Analysing The Grammar Of Clause As Message In Ann Iwuagwu s Arrow Of Destiny A Functional Linguistic Approach.pdf

Quest Journals
Journal of Research in Humanities and Social Science
Volume 9 ~ Issue 6 (2021)pp: 10-20
ISSN(Online):2321-9467
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*Corresponding Author: Innocent Sourou KOUTCHADE 10 | Page
Research Paper
Analysing The Grammar Of Clause As Message In Ann
Iwuagwu’s Arrow Of Destiny: A Functional Linguistic Approach
Innocent Sourou KOUTCHADE
&
Albert Omolegbé KOUKPOSSI
&
Koladé Innocent EGOUDJOBI
Abomey-Calavi University, Republic of BENIN
ABSTRACT
Creative writers achieve impact and communicate emotions to their readers through their style. This study, from
that premise, explores Ann Iwuagwu’s Arrow of Destiny through a lexico-grammatical analysis with a special
focus on Theme/Rheme structure of the clauses that make the blueprint of the narrative story. Halliday’s
Systemic Functional Linguistics (SFL) which underpins the study posits that the analysis of theme patterns
(topical, interpersonal, structural and textual theme) of a text can reveal how its clausal constituents are
organized to embody textual meaning which is an aspect of texture. Therefore, as for a methodological
approach, each functional group of the clauses from two extracts in terms of Theme components is identified
and the frequencies of occurrence and percentages are calculated and tabulated. The study reveals that there is
a predominance of topical unmarked and textual themes in the selected extracts of the novel. In addition, other
theme-types such as topical marked and interpersonal themes are also used to point out some prominent
linguistic and rhetorical features of the novel.
KEYWORDS: Arrow of Destiny, lexico-grammar, textual meaning, Theme patterns, texture
Received 15 June, 2021; Revised: 28 June, 2021; Accepted 30 June, 2021 © The author(s) 2021.
Published with open access at www.questjournals.org
I. INTRODUCTION
Generally, language is viewed as the first efficient human medium of communication (Crystal, 2008).
Through it, people exchange meanings, express feelings, emotions, thoughts, and transmit knowledge and
culture from one person to another and from one generation to another. For writers, language stands as a raw
material, the means through which they produce their literary works.
Considering this leading role of language in all human activities and human identical survival, scholars,
mostly linguists, have directed their focus on it with the purpose of understanding its internal and external
structures for a better use. Recently, linguist scholars have been more and more interested in understanding the
literary language use from a linguistic perspective. That gives birth to linguistic stylistics. It is in fact the
application of linguistic theories to the analysis of literary texts. Halliday (2002) defines it as:
The description of literary texts, by method derived from general linguistic theory using the categories of
description of the language as a whole and the comparison of each text with others, by the same and by different
authors, in the same and in different genres (P.6).
In fact, scholars notice that there is a close relationship between Linguistics and Literature. Widdowson
(1979) explains the interest of linguists in undertaking linguistic study of literature when he says that literature
represents data that can be accounted for in terms of linguistic description. The ultimate goal here is to enter the
writer’s literary universe so as to offer a better understanding and explain it. An instance of literary text says
Nigel (2002) can have multiple representations and Linguistics offers a way of understanding how they come
about.
One of the most widely spread and practical theory is Halliday’s Systemic Functional Linguistics
(SFL). This theory considers language as a resource for making and exchanging meanings within two contexts:
the context of situation and the context of culture. For him, language always takes place in a context. That is to

Analysing The Grammar Of Clause As Message In Ann Iwuagwu’s Arrow Of ..
say the use of language should be contextually based. For Halliday and Matthiessen (2004), language conveys
three meanings simultaneously: experiential meaning, interpersonal meaning, and textual meaning.
Thompson (2004: 30) offers better understanding of these three strands of meanings. For him, with experiential
meaning, we use language to talk about our experiences of the world, to describe events and states the entities
involved in them. He accounts for the interpersonal meaning in terms of the use of language to interact with
other people, to establish and keep relationships and inference with their behaviours and to express opinions on
things in the world. The textual meaning is described as the use of language to organise our message in a
meaningful way.
Experiential meaning is realized through transitivity pattern of the clause associated with the field of
the text. Interpersonal meaning is expressed in the mood pattern of the clause associated with the tenor which
refers to the social relationships played by the interactants. Textual meaning is realized through Theme patterns
related to the mode of discourse. Mode refers to the role that language played in the interaction. Eggins (1994:
273) refers to ''Theme'' as the level of organization of clauses which helps them to be packaged in ways that
makes it effective given its purpose and its context. This last strand of meaning plays a leading role in the
organization of the message in a meaningful ways and it is also upon it that depends the first two meanings. This
leading role of textual meaning in organizing pieces of literary work prompted this study this study on the
exploration of textual meaning in Iwuagwu's Arrow of Destiny (2011). The main objective is to decipher how
Themes are organized to make meaning and how they typically define the literary style of the writer. In other
words, the descriptions of textual meaning have helped interpret how the thematic choices realize meanings
about the organization of the communicative events occurred in the novel.
1.Theoretical Framework
Halliday (1974:97) describes Textual meaning as the ‘relevance’ or the ‘enabling’ function. This is the level
of organization of the clause which enables clause to be packaged in a meaningful message. This strand of
meaning does not add new reality nor alter the two other dimensions of the clause (experiential and
interpersonal meaning). It is concerned with the potential the clause offers for its constituent to be organized
differently, to achieve different purposes. Textual metafunction is therefore concerned with the way in which
information is structured in language. All clause are organized in terms of flow of information which we use in
both spoken and written language (Halliday, 1976).
In Systemic Functional Linguistics, two key systems enter in the realization of textual meaning. It is the
system of Theme and the system of information structure.
