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Back to GrefStartyfor the CHART
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Grefs7A, Cumulative REFERENCES
Copyright Terry Gibson, Updated May 2007
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Please Note: By request, Grefs 4 and 8E
need your opinion of this course to be complete.
The three paragraphs are called "assignment 5"
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Three Choices
GREFS are the grammar references presented
as self-instruction in eight units
AND in Allpoetry Classes:
TWO-TROPHY COURSE
if all five assignments of eight levels are attempted
(Choices exist)
ONE-TROPHY COURSE
if half the
assignments of eight levels are attempted
.*Points given for A's until my own are all gone. DeeCrepit*
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Temporary Change ended June 1, 07
with thanks to Charlynn for continuing to help !
Ready to use but please scroll if links are still missing.
Please submit answers by e-mail to Terry or Charlynn
for full feedback (See end)
Did you download a copy of the Student Record
to keep track?
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Quick-Clicks Main Menu
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.A7......... a) .Essays, Editorials and Social Issues
. . .b).Discussion / Debate dialogue
. . .c)
.Metaphor and the prose-poem:
. . . ..... How-to Method in Three
StepsE
. . .c2)..Rhythm,
Rhyme and the Sortasonnet
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Do one of three choices: a, b, or c. Use of dash. . .
a) Write an essay, any topic (Social issue?)
b) Original Discussion / Debate, or a script
c) Write a prose-poem or sortasonnet
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.B7....Spoken characterization, with quirks, mannerisms
.............................Running with a
Plotting Plan
. . . . . Revision, Editing, Proof-reading, and Polishing |
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Do one of three choices: a, b (Punctuate etc)
a)Spoken characterization, with quirks, mannerisms
b)Running with your Plotting plan from last week
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..C7..c,c,c,c,c,c...
....The Pronoun Nitty-Gritty. . . . . .
.......................Modern English ..as Metaphor. . .
.....The Subjective Completion, an Endangered
Species |
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Choosing Subject and Object pronouns, "illiteracies"
(subject of verb, object of verb, object of preposition.
Also referring to subject as subjective completion.
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D7. . . . . . . . The
Language of Thought Limits Us
. . . . Colour Verbs, by Vera Rich, Inherent Beauty
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. . . The FINE ART OF EXCUSES
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. . . . .Assignments D7b, c |
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Still more irregular verbs,
in verb tenses and verb phrases,
to show past, present, future, conditional, progressive. . . .
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| E7 . . . Reviewing the Noun Clause and other
obstacles |
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Graphic analysis of sentences with complex verbs
and subordinate adverb and adjective clauses
As they say in college, this is a prerequisite for E8.
Why? It makes a tough job much easier!
Glossary of Grammatical Terms is in Web2006/Grefs1 |
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Be the Source of All Knowledge
Grammar REFS
Grefs7ABCD
Your dictionary could tell these things, but this is a running list of terms
and definitions when first met, giving their meaning to lend strength
Starting to claw back the Age of Literacy
You think I jest? Ha!
Updated USAGE
A77
The 1995 text that serves as reference is recent but will be replaced within.. ....
the next year or so as we get more and more muddled. Keep current.....
...... ......
And so we continue
a Leisurely Crash Course in Written English
A De-toxy-moron
. . . . . .A7
Do one of three choices: Comparing Times
a) Write an essay, any topic (Social issue?)
b) Original Discussion / Debate dialogue
c) Write prose-poem or sortasonnet Then / Now
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A7a Essays, Editorials and Social Issues
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An essay is
a piece of serious writing, similar to what we see in journalism, or as articles in magazines where columnists
make a good living this way, under contract to provide a--daily, weekly, or monthly--piece for a particular publication.
Generally developing a personality through humour or style, they still must have the facts right.
Editorials are a special kind of essay where the Editor
writes an opinion piece, expressing own and Publisher's views. It is not restricted to a need to be balanced in
its view of local politics or social issues. Subscribers can unsubscribe if they disagree.
Social Issues include local politics, projects, personalities,
pet control, poverty, pollution and more widely, anything affecting the quality of life in a community, commerce,
or country. Education, Law, and so-called "special interests" important to groups rather than the whole
fall into this category. Wide open.
Organization should have an interest-grabber
sentence or two at the beginning, and an ending that leaves no threads untied.
Subheads as you see in this essay, sometimes sort out
the meat in the middle which should flow consecutively, and appear to be logical at least at first glance. Most
of all, it should be edited to avoid error, cliché,
unnecessary repetition or clumsy length, even if they do pay by the word.
Sources (Opinion, An Authority, Polls)
Those who work hard to sell the results develop a keen sense--
"a nose for news"--and bring to it, not only their own opinions but they survey to find others, seek
out persons who are known to have solid information--those who work in the job or profession, those who have been
personally affected by an event, those who have worked to organize it, those who took part in it or attended it--people
who have reason to add interesting details. If polls are used they should indicate who were polled, preferably
a large number to get reasonable accuracy.
Research
There are two kinds of research. The more time-consuming is personal experience with "hands-on" research,
travelling, working in the industry, or experiencing the medical procedure.
Research can also be done second-hand through print-media and searches on Internet. Some
caution exists with the latter, because there is no
guarantee of accuracy. Generally safe are the websites of universities. Caution lights blink around websites by
pharmaceutical companies, and those that are really thinly-disguised advertising. Caveat emptor (buyer beware)
is
a cliché on the web, and gullible people keep them in business.
An article on this danger would make a good essay.
Slant vs Balance...
Generally, a well-balanced essay, giving
several views about a contentious issue, is far preferable to one that annoys enough to be followed by a flood
of aggrieved letters of protest. Slant,
on the other hand is a subtle device that makes its point leaving readers nodding in agreement.
This item is an expository essay, teaching by example, designed to explain the delicate art of essay-writing.
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. . .
.Assignment A7a
Write a short essay, any topic (Social issue?)
In this assignment let's pretend a very dangerous situation, (alien invaders, politics, pollution, any social issue,
whatever,) exists, and yours is the task write an essay about it, to alert the readers of a community newspaper.
(If true, or very funny, and if it turns out well, try your local paper to see if
they will buy it.)
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dbateA7b
| . . . . A7b REFERENCES Discussion / Debate dialogue |
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. . . .Pointing to
the word 'dialogue' the teacher said, "When we worked with this before, we--"
. . . ."Is that the same as dialog?"
