an in-depth analysis of the english - vietnamese translation version of jack london's famous novel the call of the wild = phân tích sâu về bản dịch anh - việt cuốn tiểu thuyết nổi tiếng của jack london

VIETNAM NATIONAL UNIVERSITY, HANOI
UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES
FACULTY OF POST – GRADUATE STUDIES
******


NGUYỄN THỊ HOÀN



AN IN-DEPTH ANALYSIS OF THE ENGLISH – VIETNAMESE
TRANSLATION VERSION OF JACK LONDON’S
FAMOUS NOVEL “THE CALL OF THE WILD”

(PHÂN TÍCH SÂU VỀ BẢN DỊCH ANH – VIỆT CUỐN TIỂU
THUYẾT NỔI TIẾNG CỦA JACK LONDON
“TIẾNG GỌI NƠI HOANG DÔ)

MA MINOR THESIS


Field:
English Linguistics
Code
60 22 15




HANOI, 2012

VIETNAM NATIONAL UNIVERSITY, HANOI
UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES
FACULTY OF POST – GRADUATE STUDIES
******



NGUYỄN THỊ HOÀN


AN IN-DEPTH ANALYSIS OF THE ENGLISH – VIETNAMESE
TRANSLATION VERSION OF JACK LONDON’S
FAMOUS NOVEL “THE CALL OF THE WILD”

(PHÂN TÍCH SÂU VỀ BẢN DỊCH ANH – VIỆT CUỐN TIỂU
THUYẾT NỔI TIẾNG CỦA JACK LONDON
“TIẾNG GỌI NƠI HOANG DÔ)

MA MINOR THESIS


Field:
English Linguistics
Code
60 22 15
Supervisor:
Assoc. Prof. Dr. Lê Hùng Tiến

HANOI, 2012
v

TABLE OF CONTENTS
CONTENTS
Pages
Declaration …………………………………………………………………
i
Acknowledgements ……………………………………………………
ii
Abstract ……………………………………………………………………
iii
List of Abbreviations ………………………………………………………
iv
INTRODUCTION…………………………………………………………
1
I. Rationale for the study ……………………………………………….
1
II. Objectives of the study ………………………………………………
1
III. Scope of the study ………………………………………………
2
IV. Method of the study ………………………………………………….
2
V. Organization of the study…………………………………………….
2
CHAPTER I – LITERATURE REVIEW ………………………………
3
I. What is translation? ……………………………………………

3
II. Literary translation ………………………………………………
3
II.1. General characteristics of literary language …………………
3
II.2. Problems of literary translation ………………………………
5
III. Translation Quality Assessment………………………………
6
III.1. Proposed models …………………………………………………
6
III.1.1. Nida’s response - based approach………………………………
6
III.1.2. Koller’s text - based approach……………………………………
7
III.1.3. Peter Newmark’s comprehensive criticism approach…………
7
III.1.4. Julianne House’s functional – pragmatic approach……………
8
III.2. Representation of Julianne House’s TQA model…………………
8
III.2.1. Covert and Overt Translation………………………………………
8
III.2.2. Representation of J. House’s model………………………………
9
CHAPTER II - ANALYSIS OF THE SOURCE TEXT, BASED ON J.
HOUSE’S MODEL
11
I. Brief introduction of the chapter…………………………………
11

I.1. The author Jack London…………………………………………
11
vi

I.2. The novel “The Call of the Wild”………………………………
11
I.3. Introduction of Chapter 6…………………………………………
11
II. Discourse features of the source text………………………………
11
II.1. Syntactic features………………………………………………………
11
II.2. Textual features…………………………………………………………
19
III. Analysis of the source text based on J. House’s model………
22
III.1. Dimension of language user……………………………………………
22
III.2. Dimension of language use……………………………………………
23
IV. Statement of function
28
CHAPTER III: COMPARISON BETWEEN THE SOURCE TEXT
AND ITS VIETNAMESE TRANSLATION VERSION
29
I. Comparison between the source text and the target text based on
J. House’s model ………………………………………………
29
I.1. Medium………………………………………………………………
29

I.2. Participation………………………………………………………
30
I.3. Social Role Relationship…………………………………………
32
I.4. Social Attitude………………………………………………………
33
I.5. Province……………………………………………………………
35
II. Overtly Erroneous Errors…………………………………………
39
III. Statement of Quality and Translation Type…………………
39
CONCLUSION……………………………………………………………
42
REFERENCES……………………………………………………………
45
APPENDIX…………………………………………………………………
I