1.1. The System of Theme
The system of theme is realized through a structure in which the clause falls into two main constituents: A
Theme and a Rheme. For Halliday and Matthiessen (2004) the Theme is the point of departure for the message.
It is the element the speaker selects for grounding what is going on to say. In other words, a theme in a clause is
the element which serves as the starting point for the message. It is what the clause is going to be about. In order
to identify theme in a clause, Halliday (1994) suggests that “theme extends from the beginning of the clause and
ends up to (and including) the first element that has a function in transitivity (p.53), i.e., a constituent is
participant, circumstance or process. Furthermore, he asserts that a message consists of a theme combined with a
Rheme. The Theme is therefore, followed by the Rheme which represents the rest of the message.
In short, in textual meaning, clause falls on two main parts constituents. The Theme and the Rhyme, let’s
turn on the different types of theme.
1.2. Different types of Theme
There are three elements of clause which have the potential to be theme based on the three strands of
meanings. Experimental elements, Interpersonal elements and Textual elements.
1.2.1. Experiential Theme
A Topical Theme is an element of the clause occurring in the first position and to which a transitivity
function or role such as Actor - Behavour – Sensor or circumstance can be attached to. It is the essential
constituent of the textual metafunction since it is an obligatory element of the clause. According to Fontaine
(2013), topical theme is the core element of the textual metafunction in the sense that it is the only element
required in the clause. It is worth mentioning that every clause must contain one and only one Topical Theme
and once a topical theme is identified, all the remaining elements of the clause are considered to be the Rheme.
Let us consider the following example:
(i)John (topical Theme) plays football in the school yard (Rheme).
(ii) Every Monday (topical Theme), I play volleyball (Rheme).

In sentence (i), John plays the function of actor (participant) in transitivity patterns. It is therefore
labelled as topical Theme. The element “every Monday” in sentence (ii) is playing the transitivity role of
circumstance, and is therefore labelled as topical Theme.
1.2.2. Interpersonal Theme
The interpersonal Theme is the clause constituent which occurs at the beginning of the clause and to
which we would assign a mood label. (Infused finite in interrogative structure, mood, polarity, and vocative and
comment adjuncts). Fontaine (2013) says that it includes any element of the clause which has an interpersonal
function and is in a thematic position. Interpersonal Themes include initial vocatives (they are clause
constituents used to address directly a person), mood (these are modal adjuncts which show the speaker’s
judgement such as probably, possibly, perhaps, always, occasionally, etc.) and comment adjuncts (any element
which indicates the speaker’s attitude to a proposition as a whole such as actually, unfortunately, to be honest
etc.).
(i) James (interpersonal theme), do you need me?
(ii) Perhaps (interpersonal theme) later.
The elements “James” and “actually” in the above examples are interpersonal theme. The remaining element
after theme is referred to as Rheme. Here is the summary of Theme component adapted from Halliday (1994:54)
Table 1: Summary of Theme component
Metafunctions Component of Theme
Textual
-Continuatives (Markers/: yes, no, well, o, now, they signal that a new move is beginning
-Structural (conjunction: and, or, nor, either, neither, but, yet, so, then, when, while, before, after, until,
because, even, in case…or WH-relative: which, who; whose, when, where, that….)
Conjunctive: relate the clause to the preceding text such that is, for instance, rather, in any case, in fact, in
short, actually; and, also, moreover, but, on the other hand, instead, meanwhile, then, likewise, so, if, yet,
etc.
Interpersonal Vocative: any item used to address a person
Modal: any of the different modal adjuncts which expresses speaker’s judgement regarding to relevance of
the message such as probably, possibly, certainly, perhaps, maybe, usually, sometimes, always,
occasionally, generally, regularly, of course, I think, in my opinion, personally, frankly, hopefully, etc
Experiential Topical (participant, circumstance, process)
Source: Halliday (1994: 54)
1.2.3 Textual Theme
The third clause constituent that can occur in thematic position is the Textual elements. They are
elements which do not express interpersonal or experiential meaning but which are doing important cohesive
work in relating the clause to its context. Only two types of textual elements can get to be theme. They are
continuity and conjunctive adjuncts.
1.2.3.1 Predicated Theme
Theme predication is a process which enables given and new information to be shifted. It is used by
speaker or writer to emphasis to a constituent that would otherwise be unemphasized while maintain the real
news which is in the rhyme of the original clause. By moving a constituent away from the beginning of the
clause, it is possible for it to carry the intonation and thus be signaled as “now” information rather than as given
information. Theme predication involves introducing element like: it was…
e.g. It was Femi who closed the door last night.
1.2.3.2 Marked and Unmarked Theme
Theme markedness has to do with the relationship between the mood and theme structure of the clause:
How the functional roles assigned to constituent in a theme analysis conflate with the functional roles assigned
to those same constituents in the mood structure. Thus, a theme is unmarked when it is also subject in a
declarative clause or finite in an interrogative clause or predicator in an imperative or who-element in a WH -
interrogative.
Theme is marked when it conflates with any other constituent from the mood structure. Sometime they
are conflated with circumstantial adjuncts.
II. LITERATURE REVIEW
SFL is a relevant analytical tool used to assess literary texts. Many scholars and language researchers
have used it to analyse literary works and offer better understanding of literary productions. As an example,
Halliday (1970), while analyzing Yeat’s poem “Leda and the Swan” from a transitivity perspective, argues that

the presence of nominal groups and the verb constituents, mainly those denoting high level of outrage are
considerably deverbalised. Similar to this is Hasan’s (1985) analysis of Les Murray’s poem, “Widower in the
country”. After the analysis, she concludes that the poem is a statement not about an actual Widow, but about
the centrality of interpersonal relationship for the preservation of a sense of humanity. In the same framework,
the language of both Ann Iwuagwa and William Golding in their respective literary work Arrow of Destiny and
Lord of the Flies has been assessed in order to disclose the thematic organization of the messages encapsulated
in these novels and offer a better understanding to the readers.
