ILLOCUTIONARY ACT IN SONG LYRICS OF ED SHEERAN’S DIVIDE ...

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ILLOCUTIONARY ACT IN SONG LYRICS OF ED SHEERAN’S DIVIDE

ALBUM

A THESIS

By:

NONI NOVYANTI

REG. NO. 140705106

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2019

UNIVERSITAS SUMATERA UTARA

vi

ILLOCUTIONARY ACT IN SONG LYRICS OF ED SHEERAN’S DIVIDE

ALBUM

A THESIS

BY

NONI NOVYANTI

REG. NO. 140705106

SUPERVISOR CO-SUPERVISOR

Dr. Masdiana Lubis, M.Hum. Dra. Roma Ayuni Aminoeddin Lubis, M.A

NIP. 19570626 198303 2 001 NIP. 19680122 199803 2 001

Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan

in partial fulfillment of the requirements for the degree of Sarjana Sastra from

Department of English

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2019


vii

Approved by the Department of English, Faculty of Cultural Studies University

of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination.

Head, Secretary,

Prof. T. Silvana Sinar, M.A., Ph.D. Rahmadsyah Rangkuti, M.A. Ph.D

NIP. 19540916 198003 2 003 NIP. 19750209 200812 1 002


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Accepted by the Board of Examiners in partial fulfillment of requirements for

the degree of Sarjana Sastra from the Department of English, Faculty of

Cultural Studies University of Sumatera Utara, Medan.

The examination is held in Department of English Faculty of Cultural Studies

University of Sumatera Utara on April 5th

, 2019

Dean of Faculty of Cultural Studies

University of Sumatera Utara

Dr. Budi Agustono, M.S.

NIP.19600805 198703 1 001

Board of Examiners

Rahmadsyah Rangkuti, M.A. Ph.D

Dr. Deliana, M.Hum.

Dr. MasdianaLubis, M.Hum.


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AUTHOR’S DECLARATION

I, NONI NOVYANTI DECLARE THAT I AM THE SOLE AUTHOR OF THIS

THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS

THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED

ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A

THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER

DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT

DUE ACKNOWLEDGEMENTS IN THE MAIN TEXT OF THIS THESIS.

THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF

ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

Signed :

Date : April 5th

, 2019


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COPYRIGHT DECLARATION

NAME : NONI NOVYANTI

TITLE OF THESIS : ILLOCUTIONARY ACT IN SONG

LYRICS OF ED SHEERAN’S DIVIDE

ALBUM

QUALIFICATION : S-1/SARJANA SASTRA

DEPARTMENT : ENGLISH

I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR

REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF

DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES,

UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT

USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW

OF THE REPUBLIC OF INDONESIA.

Signed :

Date : April 5th

, 2019


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ACKNOWLEDGEMENTS

Bismillahirrahmanirrahim,

First of all, I would like to thank the Almighty God, Allah Subhanahu Wa

Ta‟ala for all of the love, blessing and mercy that has given to me that guided me in

completing this thesis, without whom I would never complete this thesis. In addition,

may peace and salutation be given to the Prophet Muhammad Sallallahu „Alayhi

Wassalam, thanks for all his guidance in my life.

I would like to express the deepest gratitude and appreciation to the Dean of

Faculty of Cultural Studies, University of Sumatera Utara Dr. Budi Agustono, M.S.,

the Head of Department of English Prof. T. Silvana Sinar, M.A. Ph.D., and the

Secretary of Department of English Rahmadsyah Rangkuti, M.A. Ph.D. for all of

the facilities, opportunities, advices and suggestions I have obtained during my study

in this faculty and be able to accomplish this thesis.

I would like to express a great appreciation and sincere thanks to my

Supervisor Dr. Masdiana Lubis, M.Hum, and my Co-Supervisor Dra. Roma

Ayuni Aminoeddin Lubis, M.A. who have guided me in completing this thesis by

giving me their valuable comment, suggestions, advises and given me knowledge as

the great contribution in completing this thesis. Sincere thanks are also devoted to all

the lecturers of English Literature for the valuable knowledge that they have given to

me during my study in English Departement, thanks to Bang Kirno as the admin of

English Department who helped me in the stages of completing this thesis.

I also devoted my special thanks to my beloved parents, Tiar Sono and Sry

Tiem who always give me supports, help, patience, love, pray and all of countless


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material and immaterial supports that I need. Thank you for not pressing me to

complete my thesis in time, thank you for understanding me. They are the biggest

supporter in my life. And also, thanks to my family members, my older sister Tiara

Winda Asri who also gives me material and immaterial support, my younger sisters

Anisa Rahma Wati and Adinda Zulaiha who keep me entertain, and my older brother

Angga Prasetya who gives me good advices.

Big thanks to my great friends THE BANGKE, Anisa Pujianti, Dheanita

Gusridya, Dessy Arisanti Tarigan, Sabrina Ginting, Tetty Marlina Manurung, and

Titian Sinambela for the supports all of this time. I sincerely thank them for hearing

my stories, letting me sharing my problems, giving me countless love, advices,

suggestions and strength. Thank you so much for the precious time that we share

together, crying and laughter that will never faded from my memory. Thank you so

much for always be there for me through my ups and downs, with you guys my life

becomes colorful, and I do not forget to convey my thanks to my classmates for the

moment that has been created for 3.5 years of college.

Finally, I realize that this thesis is still far from being perfect. For every

suggestions and advices from the reader will be pleasantly accepted. Hopefully, this

thesis will be useful for the reader and future researchers. Thank you so much.

Medan, April 2019

The writer

Noni Novyanti

Nim: 140705106


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ABSTRACT

This thesis entitled “Illocutionary Act In Song Lyrics Of Ed Sheeran’s Divide

Album” aims to analyze Illocutionary Act and function of Illocutionary Act in song

lyrics of Ed Sheeran‟s „Divide‟ Album. This research is conducted by using a

descriptive qualitative method. The data are collected from „Divide‟ Album which

are in the form of clauses, and sentences which comes from one lyric or combine

lyrics. After being collected, the data is analyzed based on the theory of Illocutionary

Act by Searle (1996) and Functions of Illocutionary Act by Leech (1983). This study

shows that there are four categories of Illocutionary Act found in the song lyrics.

They are Representative, Directive, Commissive, and Expressive. Representative act

was found as the most dominant categories of Illocutionary Act with 135 data

(68.2%), followed by Directive with 33 data (16.7%), Expressive with 16 data

(8.1%), and Commisive with 14 data (7%). Ed Sheeran employs Representative act

to deliver his ideas. Moreover, there are four types of Functions of Illocutionary Act

found in the song lyrics. They are Collaborative, Competitive, Convivial, and

Conflictive. Collaborative function is found as the most dominant function with 135

data (68.2%), followed by Competitive function with 33 data (16.7%), Convivial

function with 28 data (14.1%), and Conflictive function with 2 data (1%).

Collaborative function becomes the most dominant function because it is intended to

tell the truth committed by Ed Sheeran.

Keywords: speech acts, illocutionary acts, song lyrics.


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ABSTRAK

Skripsi yang berjudul “Tindak Ilokusi Dalam Lirik Lagu Album Ed Sheeran

Divide” bertujuan untuk menganalisis tindak Ilokusi dan fungsi tindak Ilokusi dalam

lirik lagu album „Divide‟ Ed Sheeran. Penelitian ini dilakukan dengan menggunakan

metode deskriptif kualitatif. Data dikumpulkan dari Album „Divide‟ yang berbentuk

klausa, dan kalimat yang berasal dari satu lirik ataupun lirik gabungan. Setelah

dikumpulkan, data tersebut dianalisis berdasarkan teori tindak Ilokusi oleh Searle

(1996) dan fungsi tindak Ilokusi oleh Leech (1983). Di dalam penelitian ini

ditemukan bahwa ada empat kategori tindak Ilokusi yang ditemukan dalam lirik lagu,

yaitu: Representatif, Direktif, Komisif, dan Ekspresif. Tindak Representatif

ditemukan sebagai kategori tindak Ilokusi yang paling dominan dengan jumlah 135

data (68.2%), diikuti Direktif dengan 33 data (16.7%), Ekspresif dengan 16 data

(8.1%), and Komisif dengan 14 data (7%). Ed Sheeran menggunakan tindak

Representatif untuk menyampaikan gagasannya. Selain itu, ada empat jenis fungsi

ilokusi yang ditemukan di dalam lirik lagu, yaitu: Kolaboratif, Kompetitif,

Konvivial, and Konfliktif. Fungsi Kolaboratif ditemukan sebagai fungsi yang paling

dominan dengan jumlah 135 data (68.2%), diikuti oleh fungsi Kompetitif dengan 33

data (16.7%), fungsi Konvivial dengan 28 data (14.1%), dan fungsi Konfliktif

dengan 2 data (1%). Fungsi kolaboratif menjadi fungsi yang paling dominan karena

fungsi tersebut dimaksudkan untuk mengatakan kebenaran yang diyakini oleh

dirinya.

Kata Kunci: tindak tutur, tindak ilokusi, lirik lagu


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TABLE OF CONTENTS

AUTHOR’S DECLARATION……………………………………………………..v

COPYRIGHT DECLARATION…………………………………………………..vi

ACKNOWLEDGEMENTS………………………………………...……………..vii

ABSTRACT…………………………………………………………………………ix

ABSTRACT………………………………………………………………………….x

TABLE OF CONTENTS………..…………………………………………………xi

LIST OF FIGURE………………………………………...……………………....xiv

LIST OF TABLE…………………………………………………………………..xv

CHAPTER I INTRODUCTION

1.1 Background of the Study…………………………………1

1.2 Problem of the Study……………………………………..5

1.3 Objective of the Study……………………………………6

1.4 Scope of the Study………………………………….…….6

1.5 Significance of the Study…………………………………6

CHAPTER II THEORETICAL REVIEW

2.1 Pragmatics…………………….………………...………...8

2.2 Speech Acts Theory………………………………………9

2.2.1 Types of Speech Acts………………………………….14

2.2.1.1 Locutionary……………………………………….....15

2.2.1.2 Illocutionary…………………………………………16

2.2.1.3 Perlocutionary…………………………………….....16


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2.3 Illocutionary Act…………………………………...……18

2.3.1 Category of Illocutionary Act…………………………19

2.3.1.1 Representatives……………….……………………..20

2.3.1.2 Directives……………………………………………21

2.3.1.3 Commisives………………………………………….21

2.3.1.4 Expressive………………………………………...…22

2.3.1.5 Declarations…………………………………………23

2.4 The Functions of Illocutionary Act…….………………..23

2.4.1 Types of Function of Illocutionary Act……………….24

2.4.1.1 Competitive………………………………….………24

2.4.1.2 Convivial…………………………………………….25

2.4.1.3 Collaborative…………………………...……………25

2.4.1.4 Conflictive……………………………………….…..25

2.5 Previous Related Studies………………………………...26

2.6 Biography of Ed Sheeran……………………………..…30

CHAPTER III RESEARCH METHOD

3.1 Research Design…………………………………………32

3.2 Data and Source of Data……………………………...…33

3.3 Data Collection Method….……………………………...34

3.4 Data Analysis Method…………………………………...34

CHAPTER IV ANALYSIS AND FINDING

4.1 Data Analysis……………………………………………38


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4.1.1 Illocutionary Acts and Function of Illocutionary Acts..38

4.2 Data Finding……………………………………………..77

4.2.1 Illocutionary Act………………………………………77

4.2.2 Function of Illocutionary Act…………………….……79

CHAPTER V CONCLUSIONS AND SUGGESTIONS

5.1 Conclusions………………………………….……...…...82

5.2 Suggestions……………………………………………...83

REFERENCES……………………………………………………………...……...84

APPENDIX


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LIST OF FIGURE

Figure 2.1 Theoretical Framework…..………………………………………….31

Figure 3.1 Components of Data Analysis: Interactive Model…………………..35


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LIST OF TABLE

Table 3.1 The Corpus of Divide Album……….………………………………33

Table 3.2 Category of Illocutionary Act……………………………………….37

Table 3.3 Function of Illocutionary Act………………………………………..37

Table 4.1 Data Finding of Illocutionary Acts………………………………….78

Table 4.2 Data Finding of Function of Illocutionary Acts…………………….79


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CHAPTER I

INTRODUCTION

1.1 Background of the Study

Communication is the way of living creature to connect with one another in

order to share or exchange information. Communication can be realized in various

forms, using language is one of them. When people using language to communicate,

there are certain intentions and messages that are expected to be transferred and

understood by the recipient. People perform speech acts when they use language.

Thus typically when a person employs a language, a central question is what speech

act(s) did he or she intend to perform. Therefore, speech act theory will be discussed

furthermore.

Speech act theory attempts to explain how speakers use language to

accomplish intended actions and how hearers infer intended meaning from what is

said. When the speakers utter something, then the hearers afford to catch the

meanings produced by the speakers. It can even cause misunderstanding when the

hearers fail to process the intended meanings from the speakers. Furthermore, the

speakers have something in their mind in which they expect the hearers to do so, but

in some cases the speakers‟ expectation is not the same as what the hearers

understand. Speech acts try to discuss how any lyrics are produced by speakers so

that they have intended meanings which should be comprehended by hearers not

only explicitly but also implicitly. Furthermore, those intended meanings affect the

hearers to react, act, and do something. The domain of speech acts is then focused on

the intended meanings or illocutionary acts.


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The concept of an illocutionary act is central to the concept of a speech act.

Illocutionary act is performed in saying something, and includes acts such as betting,

promising, denying, stating, apologizing, threatening, predicting, ordering and

requesting. Some of the verbs used to label illocutionary acts can be used

performatively. Moreover, illocutionary act can be defined as what the speaker

intends to do by uttering a sentence, Sari (1988:15). Coulthard (1977:18) states that

“basically an illocutionary act is a linguistic act performed in uttering a certain words

in a given context.”

Sometimes what is said is what is meant, but it is very often that what is said

is not what is meant. In particular contexts, lyrics are contrasted to meanings that

want to be conveyed by speakers. When what is said is what is meant, hearers need

not do interpretation complicatedly and it is easy to understand. Meanwhile, when

what is said is not what is meant, hearers endeavor hard to catch the meanings of the

lyrics. Illocutionary acts have a force as an aspect of speaker meaning. It means that

speakers, in producing lyrics, have power to control someone else to do something in

accordance with what they desire.

Searle (1969:34) states that illocutionary act is an act performed in saying

something. Therefore, Illocutionary acts are often found in spoken language or our

daily conversation. But Illocutionary acts are also act performed to utter the intention

behind the speaker‟s words that indicates the speaker‟s purpose in saying something

whether to state, recommends, offers, promises, etc. It means that illocutionary act

can also be found on written language as written language also contains writer‟s

intention or purpose to say to the reader. As a part of written language, literary works


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such as play, novel, film, short story, and song can also be analyzed by using

illocutionary act theory.

Jean Marie Bretagne in Smith dan Fauchon (2001:287) said that song is

literature that is very special; because of the tempo of the song show every depth of

meaning. The lyrics to the song are sweet, so that it can make people feel flying,

slipping, light and naive. Songs are literary works created based on one's imagination

and imagination to express the contents of the heart.