Jared, recently from Detroit, asked. With the word on the chalkboard,
he was not being silly.
. . . . Although they were said the same way, she knew what he meant. "For
Canadians, yes, and several other countries spell it with a silent 'ue'." Her eyes went to the class clown. "Talking, jokes, discussion...."
. . . ."Lecturing...?" Bozo's grin warned
of more to come.
. . . ."Answering, disputing, arguing, explaining, conversation, telling, even yelling--" Taking a quick breath, to cut off Bozo's eagerness she continued, "Anything
that can be quoted."
. . . ."That wasn't a complete
sentence, Ma'am."
. . . ."Does it have to be?"
. . . ."Last year it did."
. . . ."That was last year when some of you were still learning what a sentence is. What is our rule for writing dialogue?"
. . . .Silence.
. . . ."Well?"
. . . .A timid voice from the back: "Quotation
marks?"
. . . ."And?" The nod and smile had answered it. She glanced at the clock and had to abandon the Socratic Method.
"OK,
what is the only thing we put into quotation marks?"
. . . ."Words?"
. . . ."Thank you Bozo. Any special
kind of words?" She was surprised
when he did not say 'beep' words.
. . . ."Only the words we hear."
. . . .BRRRRRRRRRRRRRRRRING! Soft bang of closing books, scrape of chairs, shuffling of feet, and her silent smile told them class was over.
. . . .She had covered all the
rules in this anecdote.
. . . .Did we get the answer to the question
about complete sentences? Punctuation? Spacing of lines when indented? Unspoken words and sounds? Paragraphing?
. . . .Indentation is easy with html; colour the dots to match the background. (Color in US) Otherwise, paste five dots. . . .
. . . .In what ways does debate differ from
discussion?
Challenge: Show a portion of debate
dialog that shows how debate is different: (goal? method? attitudes? topics?)
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. . . . . .
ASSIGNMENT A7b Do any ten of twelve.
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.From the "English Class"
save time by copy-pasting the answer. (Number carefully)
1. How do you punctuate an interruption?
2. How do you punctuate a quote within a quote?
[The Oxford Dictionary of Current English, published 2001 now accepts
the verb "quote" in its use as a noun.]
3. . ."That wasn't a complete sentence,
Ma'am."
. . . ."Does it have to be?"
. . . ."Last year it did."
Those are all complete sentences; they contain verbs. (use
of semicolon.) Find two that are not.
Those are all complete sentences; they contain verbs. (use of semicolon.) Find two that are not.
4. . . . ."And?" The nod and smile had answered it.
What answer was not needed and to whom ?
5. Give a different use of the single-apostrophe quote.
6. . . . .BRRRRRRRRRRRRRRRRING! Soft bang of closing books, scrape of
chairs, shuffling of feet, and his silent smile told them class was over.
We hear this. Why are there no quotation marks?
7. Did we get the answer to the question about complete sentences?
8. Other punctuation?
9. Spacing of lines when indented?
10 Paragraphing? What needs to be included?
11. In what ways does debate differ from discussion?
12 OR, Challenge: Show a portion of debate dialog that shows how debate is different: (goal? method? attitudes?
topics?).
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poemHowto
........A7c Metaphor and the prose-poem:
............How-to Method in Three StepsE........
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. . .There was no intention to write a poem when this
item was . . .. . .. . started, none whatever.
Yet it shows how even an unlikely bit. . .
. . .of writing can become at least a mediocre poem.
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.. . .. . A prose poem, by definition,
starts with a paragraph.
Because we have been writing paragraphs forever, we can give our full attention to richness
of content. In prose, unless they sneak in unnoticed, rhythm and rhyme are not involved.
However an ordinary paragraph will give a pedestrian effort that is simply a peculiar shape.
Put another way it will lack the quality of language, lacking the richness of metaphor. This is the time to inject
the magic elixir if it wasn't already there. Personifications,
Similes, Metaphor of all kinds. It may be possible to invigorate the patient.
Ah, it starts! Poem is a patient!
Two different things that are considered to be same thing, we have our first metaphor. From there the temptation is to work at finding all possible medical words to include and then wrestle them in.
OK to find some words, but don't force it. Sleep on it. Let the subconscious mind in to do what it does best, play with it, sort it out, stir it with
a big spoon, put in a long-distance call to your Muse
and leave a message.
Do not look at the first try yet--if ever. Find a place without distractions, and preferably
on keyboard let the words appear on the screen. As you write, do not judge, just let it flow. Ready? Moment of
truth. Still not judging, use the enter enter enter enter method to get shorter lines
at the ends of phrases or pairs of phrases and related sets of words.
Keep the best parts, edit.
It works for me. After a while they start to come complete with rhymes if you are not concerned with schemes and
rhythms that match the meaning. The best ones need no editing at all.
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..Using the Paragraphs
Above
. . . . .... . . . .... . . . .... (For
you if you have not written much poetry.)
. . . . .HOW IT'S DONE in three
steps
step 1.. . . . . .... . . . .
. step 2
Divide into chunks .
. . . . . . . . . Simplify. . .... S.
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| ........Verse 1 . . . . . . . . . . . . . . . . . . . . .. .
. . . . .Edited |
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Because we have been
writing paragraphs forever,
we can give our full attention
to richness of content. In prose,
unless they sneak in unnoticed,
rhythm abnd rhyme are not involved. |
Having written paragraphs forever,
we can give our full attention
to richness of content. In prose,
unless they sneak in unnoticed,
rhythm and rhyme are not involved. |
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| ........Verse 2 . . . . . . . . . . . . . . . . . . . . . .
. . .Edited |
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However an ordinary paragraph
will give an pedestrian effort
that is simply a peculiar shape.
Put another way it will lack
the quality of language,
lacking the richness of metaphor.
This is the time to inject the magic elixir if it wasn't already there. Personifications, Similes,
Metaphor of all kinds.It may be
possible to invigorate the patient. |
We have a pedestrian effort,
a peculiar shape for a paragraph.
It will lack the quality of language;
lack the richness of metaphor.
Inject the magic elixir if not
already there. It may be possible
to invigorate the patient |
| ........Verse 3 . . . . . . . . . . . . . . . . . . . . . .