In order to set the methodological and theoretical foundation to this study, some past scholarships have
been reviewed in terms of their thematic concerns about the analysis of textual meaning and texture in literary
productions. Koutchadé (2015), Bilal (2012), Katja (2004), and Arunsirot (2013) are mainly revisited.
Koutchadé (2015) in his “Thematic structure and foregrounding in selected extracts from Adetundji
Ogundimu’s A Silly Season” finds that that the writer’s fiction is written to be read or thought over by the
reader with both a monologic and dialogic organization. Bilal (2012) on his part have applied the three strands
of meanings to the short story “Thanks you Mam” to find out if the analysis could help in better understanding
of this text. Definitely, the study finds that the examination of linguistic features of a text not only helps in
understanding the structure of the text but also its deep meanings. Such an analysis reveals the hidden self of the
characters, brings out their intentions behind their utterances which may be difficult to grasp. He ends up by
encouraging teachers to use discourse not only as a research method for investigating their own teaching
practices but also as a tool for studying interactions among language learners. Another similar work has been
carried out by Katja (2004) to make a comparison of some aspects of the experiential function of two
presidential speeches, one is in English and the other one is in Slovene. He is goal in carrying out this analysis is
to postulate to what extent the description and categorisation that have already been established in the English
language are valid in the Slovene language. The analysis points out firstly that the systems of both languages
differ substantially, the word-order which is fixed in English is much more flexible in Slovene. Moreover, the
system of marked and unmarked theme in different mood is not realized by the same feature as it is in the
English language. The analysis ends up with two conclusions. Firstly, it shows that semantic consistencies that
occur as a consequence of transitivity patterns represent generalizations that influence which aspects of reality
are emphasized in the two speeches and secondly, that analysis of this kind helps to establish differences and
similarities between texts by identifying consistent choices from the functionally organized linguistic resources.
Moreover, there is Arunsirot (2013) “An Analysis of Textual Metafunction in Thaî EFL students’
writing. The study is devoted to the exploration of the English writing skill of Thai students. The result reveals
the problems of students in terms of theme selections and thematic progression patterns. More specifically,
problem of empty theme, problem of the brand new theme, of the overuse of content progression, of the empty
Rheme and of the confusing selection of textual theme by Thai learners. He observes that the notions of theme
and Rheme is a powerful tool that can be used to improve writing skills. He went further to quote Wang (2007)
who noted that the insights gained from theme and Rheme patterns are valuable in not only creating a cohesive
text but also in teaching, writing he also mentions that it could help to show students how to read effectively by
paying attentions to the first paragraph, the topic sentence of each paragraph, and the theme of the clause. The
work ends in conclusion that the theme of a clause orients the readers to the message within the clauses, then
that being aware of the notions of theme and Rheme, the students will pay much attention to focusing on
cohesive tools and thematic structure due to problems with either thematic selection or thematic progression or
both, creating their texts in effective ways.
III. ANALYSIS OF THEME AND MODE OF DISCOURSE IN ARROW OF DESTINY
This textual analysis of Arrow of Destiny aims at revealing the linguistic choices which helps the writer
to organize the meaning being made in a cohesive and coherent message. As put in the introductory part of this
work, the realization of textual meaning is connected to Theme patterns associated to the mode of discourse. So,
a thematic analysis will be carried out through three different excerpts of the novel under study.
Key for Theme Analysis
In order to have a holistic description of all the clauses in the extracts, the following keys have been used to
distinguish the functional constituent in the clause and theme type identification:
- Theme is underlined
- Textual Theme is in italics
- Interpersonal Theme in CAPITALS
- Topical Theme in bold.
TT=Topical Theme, IT=Interpersonal Theme, TeT= Textual Theme, PT=Predicated Theme , MT=Multiple
Theme, MaT= Marked Theme, UMT=Unmarked Theme, ST= Simple Theme

3.1. Thematic analysis of extract 1
Theme identification
S1 Cynthia (TT) (ST) stood in the rain with her (An) luggage on chief Perekulu Street, new GRA Port
Harcourt(Homo) (C1). S2 almost oblivious of the pouring rain, she (An) (MT) had no particular destination in
mind (C2) but(TeT) knew (C3) she (An)(TT) just(TeT) needed to move (C4). S3 This environment (TT)
reminded her(An) of failure (C5) and(TeT) made her(An) feel dejected (C6). S4 she(An)(TT) found it(An)
funny that (C7) she(An)(MT) has lived on the street for ten years (C8) yet(TeT) had never really noticed this
particular tree under which (C9) she(An)(TT) now stood (C10) and(TeT) against which she(An)(MT) supported
herself (C11) as(TeT)the rain(MT) fell in streets (C12). S5 she(An)(TT) (ST) had more on her(An) mind
(C13) and the pain she(An)(MT) bore numbed the stinging effect of the heavy drop of rain on her(An) skin
(C14). S6 In fact (TeT), she(An)(MT) considered the pain (C15) which(TT) poured relentlessly on her(An) a
blessing (C16). S7 At least it(MT) kept her (An)mind occupied (C17) and(TeT) she(An)(MT) figured (C18)
it(An)(TT) (ST)was better to remain there under the three, with the cool touch of the natural rain water than to
return to where (C19) she(An)(TT) (ST) was coming from (C20). S8 Cynthia(TT) (ST) had unwittingly
become comfortable with chain of slavery for the past ten years (C21). S9 Here she(An)(MT) was now
contemplating freedom (C22). S10 As the rain(MT) began to let up afterC23 what(TT) (ST) seemed like an
eternityC24, she(An)(TT) (ST) began hopingC25 a taxi (TT) (ST) would come alongC26 . S11Where(UMT)
would I(TT) (ST)tell the driver to take me (exo) toC27 ? S12 She(An) (TT) ( ST) drifted C28. S13 First thing
first, though, she(An) (TT) (ST) musedC29, let the taxi(TT) (ST) come firstC30 and let us(MT) see what(TT)
(ST)happens after thatC3 ,She(An)(TT) (ST)smiled drylyC32. S14Then(TeT)she(An) (MT) noticedC33 that a
particular blue Honda Accord car(MT) had passed her(An) three times in opposite directions in the last five
minutesC34. S15 This time (Exo)she(An)(MT)sawC35 that the driver(Exo) (TT) (ST) flashed his
headlightsC36 as(TeT)he(MT) approached her(An) C37. S16Cynthia (TT) (ST) was not afraidC38. S17After
all the torture and torment of the past ten years, she(An)(TT) (ST) was ready for the worstC39 . S18
She(An)(TT) (ST) had endure ten long years of anguisC40h, where she(An)(MT) was considered
unimportantC41.S19 Ten years of fruitless venture where her(An) best effort(MT) was regarded as nothingC4.