Song is a variety of rhythmic sounds. Song is the result of the literary work

associated with the art of sound and the art of language. As literary work, a song

involves the melody and the sound color of the singer. Song is a literary work that

has a wider rating because songs can be enjoyed by anyone without the burden of

differences in language, nation, race, and religion. No wonder people like to listen to

songs, because songs can give their listeners a pleasure. Listeners not only can enjoy

the strains of beautiful melody, but also decorated with beautiful poetry which the

writers pour to create aesthetic effects as imagery fantasies. In other words, the

listener is also led to fantasize, through the language contained in the song. The

elemental influence of language and music in the song can guide someone's emotion,

consciously or unconsciously, into the human mind, so that from the human mind

that will be realized through words and actions. Through songs, humans express

feelings, hopes, aspirations, and ideas, which represent the views of life and the spirit

of the era. Those are expressed through the song lyrics where the writer expressed

something that he has been seen, heard or experienced.

Songs as communication media are often used as a medium for delivering

messages. The form of messages in song lyrics is in the form of words and sentences


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that are used to create a certain atmosphere for the audience. Therefore, in

understanding a song's lyrics, a listener has different perceptions, adjusted from

which context to understand it. In the case of written language such as song lyrics the

speaker is the writer and the speech act partner. The example below is shown the

illocutionary act found in song lyrics. It is taken from the song lyrics of “perfect” by

Ed Sheeran in Divide Album:

I found a love for me

And follow my lead

I will not give you up this time

From the lyrics above can be seen there are illocutionary acts such as

representative: “I found a love” which is stating something that he already found a

love, directive: “follow my lead” which is commanding the addressee to follow his

lead in their relationship, and commissive: “I will not give you up this time” which is

promising to the addressee that he will fight for her love this time as not to repeat the

same mistake in the past. The example above explains how this study will be done

using illocutionary act theory.

Thus, illocutionary act can be applied in the song lyrics in order to get the

intended message of the song and also what kind of message which is delivered in

the song lyrics because everyone may have different interpretation about the meaning

of sentence in the song lyrics. It depends on the speaker‟s meaning and also the

context. In order to successfully deliver this intended message, the hearer should

understand the context and the speaker‟s idea, and by analyzing illocutionary act

found in the song lyrics of this album, we can get to that goal.

Ed Sheeran is an English singer, songwriter, guitarist, record producer, and

actor. Sheeran was born in Halifax. In his carrier, Ed Sheeran experienced many


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twists of life, from sleeping on the roadside, becoming a busker, failing auditions,

performing on small stages, to successfully becoming a musician who was very

much considered in the music world. He claimed to have been a person who was so

familiar with drinking and drugs and he claimed on the other hand that he struggled

to get out of drug abuse. Ed Sheeran's life story should be an inspiration for

everyone, where he can rise and never give up through dark times. Thanks to his

dedication, Sheeran appointed Member of the Order of the British Empire (MBE) in

the 2017 Birthday Honours for services to music and charity and was entitled

by Forbes as the 9th most earning celebrity in the "Celebrity 100 List of The World's

Highest-Paid Entertainers”.

Divide album of Ed Sheeran is chosen because as its release, the album

debuted at number one in the United Kingdom, selling 672,000 units in its first week,

making it the fastest-selling album by a male artist there and the third-highest

opening behind Adele's 25 and Oasis' Be Here Now. It also topped the charts in 14

countries.

This study is aimed to present that songs can be enjoyed more if we can

understand the message which is delivered by understanding the lyrics and seeing it

form linguistics point of view. Therefore, based on the explanation above, this

research is meant to analyze the illocutionary act and its function in song lyrics of Ed

Sheeran‟s Divide album.

1.2 Problem of the Study

Based on the background given above, here are some problems of the study

in this writing:


https://en.wikipedia.org/wiki/Member_of_the_Order_of_the_British_Empire

https://en.wikipedia.org/wiki/2017_Birthday_Honours

https://en.wikipedia.org/wiki/Forbes

https://en.wikipedia.org/wiki/Adele

https://en.wikipedia.org/wiki/25_(Adele_album)

https://en.wikipedia.org/wiki/Oasis_(band)

https://en.wikipedia.org/wiki/Be_Here_Now_(album)

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1. What categories of illocutionary act are found in the song lyrics?

2. What are the functions of the illocutionary act found in the song lyrics?

1.3 Objective of the Study

Based on the problem of the study above, here are the objectives of the study:

1. To describe the categories of illocutionary act in the song lyrics.

2. To find out the functions of the illocutionary act in the song lyrics.

1.4 Scope of the Study

The writer makes the scope of the study in order to make the process to do

the research is easier. The writer limit the study based on the illocutionary act that

discusses about its classification and its function which is found in the song lyrics of

Ed Sheeran‟s Divide Album. Illocutionary act theory by Searle and Functions of

illocutionary act by Leech become the framework of this study.

1.5 Significance of the Study

Theoretically, this thesis is made to enrich the study of speech act and

illocutionary act.

Practically, the results of this study is expected to be used as a reference for

further research of speech act, illocutionary act, or any study related with a song

lyrics as their object of study. The results of this study can help people understand

the meaning of a song by understanding the lyrics, because if we only listen and read

the lyrics without understanding it, we will only get the literal meaning of the song.

Through understanding by analyzing it, we get the real meaning, the intention of the


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writer that he wants to share with the listener through the speech act he uses.

Analyzing song lyrics using illocutionary act also make us understand what kind of

speech act which is delivered by the song writers thus we know the function of each

sentences. Analyzing a language of a song make us know not only the meaning of

the song but also the person behind the song, because the language that the song

writer uses show what kind of person he is, therefore in addition, this study may be

useful to all fans of Ed Sheeran who wants to know what kind of person he is without

the need to meet him directly, because 92% of the song lyrics is written by Ed

Sheeran himself.


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CHAPTER II

THEORETICAL REVIEW

2.1 Pragmatics

Pragmatics as a branch of linguistic is the study of meaning which relates to

the context or the external meaning of language unit. Pragmatics is the study of

contextual meaning (Yule, 1996: 3). Within the theory of meaning, pragmatic is

especially concerned with the implicit meaning, with the unsaid. It might be

considered as the investigation of invisible meaning (Yule, 1996: 3). Definitions

below may help for more understanding about what the pragmatics is.

Pragmatics, which is concerned with the use of language in the situation, was

still on the horizon: it had to wait until the 20th century, when Morris introduced the

term pragmatics and defining it as the study of the relation between signs and their

interpretants. However, pragmatics is associated with another language philosopher,

Austin. Austin put forward an original theory of speech acts in his monograph How

to Do Things with Words (edited posthumously, in 1962). This work marked the

beginning of linguistic pragmatics, a radical change in the traditional approach to

linguistic studies. The study of language makes it possible to see better what belongs

to language and what does not. What does not belong to language as a system, but is

expressed by it in a situation, belongs to speech, or pragmatics. To paraphrase Yule‟s

words, pragmatics is the wastebasket of linguistics.

Pragmatics focuses on the speaker, his or her intended meaning, and the

addressee and his or her interpretation of the speaker‟s meaning. Pragmatics is the

study of language use in interpersonal communication. It is concerned with the


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choices made by speakers and the options and constraints which apply in social

interaction. It examines the effects of language use on participants in acts of

communication.

In short, pragmatics is a study of the meaning of lyrics in relation to their

context which involves how speakers can produce the best utterance to deliver their

intention and how listeners can interpret the true intention of the speaker‟s utterance.

2.2 Speech Acts Theory

A speech act is an utterance spoken in an actual communication situation.

The theory of speech acts is associated with John Austin, a British language

philosopher, whose book How to Do Things with Words, published posthumously in

1962, marked the beginning of a new approach to the study of language. To Austin,

speaking is acting via language. The action that sentences „perform‟ when they

uttered is an illocutionary act, or a speech act, a term used later by John Searle in

1932. To return to the sentence “I name the ship the Titanic”, by saying this, the

speaker names the ship the Titanic. When the speaker says “Go!”, he or she orders

the addressee to go. By uttering the words “Hi, John”, the speaker performs the act

of greeting, or greets.

Speech act theory is a comprehensive theory of linguistic communication. It

is a theory of what a speaker and the listener have to know and to do if the former is

to communicate with the latter through spoken discourse. The fundamentals of this

theory, as Stelmann (1982:279) puts them, are as follows: Linguistic communication

is more than merely saying something; it is saying something in a certain context,


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with certain intentions, and with the listener‟s recognition of what is said and of these

intentions.

As Clark and Carlson (1982:35) point out: Speech acts cannot be fully

understood without considering the hearers as well as the speakers. Speech acts are

directed at real people, whose abilities to recognize put limits on what speakers can

do with their lyrics.

The speech acts is considered success if the receiver understands the intention

of the speaker. There are different ways to deliver the speech. Therefore, the

sensitivity of the listener is the key to make the communication successes.

Speech act theorists try to explain what people do when a sentence is uttered.

For example, when a speaker says “Close the door,” this speaker performs the act of

ordering and also expects the hearer to recognize the speaker‟s intention by going to

close the door. Actions performed when the speakers utter the sentence are called

speech acts. This idea shows that when people utter statements, they do not only utter

the sounds or words with grammatical structure, but they also perform some actions

in the process of speaking.

In the term of the structural of the sentences, Yule (1996:54) proposes three

types; which are declarative, interrogative, and imperative. The term declarative

derives from the verb declare whose one of the meanings is to make a statement.

Thus declarative sentences are statement-expressing sentences, or speech acts. The

term interrogative derives from the verb interrogate which means to ask questions,

and interrogative sentences are question-expressing sentences or speech acts.

Imperative sentences are sentences expressing requests, orders, or command.


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1. Declarative: he gives the cat food.

2. Interrogative: does he give the cat food?

3. Imperative: give the cat food!

In 1969 and 1979 Searle and many others have developed the basic elements

of Austin's speech acts to become what is called Speech Act Theory. Searle has

introduced the notion of an 'indirect speech act', which in his account is meant to be,

more particularly, an indirect 'illocutionary' act. Applying a conception of such

illocutionary acts according to which they are (roughly) acts of saying something

with the intention of communicating with an audience, he describes indirect speech

acts as follows:

In indirect speech acts the speaker communicates to the hearer more than he

actually says by way of relying on their mutually shared background information,

both linguistic and nonlinguistic, together with the general powers of rationality and

inference on the part of the hearer, Searle (1975:60)

In connection with indirect speech acts, Searle introduces the notions of

'primary' and 'secondary' illocutionary acts. The primary illocutionary act is the

indirect one, which is not literally performed. The secondary illocutionary act is the

direct one, performed in the literal utterance of the sentence.

a. Direct Speech Acts

Direct speech acts are whenever there is a direct relationship between a

structure and a function. For example, the lyrics “Can you ride a bicycle?” that also

means asking someone ability. Moreover, the speech act is “direct”, when there is a

relationship between the structure and the function. In direct speech acts, there is a

direct relationship between their linguistics structure and the word they are doing. It


12

occurs in some situation such as the speaker must be in a position to direct the hearer

to perform the acts, must not be something which has already happened or would

happen anyway, and other condition called as felicity condition.

More examples of direct speech acts:

I hereby sentence you to five years in jail.

I marry you, Mary, to this gentleman, Charles.

I bet you fifty dollars their team will win.

In each instance the speaker performs a speech act in the very utterance of the

word. The judge‟s words in the first example constitute the formal act of sentencing a

criminal. Properly speaking, the criminal would not have been sentenced without the

words of the judge. He would not have been obliged to go to jail had the words been

spoken by a teacher, for example. The minister‟s pronouncement in the second

example constitutes the act of marrying the couple. Without the pronouncement, the

ceremony would have been incomplete. Similarly, the football fan makes the bet by

saying „I bet you‟. Before uttering these sentences the football fans had not yet

performed the acts of betting and promising. They have performed these acts by the

end of their lyrics. These three examples illustrate performative and direct speech

acts.

b. Indirect Speech Acts

Indirect speech acts happen whenever there is an indirect relationship

between a structure and a function. Moreover, indirect speech acts are performed

indirectly through the performance of another speech act, one common way of

performing speech acts is to use an expression which indicates one speech act, and

indeed performs this act, but also performs a further speech act, which is indirect.


13

One may, for instance, say, "Peter, can you pass the salt?", thereby asking Peter

whether he will be able to pass the salt, but also requesting that he does so. Since the

request is performed indirectly, by means of (directly) performing a question, it

counts as an indirect speech act. In fact, people do not normally use this structure as

a question at all. Normally, it is used to make a request. A syntactic structure is

associated with the function of a question. However, the sentence is associated with

the function of a request. Whenever one of the structures in the set above is used to

perform a function other than the one listed beside it on the same line, the result is an

indirect speech acts.

The varieties of indirect requests provide a good illustration. They differ

mainly in their politeness:

Open the window.

I would like you to open the window.

Can you open the window?

Would you mind opening the window?

May I ask you whether or not you would mind opening the window?

These run the gamut of politeness from the first utterance to the fifth one. The

first one is normally rude and authoritarian whereas the filth one is usually polite.

Lakoff (1973) has argued that this variation comes about from two rules of

politeness: avoid imposition, and give options. The first utterance is the most

imposing and therefore, the least polite. Because it does not give options, it assumes

the speaker has considerable authority over the listener. The second utterance gives

the listener the option of whether or not to please the speaker. However, that is not

very much of an option and so it also imposes, though not as much as the first


14

utterance. The third utterance is a question and gives an explicit option. The listener

can answer „yes‟ or' no‟ to the question about the possibility of opening the window.

It assumes little authority, imposes very little, and is therefore more polite than the

preceding lyrics. The fourth utterance goes one step beyond the third one and gives

the listener the option of saying whether or not opening the window would be an

imposition. The last utterance is ultra-polite. It requests permission even to ask the

listener whether or not opening the window would be an imposition.

So, to choose among the five lyrics, speakers have to decide on several

questions. What is their authority relative to the listener? Do they want to be rude or

polite, and if so, to what degree? Should they give options? In an emergency, as

during a fire or fight, they would not want to give options and would always shout

„open the window.‟

2.2.1 Types of Speech Acts

The original distinction between the different aspects of speech acting is due

to Austin (1962). Austin (1976:13) defines speech acts as a statement not only

describes a situation or states some facts, but also performs a certain kind of action

by itself. Speech Act Theory demands that when an utterance performed, it can be

analyzed on three different levels. They are locution, illocution, and perlocution

(Yule, 1996:48).

Austin differentiates the following speech acts: A locutionary act is the act of

saying something meaningful; it consists of a phonetic act (uttering noises), a phatic

act (uttering words in a grammatical construction), and a rhetic act (using meaningful

words). Locutionary acts are also illocutionary acts that do something in saying


15

something (like accusing, promising, etc.); they conform to convention and have an

illocutionary force which causes certain effects. Perlocutionary acts also do

something by saying something (like persuading, convincing, etc.), but they produce

effects on feelings or actions of the addressee(s). These three speech acts are

illustrated by the following examples:

1. Phonetic act: Paul is producing the noises that constitute "Please sit

down."

2. Phatic act: Paul is uttering the vocables or words of "Please sit down."

3. Rhetic act: Paul is using these vocables with a certain sense and reference.

4. Locutionary act: Paul is saying to Jean, "Please sit down."

5. Illocutionary act: Paul is asking Jean to sit down.

6. Perlocutionary act: Paul is getting Jean to sit down.

2.2.1.1 Locutionary

Locutionary acts are the real word that is uttered by the speaker and contains

the speaker‟s verbalized message. It can be in the form of statements (declarative

locution), questions (interrogative locution), and commands (imperative locution).

Locutionary acts produce a meaningful linguistic expression. It is to produce an

utterance with a particular form and more or less determinated meaning. The

interpretation of the locutionary acts is concerned with meaning, for example: “I am

going to the market”.


