KISS Grammar
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Free, from the KISS Grammar Web Site
KISSGrammar.org
© Ed Vavra
November 21, 2012
2
Contents
Introduction—Welcome Back! ............................................................................4
An Introduction to Clauses ............................................................................................................ 5
KISS Level 3.1.1—Compound Main Clauses .....................................................7
1. Identifying Main Clauses .............................................................................................................. 7
1.a. From “How Brave Walter Hunted Wolves” ........................................................................ 7
1.b. From the Writing of Sixth Graders ..................................................................................... 8
1.c. Based on the Second Story in “The Snow Queen” .............................................................. 9
1.d. Based on the Second Story in “The Snow Queen” ........................................................... 10
2. The Logic and Punctuation of Compound Main Clauses ............................................................ 11
Explanation .................................................................................................................................. 11
2.a. From Lassie, Come Home by Eric Knight........................................................................ 12
2.b. The Logic of Semicolons, Colons, and Dashes –Famous Quotations.............................. 13
3. Syntax & Logic - Compounding Main Clauses.......................................................................... 14
4. Treasure Hunt (and/or Recipe Roster) ......................................................................................... 15
5. Writing Compound Sentences with a Dash, Colon, or Semicolon ............................................. 16
KISS Level 3.1.2—Subordinate Clauses ...........................................................17
Mixed Subordinate Clauses ............................................................................................................. 17
Identifying Clauses—The Procedure ........................................................................................... 17
The Types of Subordinate Clauses .............................................................................................. 18
1.a. From “How Brave Walter Hunted Wolves” ...................................................................... 19
1.b. From The Secret Garden, by Frances Hodgson Burnett ................................................... 20
1.c. Tongue Twister—“She sells seashells” ............................................................................. 22
1.d. Based on The Queen of the Pirate Isle by Bret Harte ....................................................... 23
1.e. From the Writing of Sixth Graders .................................................................................... 24
1.f. From Alice in Wonderland by Lewis Carroll .................................................................... 25
Rewriting Subordinate Clauses as Main or Main as Subordinate ................................................ 26
2.a. From the Writing of Sixth Graders .................................................................................... 28
2.b. Based on “Perseus” in The Heroes, or Greek Fairy Tales For My Children .................... 29
The Logic of Subordinate Clauses ............................................................................................... 30
3. From The Secret Garden, by Frances Hodgson Burnett ...................................................... 37
4. A Passage for Analysis from Chapter Nine of Blue Willow, by Doris Gates ..................... 38
Style - Parallel Constructions ...................................................................................................... 39
* 5.a. From “The Butterfly That Stamped,” by Rudyard Kipling ........................................... 39
* 5.b. Abraham Lincoln’s “Gettysburg Address” .................................................................... 41
6. From “Endicott and the Red Cross,” by Nathaniel Hawthorne ........................................... 42
Noun Clauses as Direct Objects ...................................................................................................... 43
1.a. From Lassie, Come Home by Eric Knight........................................................................ 43
1.b. From the Writing of Sixth Graders ................................................................................... 44
Noun Clauses as Direct Objects—Quotations ............................................................................. 45
2. Based on “The Story of the First Hummingbird” by Florence Holbrook ............................ 46
3. Treasure Hunt (and/or Recipe Roster) ................................................................................. 47
Adverbial Subordinate Clauses ....................................................................................................... 48
1.a. From The Secret Garden, by Frances Hodgson Burnett ................................................... 48
1.b. Famous (or Interesting) Quotations................................................................................... 49
1.c. Based on The Queen of the Pirate Isle by Bret Harte ...................................................... 50
1.d. From the Writing of Sixth Graders ................................................................................... 51
3
Sentence-Building: Adding Adverbial Clauses ........................................................................... 52
2. Based on Lassie, Come Home by Eric Knight .................................................................... 52
Rewriting Adverbial Clauses as Main and Main as Adverbial .................................................... 53
3.a. Based on Lassie, Come Home, by Eric Knight ................................................................. 53
3.b. From the Writing of Sixth Graders ................................................................................... 54
The Logic of Adverbial Clauses .................................................................................................. 55
4. From Lassie, Come Home, by Eric Knight .......................................................................... 55
The Logic of Adverbial Clauses (Combining Five Sentences).................................................... 56
A Passage for Analysis ................................................................................................................ 57
6. From “How the Alphabet Was Made,” by Rudyard Kipling ............................................... 57
7. Treasure Hunt (and/or Recipe Roster) ..................................................................................... 58
Adjectival Subordinate Clauses ....................................................................................................... 59
1.a. From The Secret Garden, by Frances Hodgson Burnett ................................................... 59
1.b. Famous (or Interesting) Quotations................................................................................... 60
1.c. From the Writing of Sixth Graders .................................................................................... 60
Mid-Branching Adjectival Clauses .............................................................................................. 62
2. Famous (or Interesting) Quotations...................................................................................... 62
Sentence Building: Adding Adjectival Clauses ........................................................................... 63
3. Based on Introductory Lessons in English Grammar by Wm. H. Maxwell, M.A. ............ 63
Restrictive and Non-Restrictive Modifiers .................................................................................. 64
4.a. Punctuating Adjectival Clauses, Based on “Perseus,” by Charles Kingsley .................... 65
4.b. From Lassie, Come Home, by Eric Knight ....................................................................... 66
Rewriting Adjectival Clauses as Main Clauses and Main as Adjectival ..................................... 67
5.a. From Alice in Wonderland by Lewis Carroll ................................................................... 67
5.b. Based on “Perseus” by Charles Kingsley .......................................................................... 68
A Passage for Analysis ................................................................................................................ 69
6. The Opening of Chapter 15 from Heidi by Johanna Spyri.................................................. 69
7. Treasure Hunt (and/or Recipe Roster) ..................................................................................... 70
Other Noun Clauses......................................................................................................................... 71
1.a. Mixed Noun Clauses from Heidi by Johanna Spyri .......................................................... 71
1.b. Mixed Noun Clauses from Lassie, Come Home by Eric Knight...................................... 72
Noun Clauses as Objects of Prepositions..................................................................................... 73
2. Based on Black Beauty, by Anna Sewell ............................................................................ 73
Noun Clauses as Subjects ............................................................................................................ 74
3. Famous (or Interesting) Quotations...................................................................................... 74
Noun Clauses as Predicate Nouns................................................................................................ 75
4. From Lassie, Come Home by Eric Knight .......................................................................... 75
5. Treasure Hunts (and/or Recipe Rosters) .................................................................................. 76
KISS Level 3.1.3 -- Embedded Subordinate Clauses ........................................77
Clauses within Clauses (Embedding) ........................................................................................ 77
Reviewing the Procedure for Identifying Clauses ....................................................................... 78
1. The Last Sentence of “The House That Jack Built” ............................................................. 79
2.a. From “How Brave Walter Hunted Wolves” ...................................................................... 81
2.b. From the Writing of Sixth Graders ................................................................................... 82
2.c. From Heidi by Johanna Spyri ........................................................................................... 83
2.d. Based on “Perseus” by Charles Kingsley ......................................................................... 84
2.e. From The Secret Garden, by Frances Hodgson Burnett ................................................... 85
Passages for Analysis................................................................................................................... 87
3.a. From Chapter One of Blue Willow, by Doris Gates ......................................................... 87
4
3.b. From .................................................................................................................................. 88
“The Beginning of the Armadilloes” by Rudyard Kipling...................................................... 88
IInnttrroodduuccttiioonn—
—W
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Baacckk!!
If your instructor has given you these materials, you have probably worked through KISS Levels
One and Two. Thus you are already able to identify many constructions in the sentences that you read and
write.
If you are familiar with the movie The Karate Kid, you probably remember than Mr. Miyagi made
Danielsan wash and wax his cars—“Wax on; Wax Off. Wax On; Wax Off.” In a sense, that is what you
did in KISS Level One. Daniel also had to paint the fence, “Up. Down. Up Down.” You might compare
that to KISS Level Two. KISS Level Three is comparable to many of Daniel’s karate matches –not the
championship matches (those are in KISS Level Four). But before one can become a champion, one needs
practical experience.