S20 As memories of the past(MT) flooded her(An) mindC43, Cynthia(Exo)(TT) (ST) began to no one in
particularC44; I(TT) (ST) have done C45all a human(TT) (ST) could do to be happy C46 S21 It(TT) (ST)
seems the moreC47 I(TT) (ST) try C48, the more my pains(TT) (ST) increase C49. S22 None around (TT)
(ST)understands the tortureC50 I(TT) (ST) go through dailyC51 If only(TeT)this car(MT)would crush
me(Exo) C52, my(Exo)sad story(TT) (ST) would end once and for allC53.S23 But I(Exo) (MT) can’t go
running to this driver(Exo) to kill me(Exo)C54 , CAN(IT) IC55 ?S24 It(TT) (ST)will be suicideC56, and
that(MT) would mean eternal trouble with God C57, I still (TT) (ST) rememberC58 the bible(TT) (ST) says
C59 none (TT) (ST)should take his(An) or her(An) own life C60. S25That(TT) (ST)’s my(Exo) problem with
GodC61 . S26 DOES (IT) He(An) even (MT)knowC62 that so mebody like me(Exo) (TT) (ST) would
experience this wretched life and(TeT) still ask me(Exo) not to take my(Exo) lifeC63 ? S27 IS(IT) God not
unfair? C64 .
Results and statistics analysis of extract one
The following table displays the different types of theme in this first extract
Table 2: Theme types in extract 1
Themes Extract one
Category Number Percentage
Simple Themes 39 19%
Multiple Theme 22 11%
Topical Themes 56 28%
Interpersonal Themes 04 02%
Unmarked 60 29.7%
Marked 02 01%
Textual Theme 19 9.3%
Totals 202 100%
In this table, we can notice that various types of themes are used to express textual meaning. Simple
Themes, multiple Themes, topical Themes, textual Theme, interpersonal Theme, marked and unmarked Theme
are used to organize the flow of the message in the text. The table indicates that the number of simple theme is
39 and multiple theme is 22. They respectively represent 19% and 11%. There is clearly a dominance of simple
theme over multiple theme. This dominance observed indicates that text1 is a written mode. The main character
in this first extract is ''Cynthia'' as she has been thematized in the beginning of the text1 in clause 1. ''Cynthia
stood in the rain with her luggage on chief Perekulu street, GRA Port Harcout''. Thus, the grounding element in
this clause is ''Cynthia''. She is anaphorically picked up several times in this extract through the referent
pronouns ''she'', ''her'', as in clause 2; 4; 7; 8;9;10;11;12;13;14;15;16;17;18;20;etc , (2) '' she had no particular

destination in mind'' (4) ''she just needed to move'' (17) ''at least, it keep her mind occupied '' (20) ''she was
coming from...'' The use of these referents has helped the narrator to organize the discursive flow, make the
message cohesive and create continuity in the narration. It also brings the focus of the readers on ''Cynthia'' and
to what have been said or elaborated about her throughout the extract. As a matter of fact, the writer through the
use of referent pronoun ''she'', ''her'' and repetition as in clause 21 and 44. (21) ''Cynthia had unwillingly become
comfortable with the chain of slavery for the past ten years'' causes readers to sympathize with the situation she
went through. The presence of multiple theme in high proportion denote the dialogical aspect of this text. So, the
writer skillfully shifts from reading mode to dialogical mode as it appears in clause 62; 63; 64.'' Does he even
know that somebody like me would experience this wretched life and still ask me not to take my life? Is God not
unfair?
The analysis also shows that topical themes are 56 representing 28%, so, the text is highly topicalized.
This means that almost all the ranking clauses have at least one topical element in their thematic position. That
allows the writer to give an orientation to the message in the novel. Thus, we can infer that the text is a narrative
discourse. The number of textual themes is 19 representing 9.3% and that underlines the nature of the text as a
cohesive and coherent narrative text. These textual elements have helped the narrator to express logical relation
of addition, concession and enhancement as it appears in 5; 6; 10; 11 etc. (6) ''This environment reminded her of
failure and made her feel dejected ''10 and 11'' this environment reminded her of failure and made her feel
dejected'' 10 and 11'' she now stood and against which she supported herself''.