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2.2.1.2 Illocutionary

Illocutionary act is an act performed in saying something. When analyzing an

utterance, it does not only deal with what do the sentence means, but also what kind of

act does a speaker performs in uttering a sentence. Illocutionary acts are the power or

intention behind the words that is uttered by the speaker. It indicates the speaker‟s

purpose in saying something. The speaker‟s expression can be in the form of

recommends, offers, promises, etc. The interpretation of the illocutionary acts are

concerned with force. for example: “I will go to campus at 8.am”. In this utterance,

the speaker has made an action of “promise” via language to go to the campus at 8

a.m.

2.2.1.3 Perlocutionary

Perlocutionary acts are the effect of the illocution on the hearer, such as the

effect on the feelings, thoughts, or action of hearers. According to Austin (1976:108),

it is what people bring about or achieve by saying something such as to get hearer to

know, to get hearer to do something, to get hearer to expect something, to get hearer

to show pleasant feeling and to get hearer to praise, for example: if someone shouts

“Fire!” and by that act causes people to exit a building which they believe to be on

fire. There is another example: a teacher says to the students “please study hard or

you‟ll fail on final examination”. The illocutionary act might be advising or

suggesting but the perlocutionary act may be intimidating for students.

Austin in Horn and Ward (2006: 55) illustrates locution, illocution, and

perlocution in an utterance “Shoot her!” as follows.


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Act (A) or Locution

He said “Shoot her!” meaning by shoot “shoot” and referring by her to “her.”

Act (B) or Illocution

He urged (or advised, ordered, etc.) to shoot her.

Act (C) or Perlocution

He persuaded to shoot her.

In Act (A), the concept is concerned with what is said by the speaker aspects.

The grammatical and phonological aspect is the main topic. The focus is that whether

the utterance is meaningful or not so that the hearer is able to capture what the

speaker says. Next, the Act B or illocutionary is concerning the speaker‟s purpose or

intention when performing this utterance. Therefore, the illocutionary functions

(ordering, advising, or requesting) are the important point here. Finally, in Act (C),

both locution and illocution of the utterance are interpreted by the hearer. The effect

of the utterance that speaker performs to the hearer is the main focus. In the other

word, locutionary acts are the simple act of saying words and the meaning of those

words which are spoken by the speaker. While, illocutionary acts are what is done

the speaker is saying something, and finally perlocutionary acts are the effect that

arises when the speaker is saying something.

Those three kinds of speech acts above can also be used to distinguish an

utterance which is a speech act and one which is only a statement by considering the

context. Statements mean that by saying something the speaker does not have certain

intended meaning in mind and his or her utterance does not cause an action for the

hearer.


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2.3 Illocutionary Act

According to Austin‟s theory of illocutionary act, illocutionary act is an act of

saying, which is committed with the intends of speaker by uttering a sentence such as

asking, stating, questioning, promising, ordering, apologizing, threatening, and

requesting. According to Austin's preliminary informal description, the idea of an

"illocutionary act" can be captured by emphasizing that "by saying something, we do

something". Verschueren (1980) counted more than 150 such illocutionary verbs in

English. According to Searle (1975), these acts differ principally in what he called

their illocutionary point, their primary publicly intended perlocutionary effect. In

making a request, speakers are trying to get their addressees to do something: the

illocutionary point is to get them to do that something. For other illocutionary acts,

the point is different.

Illocutionary act is a technical term introduced by John L. Austin in

investigations concerning what he calls 'performative' and 'constative lyrics'.

According to Austin's original exposition in How to Do Things With Words, an

illocutionary act is an act (1) for the performance of which I must make it clear to

some other person that the act is performed (Austin speaks of the 'securing of

uptake'), and (2) the performance of which involves the production of what Austin

calls 'conventional consequences' as, e.g., rights, commitments, or obligations. For

example, in order to successfully perform a promise I must make clear to my

audience that the promise occurs, and undertake an obligation to do the promised

thing: hence promising is an illocutionary act in the present sense.

Paul is doing something in saying, "Please sit down" to Jean: he is asking her

to sit down. He may also be doing something by asking her to sit down, namely


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getting her to sit down. According to Austin, to do something in saying something is

an illocutionary act, and to do something by saying something is a perlocutionary act.

The difference lies in what Paul expects to accomplish. He will have succeeded in

asking Jean to sit down (the illocutionary act) when she recognizes what he wants.

He will have succeeded in getting her to sit down (a perlocutionary act) when she

actually sits down. She could recognize that he wants her to sit down (his

illocutionary act would be successful) and yet refuse to sit down (his perlocutionary

act would be unsuccessful). Notice that Paul can say, "I hereby ask you to sit down"

as a way of asking Jean to sit down, an illocutionary act. He cannot say, "Hereby get

you to sit down" as a way of getting her to sit down, a perlocutionary act. The

contrast is characteristic of illocutionary and perlocutionary acts.

According to the conception Bach and Harnish adopt in 'Linguistic

Communication and Speech Acts' (1979: 89), an illocutionary act is an attempt to

communicate, which they again analyze as the expressing of an attitude. According

to Searle (1969:34), the illocutionary act is an act performed in saying something. On

other words, illocutionary act can be defined as using a sentence to perform a

function. When a speaker says something, he or she may perform some functions of

act through the lyrics such as request, complain, etc.

2.3.1 Category of Illocutionary Act

Austin model was adapted by others, and one of them was Searle. Searle

adapted Austin‟s five classes of illocutionary act; a brief explanation of each, and a

few examples of each are as follows:


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1. Verdictives: acts that consist of delivering a finding, e.g., acquit, hold (as a

matter of law), read something as, etc.

2. Exercitives: acts of giving a decision for or against a course of action, e.g.,

appoint, dismiss, order, sentence, etc.

3. Commissives: acts whose point is to commit the speaker to a course of action,

e.g., contract, give one’s word, declare one’s intention, etc.

4. Behabitives: expressions of attitudes toward the conduct, fortunes, or

attitudes of others, e.g., apologize, thank, congratulate, welcome, etc.

5. Expositives: acts of expounding of views, conducting of arguments, and

clarifying, e.g., deny, inform, concede, refer, etc.

Searle (1979), as an improvement of the classification of the speech acts

proposed by Austin, divided illocutionary points into five main categories:

representatives or assertives, directives, commisives, expressives, and declarations.

2.3.1.1 Representatives

The point of representatives is to get addressees to form or attend to the belief

that the speaker is committed to a certain belief. When Paul tells Jean, ''I'm tired," he

is trying to get her to accept the belief that he is tired. Representatives range from

simple assertions through predicting, confessing, denying, retorting, conjectures,

suppositions, and includes stating, claiming, informing, concluding, representing,

deducing, describing, reporting, telling, and many others. Examples:

He will win this game (predicting)

He is the winner of the game (reporting)


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I demand my independence (asserting)

2.3.1.2 Directives

The point of a directive is to get addressees to do things. When Paul asks Jean

to sit down, he is trying to get her to do something, to sit down. Directives fall into

two major classes: requests for nonlinguistic actions (as with most commands and

suggestions), and requests for linguistic actions (as with most questions). In asking

Jean, "What time is it?" Paul is requesting a linguistic action: she is to tell him what

time it is. Directives range in force from mild hints to commands, and they vary on

other dimensions, too. In this type of speech acts, the speaker wants to ask someone

else to do something. Acts of asking, advising, encouraging, warning, begging,

suggesting, commanding, ordering, requesting, inviting, are all the examples of how

the speaker expresses his or her wants. For examples:

“I order you to make me a coffee.” (ordering)

“Come here” (commanding)

“I invite to come to my birthday party” (inviting)

“Can I offer you a drink?” (requesting)

2.3.1.3 Commissives

The point of a commissive is to commit the speaker to some future action.

The commonest commissive is the promise. When Paul says to Jean, "I'll be there in

a minute," he is committing himself to being there in a minute. A promise can be

absolute or conditional, and when it is conditional, it is called an offer. When Paul

says to Jean, "Can I get you a beer?" he is committing himself to getting jean a beer,


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but only if she wants one. The acts are offering, threatening, recommending,

refusing, vowing, wishing, guaranteeing, and refusals. For examples:

“I will come in time this evening” (promising)

“I‟m sorry, I cannot receive your money” (refusing)

“I‟ll give you water” (offering)

2.3.1.4 Expressives

The point of an expressive is to express certain psychological feelings toward

the addressees. When Paul steps on Jean's foot by mistake, he says, ''Sorry." In doing

so, he presupposes that he has caused Jean some harm and tries to get her to

recognize his regret in having done so. It is a kind of speech acts that states what the

speaker feels. The form of expressive can be statements of pleasure, pain, like,

dislike, joy, sorrow, etc. In this case, the speaker makes the words fit with the

situation which his or her feeling also includes in it. The type includes thanking,

apologizing, praising, regretting, greeting, congratulating, well-wishing, and many

other types. For examples:

“I‟m sorry for not coming yesterday” (apologizing)

“congratulation for your wedding” (congratulating)

“thank you for helping me” (thanking)

“I regret it, I won‟t do it again” (regretting)

“you‟re doing great” (praising)


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2.3.1.5 Declarations

The point of a declaration is to affect an institutional state of affairs.

Declarations take place within institutions such as the law, the church, and organized

games, and speakers do certain things by virtue of their institutional roles as judges,

priests, or referees. In a company, a boss can appoint, promote, or fire people, and an

employee can quit, simply by saying the right words at the right time: "You're fired"

or "I quit." Likewise, with the right words at the right times, a judge can indict,

pardon, and sentence people; a referee can start a game, call fouls, and call time-outs;

a police officer can arrest people; and a priest can baptize, marry, and bless people.

As Austin noted, all of these acts must be performed with the proper institutional

authority or they are defective, null and void. For examples:

Priest: “I now pronounce you husband and wife”.

Referee: “You‟re out!”

Jury Foreman: “We find the defendant guilty”.

2.4 The Functions of Illocutionary Act

In speech acts investigation, the illocutionary act is the main focus of the

discussion because illocutionary act is the intended meaning of utterance. Therefore,

the illocutionary act always has function of speech acts. Leech (1993:104) has

proposed the illocutionary acts based on its functions. It is based on how

illocutionary acts relate to the social goals or purposes of arranging and setting up in

a polite ways.

When communicating, people pursue two kinds of goal. One is called the

illocutionary goals, i.e., what people want to do through linguistic communication


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(e.g. to ask permission, give advice, etc.). The other involves social goals, i.e., people

want to maintain good communicative relations with other people. Illocutionary and

social goals may either support or compete with each other and here the goal of being

(to some degree) polite is particularly important. When the illocutionary goal

supports the social goal, Leech speaks of positive politeness (for instance paying a

compliment has the positive purpose of placing a high value on the other person‟s

qualities, and so per se helps to maintain good communicative relations). When the

illocutionary goal competes with a social goal, we get negative politeness (a request

has a negative purpose which is offset by the social goal intended to avoid offence by

mitigating the degree to which speaker‟s goals are imposed on hearer).

2.4.1 Types of Function of Illocutionary Act

Leech divided the functions of illocutionary acts into four types: competitive,

convivial, collaborative, and conflictive.

2.4.1.1 Competitive

Competitive was the function that the illocutionary goal competed with the

social goal. In this function politeness had negative nature and aims to reduce the

unpleasant way between what the speakers want to the politeness should say. Here,

etiquette distinguished with manners. Etiquette refers to the goal, while manners

refer to linguistic behavior or other behaviors to achieve that purpose. Therefore, the

principle of manners needed to soften the impolite nature is intrinsically contained in

that goal. For instance: ordering, asking, demanding and begging. Example: “I ask

your cookies”.


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2.4.1.2 Convivial

Convivial was the function that was the illocutionary goal coincides with the

social goal. Convivial function was more positive politeness and aims to find

opportunities for social time. In this context, the politeness is utilized positively to

make a pleasure relationship to the society and aim to seek opportunities hospitable.

So, in positive manners, means obeying the principle of manners, such that if there is

an opportunity to say „happy birthday‟, we should do it. For instance: offering,

inviting, greeting, thanking and congratulating. Example: “Do you want these

cookies?”

2.4.1.3 Collaborative

Collaborative was the function that the illocutionary goal was indifferent to

the social goal. Collaborative illocutionary function did not contain politeness, for

which politeness was irrelevant. It is commit the speaker to the truth of expressed

proposition. It aims at ignoring the social purposes as like asserting, reporting,

announcing, and instructing. Example: “I like this book”.

.

2.4.1.4 Conflictive

Conflictive was the function that the illocutionary goal conflicts with the

social goal. In this function did not contain elements of politeness at all, because the

function was basically aimed at caused anger. Such as threatening, accusing, and

reprimanding. Example: “If you say again, I will say to your father”.


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It can be concluded that representatives belong to collaborative category.

Directives belong to the competitive category because it also includes illocutionary

categories that require negative manners. Commisives tend to be convivial than

competitive because its implementation is more meets the person's interest rather

than the speaker. Expressive illocutionary tend to be convivial, except for expressive

illocutionary "blame” and the other illocutionary acts that aimed at cause anger that

belong to be conflictive. Declarative does not include in any other because it is a

very special category of speech acts; they are performed, normally speaking, by

someone who is especially authorized to do so within some institutional framework,

as institutional rather than personal act. For example, judges in sentencing offenders,

ministers of religion in christening babies, dignitaries in naming ships, and so on.

2.5 Previous Related Studies

In this study, researcher used previous related study as a reference to solve it.

Previous related study makes it easier for researcher to determine systematic steps

for the preparation of research in terms of theory and concept. The previous research

is used as a reference to help and facilitate researcher in making this study. Here are

the previous studies related to this writing:

A thesis entitled: A Speech Acts Analysis of Bon Appétite Food

Advertisements (2017). The researcher mainly describes speech acts used in Bon

Appetite food advertisements by identifying the types of speech acts, and figuring

out the speech act patterns in the advertisements. The researcher analyzed it based on

speech acts theory by Austin. The findings of this research reveal two important

things. Firstly, from 30 data, it is found that statements serve as the highest type of


27

locutionary acts which are aimed at providing information of the products,

commisives serve as the highest type of illocutionary acts which are aimed at

offering the benefits of the products, and to get the readers to expect something serve

as the highest type of perlocutionary acts which are aimed at giving impact to the

readers. Secondly, there is Statements-Commisives-Expect as the most frequent

pattern used by the copywriters. The research has a contribution in the research that

has similarities in terms of theory which is using the theory of illocutionary act by

Searle.

A journal entitled: The Performance Of Expressive Speech Acts As Found

On Wayne Rooney‟s Facebook (2016). This journal studies about types of expressive

speech act were performed by Wayne Rooney on his Facebook, to describe how the

expressive speech acts were performed by Wayne Rooney on his Facebook, and to

describe how the effects of expressive speech acts performed by Wayne Rooney on

the hearers. This study was using descriptive qualitative approach. In The findings

found that there were four types of expressive speech act on Wayne Rooney‟s

Facebook. They were congratulating, complimenting, thanking, and boasting.

Expressive speech act of boasting was the most dominant one, namely 46%.

Furthermore, each type was performed by Wayne Rooney either with direct

expressive speech acts, or with the addition of preparatory acts, supportive acts, as

well as the combination of both of them to modify the head acts as the main

messages. Expressive speech acts of congratulating tended to cause the hearers to

respond the same as what the speaker intended, namely congratulating. Meanwhile,

expressive speech acts of complimenting, thanking, and boasting were most likely to

cause the hearers to produce a large number of compliments as the responses. The


28

contribution of this study is that his understanding of the theory of speech acts that he

uses in his study gives an understanding to the author to write this research.

