Grammar and Revision Guide Table of Contents

Total Page:16

File Type:pdf, Size:1020Kb

Grammar and Revision Guide Table of Contents Grammar and Revision Guide Table of Contents Looking For: Page: Grammar Glossary 1 Function of Phrases 5 Word Choice 6 Commas 11 Fragments and Run-Ons 15 Verb Tenses 19 Semi-Colons, Colons, and Dashes 21 Active and Passive Voice 26 Sentence Variety 31 GRAMMAR GLOSSARY A COMMA: a punctuation mark used between items in a series, after an introductory clause or ABBREVIATION: a shortened form of a word, prepositional phrase, or to set off appositives and usually followed by a period. nonessential phrases, etc. ACTIVE VOICE: a verb is active if the subject of COMMON NOUN: a word that names a person, the sentence is performing the action. place, or thing. ADJECTIVE: a word that describes; an adjective COMPLEMENT: a word that completes the modifies a noun or pronoun. meaning of an active verb (direct object, indirect ADJECTIVE CLAUSE: a clause that modifies a object, predicate adjective, and predicate noun or pronoun. nominative). ADVERB: a word that describes a verb, COMPLEX SENTENCE: one independent clause explaining where, when, how, or to what extent; and one or more subordinate clauses. an adverb modifies a verb, adjective, or adverb. COMPOUND ADJECTIVE: an adjective formed by ADVERB CLAUSE: a clause that modifies a verb, two words separated by a hyphen and treated as adjective, or another adverb. one word. ANTECEDENT: a word or group of words that a COMPOUND COMPLEMENT: two or more words pronoun refers to or replaces. used as direct objects of the same verb, objects of the same preposition, predicate nominatives APOSTROPHE: a punctuation mark used in or predicate adjectives of the same verb, or contractions to replace a letter, or added to the indirect objects of the same understood last letter of a noun followed by an s to indicate preposition. possession. COMPOUND-COMPLEX SENTENCE: two or more APPOSITIVE: a noun, pronoun, or phrase that independent clauses an one or more subordinate identifies or extends information about another clauses. noun or pronoun in a sentence. COMPOUND NOUN: a noun composed of more C than one word. CAPITALIZATION: using a capital letter for words COMPOUND PREPOSITION: a preposition that begin sentences, titles, or for proper nouns. composed of more than one word. CLAUSE: a group of words that has a subject and COMPOUND SENTENCE: a sentence consisting predicate. of two or more independent clauses. CLOSING: in a letter, the words preceding the COMPOUND SUBJECT: two or more subjects that signature at the end of a letter. share the same verb. COLLECTIVE NOUN: a singular noun that names COMPOUND VERB: two or more verbs that share a group of persons or things. the same subject. COLON: a punctuation mark used to introduce a CONJUNCTION: a word that connects words or series, before a list, between hour and minute, groups of words (and, or, nor, but, yet, for, so, after the salutation in a business letter, etc. etc.). 1 CONTRACTION: a word formed by combining two G words and using an apostrophe to replace any missing letters; inappropriate for formal essays. GERUND: a verbal ending in –ing used as a noun. D GERUND PHRASE: a gerund with all of its DASH: a punctuation mark used to set off abrupt modifiers. changes in thought, an appositive, a parenthetical expression, or an appositive that H contains commas. HELPING VERBS: a verb that precedes the main DECLARATIVE SENTENCE: a sentence that verb (am, is, are, has, have, had, shall, will, can, makes a statement. may, should, would, could, might, must, do, did, does). DEMONSTRATIVE PRONOUN: a pronoun used to point out a specific person, place, thing, or idea HYPHEN: punctuation mark (-) used to divide (this, that, these, those). words at the end of a line, between certain DEPENDENT CLAUSE: another name for a numbers, to separate compound nouns and subordinate clause. adjectives, and between some prefixes and their roots. DIRECT OBJECT: a noun or pronoun that receives the action of the verb. I DIRECT QUOTATION: the exact words spoken. IMPERATIVE SENTENCE: a sentence that gives a E