Compared to topical and textual themes, interpersonal themes are used in very lower proportion. Only
four (4) representing 2% of the total elements used in thematic position throughout the text. It means that the
concern of this text is a dialogue but a monological narration. The number of the unmarked theme is high in this
text. They are 60 representing 29.7%. This means that the writer follows a normal or typical manner in the
process of this narration. She also creates suspense in the text by using marked theme but in very lower rate 1%.
In this table, “Cynthia” stands as the starting point of the message. Thus, she is the given information
and “stood in the rain with her luggage on chief Perekulu street” the new information. As the table shows
“Cynthia” is also theme and that leads to conclude that the information is structured in a way that the given is
located in the theme of the clause while new is found in the Rheme of the clause.
3.1. Thematic analysis and mode of discourse of extract 2
The previous section has revealed the thematic organization of text 1 in terms of how topical, textual,
interpersonal, marked, unmarked simple and multiple themes have been used by the writer to structure in a
meaningful way the discursive flow in text 1. In the same line this section aims at using the same method to
analyse the thematic choices made in extract 2.
Theme identification
S1 As a long drawn (Homo) sigh loudly (MT) escaped her(Ca) lips C1, Cynthia (Exo) (TT) (ST)
realizedC2 she (An)(TT) (ST) had once again fallen into one of her(An) numerous thinking routines C3. S2
She(An) (TT) (ST) had been slipping into them(An) more frequently these past few weeks C4. S3 When (UMT)
wills this end? C5 S4 She(An) (TT) (ST) sighed again C6 as a teardrop (MT) trickled down her(An) cheek C7.
S5 She(An) (TT) (ST) wiped it way, muttering C8, this is no time for fears C9. S6 The rain(TT) (ST) ebbed
some more C10 and (TeT) darkness began to set in C11. S7 Still no taxi (TT) (ST) had come by C12 S8.
CAN’T(IT)(ST) blame themC13 , Cynthia(TT) (ST) thought C14.S9 If(TeT) I(MT) were a taxi driver C15,
I(TT) (ST) couldn’t imagine C16 what a mature woman(TT) (ST) would be doing outside this rainy night by
herselfC17. S10 All through my(Exo) life none (TT) (ST) has ever understood my (An)plight C18, so why
(MT) should I (TT) (ST) expect a taxi driver to do so now C19? S11 Even as(TeT) she(An) (MT) stood there
drenched C20; Cynthia (TT) (ST) could not even bring herself to stop any taxi in her(An) present condition
C21. S12 How (TT) could she(An) C22 when she(An)(MT) had no destination C23? S13 If(TeT) she(An)
eventually (MT) settled on one C24 and the fare (MT) was cheap C25, she(An) (TT) (ST) still couldn’t payC26.
S14 She(An) (TT) (ST) had no money on her(An) C27.S15 Nightfall (TT) (ST) came fast C28 but(TeT)
Cynthia (MT) was unperturbedC29. S16 As far as she(An) (MT) was concernedC30, the whole earth (TT)
(ST) could fall on her(An) right thereC31, and(TeT) she (An)(TT) (ST) was through with all her(An)
assignments on earthC32. S17 What (TT) (ST) was life 33, when she(An) (MT) had no peace of mind C34?
S18 Suddenly (MaT), the same carshe(An) (MT) had observed previously stopped by her(An)C35. S19 The
driver (MT) honked several times to attract Cynthia C36 but(TeT) she(an)(MT) pretended not to hearC37. S20
What does he(An) (MT) want from me(Exo) C38? S21I(TT) (ST) am sure C39 he(An)(TT) (ST) is not a taxi
driver C40 Cynthia(TT) (ST) said to herselfC41 S22. “Anyway (TeT), he(An) (MT) will not force me to
answer that horn C42 . S23 When he(An) (MT) is tired C43, he(An) (TT) (ST) will move off C44. S24 In
fact(TeT), she(An)(MT) was slightly irritated C45 that the man(TT) (ST) was disturbing her(An) peace C46.
S25 The driver whose name Cynthia(TT) (ST) later learnt was Boma, was on patrol duty that nightC47

and(TeT) could not figure out C48 what such a healthy looking woman(TT) (ST) would be doing out there
late 49 as(TeT)it(MT) were under the rainC49. S26 Each time he(An)(MT) drove past her C50
something(TT) (ST) told him(An) C51 that she(An) (MT) was in trouble C52. S27 She (An)(TT) (ST) didn’t
look like a trouble maker from her(An) looks but(TeT) his(An) training as a security officer (TT) (ST) told
him(An) C54 there(TT) (ST) was more to the woman standing out there than meets the eyeC55. S28
He(An)(TT) (ST) was well within his(An) rights to engage her(An) C56. S 29 He(An) (TT) (ST) really wanted
to ignore her(An) C57 but(TeT) his(An)spirit(MT) would not let him(An) C58. S30 This woman(TT) (ST)is
not a criminal C59 . S31 She(An)(TT) (ST) doesn’t look it(An) C32. S32 She(An)(TT) (ST)is also in no way
constituting any threat to my(Eo) job this night either C60 . S33 Boma(TT) (ST)thought to himself C61 . S34
Decidedly,Boma(MT) did not want see himself as a security agent this time , but a concerned citizen attending
to a damsel in distress C62 . S35 Tonight(Ma); he (TT)(MT) would be a Good Samaritan to this lonely woman
C63 . S36 As(TeT)he(TT)(MT) battled with his(An) thoughts C64 . S37 Cynthia(TT)just(TeT)(MT) stood
staring without focus into the thick blanket of darkness C65 . S38 It(An)(TT) (ST) is now or never C69 Boma,
he(An)(TT) (ST) muttered under his(An) breath C70. S40” What(UM) are you(TT) doing here(MaT)(MT)all
alone without even an umbrella over your head , Madam C71? S41 He(An)(TT)(ST) asked. No answer C72. “
S42It(TT) (ST) is rather late C73 , where(UMT) you(Exo) going C74 ? S43 ARE (IT)you(Exo)(TT)(MT)
waiting for somebody C75 and(TeT)CAN (IT)I(TT)(MT) be of any help C76 ? S44” He(Exo)(TT) (ST)
prodded further C77. S45 Still no answer(TT) (ST) came from the woman . Strange C78. S46
He(An)(TT)(ST) moved closer to her(An), as if to cover her(An) with his(An) umbrella C79.