1

INTRODUCTION
I. Rationale for the study
Over the past years, translation has been playing a crucial part in
bridging two cultures and has enabled the advances of modern life and

internationalism of around the world. In literature, foreign poetry and prose
into the curriculum also increasingly covers much ground, which brings
translation to more attention. However, the translation of literary works is not
an easy – to – deal matter and the question of how a good translation text is
measured has never ceased to challenge linguists.
In fact, Translation Quality Assessment (TQA) has been addressed by
many linguists so far and it remains a controversial topic with many a theory
proposed. Among many linguists who have put forward models to carry out a
comprehensive assessment, J. House is chosen by most researchers because of
the best applicability of her model, based mainly on the theory of functional
grammar by K. Halliday.
The novel “The Call of the Wild” by Jack London is the author’s first
literary work, which helped him rise to the prominence as the top author of
American literature in the early 20
th
century. The researcher has taken the
translation version by Nguyễn Công Ái and Vũ Tuấn Phương to measure how
well the translation is.
The novel also characterizes Jack London’s writing style,
straightforward but formal, which is embraced in each chapter of the novel. In
this minor study, Chapter 6 of the novel titled “For the love of a man” is
chosen as the data for the analysis. This chapter is the only one which reveals
Buck’s passionate love for his master and this love demonstrates the humanity
in the whole novel.
II. Objectives of the study
The study aims at investigating the translation quality of the target text
of Chapter 6 in full comparison with the source text, based on J. House’s
model.
At the end of this study, the answers to the following research questions
should be provided:

- What are the features of the ST, according to J. House’s model?
- What are the mismatches of the TT in comparison with the ST?
2

- What kind of translation, covert or overt, is employed?
III. Scope of the study
As referred to earlier, J. House’s model is adopted to assess the quality
of the translation in this research. This results from the fact that the models
proposed by Peter Newmark and other linguists’ only suit professionals in
translation, whilst J. House’s model can be widely applied by researchers.
In terms of the data for analysis, the whole novel should have been
adopted to provide the researcher with a sufficient insight into the translation
quality of the Vietnamese target text. However, due to its modest scale, this
study is merely confined to chapter 6 of the novel “The Call of the Wild”,
which partly features Jack London’s basic writing style in the novel. With
such a limit set out at the beginning of the study, all the analysis and
comparison between the ST and the TT is only restricted in this chapter.
IV. Method of the study
The principal method employed in the study is Documentary Research,
using the outside sources (the ST and TT of chapter 6 – “The Call of the
Wild) to support the whole procedure of translation quality assessment.
The researcher also combines both qualitative and quantitative
research, analyzing data and providing the readers with deeper insights into
the distinctions and value in the ST and TT. Some important conclusions can
be drawn from these analyses.
V. Organization of the study
The first chapter of the study will be Literature Review in which some
related concepts of translation theory and typical models of translation quality
assessment are discussed.
In the second chapter, the research will introduce an overview of the

original text’s content, and J. House’s model applied to analyze the ST.
In the third chapter, the researcher will apply J. House’s model to
analyze and compare English ST and its Vietnamese TT to find out
mismatches and draw a conclusion of what type of translation is employed in
the study.


3

CHAPTER I:
LITERATURE REVIEW
I. What is translation?
There have been many different definitions of translation so far. From
the researcher’s point of view, however, 5 following definitions should be
taken into consideration:
- Translation is a craft consisting in the attempt to replace a written
message and/or statement in one language by the same message and/or
statement in another language. (Peter Newmark, 1988)
- Translation deals with the signs and attempts to preserve semiotic, as
well other pragmatic and communicative, properties which signs display.
(Basil Hatim and Ian Mason, 1990)
- Translation is the replacement of a text in the source language by a
semantically and pragmatically equivalent text in the target language.
(J.House, 1977)
- Translation is to produce in the receptor language the closest natural
equivalence to the message of the source language, first in meaning and
second in style. (Nida, 1975)
- Translation means the replacement of a text in one language (Source
Language) by an equivalent in another language. (Target Language).
(Cartford, 1965)

The five definitions of Peter Newmark, Basil Hatim and Ian Mason, J.
House, Nida, and Cartford are expressed in different ways. However, they all
share the same essence of translation which lies in the preservation of
semantic, pragmatic, and textual aspects of meaning across two different
languages.
II. Literary translation
Literary studies have always, explicitly or implicitly, presupposed a
certain notion of ―literariness‖. This notion of ―literariness‖ is crucial for the
theoretical thinking about literary translation. In the following part, the
researcher attempts to put forward some general characteristics of literary
language and typical problems of literary translation.
II.1. General characteristics of literary language
4

