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THE ROLE OF PHRASAL VERBS IN VERBALIZING POLITENESS
PRINCIPLEAND POLITENESS THEORY
Tukhtakhodjayeva Z.T.
PhD, As. Prof. UzSWLU
Gulmurodova G.U.
2
nd
year MA, UzSWLU
https://doi.org/10.5281/zenodo.15182286
Abstract:
This article is devoted to the relationship between phrasal verbs
in literary texts in English and Brown and Levinson’s politeness theory and
Leech’s politeness principle. With the help of a qualitative analysis of several
literary discourse samples, this paper investigates how phrasal verbs are
utilized in different politeness contexts. The analysis focuses on pragmatic
functions of phrasal verbs in literary dialogues, defining their role in using
politeness in conversational interactions. The findings indicate that phrasal
verbs often represent markers of politeness, particularly in indirect speech acts,
and containing various politeness maxims and strategies. This research
highlights the importance of phrasal verbs in pragmatic competence and
language teaching.
Key words:
phrasal verbs, politeness principle, politeness theory,
indirectness, pragmatics, face-threatening acts.
Politeness plays a fundamental role in communication, influencing the way
individuals interact and maintain social relationships. Language users rely on
politeness strategies to navigate social interactions effectively, and one of the
key linguistic tools that contribute to politeness in English is the use of phrasal
verbs. Unlike single-word verbs, phrasal verbs often introduce subtle nuances
that make expressions sound less direct and more considerate of the
interlocutor’s face needs.
Brown and Levinson’s politeness theory outlines various strategies that
help speakers reduce the impact of face-threatening acts. These strategies
include positive face (the need to be connected) and negative face (the need to
be independed). Similarly, Leech’s politeness principle proposes a set of
maxims, such as the Tact Maxim (minimizing cost to the hearer) and the
Agreement Maxim (minimizing disagreement), which guide polite linguistic
behavior.
The purpose of this study is to analyze the pragmatic functions of phrasal
verbs within the framework of politeness theory and the politeness principle.
Using discourse analysis of literary texts, the study examines how phrasal verbs
contribute to polite communication, particularly in contexts where indirectness
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is preferred. By investigating real discourse examples from English literature,
this research highlights the role of phrasal verbs as politeness markers and their
significance in pragmatic competence.
Politeness has been extensively explored in pragmatics, with scholars
identifying various mechanisms that speakers employ to maintain social
harmony. Brown and Levinson argue that politeness strategies help mitigate
face-threatening acts, distinguishing between positive face and negative face.
Positive face seeks to establish rapport and familiarity, while negative face aims
to show deference and avoid imposition.
Leech expands on these strategies with his Politeness Principle, which
introduces six maxims that govern polite interactions: Tact, Generosity,
Approbation, Modesty, Agreement, and Sympathy. These maxims provide a
framework for understanding how speakers structure their utterances to
minimize conflict and enhance cooperation.
A critical aspect of polite communication is the use of phrasal verbs, which
soften direct speech and make requests, suggestions, and refusals sound less
abrupt. Holmes (1995) notes that phrasal verbs frequently replace direct
expressions in spoken discourse to achieve a more considerate tone. For
example, rather than saying “Leave the room,” a speaker might say “Could you
step out for a moment?”, where step out functions as a less imposing alternative.
The pragmatic role of phrasal verbs in politeness is evident in literary
works. In Shakespeare’s Hamlet, for instance, when Claudius speaks about King
Hamlet’s death, he uses the phrase “He has passed away” instead of the blunt
“He died”, demonstrating a politeness strategy that mitigates the harshness of
the event. Similarly, in Austen’s Pride and Prejudice, Mr. Bennet tells his wife:
“Perhaps you should bring up this matter with our daughters later,” where bring
up functions as an indirect and polite alternative to mention.
Yule (1996) emphasizes that politeness strategies, including the use of
phrasal verbs, vary across cultural contexts. Mey (2004) and Verschueren
(1999) further highlight that indirect speech acts and mitigated expressions
contribute to effective politeness strategies, reinforcing the role of phrasal verbs
in pragmatic communication.
Methods This study employs a qualitative discourse analysis approach,
focusing on literary texts containing phrasal verbs and analyzing their usage
according to politeness strategies. Excerpts containing phrasal verbs were
examined to determine how they align with politeness strategies proposed by
Brown and Levinson and the politeness maxims by Leech.
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Results and Analysis Below are selected examples and their analysis,
categorized under politeness strategies and maxims.
1.
Great Expectations (Dickens, 1861):
Pip to Joe Gargery: “I was hoping we could get along better now.”
Politeness Strategy: Positive Politeness – this phrase fosters friendliness
and belonging by emphasizing a shared desire for improved relations.
Politeness Maxim: Agreement Maxim – Pip minimizes disagreement by
implying mutual understanding.
2.
Pride and Prejudice (Austen, 1813):
Mr. Bennet to Mrs. Bennet: “Perhaps you should bring up this matter with
our daughters later.”
Politeness Strategy: Negative Politeness – the phrase “bring up” makes the
suggestion less imposing.
Politeness Maxim: Tact Maxim – minimizes cost to the hearer by giving
indirect guidance.
3.
Hamlet (Shakespeare, 2016):
Hamlet to Gertrude: “I shall not give in to your request.”
Politeness Strategy: Negative Politeness – shows deference while
maintaining a firm stance.
Politeness Maxim: Agreement Maxim – softens direct disagreement.
4.