A journal entitled: Imperative Speech Acts in Javanese Songs (2015). This

journal analyzed moral messages or values contained in tembang-tembang Jawa and

their relevance in today‟s life through the lyrics applied in tembang-tembang Jawa.

This study tries to see the role of language in Javanese songs seen from pragmatic

parameter (imperative) because in poetry - tembang (song) is used to state

expressiveness and effectiveness and therefore it is revealed in the poetry according

to similarity in the emotion and perception of the writers towards their surroundings.

The similarity with this study is that the study analyzing song using speech acts

while this study focuses on the imperative speech act and the contribution is that this

study also analyzes a song lyrics using speech act theory even with different focus.

A journal entitled: The Analysis of Illocutionary Acts in The President Joko

Widodo‟s Speech (2015). In this research, researcher was discussed the used of

Illocutionary acts in utterance of President Joko Widodo‟s speech in the first when

presidency inauguration (2014) and second in 9th KTT East Asia, in Nay Pyi Taw,

Myanmar (2014). In this research, researcher found out the types and functions of

illocutionary acts used in President Joko Widodo‟s speech. The descriptive

qualitative method was used to analyze the data in this study. The data are presented

descriptively because it was described and explain illocutionary acts used by

President Joko Widodo such as described the types and the functions of the

illocutionary acts found in his speech. Researcher used Searle‟s theory for the types

of illocutionary acts and used Leech‟s theory for the functions of illocutionary acts.

Spradley‟s method was used to finding the data for this research. The finding showed


29

that there are five types of illocutionary acts found in this study: assertive, directive,

commissive, expressive, and declarative. The type of illocutionary acts found most in

this speech was assertive. This study also found four functions of illocutionary acts

such as competitive, convivial, collaborative, and conflictive. The function of

illocutionary acts found most in this category was collaborative. From this journal,

the writer learns how to analyze the data, because the problem of the research is

same with the problem of this study.

A thesis entitled: The Analysis of Illocutionary Acts in American Sniper

Movie (2015). This thesis discussed illocutionary acts in American Sniper movie to

find out the types of illocutionary act produced by main character (Chris Kyle). The

researcher used theory of speech act especially illocutionary act. The problems

discussed in this research were the types of illocutionary acts used by the main

character (Chris Kyle) and the functions of each utterance uttered by the main

character in American Sniper movie. This research used qualitative method because

the researcher in this research described any information by gathering the lyrics that

were uttered by the main character (Chris Kyle) in the movie. The result of the

research discussion showed that there were four types of illocutionary acts used by

the main character (Chris Kyle) in American Sniper movie. They were: assertive or

representative, directive, commissive, and expressive. In this research, there were

four functions used by the main character. Those were competitive, convivial,

collaborative, and conflictive. The contribution of this research is also in analyzing

the data as this research has the same problems in this writing especially the data of

the research is in written.


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2.6 Biography of Ed Sheeran

Ed Sheeran was born on February 17, 1991, in Halifax, West Yorkshire, in

the United Kingdom. When he was 11, Sheeran met singer-songwriter Damien Rice

backstage at one of Rice‟s shows, and the young musician found added inspiration.

As the story goes, Rice told Sheeran to write his own music, and Sheeran set out the

next day to do just that.

It was not long before Sheeran was recording CDs and selling them, and he

soon put together his first official EP, The Orange Room. With that accomplishment

and his abiding ambition driving him, at only 14 years of age, Sheeran headed to

London for the summer.

Once in London, Sheeran got busy recording and playing the local

singer/songwriter circuit and quickly released two albums: a self-titled record in

2006 and Want Some? in 2007. He also began opening for more established acts,

such as Nizlopi, the Noisettes and Jay Sean, and released another EP, You Need Me,

in 2009, a year that found Sheeran playing more than 300 live shows.

It was not until 2010 that Sheeran made the leap to the next level in his

career, and it came via online media, a route Sheeran had learned to use with great

effectiveness. When a video he posted online got the attention of Example, a rapper,

Sheeran was asked to go on the road with him as his opening act. This led to an even

larger online fan base and inspiration for many more songs, which ended up filling

three new EPs, all in 2010. Since signing with Atlantic, Sheeran has sold millions of

records, had a song appear in the second installment of The Hobbit trilogy and won

Grammys for hits like "Thinking Out Loud" (2014) and "Shape of You" (2017).


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Figure 2.1 Theoretical Framework

SPEECH ACTS

Illocutionary Acts

(Searle, 1969):

1. Representative

2. Directive

3. Commisive

4. Expressive

5. declarations

Functions of

Illocutionary Acts

(Leech, 1983):

1. Competitive

2. Convivial

3. Collaborative

4. Conflictive

Illocutionary Act In Song

Lyrics of Ed Sheeran‟s Divide

Album


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CHAPTER III

RESEARCH METHOD

3.1 Research Design

In conducting research, we need research design. Research design refers to

the strategy to integrate the different components of research projects in cohesive and

coherence way. Some experts have different opinion about what is mean by research

design. According to Creswell (2009:3) research design is plans and the procedures

for research to detailed methods of data collection and analysis.

In this research, the writer used design of qualitative descriptive method

which is a method of research that attempt to describe and interpret the objects in

accordance with reality. The descriptive method is implemented because the data

analysis is presented descriptively. The writer used song lyrics from Ed Sheeran‟s

Divide Album that are being analyzed.

Moreover, Sheman and Webb (1988) assume that qualitative research is

concerned with meaning as they appear to, or are achieved by persons in lived social

situations. Meanwhile, Bogdan and Biklen (1982) state that qualitative research is

descriptive which the data is collected in the form of words or pictures rather than

numbers. Data in the form of quotes from documents, field notes, and interviews or

excerpts from videotapes, audiotapes, or electronic communications are used to

present the findings of the study.

However, the writer also used quantitative approach in processing the data in

which it also stated findings in the form of numbers. Vanderstoep and Johnson

(2009:7) state that qualitative research produces narrative or textual description of


33

the phenomena under study, whereas quantitative research specifies numerical

assignment to the phenomena under study. This research definitely described the

phenomena of illocutionary act in song lyrics of Ed Sheeran‟s Divide Album in

phrases and sentences. The numbers was used only to strengthen the interpretation,

so the main analysis was still conducted qualitatively.

3.2 Data and Source of Data

The sources of the data in this research are the song lyrics of Ed Sheeran‟s

Divide Album. This album contains 12 songs. Those songs are (1) Eraser, (2) Castle

On The Hill, (3) Dive, (4) Shape of You, (5) Perfect, (6) Galway Girl, (7) Happier,

(8) New Man, (9) Hearts Do not Break Around Here, (10) What Do I Know?, (11)

How Would You Feel, and (12) Supermarket Flowers. The data were in the form of

sentence and clause from single lyric or combine lyrics which contain of

illocutionary act.

Table 3.1: The corpus of Divide Album

No. Title of the song Writer Date of released

1. Eraser

Ed Sheeran, Johnny McDaid 3 March 2017

2. Castle On The Hill Ed Sheeran, Levin, Julia

Michaels 6 January 2017

3. Dive Ed Sheeran, McDaid, Steve

Mac, Kevin Briggs 3 March 2017

4. Shape of You Kandi Burruss, Tameka

Cottle 6 January 2017

5. Perfect Ed Sheeran 26 September 2017

6. Galway Girl

Ed Sheeran, Fy Vance, McDaid, Amy Wadge,

Eamon Murray, Niamh

Dunne, Liam Bradley,

Damian McKee, Sean

Graham

17 March 2017


https://en.wikipedia.org/wiki/Ed_Sheeran

https://en.wikipedia.org/wiki/Ed_Sheeran

https://en.wikipedia.org/wiki/Johnny_McDaid

34

7. Happier Ed Sheeran, Levin, Ryan

Tedder 27 April 2018

8. New Man Ed Sheeran, Jessie Ware,

Ammar Malik 3 March 2017

9. Hearts Do not Break

Around Here Ed Sheeran, McDaid 3 March 2017

10. What Do I Know? Ed Sheeran, Vance, McDaid 3 March 2017

11. How Would You Feel Ed Sheeran 2 March 2017

12. Supermarket Flowers Ed Sheeran, Levin, McDaid 17 February 2017

3.3 Data Collection Method

The technique of collecting data is used by researcher to collect the data that

is needed and related to the discussion in the research. In this study, the writer used

documentation method.

According Arikunto, documentation explaining the technique is to look for

data about things or variables in the form of notes, transcripts, books, newspapers,

magazines, inscription, and agenda for information embodied data relating to the

discussion. Documentation is intended to obtain data directly from the research,

including relevant books, studying, and relevant research data.

The data are collected from the song lyrics of Divide Album by Ed Sheeran

with the following steps: Listening the songs, Reading and understanding the song

lyrics, Selecting and underlying the lyrics belonging to illocutionary act found in the

song lyrics, and Rewriting all the data containing illocutionary act which selected

from data source in the note book.

3.4 Data Analysis Method

According to Miles, Huberman and Saldana (2014: 31) in analyzing the data,

there are three concurrent flows of activity: (1) data condensation, (2) data display,

and (3) conclusion drawing/verification.


35

Figure 3.1 Components of Data Analysis: Interactive Model (Miles, Huberman &

Saldana 2014: 33)

1. Data Condensation

According to Miles, Huberman and Saldana (2014:31) states that data

condensation refers to the process of selecting, focusing, simplifying,

abstracting, and/or transforming the data that appear in the full corpus (body)

of written-up field notes, interview, transcriptions, documents, and other

empirical materials. In this study, the writer selecting the data from the lyrics

of the song and then focus in the data consist of illocutionary act, and then the

writer simplifying and abstracting the data that have been analyzed. The next

step will be put the data into data display.

2. Data Display

According to Miles, Huberman and Saldana (2014:31) states that

generally, a display is an organized, compressed assembly of information that

allows conclusion drawing and action. Looking at data displays helps us

understand what is happening and to do something-either analyze further or

Data

Collection

Data

Condensation

Data

Display

Conclusions:

Drawing/Verifyin

g


36

take action-based on that understanding. The displays discussed in this book

include many types of matrices, graphs, charts, and networks. The data

display which is used in this study is in the form of table.

3. Conclusions Drawing and Verification

According to Miles, Huberman and Saldana (2014:32) states

conclusion drawing is only half a Gemini configuration. Conclusions are also

verified as the analyst proceeds. Verification may be as brief as a fleeting

second thought crossing the analyst‟s mind during writing, with a short

excursion back to the field notes, or it may be through and elaborate, with

lengthy argumentation and review among colleagues to develop

“intersubjective consensus” or with extensive efforts to replicate a finding in

another data set.

1. Step Analysis

In this study, the steps of the analysis as follows:

Reads and understands the song lyrics of Ed Sheeran‟s Divide Album.

Reviewed the data which have been collected from the song lyrics of Ed

Sheeran‟s Divide Album.

Identified the data based on the theories of illocutionary act according to

Searle and function of Illocutionary Act according to Leech.

Classified the data into their respective categories based on the Illocutionary

Acts theory and Function of Illocutionary Acts theory.

Described and analyzed the categories and the functions of illocutionary acts

found in the song lyrics.


37

Drawing conclusion based on the analyses which have been conducted.

2. Data Display

The data is displayed in the form of table.

Table 3.2: Category of Illocutionary Act

No. Title of the

Song Categories Frequency Total Number of Data

Representatives

Directives

Commisives

Expressive

Declarations

Table 3.3: Function of Illocutionary Act

No. Title of the Song Types Frequency Total Number of Data

Competitive

Convivial

Collaborative

Conflictive

3. Conclusions Drawing and Verification

The last step is conclusion drawing and verification. In this last stream, the

conclusion is the answer of the problems and will show the summary of the study

based on the final result of the study. The writer will conclude and presents the

final result after finding the concrete information based on the analysis process.


38

CHAPTER IV

ANALYSIS AND FINDING

4.1 Data Analysis

As mentioned in the objectives of the research, this research is aimed at

identifying and analyzing Illocutionary acts and the functions of illocutionary acts

that exist in the song lyrics of Ed Sheeran‟s Divide Album. This chapter provides the

results of this research which are divided into two parts, i.e. Analysis and Finding. In

the analysis, discussing and explaining each categories and functions of Illocutionary

Acts found in the song lyrics. Meanwhile, the data finding shows the appearance of

the data which is divided into two parts: the categories of Illocutionary Acts and the

Function of Illocutionary Acts.

Data in this study are all utterance which is uttered in written form by Ed

Sheeran in his song lyrics from his album „Divide‟. Total numbers of the data is 198

data which come from: 99 data of single lyric and 99 data of combine lyrics.

4.1.1 Illocutionary Acts and Function of Illocutionary Acts

1. ERASE

This song is about his journey in chasing his dream. The lyrics mention how

he is from singing in church as a child to winning international awards, from playing

in front of some people to play in front of thousands of his fans in stadium. He also

mentions that he was drinking and smoking too much, and he talks how fame can

hurt relationship and change people. In this song he mentions that his father play big


39

role in his carrier, he is encouraging him to chase his dreams. With this song, he

utters that he wants to erase all the things that make him fall into bad things.

In this song lyric found three categories of illocutionary acts: representative

(13 data), directive (6 data), and expressive (2 data). The types of functions of

illocutionary acts found in this song lyric are competitive (6 data), convivial (1 data),

collaborative (13 data) and conflictive (1 data). In conclusion there are 21 data found

in this song lyric: 7 data of single lyric and 14 data of combine lyrics.

1. Representative

a. Telling

(2) Friends and family filled with envy when they should be filled with pride

And when the world’s against me is when I really come alive

And every day that satan tempts me, I try to take it in my stride

These lyrics are representative of telling. He tells that his friends and family

envy him instead of proud of him. He tells that when he is facing with obstacles from

the world, he feels really alive. And even satan tempts him every day, he tries to take

it in his stride. The lyrics have collaborative function because the lyrics above about

him telling his feeling that he himself experienced when he is being popular artist. It

is commit the speaker to the truth of expressed proposition.

b. Predicting

(6) I guess it’s a stereotypical day for someone like me

Without a nine-to-five job or an uni degree

To be caught up in the trappings of the industry


40

These lyrics are representative of predicting. He commits representative act

of predicting by saying „I guess‟ which means he is predicting by his own knowledge

that it is because of the stereotype thing for someone like him who does not have

nine-to-five job or having a university degree that he is caught up in the trappings of

the industry. Predicting as a part of representative acts belong to collaborative

function. He predicts that it is just how world works towards someone like him. So,

he is just telling of his own prediction of himself to other people.

c. Confessing

(11) I used to think that nothing could be better than touring the world with my

songs.

This lyric is representative of confessing. He confesses that he used to think

that there is nothing better than touring the world with his songs because that was his

dream which means that now he realizes that actually there is something better than

touring the world with his song that there is something better than fame. The word

„used to‟ is stressing the utterance that he is confessing his own thought of what he

feels about touring thus the utterance categorized as confession. This data belong to

collaborative function because the lyric is presented the speaker belief which

ignoring social purpose.

d. Informing

(19) Wembley stadium crowd’s two-hundred-and-forty-thou

This lyric is representative act of informing. He informs based on the fact that

the wembley stadium is filled with two hundred and forty people when he sang there.


41

That is 180 degree different from the past where he only sings in front of a few

people that already mentioned in the previous lyrics. The representative act of

reporting belongs to collaborative function as it states something with the aims at

ignoring the social purpose.