command or makes a request. INDEFINITE PRONOUN: a word that refers to an ELLIPTICAL CLAUSE: a subordinate clause in unnamed person or thing (all, anybody, anything, which a word or words are omitted, but both, each, someone, everyone) understood. INDEPENDENT CLAUSE: a clause that expresses ELLIPSIS: a punctuation mark consisting of three a complete thought and can stand alone as a periods (…) used to indicate the omission of sentence. words or a pause. INDIRECT OBJECT: a noun or pronoun that ESSENTIAL PHRASE OR CLAUSE: necessary to precedes a direct object and answers the the meaning of a sentence and therefore not set questions to whom, for whom, to what, or for off with commas; also known as restrictive what. clause. INFINITIVE: a verbal that begins with to that is EXCLAMATION POINT: a punctuation mark (!) used as a noun, adjective, or adverb. used after an interjection and at the end of an exclamatory sentence. INFINITIVE PHRASE: an infinitive with its object and modifiers. EXCLAMATORY SENTENCE: expresses strong emotion and ends with an exclamation point. INTERJECTION: a word that is used to express strong feeling that is not related grammatically to EXPLETIVE: a word inserted in the subject the rest of the sentence. position of a sentence that does not add to the sense of the thought. INTERROGATIVE SENTENCE: a sentence that asks a question and ends with a question mark. INTRANSITIVE VERB: a verb that does not require an object. 2 INVERTED ORDER: a sentence that does not P follow the typical order of a sentence (subject- verb-object). PARALLELISM: arranging words and phrases consistently to express similar ideas. IRREGULAR VERB: a verb that does not form the past tense or past participle by adding –ed or –d PARENTHETICAL EXPRESSION: words that are to the present tense. not grammatically related to the rest of a sentence and set off by parentheses. L PARTICIPIAL PHRASE: a participle with its LINKING VERB: a verb that links the subject with modifiers and complements. a predicate nominative or a predicate adjective PARICIPLE: a verbal ending in -ing, -ed, -d, or an (is, became, remain, look, appear, seem). irregular form that is used as an adjective. LOOSE SENTENCE: an independent clause PARTS OF SPEECH: the eight parts of speech are followed by a dependent clause. verb, noun, adjective, adverb, preposition, M interjection, and conjunction. PASSIVE VOICE: indicates that the subject MODIFIERS: words that describe or provide more receives the action of the verb in a sentence. meaning to a word; modifiers include adjectives, adverbs, articles, prepositional phrases, verbals, PERIOD: a punctuation mark (.) used at the end and clauses. of a declarative or imperative sentence or an abbreviation. N PERIODIC SENTENCE: a dependent clause NOMINATIVE PRONOUN: a pronoun used as a followed by an independent clause. subject or predicate nominative. PERSONAL PRONOUN: refers to a particular NONESSENTIAL PHRASE OR CLAUSE: not person, place, thing, or idea (I, me, we, us, you, necessary to the meaning of a sentence and, he, him, she, her, it, they, them). therefore, set off with commas. PHRASE: a group of related words that do not NOUN: a word that names a person, place, thing, have a subject or verb. or idea. POSSESSIVE PRONOUN: a pronoun form used to NOUN CLAUSE: a subordinate clause used as a show ownership (my, mine, our, ours, your, yours, subject, direct object, object of a preposition, his, hers, its, their). appositive, or predicate nominative. PREDICATE: a word or group of words that tells O something about the subject. PREDICATE ADJECTIVE: an adjective that OBJECT OF PREPOSITION: the noun or pronoun modifies the subject in the sentence with a with its modifiers that follows a preposition. linking verb. OBJECTIVE CASE: pronouns used as direct PREDICATE NOMINATIVE: a noun or pronoun that objects, indirect objects, or as objects of a identifies, renames, or explains the subject in a preposition. sentence with a linking verb. OBJECTIVE COMPLEMENT: a noun or adjective PREFIX: a word part added to the beginning of a that renames or describes a direct object. word to change its basic meaning. 