S47(TeT)he(An)(MT) drew new near C80, he(An)(TT)(ST) noticed C81 that this strange woman(TT)(ST) was
actually pretty and attractive even in her(An) present state C82. S48 Boma(TT) (ST) found himself wondering
again C83 what on earth(TT)(ST)could be happening to this woman C84. S49 COULD (IT)it(An)(TT) (MT)
be a mental problem C85? S50 She’ (An)(TT)(ST)doesn’t look it C86 .S51 But(TeT) why(UMT)is
she(An)(TT)(MT) not talking C87 ? S52 COULD(IT)she(An)(TT)(MT) be deaf and dumb C88? S53
He(An)(TT)(ST) decided to try again C89.” S54 Madam, I(TT)(ST) hope C90 you(Exo)(TT)(ST) don’t mind
my (Exo)interference C91? S55 I(Exo)(TT)(ST) am only doing my(Exo) job as a security agent on this street
C92. S56 It(TT)(ST) is my(Exo) duty to give account of you C93 as(TeT) you(Exo)(TT)(MT)stand out here
now C94. S57 Please (IT) help me(Exo) to do my(Exo) job C95. S58 I(Exo)(TT)9ST) have not come to harm
you(Exo) C96. S59 She(Exo)(TT)(ST) turned to look at him (Exo)well for the first time C97.S60
As(TeT)she(Exo)(TT)(MT) faced him(Exo) C98, Boma(TT)(ST) nodded encouragingly C99 like
he(Exo)(TT)(ST)was saying “talk to me(Exo)” C100 . S61 Cynthia9TT)(ST) cleared herb throat , using
her(Exo) handkerchief to wipe her(EXo) wet face C101. S62 I(TT)(ST) am Cynthia going from somewhere to
nowherC102, she(An)(TT)(ST) replied C103. S63 What(TT) do you(Exo) mean, from somewhere to nowhere
C104? S64 He(An)(TT)(ST) asked, trying unsuccessfully to hide the bewildered expression on his(An) face
C105. S65 Exactly what I (An)(MT) said Mr security C105, I(TT)(ST) don’t have anywhere to go C106. S66
I(An)(TT)(ST) am going to sleep here tonight C107. S67 If(TeT) your(TT)(MT) law says no, C108 then(TeT)
the law (TT)(MT)should do its( An) worst C109. S68Boma(TT)(ST)could see the pain in the woman’s eyes
and sense bitterness in her(An) voice C110 as(TeT)she(An)(TT)(MT) spoke C111. S69 He(An)(TT)(ST) looked
at her(An) hand and saw her(An) wedding ring C113. S70 Oh!(TeT) God , what(TT) is exactly wrong with this
woman C114? S71 A domestic problem maybeC115. S72 Boma (TT)(ST) began to speak to her (An)in a
reassuring voice to make her(An) believe C116 he(TT)(ST) wanted to help her(An) C117.” S73 No matter
what you(MT) are going through remember C118 that(TT)(ST) you’re not alone in it C119 . S74
God(TT)(ST) is with you(Exo) C120 . S75 Even though(TeT)you(Exo)(TT)(MT) walk through the valley of
pains C121 .GodTT)(ST) understands C122 . S76 Your pains may be there for a while C123, but
(TeT)joy(TT)(MT) comes in the morning C124. S77 He(An)9TT)(ST) continued C125
“you(Exo)(TT)(ST)may have been maltreated, and(TeT) abandoned C126 by those you(Exo)(TT) (ST) love
and(TeT) trusted C127 but(TeT)you(Exo)(TT)(MT) must remember C128 that God(TT)(ST) has not
abandoned you(Exo) C129. S78 What you(Exo)(TT)(ST) should be thinking of now is not the problem C130
you(Exo)(TT)(ST) are in but how to solve it C131. S79 Cynthia(TT)(ST) listened silently C132 as(TeT)
he(An)(TT)(MT) spoke C133. S80 The rain(TT)(ST) had stopped now C134 and(TeT)Cynthia(TT)(MT)
looked out of place in her (An) wet clothes and dripping hair C135 and(TeT) here(MaT)(MT) was also this man
trying to help her(An) C136. S80“ ARE(IT)you(An)(TT)(MT) married C137 ? S81 Boma(TT)(ST) spoke
again C138. S82 “ Yes(TeT) I(TT)(MT) am C139, I(TT)(ST) was C140 . For ten years, I(An)(TT)(ST) have
been married without a child C141 . S83 My(An) husband, Idrisi (TT)(ST) lives about ten poles away from
here C142. “S84 Oh Thank God! It(TT)(ST) makes it easier for me C143. S85 I(Exo)(TT)(ST) thought
you(Exo)(TT)(ST) were from a far place C144 and (TeT)that you(An)(TT)(MT) were strand here C145. S86
CAN(IT)I(TT)(MT)take you(An) home now to your husband C146 ? S87 He(An)(TT)(ST) offered C147

Results and statistics analysis of extract one
Table 3: Recapitulation of Theme types in text 2
The table above shows that the number of simple themes is 80 and that of multiple themes is 32 given
respectively 20.5% and 8.25 % out of the total themes in extract 2. The text is a mixture of oral and written
mode as shown in clause 71; 75; 76; 90; 91; 102. The narrator starts the extract with the story of “Cynthia’’ the
main character then introduces a second character and engages them in a dialogue as it appears in this
interactive mood used by Boma the second character: (70) “what are you doing here all along without even an
umbrella over your head, Madam’’, (75)“are you waiting for somebody and can I be of any help’’. The
responding move follows in clause (102) “I am Cynthia going from somewhere to nowhere”. These clauses
demonstrated that information has been exchanged between the two characters (Boma and Cynthia).
