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prudent to re-frain from mentioning，and to which I will assign to fictitious name, there is one anciently common to most towns，great or small:to wit，a workhouse } and in this workhouse I was born; on a day and date which I need not trouble myself to repeat，inasmuch as it can be of no possible consequence to the read-er, in this stage of the business at all events，the item of mortality whose name is prefixed to the head of this chapter. For a long time after it was ushered into this world of sorrow and trouble，by the parish surgeon， it remained a matter of considerable doubt whether the child would survive to bear any name at all;in which case it is somewhat more than probable that these memoirs would never have appeared } or，if they had，that being comprised within a couple of pages，they would have possessed the inestimable merit of being the most concise and faithful specimen of biography, extant in the literature of any age or count即• 这两段取自于《奥列佛•退斯特》第一章中的开头两段，它们共有15个小句((clause), 20个动词，其中5个动词是关系过程(relational process).值得注意的是这些含有关系过程的小句都直接与“贫民习艺所”(workhouse)有关—陈述他对“贫民习艺所”的看法或阐明它与作者生活的联系(他出生在这个“贫民习艺所”里，尤为重要的是他的母亲在这里走完了她人生的全程)，这为小说围绕work-house来展示贫民阶层的凄惨生活安下了伏笔。在12个物质过程(material process)中，4个物质过程的动词直接拥有“I”作为其施事者，另外的4个物质过程虽然以被动语态的形式出现，但其隐含的施事者分别是“贫民习艺所”(2个)、与作者直接有关的“I " (1个)以及与“自传”相联系的1个。引文中所出现的2个言语过程(verbal process)，其“说话者”(sayer)依然是"I"，还有一个存在过程(existential process).从这短短的两段引文中由于“贫民习艺所”与“I”成了议论的焦点和中心，而它们的反复出现和得到的强调无疑有助于主题的发挥和阐述。相似的及物过程在《奥列佛•退斯特》一书最后的段落中同样得到了生动的体现. Within the altar of the old village church there stands a white marble tablet，which bears as yet oneword: many, many years, before another name is placed above it! But if the spirits of the Dead ever come back to earth，to visit spots hallowed by the love-the love beyond the grave-of those whomthey knew in life, I believe that the shade of Agnes sometimes hovers round that solemn nook. I believe it none the less because that nook is in a Church，and she was weak and erring. 本段引文共有小句12个，其中物质过程5个，心理过程(mental process) 3个，关系过程2个以及存在过程2个。这里值得注意的是连续出现了3个心理过程，其中两个直接用“I”作为其“感觉者”(senser)，这种叙述重点方面所发生的变化是符合小说语篇叙述规律的. ┌─┬────────┬───┬─────────┬───┬─────────────┐ │ │引子 │~州卜 │事件的描写 │，刁卜│事件发生后的叙述 │ ├─┼────────┼───┼─────────┼───┼─────┬─┬─────┤ │小│出现各种过程， │ │主要以物质过程为 │ │心理过程为│或│言语过程为│ │说│但一般以物质过 │ │主体，详细介绍事 │ │主，描写人│ │主，描写人│ │语│程、关系过程、存│ │件发生的整个过 │ │们在事件发│ │们在事件发│ │篇│在过程……，这 │ │程，同时也可能出 │ │生之后对此│ │生之后对此│ │ │些过程的选用为 │ │现诸如“行为过程”│ │产生的反 │ │作出的评 │ │ │小说主题的展开 │ │(behavioral pro- │ │思. │ │价，发表见│ │ │份下铺陈。 │ │cess)之类的过程. │ │ │ │桩…… │ └─┴────────┴───┴─────────┴───┴─────┴─┴─────┘ 劳伦斯与狄更斯是写作风格迥然不同的作家，这一点在及物性的运用上也得到证实。 Ursula and Gudrun Brangwen sat one morning in the window-bay of their father's house in Bel-dower, working and talking. Ursula was stitching a piece of brightly coloured embroidery. and Gudrun was drawing upon a board which she held on her k nee. They were mostly silent. talking as theirthoughts strayed through their minds. 本段引文出自于劳伦斯《恋爱中的女人》中的第一段，共有9个小句。在出现的9个动词中出现了6个物质过程，其中5个物质过程分别由主人公Ursul。和Gudrun担任施事者，这与《奥列佛•退斯特》中以“I”作为主要施事者形成了鲜明的对比，此外2个言语过程中的“说话者”也分别是这两位主人公。引文中的唯一的一个关系过程叙述了两位主人公所处的状态，非常有趣的是就在这第一段引文之后，出现了一长串的连续对话，在这段对话中，言语过程、心理过程以及物质过程得以广泛的采用.对劳伦斯来说，他似乎并不热衷于将自己探深地卷入小说的叙述之中(用过多的第一人称手法表示)，相反小说中主人公成了他的化身。 "Did you need Gerald?" she asked one evening. "Yes，”he sa