Literature is the use of well-chosen words to tell a story through
narrative, involving characters in conflict, or to express an emotion or idea
through artfully arranged images. The purpose of literature is to entertain and
instruct (or to delight or enlighten) the reader through the use of imagination.
Literature can shock, amaze or help readers make an escape from the reality
for a while.
As far as we know, literary language is a part of general linguistics.
Thus, almost linguistic features used in literary texts are taken from general
linguistics. However, literary language possesses some typical characteristics.
Literary language possesses all the features that assist in realizing the
descriptive goal of literary texts. As Peter Mark (1995: 13) states, there is ―an
emphasis linking verbs, adjective, and adjectival nouns.‖ Besides, literary
texts consist of the linguistic particularities relating to ―major topics as
cohesion, manning patterns, modality, and evaluation, the structure of
narratives, the recording of character speech and thought, clause processes
and participants, and the dynamic of dialogue, presupposition and textual

revision.‖ (Michael Toolan – 1998)
Literary texts, especially in poetry, also carry the metrical and para-
metrical features of language. This is an adaptation of the linguistic form
which is called the prosodic phonological form. A linguistic form which is
also used in literary language is parallelism in syntax, semantics, and lexis.
With regards to narrative, one of the aspects of narrative form which
exists independently of language is the macro-structure, or large-scale
structure. As far as we know, it seems generally agreed upon that the structure
of the stories cannot adequately be accounted for in terms of their sentence
structures alone. Notions such as plot, scheme, theme, and plan have been
used, both in classical literary scholarship and in structural analysis of myths,
folktales and other simple stories, in order to denote more global narrative
structures.
In addition, literary language is closely related to cultural elements.
These cultural elements marked out the patterns and threads in the narrative
whereby the overall cultural gap that has to be bridged and gauged, and some
consideration can also be given to the balance of items to be domesticated and
foreignised. Moreover, these elements provide insights to the author and an
5

understanding of the undercurrents in the novel. It is, thus, clear that cultural
elements are central to any translation. To support this idea, Nord (1997:11)
states that ―… a translation theory cannot draw on a linguistic theory alone…
What it needs is a theory of culture to explain the specificity of
communicative situations and the relationship between verbalized and non-
verbalized situational elements.‖
II.2. Problems of literary translation
In order to create a good translation, a translator has to deal with many
challenges, especially regarding literary translation where a number of
problems remain.

Long – standing debates mainly consider finding equivalents not just
for lexis, syntax, or concepts, but also for features like style, genre, figurative
language, historical stylistic dimensions, polyvalence, connotations as well as
denotations, cultural items and culture-specific concepts and values. Options
made by translators such as whether to retain stylistic dimension of the
original become critical in literary translation. As regards poetry translation, it
is necessary for the translator to determine whether the verse should be
translated into verse, or into free verse or into prose. In poetry, the form of
linguistic units cannot be modified without a corresponding change in
semantic, pragmatic, textual meaning. Since the form cannot be detached
from its meaning, this meaning cannot be expressed in another ways such as
paraphrases explanations and borrowing of new words is impossible in a
translation of a poetic-aesthetic work of art.
One of the prominent problems in translating literary texts is the
differences between cultures. It is easily recognized by a translator who uses a
cultural approach that each language contains elements which are derived
from its culture. In addition, every text is anchored in a specific culture, and
conventions of text production and reception vary from culture to culture. In
fact, translation is considered as a form of intercultural communication which
poses the problems not merely at verbal level or linguistic level. The
awareness that one does not seek barely verbal equivalents but also for
cultural equivalents, if there are any, comes in handy in prompting the
translator to decide the strategies he or she has to use. Accordingly,
6

translation is no longer a matter of finding verbal equivalents but also
interpreting a text encoded in one semiotic system with the assistance of
another. The whole enterprise of finding cultural equivalents raises awareness
of the difference and similarities between cultures. It also brings into focus
the critical question of cultural identity. Apparently, literary translation exerts

great influence on the target culture, and at the same time, the target culture
has never stopped restraining the process of literary translation. It is held that
―there is always a context in which the translation takes place, always in a
history from which a text emerges and into which a text is transposed‖.
(Lafervere: 1990: 11). As a matter of fact, literary translation is embedded
with the constraints of a certain target cultural context.
III. Translation Quality Assessment
Translation Quality Assessment does not only deal with the ideal case
of integral communicative performance, in which target language aims at the
closest equivalence as regards the conceptual content, linguistic form and
communicative function of a SL text. The practice of translation is subject to
a great many conditions which determine that such an integral communicative
performance cannot, or even should not, be achieved. Theodore Savory
(Readings in translation theories, 1957: 49) listed ten translation principles
gleaned from the literature, some of which are directly contradictory while
others are mutually complementary. They provide an abundance of opinions
on what a good translation should be like.
III.1. Proposed models
Over long history of translation quality assessment, linguists have kept
on putting forward their approaches to reach the best assessment for the
quality of translation.
III.1.1. Nida’s response – based approach
Nida’s concern centered on a systematic approach to translation. He
suggested three programmatic and general criteria (1964: 182) for quality
assessment of a translation, including general efficiency of the
communication process, comprehension of intent and equivalence of
response. The third and most significant criterion is obviously close to Nida’s
basic principle of ―Dynamic (or Functional) Equivalence of a translation’. In
other words, the manner the receptor of the translation text responds to the
7