Pride and Prejudice (Austen, 1813):
Elizabeth to Jane: “I see where you’re coming from, but I must think it over.”
Politeness Strategy: Off-Record (Indirect) – suggests careful consideration
rather than outright refusal.
Politeness Maxim: Agreement Maxim – minimizes disagreement by
acknowledging Jane’s perspective.
5.
Oliver Twist (Dickens, 1838):
Mr. Brownlow to Oliver: “Why don’t you think over my offer?”
Politeness Strategy: Negative Politeness – softens a request.
Politeness Maxim: Tact Maxim – minimizes cost to the hearer.
6.
Jane Eyre (Charlotte Brontë, 1847):
Rochester to Jane: “I will bring up this matter when the time is right.”
Politeness Strategy: Negative Politeness – The phrase “bring up” makes the
statement less imposing.
Politeness Maxim: Tact Maxim – reduces imposition by delaying the
discussion.
7.
Sense and Sensibility (Austen, 1811):
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Marianne to Elinor: “Let’s go over the details once more.”
Politeness Strategy: Positive Politeness – encourages mutual cooperation.
Politeness Maxim: Agreement Maxim – seeks collaboration rather than
issuing a direct command.
8.
The Picture of Dorian Gray (Wilde, 1890):
Lord Henry to Dorian: “You should think over your choices before acting.”
Politeness Strategy: Negative Politeness – encourages careful consideration
rather than direct advice.
Politeness Maxim: Tact Maxim – minimizes imposition by presenting the
suggestion indirectly.
9.
A Christmas Carol (Dickens, 1843):
Scrooge to Bob Cratchit: “I’ll look into giving you a raise.”
Politeness Strategy: Off-Record – Creates vagueness to avoid full
commitment.
Politeness Maxim: Generosity Maxim – minimizes benefit to self.
10.
The Catcher in the Rye (Salinger, 1951):
Holden to Phoebe: “I need to sort out my thoughts.”
Politeness Strategy: Off-Record – Indirectly expresses confusion rather than
a direct statement.
Politeness Maxim: Modesty Maxim – avoids self-importance.
11.
Wuthering Heights (Brontë, 1847):
Heathcliff to Cathy: “I’ll back off if that’s what you want.”
Politeness Strategy: Negative Politeness – Shows deference to Cathy’s
wishes.
Politeness Maxim: Agreement Maxim – avoids direct confrontation.
12.
Moby-Dick (Melville, 1851):
Ahab to Starbuck: “We must go through the storm before reaching our
goal.”
Politeness Strategy: Bald On-Record – Direct command due to urgency.
Politeness Maxim: None – No attempt to mitigate face-threatening act.
13.
Little Women (Alcott, 1868):
Jo to Laurie: “We need to figure out what comes next.”
Politeness Strategy: Off-Record – leaves room for interpretation.
Politeness Maxim: Agreement Maxim – encourages mutual decision-making.
The results confirm that phrasal verbs enhance politeness by facilitating
indirectness and softening requests, commands, and suggestions. These findings
align with Leech’s notion of the politeness principle, particularly the tact maxim,
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which emphasizes minimizing imposition. Furthermore, the use of phrasal verbs
supports Brown and Levinson’s strategies for preserving face, particularly in
formal and semi-formal contexts.
This study highlights the pragmatic function of phrasal verbs in politeness
strategies. The findings suggest that incorporating phrasal verbs into language
instruction can improve learners’ communicative competence, particularly in
formal discourse settings. Future research could extend this analysis to cross-
linguistic comparisons and explore how phrasal verb usage might differ across
cultural contexts.
References:
1.
Austen, J. (1811). Sense and Sensibility. London, UK: Thomas Egerton.
2.
Austen, J. (2003). Pride and Prejudice (V. Jones, Ed.). Penguin Classics.
3.
Alcott, L. M. (1868). Little Women. Boston, MA: Roberts Brothers.
4.
Brontë, C. (1847). Jane Eyre. London, UK: Smith, Elder & Co.
5.
Brontë, E. (1847). Wuthering Heights. London, UK: Thomas Cautley
Newby.
6.
Brown, P., & Levinson, S. C. (1987). Politeness: Some universals in
language usage. Cambridge, UK: Cambridge University Press.
7.
Dickens, C. (1843). A Christmas Carol. London, UK: Chapman & Hall.
8.
Dickens, C. (1861). Great Expectations. London, UK: Chapman & Hall.
9.
Dickens, C. (1992). Oliver Twist. Wordsworth Editions.
10.
Holmes, J. (1995). Women, men, and politeness. London, UK: Longman.
11.
Leech, G. (1983). Principles of Pragmatics. London, UK: Longman.
12.
Melville, H. (1851). Moby-Dick. New York, NY: Harper & Brothers.
13.
Mey, J. L. (2004). Pragmatics: An introduction. Oxford, UK: Blackwell
Publishing.
14.
Salinger, J. D. (1951). The Catcher in the Rye. Boston, MA: Little, Brown
and Company.
15.
Shakespeare, W. (2016). Hamlet, prince of Denmark. B. Mowat & P.
Werstine (Eds.). https://www.folgerdigitaltexts.org/html/Ham.html#line-1.3.0
(Original work published 1599).
16.
Verschueren, J. (1999). Understanding Pragmatics. London, UK: Arnold.
17.
Wilde, O. (1890). The Picture of Dorian Gray. London, UK: Ward, Lock &
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Yule, G. (1996). Pragmatics. Oxford, UK: Oxford University Press.