2. Directive

a. Ordering

(7) Show me the locked doors. I find another use of key and you’ll see

This lyric is directive of ordering. Sheeran orders someone to show him the

locked doors by saying „show me the locked doors‟ then he will find the other key

and will show them what he can do with that key to unlock the locked doors. It

means that he will show his effort to achieve what he wants. The directive act of

ordering belongs to competitive function. In the lyric we can see that it has the

hearer to do something where it is requires negative manner to achieve the speaker

want.

b. Suggesting

(10) Save your lovin’ arms for a rainy day

And I’ll find comfort in my pain

This lyric is directive of suggesting. He suggests for no one in particular

saving their arms for a rainy day so they are not getting „wet‟ by it. By this Sheeran

refers to people habits that using their arms to prevent them from getting wet when

there is nothing that they can use to avoid the rain except their own arms. The data

has competitive function because he says a suggestion for people of what they

should do.


42

(20) The world maybe filled with hate but keep erasing it now

By saying „keep erasing it now‟, he suggests to the people that maybe getting

hate to just keep go on, because world may be filled with hate, so do not mind it, just

erase it, forget it and go on because there are always hate coming towards us but it‟s

our lives, our rules, so just keep go on and forget. This lyric is not only for people but

also for himself. Through this lyric, sheeran wants people to do something by saying

„but keep erasing it now‟, so this lyric belongs to competitive function.

c. Begging

(16) I beg you, do not be disappointed with the man I’ve become

This lyric is directive act of begging. He begs to his father when they were

having conversations to not get disappoint with him, with what kind of man he

becomes. In the lyrics he wants his father to not be disappointed with him which

mean by saying „I beg you, do not be disappointed with the man I‟ve become‟ there

is a goal that he want and hope to achieve, which is his father acceptation of himself.

So, with that explanation, these lyrics have competitive function.

3. Expressive

a. Deploring

(12) I chased the picture of perfect life, I think they painted wrong.

In this lyric, Sheeran shows feeling of deploring. The act of deploring shows

in „I think they painted wrong‟ which cause a feeling of disappointment. He feels

disappointed with his life because it is not like what he wants. He chased a perfect

life but unfortunately it goes the other way. As in the lyric has intended meaning of


43

deploring, it has no social goal, the word „they‟ in the lyric may refer to the society

that throwing hate towards him, his family that envy him. This lyric has conflictive

function.

b. Greeting

(21) Welcome to the new show

This lyric is expressive of greeting. He greets people, welcoming them to new

show that means a new him. This is supported with the lyric before this one; ‘And I'll

find comfort in my pain, eraser’, he overcome the conflict that he is having by

erasing it and find comfort in his pain. So, the lyric above refer to the new life he

makes and welcoming people to see it. This lyric has convivial function as this lyric

contain politeness that aimed to find opportunities in social time by welcoming

people to see the new him.

2. CASTLE ON THE HILL

In this song, Ed Sheeran tells a story about his life in his hometown, Halifax.

Through this song, he tells about his experiences in the place where he grew, about

his mischief where he smokes and getting drunk with his friends. He misses that

time. He cannot forget the memories and he wants to come back to the place where

he came from.

In the song lyric of this song the writer found only one category of

illocutionary acts which is representative act with the total amount of data is 14 data

which come from 7 single lyric and 7 combine lyrics. The function of illocutionary


44

act is automatically only has collaborative function. It is because this song is a story

about his life in his hometown and he is telling it to people by put it into a song.

1. Representative

a. Telling

(1) When I was six years old I broke my leg

The lyrics above are representative of telling. He tells that when he was six

years old he broke his leg. The lyric above has collaborative function because this

illocutionary act that aimed by Sheeran at ignoring the social purposes by telling a

fact about himself. The lyrics above is commit the speaker to the truth of expressed

proposition and equivalent to stating that speakers uttering something to assign

properties not only to themselves or to their hearers, but also to any other person.

b. Describing

(2) I was running from my brother and his friends

And tasted the sweet perfume of the mountain grass I rolled down

The lyrics above are the continuation of the first lyric. He describes the

reason why his leg broke is because of running from his brother and his friends until

he rolled down the mountain and broke his leg. The lyrics above have collaborative

function because it is commit the speaker to the truth of expressed proposition and

equivalent to stating that speakers uttering something to assign properties not only to

themselves or to their hearers, but also to any other person.


45

c. Reporting

(13) One friend left to sell clothes

One works down by the coast

One had two kids but lives alone

One brother overdosed

One’s already on his second wife

One’s just barely getting by

These lyrics are also representative of reporting. He is reporting about his old

friends‟ condition in the present time that there is who becomes seller, working down

by the coast, having family, gets overdosed, married twice, and another one just

barely meet. The reporting action is ignoring social goal that has no politeness

because politeness in reporting act is irrelevant, the speaker in reporting action just

want to report that commit the speaker to the truth of expressed proposition. These

lyrics have collaborative function.

3. DIVE

Dive is song about how he is falling in love with a girl but given his history

with relationships, so, he is feeling emotionally vulnerable and worried of getting

hurt. Therefore, He wants to ensure she genuinely feels the same way about him.



illocutionary acts found in this song lyric; competitive (5 data), convivial (1 data),

and collaborative (7 data). In conclusion there are 13 data found in this song lyric

which come from 7 data of single lyric and 6 data of combined lyric.


46

1. Representative

a. Telling

(3) I could fall, or I could fly

Here in your aeroplane

And I could live, I could die

Hanging on the words you say

These lyrics are representative of telling. He tells the girl (as mention above

from the background of the song that this song is about his feeling towards a girl he

loves) that he is falling in love with her, but he is feeling vulnerable whether she

loves him or not. There is implicit meaning from those lines that he does not want the

girl to play with his feeling because he cannot take it by saying „I could die‟. He can

fall or fly in her aeroplane, and he can live or die hanging on what she says which

mean whether she accept him or not. There is no social purpose in these lyrics;

Sheeran aims to tell the girl about his feeling in order the girl will know it that make

these lyrics belong to collaborative function.

b. Predicting

(1) Maybe I came on too strong

Maybe I waited too long

Maybe I played my cards wrong

These lyrics are representative of predicting. The word „maybe‟ indicates

guesses predicted by sheeran of what happen at the moment with his love life that

makes him feeling vulnerable and causes him guessing various possibilities (as what

is said in the background of this song that this is a song of feeling towards a girl that

makes him feel vulnerable or afraid of being played). So, Sheeran predicts some

possibilities of what is wrong with all the possibilities that may be true. These lyrics

have collaborative function.


47

2. Directive

a. Warning

(5) So do not call me baby

Unless you mean it

These lyrics are directive of warning. He gives warning to the girl to do not

play with his feeling. He do not want her to call him baby if she does not mean it,

because he thinks that if she calls him, baby, she gives him a chance. He feels

vulnerable, so he wants the girl to call him that if he really means it and really want

him to be his lover. These lyrics mean that Sheeran need status. These lyrics have

competitive function because Sheeran has the addressee to do something he asks

which is not calling him baby if she does not mean it.

(15) Do not tell me you need me

If you do not believe it

These lyrics are also directive of warning. Same with the previous lyrics, but

in these lyrics Sheeran warns the girl to not play with words, if she tells him she

needs him, he wants her to believe that she does need him, so he does not want the

girl to tell him she needs him if she does not really mean it and believe it. Because he

does not want to feel that he is needed but actually not. The illocutionary function of

these lyrics is competitive function because it has the addressee to do something. It

competes with the social goal and had negative nature to get what the speaker wants.

b. Requesting

(7) So let me know the truth

Before I dive right into you

These lyrics are directive of requesting. He is making a request for the girl to

tell him the truth about her feeling and no lie, so he knows what step he has to take in


48

the future with her before he dives right into her. Before things between them

become serious, he wants the truth and begs her to give it. He needs something from

the girl which is her real feeling towards him, and needs her to tell him about it. It

makes these lyrics belong to competitive function that has people to do something.

c. Asking

(11) Do you have a tendency to lead some people on?

‘cause I heard you do, mm

These lyrics are directive of asking. He asks the girl if she has tendency to

lead people, because he heard she does, so he just wants to make sure by asking it

because he only hear it, he does not know if it is true or not. By asking ‘do you have

a tendency to lead some people on?’ Sheeran is requesting the answer of yes or no

from the girl he refers. These lyrics have competitive function because Sheeran

wants an answer from the girl to erase his curiousness. It has the addressee to do

something which belongs to competitive function.

a. Apologizing

(2) Baby I apologize for it

These lyrics are expressive of apologizing. He apologizes to the girl for the

mistake he does. The mistakes he considered he has done are said in the previous

lyrics. These lyrics have convivial function because act „apologizing‟ is an act that

coincides with the social goal which is maintaining good relationship with other

people. By apologizing, Sheeran wants to receive forgiveness that can keep his

relationship with the girl.


49

4. SHAPE OF YOU

In this song, Sheeran sings about meeting someone in a bar and falling in love

with her; a love distinct from those in much of his previous work as it‟s more

focused on the physical than the emotional. This song tells about his desire and

attraction for the girl he met. It tells that later on they go on a date; the woman‟s

body and the man‟s impetuosity bring them together. Through this song, Sheeran

hints at how sexual attraction can lead to a deeper relationship.


(11 data), directive (8 data), and commisive (1 data). The types of functions of



which come from 14 single lyric and 6 combine lyrics.

1. Representative

a. Stating

(1) The club is not the best place to find a lover

So the bar is where I go

These lyrics are representative of stating. He states that club is not the best

place if you want to fine a lover, so, because he wants to find a lover and he believes

that club is not the place for it, he goes to the bar where he believes it is the place to

find a lover. The illocutionary function of these lyrics is collaborative because

Sheeran is stating a statement that he believes is a fact that maybe coming from his

own experience. It is commit him to the truth of expressed proposition that aims at

ignoring social purposes.


50

b. Describing

(2) Me and my friends at the table doing shots

Drinking fast and then we talk slow

These lyrics are also representative of telling. He tells that he goes to the bar

he talks about with his friends. They were doing shots and betting each other to do

shots, drinking fast and talking slowly there. These lyrics have collaborative

function because these lyrics are representative of telling in order the people know

what he is doing at that time while ignoring the social purposes.

c. Telling

(6) Girl you know I want your love

He tells the girl (it is said in the background of this song that he met a girl in

the bar he visited that time) that he wants her love. These lyrics have collaborative

function by telling the girl that he wants her love he is ignoring the social purposes

and just want to tell what he feels.

d. Confession

(12) I’m in love with the shape of you

These lyrics are representative of confession. He confesses to her that he is in

love with her but it is just physical attraction. Even though he confesses that his heart

is falling too but he is attracted more to her because of her body. These lyrics belong

to collaborative function because the goal of confession is to let the addressee know

about the confession that the speaker commit, in this case, Sheeran wants the girl to

know his feeling by making a confession that aims at ignoring social purposes.


51

2. Directive

a. Command

(4) Come over and start up a conversation with just me

This lyric is directive of commanding. The commanding act is shown in the

words „come over and start up’. This command is directed towards the girl he sees at

that bar which is supported with the lyrics after that said „girl you know’. So, he

commands her to come to him so they can start a conversation. Commanding is an

act that has the addressee to do something that the speaker wish to be done by the

addressee. This is match with the point of competitive function that competes with

the social goal because Sheeran commands the girl to do something.

b. Ordering

(7) Take my hand, stop, put the man on the jukebox

And then we start to dance,

These lyrics are directive of ordering. By saying „take my hand’ Sheeran

orders the girl to take his hand so they can dance right after the man is put on the

jukebox to play the music for them to enjoy while dancing together. These lyrics

have competitive function because in the lyrics shown that Sheeran is making an act

that has negative politeness which is ordering someone to do something.

3. Commisive

a. Promising

(4) And trust me I’ll give it a chance now

This lyric is commisive of promising. Sheerans commits to future action

which is will give it (their meeting) a chance. He promises that if they talk and


52

having a conversation as mention in the previous baits, he will give them a chance to

start something more than just talking between two strangers. This lyric has

convivial function because its implementation is more meets the addressee's interest

rather than the speaker. By promising her to give them a chance, Sheeran wants to

have a good relationship with her (coincides with the social goal), thus categorized as

convivial.

5. PERFECT

This song is about Sheeran‟s girlfriend, Cherry Seaborn a girl from his past

because they came from the same place. It tells a story of love since they were kids,

and then he realizes that she is the love of his life and he can see himself being with

her forever. It can be a wedding song but generally its placing emphasis on the

beauty and perfection of the woman and how she is too fine for him.

In this song lyric found four categories of illocutionary acts: representative

(10 data), directive (4 data), commisive (3 data) and expressive (3 data). The types of

functions of illocutionary acts found in this song lyric are competitive (4 data),

convivial (6 data), and collaborative (10 data). In conclusion there are 20 data found

in this song lyric which come from 13 single lyrics and 7 combine lyrics.

1. Representative

a. Stating

(1) I found a love for me

These lyrics are representative of stating. He states that he found his love

These lyrics have collaborative function because he is stating a statement that


53

people should know. It is ignoring the social goal and has no politeness because in

stating something, politeness becomes irrelevant.

b. Describing

(8) Baby, I’m dancing in the dark with you between my arms

Barefoot on the grass, listening to our favorite song

These lyrics are representative of describing. He describes what they do, he

and his lover, that they are dancing barefoot on the grass while listening to their

favorite song and she is in his arms. Representative of describing belongs to

collaborative function because describing is telling people about what he describes

that social goal is not the point of describing something.

c. Telling

(5) I never knew you were the someone waiting for me

These lyrics are representative of telling. He tells the girl that he does not

expect if she is the one who waits for him, still loving him even after years that make

their love find its way to grow again (as also said in the background of this song).

These lyrics have collaborative function because the aim of telling is to let people

know and it is also ignoring the social goal.

(19) We are still kids, but we’re so in love

Fighting against all odds

He tells to the girl the memory when they were kids that they were so in love

and fighting all the odds against them. These lyrics have collaborative function

because the aim of telling is to let people know and it is also ignoring the social goal.


54

2. Directive

a. Ordering

(2) Darling just dive right in

And follow my lead

These lyrics are directive of ordering. He orders the girl to just dive into their

relationships that they start over, and orders her to follow his lead in their

relationship which means that he wants her to trust him. These lyrics have

competitive function because ordering has addressee to do something that clearly

compete with the social goal.

(7) But darling just kiss me slow, your heart is all I own

And in your eyes you’re holding mine

He orders the girl to just kiss him slow because her heart is his, her love is

his, same goes with her, she loves him too that there is him in her eyes „in your eyes

you’re holding mine’. These lyrics have competitive function because in the lyrics

we can see that he orders her to do something, by ordering something to the

addressee, his action is competing with the social goal.

3. Commisive

a. Promising

(6) I will not give you up this time

This lyric is a commisive act of promising. He promises to the girl, that he

will fight for her, for their love because the thing that he will fight for is herself and

her love. He promises that he will not give up this time which means that he ever

gives up to fight for his love because they were still kids at that time, they are still

blind with love (as mention in the previous lyrics). The illocutionary function of this


55

lyric is convivial function because he commits to the future action that will maintain

their relationship (match with the social goal).

b. Wishing

(11) She shares my dreams, I hope that someday I’ll share her home

This lyric is a commisive act of wishing. He commits to some future action.

He wishes that someday he and his girl will live under the same roof and that they

will share what he calls home. He commits to some future actions which are wishing

the good things of their relationship in the future that can maintain the good

relationship between them. So, this lyric has convivial function.

4. Expressive

a. Praising

(9) When you said you looked a mess,

I whispered underneath my breath

But you heard it, Darling, you look perfect tonight

These lyrics are expressive of praising. He praises his girl that she looks

perfect when she believes that she looked a mess. Those lyrics have convivial

function because praising is an act that if we praise someone, it will make the people

we address feeling happy. It can create or maintain good relationship which means

that the social goal is achieved.