translation text must be equivalent to the manner in which the receptors of the
source text respond to the source text. Nida and Taber (1969: 173) proposed
three similar criteria: the correctness with which the receptors understand the
message of the original, the ease of comprehension and the involvement a
person experiences as a result of the adequacy in the form of translation.
However, these behavioral criteria need to be further explained and put to the
practice tests.
III.1.2. Koller’s text – based approach
Koller (1974) acknowledges the importance of a linguistic model of
translation quality assessment, which is portrayed in three straightforward
stages introduced by him. The first stage is to consider the transferability of
the original text. If the original text is transferable, the most equivalent
translation can be created. If the original text is untransferable, no equivalence
or translation is possible. The source text should be kept the same. The second
stage is to retranslate the target text into the source language. A translation is
acceptable if the target text is similar in meaning with the source text after re-
translation. The third stage is to let the native speakers proofread the
translation. The translator is expected to satisfy the readers of the target
language, which means they have no difficulty interpreting the translation.
In brief, in spite of his stimulating ideas, Koller does not go beyond a
very general outline with no suggestion for operationalization. Criteria that
the transferability of a text based have not been mentioned in his model.
What’s more, the approach does not provide us with adequate details so that it
can be applied to a real translation. Hence, it needs to be further developed
into a workable model of TQA.
III.1.3. Peter Newmark’s comprehensive criticism approach
As Newmark puts it, translation critism is an essential component in a
translation course. He gives three reasons to explain for this idea. Firstly, it
painlessly improves your competence as a translator. Secondly, it expands

your knowledge and understanding of your own and foreign language, as well
as the insight of the topic. Thirdly, it will help you form your ideas about
translation. As an academic discipline, translation criticism ought to be the
keystone of any course in comparative literature, or literature in translation,
8

and a component of any professional translation course with the appropriate
text-type (e.g. legal, engineering, and so on.) as an exercise for criticism and
discussion.
Peter Newmark states that any comprehensive criticism should cover
five topics to criticize a text:
1. A brief analysis of SL text stressing its intention and its functional
aspects.
2. The translator’s interpretation of the SL text’s purpose, his translation
method and the translation’s likely readership.
3. A selective but representative detailed comparison of the translation
with the original
4. An evaluation of the translation: in the translation’s terms and in the
critics’ terms
5. An assessment of the likely place of the translation in the target
language culture or discipline.
III.1.4. Julianne House’s functional – pragmatic approach
Translation, as realized by Julianne House, means the preservation of
―meaning‖ across two languages, which is elaborated into three aspects,
namely semantic, pragmatic, and textual. In other words, translation may be
defined as the replacement of a text in the source language by a semantically
and pragmatically equivalent text in the target language.
House’s model for translation assessment is based on pragmatic
theories of language use. It concerns semantic field, pragmatic aspect and
textual aspect. In the definition of translation, the term ―equivalent‖ is the key

term. The concept of ―equivalence‖ may also be taken as the fundamental
criterion of translation quality. Thus, an adequate translation text is a
semantically and pragmatically equivalent one.
III.2. Representation of Julianne House’s TQA model
III.2.1. Covert and Overt Translation
House (1977) discusses about the concept of two translation types:
overt and covert translation.
In an overt translation, the TT audience is not directly addressed and
there is, therefore, no need at all to attempt to recreate a second original text
since an overt translation must overtly a translation. In overt translation, the
9

work of the translator is important and visible. Since it is the translator’s task
to give target culture members access to the original text and its cultural
impact on source culture members. Also, the translator puts culture members
in a position to observe and judge this text from outside. Thus the major
difficulty in translating overtly is finding linguistic cultural equivalents
particularly along the dimension of Tenor and its characterization of the
author’s temporal, social and geographical provenance.
Covert translation, on the other hand, means the production of a text
which is functionally equivalent to the ST. In this type of translation, the
translator has to attempt to recreate an equivalent speech event. Consequently,
the function of a covert translation is to reproduce in the target text the
function that the original has in its frame and discourse world. It is the
translator’s expression task to betray the original and to hide behind the
transformation of the original. Thus, the work of translator is clearly less
visible, if not totally absent.
In short, covert translation is less complex and more deceptive than
overt translation. In evaluating a translation, it is thus essential that the
fundamental differences between overt and covert translation be taken into

account. These two types of translation clearly make different demands on
translation criticism.
III.2.2. Representation of J. House’s model
House adopts Halliday’s term ideational and interpersonal as labels for
the referential and the non-referential functional components.
House’s model consists of two sections: dimensions of language user
and dimensions of language use, possibly broken down into the following
subcategories:
A. Dimension of language user:
1. Geographical Origin
2. Social Class
3. Time
B. Dimension of language use
1. Medium (Simple/Complex)
2. Participation (Simple/Complex)
3. Social Role Relationship
10