. . .Edited |
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Ah, it starts! Poem is a patient!
Two different things that are
considered to be same thing,
we have our first metaphor.
From there the temptation
is to work at finding all
possible medical words to include
and to wrestle them in.
OK to find some but don't do that.
Sleep on it.
Let subconscious mind in
to do what it does best,
play with it, sort it out,
stir it with a big spoon,
put in a long-distance call
to your Muse, leave a message. |
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Ah, Poem is a patient!
we have our first metaphors.
From there the temptation
is to find all medical words
and to wrestle them in.
but no, sleep on it.
Let subconscious mind in
to do what it does best,
to play with it, to sort it out,
to stir it with a big spoon,
put in a long-distance call
to your Muse, leave message |
| ........Verse 4 . . . . . . . . . . . . . . . . . . . . . .
. . .Edited |
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Do not look at the first try yet--if ever.
Find a place without distractions,
and preferably on keyboard
let the words appear on the screen.
As you write, do not judge,
just let it flow. Ready?
Moment of truth. Still not judging,
use the enter enter enter method
to get shorter lines at the ends
of phrases or pairs of phrases
and related sets of words.
Keep the best parts, edit. |
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Without distractions,
preferably on keyboard
let it appear on the screen.
As you write,
do not judge,
just let it flow.
Ready? Moment of truth.
Still not judging, use
the enter enter method
for shorter lines
at the ends of phrases
and related sets of words. |
| ........Verse 5 . . . . . . . . . . . . . . . . . . . . . .
. . .Edited |
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Keep the best parts, edit.
It works for me.
After a while
they start to come
complete with rhymes
if you are not concerned
with schemes and rhythms
that match the meaning.
the best ones need
no editing at all. |
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Keep the best parts,
edit. It works for me.
After a while
they start to come
complete with rhymes
if not concerned
with rhythms or schemes
that match the meaning.
The best ones need
no editing at all. |
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. . . . . .. . .Polishing
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| Verses 1 and 2 from Step 2 . . . . . . .
step 3 Edited |
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Having written paragraphs forever,
we can give our full attention
to richness of content. In
prose,
unless they sneak in unnoticed,
rhythm and rhyme are not involved.
We have a pedestrian effort,
a peculiar shape for a paragraph.
It will lack the quality of language;
lack the richness of metaphor.
Inject the magic elixir if not
already there. It may be possible
to invigorate the patient. |
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Giving attention to richness
of content, in prose--unless
they sneak in unnoticed--
rhythm, rhyme not involved,
it lacks the quality of word,
the richness of metaphor . . .
Inject magic elixir. Content
may invigorate the patient.
[Those rhymes were in there.
Is it still PROSE poetry?] |
| Verses 3 to END . . . . . . . . . . . . . . . . . . . . . . . . . Edited |
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Ah, Poem is a patient!
we have our first metaphor
From there the temptation
is to find all medical words
and to wrestle them in.
but no, sleep on it.
Let subconscious mind in
to do what it does best,
to play with it, to sort it out,
to stir it with a big spoon,
put in a long-distance call
to your Muse, leave message.
Without distractions,
preferably on keyboard
let it appear on the screen.
As you write,
do not judge,
just let it flow.
Ready? Moment of truth.
Still not judging, use
the enter enter method
for shorter lines
at the ends of phrases
and related sets of words.
Keep the best parts,
edit. It works for me.
After a while
they start to come
complete with rhymes
if not concerned
with rhythms or schemes
that match the meaning.
The best ones need
no editing at all. |
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Ah, our Poem is the patient!
Sleep and wait for the Moment
of Truth. Don't wrestle words in.
Ride the metaphor, letting in
Subconscious mind and all
to put in a long-distance call
to your Muse, and leave the rest,
for her to do what she does best.
After a while they start
to come complete with rhymes,
though not concerned with rhythms
or schemes that match meaning.
The best ones need
no editing at all. |
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Keep the best parts,
edit. It works for me.
After a while
they start to come
complete with rhymes
if not concerned
with rhythms or schemes
that match the meaning.
The best ones need
no editing at all.
. |
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Keep the best parts,
edit. It works for me.
After a while
they start to come
complete with rhymes
if not concerned
with rhythms or schemes
that match the meaning.
The best ones need
no editing at all. |
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.sortasonnet
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. . . . . . . . . . . . . .......Assignment A7c
. . . Write a prose-poem (as above) or Sortasonnet Then / Now (below)
Further examples of radical Sortasonnets
allpoetry.com/Poem/1128963 (an extreme sortasonnet.)
And especially for Writers: allpoetry.com/Poem/619696
rhyme
. . . . . . . . . . . . . . . . . . . . . . . . . . . .abcabcabcabcdd
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| . . . . . . ......Rhythm, Rhyme and the Sortasonnet |
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In other words, What
is a Sortasonnet? Like any sonnet, it is a
rhythmic 14-lined poem, but with great freedom in line-length and rhyme-scheme, preferably ending in a rhymed couplet. Other than the last two lines, can you spot the rhyme scheme in this? Open
choice] --See end.
It's about a writers' group that got closed down with its ISP.
. . . . OWN REWARD
. . . . "Prose" Sortasonnet
. . . . Ruined is too hard a word,
. . . . rather too permanent. It
. . . . simply has lost the purpose--
. . . . for a set of friends to keep
. . . . in touch, and to continue
. . . . the growth of a special skill.
. . . . Those who rhyme easily will
. . . . still show what they can do
. . . . anyhow. Loss won't weep,
. . . . and we continue to compose
. . . . whatever our verses will fit--
. . . . Practice has its own reward.
. . . . You might think that this is prose,
. . . . yet it rhymes, yes one of those!
.......Written with the enter enter enter
method,
...............with minimal edits, rhymed
.......a b c d e f (skill, will) f e d c b
a gg . |
| . . .#1 PAIRA-SONNETS . . . . . . . . . . . . . . #2
&&& |
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As one who's about to depart
on voyage both daring and long,
I bid you brave writers to start
a story incredibly strong
to remain thereafter sublime
to amaze generations--not
to disparage our own--for all time,
with immortal poem and thought!
Ah! But if in its writing the plot
should become all jumbled and blurred,
won't we have found polyglot
of writing, divergent, has stirred
--what? Invented alas, by committee:
drooplidded shuffling dromedary! |
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Don't let me down, disappoint,
Please try this incredible thing.