KISS Level Three—Clauses—is the most practical and important of the KISS Levels. That’s
because clauses are the most important constructions in English sentences. Even as you begin to master
main clauses, you’ll be discovering important aspects of correctness, style, and logic. And, if you have
mastered KISS Levels One and Two, all that washing, waxing, and painting will make KISS Level Three
relatively easy to master. As you work, keep the following in mind:
1. There are some things (such as simple prepositional phrases, and identifying basic S/V/C patterns)
that you are expected to always get right.
2. But, because you will be analyzing sentences from real texts, there are other things that you will
be expected to get wrong.
3. Always work systematically. In analyzing a sentence, find all the prepositional phrases first. Then
identify the S/V/C patterns by first finding a finite verb, then its subject, then its complement.
Do this in a sentence until you have found all the S/V/C patterns.
4. In this Level, you will be learning to identify basic clauses. A clause is an S/V/C pattern and all
the words that chunk to it. Thus, if you have labeled all the S/V/C patterns in a sentence,
identifying clauses will be easy. You will be told how to do that systematically using another
simple, but very important sequence. Learn the sequence, and use it.
5. We humans have a tendency to worry about what we do not know or do not understand. Do not let
that frustrate you. From time to time, stop and look at how much you can already explain.
6. Have fun!
5
Claude Monet's
(1840-1926)
A
Ann IInnttrroodduuccttiioonn ttoo C
Cllaauusseess
The Stroll
Camille Monet and Her Son Jean
(Woman with a Parasol)
1875
(KISS Level 3.1)
Thus far you have been working with sentences and have learned to identify the “subject / (finite)
verb / complement patterns” in them. You have also learned that adjectives, adverbs, and most
prepositional phrases modify (and thus chunk to) the words in the S/V/C slots. You have probably noticed
that many sentences have more than one S/V/C pattern. To be able to discuss these multiple patterns in a
sentence, we need to distinguish between “sentence” and “clause.”
What Is a Clause?
A “clause” is a subject, finite verb, complement pattern and all the words
that chunk to it.
Because you can already identify S/V/C patterns and distinguish finite verbs from verbals, you will
probably find clauses easy to understand. There are two primary types of clauses, main and subordinate.
Main Clauses
Every main clause could be punctuated as a separate sentence, but just as we compound subjects,
verbs, etc., we also compound main clauses. Thus you will often find more than one main clause in a
sentence. Although short main clauses can be combined with commas (I came, I saw, I conquered.), most
main clauses are joined together with the following punctuation:
, and
He went swimming, and she went fishing.
, or
Tom went to the lake, or he went home.
, but
Sarah arrived late, but she had her homework done.
[Note that some writers omit the comma, but you probably should not do so until you are an
established writer. (Some teachers don't like the missing commas.)]
a semicolon Gary loved football; Sam preferred golf.
a colon
It was early: the clock had not even struck six a.m.
a dash
Toni loves football -- she watches the Redskins' game every Sunday.
6
The differences in these punctuation marks will be discussed in more detail in the sections on style
and logic. For now, all you need to remember is that when a clause begins with one of them, you are
probably dealing with compound main clauses.
Subordinate clauses are the focus of KISS Level 3.1.2, but a brief overview may help you better
understand main clauses.
Subordinate Clauses
With rare exceptions, every subordinate clause functions as a noun, adjective, or adverb within
another clause. This means that a subordinate clause is embedded in, and thus a part of, a main clause.
The easiest way to identify clauses is to first identify the S/V/C patterns. In KISS analysis, we put a
vertical line at the end of every main clause, and brackets around subordinate clauses.
Noun Clauses: A subordinate clause can function in any way that a noun can.
Probably the most common function of noun clauses is as direct objects:
She thought [DO that would be a good idea (PN)].
|
Noun clauses can also function as indirect objects:
Bill sent [IO whoever wanted one (DO)] a copy (DO) {of his book}.
|
Noun clauses can be objects of prepositions:
They were listening {to [OP what the teacher was saying]}.
|
They can function as predicate nouns:
His idea was [PN that we should go fishing].
|
The last of the most common functions of noun clauses is a subject:
[Subj. That she was right (PA)] was difficult (PA) {for him} to accept.
|
Adjectival Clauses: A subordinate clause can function as an adjective. Normally, adjectival clauses
modify the word that immediately precedes them.
The man [Adj. who robbed the bank (DO)] is now {in jail}.
|
Those are the flowers (PN) [Adj. that Tom gave his wife (IO)].
|
Adverbial Clauses: A subordinate clause can function as an adverb.
He cried [Adv. to "cried" because his team lost].
|
[Adv. to "had" After they won the game (DO),] they had a big party (DO).
|
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K
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1. Identifying Main Clauses
1.a. From “How Brave Walter Hunted Wolves”
From The Lilac Fairy Book, edited by Andrew Lang
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place a vertical line after each main clause.
1. But on the other side of the garden there is a lake, and beyond the lake is a
village, and all around stretch meadows and fields, now yellow, now green.
2. Come with me, Jonas, and you shall have the skin, and I will be content with the
ears and the tail.
3. It was a beautiful evening, and the birds were singing in all the branches.
4. Yes, it was not at all safe here, and there were no other people to be seen in the
neighbourhood.
5. He certainly jumped on to Walter, but he only shook his coat and rubbed his
nose against his face; and Walter shrieked.
8
The Maja and the
Masked Men
KISS Level 3.1.1 Compound Main Clauses
1777
Francisco de Goya
(1746-1828)
Museo del Prado,
Madrid
1.b. From the Writing of Sixth Graders
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place a vertical line after each main clause.
1. I screamed at him and he turned around.
2. We followed the trail, and we got home.
3. This would not only raise enough money for the show, but it would prove the
show’s popularity.
4. To his surprise, the idea worked, and the bear went after the stick.
5. We started to look around, but we could not find a trace of the path.
6. My name is Tommy, and I love the Disney shows.
7. This is my first year in middle school, and I want a friend.
8. One day my mother came over to visit and I was swimming, and I hit my collar
bone on a brick and broke it.
9. He tried to run, but his dad caught him by the sleeve of his shirt.
10. We gave the stray cat some food, and my mom called our neighbors.
9
Compound Main Clauses
1.c. Based on the Second Story in “The Snow Queen”
From Stories from Hans Andersen
with illustrations by Edmund Dulac
Part One:
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place a vertical line after each main clause.
1. In the summer they could reach each other with one bound, but in the winter
they had to go down all the stairs in one house and up all the stairs in the other,
and outside there were snowdrifts.
2. She is biggest of them all, and she never remains on the ground.
3. Many a winter’s night she flies through the streets and peeps in at the windows,
and then the ice freezes on the panes into wonderful patterns like flowers.
4. Still she was alive, her eyes shone like two bright stars, but there was no rest or
peace in them.
5. The next day was bright and frosty, and then came the thaw — and after that the
spring.
Part Two: Write a sentence with compound main clauses.
10
Compound Main Clauses
1.d. Based on the Second Story in “The Snow Queen”
From Stories from Hans Andersen
with illustrations by Edmund Dulac
Part One:
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place a vertical line after each main clause.
1. The sun shone, green buds began to appear, the swallows built their nests, and
people began to open their windows.
2. He did it very well and people laughed at him.
3. The sledge drove twice round the square, and Kay quickly tied his sledge on
behind.
4. He shouted aloud, but nobody heard him, and the sledge tore on through the
snow-drifts.
5. The Snow Queen kissed Kay again, and then he forgot all about little Gerda,
Grandmother, and all the others at home.
Part Two: Write a sentence with compound main clauses.
11
2. The Logic and Punctuation of Compound Main Clauses
E
Exxppllaannaattiioonn
Although two or more main clauses can be combined into one sentence by using “, and,” “, or,” or “,
but,” three punctuation marks can also be used not only to combine the clauses, but also to direct readers
to see specific logical relationships between the ideas expressed in the clauses.
Colons and Dashes to Indicate Further Details
A colon or a dash can be used to indicate a “general/specific” relationship between the ideas in two
main clauses:
The weather was nice -- it was sunny with a soft wind.
The payment is late: it was due two weeks ago.
In these examples, the first main clause makes a general statement, and the second provides more specific
details.
Semicolons to Emphasize Contrasting Ideas
Consider the following two sentences:
He went swimming. She did the dishes.
In effect, they simply state two facts. We can combine them with “, and” and a small “s,” but they will
still simply state two facts:
He went swimming, and she did the dishes.