4. Social Attitude
5. Province
To elaborated, these terms can be understood as follows:
Geographical Origin: regional dialect
Social Class: Social class dialect
Medium: may be either simple, i.e. written to be read, or complex, e.g.
written to be spoken as if not written (as in a play), or simply written to be
spoken (as in a draft of a speech or sermon)
Participation may also simple or complex. Simple refers to a
monologue or dialogue; complex refers to various ways of ―participation
elicitation‖ and indirect addressee participation in a monologue manifest
linguistically e.g, in the specific use of pronouns, presence of contact

parentheses, etc.
Social Role Relationship between addresser and addressees may be
symmetrical or asymmetrical according as some kind of authority relationship
differentiates them.
Social Attitude describes the degrees of social distance or proximity
resulting in relative formality or informality. Joos’ (1961) disctinction of five
different styles or degrees of formality: frozen, formal, consultative, casual,
and intimate.
Province is broadly defined: it refers not only to the text producer’s
occupational and professional activity but also to the field or topic of the text
in its widest sense of ―area of operation‖ of the language activity, as well as
details of the text production as far as these can be deduced from the text
itself.




11

CHAPTER II:
ANALYSIS OF THE SOURCE TEXT, BASED
ON J. HOUSE’S MODEL
I. Brief introduction of the chapter
I.1. The author Jack London
Jack London was the most successful authors in the early 20
th
century,
gaining widespread recognition subsequent to the publication of the novel
“The call of the wild” in 1903.
His vigorous stories of men and animals against the environment and

survival against hardships were drawn mainly from his own experience. His
straightforward style created many famous literary work such as “The call of
the wild”, “White fang”, The sea wolf” and many others.
I.2. The novel “The call of the wild”
“The call of the wild” is the story of Buck, a domesticated dog which is
snatched cruelly out of his beloved home and thrown into a hostile world of
clubs and fang, where he has to learn the hard way to survive. His passionate
love for John Thornton seems to draw him back into the civilization, but the
imperious and luring sounding of the wild attracts him and leaves him no
reluctance to join it after John Thornton is killed.
I.3. Introduction of Chapter 6
Chapter 6 of the novel, titled “For the love of a man” is the only part
which portraits the intimate relationship between Buck and his master, John
Thornton. The chapter elaborates on Buck’s overwhelming love for Thornton
and his heroic actions to save Thornton from tense and even fatal situations.
II. Discourse features of the source text
II.1. Syntactic features
II.1.1. Clause and Clause Complexes
The chapter is comprised of 227 clauses, breaking down into numerous
smaller units, 52 of which are clause simplexes, whereas the remaining are
complex clauses with a huge number of clauses with rather intricate
relationship between clauses.
12

The number of clause simplexes is relevant in this kind of narrative,
where the plot of the story unfolds in a series of events. In this chapter, many
clause simplexes are utilized to describe Buck’s great love for Thornton.
―(53) Thornton alone held him. (54) The rest of mankind was as
nothing‖
―(58) For Thornton, however, his love seemed to grow and grow. (59)

He, alone among men, could put a pack upon Buck’s back in the summer
travelling.‖
The clause simplexes convey a distinct contrast, regarding the
significance of Thornton in Buck’s heart, as opposed to other people.
Clause simplexes also prove particularly effective in describing events
which are intended to evoke the nervousness and excitement in readers. 35
clause simplexes are employed in the last challenge and victory where Buck
scores to rescue Thornton. It is the intense competition between Thornton and
Mathewson, who bets that Buck cannot move a thousand pounds and walk
with it for a hundred yards. The curiosity of the crowd watch the competition
is conveyed in short simple sentences.
―The crowd was watching curiously. The affair was growing
mysterious. It seemed like a conjuration.‖
More importantly, Buck’s attempt is recorded.
“Buck duplicated the maneuver, this time to the left….”
“The sled was broken out.”
“The sled swayed and trembled, half – started forward.”
Each of Buck’s movements seems to be portrayed in details via the use
of short sentences, which cause worry and excitement in readers during the
course of the competition.
The ending passage was filled with short simple complexes, which
convey Buck and Thornton’s touching moments after Buck has helped
Thornton win the competition.
“Thornton rose to his feet. His eyes were wet. The tears were streaming
frankly down his cheek.”
These three clause simplexes demonstrate Thornton’s happiness and
thankfulness to Buck since he understand Buck’s extraordinary attempt is for
him.
13