(18) I do not deserve this

You look perfect tonight

He praises the girl that she looks perfect until he doubts himself whether he

deserve her or not. This lyric has convivial function because this lyric has positive


56

politeness. It is paying a compliment that has the positive purpose of placing a high

value on the other person‟s qualities.

6. GALWAY GIRL

This song talks about an English man falling in love with an Irish girl. They

meet at an Irish pub when the girl is playing with Irish band. Galway is an Irish city,

Galway girl could be the girl is from there, even though „Galway girl‟ is also an Irish

phrase for a lady with black hair and blue eyes. The entire lyrics mention about all of

the things they do in the pub.


(14 data), commisive (2 data) and expressive (3 data). The types of functions of

illocutionary acts found in this song lyric are convivial (5 data), and collaborative (14

data). In conclusion there are 19 data found in this song lyric which come from 10

single lyrics and 9 combine lyrics.

1. Representative

a. Telling

(1) She played the fiddle in an Irish band

But she fell in love with an English man

These lyrics are representative of telling. It has been said in the background

of the song that this song is about an English man was falling in love with an Irish

girl. So the first line of this song is about how they (Sheeran and the girl) met the

first time at the Irish pub, the girl was playing with an Irish band, but she fell in love

with an English man. „English man‟ refers to Sheeran himself because he is an

English man and this is a story of his own experience. The illocutionary function of


57

these lyrics is collaborative function because telling something is aimed to let

people know not to build a good relationship with society.

b. Describing

(3) I meet her on Grafton street right outside of the bar

He tells that after he went out from the bar, he met again with the girl right

outside the bar which is located at Grafton Street. The illocutionary function is

collaborative because he aims at ignoring social purposes. He is telling a story

(8) Chatted some more, one more drink at the bar

Then put Van on the jukebox, got up to dance

These lyrics are representative of describing. In the lyrics above, he describes

the Irish girl did when she was having fun in the pub by doing some things like

chatting and drinking whiskeys at the bar, and dancing. This means that his eyes

always follow the girl until he can tell the entire things the girl did at that pub. The

illocutionary function is collaborative because what Sheeran intended from these

lyrics is making people know about what she did in the pub by describing it.

(17) I was holding her hand, her hand was holding mine

Our coats both smell of smoke, whiskey, and wine

As we fill up our lungs with the cold air of the night

These lyrics are also representative of describing. Those lyrics are about them

on their way back home from the pub. He is telling it by describing it. He describes

that when they were walking home, they were holding hand with their coats smell of

smoke, whiskey and wine as they smoke in the cold night. The illocutionary function

is collaborative because it aims at ignoring social purposes. He describes a

viewpoint to the people who listening to this song by giving a detailed description.


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2. Commisive

a. Promising

(19) I swear I’m gonna put you in a song that I write

About a Galway girl and a perfect night

The lyrics above are commisive of promising. He promises to write a song

about the Galway girl and the perfect night where they met. So, that is the reason of

why this song is created, which means that Sheeran is not breaking his promise. The

illocutionary function of these lyrics is convivial function because Sheeran is making

a promise to her that will make her happy because he created a song about her, so the

social goal is achieved.

b. Offering

(5) Do you want to drink on?

This lyrics is commisive of offering. Sheeran offers her a drink if she wants

to drink. This lyric has convivial function because Sheeran offering someone about

something, so the illocutionary goal of this utterance coincides with the social goal.

3. Expressive

a. Praising

(9) You’re my pretty little Galway girl

This lyric is expressive of praising because the lyric show the expression of

praising someone. In those lyrics, Sheeran praised the Irish girl and said that she is

pretty. This lyric has convivial function because praising is aimed at maintaining

good relationship with the people that have been praised. With that, the social goal is

achieved.


59

7. HAPPIER

This song is about a story of a man who cannot be with the one he loves

because he is already happy with someone else. The mistakes in the past make her

turn away from him. He feels that it will be impossible to be back together.

Eventhough he has been sincerely let her go, but the feeling is still there and that the

love still grows in silence.


(11 data), commisive (2 data) and expressive (3 data). The types of functions of

illocutionary acts found in this song lyric are convivial (5 data), and collaborative (11

data). In conclusion there are 16 data found in this song lyric which come from 10

single lyrics and 6 combine lyrics.

1. Representative

a. Telling

(1) Walking down 29th

and park

I saw you in another’s arms

Only a month we’ve been apart

These lyrics are representative of telling. He tells that when he was walking

down the street, he saw his ex with someone else. This is the start of his broken heart

and then made this song because it was only one month after their break up, but she

is already with someone new. These lyrics have collaborative function because he

intends to tell how he had broken heart by seeing his ex who he still loved is already

with new man.

(11) My friends told me one day I’ll feel it too

And until then I’ll smile to hide the truth.

But I know I was happier with you


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He tells that his friends ever told him that one day he will feel it too, the

feeling of love, a new love with a new girlfriend just like his ex who found her new

love. But, his friends do not know that truth, he still loves his ex. So, before that time

comes, he will pretend that he is okay ‘until then I’ll smile to hide the truth’. These

lyrics have collaborative function because telling something is an act that ignored

the social goal because the aim of telling is not to have good relationship with

people.

b. Confessing

(13) I know that there’s others that deserve you

But my darling, I am still in love with you

He confesses that he is still in love with her even though he knows that she

has the right to be with someone else, even though he knows that there‟s someone

else who deserve her more than him. But, still he just wants to tell her that he still

loves her. The intended meaning of these lyrics is to let the addressee know about his

feeling. It is aimed at ignoring the social goal which makes these lyrics belong to

collaborative function.

c. Describing

(5) I saw that both your smiles were twice as wide as ours

These lyrics are representative of describing. With those baits, he describes

that inside that bar, that man was making her laugh then they both were smiling

widely, kind of smile that remind him with their moments like that before they broke

up „as wide as ours’ that make him feel jealous because that man can make her


61

happy just like what he did to her before. The illocutionary function of this utterance

is collaborative because he is asserting something that ignores social purposes.

2. Commisive

a. Promising

(8) Promise that I will not take it personal, baby

If you’re moving on with someone new

These lyrics are commisive of promising. He promises that he will not take it

personal if she has moved on from him and having another man because he knows

she does look happier with another man. With that said, he promises that he will not

disturb his ex relationship with the other man. So, those lyrics have convivial

function because it is aimed to coincide with the social goal.

(20) I knew one day you’d fall for someone new

But if breaks your heart like lovers do

Just know that I’ll be waiting here for you

He knew after they broke up, she will fall in love with another man, but, he

promises that if one day she is getting hurt by his boyfriend, she can go back to him

because he stills love her and he is willing to wait for her. The promise he made is to

maintain good relationship with his ex. He intends to find opportunities with her. So,

these lyrics have convivial function.

8. NEW MAN

This song is about Sheeran‟s initial thoughts on his former girlfriend‟s new

boyfriend and how she is changed because of him. He said that his ex has made poor

choices as she still has feelings for him, because she does not seem satisfied with her

boyfriend, and looks for love in other places, including with him.


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(15 data), directive (2 data), and commisive (3 data). The types of functions of


collaborative (15 data), and conflictive (1 data). In conclusion there are 20 data found


1. Representative

a. Describing

(1) I heard he spent five hundred pounds on jeans

Goes to the gym at least six times a week

Wears both shoes with no socks on his feet

And I hear he is on a new diet at watches what he eats

He is got his eyebrows plucked and his asshole bleached

Owns every single Ministry CD

Tribal tattoos and he do not know what it means

(10) Our new man rents a house in the burb

And wears a man bag on his shoulder, but I call it a purse

Every year, he goes to Malaga with all the fellas

Drinks beer, but has six pack, I’m kinda jealous

He wears sunglasses indoors, in winter, at nighttime

And every time a rap song comes on, he makes a gang sign

Says, chune, boy never light up the room

The lyrics above are representative of describing. This song is about Sheeran

ex girlfriend‟s new man, and here he describes all the things that he heard about that

man. Sheeran tells about how that man lives, what he does, and what he has. He also

said that he is jealous with that man because he drinks beer but still has six packs.

The illocutionary function is collaborative because it aims at ignoring social

purposes because he just describing what he hears so that people can get a picture

about who is his ex girlfriend‟s boyfriend.


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b. Confessing

(3) Still lookin' at your Instagram and I'll be creepin' a lil'

By saying „still lookin at your instagram‟, he indirectly confesses to his ex

girlfriend that even though he and his ex girlfriend had broken up, he is still stalking

her Instagram, he knows that it is a little bit creepy stalking an ex, but he cannot help

it, so he is stalking her instagram. These lyrics have collaborative function because

the description is aimed to let people know and to get the description about that girl.

It is ignoring the social goal.

c. Telling

(4) I’ll be tryin’ not to double tap, from way back

‘cause I know that is where the trouble’s at

These lyrics are representative of telling. As explained in the previous lyric,

he is stalking her instagram while making sure that he does not accidentally click that

love button because he knows that will cause trouble which means his ex will know

that he is stalking her. These lyrics have collaborative function.

d. Stating

(6) I guess if you were Louis Lane, I was not superman

Just a young boy tryin’ to be loved

He states that he was not a superman, he is just a young boy who trying to be

loved. These lyrics have collaborative function because he is stating a statement that

people should know. It is ignoring the social goal and has no politeness because in

stating something, politeness becomes irrelevant.


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2. Directive

a. Advising

(19) Please remember you’re still free

To make the choice and leave

He advises her to choose what‟s good for her because apparently she is

different. She seems lonely when she is with him. So he advises her to make a choice

as she want. These lyrics have competitive function because it is competing with the

social goal by advising her, he wants her to do something that he advises her to do,

different with the social goal which maintaining good relationship.

3. Commisive

a. Refusing

(7) So let me give it to ya

I do not wanna know about your man

‘cause if it was meant to be

You wouldn’t be callin’ me up tryin’ to

Cause I’m positive that he do not wanna know about me.

These lyrics are commisive of refusing. He refuses to know her new man. He

believes that even though he is not introduced to her new man, he will know about

him either way. He also believes that her new man does not want to know about him

either. These lyrics have conflictive function because Sheeran refuses her offer to

introduce him to her new boyfriend. It will cause conflicts between them that clearly

not the point of social goal.

b. offering

(13) okay you need to be alone

And if you want to talk about it, you can call my phone


65

Those lyrics above refer to the previous lyrics that said he saw her kissing a

boy that is not that man. So, he guesses that she has problems with her boyfriend so

he offers to her that if she wants to talk about it, she can call him. The illocutionary

function of these lyrics is convivial function because he is offering to someone that

makes the illocutionary goal coincides with the social goal.

9. HEARTS DON’T BREAK AROUND HERE

This song is a love song about Sheeran‟s girlfriend, Cherry Seaborn. In this

song he is mostly telling about what kind of girl and what kind of a girlfriend

Seaborn is. That she is the sweetest girl. He also tells about his feeling with her, how

he feels safe around her and how they spend their days.





which come from 9 single lyrics and 8 combine lyrics.

1. Representative

a. Stating

(1) She is the sweetest thing that I know

This lyric is representative of stating. He states that she is the sweetest girl he

ever knows, as said in the background of this song, this song is about his girlfriend,

Cherry. The lyric is praising, but cannot categorize as expressive of praising because

that sentence is a statement, his thought of her to let people know not what he said to


66

her. Therefore, this lyric has collaborative function that aimed at ignoring the social

purposes by making a statement.

(16) Well I found love in the inside

The arms of woman I know

These lyrics are also representative of stating. He states that he found love in

her, in the arms of the woman he knows. „of woman I know’ refers to Cherry who he

have known since he were young back then in Halifax, his hometown. The

illocutionary function of it is collaborative because he is stating his opinion based on

personal opinion.

b. Telling

(14) Spent my summer time beside her

And the rest of the year the same

He tells about how they spend their time together. In summer, they are

spending summer together and the rest of the year without any different. These lyrics

have collaborative function because he intends to tell his experience with his

girlfriend. He wants people to know that he is happy with her, and that they will

always be together.

c. Confessing

(9) I feel safe when you’re holding me near

These lyrics are also representative of confessing. By saying „I feel safe when

you‟re holding me‟ Sheeran confesses that he feels safe around her when she is

holding him near. The illocutionary function of this lyric is collaborative because

saying personal thought and belief tend to ignore the social goal.


67

(18) And I’m not scared of passing over

Or the thought of growing old

He confesses that he is not scared of the thought of getting old or even the

thought of pass away; it does not matter because from now on until then, he is with

her. These lyrics have collaborative function because he shares his thought of

getting old and died.

d. Convincing

(15) You know hearts do not break around here

This lyric is representative of convincing. He convinces her that as long as

she is with him, he can convince that there will be no hearts break. This lyric has

collaborative function because the speaker (Sheeran) intend to make the addressee

believe of what he said.

e. Describing

(12) She is the river flow in Orwell

And tin wind chimes used for doorbells

(15) She is the flint that sparks the lighter

And the fuel that will hold the flame

(17) She is the lighthouse in the night that will safely guide me home

Those lyrics are representative of describing. He describes her like a river

flow in Orwell, like tin wind chimes on doorbells, like a flint that sparks the lighter,

like the fuel that holds the flame and like the lighthouse in the night that will guide

him home safely. Those lyrics have collaborative function because all of those

sentences is him describing her girlfriend that can make a picture for people of his

girlfriend.


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2. Directive

a. Ordering

(2) You should see the way she holds me when the lights go low

Shakes my soul like a pot hole, every time

This lyric is directive of ordering. He orders no one in particular to see the

way she holds him in the dark that can shake his soul every time she did it. He wants

to show the reason his soul is shaken by order people to see the way she hold him.

The illocutionary function of these lyrics is competitive for the message in it

contains action the speaker asks people to do.

3. Commisive

a. Promise

(6) Oh my baby, lately I know

That every night I’ll kiss you you’ll say in my ear

Oh we’re in love aren’t we?

These lyrics are commisive of promise. He promises that every night he will

kiss her then she will say proudly „oh, we’re in love aren’t we?. The illocutionary

function of these lyrics are convivial as the act done by Sheeran is aimed to please

the hearer.

10. WHAT DO I KNOW

Through this song, Sheeran sends a social and political message. He speaks

about the world focusing on numbers and losing their minds over money, all while

ignoring the opinions of the simple men that live in it, like himself. He also talks

about how something as simple as love would lead us in the right direction. And he

believes that music has a powerful effect on the world to set it be better.


69

In this song lyric found four categories of illocutionary acts: representative (7

data), directive (4 data), and expressive (2 data). The types of functions of




1. Representative

a. Telling

(1) Ain’t got a soapbox I can stand upon

But god gave me a stage, a guitar and a song

These lyrics are representative of telling. He tells that God gives him a stage,

a guitar and a song, with all of this; he can bring some positive things to do because

he wants to make good songs that bring positivity, so he proud of it. These lyrics

have collaborative function because telling something is aimed to let people know

which is ignoring the social goal.

b. Informing

(8) The revolution’s coming, it’s a minute away

I saw people marching in the streets today

These lyrics are representative of informing. He is informing that revolution

is coming near that he saw people marching in the streets. The illocutionary function

of these lyrics is collaborative because he is giving information for people who do

not know.

c. Describing

(5) I’m just a boy with a one man show

No university, no degree, but lord knows


70

These lyrics are representative of describing. He describes himself as a boy

who did not go to university, so he had no degree follows his name. „but lord knows’

refers to the lyrics after that said people is being greedy over money. The

representative act of describing belongs to collaborative function, because in

representative act, the social goal is not what the speaker wants to achieve.

d. convincing

(8) We could change this whole world with piano

Add a bass, some guitar, grab a beat and away we go

This lyric is representative of convincing. He convinces people that we could

change the world with music, because words sometimes are ignored but good music

will be listened and that will bring positivity. These lyrics have collaborative

function.