Please don't put my nose out of joint
when you have everything...?
We should return in two weeks.
Expect to see a menagerie
of beasties with iambic feet, cheeks
front and back, fait accompli,
marching along with tetrameter gait.
You need not have my permission,
or hide form, unmistakably late!
The weird result is this mission:
Swishing aloft, tail all hairy,
one amazingly mutant dromedary |
The first one is a take-off on the Petrarchan form, with an initial
octet (8 lines) and in a separate sestet (6 lines), a different view of content, called a volta.) It is a good
way for "then / now" ideas.
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B
B7
Do one of two choices: a, b (Punctuate, dash etc.)
a)Spoken characterization, with quirks, mannerisms
b)Running with your Plotting plan from last week
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Examples of the use of the DASH:
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The DASH is two hyphens (--)
When printed they form a single short line, which interrupts, or suddenly cuts off a thought partway.
It can also insert an explanation or another idea and be placed midway into another sentence. Note it needs no
space between
it and the nearest word.
.
Dashes "also can be used the same way as colons, semicolons, or brackets--" Section 456, Swan. Example: "My mother--who
rarely gets angry--really lost her temper."
(Note no spaces between.)
Watch for its use in all examples given. In the Essay, part of
which is quoted below, the line near "Sadly over the years . . ." there are examples of the use of two
dashes. See in the original, or here. (Used with full credit given)
Quoting from Joe Wenderoth, Letters p.5 HARPER'S December 2005,
.
"when language is made into such an event, it--for me--becomes the most compelling thing in the world" [It can be short] or longer: "most reading nowadays--Tom Clancy, Sandra Brown--seeks
that sort of obliteration, or worse,"
.
and
.
"What is disturbing--and here I agree with Marcus completely--is
to encounter that pressure coming from within the literary-fiction world."
[He compares it to "metastasis."]
The part of an essay quoted above really is there to demonstrate the use of a dash, but Harper's is a reliable
source of correct punctuation.
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B7a
. . .
. . . . Assignment B7a
Applying what you have learned about punctuation, do one of these two:
a)Spoken characterization, with quirks, mannerisms
b)Running with your Plotting plan from last week
B7bb) No plotting plan? Set up Horror Story as indented paragraphs, and tell what will happen next.
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. . ..
. . . .Spoken characterization,
with quirks, mannerisms
. . . . Example: Note this way of describing
a character.
. . .You met Rolly Menard mowing his grass previously.
. . . . . . . Here we meet Maud, one of his
neighbours.
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. . . .Rolly Menard had paused to light
his pipe, tamping it down as his dad used to do, a small ceremony in remembrance of a very special man. He hadn't
noticed Duncan's dog barking while the mower was on, but now, it sounded so forlorn.
. . . .A neighbour, Maud Fischer, having
noted Rolly leaning on his mower, asked, "Have you ever heard that dog howl like that?"
. . . ."Have to confess I've never
noticed."
. . . ."You would've if he'd've
done that before," nodding agreement with her own words.
. . . ."Guess so. Strange."
. . . ."Dogs don't do that for
no reason, mark my words."
. . . ."Spooked somehow."
. . . ."Dogs know things we can't
even guess at." With that, she moved on, pulling her two-wheeled wire grocery cart behind her, going shopping.
. . . .Rolly shook his head. That sure
was an unusual way for Duncan's dog to howl. With apologies to the memory of his dad,
he again banged out the contents of his pipe, put it away, and started mowing again, wondering why.
[ This would also foreshadow what will happen.]
In this short anecdote, we see the value of dialogue and what
we call "business" in scripts, what they do,
in helping us "see"
the characters. Some writers spend pages describing the appearance of characters but leave them made of cardboard,
even so. It reflects society perhaps, where externals
show what
we seem to be, not who we are. Major characters need more than that.
We have met Rolly and his pipe before, newly retired, but here we meet Maud, a neighbour. She is not physically
described other than to say she pulls a wheeled shopping cart. Yet from the way she speaks, her characteristic
expression plugs into memories of eccentric old biddies that readers have known. Memory's pictures can be more
detailed without the interference of words.
Note especially any actions related to what she says, like any expressions (nodding
agreement with her own words.) We almost hear her as she says, "Dogs don't do that for no reason, mark my words."
Does that make you think of a "character" whose behaviour helps identify him / her? Someone whose "old-country"
expressions fit a story well adds local colour too.
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.Assignment B7b
Applying what you have learned about punctuation, do one of these three
.( (B7a) B7b or B7bb
b) Running with your Plotting plan from last week
bb Lacking a plot-plan, see (B7c where Horror Story
is left as a cliffhanger. Set it up now with indented
paragraphs, and for use in assignment 8, plan
where it would go next.
. running
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.......Running with a Plotting Plan
.....................Some help . . .
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So, you have a general idea where the action will go, perhaps sequenced on a time-line with
filecards. You have introduced main characters through what they do and say, now what?
If the segment done in B7 is interesting and you have left it with a question or untied action-threads, the story will carry you into B8
and perhaps into a real story to sell, --or even a novel?.
In a story, I have found that momentum,
its ability to take over and run with events and action, is in direct relation to the enjoyment of its writing.
Work is not work when we enoy it. I
remember the year my first multigenerational
fictional family saga, now in many large
three-ring binders on a sagging shelf, filled fourteen hundred and forty (1440) single-spaced printout pages --written
on a Commodore 128 with no hard-drive. I often wrote so deep into the night, the morning birds had already started
serenading the sunrise. Without interruption. I kept a file of plot-lines which, like a soap opera, crossed and blended and made one exciting time as the characters wrote
the story.
Before you ask, unsold. Didn't even try to sell it.
Too big. I gave up partway into the first edit, and divided it into four books, each of them much much too long.
I blanch at the thought of all that work! The newsprint pages are yellow-browning at the edges. It was just a marvellous
experience to live so many lives all at once!
That colour makes me think of the piece with Vera Rich
(with permission) following in
D7
I hope to share this wonderful "hobby" with members.
revision
A few facts.
Revision
This concerns the big picture, the correcting of sequence of events, adding or deleting material to strengthen
the plot,
checking to avoid orphan or premature plot ends.