There is, however, another way of combining the two, and it changes the meaning. When a semicolon is
used between two main clauses, it suggests that the clauses embody contrasting ideas. Thus, we
could write:
He went swimming; she did the dishes.
The semicolon invites the reader to think about the differences between the two main clauses, and, in this
case, a little thought suggests that the underlying contrast here is that he is having fun, but she was stuck
working in the kitchen.
12
Punctuation and Logic
of Compound Main Clauses
2.a. From Lassie, Come Home
by Eric Knight
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Put a vertical line at the end of every main clause.
4. Briefly explain the logic implied by the words and/or punctuation marks that join the
compounded main clauses.
1. Their clothes were coated with muck, and in the men’s hands or on their heads
were lanterns.
2. But this at last was her solution—she must walk among men.
3. She stared at him and then she clasped her hands together.
4. The rain streamed from her coat; the mud splashed up over her legs.
5. Lassie got up again and went back to the sun; but that was not the answer.
6. She tried to lift her head but it would not move.
7. The conclusion to draw is this: Never trust a dog!
8. And the heart was gallant and the instinct was true.
9. Freeth began to laugh, but McBane’s tone halted him.
10. “Well, I’ll tell you the truth—it escaped.”
13
KISS Grammar
Compound Main Clauses
2.b. The Logic of
Semicolons, Colons, and Dashes
–Famous Quotations
Writers often use a semicolon to join contrasting ideas, or a colon or a dash to join clauses in which
one clause gives more specific details about (amplifies) the other clause. [Another way of looking at this
is to say that one clause makes a general statement, and the other clause states the same idea in more
specific detail.] Colons suggest a formal style, and dashes reflect a casual style.
After analyzing each of the following, on the line following it write:
1) the logical relationship of the two clauses—“contrast” or “amplification.”
2.) a general statement of any contrast, for example, “young / old,” “good / bad,” “men / women,” etc.
3.) circle either “Yes” or “No” to indicate whether or not you think the punctuation follows the general
norm.
1. An age builds up cities; an hour destroys them. - Seneca
_____________________________________________________Yes
No
2. Never fear the want of business—a man who qualifies himself well for his
calling never fails of employment. - Thomas Jefferson
_____________________________________________________Yes
No
3. Be patient, my soul: Thou hast suffered worse than this. - Homer
_____________________________________________________Yes
No
4. You think me the child of my circumstances: I make my circumstance. - Ralph
Waldo Emerson
_____________________________________________________Yes
No
5. Things do not change; we change. - Henry David Thoreau
_____________________________________________________Yes
No
6. You do not lead by hitting people over the head—that’s assault, not leadership. Dwight D. Eisenhower
_____________________________________________________Yes
No
14
The Doctor's
Visit
3. Syntax & Logic -
1663-65
Jan Steen
(Dutch)
(1626-1679)
Compounding Main Clauses
Directions: Combine the sentences in each set by using a dash, a colon, or a semicolon. After each set,
indicate your reason for using the mark you chose by writing “amplification (informal)” for dashes,
“amplification (formal)” for colons, or “contrast” for semicolons.
1. Tom walked home. It was a long walk, but he enjoyed it.
Reason:_________________________
2. Fridays are boring. Saturdays are fun.
Reason:_________________________
3. Flowers are pretty. I especially like roses.
Reason:_________________________
4. Pickup trucks are useful. They can carry anything from mulch to furniture.
Reason:_________________________
5. Kara likes to play baseball with the boys. Sarah prefers shopping at the mall.
Reason:_________________________
6. The Mississippi River is full of fish. Sunfish, bass, pike, and especially catfish can be
found in it.
Reason:_________________________
7. Alfred pretended to be sick so he could stay home and watch the World Series. Bob
was really ill.
Reason:_________________________
8. The Lion, the Witch, and the Wardrobe is a funny book. A lot of strange and amusing
creatures are in it.
Reason:_________________________
9. The new Harry Potter book was an instant success. It is almost impossible to find it in
the stores.
Reason:_________________________
10. We at McDonald's have introduced three new premium salads. Let us feed you
tonight.
Reason:_________________________
15
4. Treasure Hunt (and/or Recipe Roster)
Treasure Hunt (and/or Recipe Roster)
Find and bring to class (and/or write) a sentence that has compound main clauses.
Creating an Exercise
In a story or book that you like, find five sentences that have compound main clauses. For your
classmates, make an exercise with them; for your teacher, make an analysis key. (Remember that your
teacher may use your exercise in future years.)
16
The Tinker
1874
by
Alphonse
Legros
5. Writing Compound Sentences
with a Dash, Colon, or Semicolon
(1837-1911)
French
A. Directions: Write two compound sentences in which the second main clause gives more information
(detail) on the idea in the first main clause. Make the style informal by separating the two main clauses
with a dash.
Example: My sister likes sports -- she plays baseball, basketball, and soccer.
1. _____________________________________________________________________
_____________________________________________________________________
2. _____________________________________________________________________
_____________________________________________________________________
B. Directions: Write two different compound sentences in which the second main clause gives more
information (detail) on the idea in the first main clause. Make the style formal by separating the two main
clauses with a colon.
Example: Sam got into trouble: he was late for class and forgot his books.
1. _____________________________________________________________________
_____________________________________________________________________
2. _____________________________________________________________________
_____________________________________________________________________
C. Directions: Write two compound sentences in which the second main clause contrasts with the idea in
the first main clause. Use a semicolon to join the two main clauses in one sentence.
Example: My mother likes to go to restaurants; my father prefers home cooking.
1. _____________________________________________________________________
_____________________________________________________________________
2. _____________________________________________________________________
_____________________________________________________________________
17
K
KIISSSS L
Leevveell 33..11..22—
—SSuubboorrddiinnaattee C
Cllaauusseess
Mixed Subordinate Clauses
IIddeennttiiffyyiinngg C
Cllaauusseess—
—T
Thhee PPrroocceedduurree
A clause is a subject / finite verb / complement pattern and all the
words that chunk to it (modify it). As a result, there will be one clause for
every S/V/C pattern. A sentence can consist of one or more clauses, but every
normal sentence has at least one main clause.
If a sentence has only one S/V/C pattern, put a vertical line after it and go
on to the next sentence. [The clause should be a main clause.]
El Greco’s
View of Toledo (c. 1597)
If a sentence has more than one S/V/C pattern:
1. Check for subordinate conjunctions. (See the list below.) They will often indicate where subordinate
clauses begin. If you have put brackets around all the clauses introduced by subordinate conjunctions,
and you still have more than one S/V/C pattern in the sentence, go on to 2.
2. Start with the LAST S/V/C pattern and work backwards! For each clause:
a. Find the last word in the clause.
b. Find the first word in the clause. (Start with the word before the subject and keep moving toward
the front of the sentence until you find a word that does not chunk to that S/V/C pattern.)
c. If the clause begins with a subordinate conjunction, it is obviously subordinate. Put brackets around
it. [If a clause begins with “and,” “or,” “but,” a colon, a semicolon, or a dash, it is probably a
main clause – put a vertical line in front of it.]
d. If the clause does not begin with a subordinate conjunction, check to see if it answers a question
about a word outside itself but within the sentence. If it does, put brackets around it. If it does
not, put a vertical line after it.
3. Repeat this procedure until there is only one S/V/C pattern in the sentence that has not been
analyzed. The remaining pattern will be the core of a main clause. Put a vertical line at the end of the
main clause.
The following words often function as subordinate conjunctions:
after, although, as, as if, as though, because, before, if, how, lest, since, than, that, when, where,
while, what, who, why, which, until, whenever, wherever, whatever, whoever, whichever, whether,
for, so
18
T
Thhee T
Tyyppeess ooff SSuubboorrddiinnaattee C
Cllaauusseess
With rare exceptions, every subordinate clause functions as a noun, adjective, or adverb within
another clause. [The exceptions are clauses that function as interjections.] This means that a subordinate
clause is embedded in, and thus a part of, another clause.
Noun Clauses: A subordinate clause can function in any way that a noun can.
Probably the most common function of noun clauses is as direct objects:
She thought [that would be a good idea (DO)]. |
He said [he wanted to go (DO) home]. |
Sam claimed [it was getting late (PA)]. |
Noun clauses can also function as indirect objects:
Bill sent [whoever wanted one (DO)] a copy (DO) of his book. |
Noun clauses can be objects of prepositions:
They were listening {to [what the teacher was saying]}. |
The last of the most common functions of noun clauses is a subject:
[That she was right (PA)] was difficult (PA) for him to accept. |
Adjective Clauses: A subordinate clause can function as an adjective. Normally, adjectival clauses
modify the word that immediately precedes them.