2. Directive

a. Suggesting

(11) I know, I’m all for people following their dreams

Just re-remember life is more than fittin’ in your jeans

Those lyrics are directive of suggesting. In this songs, he tells that life is hard,

so even though we just want to reach our ambition or dreams in this world with our

own ways. He suggests people to remember that this world is not that easy „more

than fittin’ in your jeans’, and that is what he wants to say to everyone who is

following their dream, he just wants to remind them. These lyrics have competitive


71

function because he intends to make people to do something which compete with the

social goal.

b. Encouraging

(13) Spread love and understanding, positivity

He encourages people to spread love and positivity together, because as he

repeatedly mentions in the lyrics of this song that love can make the world be better

and positivity can bring peace. These lyrics have competitive function because

Sheeran encourages people to commit doing something to change the world in polite

manner.

3. Commisive

a. Promising

(12) Everybody’s talking ‘bout exponential growth

And the stock market crashing in their portfolios

While I’ll be sitting here with a song that I wrote

In those lines, Sheerans illustrates how people are being greedy and more

focus on numbers of money and losing their minds over money. So, he will just

spread the love with his song as he promises. These lyrics have convivial function.

11. HOW WOULD YOU FEEL

This song is once again about his girlfriend. Sheeran confirms in an interview

that all of love songs in this album are about his girlfriend. In this song, Sheeran is

talking about how feel about her and that she is the only girl and makes him feel

younger in a positive way when he is with her. He talks about their dating days, what


72

they did and how they spend their time together, so simple yet so romantic. With all

of the love he feels for her, he needs to know she feels about it.

In this song lyric found four categories of illocutionary acts: representative (6

data), directive (2 data), and commisive (1 data). The types of functions of




1. Representative

a. Stating

(1) You are the one girl

And you know that it’s true

These lyrics are representative of stating. Sheeran states that she is the only

one and he knows that she knows that too. The illocutionary function is

collaborative because the speaker aims at ignoring social purposes.

b. Telling

(7) In the summer, as the lilacs bloom

Love flows deeper than the river

Every moment that I spend with you

These lyrics are representative of telling. He tells that his love towards her is

like a river, he even making comparison with it that it feels like his love flows deeper

than the river in every moment he spends with her. These lyrics have collaborative

function because the speaker aims at ignoring social purposes. He is telling what his

love towards her feels like.

(3) We were sitting in a parked car


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Stealing kisses in a parked car

He is recalling his memory of their times together. He tells that when they

were sitting in a parked car, they were stealing kisses. The illocutionary function is

collaborative because the speaker aims at ignoring social purposes. He is telling the

moments he has with his girlfriend.

2. Directive

a. Asking

(4) We got questions we should not ask but

How would you feel, if I told you I loved you?

These lyrics are directive of asking. He wants to know about her feeling too

because he already expresses his feeling to her many times (as mentions in the

lyrics), so he asks her how would she feel if he told her he loved her to see his

reactions and to know his answer. With that said he is requesting an action or a

respond from her to tell him how she would feel. So, these lyrics have competitive

function that has the addressee to do something and it aims at ignoring the social

goal.

b. Ordering

(6) So tell me that you love me too

This lyric is directive of ordering. He orders her to tell him that she loves him

too because he needs her to replay his words that said he loves her. In the previous

lyrics he mentions that he wants to spend his life with her and falling deeper in love

with her. So, he orders her to replay. This lyric has competitive function because

ordering someone to do something is competing with the social goal.


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3. Commisive

a. Promising

(5) It’s just something that I want to do

I’ll be taking my time, spending my life

Falling deeper in love with you

These lyrics are commisive of promising. He promises to spend his life

falling deeper in love with her, as he said that it is something he wants to do, falling

in love with her over and over again every day until then „spending my life falling

deeper in love with you’. The illocutionary function of these lyrics is convivial

function because in the lyrics he commits to some future action that he will always

loving her which means maintaining good relationship with her.

12. SUPERMARKET FLOWERS

This song is about his grandmother who had passed away in the midst of

making of this song. This song is for his grandmother which is written from his

mother‟s point of view, so the lyrics are quoted from his mother‟s words. In the song

said how she was like an angel, and they were really sad when she passed away.


(12 data), directive (1 data), commisive (2 data) and expressive (1 data). The types of

functions of illocutionary acts found in this song lyric are competitive (1 data),

convivial (3 data), and collaborative (12 data). In conclusion there are 16 data found



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1. Representative

a. Telling

(1) I took the supermarket flowers from the windowsill

(2) I threw the day old tea from the cup

(3) Packed up the photo album Matthew had made

Memories if a life that is been loved

(4) Took the get well soon cards and stuffed animals

(5) Pour the old ginger beer down the sink

(12) I fluffed the pillows, made the beds, stacked the chairs up

(13) Folded your nightgowns neatly in a case

(14) John says he’d drive then put his hand on my cheek

And wiped a tear from the side of my face

Those lyrics are representative of telling. He is telling to people of what his

mother did at the day when his grandmother passed away (as mentions in above that

this song is about her grandmother who had passed away and written from his

mother point of view). She took the flowers, packed the album, fluffed the pillow,

made the beds, stacked the chairs up and folded his grandmother‟s nightgowns. She

was very sad that day „wiped a tear from the side of my face’ that john sympathized

her „put his hand on my cheek’, a gesture to calm her down because she was crying.

The illocutionary function is collaborative because telling has no particular reason to

involve politeness since the participants‟ illocutionary goals neither compete nor

contribute to the social one. Sheeran intended to tell the mourning moments of their

family especially his mother.

2. Directive

a. Suggesting

(10) Spread your wings as you go.

And when God takes you back we'll say Hallelujah


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This lyric is directive of suggesting. This lyric is directed towards the

grandmother. Angel is a supernatural being often depicted as benevolent celestial

beings that identified with symbols of bird wings. As mentioned in the lyrics that the

grandmother was like an angel, she suggests her to spread her wings as she went

away. The illocutionary function of this lyric is competitive function because

suggesting is an act that the illocutionary goal competes with the social goal as it has

the addressee to do something.

3. Commisive

a. Wishing

(15) I hope that I see the world as you did cause I know

A life with love is a life that is been lived

These lyrics are commisive of wishing. It commits the speaker to some future

action. She hopes that she can see the world as the way her mother did. As her

daughter, she had been taught by her mother with love and she hope to be like that

because her mother taught her that a life with love is a life that is been lived. These

lyrics have convivial function because its implementation is more meets the hearer's

interest rather than the speaker.

4. Expressive

a. Praising

(9) You were an angel in the shape of my mum

when I fell down you’d be there holding me up

This lyric is expressive of praising. In the lyric above, Sheeran quoted his

mother‟s words that praise his grandmother which said she was an angel in the shape


77

of a mom because she was the person who always been there for her, supported her

every time she needed to be supported (as mentions above that Sheeran wrote the

lyrics of this song from his mother‟s point of view). This lyric has convivial function

because this lyric has positive politeness. It is paying a compliment that has the

positive purpose of placing a high value on the other person‟s qualities.

4.2 Data Finding

Based on the research, there are four categories of illocutionary acts in the

song lyrics of Ed Sheeran‟s Divide Album analyzed in this research, namely

representative, directive, commisive, and expressive. Declarations are not found in

the lyrics in the song lyrics because there are no lyrics in the song lyrics that belong

to the declarations category of illocutionary act. And then, there are four types of

function of illocutionary acts found in the song lyrics: competitive, convivial,

collaborative, and conflictive. The findings of illocutionary acts and illocutionary

functions in the song lyrics of Ed Sheeran‟s Divide Album are illustrated in the

following table.

4.2.1 Illocutionary Act

Table 4.1: Data Finding of Illocutionary Acts

No. Title of Song Illocutionary Act

Categories Frequency

Number of

data

1 Erase

Representative 13

21 Directive 6

Expressive 2


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2 Castle on the hill Representative 14 14

3 Dive

Representative 7

13 Directive 5

Expressive 1

4 Shape of you

Representative 11

20 Directive 8

Commisive 1

5 Perfect

Representative 10

20 Directive 4

Commisive 3

Expressive 3

6 Galway girl

Representative 14

19 Commisive 2

Expressive 3

7 Happier

Representative 11

16 Commisive 2

Expressive 3

8 New man

Representative 15

20 Directive 2

Commisive 3

9 Hearts do not break

around here

Representative 15

17 Directive 1

Expressive 1

10 What do I know

Representative 7

13 Directive 4

Expressive 2

11 How would you Representative 6 9


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Directive 2

Commisive 1

12 Supermarket flower

Representative 12

16 Directive 1

Commisive 2

Expressive 1

TOTAL 198

Table 4.1 shows that the total numbers of data are 198 data from 12 songs

containing Illocutionary Acts. In the table we can see that the most dominant

categories of Illocutionary Acts found in the album is representative with 135 data

(68.2%), followed by directive with 33 data (16.7%), expressive with 16 data (8.1%).

And commisive with 14 data (7%). From the data finding that shows in the table, the

writer can conclude that Ed Sheeran in his Divide Album is mostly to get addressees

to form to the belief that he is committed to a certain belief by telling, describing,

stating, believing, etc.

4.2.2 Function of Illocutionary Act

Table 4.2: Data Finding of Function of Illucotionary Acts

No. Title of Song

Functions of

illocutionary

act

Frequency Number

of Data

1 Erase

Collaborative 13

21 Competitive 6

Convivial 1

Conflictive 1


80

2 Castle on the hill Collaborative 14 14

3 Dive

Collaborative 7

13 Competitive 5

Convivial 1

4 Shape of you

Collaborative 11

20 Competitive 8

Convivial 1

5 Perfect

Collaborative 10

20 Competitive 4

Convivial 6

6 Galway girl Collaborative 14

19 Convivial 5

7 Happier Collaborative 11

16 Convivial 5

8 New man

Collaborative 15

20 Competitive 2

Convivial 2

Conflictive 1

9 Hearts do not break

around here

Collaborative 15

17 Competitive 1

Convivial 1

10 What do I know

Collaborative 7

13 Competitive 4

Convivial 2

11 How would you

Collaborative 6

9 Competitive 2

Convivial 1

12 Supermarket flower Collaborative 12

16 Competitive 1


81

Convivial 3

TOTAL 198

Table 4.2 shows that the most dominant type of Function of Illocutionary

Acts found in the album is collaborative function with 135 data (62%), followed by

competitive function with 33 data (16.7%), convivial function with 28 data (14.1%),

and conflictive function with 2 data (1%). Collaborative functions become the most

dominant function in the album because the most dominant illocutionary act is

representative act. Representative act always followed by collaborative function as

collaborative is a function that commits the speaker to the truth of expressed

proposition aims at ignoring the social purposes such as telling, stating, reporting,

asserting, etc.


82

CHAPTER V

CONCLUSIONS AND SUGGESTIONS

This research investigates illocutionary acts in song lyrics of Ed Sheeran‟s

Divide Album. Based on the findings and discussion in Chapter IV, the result shows

that there are dominant category and function exist in Divide Album.

5.1 Conclusions

After analyzing the illocutionary act in Divide Album, the writer comes to the

following conclusions:

1. There are four categories of illocutionary acts found in the song lyrics of Ed

Sheeran Divide Album. They are representative, directive, commissive and

expressive. Representatives are the most frequent category of lIlocutionary

acts found in the song lyrics. The use of representative is to represent the

speaker‟s belief of something that can be evaluated to be true or false. It

means that Sheeran in this album wants to represent his belief or thought to

the addressees (girlfriend, family, fans, and listeners)

2. There are four types of functions of illocutionary acts found in the song lyrics

of Ed Sheeran‟s Divide Album. They are competitive, convivial,

collaborative, and conflictive. The highest frequency of the functions of

illocutionary acts is collaborative function. Collaborative function becomes

the most dominant in this study because representative act is also the most

dominant category as collaborative is the function of representative act.


83

5.2 Suggestions

Based on the results, the researcher proposes some suggestions as follows:

1. To the future researchers who want to conduct the similar study can

undertake the research with deeper discussions about the social goal in the

functions of illocutionary act. The researcher suggests this research needed to

be done next in understanding the functions of illocutionary acts in order to

generate a more perfect study.

2. It is also expected from the future researchers to provide more explanation

related with the study of illocutionary functions about the linguistic behavior:

positive and negative politeness which is needed to be explained clearly of

how it is consider as positive or negative politeness in the utterances of the

speakers.

3. There are more objects of study that can be conducted with illocutionary acts

as the frame work. The other researchers can inquire in different area such as

advertisement, speech, movie and any other objects to analyze not only the

category but also the function of illocutionary act to present different result.


84

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Grafindo.

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Coulthard, M. 1977. An Introduction to Discourse Analysis. London: Longman

Group Ltd.

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2018. Biography of Ed Sheeran. Retrieved from

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Retrieved from https://www.google.com (September 2018)


https://www.biography.com/people/ed-sheeran

https://en.m.wikipedia.org/

https://www.google.com/

APPENDIX

SONG LYRICS OF ED SHEERAN’S DIVIDE ALBUM

1. ERASER

No. Lyrics Illocutionary Act Illocutionary

Function

1

I was born inside a small town, I lost

that state of mind

Learned to sing inside the Lord's

house, but stopped at the age of nine

I forget when I get awards now the

wave I had to ride

The paving stones I played upon,

they kept me on the grind

So blame it on the pain that blessed

me with the life

Expressive of

blaming Conflictive

2

Friends and family filled with envy

when they should be filled with pride

And when the world's against me is

when I really come alive

And every day that Satan tempts me,

I try to take it in my stride

Representative of

telling Collaborative

3 You know that I've got whisky with

white lines and smoke in my lungs

Representative of


4 I think life has got to the point I

know without it's no fun

Representative of

claiming Collaborative

5

I need to get in the right mind and

clear myself up

Instead, I look in the mirror

questioning what I've become

Directive of

asking Competitive

6

I guess it's a stereotypical day for

someone like me

Without a nine-to-five job or an uni

degree

To be caught up in the trappings of

the industry

Representative of

predicting Collaborative

7

Show me the locked doors, I find

another use of key

And you'll see

Directive of

ordering Competitive

8

I'm well aware of certain things that

will destroy a man like me

But with that said give me one more,

higher

Directive of



9 I am happy on my own, so here I'll

stay

Representative of


10

Save your lovin' arms for a rainy

day

And I'll find comfort in my pain

Eraser

Directive of

suggesting Competitive

11

I used to think that nothing could be

better than touring the world with my

songs

Representative of

confessing Collaborative

12 I chased the pictured perfect life, I

think they painted it wrong

Expressive of

deploring Conflictive

13 I think that money is the root of evil

and fame is hell

Representative of


14

Relationships and hearts you fixed,

they break as well

And ain't nobody wanna see you

down in the dumps

Because you're living your dream,

man, this shit should be fun

Representative of


15 Please know that I'm not trying to

preach like I'm Reverend Run

Representative of


16 I beg you, don't be disappointed with

the man I've become

Directive of

begging competitive

17

Our conversations with my father on

the A14

Age twelve telling me I've gotta

chase those dreams

Representative of


18

Now I'm playing for the people, dad,

and they know me

With my beat and small guitar

wearing the same old jeans

Representative of

describing Collaborative

19 Wembley Stadium crowd's two-

hundred-and-forty-thou

Representative of

informing Collaborative

20

The world may be filled with hate but

keep erasing it now

Somehow

Directive of


21 Welcome to the new show Expressive of

greeting Convivial

22

I guess you know I've been away

But where I'm heading, who knows

But my heart will stay the same

Representative of



2. CASTLE ON THE HILL


Function

1. When I was six years old I broke my

leg

Representative of


2.