3 PREPOSITION: a word that shows the compound sentence that are not joined by relationship between a noun or pronoun and conjunctions, before certain transitional words another word in a sentence. (however, furthermore, therefore), and between items in a series if the items contain commas. PREPOSITIONAL PHRASE: a group of words that begins with a preposition, ends with a noun or SENTENCE: a group of words with a subject and pronoun, and is used as an adjective or adverb. verb that expresses a complete thought. PRONOUN: a word that takes the place of one or SENTENCE FRAGMENT: a group of words that more nouns. lacks either a subject or a verb that does not express a complete thought. PROPER ADJECTIVE: a capitalized adjective formed from a proper noun. SERIES: three or more words or phrases in succession separated by commas or semicolons. PROPER NOUN: a capitalized noun that names a particular person, place, thing, or idea. SIMPLE PREDICATE: the verb; the main word or phrase in the complete predicate. PUNCTUATION: punctuation marks include apostrophe, colon, comma, dash, ellipsis, SIMPLE SENTENCE: a sentence that is one exclamation point, hyphen, period, question independent clause. mark, quotation mark, and semicolon. SUBJECT: a word or group of words that names Q the person, place, thing, or idea the sentence is about. QUESTION MARK: a punctuation mark (?) used SUBORDINATE CLAUSE: a clause that cannot to indicate a question or to end an interrogative stand alone as a sentence because it does not sentence. express a complete thought. QUOTATION MARKS: a punctuation mark (“”) SUFFIX: a word part added to the end of a word used at the beginning and end of a direct that changes its meaning.
Recommended publications
  • Analyzing Syntax
    A.P. Language and Composition Analyzing Syntax A writer’s style is indicated by his/her choice of words and by the way he/she puts those words together: the sentence is usually considered the backbone of a writer’s style. Syntax encompasses word order, sentence length, sentence form, sentence function, sentence focus, and punctuation. I. A sentence can be studied for its form. Is it simple, compound, or complex? A. Simple: The boys were already in the classroom. (one independent clause) B. Compound: The boys were already in the classroom, and they began to work. (two independent clauses) C. Complex: The boys who were already in the classroom began to work (one independent clause and one or more dependent clauses) D. Compound-Complex: When the teacher walked into the classroom, the boys were already there, and they began to work. (two independent clauses and one or more dependent clauses) *** The important point to remember when analyzing the sentence form would be the purpose of that form; what effect does it have on the piece of writing? For example, Hemingway’s short stories about Nick Adams include mostly simple sentences with some compound and complex sentences. Hemingway is famous for this technique and its effect of emphasizing Nick’s careful denial of his emotions when he returned from the war. When considering sentence form, you might ask yourself how the effect of a sentence would be different if its form was altered? For example, if a writer writes two short simple sentences in a row (i.e. I am frustrated.
    [Show full text]
  • Harbrace College Handbook
    Harbrace College Handbook REVISED THIRTEENTH EDITION WITH 1998 MLA STYLE MANUAL UPDATES SUB Gttttlngen 7 ••% 208 52018X 98 A14435 Contents Preface vi GRAMMAR Chapter 1 Sentence Sense ss The parts of a sentence 2 la Recognizing verbs and predicates 3 lb Recognizing subjects, objects, and complements (1) Subjects of verbs 4 (2) Objects of verbs 6 (3) Subject and object complements 7 (4) Word order 8 lc Recognizing parts of speech 10 (1) Verbs 13 (2) Nouns 13 (3) Pronouns 15 (4) Adjectives 15 (5) Adverbs 16 (6) Prepositions 16 (7) Conjunctions 18 (8) Interjections 18 Id Recognizing phrases 19 (1) Kinds of phrases 19 (2) Phrases used as nouns 21 (3) Phrases used as modifiers 22 XIX xx Contents le Recognizing clauses 24 (1) Independent clauses 24 (2) Subordinate clauses 24 If Sentence