The man [who robbed the bank (DO)] is now in jail. |
Those are the flowers (PN) [that Tom gave his wife (IO)]. |
Adverbial Clauses: A subordinate clause can function as an adverb.
He cried [because his team lost]. |
[After they won the game (DO),] they had a big party (DO). |
Clauses that begin with subordinate conjunctions that designate time (after, before, when), function
as adverbs unless they follow a noun or pronoun that designates time. In that case, they usually function
as adjectives:
He remembered the day (DO) [when his son was born]. The clause modifies “day.”
She was very happy (PA) [when her son was born]. The clause modifies “was” and
indicates when she was happy.
19
1.a. From “How Brave Walter Hunted Wolves”
From The Lilac Fairy Book, edited by Andrew Lang
Mixed Subordinate Clauses
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline finite verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. Draw an arrow from the opening bracket of
adverbial and adjectival clauses to the word that the clause modifies. Label the function of noun
clauses.
4. Place a vertical line after each main clause.
1. Thereupon Walter began to beat his drum with all his might while they were
going through the wood.
2. When he wrestled with Klas Bogenstrom or Frithiof Waderfelt and struck them
in the back, he would say “That is what I shall do to a wolf!”
3. Very soon he came quite close to the kiln, where the wolves had killed the ram.
4. When they came to the mill Walter immediately asked if there had been any
wolves in the neighbourhood lately.
5. Perhaps the very ones which killed the ram were still sitting there in a corner.
6. The drumsticks stiffened in Walter’s hands, and he thought now they are
coming. . . !
7. For the rest he has a good heart but a bad memory, and forgets his father’s and
his mother’s admonitions, and so often gets into trouble and meets with
adventures, as you shall hear, but first of all I must tell you how brave he was
and how he hunted wolves.
20
Mixed Subordinate Clauses
1.b. From The Secret Garden,
by Frances Hodgson Burnett
Illustrator: M. B. Kork, N.Y.: The Phillips Publishing Co., 1911
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline finite verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. Draw an arrow from the opening bracket of
adverbial and adjectival clauses to the word that the clause modifies. Label the function of noun
clauses.
4. Place a vertical line after each main clause.
1. Her mother had been a great beauty who cared only to go to parties and amuse
herself with gay people.
2. When she awakened she lay and stared at the wall.
3. What she thought was that she would like to know if she was going to nice people,
who would be polite to her and give her her own way as her Ayah and the other
native servants had done.
4. “What’s expected of you, Mrs. Medlock, is that you make sure that he’s not
disturbed and that he doesn’t see what he doesn’t want to see.”
5. She heard neither voices nor footsteps, and wondered if everybody had got well of
the cholera and all the trouble was over.
6. At that very moment such a loud sound of wailing broke out from the servants’
quarters that she clutched the young man’s arm.
[Continued on the next page.]
21
7. When he was amused and interested she thought he scarcely looked like an invalid
at all, except that his face was so colorless and he was always on the sofa.
8. She wondered also who would take care of her now her Ayah was dead.
9. She was the kind of woman who would “stand no nonsense from young ones.” At
least, that is what she would have said if she had been asked.
10. The young English governess who came to teach her to read and write disliked her
so much that she gave up her place in three months, and when other governesses
came to try to fill it they always went away in a shorter time than the first one.
11. What Mary felt afterward was that she need not fear about Dickon.
22
1.c. Tongue Twister—“She sells seashells”
From the KISS Grammar Tongue Twisters Collection
Mixed Subordinate Clauses
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline finite verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. Draw an arrow from the opening bracket of
adverbial and adjectival clauses to the word that the clause modifies. Label the function of noun
clauses.
4. Place a vertical line after each main clause.
She sells seashells by the seashore.
The shells she sells are surely seashells.
So if she sells shells on the seashore,
I’m sure she sells seashore shells.
23
Mixed Subordinate Clauses
1.d. Based on The Queen of the Pirate Isle
by Bret Harte
Illustrated by Kate Greenaway
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline finite verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. Draw an arrow from the opening bracket of
adverbial and adjectival clauses to the word that the clause modifies. Label the function of noun
clauses.
4. Place a vertical line after each main clause.
1. The colour they most loved, and which was most familiar to them, was the dark red of
the ground beneath their feet everywhere.
2. When the solemn rite was concluded, Step-and-Fetch-It paid his own courtesy with an
extra squeeze of the curly head, and deposited her again in the truck.
3. Polly was thinking about how she would care for her poor children.
4. The next thing she remembered was that she was apparently being carried along on
some gliding object to the sound of rippling water.
5. Perhaps I ought to explain that she had already known other experiences of a purely
imaginative character.
6. That Polly’s personification of “The Proud Lady” disturbed her mother resulted in
Polly’s abandoning it.
7. That the red dust may have often given a sanguinary tone to their fancies, I have every
reason to believe.
8. Most of the characters that she assumed for days and sometimes weeks at a time were
purely original in conception.
9. Any change in the weather was as unexpected as it is in books.
10. Well meant as her father’s account was, it only settled in the child’s mind that she
must keep the awful secret to herself and that no one could understand her.
24
KISS Level 3.1.2 Mixed Subordinate Clauses
1.e. From the Writing of Sixth Graders
The Butterfly
Chase
1874
by
Berthe
Morisot
(1841-1895)
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline finite verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. Draw an arrow from the opening bracket of
adverbial and adjectival clauses to the word that the clause modifies. Label the function of noun
clauses.
4. Place a vertical line after each main clause.
1. My name is Fred, and I have just heard that my favorite show Pokémon was
taken off the air.
2. Wrestlers go into a cage with no way out unless they climb the cage.
3. Buddy went everywhere George went, and he even slept with him.
4. One reason is it made money, mainly because lots of people watched it.
5. That they were in a far back room explains why they did not hear the alarm.
6. It has stayed popular because people want to see family based shows, which 7th
Heaven is.
7. He was so shocked that he pulled the trigger to his gun, and it shot into the air.
8. What if that was a really popular show in Japan and America?
9. That’s why it needs to stay on.
10. If the parents see a problem, they should monitor what their child is watching.
25
Mixed Subordinate Clauses
Illustration by Lewis Carroll for
Alice's Adventures Under Ground
(Colorized)
1.f. From Alice in Wonderland
by Lewis Carroll
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline finite verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. Draw an arrow from the opening bracket of
adverbial and adjectival clauses to the word that the clause modifies. Label the function of noun
clauses.
4. Place a vertical line after each main clause.
1. Dinah, my dear, I wish you were down here with me!
2. Now I’m opening out like the largest telescope that ever was!
3. What I was going to say, is that the best thing to get us dry would be a Caucusrace.
4. She had put on one of the Rabbit’s little white kid-gloves while she was talking.
5. Everything is so out-of-the-way down here that I should think very likely the
mouse can talk.
6. Once or twice she had peeped into the book her sister was reading, but it had no
pictures or conversations in it.
7. Her first idea was that she had somehow fallen into the sea.
8. She knelt down and looked along the passage into the loveliest garden you ever
saw.
9. She found herself falling down what seemed to be a very deep well.
10. But when the Rabbit actually took a watch out of its waistcoat-pocket and
looked at it and then hurried on, Alice started to her feet.
11. The question is, what did the archbishop find?
26
R
Reew
wrriittiinngg SSuubboorrddiinnaattee C
Cllaauusseess aass M
Maaiinn
Dante Gabriel
Rossetti's
oorr M
Maaiinn aass SSuubboorrddiinnaattee
A Sea Spell
(1828-1882)
1877
In any text, some ideas are more important than others. In an essay, for example, the main idea is the
thesis, normally a single sentence located near the beginning of the essay. Within the essay itself, topic
sentences state the main ideas of paragraphs. They function to connect the supporting sentences within
paragraphs to the main idea stated in the thesis. The supporting sentences themselves (the sentences
within the paragraphs) are, of course, important, but they are subordinate to the topic sentences, which are
subordinate to the thesis. This hierarchy of ideas continues within the structure of the sentences. The main
idea in a sentence is normally in, or as close as possible to, the main S/V/C pattern.