By no means the least, is deleting unnecessary
length and repetition.
Proofreading and Editing
This is where spell-check is not enough. It catches
most typos but cannot find it's used where 'its' belongs, and 'their' used for 'they're' and dozens
of pairs just as confusing. USE a dictionary!
"Illiterate" errors are invisible to
a writer who thinks the mistakes are right, but when the work is for sale, obvious to editors and agents. Or is it really
just their style? Not yet.
( However, editors working as proofreaders make good money.)
Use a dictionary! Use a
dictionary, use a dictionary!!
It saves a lot of time with corrections to write it with good form in the first place--spelling, grammar, punctuation
having become automatically free of errors--other than the blind ones, of course.
Just this morning I finally found one that had hidden in my own poet page for over a year, unmentioned: the "cluch" of a manual shift car. Really, la politesse
is not expected. ( 'Clutch' )
You are not alone, it can happen to anyone.
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B7c
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B7c
Paragraphing Review
Horror Story
Sentence punctuation has been left to save your time.
Copy/paste the whole thing. Then use enter, enter, enter and at
the beginning of each new paragraph paste . . . . to show your ...
indented new paragraphs. Unspoken thoughts may have italics.
.
Alone in the house at noon, Tess had no reason to check out the washroom, but now she stopped,
confused. The door had been open when she left in the morning. She was sure of it! Sudden chill told her something
was wrong. She tried the door. Not locked, but it did not open. Tess pushed and the gap widened just a little,
but closed again when she stopped. Too close to Hallowe'en, she thought--Someone has planted a joke for me. She
paused, and moved back. No I must see why it won't open, and banged her shoulder to the door. Then really annoyed
at the stubborn bathroom door, her next big lunge widened the gap enough to let Tess force her way in, but "What?"
she said and lost her balance over something large and dark and-- She gasped. Blood? Can't be! My hands, sticky
with it! Confused-- Surprised-- No! Unreal. The instant she saw it was a body, the screams started, and screamed!
The screams screamed and the screams grew hoarse until--the front door flew open and Rolly rushed in. Tess, he
called, "What's wrong? I heard--" Is it from the bathroom? "Oh, my G--" He saw a sight that
would bring nightmares for years, a body with one eyeball hanging askew, everything above the eyebrows, her husband's
eyebrows, gone. "No! There's his rifle-- no!" Tess had no voice left, and Rolly's words made no sense
as his eyes saw bone splinters, shreds of flesh and skin spread through the bathroom. They stuck to everything
with gray matter, blood still moving in slow motion down the wall. Crazily like a dying animal, still about to
drip, a large piece of scalp, hair matted with brain, was hanging from the crooked overhead light fixture. "Move
over!" Rolly suddenly found the toilet, and lost his lunch. Tess had regained her feet but not her mind. Feeling
sick, he said, "We got to get out of here!" Tess just stood there and did not resist as he took her limp
hand to lead her mindlessly away.
How would you continue this story? It is a cliffhanger.
Assignment 8 has a place to continue your own version. It does not have to fit what
will follow. Notice to students who
are 16 or younger, please include your age with your reply.
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C7All About
PRONOUNS
...
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C7 Do one of three assignments:
a) Concerning spoken and written use of pronouns, explain, with dialogue and not, recent
changes in English. Examples provided below.
.
b) Complete two short verses to illustrate the above, with
opposing points of view.
.
c) Show how you will remember how "verbal" forms differ. Does it mean written, only?
Memo:
Both are verbal. Verbal means words, oral
and written.
Both use WORDS.
Some think it is written only and there are literacy issues in that.
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. . . . . .. . . . .. . . The Pronoun Nitty-Gritty.
. . . .. . . . Choosing Subject or Object pronoun
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| . . Person |
. . Subject |
Object of verb
|
Object of
Preposition
|
| .1st Singular |
. . I brought |
. . brought me |
. . . . with me |
| .2nd Sing'lar |
..you brought |
. . brought you |
. . . . to you |
.3rd person
...Singular |
..he,she, it, who
. . .brought |
. . brought him,
. . . .
. her, it, whom |
. . by
him,
by her,
. . to
it, to whom |
| . . . . The Object pronoun "whom"
is still right in formal writing. Swan. |
| . 1st Plural |
. we brought |
. . .brought
us |
. . . . with us |
| . 2nd Plural |
. you
brought |
. . brought you |
. . . .after you |
| . 3rd Plural |
. they brought |
. .brought them |
. . beside them |
| metaphor |
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below
| . . . ModernEnglish ..as Metaphor (Example) |
|
English has become a scenic road riddled with potholes.
Schools used to keep it in good repair by patching the holes but
as time passed, the local government changed. People cheerfully drove around the holes, glad that taxes were saved,
not having to pay for repairs. Time passed and the holes were no longer noticed, the edges had been rounded with
traffic, less jolting to drive. After
a while a smooth surface felt suspiciously wrong. We have reached this stage in our use of language, where for
many teens it is a
foreign country to compose work in standard English.
That was my impression when I checked Michael Swan's book Practical English Usage, Oxford 1995 to see what is now acceptable
as correct for informal use. Well and good, if among friends, in the family, in stores and on the street, almost
anything goes. However, formal writing, business, journalism, higher education with term papers and theses, even
simple clarity in essays, standard English has become another language, split in
two. The time will come when like a foreign language it will be studied, or like Latin, left behind as a dead language.
Essentially for informal use if it sounds right, according to Swan, it
probably is. There is only one thing that is wrong, overcorrecting
--putting a subject pronoun where an object belongs.
"He gave it to him and I " should be "to him and me." You say
"to me, " don't you? That is your way to test.
ndangered
| .The Subjective Completion, an Endangered Species |
. . . .Grandma and her grandson--picture
this--are sitting on her front porch, arguing about grammar. It has been going on long enough to get completely
confused. Her grandson had just said, "Everybody knows that it doesn't make sense to say 'it' and 'i' are
the same thing. One word is missing a letter."
. . . .Kids are such concrete thinkers,
she thought. "I was not talking about the way they're spelt. In 'It
is I' we see who it is."
. . . .Bafflement. "I am not an
'it,' I am a real person!"
. . . ."You've been a real person
since you were little."
. . . ."So you agree I am me."
. . . ."You are you, no question--"
She would have added more.