form and function 28 (1) Examining sentence forms 28 (2) Examining the purpose or function of sentences 29 Chapter 2 Sentence Fragments frag 31 Testing for fragments 31 2a Phrases 32 2b Subordinate clauses 33 Chapter 3 Comma Splices and Fused Sentences cs/fs 36 How to separate clauses 36 How to link and relate clauses 37 3a With coordinating conjunctions 38 3b With conjunctive adverbs or transitional phrases 41 3c Divided quotations 42 Chapter 4 Adjectives and Adverbs ad 45 4a Adverbs 46 4b Adjectives used as subject or object complements 47 4c Comparative and superlative forms 48 (1) The comparative 49 (2) The superlative 50 (3) Incorrect double comparatives or superlatives 50 4d Awkward or ambiguous use of a noun as an adjective 51 4e The double negative 52
    [Show full text]
  • A Derivational Approach to the Syntax-Prosody Interface
    LINEARIZATION: A DERIVATIONAL APPROACH TO THE SYNTAX-PROSODY INTERFACE by KAYONO SFflOBARA B.A., The University of Tokyo, 1996 M.A., The University of Tokyo, 1998 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Linguistics) We accept this thesis as confomiing to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 2004 © Kayono Shiobara, 2004 ABSTRACT The major goal of this thesis is to account for a certain class of word order alternations in natural languages, in particular heavy NP shift in English and short-scrambling in Japanese. My central claim is that the properties of these alternations are best accounted for as PF interface phenomena constrained by correspondence conditions on the mapping from syntax to prosody. I develop a model of grammar in which linearization is distributed between core syntax and the prosody-syntax interface: using an incremental structure-building mechanism based on that of Phillips (1996, 2003), I provide a derivational model of the syntax-prosody mapping in which the unit of spell-out is defined by correspondence relations between syntactic objects and prosodic objects. This approach, which I refer to as the Prosodic Phase Hypothesis, provides a prosodically based account of the distinctive properties of heavy NP shift and short-scrambling, including not only clearly prosodic factors such as weight and sentence level stress, but also, indirectly, sensitivity to semantic/pragmatic factors such as focus. The gist of the Prosodic Phase Hypothesis is that the general prosodic properties of a particular language constrain the linearization of verbal dependents in the language.
    [Show full text]
  • Name: Homework 1 Indicate the Order in Which
    Name: _________________________ Homework 1 Indicate the order in which the signs should be read by numbering next to the signs: Name: _________________________ Homework 2 Identify only the uniliteral signs by circling them. Then, transliterate: 1. 2. 3. 4. 5. 6. Name: _________________________ Homework 3 Identify the uniliterals, biliterals, phonetic complements, and determinatives with. Then, transliterate: 1. See 11. Construction, work, device 2. (ferry) across 12. Vizier 3. Rejoice, be 13. Donkey glad 4. Send 14. Secret 5. Son 15. Water 6. Daughter 16. Crocodile 7. Male servant 17. Mouth, utterance 8. Female 18. (noun) face servant 9. Road, way, 19. (preposition) , side upon, concerning, because 10. Office, hall Notes: The determinative is not necessarily the last sign. There may be more than one determinative for a single word. Additionally, there is a subtle difference between the pintail duck, zA, and the goose, gb. The former has a more pointed tail and the latter is in gbb the Earth god. Homework 3 Answer Key Text Transliteration: 1. mAA 2. DA(j) 3. rS(j) 4. HAb 5. zA 6. zAt 7. bAk 8. bAkt 9. wAt , 10. xA 11. kAt 12. TAt(j) 13. aA 14. sStA 15. jtrw 16. mzh 17. r 18. Hr 19. Hr Name: _________________________ Homework 4 Transliterate and translate the following: 1. 2. 3. 4. 5. 6. 7. 8. Word Bank: Son Vizier Daughter Donkey Male servant Crocodile Female servant Mouth, utterance Road, way (noun) face , Construction, work Homework 4 Answer Key Text Transliteration Translation 1. zAw Hna zAt Sons and daughter 2. bAktj nt TAt(j) Two maids of the vizier 3.
