppy! [p.64]

[79]

RINGO:

Shurrup! [p.65]

Spoil sport! [p.39]

[80]

SIMON:

Get him out of here!! [p.71]

[81]

SIMON:

[] No, he's just a trouble maker. The change isn't due for three weeks. All
the same, make a note not to extend Susan's contract. Let's not take any
unnecessary chances! [p.71]

[82]

NORM:

Worry, will you! [p.80]

[83]

GUARD:

You ought to be ashamed of yourself. Go home! [p.87]

Interrogatives function as exclamations

The sentences [84] [87] end with an exclamation mark, indicating that the interrogatives
do not have the intention of a question. On the other hand, the sentences [88] [92] end with a
question mark, however, the intention of the speaker is not to obtain a direct response of the
question made but to emphasize the suspicion about the situation. The force of sentences conveys
a more emphatic message through the use of the two structures in which they have been subcategorized:
Subject-auxiliary inversion:
[84]

PAUL:

Eh, Mister ... can we have our ball back! [p.9]

[85]

PAUL:

Will you stop it! Sorry to disturb you, miss... [p.17]

[86]

NORM:

Will you all get a move on! They're waiting for you! [p.49]

[87]

GRANDFATHER:

(disgustedly to no one in particular) Will you ever look at him,

sitting there wid his hooter scraping away at that book! [p.59]

In this sub-categorization, it is important to highlight that there are two point of view
respects to the usage of this kind of inversion. According to Huddleston and Pullum (2002), this
is a totally valid form to express an exclamation, bearing in mind that if the context is not given,
it can be ambiguous. It can be interpreted as a question or as an exclamation.

Fowler (1908) is more categorical and restrictive. The previous sentences are not been
used in an appropriate way according to his proposal. Even though they have a exclamative mark
and/or the antecedent provides from intention of exclamation, the first word fronted do not retain
the force of the sentence.

Wh-word + Operator (Auxiliary) + S + V + [C]?:

[88]

[89]

JOHN:

(knowingly) That's what you tell me.

MILLIE:

(suspiciously) What have you heard?

JOHN:

(blandly) It's all over the place, everyone knows. [p.46]

NORM:

(to Ringo) What do you think are you're up to?

RINGO:

Someone put it on me.

JOHN:

Excuses, that's all we get and you know you fancy yourself in the
Coldstreams. [p.54]

[90]

[91]

GRANDFATHER:

He'll be pulp by now.

JOHN:

What are we waiting for?

GEORGE:

Come here. [p.88]

SERGEANT: What is all this?

JOHN:

[92]

(heaving and panting) Hold on until we get our breath. [p.89]

INSPECTOR: (calling to Sergeant) What do you think you're up to?

SERGEANT: Arrest those boys, sir. [p.90]

Interrogatives function as directives

The following sentences have the form of interrogatives, nevertheless, it is not important
that the hearer responds the question of the speaker but if the hearer is able to perform the action

required. The sentences [93] and [94], according to Crystals theory (1995), have the requesting
use connected to directives.
[93]

GRANDFATHER:

[] He picked up a brick and heaved it at me and I quelled him wid

one fierce flash of me eyes. "Mister, can you spare us a copper?"
he said. [] [p.14]

[94]

PAUL:

Don't mench ... well, why don't you give us a few more lines, like? [p.75]

Declaratives function as directives

The subsequent sentences have the form of declaratives because of the use of the structure
needed (S + V + [C]), however, the intention of the speakers is not to state something. The
sentences [95] and [96] express a commanding use from the speakers who order something and
expect a reaction from the hearer. On the other hand, the sentence [97] expresses a requesting use,
because the speaker needs that the hearer is able to perform the action required.
[95]

NORM:

(accepting the situation) Ah well, there you go. Look, I'm going
down the diner for a cup of coffee, are you coming?

PAUL:

We'll follow you down.

GRANDFATHER rises.
GRANDFATHER:

I want me coffee. [p.7]

[96]

GRANDFATHER:

I want me cup of tea. [p.58]

[97]

SIMON:

We want you to give us your opinion on some clothes for teenagers. [p.69]

requesting

Special case: Ambiguity

The case of the sentence [97] is ambiguous because three uses of communication were
found in this declarative sentence:
[98]

RINGO:

You want to stop being so scornful, it's twisting your face. [p.62]

First of all, the sentence can be seen functioning as a statement, since it maintains the
originally structure (S + V + [C]); nonetheless, this represents a concordance between the form
and function, and the idea is to search for the non-concordance. Secondly, the sentence can
function as directive for the reason that the speaker wants to command the hearer to act in a
determinative manner, according to Crystals theory (1995). Thirdly, the sentence can correspond
to an exclamation, according to Greenbaums theory (1996) about the nearest in force to
exclamatives due to the intensifier so in the sentence (how scornful you want to stop being).