Consider the following sentence:
a. Eddie refused to stop crying, | and he insisted on going home. |
It presents basically two ideas. Because both ideas are in main clauses, the sentence suggests that both
ideas are equally important. We can rewrite this sentence, however, to make either of the main clauses
subordinate. To do that, we need to
1. delete the coordinating conjunction (in this case, "and"),
2. replace the less meaningful subject with a subordinating conjunction that can also function as a
subject (in this case, "who"), and
3. make sure that the subordinate clause is positioned in the sentence so that it will clearly chunk to
the word it modifies.
b. Eddie, [who refused to stop crying], insisted on going home. |
c. Eddie, [who insisted on going home], refused to stop crying. |
Out of context, this may not seem to make a big difference, but in context, it has a major effect. Suppose,
for example, that the sentences the follow this one describe Eddie's insistence on going home. In that
case, version (a) would be much better for establishing the focus for the reader. Good writers have learned
(often unconsciously) how to manipulate sentence structure so that more important ideas occupy the more
important positions within the structure of sentences.
27
Within the KISS Approach, we will be looking at this idea of the relative importance of ideas and
their position within a sentence from several different perspectives. Here, our primary objectives are to
introduce you to the question, and to show you how to change main clauses into subordinate, or
subordinate into main.
In our first example, both main clauses have the same meaningful subject. Before we look at other
examples, note that that example could have been written as one main clause with compound verbs -Eddie refused to stop crying and insisted on going home. This means that sentences that have compound
verbs can be rewritten to make one (or more) of the compound verbs a subordinate clause -- as long as at
least one finite verb remains for the main clause. Similarly, sentences with subordinate clauses -- such as
example (c) -- can be rewritten to put all the finite verbs in main clauses -- as in example (a). For total
control of the focus in your writing, you need to be able to move in either direction -- from main to
subordinate or from subordinate to main.
Having looked at the principles involved, we can examine a few additional examples. In (a), both
main clauses shared the same meaningful subject, but often you can subordinate a clause that does not
share the same subject:
d. He decided to ask Sarah. | Sarah was a good friend of his sister. |
e. He decided to ask Sarah, [who was a good friend of his sister]. |
In general, any time the subject of a clause meaningfully appears (as a noun or pronoun) in another
sentence, you can subordinate the clause by following the three steps noted above.
Sometimes, however, you will want to use a different type of subordinating conjunction:
f. He decided to ask Sarah, [because she was a good friend of his sister]. |
g. He decided to ask Sarah, [even though she was a good friend of his sister]. |
In these versions, two very different logical connections are made between the basic ideas.
28
Breakwater
at Trouville,
Low Tide
(detail)1870
by
Claude Monet
Rewriting Subordinate Clauses as Main
and Main as Subordinate
2.a. From the Writing of Sixth Graders
(1840-1926)
A. Rewriting Subordinate Clauses as Main Clauses
Directions: Rewrite each sentence by changing the finite verb in the subordinate clause into a finite verb
in a main clause. (You can do this by creating two main clauses or by creating compound finite verbs
in one main clause.)
1. When I turned around, I almost wrecked the four-wheeler.
2. There are lots of floors and halls that all look the same.
3. My brother, who is 15 years old, is in high school.
4. After I broke my arm and shoulder, I didn't run for a week.
5. The fund raiser, which worked well, had raised 1,200,396 dollars.
B. Rewriting Main Clauses as Subordinate
Directions: Rewrite each sentence by changing a main clause into a subordinate clause.
1. We were in the hospital, and my mother and father said "Stick in there."
2. I know a lot of adults. They enjoy the show also.
3. They climbed out on the roof, and George screamed.
4. She had just come from her doctor's. There she found out she had cancer.
5. I was taking the hose over to the wheelbarrow and my cousin was walking over and tripped on
the hose and hit her head on the wheelbarrow.
29
Rewriting Subordinate Clauses as Main and Main as Subordinate
2.b. Based on “Perseus”
in The Heroes, or Greek Fairy Tales For My Children
by Charles Kingsley
Illustrations by Howard Davie
A. Rewriting Subordinate Clauses as Main Clauses
Directions: Rewrite each sentence by changing the finite verb in the subordinate clause into a finite verb
in a main clause. (You can do this by creating two main clauses or by creating compound finite verbs
in one main clause.)
1. You must go northward to the country of the Hyperboreans, who live beyond the pole, at the
sources of the cold north wind.
2. When they grew up each tried to take away the other’s share of the kingdom, and keep all for
himself.
3. Poor Perseus, who grew mad with shame, hardly knew what he was saying.
4. Because you have risen up against your own blood, your own blood shall rise up against you.
5. She cared for no one but her boy, and her boy’s father, whom she never hoped to see again.
B. Rewriting Main Clauses as Subordinate
Directions: Rewrite each sentence by changing a main clause into a subordinate clause.
1. He spoke and pointed to the babe.
2. You must find the three Gray Sisters. They have but one eye and one tooth between them.
3. He had no sword. He therefore caught up the stone hand-mill.
4. The Egyptians looked long for Perseus’s return, but in vain, and worshipped him as a hero,
and made a statue of him in Chemmis. It stood for many a hundred years.
5. You have sinned against your kindred. Therefore by your kindred you shall be punished.
30
Leonardo
da Vinci’s
(1452-1519)
Study of
proportions
T
Thhee L
Looggiicc ooff SSuubboorrddiinnaattee C
Cllaauusseess
from Vitruvius’s
De Architectura
Introduction
Logic is a subject that has been studied by many different people, primarily philosophers and
grammarians. All of these people have different ways of looking at logic, and, as a result, they use
different words to describe what are essentially the same things. This can make the study of logic very
confusing, but KISS attempts to simplify it by combining two specific perspectives—the terms used by
most traditional grammarians, and the terms of the philosopher David Hume.
Hume claimed that thinking is primarily a matter of perceiving things and then establishing logical
relationships among them. For Hume, there are three, and only three, basic logical relationships. They are
“identity,” “extension in time or space,” and “cause/effect.” Hume notes, however, a fourth
possibility—the three basic relationships can be combined in one or they can be compared.
KISS’s grammatical perspective considers words or grammatical constructions (adjectives, adverbs,
prepositional phrases, clauses, etc.) the same as “perceiving things.” Having perceived, for example, a
prepositional phrase, our task is then to interpret the logical relationship between that phrase and the word
it modifies. Consider, for a more specific example, the four prepositional phrases in the following
sentence:
{For six months} one {of the sailors} had been {on a long trip} {to South America}.
To understand the logic underlying these four phrases, we need to take them one at a time.
Having identified “for six months” as a prepositional phrase, the first question we need to ask is
“What does it modify?” We actually need to use logic to answer that question. We know that it is an
adverbial phrase to “had been” because it tells “how long” they “had been.” For Hume, this would be a
logical relationship of “extension in time” (See, you have already been doing much of this.)
The next phrase three phrases are fairly simple. The first of these is “of the sailors.” This phrase
clearly chunks to “one,” because it tells us what is meant by “one,” or, in Hume’s terms, it established the
“identity” of the “one.” “On a long trip” tells where they “had been.” The word “where” refers to space,
and in Hume’s terms, this phrase expresses a logical relationship of “extension in space.”
The last phrase, “to South America,” is more interesting, but still not very complicated. Our minds
chunk constructions as efficiently as possible, so most people will see this phrase as modifying “trip.”
31
From that perspective, the phrase tells what kind of trip it was. In other words, it describes or identifies
the trip. For Hume, this is a logical relationship of “identity.” Other people, however, may see this phrase
as modifying “had been.” (Note that we can drop “on a long trip” from the sentence and still keep “to
South America.”—“For six months one of the sailors had been to South America.” But if we take out the
word “trip,” the “to South America” now chunks, as an adverb, to “had been.” It tells where he had been
and thus functions, in Hume’s terms, as “extension in space.”
As you work with grammar and Hume’s logical relationships, you will soon find that in most
sentences, the relationships are easy to see. You will also find many cases that can be explained in more
than one way. You will, however, find a few cases that will really challenge your brain. But such
challenges make your brain grow (literally, according to many neuroscientists).