    [Show full text]
  • Nominalizations As a Source for Verbal Morphology. Grammaticalization Paths of Modality and Information Structure in Earlier Egyptian Elsa Oréal
    Nominalizations as a source for verbal morphology. Grammaticalization paths of modality and information structure in Earlier Egyptian Elsa Oréal To cite this version: Elsa Oréal. Nominalizations as a source for verbal morphology. Grammaticalization paths of modality and information structure in Earlier Egyptian. Lingua Aegyptia - Journal of Egyptian Language Studies, Widmaier Verlag, 2017, pp.1-33. hal-01728636 HAL Id: hal-01728636 https://hal.archives-ouvertes.fr/hal-01728636 Submitted on 19 Oct 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. LINGUA AEGYPTIA JOURNAL OF EGYPTIAN LANGUAGE STUDIES 25 2017 Widmaier Verlag ∙ Hamburg 2018 LINGUA AEGYPTIA – Journal of Egyptian Language Studies (LingAeg) founded by Friedrich Junge, Frank Kammerzell & Antonio Loprieno EDITORS Heike Behlmer Frank Kammerzell Antonio Loprieno Gerald Moers (Göttingen) (Berlin) (Basel) (Wien) MANAGING EDITOR REVIEW EDITORs Kai Widmaier Eliese-Sophia Lincke Daniel A. Werning (Hamburg) (Berlin) (Berlin) IN COLLABORATION WITH Tilmann Kunze (Berlin) ADVISORY BOARD James P. Allen, Providence Elsa Oréal, Paris Wolfgang Schenkel, Tübingen Joris F. Borghouts, Leiden Richard B. Parkinson, Oxford Thomas Schneider, Vancouver Christopher J. Eyre, Liverpool Stéphane Polis, Liège Ariel Shisha-Halevy, Jerusalem Eitan Grossman, Jerusalem Sebastian Richter, Berlin Deborah Sweeney, Tel Aviv Roman Gundacker, Wien Kim Ryholt, Copenhagen Pascal Vernus, Paris Janet H.
    [Show full text]
  • Methods and Tool for Constructing Phonetically-Balanced Materials for Speech Perception Testing: a Development of Thai Sentence-Length Materials
    PACLIC 29 Methods and Tool for Constructing Phonetically-Balanced Materials for Speech Perception Testing: A Development of Thai Sentence-Length Materials Adirek Munthuli Charturong Tantibundhit Department of Electrical and Computer Department of Electrical and Computer Engineering, Faculty of Engineering, Engineering, Faculty of Engineering and Thammasat University, Thailand Center of Excellence in Intelligent [email protected] Informatics, Speech and Language Technology, and Service Innovation (CILS) Thammasat University, Thailand [email protected] Chutamanee Onsuwan Krit Kosawat Department of Linguistics, Faculty of Liberal National Electronics and Computer Arts and Center of Excellence in Intelligent Technology Center (NECTEC), National Informatics, Speech and Language Science and Technology Development Technology, and Service Innovation (CILS) Agency (NSTDA), Thailand Thammasat University, Thailand [email protected] [email protected] phonetically balanced (PB). To show Abstract how this is accomplished, two sentence sets are constructed and evaluated by Phonemic content is one of many native speakers. The procedure and tool important criteria in a development of have characteristics that make them any kind of speech testing materials. In potentially useful in other applications this paper, we explain a procedure and and can be applied to other languages. tool we created in the process of constructing phonetically-balanced (PB) Keywords: Thai, sentence-length sentence-length materials for Thai, as an material
    [Show full text]
  • DIDLS Diction, Imagery, Details, Language, and Syntax Use Diction to Find Tone
    DIDLS Diction, Imagery, Details, Language, and Syntax Use diction to find tone. Use imagery, details, language and syntax to support tone. TONE Author's attitude toward the subject, toward himself, or toward the audience. DICTION Adjectives, nouns, verbs, adverbs, negative words, positive words, synonyms, contrast. Look at the words that jump out at you - Evaluate only those words to find tone Also look at: Colloquial (Slang) Old-Fashioned Informal (Conversational) Formal (Literary) Connotative (Suggestive meaning) Denotative (Exact meaning) Concrete (Specific) Abstract (General or Conceptual) Euphonious (Pleasant Sounding) Cacophonous (Harsh sounding) Monosyllabic (One syllable) Polysyllabic (More than one syllable) • Describe diction (choice of words) by considering the following: 1. Words can be monosyllabic (one syllable in length) or polysyllabic (more than one syllable in length). The higher the ratio of polysyllabic words, the more difficult the content. 2. Words can be mainly colloquial (slang), informal (conversational), formal (literary) or old-fashioned. 3. Words can be mainly denotative (containing an exact meaning, e.g., dress) or connotative (containing suggested meaning, e.g., gown) 4. Words can be concrete (specific) or abstract (general or conceptual). 5. Words can euphonious (pleasant sounding, e.g., languid, murmur) or cacophonous (harsh sound, e.g., raucous, croak). IMAGERY Creates a vivid picture and appeals to the senses Alliteration repetition of consonant sounds at the start of a word The giggling girl gave gum.