I was running from my brother and

his friends

And tasted the sweet perfume of the

mountain grass I rolled down

Representative of


3.

I was younger then, take me back to

when

I Found my heart and broke it here

Representative of


4.

Made friends and lost them through

the years

And I've not seen the roaring fields in

so long, I know I've grown

But I can't wait to go home

Representative of


5. I'm on my way Representative of


6. And I miss the way you make me

feel, and it's real

Representative of


7. We watched the sunset over the

castle on the hill

Representative of


8. Fifteen years old and smoking hand-

rolled cigarettes

Representative of


9.

Running from the law through the

backfields and getting drunk with my

friends

Representative of


10. Had my first kiss on a Friday night, I

don't reckon that I did it right

Representative of


11.

But I was younger then, take me back

to when

We found weekend jobs, when we

got paid

Representative of


12. We'd buy cheap spirits and drink

them straight

Representative of


13.

One friend left to sell clothes

One works down by the coast

One had two kids but lives alone

One's brother overdosed

One's already on his second wife

One's just barely getting by

Representative of

reporting Collaborative


But these people raised me and I can't

wait to go home

14. I still remember this old country

lanes

Representative of


3. DIVE


Function

1

Maybe I came on too strong

Maybe I waited too long

Maybe I played my cards wrong

Oh, just a little bit wrong

Representative of


2 Baby I apologize for it Expressive of

apologizing Convivial

3

I could fall, or I could fly Here in

your aeroplane

And I could live, I could die Hanging

on the words you say

Representative of


4

And I‟ve been known to give my all

And jumping in harder than Ten

thousand rocks on the lake

Representative of


5 So don’t call me baby

Unless you mean it

Directive of

warning Competitive

6 Don’t tell me you need me

If you don‟t believe it

Directive of

warning Competitive

7 So let me know the truth

Before I dive right into you

Directive of

requesting Competitive

8 You‟re a mystery Representative of


9 I have travelled the world, there‟s no

other girl like you

Representative of


10 No one, what’s your history? Directive of

asking Competitive

11 Do you have a tendency to lead

some people on?

Directive of

asking Competitive

12 And lie awake, everyday don't know

how much I can take

Representative of


13 Sitting back, looking at every messy

that I made

Representative of



4. SHAPE OF YOU


Function

1

The club isn't the best place to find a

lover

So the bar is where I go

Representative of

stating Collaborative

2

Me and my friends at the table doing

shots Drinking fast and then we talk

slow

Representative of


3 Come over and start up a

conversation with just me

Directive of

commanding Competitive

4 And trust me I'll give it a chance

now

Commisive of

promising Convivial

5

Take my hand, stop, put Van the

Man on the jukebox

And then we start to dance, and now

I'm singing like

Directive of


6 Girl, you know I want your love Representative of


7 Your love was handmade for

somebody like me

Representative of


8 Come on now, follow my lead Directive of


9 I may be crazy, don't mind me Directive of


10 Say, boy, let's not talk too much Directive of


11 Grab on my waist and put that body

on me

Directive of


12 I'm in love with the shape of you Representative of


13 We push and pull like a magnet do Representative of


14

And last night you were in my room

And now my bed sheets smell like

you

Representative of


15 Every day discovering something

brand new

Representative of


16

One week in we let the story begin

We're going out on our first date

You and me are thrifty, so go all you

Representative of



can eat

17 Fill up your bag and I fill up a plate Representative of


18

We talk for hours and hours about the

sweet and the sour

And how your family is doing okay

Representative of


19 Leave and get in a taxi, then kiss in

the backseat

Representative of


20 Tell the driver make the radio play Representative of


5. PERFECT


Function

1 I found a love for me Representative of


2 Darling just dive right in

And follow my lead

Directive of


3 Well I found a girl beautiful and

sweet

Representative of


4 I never knew you were the someone

waiting for me

Representative of


5

'Cause we were just kids when we

fell in love

Not knowing what it was

Representative of


6 I will not give you up this time Commisive of

promising Convivial

7

But darling, just kiss me slow, your

heart is all I own

And in your eyes you're holding mine

Directive of


8

Baby, I'm dancing in the dark with

you between my arms

Barefoot on the grass, listening to our

favorite song

Representative of


9

When you said you looked a mess, I

whispered underneath my breath

But you heard it, darling, you look

perfect tonight

Expressive of

praising Convivial

10 Well I found a woman, stronger

than anyone I know

Representative of


11 She shares my dreams, I hope that Commisive of Convivial


someday I'll share her home wishing

12

I found a love, to carry more than just

my secrets

To carry love, to carry children of our

own

Representative of


13 We are still kids, but we're so in love

Fighting against all odds

Representative of


14 I know we'll be alright this time Commisive of

promising Convivial

15 Darling, just hold my hand Directive of


16 Be my girl, I'll be your man Directive of


17 I see my future in your eyes Representative of


18 I don't deserve this, darling, you look

perfect tonight

Expressive of

praising Convivial

19 I have faith in what I see Representative of


20

Now I know I have met an angel in

person

And she looks perfect

Expressive of

praising Convivial

6. GALWAY GIRL


Function

1

She played the fiddle in an Irish band

But she fell in love with an English

man

Representative of


2

Kissed her on the neck and then I

took her by the hand

Said, "baby, I just want to dance"

Representative of


3 I meet her on Grafton street right

outside of the bar

Representative of


4 She shared a cigarette with me while

her brother played the guitar

Representative of


5 Do you want to drink on? commisive of

offering Competitive

6 She took Jamie as a chaser, Jack for

the fun

Representative of


7 She got Arthur on the table with Representative of Collaborative


Johnny riding as a shotgun telling

8

Chatted some more, one more drink

at the bar

Then put Van on the jukebox, got up

to dance

Representative of


9 You're my pretty little Galway girl Expressive of

praising Convivial

10

You know she beat me at darts and

then she beat me at pool

And then she kissed me like there

was nobody else in the room

Representative of


11

As last orders were called was when

she stood on the stool

After dancing to Kaleigh, singing to

trad tunes

Representative of


12 I never heard Carrickfergus ever

sang so sweet

Expressive of

praising Convivial

13 A capella in the bar using her feet for

a beat

Representative of


14

Oh, I could have that voice playing

on repeat for a week

And in this packed out room swear

she was singing to me

Expressive of

praising Convivial

15 And now we've outstayed our

welcome and it's closing time

Representative of


16 I was holding her hand, her hand was

holding mine

Representative of


17

Our coats both smell of smoke,

whisky and wine

As we fill up our lungs with the cold

air of the night

Representative of


18

I walked her home then she took me

inside

To finish some Doritos and another

bottle of wine

Representative of


19

I swear I'm gonna put you in a

song that I write

About a Galway girl and a perfect

night

Commisive of

promising Convivial


7. HAPPIER

No Lyrics Illocutionary Act Illocutionary

Function

1

Walking down 29th and Park

I saw you in another's arms

Only a month we've been apart

Representative of


2 You look happier Expressive of

praising Convivial

3 Saw you walk inside a bar Representative of


4 He said something to make you laugh Representative of


5 I saw that both your smiles were

twice as wide as ours

Representative of


6 Yeah, you look happier, you do Expressive of

praising Convivial

7 Ain't nobody hurt you like I hurt you

But ain't nobody love you like I do

Representative of


8

Promise that I will not take it

personal, baby

If you're moving on with someone

new

Commisive of

promise Convivial

9 'Cause baby you look happier, you

do

Expressive of

praising Convivial

10

My friends told me one day I'll feel it

too

And until then I'll smile to hide the

truth

But I know I was happier with you

Representative of


11 Sat on the corner of the room

Everything's reminding me of you

Representative of


12

Nursing an empty bottle and telling

myself you're happier

Aren't you?

Representative of


13

I know that there's others that deserve

you

But my darling, I am still in love

with you

But I guess you look happier, you do

Representative of


14 I could try to smile to hide the truth Representative of


15 I know I was happier with you Representative of



16

I knew one day you'd fall for

someone new

But if breaks your heart like lovers do

Just know that I'll be waiting here

for you

Commisive of

promise Convivial

8. NEW MAN


Function

1

I heard he spent five hundred pounds

on jeans

Goes to the gym at least six times a

week

Wears both shoes with no socks on

his feet

And I hear he's on a new diet at

watches what he eats

He's got his eyebrows plucked and

his asshole bleached

Owns every single Ministry CD

Tribal tattoos and he don't know what

it means

But I heard he makes you happy, so

that's fine by me

Representative of


2 But still, I'm just keepin' it real Representative of


3 Still lookin' at your Instagram and

I'll be creepin' a lil'

Representative of


4

I'll be tryin' not to double tap, from

way back

'Cause I know that's where the

trouble's at

Representative of


5

Let me remind you of the days when

You used to hold my hand

And when we sipped champagne out

of cider cans

Representative of


6

I guess if you were Louis Lane, I

wasn't Superman

Just a young boy tryin' to be loved

Representative of


7

So let me give it to ya

I don't wanna know about your

new man

'Cause if it was meant to be You

wouldn't be callin' me up tryin' to

Commisive of

refusing Conflictive


'Cause I'm positive that he don't

wanna know about me

8 I know you're missin' all this kind of

love

Representative of


9 But I'm positive that he don't wanna

know about me

Representative of


10

Every year, he goes to Málaga with

all the fellas

Drinks beer, but has a six pack, I'm

kinda jealous

He wears sunglasses indoors, in

winter, at nighttime

And every time a rap song comes on,

he makes a gang sign

Says, chune, boy never light up the

room

Representative of


11 But enough about him, girl, let's talk

about you

Directive of


12

You were the type of girl who sat

beside the water readin'

Eatin' a packet of crisp, but you will

never find you cheatin'

Representative of


13

Now you're eatin' kale, hittin' the

gym keepin' up with Kylie and Kim

In the back of the club, kissin' a boy

that ain't him

Representative of


14

Okay, you need to be alone

And if you wanna talk about it, you

can call my phone

Commisive of

offering Convivial

15 I just thought I would tell you, 'cause

oughta know

Commisive of

promise Convivial

16 You're still a young girl tryin' to be

loved

Representative of


17 Baby, I'm not tryin' to ruin your week

But you act so differently

Representative of


18 When you're with him, I know you're

lonely

Representative of


19 Please remember you're still free

To make the choice and leave

Representative of

advising Collaborative

20 Don't call me up, you need to show

me

Directive of



9. HEARTS DON‟T BREAK AROUND HERE


Function

1 She is the sweetest thing that I know Representative of


2 You should see the way she holds

me when the lights go low

Directive of


3 Shakes my soul like a pot hole, every

time

Representative of


4 Took my heart upon a one way trip

Guess she went wandering off with it

Representative of


5 Unlike most women I know

This one will bring it back whole

Representative of

believing Collaborative

6

Oh my baby, lately I know

That every night I'll kiss you you'll

say in my ear

Oh we're in love aren't we?

Commisive of

promise Convivial

7 Hands in your hair, fingers and

thumbs baby

Representative of


8 I feel safe when you're holding me

near

Representative of


9 Love the way that you conquer your

fear

Representative of


10 You know hearts don't break around

here

Representative of

convincing Collaborative

11

She is the river flow in Orwell

And tin wind chimes used for

doorbells

Representative of


12 Fields and trees and her smell, fill my

lungs

Representative of


13 Spent my summer time beside her

And the rest of the year the same

Representative of


14

She is the flint that sparks the lighter

And the fuel that will hold the flame

Representative of


15 Well I found love in the inside

The arms of a woman I know

Representative of


16 She is the lighthouse in the night that

will safely guide me home

Representative of


17 And I'm not scared of passing over

Or the thought of growing old

Representative of



10. WHAT DO I KNOW


Function

1

Ain't got a soapbox I can stand upon

But God gave me a stage, a guitar

and a song

Representative of


2 I'll paint the picture, let me set the

scene

Commisive of

promising Convivial

3

I know when I have children they

will know what it means

And I pass on these things my

family's given to me

Just love and understanding,

positivity

Representative of


4

We could change this whole world

with a piano

Add a bass, some guitar, grab a beat

and away we go

Representative of

convincing Collaborative

5

I'm just a boy with a one-man show

No university, no degree, but lord

knows

Representative of


6

Everybody's talking 'bout exponential

growth

And the stock market crashing in

their portfolios

While I'll be sitting here with a

song that I wrote

Commisive of

promising Convivial

7

Sing, love could change the world in

a moment

But what do I know?

Directive of

asking Competitive

8 The revolution's coming, it's a

minute away

Representative of


9 I saw people marching in the streets

today

Representative of


10

You know we are made up of love

and hate

But both of them are balanced on a

razor blade

Representative of


11

I know, I'm all for people following

their dreams

Just re-remember life is more than

fittin' in your jeans

It's love and understanding, positivity

Directive of


12 You know, the future's in the hands Directive of Competitive


of you and me

So let's all get together, we can all

be free

suggesting

13 Spread love and understanding,

positivity

Directive of

encouraging Competitive

11. HOW WOULD YOU FEEL


Function

1 You are the one girl

And you know that it's true

Representative of


2 I'm feeling younger

Every time that I'm alone with you

Representative of


3 We were sitting in a parked car

Stealing kisses in the front yard

Representative of


4

We got questions we should not ask

but

How would you feel, if I told you I

loved you?

Directive of

asking Competitive

5

It's just something that I want to do

I'll be taking my time, spending my

life

Falling deeper in love with you

Commisive of

promising Convivial

6 So tell me that you love me too Directive of


7

In the summer, as the lilacs bloom

Love flows deeper than the river

Every moment that I spend with you

Representative of


8 We were sat upon our best friend's

roof

Representative of


9

I had both of my arms round you

Watching the sunrise replace the

moon

Representative of


12. SUPERMARKET FLOWERS


Function

1 I took the supermarket flowers from

the windowsill

Representative of


2 I threw the day old tea from the cup Representative of



3

Packed up the photo album Matthew

had made

Memories of a life that's been loved

Representative of


4 Took the get well soon cards and

stuffed animals

Representative of


5 Poured the old ginger beer down the

sink

Representative of


6

Dad always told me, "don't you cry

when you're down"

But mum, there's a tear every time

that I blink

Representative of


7

Oh I'm in pieces, it's tearing me up,

but I know

A heart that's broke is a heart that's

been loved

Representative of


8 So I'll sing Hallelujah Commisive of

promising Convivial

9

You were an angel in the shape of

my mum

When I fell down you'd be there

holding me up

Expressive of

praising Convivial

10

Spread your wings as you go

And when God takes you back we'll

say Hallelujah

Directive of


11 You're home Representative of


12 I fluffed the pillows, made the beds,

stacked the chairs up

Representative of


13 Folded your nightgowns neatly in a

case

Representative of


14

John says he'd drive then put his hand

on my cheek

And wiped a tear from the side of my

face

Representative of


15

I hope that I see the world as you

did cause I know

A life with love is a life that's been

lived

Commisive of

wishing Convivial

16 You got to see the person that I have

become

Representative of



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ILLOCUTIONARY ACT IN SONG LYRICS OF ED SHEERAN’S DIVIDE ...

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