The Logic of Subordinate Clauses
Noun Clauses
Since the primary function of nouns is to name things, we can consider noun clauses as fitting
Hume’s category of identity. Obviously, nouns used as subjects identify what the meaningful subject of
the clause is. In addition, of course, as with regular nouns, noun clauses that function as predicate nouns
indicate an identity between the the subject and the predicate noun:
That book is [what she wanted]. |
The questions that noun clauses answer are typically “who?” “whom?” and “what?”. Thus the most
common subordinate conjunctions associated with noun clauses are “that, “what,” “who,” and
“whom” but other conjunctions can also begin noun clauses, even if they identify a time, a space, cause,
or effect:
|
[Where they will go] is still uncertain. |
[Why they did it] no one knows. |
He asked [how the computer works]. |
Who knows [when they will arrive]?
Adjectival Clauses
The function of adjectives is to describe, so adjectival clauses, like most noun clauses, convey what
Hume would probably have considered to be the logical relationship of identity. In
The book [she wanted] is not {in the library}. |
32
the subordinate clause identifies which book is meant. The questions that adjectives answer are usually
“which?” “what?” and “what kind of?”. The most common subordinate conjunctions used in
adjectival clauses are “that,” “who,” and “which,” but do not rely on the conjunctions to determine
which type of clause you are dealing with. Adjectival clauses that modify words that denote times or
spaces can be introduced by a wide range of conjunctions:
She remembered the time [when she was {in Pittsburgh}]. |
The airport [where they landed] is very small. |
In other words, identify the type of clause by first determining how it functions in a sentence. Only then
can you begin to explore its logical implications.
Adverbial Clauses
From Hume’s perspective, adverbial clauses are definitely the most interesting. Whereas nouns and
adjectives relate primarily to Hume’s first category (identity), adverbs primarily convey relationships of
extension and cause/effect.
Extension
Whereas noun and adjectival clauses often identify times and places, adverbial clauses convey
relationships between things in time and space. Note that the focus of these relationships is often
reversible, that is, one can switch the clauses to put different ideas in the main clause S/V/C pattern. This
is the pattern that everything chunks to, and thus the pattern that is the center of attention.
In Time
To explore how adverbial clauses establish logical relationships, consider the following
sentence:
The children were playing,
| and their mother was fishing. |
The sentence establishes two facts, but it does not establish any relationship between them. It does
not, for example, even state that the two actions were occurring at the same time. Compare it, for
example, to the following:
|
were playing]. |
a) The children were playing [while their mother was fishing].
b) Their mother was fishing, [while the children
The subordinating “while” in these two versions not only makes it clear that the two actions were
occurring at the same time, it also changes the focus among the ideas. In the original compound
33
sentence, the two main clauses were joined by “and” which joins equals, and thus the implication
was that the two actions—and their actors, were equally important. A subordinate conjunction,
however, usually subordinates the idea in its clause, and thereby puts more emphasis on what is in
the main clause. Thus, in (a), the focus is primarily on the children, whereas in (b) the mother is the
center of attention.
Whereas the focus can be changed with “while” simply by shifting the conjunction from one
clause to the other, in many cases the shift requires the use of a different subordinating conjunction:
|
were playing]. |
a) The children were playing [before their mother was fishing].
b) Their mother was fishing. [after the children
Subordination, and its effects of reversibility and focus, are important aspects of mature writing.
Many third and fourth graders write almost exclusively using main clauses. As we grow older, we all
teach ourselves how to use subordinate clauses, but some people gain greater control than others.
Consider, for example, the writing of an essay. Even at the college level, many students have
not mastered the idea of a thesis (the sentence that conveys the main idea of the essay) or topic
sentences (sentences that state the main idea of a paragraph). In a good essay, the topic sentences
support (and thus add to the focus on) the thesis. The sentences within a paragraph support (and thus
add focus to) their respective topic sentences. In essence, a good essay presents a hierarchy of ideas,
some more important than others. And this hierarchy extends down into the sentence level. At that
level, subordinate conjunctions are a primary tool for establishing focus and conveying logical
relationships among ideas.
In Space
Reversibility and focus, discussed in relation to clauses of time, also apply to clauses of space
(traditionally called clauses of “place”), so here we need simply look at an example.
|
He was fishing. An accident happened.
|
He was fishing [where an accident happened].
|
[Where he was fishing], an accident happened..
|
Cause / Effect
Based in Aristotelian philosophy, Hume’s concept of cause and effect was much broader than what
we normally consider today. It included, of course, the traditional concepts of clauses of cause, of result,
and of purpose. But it also includes many of the other traditional subcategorizes of adverbial clauses.
34
Clauses of Cause
Some subordinate clauses state the cause of the idea expressed in the main clause:
Eddie went home [because his mother called him (DO)].
|
[Since their regular teacher was sick (PA)], the class had a substitute (DO).
[As it was getting late (PA)], the game was stopped early.
|
|
“Because,” “since,” and “as” as the most frequently used conjunctions, but note that “since” can
also be used to denote time, and “as” is also used both for time and for clauses of comparison.
The grammarian Paul Roberts pointed out that “that” clauses are frequently used to modify
adjectives and that they can be considered as clauses of cause. He gives the example “I am sorry that
you feel that way,” and notes that “the clause that you feel that way states the cause of the sorrow.”
He gives additional examples:
We are so glad that you can come.
Perrydrip was indignant that no one liked his novel.
We were pleased that the roof was as tight as ever.
And he notes that “Often the conjunction is omitted: ‘We are glad you can come’.”
He also notes that such clauses can also modify verbs, as in “I grieve that we shall never meet
again.”
Clauses of Result (Effect)
Some adverbial clauses express the result of the statement in the main S/V/C pattern. In most
cases, the conjunction is “that,” but it is usually preceded (and chunks to) either “so” or “such”:
Sam was so tired (PA) [that he fell asleep in class].
|
His teacher made such a fuss (DO) [that he woke up].
|
Clauses of Purpose
As their name suggests, adverbial clauses of purpose express the purpose (intended result) of
the action that they modify. The most commonly used conjunctions are “so that,” “so,” “in order
that,” “that,” and “lest.”
Nancy studied hard [so that she would get a good grade (DO)].
|
Marty and Sue arrived early [so they could get a good seat (DO)].
[In order that they might win], the team practiced every day.
[That they might win], the team practiced every day.
|
|
|
Mom made a list (DO), [lest Dad should forget the bread (DO) and milk (DO)].
|
35
“Lest,” of course, introduces a result that is to be avoided.
Clauses of Manner
Clauses of manner answer the question “How?” How something is done affects what is done,
and thus clauses of manner are, in the Aristotelian sense, cause/effect relationships. The typical
conjunctions used are “as,” “as if,” “as though,” and “in that.”
Terrell runs [as he walks -- with no apparent effort].
He looks [as if he has seen a ghost (DO)].
|
|
In court, Jim acted [as though he were in church].
|
Gerald failed [in that he did not answer most (DO) of the questions].
|
Clauses of Condition
As the name implies, clauses of condition state a required condition for the statement in the
clause either to happen or to be believed. In other words, they state a necessary cause for the
statement in the clause they modify.
a) [If it rains], the picnic will be canceled.
|
b) They can drive to New York, [so long as the roads don't freeze].
|
c) [Unless he is mistaken], the Orioles will win the World Series (DO).
|
In (a), the “if” clause states a condition that would cause the picnic to be canceled. Similarly in (b),
the “so long as” clause denotes a cause that would make the drive to New York dangerous. And in
(c), the “unless” clauses states a condition that, if true, is a cause for not believing that the Orioles
will win the World Series.
Clauses of Concession
Clauses of Concession are a logical negation of clauses of condition. In concession, one
concedes (agrees) that the expected result of a conditional clause did not, or may not, happen. The
most common conjunctions are “although,” “though,” “even though,” “while,” and “whereas.”
a) [Although it rained], the picnic was not canceled.
|
b) They can drive to New York [even though the roads freeze].
|
Paul Roberts explained that “The clause of concession states something opposed to the main clause
but does not deny the validity of the main clause. It is as if we should say: “I concede this (adverb
clause) to be true; yet this (main clause) is true also.” (Understanding Grammar, 327)
36
Comparisons (In Degree)
The traditional category of adverbial clauses of degree is an example of fits Hume’s fourth
category. Identity, extension in time or space, and causes and effects can all be compared.
