- Something moved inside.
- Two dark eyes stared out at him.
- He snatched a frightened glimpse of a man’s face. Staring. Watching….
1. The first clause construes a happening, but the Thing realising the Medium of the Process is not differentiated for [± conscious], let alone [± human].
Something
|
moved
|
inside
|
Actor
|
Process: material
|
Location: relative: rest
|
2. The second clause construes a conscious process as a behaviour, thereby assigning [+conscious] to the Medium of the Process, but not resolving the question of [± human]. This ambiguity is reinforced by the use of synecdoche — realising the Behaver in terms of its parts (two dark eyes) — and by the lexical choice of dark, which potentially signals both the unknown, and a negative assessment ('sinister') of the conscious Behaver.
Two dark eyes
|
stared
|
out
|
at him
|
Behaver
|
Process: behavioural
|
Location: relative: motion: away from
|
Location: orientation
|
marked focus of New
|
The potential threat of a 'dark' consciousness is then supported the lexical choice of Process, stare, which also provides the Quality of the Process ('look fixedly'), and grammatically by the 'emanating' directionality given to the Process by the 'motion' and 'orientation' Locations.
3. The third clause metaphorically construes a 'middle' mental clause as an 'effective' material clause.
Senser
|
Process:
|
Manner: quality
|
mental: perception
|
Phenomenon
| |
He
|
snatched
|
a
|
frightened
|
glimpse of
|
a man’s face
|
Actor
|
Process: material
|
Goal
| |||
focus of New
| |||||
Because the wording of a metaphorical clause additionally realises the meaning of its congruent agnate, this simultaneously construes both the outer (material) experience and the inner (mental) experience of the protagonist.
Less abstractly, in terms of outer experience, the clause construes the protagonist as taking quick action — with the lexical choice of Process, snatch, also providing the Quality of the Process ('quickly seize'). On the face of it, this is self-directed action in response to the potential threat implied in the second clause.
Only more abstractly does the clause construe the inner experience of the protagonist: as perceiving a Phenomenon — now confirmed as apparently [+ human], through synecdoche (a man's face) — in an emotional manner (frightened).
The final two behavioural clauses put the information Focus on processes, but nevertheless keep material action frozen, by first repeating the potential threat staring ('look fixedly'), but then reducing the threat through the lexical choice of watching.
Staring
|
Process: behavioural
|
focus of New
|
Watching
|
Process: behavioural
|
focus of New
|