The number of topical themes, that is the experiential elements which occur at the thematic position is
very high. They are 105 giving 27% of the overall themes used in extract. This comes to prove that it is a case of
a narrative discourse. The nominal elements put in thematic position in this extract are most of time the name of
the main character and the second character “Cynthia and Boma’’, they are respectively picked up by the
referents “she’’, “her’’, “he’’, “his’’ as in clauses 2, 4, 6, 8, 50, 54, etc. Textual elements used to tie the clauses
and sentences together are 51 in number giving a rate of 13.1%. They are used to organize the rhetorical event in
a single semantic unit. This helps readers to follow the course of the story and to deduce the meaning being
made by them.
Regarding the use of interpersonal themes, they are found in lower proportion compared to other theme
types. Only 11 are used in the rate of 13%. This indicates that the writer makes the text a little bit dialogical.
Unmarked theme is highly used. They are 108 given 28%. It means that the narrator focuses more on using
typical mood structure to narrate the story. Only 2 themes appeared to be marked in extract 2.
IV. DISCUSSION OF THE FINDINGS
In order to account for salient aspects of this study, the following table displays the recapitulation of the
analyzed Themes in the selected extracts.
Table 3: Recapitulation of findings of Theme analysis in Arrow of Destiny
Themes Extract 1 Extract 2
Category Frequency Percentages% Frequency Percentages%
ST 39 19% 80 20.5%
MT 22 11% 32 8.2%
TT 56 28% 105 27%
TeT 19 9.3% 51 13.1%
MaT 02 01% 02 1%
UMT 60 29.7% 108 28%
IT 04 2% 11 3%
Totals 202 100% 389 100%
Table 3 above presents a recapitulation of the analysis of Theme patterns in both extracts. It shows that
they are fifty-six (56) Topical themes, nineteen (19) textual themes and four (4) interpersonal theme in extract 1.
Topical themes referring to human being are twenty- three (23). The remainder refers to places and this implies
that extract 1 is about humans. In the first clause of the first sentence the author introduces “Cynthia” and keeps
track of her with fifteen identical topical themes and all of them are personal reference pronouns “she”. This
shows that the main character in this extract is Cynthia and the narrator wants the readers to notice it. Secondly,
it means that the author is just the narrator of the story about Cynthia and she does not play any part in this
actual story.
In addition to this, we also observe that most of the topical themes play the functional role of subject in
sentences which demonstrate that extract 1 is composed of declarative sentences. That helps to deduce that these
themes are unmarked topical themes as the topical theme is the first element in the clause having some function
in the ideational structure.
Theme category Number Percentage
Simple Themes 80 20.5%
Multiple Theme 32 8.2%
Topical Themes 105 27%
Interpersonal Themes 11 03%
Unmarked 108 28%
Marked 02 01%
Textual Theme 51 13.1%
Totals 389 100%

Three (3) topical Themes refers to the actors whereas twelve (12) represent the sensors. This proves that the
clauses of this extract are more mental or sensing clauses than clauses of action. This is illustrated in the
following passages:’’ This environment reminded her of failure and made her feel dejected, here she was now
contemplating freedom (pp.1-2).’’ In this two sentences “her” and “she” refer to Cynthia and the verbs
“reminded”, “feel”, “dejected” and “contemplating”, all express the mental state of Cynthia. This part shows
that this extract is a story about Cynthia. In fact, the main character “Cynthia’’ has been under a bondage of
fruitless marriage with the person who has been up to that moment of the story her husband. She endures ten
years of anguish where she was considered not as a wife but as a mere thing. Her best effort was regarded as
nothing, she was constantly beaten and maltreated by her husband, Idris. But now she is free. This leads to
conclude that the general topic or field of discourse in text 1 is “freedom’’. The method of Theme development
that the writer has adopted throughout text 1 is theme-reiteration pattern. The Theme reiterated more than others
is “she’’ and “I’’. They all stand for Cynthia and play the role of sensor in clause 2; 3; 4; 5; 6; 7; 8; 13; 14; 15;
actor in clause 1; 11; 12; 20; and behaviour in clause 25. Based on Danes (1974), theme reiteration pattern is the
basic pattern of theme in general. This is what helps the writer to keep the attention of readers on text and to
create cohesion in the text.
The presence of interpersonal themes in low rate proves that there are features of dialogue in this extract.
However, a close look on them reveal that they have been used not to talk with a second character but to achieve
self-talk. In fact, Cynthia uses them to talk to herself. For instance in C56 she wondered” But I can’t go running
to this driver to kill me, Can I?” and in C63 “Does God know that somebody like me would experience this
wretched life and still ask me not to take my life?” Is God not unfair? In these clauses, Cynthia was not
addressing someone in particular. So, she is the addresser and the addressee at the same time. Moreover, she
appears to be the only character in this extract. The narrator introduces her in the first clause and keeps track
with her throughout the extract. Thus, with certainty, extract one is a complete narration of past marital
experiences of Cynthia the main character in this extract.