Grammatically, this is usually expressed by a comparative adjective or adverbs such as “more,”
“less,” or “as” followed by an adverbial clause that begins with “than” or “as.” “He is taller than she
is” reflects a comparison of extension in space. “She is smarter than he is” reflects a comparison in
degree of intelligence, a matter of identity.
Sally is more friendly (PA) [than Bob is].
|
|
Bob is less friendly (PA) [than Sally is].
Note that in comparisons of degree the subordinate conjunction is usually “than,” spelled with an
“a,” not an “e.” Misspelling of “than” suggests that a person is not thinking about the logic behind
what he or she is writing. When the things being compared are considered to be equal, the
conjunction is usually “as,” and the clause chunks to a preceding “as” in the sentence:
A Chevy is as good (PA) [as a Ford is].
|
Some prescriptive grammarians still object to the use of “like” as a subordinate conjunction, as in “No
one sings like she does.” But in view of the multiple meanings of “as” (comparison, time, and cause),
“like” may be clearer in meaning since, as a subordinate conjunction, it is only used for comparison.
37
The Logic of Subordinate Clauses
3. From The Secret Garden, by Frances Hodgson Burnett
Illustrator: M. B. Kork, N.Y.: The Phillips Publishing Co., 1911
Directions: After each sentence, write the type of the logical connection between each subordinate clause
and what it modifies. Begin by determining the type of the subordinate clause (noun, adjective, or
adverb). Then use the following:
For Noun Clauses—“ID” (for “Identity”) plus their function, for example, “ID, DO”
For Adjectival Clauses—ID” plus the word that the clause modifies
For Adverbial Clauses—Use one of the following plus the word that the clause modifies.
Time
C/E - result
C/E - condition
Space
C/E - purpose
C/E - concession
C/E - cause
C/E - manner
Comparison
1. You won’t see much because it’s a dark night.
2. He was not working where she had left him.
3. That is the garden where Ben Weatherstaff works.
4. She could never have done it if Misselthwaite had been like other big houses.
5. He was so startled that he almost jumped back.
6. When she awakened she lay and stared at the wall.
7. She was glad that there was grass under her feet and that her steps made no
sounds.
8. I am your guardian, though I am a poor one for any child.
9. Mary knew the fair young man who looked like a boy.
10. The gray rain-storm looked as if it would go on forever and ever.
11. Dickon tried to modify his dialect so that Mary could better understand.
12. He looked taller than he had ever looked before—inches taller.
13. Before she had gone half-way down the path she was so hot and breathless that
she was obliged to stop.
38
4. A Passage for Analysis
from Chapter Nine of
Blue Willow, by Doris Gates
Directions:
1. Place parentheses around each prepositional phrase.
2. Underline every subject once, every verb twice, and label complements (“PA,” “PN,” “IO,” “DO”).
3. Put brackets [ ] around every subordinate clause and use arrows or labels to indicate their function.
4. Put a vertical line at the end of every main clause.
Deciding she had nothing to fear and glad that at last she could put her trust in
this man just as she had wanted to do that day under the willows, Janey once more
perched herself on the edge of her chair and began her story. She told it
straightforwardly and simply without any emphasis on any particular part. Except
when Dad won second prize in the contest and then a note of pride did creep into
her voice.
“We got this coat with some of the money,” she said in an aside to Mrs.
Anderson.
“And a very pretty one it is,” was her reply.
They exchanged knowing smiles with each other, quite ignoring Mr. Anderson,
since no man could be expected to appreciate a thing like that.
39
SSttyyllee -- PPaarraalllleell C
Coonnssttrruuccttiioonnss
* 5.a. From
“The Butterfly That Stamped,” by Rudyard Kipling
Picture by Joseph M. Gleeson
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. If the clause functions as a noun, label its function. If
it functions as an adjective or adverb, draw an arrow from the opening bracket to the word that the
clause modifies.
4. Place a vertical line after each main clause.
5. After you have completed the analysis, study it and the notes on parallel constructions on the
following page.
Suleiman-bin-Daoud was wise. He understood what the beasts said, what the
birds said, what the fishes said, and what the insects said. He understood what the
rocks said deep under the earth when they bowed in towards each other and
groaned; and he understood what the trees said when they rustled in the middle of
the morning. He understood everything, from the bishop on the bench to the
hyssop on the wall, and Balkis, his Head Queen, the Most Beautiful Queen Balkis,
was nearly as wise as he was.
40
Parallel Constructions
in a Paragraph from Kipling’s “The Butterfly That Stamped”
“Parallel Construction” denotes similar ideas embodied in the same type of grammatical
construction, all serving the same function. Kipling’s paragraph is an excellent, relatively simple example
of how some writers use parallel constructions. The second sentence includes four clauses that function as
direct objects. Each clause begins with “what,” uses the finite verb “said,” and is four words long. Thus
we can see four parallel direct object clauses.
The third sentence develops the parallelism with two main clauses. Each of these has a subject and
verb (“he understood”) that is identical to, and thus parallel with, the main subject and verb in the second
sentence. And, similar to the second sentence, each of the two main clauses in the third has a direct object
clause that begins with “what” and is based on the verb “said.” In the third sentence, however each
“understood” has only one direct object—but these two direct objects include more words, and in both of
them, the “said” is modified by an adverbial “when” clause. In other words, the two “when” clauses are
parallel to each other.
Note how the parallelism grows, in this case by the repetition of “he understood,” from an initial
clause with four simple direct objects, to compound main clauses with direct objects that are longer and
themselves include similarly functioning “when” clauses. The fourth sentence closes these parallels with
another repetition—“He understood everything . . . . ” The fifth sentence ends the paragraph with two
more parallel constructions. First, there are two parallel appositives to “Balkis”—“his Head Queen, the
Most Beautiful Queen Balkis.” The final parallel construction connects the end of the paragraph with its
beginning—“nearly as wise as he was” parallels the first sentence “Suleiman-bin-Daoud was wise.” This
parallel not only emphasizes “wise.” It also forms a neat frame around the paragraph.
41
Style - Parallel Constructions
* 5.b. Abraham Lincoln’s “Gettysburg Address”
Directions:
1. Place parentheses around each prepositional phrase.
2. Underline every subject once, every verb twice, and label complements (“PA,” “PN,” “IO,” “DO”).
3. Put brackets [ ] around every subordinate clause and use arrows or labels to indicate their function.
4. Put a vertical line at the end of every main clause.
Additional Directions: Be prepared to discuss the effects of the parallel constructions and of the passive
verbs.
1.)
Four score and seven years ago our fathers brought forth on this continent a new
nation, conceived in liberty and dedicated to the proposition that all men are created
equal. Now we are engaged in a great civil war, testing whether that nation or any nation
so conceived and so dedicated can long endure. We are met on a great battlefield of that
war. We have come to dedicate a portion of that field as a final resting-place for those
who here gave their lives that that nation might live. It is altogether fitting and proper that
we should do this.
2.)
But in a larger sense, we cannot dedicate, we cannot consecrate, we cannot hallow
this ground. The brave men, living and dead who struggled here have consecrated it far
above our poor power to add or detract. The world will little note nor long remember
what we say here, but it can never forget what they did here.
3.)
It is for us the living rather to be dedicated here to the unfinished work which they
who fought here have thus far so nobly advanced. It is rather for us to be here dedicated
to the great task remaining before us—that from these honored dead we take increased
devotion to that cause for which they gave the last full measure of devotion—that we
here highly resolve that these dead shall not have died in vain, that this nation under God
shall have a new birth of freedom, and that government of the people, by the people, for
the people shall not perish from the earth.
42
Style—Parallel Subordinate Clauses
6. From
“Endicott and the Red Cross,” by Nathaniel Hawthorne
Parallel constructions are multiple constructions that have the same function. In
this case, note the subordinate clauses.
This passage is from Endicott’s speech to his soldiers and the townspeople.
Directions:
1. Place parentheses around each prepositional phrase.
2. Underline every subject once, every verb twice, and label complements (“PA,” “PN,” “IO,” “DO”).
3. Put brackets [ ] around every subordinate clause and use arrows or labels to indicate their function.
4. Put a vertical line at the end of every main clause.
5. Note the use of parallel subordinate clauses.
Here we stand on our own soil, which we have bought with our goods, which
we have won with our swords, which we have cleared with our axes, which we
have tilled with the sweat of our brows, which we have sanctified with our prayers
to the God that brought us hither! Who shall enslave us here? What have we to do
with this mitred prelate,—with this crowned king? What have we to do with
England?