Whilst clause simplexes only account for over 25% of the total clauses
of the chapter, the clause complexes, as usual, constitute the majority in the
chapter. Various relationships are employed, namely elaboration, extension
and enhancement, which are often typical of two kinds of clauses: Parataxis
and hypotaxis.
a. Elaboration
Elaboration is conveyed in an effective way via the use of relative
clauses, which are often used to modify and elaborate the nouns before them.
So useful was it that more than one time in the chapter that the readers see the
relative clauses to describe Buck’s love for Thornton.
“(16) But love, that was feverish and burning, that was adoration, that
was madness, it had taken John Thornton to arouse.”
The relationship between above-mentioned clauses is elaboration,
coupled with extension, in the way that three relative clauses are posited the
same in significance. Buck’s love for Thornton is elaborated in a
straightforward way, and also is multiplied via the addition of stronger and
stronger feeling embedded in the three clauses.
The readers can see a number of relative clauses in an attempt to
describe the love and intimacy between Thornton and Buck.
“(17) This man had saved his life, which was something; but further, he
was the ideal master.”
(21) He had a way of taking Buck’s head roughly between his hands,
and resting his own head upon Buck’s, of shaking him back and forth, the
while calling him ill names, that to Buck were love names.
Apparently, in these clauses, the relationship is not only elaboration,
but also extension which proves useful in extending the level of intimacy
between Buck and Thornton to a higher position.
b. Extension and enhancement
Non – finite clauses seem to appear much in the chapter to describe a
series of actions or the record a story.

This is the time when Buck rest totally to win back his strength after he
is saved by Thornton.
14

“(3) And here, lying by the river bank through the long spring days,
watching the running water, listening lazily to the songs of birds and the hum
of nature, Buck slowly won back his strength.”
The use of non – finite verbs describes Buck’s loafing time with
Thornton and his two dogs, which is absolutely his dream after being
exhausted for a long time.
“(29) He would lie by the hour, eager, alert, at Thornton's feet, looking
up into his face, dwelling upon it, studying it, following with keenest interest
each fleeting expression, every movement or change of feature.”
Many non – finite verbs are employed in this clause, such as looking,
dwelling, studying, following, following the main verb lie. Embedded by the
extension relationship between clauses, it reveals the Buck’s thorough and
sharp observation of every moment and feeling of Thornton, which proves his
passionate love for his master.
In the passage where Buck saved Thornton from drowning, the author
also uses plenty of clause complexes with extension as a major relationship.
“(90) When he felt him grasp his tail, Buck headed for the bank,
swimming with all his splendid strength”
“(116) Strangling, suffocating, sometimes one uppermost and
sometimes the other, dragging over the jagged bottom, smashing against rock
and snags, they veered in to the bank.”
A series of non – finite verbs such as strangling, suffocating, dragging,
smashing come before the main verb veered really impress readers about
Buck’s sacrifice and courage to save Thornton.
Apart from relative clauses and non-finite clauses, many types of
clauses are also used in the chapter to create the diversity in the way story is

described, typically independent clauses with extension and enhancement
relationship embedded.
―(218) Head was against head, and he was shaking him back and forth.
(219) Those who hurried up heard him cursing Buck, and he cursed him long
and feverently, and softly and lovingly.”
15

The relationship in these clauses is also extension, which means clauses
support each other in a way that the meaning is conveyed in the increasing
level. The level of intimacy of Thornton and Buck is increasing within
clauses.
II.1.2. Transitivity
The majority of clauses in the chapter 6 is covered with material
process, which is relevant to a narrative story like the novel. By means of
material verbs, the chapter is aimed at describing the heroic and touching
actions performed by Buck in many times to rescue Thornton from dangerous
situation. The typical one is when John Thornton fell off the boat and Buck
virtually sacrifices his life to save his master. A variety of verbs are used in
order to portrait Buck’s actions:
“(89) ||| Buck had sprung in on the instant; || and at the end of three
hundred yards, amid a mad swirl of water, he over-hauled Thornton.”
“(113) ||| Buck held on || till he was on a line straight above Thornton; ||
then he turned, and || with the speed of an express train headed down upon him.”
The material verbs also denote the intimate moment between Buck and
Thornton:
“(223) The tears were streaming frankly down his cheeks… (225) Buck
seize Thornton’s hand in his teeth. (226) Thornton shook him back and forth.”
Not appearing as often as material process, relational process and
behavioral process also greatly contribute to the elaboration of love between
Buck and Thornton. Whereas the relational process describes the inside

feeling and burning love for Thornton, the behavioral process demonstrate
those feelings out.
More than one time does Buck’s adoration for Thornton is showed:
(17) ||| This man had saved his life, which was something; || but,
further, he was the ideal master.
In some cases, the love is elaborated through increasingly waves of
feelings inside Buck:
16