    [Show full text]
  • To Whom It May Concern
    Terms to Know for Pre-AP English I You must be familiar with the definitions of the following by the first day of Pre-AP English I. Close Reading Terms: Inference: opinion with evidence to support Archetype: an original pattern or model from which all other things of the same kind are made Dynamic character: changing character Static character: character stays the same Epiphany : sudden realization; the light bulb moment Flat/round character: (no depth/depth and complexity) Foil: character’s opposite Motivation: what drives a character on Detail: details included for a purpose Diction: Word choice Connotation: feeling word gives you Denotation: dictionary definition Dialect: vocabulary that is characteristic of a specific group of people Colloquial: informal spoken language or conversation Slang: non-standard use of words Vernacular: characteristic language of a particular group Euphemism: A mild word of phrase which substitutes for another which would be undesirable because it is too direct, unpleasant, or offensive Idiom: a manner of speaking that is natural to native speakers of a language Imagery: words that appeal to the 5 senses Mood: the feeling invoked in the reader Foreshadowing: hints to what is to come Rhetorical Shift: shift in attitude Theme: what an author believes to be true on a subject presented in the work. Tone: speaker’s attitude towards his subject Apostrophe: addressing something as if they were present Metaphor: figurative language comparing two unlike things Metonymy : type of metaphor in which a word or phrase is substituted for something closely associated with it. Oxymoron: a paradox in two side by side words.
    [Show full text]
  • English Handbook Junior and Senior High
    MHCBE English Handbook Junior and Senior High Composition is for the most part, an effort of slow diligence and steady perseverance, to which the mind is dragged by necessity or resolution. Samuel Johnson Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all sentences short, or avoid all detail and treat subjects only in outline, but that every word tell. William Strunk, Jr. ACTIVE AND PASSIVE VOICE The voice of a verb indicates whether the subject of a sentence performs the action or receives the action. In the active voice, the subject of a sentence does the action. For example, the dog ran into the street. Use the active voice when possible. It uses fewer words and is more precise than the passive voice. A verb is in the active voice when the subject of the verb actually performs the action indicated by the verb. Example: The judge pronounced the verdict. Subject verb object We built a house in the country. Subject verb object prepositional phrase In each example above, the subject is the performer of the action, and the object is the receiver of the action. In the passive voice the subject of the verb receives the action: The fire was extinguished. A verb is in the passive voice when it expresses an action performed on the subject (the subject receives the action) Example: The verdict was pronounced by the judge.
    [Show full text]
  • Parallelism, Variety, and Emphasis
    TROYMC10_29_0131889567.QXD 1/27/06 6:30 PM Page 226 18b PARALLELISM, VARIETY, AND EMPHASIS CHAPTER 18 Parallelism, Variety, and Emphasis 18a What is parallelism? When you write words, PHRASES, or CLAUSES within a sentence to match in their grammatical forms, the result is parallelism. Parallelism serves to emphasize information or ideas in writing. The technique relates to the con- cept of parallel lines in geometry, lines that run alongside each other and never meet. Parallelism delivers grace, rhythm, and impact. The deer often come to eat their grain, the wolves to destroy their sheep, the bears to kill their hogs, and the foxes to catch their poultry. [The message of the multiple, accumulating assaults is echoed by the par- allel structures.] —J. Hector St. Jean de Crèvecoeur, Letters from an American Farmer You gain several advantages in using parallel structures: ■ You can express ideas of equal weight in your writing. ■ You can emphasize important information or ideas. ■ You can add rhythm and grace to your writing style. Many writers attend to parallelism when they are REVISING. If you think while you’re DRAFTING that your parallelism is faulty or that you can enhance your writing style by using parallelism, underline or highlight the material and keep moving forward. When you revise, you can return to the places you’ve marked. 18b What is a balanced sentence? A balanced sentence is a type of parallelism in which contrasting content is delivered. The two parallel structures are usually, but not always, INDEPENDENT CLAUSES. A balanced sentence uses COORDINATION. The two coordinate structures are characterized by opposites in meaning, sometimes with one structure cast in the negative.