It is also noticed that all the cohesive ties occurring in this extract are conjunctions. Most of them
express logical relation of extension, that is, they establish relations of addition and variation carried out by the
conjunctions “and”, “in fact”, “yet”, “but”, “which”, “now” as they appear in the analytical tables. The use of
these conjunctive ties has enabled the writer to packed and organize the whole message in a cohesive and
coherent manner as to convey meaning. It is probably because of this fundamental and crucial role they play in
text that Halliday has qualified them as the element that enable texts to be negotiated. In other words, they are
the structural element by which clauses are organized as a message. They act as the connection which links the
relationship of clause within the text and provide more explicit guidance to the readers in order to allow them to
obtain a coherent interpretation of the message encapsulated in the text.
The analysis of theme patterns in extract 2 reveals a high dominance of topical theme over all other
types of theme. They are one hundred and five (105) in number, fifty-one (51) textual themes and eleven (11)
Interpersonal Theme. The topical themes referring to human beings are one hundred and sixteen (116) over the
overall topical themes when add simple theme. So, it can be inferred that this extract focuses on human beings
and it clarifies the environment they are in as well as the things around them. It also appears that the main
character is still Cynthia. Thirty-three (33) personal pronouns of the third person refers directly to her (she). We
can divide the extract into three main sequences. The first one is a complete narration of “Cynthia’s complicated
and unfruitful marital life. This first sequence is highly dominated by the simple past tense (15). Past perfect and
conditional simple are used but in a very low rate. It implies that this first sequence narrates the past experiences
of the main character about the world.
In the second sequence, the writer has engaged the main character in a short monologue: “As teardrop
trickled down her cheek’’, Cynthia wonder, when will this end?” (C6 and C5), “As memories of the past flooded
her mind, Cynthia began talking to no one in particular. I have done all a human can do to be happy” or “all
through my life no one has ever understood my plight’’. A change in the use of topical themes is also noticed.
The “she” in the first sequence has now changed to “I”, the simple past of the first sequence has changed to the
simple present.
In the third sequence, the writer introduces a second character, “Boma”, and engages them in dialogue.
Boma initiates the dialogue with this interrogative mood: “What are you doing here all alone without even an
umbrella over your head, Madam?” (C67) and Cynthia took the responding mood: “I am Cynthia going from
somewhere to nowhere”, “What do you mean?’’ Boma asked.
Moreover, the organization of the texture not only reveals the written mode (as in the first and second
sequences) but also a dialogical mode demonstrated by the appearance of a second character, Boma. That makes
the novel fictitious. Again, the presence of multiple themes accounts for the fact that character have verbally
exchange information through dialogue. That leads to infer a hybridization within the mode of discourse. A
written mode which shifts from time to time to an oral mode. The writer starts with narration, glides to a
monologue and then dialogue. So, to this point, we can conclude that this extract is a mixture of narration,

monologue and then dialogue. In the interactive part of this extract, there are two characters, Cynthia, the main
character who the writer engages in a monologue and Boma, the security guard patrolling in the area Cynthia
stood. He offered his genuine help and support to this damsel in distress. In addition, all the most topical themes
play the role of subject in sentences which adds to the inference that the clauses of this extract are unmarked
also topical themes mostly play function in transitivity pattern with verbs like to see, to know, to seem, to
understand, etc. Considering textual themes, they are fifty-one (51) and they are almost of conjunctions
expressing logical relationship between sentences.
In short, the textual organization of extract 1 and extract 2 reveal the mastery of English by the writer in
Arrow of Destiny. The use of textual Theme so far denotes a careful plan of the rhetorical organization of the
narrative. They act as rhetoric devices and enables these extracts to be presented as a single semantic unit.
V. CONCLUSION
This study has focused on two extracts from Ann Iwuagwu’s Arrow of Destiny. The aim sets forth is to
explore linguistically this literary work and unveil under Systemic Functional Linguistic theory the meaning
encapsulated in them. We have specifically put emphasis on understanding the organization of the events
narrated in the novel so as to help readers grasping the social meaning conveyed.
Two extracts which show the essential of the message in the novel have been culled from the two
novels for linguistic analysis and interpretation. The theoretical framework has helped us to explain the concept
of theme, interpret and discuss the findings pointed out in this work.
It turns out through the different findings that the structural organization of the message at level of
clauses is dominated by a huge use of various types of themes. In the extracts for example, theme used varied
from topical, textual to interpersonal in high proportion as figured out in the statistic table. Indeed, it is this
system of theme that has helped Ann Iwuagwu to structure her work in a semantic unit. Thus, thematic
organization of this work not only reveals the writer’s style but it also depicts the social meaning embodied in
the novel.
As a matter of fact, Iwuagwu narrates the tough life of the main character (Cynthia) who navigated the
coast of life, uncertain and insecure but she was determined and fully prepared to swim against ocean’s current
and tides. Thus, like an arrow shot into the air, she moved through series of life challenges, from childhood to
adulthood believing that a new and bright day will come. The writer portrays her to reveal how life can
sometime appear. But definitely it was how life ends which means everything not how it started. Through the
main character’s life in the novel, she gives readers hope and encouragement, she holds strong belief that
destiny can only be delayed but can never be denied from being fulfilled and that is the whole point made in this
work.
The thematic development of the whole novel is highly dominated by theme re-iteration pattern. The
element which gets re-iterated throughout the extracts is the personal pronoun “she” standing for the main
character (Cynthia). Having this same participant made theme on a regular basis has provided the text with a
clear focus. Theme re-iteration is exploited with greater consistency in the two texts. This has the effect of
maintaining a strong topical focus in these extracts. So, thematic development has greatly helped in creating
cohesion and keeping readers focused. In short, textual meaning description in the excerpts from Arrow of
Destiny shows that the whole novel is a complete narration of Cynthia’s life experiences presented in written
mode.
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