“But love, that was feverish and burning, that was adoration, that was
madness, it had taken John Thornton to arouse.”
Furthermore, by means of behavioral process, the passionate love for
Thornton is also conveyed clearly through Buck’s behaviors:
(29) ||| He would lie by the hour, eager, alert, at Thornton's feet, ||
looking up into his face, || dwelling upon it, || studying it, || following with
keenest interest each fleeting expression, every movement or change of
feature.
(30) ||| Or, as chance might have it, he would lie farther away, to the
side or rear, || watching the outlines of the man and the occasional
movements of his body.”
Despite its infrequent appearance in the chapter, verbal process mainly
deals with the intimacy Thornton gives Buck in another way. Sometimes,
Thornton “exclaim” because of his understanding of Buck’s love for him
whereas in some other times, “whispered” and ―murmured” with love words
to Buck. During the chapter, verbal verbs do not appear much, but it also
plays an important role in portraying Thornton’s love for Buck.
Mental and existential processes only account for a minor part in the
chapter. In consideration of the main aim of the chapter, which deals with the
love between Buck and his master, the small percentage of these two
processes is understandable.

II.1.3. Mood
In terms of mood choice, 99% of clauses in the chapter are declarative,
which is relevant in this kind of narrative. There are only two clauses of
interrogative in the form of a Wh-question and a Yes/No question, and two
clauses of imperative when Thornton ordered Buck to return ashore: “Go!
Buck! Go”.
Lying in the Mood structure, finite also plays an important part. In this
novel, especially in chapter 6, past tense is used to narrate the story of Buck,
particularly its heroic exploits towards Thornton. A mixture of tenses is used,
of which perfect tenses are used such as past perfect and present perfect tense.
17

This allows the readers to comprehend the strictness in the author’s language
in order to describe the story plot in the chapter.
As the mood structure is investigated more closely, the relationship and
order of Subject, finite and Residue should be taken into consideration. The
majority of clauses in chapter 6 have Subject as simple noun phrases or
nouns; however, in some clauses, the Subject is represented by a clause.
“(19) … and to sit down for a long talk with them || "gas" he called it ||
was as much his delight as theirs.
(34) ||| His transient masters || since he had come into the Northland
had bred in him a fear that || no master could be permanent.
(48) ||| Kill or || be killed, || eat or || be eaten, was the law.”
Using the clause as the Subject of a clause is one of the features of
formality in texts. Another feature of formality is inversion, which appears
much in this chapter. The part of clause which is inversed prior to Subject
may be the Complement or Adjunct.
―This‖ is put at the beginning of the clause to emphasize Buck’s
passionate love for Thornton, which he had never experienced in Judge
Miller’s house.

“(14) ||| This he had never experienced at Judge Miller's down in the
sun-kissed Santa Clara Valley”.
Or Adjunct + Operator structure “So peremptorily did” is put before
Subject to describe the luring attraction of the sounding of the wild life to
Buck:
“(51) ||| So peremptorily did these shades beckon him, || that each day
mankind and the claims of mankind slipped farther from him.”
In the chapter, it is also obvious that ellipsis is also used. The Subject
(Buck) is omitted the beginning clauses because of its reference in the last
clause.
“(3) ||| And here, lying by the river bank through the long spring days,
|| watching the running water, || listening lazily to the songs of birds and the
hum of nature, || Buck slowly won back his strength.
In other cases, the Subject + Operator + Predicator structure (it had
been) is left out without the obscurity of the meaning in the clause:
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(15) ||| With the Judge's sons, hunting and tramping, it had been a
working partnership; || with the Judge's grandsons, a sort of pompous
guardianship; || and with the Judge himself, a stately and dignified
friendship.
Or the Predicator is omitted only:
(23) ||| And when, released, he sprang to his feet, || his mouth laughing,
|| his eyes eloquent, || his throat vibrant with unuttered sound, || and in that
fashion remained without movement, || John Thornton would reverently
exclaim, || "God! you can all but speak!"
Although the ellipsis is the signal of informal texts, the formality in the
chapter is still retained because the clauses with ellipsis embedded is in
narrative style and no effort is made to understand the meaning of the clause
based on the preceding or subsequent clauses.

Modality is also a part of mood structure, which is of significance to
create the illocutionary force in the chapter.
“(4) …It must be confessed that || Buck waxed lazy as || his
wounds healed, || his muscles swelled out, || and the flesh came back to
cover his bones .
(23) … "God! You can all but speak!"
(46) ||| He must master or || be mastered; || while to show mercy
was a weakness.”
In this chapter, modality does not play an important role since the
chapter is in narrative style and the purpose of the author is to portrait the fact
and give the chapter much experiential meaning other than interpersonal
meaning.
As regards voice, it is found without difficulty that the passive voice is
favored in the chapter, among the clauses with active voice to describe the
plot of the story. The regular use of passive voice bespeaks the formality in
the chapter:
(98) He swam powerfully and was dragged ashore by Pete and
Hans………
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(103) … he was jerked under the surface, and under the surface he
remained till his body struck against the bank and he was hauled out.
(105) He was half drowned,…

II.2. Textual features
II.2.1. Thematization
The chapter is made up of various kinds of themes. Regarding simple
and multiple theme, 70 percent of clauses is unmarked simple theme, while
nearly 30% is marked multiple theme, which is often composed of textual and
topical theme.