. . . ."Cool. So I am me."
. . . ."Me is an object--"
. . . ."No way! Objects are things."
. . . ."...pronoun. Please don't
interrupt. Going back, 'it is I' is correct. It is I !" the old lady said.
. . . ."No-no," the young
lad contradicted. "It's ME, like," singing
"It's me, it's me, it's me O Lord, standin' in the need of prayer!"
. . . ."Hard to argue with that,"
she admitted, noting his grin. "But--"
. . . ."Told you."
. . . ."Anyhow, after the verb
"is" we always use 'I' because it is the same as the subject."
. . . ."How can it and I be the
same thing as a subject?"
. . . ."In a sentence they are.
The verb 'is' is a connecting verb."
. . . .Totally unconvinced, and wondering
if the old lady was going senile, he stood. "Gotta go!" he said, and was gone.
Now that everyone else is confused too, it becomes obvious why
at least the pronoun use of the subjective completion
doesn't
have a snowball's chance.
. . It makes sense if we substitute nouns
for the pronouns.
. . . . It is he. Correctly used. The principal is Mr. Stern.
. . . . Mr. Stern is the principal. He is it.
. . . . If they are interchangeable, they are the same thing.
. . . She said, "I
am a student." "I am it." flip, "It is I"
. . . .He announced, "I am the winner!" "I
am it!" flip, It is I.
Why don't they teach it in a logical way?
No problem then. But because they say,
"That's the rule, learn it," rebellion sets in.
.
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. .. .. . Assignment
C7d (Choose one of three.)
. . . Write what you would tell someone
to explain how .in English, . . . . . . spoken and written
use of pronouns have changed, with
. . .dialogue and not. The example uses
a sustained metaphor to . . .
. . .illustrate acceptance of change that has resulted in parallel . . . . . .
. . .languages. .French
has its patois, called joual in Quebec, both
. . .oral. What name would you call such
ARGOT in English?
. .. . Assignment C7e
. . .Complete the following short verse
in two ways to show attitude:
. . .. . .. . .I see the grammar lost
and gone,
. . .. . .. . .where wrong is right,
then right is wrong.
. . .. . .. . The result of this phenomenon:
(feel free to adjust.)
. .. . Assignment C7f
. . .Search the reference material to create
what you consider a
. . .personal list of ten most useful
rules to avoid "illiteracies."
. . .(wrong pronouns, use of apostrophes, plurals as if singular,
. . .verbs, words that sound the same.
(Provide correct version )
. . .See below.
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. ..... . .What are "illiteracies"
anyway?
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According to Webster's dictionary they are "uneducated" expressions. The fact that they are knowingly used by people
who are not ignorant, it is unfortunate that in different company,
not with friends, they can give a poor impression.
ALSO THIS
Mistaken ORAL FORMS (illiteracies) complicate serious writing.
Heard on TV today, about seeing a celebrity:
"My sister, her and I were on that boat."
(Correct : My sister and I were with her on that boat.)
In fiction, where a group of people all use such speech, it is
correct if or when quoted. ( within quotation marks.)
--------------------------------------------------------
From our Reference Text, Swan:
"Some of them are losing the subject form when used informally,
in oral speech, and in written dialog,"informally
it is becoming "what sounds right." You have to be aware however, that in formal writing to use the wrong
one will
still look illiterate for many years."
What is formal writing? Stuff you write to sell. Public speeches, Business announcements, Published advertisements, College
essays. These assignments.
You really have to work at it to make a mistake in informal
writing!
Swan lists all the forms that are now accepted.
[I am learning too!]
Example: Sing it: "It's me, it's me, it's me O Lord," (standing in the need of prayer!) Informally correct,
(It reduces what we need to know... "The object form eventually
will prevail."
Subject of a sentence will remain. I went home.
She loves music. We try hard. They did it all. Object of verb and preposition
will remain as the object form, never "I"
Exception: She used I instead of me after the preposition.
(Here, I is the word I, not a person, object of the
verb "used.")
"Overcorrecting" has happened because of poor teaching, and as a teacher it pains me terribly to say that.
Putting "I" where an object belongs always was wrong,
and that remains so. --Swan
Wrong: "Between him and I, that is a bad idea."
(needs him and me, both objects remain objects
Wrong: "--A pleasure for you and I" Overcorrecting.
CBC radio Feb 8 4:40 pm Think, 'for me'
Wrong: "I'm better then them!" To compare, use 'than'.
better than they (are) Subject
.
Informally we hear it so much it's probably OK.
it's means it is.
Advertisement about insurance: "You don't drive like her,"
Her what? (Possessive) Like she does!
Wrong: "Her and me are the last ones to go."
(Needs she and I, both subjects)
Just for fun listen and watch print media, TV and radio,
and make a list of such unconscious illiteracies. That's where all these examples came from!
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D7THE
BEAUTY OF VERBS
,.
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thoughhought
.
. . . . . Language of Thought Restricts
us: Inspired by
Colour Verbs, by Vera Rich, Inherent Beauty expressed. |
. . . The English language.is credited with a huge
range and number of words, giving great power of expression. Among them are unchanged words from almost every culture
and country of the world. Immense dictionaries list them. No problem there, right?
. . . Wrong. We assume too much. Vera Rich, in her piece below, has opened another
door to perception if not to heights of consciousness itself, without which
such words as hers could not have existed. Even
to have known the need for such words indicates awareness beyond what most of us have considered to be the norm.
. . . As a result isn't it obvious that the
full meaning of many of those international words, being given in English, cannot possibly be told? We will never
know; they simply are not expressible in English. Verbally, we can only understand what we already have words for,
precise words that involve the range of our senses, not ephemeral generalities that hint at more.
. . . "Lost in translation" has new
meaning here.
. . . What Vera describes in her remarkable piece below, is almost
inconceivable for anyone thinking in English. English simply does not have the intensity
of meaning that she shares.
. . . It is the first time that I had even
considered that we are limited by the language in which we think, language which determines the extent of our awareness!
Only artists, musicians, dancers, and non-verbal thinkers can have access to such immediate meaning.
. . . How dare I say something like that?