    [Show full text]
  • On Legal Style George John Miller Caldwell, Parker, Foster, Wigginton and Miller
    Kentucky Law Journal Volume 43 | Issue 2 Article 3 1954 On Legal Style George John Miller Caldwell, Parker, Foster, Wigginton and Miller Follow this and additional works at: https://uknowledge.uky.edu/klj Part of the Legal Writing and Research Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Miller, George John (1954) "On Legal Style," Kentucky Law Journal: Vol. 43 : Iss. 2 , Article 3. Available at: https://uknowledge.uky.edu/klj/vol43/iss2/3 This Article is brought to you for free and open access by the Law Journals at UKnowledge. It has been accepted for inclusion in Kentucky Law Journal by an authorized editor of UKnowledge. For more information, please contact [email protected]. On Legal Style By GEORGE JoHN MILER* But easy writing's curst hard reading. SHERMDAN An association seldom reveals its potency at its inception. This statement holds good for ideas, for persons, for moral prin- ciples, and for things spiritual. Today, in approaching the sub- ject legal style, I glimpse a myriad fleeting images.1 I see Miss Augusta B. Center-"A B C," as she was known in St. Petersburg High School-a firm yet lovable martinet on English grammar and an enthusiast for rhetoric, literature, and especially Shakespeare. I see Miss Vera M. Dumas, a similar martinet on Latin grammar and an enthusiast for Roman literature, life and culture. I see my Aunt Edith Rowles, Phi Beta Kappa, Syracuse, 1901, a clas- sics major, who for several years labored diligently with me on Latin.
    [Show full text]
  • Rhetorical Strategies: Any Device Used to Analyze the Interplay Between a Writer/Speaker, a Specific Audience, and a Particular Purpose
    RHETORICAL STRATEGIES: ANY DEVICE USED TO ANALYZE THE INTERPLAY BETWEEN A WRITER/SPEAKER, A SPECIFIC AUDIENCE, AND A PARTICULAR PURPOSE. 1. Abstract diction: (compare to concrete diction) Abstract diction refers to words that describe concepts rather than concrete images (ideas and qualities rather than observable or specific things, people, or places.) These words do not appeal imaginatively to the reader's senses. Abstract words create no "mental picture" or any other imagined sensations for readers. Abstract words include: Love, Hate, Feelings, Emotions, Temptation, Peace, Seclusion, Alienation, Politics, Rights, Freedom, Intelligence, Attitudes, Progress, Guilt, etc. Try to create a mental picture of "love." Do you picture a couple holding hands, a child hugging a mother, roses and valentines? These are not "love." Instead, they are concrete objects you associate with love. Because it is an abstraction, the word "love" itself does not imaginatively appeal to the reader's senses. "Ralph and Jane have experienced difficulties in their lives, and both have developed bad attitudes because of these difficulties. They have now set goals to surmount these problems, although the unfortunate consequences of their experiences are still apparent in many everyday situations." 2. Absolutes: an adverbial clause that has a nonfinite verb or no verb at all (the clause is missing “was” or “were” or it is replaced by a verbal, making it dependent). The prisoners marched past, their hands above their heads. (The prisoners marched past. Their hands were above their heads.) The work having been finished, the gardener came to ask for payment. (The work was finished. The gardener came to ask for payment.) “But I knew her sick from the disease that would not go, her legs bunched under the yellow sheets, the bones gone limp as worms.”—Sandra Cisneros, The House on Mango Street “We pretended with our heads thrown back, our arms limp and useless, dangling like the dead.”—Sandra Cisneros, The House on Mango Street 3.
    [Show full text]