The topical theme is characterized by Adjunct phrases:
(3) And here, lying by the river bank through the long spring days,
watching the running water, listening lazily to the songs of birds and the hum
of nature, Buck slowly won back his strength.
(10) To Buck's surprise, these dogs manifested no jealousy toward him.
(15) With the Judge's sons, hunting and tramping, it had been a
working partnership; with the Judge's grandsons, a sort of pompous
guardianship; and with the Judge himself, a stately and dignified friendship.
In some other cases, the topical theme is Complement, which
conflates with the inversion pattern discussed above:
(14) This he had never experienced at Judge Miller's down in the sun-
kissed Santa Clara Valley.
(16) But love that was feverish and burning, that was adoration, that
was madness, it had taken John Thornton to arouse.
II.2.2. Cohesion
Cohesion is one of the prominent features to create the coherence in a
discourse and Jack London has made full use of the cohesive devices to
maintain the formality for the novel in general and the chapter 6 in particular.
The utilization of cohesive devices is specified as follows:
a. Reference
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Reference is one of the most efficient tools of cohesion in any
discourse. This chapter is no exception. The chapter employs personals,
demonstratives, and comparatives as the prominent devices of reference when
creating the connection between clauses. As usual, reference is most denoted
by personal devices. One outstanding feature of the personal devices is that
the animals in the chapter such as Buck, Skeet and Nick are personalized
through the use of pronouns referring to human like him, her:
(26) For the most part, however, Buck's love was expressed in

adoration. (27) While he went wild with happiness when Thornton touched
him or spoke to him, he did not seek these tokens.
(10) To Buck's surprise these dogs manifested no jealousy toward him.
(11) They seemed to share the kindliness and largeness of John Thornton.
Less frequently but also effective, comparatives such as comparative
words, such, other and next are also used in some clauses:
(9) Nig, equally friendly though less demonstrative, was a huge black
dog, half-bloodhound and half-deerhound, with eyes || that laughed and a
boundless good nature.
The demonstratives like this also bear the same occurrence as
comparatives:
(48) Kill or be killed, eat or be eaten, was the law; and this mandate,
down out of the depths of time, he obeyed.
b. Ellipsis and Substitution
The ellipsis employed in the chapter nearly limit itself in clauses, which
eliminate the subject of the subsequent or prior clauses and there exists only
one subject in the last or first clause. This is not the case where ellipsis in
conversation is dealt with, which would signal the informal and spoken
language. This elimination of subject in multiple clauses in a sentence is
highly visible in formal writing.
Substitution, otherwise, should be considered as the common way of
creating the cohesion in the discourse. In this chapter, such words as this, so
replace the whole clauses or part of clauses before:
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(14) This he had never experienced at Judge Miller's down in the sun-
kissed Santa Clara Valley.
(132) So saying, he slammed a sack of gold dust of the size of a
bologna sausage down upon the bar.
c. Conjunction

The wide variety of conjunctions used is one important feature in the
formal writing. Most of conjunctions in chapter 6 convey the meaning of
extension among clauses, which can be broken down into addition,
adversative and variation. The relationship between clauses is characterized
by addition with the employment of “and”, ―besides”, “further”:
(23) And when, released, he sprang to his feet, his mouth laughing, his
eyes eloquent, his throat vibrant with unuttered sound, ………
(43) Skeet and Nig were too good-natured for quarreling besides,
they belonged to John Thornton
(141) Further, he had no thousand dollars; nor had Hans and Pete.
Lying in the second after addition is the adversative, denoting the
opposite meaning among clauses with the use of “but”, “however”, and
“yet”:
(26) For the most part, however, Buck's love was expressed in
adoration.
(38) But in spite of this great love he bore John Thornton, which
seemed to bespeak the soft civilizing influence, the strain of the primitive,
which the Northland had aroused in him, remained alive and active.
(39) Faithfulness and devotion, things born of fire and roof, were his;
yet he retained his wildness and wiliness.
Since the chapter aims at telling a story, spatio – temporal conjunctions
appear much in the chapter, especially time conjunctions:
(56) When Thornton's partners, Hans and Pete, arrived on the long-
expected raft, Buck refused to notice them till he learned they were close to
Thornton; after that he tolerated them …