Richard Ingold explores Systemic Functional Linguistics and highlights the three metafunctions of language with examples of analysis from The Hundred Acre Wood and Winnie the Pooh!

1. The 3 metafunctions of language
Interpersonal
IdeationalTextual
to enact social relationship, to
cooperate, form bonds, negotiate,
ask for things, instruct
By looking at the different types of clauses we use and how we use them, we
can see how language helps us to do these things.
to talk about experience,
people and things, their
actions and relationships,
places, times or
circumstances in which
events occur
to link complex ideas
together into cohesive and
coherent waves of
information

2. Interpersonal
Language can enable us to cooperate, form bonds, negotiate, ask for things and instruct.
For example:
Let’s go back to Winnie-the-Pooh, this time talking with Eeyore:
“…It’s my birthday. The happiest day of the year.”
“Your birthday?” said Pooh in great surprise.
“Of course it is. Can’t you see? Look at all the presents I’ve
had.”
The characters give information, “It’s my birthday”, and ask for it, “Your birthday?” “Can’t you
see?” (Both questions are signalled by question marks in the written form. But if spoken, the
first instance would rely entirely upon intonation, which in SFL is as important a part of
grammar as the words themselves, to mark it as a question.) There is also an imperative
clause, “Look at all the presents I’ve had.” This doesn’t provide information; it instructs Pooh
to take action.

3. Ideational
Language can allow us to talk about people and things, their actions and relationships, and the places,
times or circumstances in which events occur.
[This is a deceptively complex phenomenon. Firstly, the language we use does not directly reflect an
objective reality, it shapes our experience of the world by the categories we use and the elements we
pay attention to. Secondly, people who speak the same language, dialect and/or sociolect are more
likely to experience the world in similar ways. Ever tried to read a biology research paper? Beyond the
technical vocabulary, the writer’s language creates a model of the world which has no real meaning if
you’re not part of the biologists’ social group.]
For example:
Here’s another excerpt from Milne’s Winnie-the-Pooh:
One fine winter’s day when Piglet was brushing away the snow in front of
his house, he happened to look up, and there was Winnie-the-Pooh.
It’s easy to identify the main participants in each clause and how they affect or relate to each other.
Piglet’s brushing of snow, his shifting line of vision alerting him to the presence of Winnie-the-Pooh and
the time and location of these events are all represented by discrete elements of these clauses – noun
groups, verb groups and adverbials. These elements constitute the ‘content’ of language.

4. Textual
As societies grow and become more complex, and as the ways people communicate develop from
speaking face-to-face to writing letters, novels, emails, etc., we require ever more complex language to
communicate effectively.
Much of this complexity comes from the need to link ideas together into cohesive and coherent “waves
of information” so that the people we’re communicating with can follow our train of thought.
For example:
The Piglet lived in a very grand house in the middle of a beech-tree,
and the beech-tree was in the middle of the Forest, and the Piglet lived
in the middle of the house.
Sticking with the wave metaphor, this example is a nice illustration of the information peaks and troughs
which organise and sequence text. The starting point of the first clause, the trough in the information
wave, is “The Piglet.” The rest of the clause presents the information about where Piglet lives, which
Milne wants us to focus on; that’s the peak of the information wave. The next clause begins with a
repetition of “beech-tree.” This is no longer a new piece of information, but it’s a clear starting point for
the message; we’re in the trough again. The location of the tree is presented at the end of the second
clause and so we again rise up the wave to reach the most important part of the message, and so on.