. . . The concert pianist does not have time
to put into words what his fast-flying fingers do on a keyboard, but can nevertheless express pathos and joy and
all emotions between. When I have carved wood to release the persons within, having seen them there from all directions,
there were no words to instruct the hands that hold the mallet and the gouge or tiny blade. The excess just came
off. The ballerina would be clumsy indeed if she had to think in words, every plié, jeté, glissade,
bourré, and arabesque even with knowing the words, and figure skaters would find themselves in heaps on
the ice. With that background can we take it a single step beyond: non-verbal language?
. . . For the pianist, the musical score is
a language that knows no boundaries of time or place, unchanged from century to the next. For the artist, there
are words for form, grain in wood, proportion, but no match for the experience. Muscle
memory is direct in the case of athletes of all kinds, but at the very beginning,
it was with words that the moves were taught.
. . . We have been told that Canada's far northern
Inuit have a dozen and more words for snow, eliminating
a need for adjectives. (Wry thought, considering the accelerating melt due to global warming, will they generate
as many words for mud?)
. . . My thanks go to Vera for inspiring these
far-out thoughts, with apologies for length. Hers has significance far beyond what first meets the eye on reading,
and it spoke to me, in our case, as 'direct experience has greater meaning than second-hand words.' In Vera's,
her colour verbs ARE the experience!--Terry
---------------------------------------------------------
Now, to Vera!
But - to keep us humble - let us not forget that English has its deficiencies. I myself feel very strongly the
lack of the second-person singular ("Thou") forms...and even more strongly
of verbs of "being a colour".
English has verbs of BECOMING a colour or (transitively) MAKING something a particular colour - paper can "yellow"
with age, one can "whiten" one's tennis shoes... but when Maksim Bahdanovic wrote, for example, that
the cornflowers "siniejuc"... well, he was not simply making an observation on the botanical fact that
they are blue; rather that their blueness is--for him and for the weaver-girls in the poem--something remarkable
and overwhelming ... that the cornflowers are, so to speak "shouting their blueness to highest heaven"
--or as the hippies might have said "doing their blue thing!"... There are ways of dealing with such
verbs-- "gleam white", "shine blue", 'loom black' etc... but they do present a challenge to
the translator....
With permission, and with thanks golding the sky!!
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Assignment Section D7a,
Write a summary of this item on beauty of meaning.
Also known as a précis, it lists the important points
in paragraph form.
.
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D7 Verbs
. .. .More Irregular Verbs and Verb Phrases,
ESL, Sorted
. .Verb tenses and verb phrases, unusual
forms, Spelling
.
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Section 301in Swan is called American English. I beg you, if you are a serious writer, to
purchase--or borrow from a public library--this reference book by Michael Swan,
PRACTICAL ENGLISH USAGE, published by Oxford, 1995.
I do not intend to copy the full list of everything here--copyright forbids.
To give you an idea, however, the past of "burn, dream, lean, learn, spell, smell,
spill, and spoil end in --t in British English, --ed in US and
"fit, quit, dive, and wet" are irregular in
American English.
.
Section 300 in Swan has four pages of "common irregular verbs." in alphabetical order making them easy
to find. Much of our remaining weeks will be spent digging through these four pages, rearranged into groups to
make them easier to know. Any good dictionary will fill in the gaps.
NOTICE for ESL (English as a Second Language)
.
Unfair to take for granted that everyone knew what to do with them.
When English is new, here is help.
There are three main parts of any verb.
Example :
the Infinitive - - - Simple past - - - Past Participle
to tell, - - - - - - - - - - -told, - - - - - - - has told Future: will tell
We get the present (tense - time) from the infinitive.
I tell, you tell, he tells, we tell, you tell, they tell. Now.
The infinitive can also be used with an auxiliary: will tell, used to tell (stories), meant to tell (but forgot),
forgot to tell.
The infinitive of any verb can be used as a gerund, subject in a sentence. To tell the truth, I don't care. To
win is their only goal.
"To be or not to be, that is the question." from Hamlet, by Shakespeare
The simple past IS ONCE, like ten seconds ago, yesterday, last year.
The past participle gives us all the compound tenses, where meaning changes with the auxiliary verb, (has told,
had told, will have told,
might have told, could have told, should have told, having told.
"DECLINING" VERBS, REVEALING CHANGES
Example :
the Infinitive - - - Simple past - - - Past Participle
to tell, - - - - - - - - - - -told, - - - - - - - has told
FROM THAT, WE GET
I tell - - - - - - - - -I told - -- - - - - - I have told, I had told
you tell - - - - - - -you told - - - -- - you have told, you had told
he tells - - - - - - -he told - - - - - - - he has told, he had told
we tell - - - - - - - we told - - - - - - - we have told, we had told
you (pl) tell - - - -you told - - - - - - you have told, you had told
they tell - - - - - - they told - - - - - -they have told, they had told
the Infinitive - - - Simple past - - - Past Participle
to tear (pronounced tare) tore - - - - - has torn Future: will tear
I tear - - - - - - - - -I tore - - - - - - - - I have torn, had torn
you tear - - - - - - -you tore - - - -- - you have torn
he tears - - - - - - - he tore - - - - - - -he has , had torn
we tear - - - - - - - we tore- - - - - - - we have torn
you (pl) tear- - - - you tore - - - - - - you have torn
they tear- - - - - - they tore - - - - - - they have torn
the Infinitive - - - Simple past - - - Past Participle.
to hide- - - - - - - - - hid,- - - - - - - - - has hidden Future: will hide
I hide - - - - - - - - - I hid - - - - - - I have hidden, had hidden
you hide - - - - - - -you hid - - - -- - you have hidden
he hides- - - - - - - he hid - - - - - - - he has hidden, had hidden
we hide - - - - - - - we hid- - - - - - - we have hidden
you (pl) hide- - - - you hid- - - - - - - you have hidden
they hide- - - - - - they hid- - - - - - - they have hidden
the Infinitive - - - Simple past - - - Past Participle
can, could - - - - was able, - - - - - had been able (future: will be able)
I can - - - - - - - - -I could - I was able
you can - - - - - -you could - you were able
he can - - - - - - -he could -he was able
we can - - - - - - we could - we were able
you (pl) can - - - you could -you were able
they can - - - - - they could - they were able
Past Participle
had been able - - - - - - - - - - - - - - - - - - - - - - - - (future: will be able)
I have been able , - - - I had been able - - - - - - (future: I will be able)
you have been able - - you had been able - - - - (future: you will be able)
he has been able - - - - he had been able - -- - - (future: he will be able)
we have been able - - - we had been able - - - - (future: we will be able)
you have been able - - -you had been able - - - -(future: you will be able)
they have been able - - they had been able - - - - (future: they will be able)
Past Participle
had been able - - - - - - - - - - - - - - future: will be able)
I have been able, - - I had been able - - future: I will be able)
you have been able - -you had been able - -future: you will be able)
he has been able - - -he had been able - - future: he will be able)
we have been able - - we had been able - - future: we will be able)
you have been able - -you had been able - future: you will be able)
they have been able - they had been able - future:they will be able
How meaning can change :
Other tenses: I may be able (possibility)
- - - - - - - -I may have been able (then, but it is too late now.)
- - - - - - - -I can be able (to go) (but need permission)
WATCH THE SPELLING!
the Infinitive - - Simple past - -Past Participle
.
to hold, held, has held
to spend, spent, has spent
to lend, lent, has lent
.
to get, got, has got
to spit, spat, has spat
to sit, sat, has sat
.
to hear, heard, has heard
to find, found, has found
to wind, wound, has wound
.
to understand, understood, has understood
to stand, stood, has stood
.
to tell, told, has told
to sell, sold, has sold
.
to strike, struck, has struck
to stick, stuck, has stuck
.
to dig, dug, has dug
to run, ran, has run
to begin, began, has begun
to win, won, has won
to shine, shone, has shone
to go, went, has gone
to do, did, has done
.
to wear, wore, has worn
to tear, tore, has torn
.
to give, gave, has given
to forgive, forgave, forgiven
to hide, hid, has hidden
to bite, bit, has bitten
to grow, grew, had grown
to throw, threw, has thrown
to know, knew, has known
to blow, blew, has blown
to show, showed, has shown
to fly, flew, has flown
.
to draw, drew, has drawn.
.
to come, came, has come
to become, became, has become
to swim, swam. has swum
.
to sink, sank, has sunk
to drink, drank, has drunk
.
to sing, sang, has sung
to ring, rang, has rung
to hang, hung, has hung
to swing swung, has swung
to spin, span - spun, has spun
Alternates, --T ending in UK,
Canada --ed in US
To spoil, spoilt- spoiled, has spoilt- spoiled
to spill, spilled- spilt, has spilt- spilled
to spell, spelled- spelt, has spelt- spelled
to smell, smelt- smelled, has smelt- smelled
to dream, dreamt-
dreamed, has dreamt- dreamed
to burn, burnt- burned, has burnt- burned
to bet, bet- betted, has bet- betted
to light, lit-
lighted, has lit- lighted
to learn, learnt- learned, has learnt-learned
can, could- was able, had been able (future: will be able)
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. . . . .All assignments are OPEN-BOOK,
where help is available
. . . . .... . . . .to
make the work easier. You just have to find it. m
. . . . ..Easy Assignment D7b
. . . . .Give the future tense of any ten irregular verbs in sentences.
. . . . .Assignment
D7c
. . . . .Use the infinitive form of any five of this list as subjects in . . . . .. . . . .. . . . .sentences...
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| . . . . .. ... . . .Conditional or Progressive
meaning |
. .The FINE
ART OF EXCUSES
How meaning can change (Garden-variety Semantics.)
Other tenses: I may be able (possibility)
- - - - - - - - -I may have been able (then, unsure, but it is too late now.)
- - - - - - - - -I can be able (but need time, practice, permission)
- - - - - - - - -I might be able (but am not sure)
- - - - - - - - -I might have been able (if it had been possible)
- - - - - - - - -I should be able (there are no obstacles, but will check)
- - - - - - - - -I should have been able (wanted to, but was not)
- - - - - - - - -I could be able (Just ask!)
- - - - - - - - -I could have been able (but cannot anymore, too bad.)
- - - - - - - - -I would be able (offering, next week or later)
- - - - - - - - -I would have been able (last week but no one asked.)
Quite possibly others might exist, but that will have to do... |
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| . . . . .. . . . Verbs with unusual forms (more
invited) |
|
. Nouns ending
in 'th' have a verb that adds 'e'
Pronunciation changes too, for
those who do not take these things for granted, learning or new to English. I really don't know how to pronounce
the final "theh" of the verbs, harder than the 'th.' Any suggestions?
We use garments made of cloth to clothe ourselves.
. . . . . . . . . . . . .the verb:tclothe like crow
We take a bath when
we bathe . . . . . . . . . . . . . . . .
. . . . . . . . . . . . ..the verb: bathe like bay
You take a breath, but breathe without
thinking. . . . .
. . . . . . . . . . . . .the verb:.breathe like see
I am loath to admit my mistake,
. . . . . . . . . . . . .the verb:.loathe I loathe
hackers.
A baby gets teeth but first he must teethe. . . . . . . . .
. . . . . . . . . . . . .the verb:.teethe like teetheh
We seethe when we are frustrated (no
noun) .(. . . . . . . . . . . .
. . . . . . . . . . . . .the verb:.seethe
Satin has a smooth surface;(adjective)
stroking smoothes fur .(. .
. . . . . . . . . . . . .the verb:.smoothe
I am loath to admit my mistake,(adjective)
. . . . . . . . . . . . .the verb:.loathe I loathe
hackers. |
Suggestion: The "th" to
"the" sound changes from a voiceless sound to a voiced one, similar to the voiceless sound of "s"
and the voiced sound of "z".
-- From Charlynn |
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. . Remember that ICE
is a noun, and IS, a verb,
. .Spelling used to be simple.
Now we have to remember, |
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NOUNS |
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VERBS
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Practice makes perfect.
The doctor's practice is busy. |
Please practise your piano. |
| He gave good advice.. |
We advise you to drive carefully. |
| I need a device for lifting. |
Devise a new way to do this. |
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Some are exempt. |
Some are exempt. |
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| Police investigate crimes. |
Monitors police the halls. |
| Ignorance is no excuse. |
Excuse me? |
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. . . . .. . . .. . . . See
Above too- in case one doesn't work.. . .. ... . . . . . .
PART E? Go directly to Grefs7-07-E
Only PARTS ABCD are here
Please do not submit yet if working a two-trophy plan.
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bLUE
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