43
Noun Clauses as Direct Objects
1.a. From Lassie, Come Home
by Eric Knight
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Place brackets around each subordinate clause. If the clause functions as direct object, label its function
(“DO”) above the opening bracket.
4. Put a vertical line at the end of every main clause.
1. “I understand now what you mean, Grandfather.”
2. “I wonder if we could feed it!”
3. Nor did Lassie know that she had come but three miles from the den under the
gorse clump.
4. She was doing exactly what was expected of her.
5. It had shown Lassie clearly that she wanted to keep away from him.
6. But Priscilla knew she could dismount and mount again much more easily than
her grandfather.
7. The Scot saw that he had no chance of catching the dog by speed.
8. But she knew she must be cautious.
9. And then, suddenly, on the path she saw what her nose had warned her of.
10. She could not know that the instinctive straight line toward home would bring
her to an impasse against the great lochs of Scotland.
11. “I think I know what is in your mind, Your Lordship.”
44
Subordinate (Noun) Clauses as Direct Objects
1.b. From the Writing of Sixth Graders
Leaving
School
c. 1847-48
by
Honoré
Daumier
(1808-1879)
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Place brackets around each subordinate clause. If the clause functions as direct object, label its function
(“DO”) above the opening bracket.
4. Put a vertical line at the end of every main clause.
1. My mom said he was probably a stray cat.
2. I know it is all fake, but it is so well put together.
3. He told them he needed a helicopter.
4. I took out my map, and found out where we were.
5. I hope we never get lost again.
6. My friends could tell you how much I love Pokémon.
7. Nobody knew who hit Stone Cold until about a week ago.
8. Who knows what disappointed viewers could do?
9. He woke up and saw the kitchen was on fire.
10. I know my friends and I like the show, and we wouldn’t want it taken off.
45
N
Noouunn C
Cllaauusseess aass D
Diirreecctt O
Obbjjeeccttss—
—Q
Quuoottaattiioonnss
Quotations that function as direct objects raise a question. Consider the following
sentence(s):
The people of the village cried, “O brothers, your words are good.
We will move our lodges to the foot of the magic mountain. We can
light our wigwam fires from its flames, and we shall not fear that we
shall perish in the long, cold nights of winter.”
If we ask the question “cried what?,” in one sense the entire quotation is the answer.
But the quotation itself includes several sentences. (In some cases, they contain
several paragraphs.) Since a period ends a sentence, does this sentence end after
“good,” or does it continue all the way to “winter”” To decide where to put brackets
and vertical lines, we need a consistent answer to this question.
The KISS Grammar view is that the sentence ends at the end of the first main
clause within the quotation. In this case, that would be “good.” Thus, in KISS, this
passage would be analyzed like this:
The people {of the village}
cried, [DO “O [Inj] brothers [DirA], your words
are good (PA)]. | We will move our lodges (DO) {to the foot} {of the magic
mountain}.
| We can light our wigwam fires (DO) {from its flames}, | and we
shall not fear [DO that we shall perish {in the long, cold nights} {of
winter}].”
|
46
Noun Clauses as Direct Objects (Quotations)
2. Based on
“The Story of the First Hummingbird”
by Florence Holbrook
from The Book of Nature Myths
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Place brackets around each subordinate clause. If the clause functions as direct object, label its function
(“DO”) above the opening bracket.
4. Put a vertical line at the end of every main clause.
1. Then the gentle Spirit of Fire called, “Come back, my flames, come back again!
The people in the village will not know that you are in a frolic, and they will be
afraid.”
2. The two hunters went to look upon the mountain, and when they came back,
they said sadly, “There are no flowers on the mountain. Not a bird-song did we
hear. Not a living creature did we see. It is all dark and gloomy. We know the
fire is there, for the blue smoke still floats up to the sky, but the mountain will
never again be our friend.”
3. The Great Spirit listened to the words of the gentle Spirit of Fire, but he
answered, “The fires must perish. They have been cruel to my people, and the
little children will fear them now.”
47
3. Treasure Hunt (and/or Recipe Roster)
Find and bring to class (and/or write) a sentence that has a clause used as a direct
object.
C
Crreeaattiinngg aann E
Exxeerrcciissee
In a story or book that you like, find five sentences that have noun clauses used
as direct objects. For your classmates, make an exercise with them; for your
teacher, make an analysis key. (Remember that your teacher may use your exercise
in future years.)
48
Adverbial Subordinate Clauses
1.a. From The Secret Garden, by Frances Hodgson Burnett
Illustrator: M. B. Kork, N.Y.: The Phillips Publishing Co., 1911
Directions:
1. Place parentheses around each prepositional phrase.
2. Underline every subject once, every verb twice, and label complements (“PA,” “PN,” “IO,” “DO”).
3. Put brackets [ ] around every subordinate clause and use arrows or labels to indicate their function.
4. Put a vertical line at the end of every main clause.
1. But just before Martha went down-stairs for the tea-tray, Mary asked a question.
2. Do roses quite die when they are left to themselves?
3. As she came near the second of these alcoves she stopped skipping.
4. Even if the roses are dead, there are other things alive.
5. But he likes to hear about this garden because it is a secret.
6. She found many more of the sprouting pale green points than she had ever
hoped to find.
7. Ben stood up and rested one hobnailed boot on the top of his spade while he
looked Mary over.
8. She was glad that there was grass under her feet and that her steps made no
sounds.
9. She went from place to place, and dug and weeded, and enjoyed herself so
immensely that she was led on from bed to bed and into the grass under the
trees.
10. She searched about until she found a rather sharp piece of wood and knelt
down and dug and weeded out the weeds and grass until she made nice little
clear places around them.
49
KISS Grammar
1.b. Famous (or Interesting) Quotations
Adverbial Clauses
Part One - Directions:
1. Place parentheses around each prepositional phrase.
2. Underline every subject once, every verb twice, and label complements (“PA,” “PN,” “IO,” “DO”).
3. Put brackets [ ] around every subordinate clause and use arrows or labels to indicate their function.
4. Put a vertical line at the end of every main clause.
1. A lie can travel half way around the world while the truth is just putting on its
shoes.
—Mark Twain
2. If a man empties his purse into his head, no man can take it away from him. An
investment in knowledge always pays the best interest.
—Benjamin Franklin
3. Be nice to people on your way up because you meet them on your way down.
—Jimmy Durante
4. Life is something like a trumpet. If you don’t put anything in, you won’t get
anything out.
—W. C. Handy
5. Smartness runs in my family. When I went to school I was so smart my teacher
was in my class for five years.
—Gracie Allen
Part Two: Write a sentence that includes a subordinate clause used as an adverb.
50
Adverbial Subordinate Clauses
1.c. Based on The Queen of the Pirate Isle
by Bret Harte
Illustrated by Kate Greenaway
Directions:
1. Place parentheses around each prepositional phrase.
2. Underline every subject once, every verb twice, and label complements (“PA,” “PN,” “IO,” “DO”).
3. Put brackets [ ] around every subordinate clause and use arrows or labels to indicate their function.
4. Put a vertical line at the end of every main clause.
1. Before the children could fairly comprehend what had passed, they were again lifted into the
truck and began to glide back into the tunnel.
2. Fortunately, the representation of a resuscitated person required such extraordinary acting that
Mrs. Smith was resuscitated only for a day.
3. Hickory softly scratched his leg while a broad, bashful smile, almost closed his small eyes.
4. Indeed, most of Polly’s impersonations were got rid of in this way, although it by no means
prevented their subsequent reappearance.
5. A bland smile broke on Wan Lee’s face, as, to the children’s amazement, he quietly
disengaged himself from the group and stepped before the leader.
6. The famous old lode of Red Mountain never would have been found if Polly hadn’t tumbled
over the slide directly on top of the outcrop.
7. Satisfied that no one could observe her, she softly visited the bedside of each of her
companions, and administered from a purely fictitious bottle spoonfuls of invisible
medicine.
8. Even when her companions sometimes hesitated from actual hunger or fatigue and forgot their
guilty part, she never faltered.
9. Limited as her functions were, Polly performed them with inimitable gravity and unquestioned
sincerity.
10. This was a favourite imaginative situation of Polly’s, but only indulged when her
companions were asleep, partly because she could not trust confederates with her more
serious fancies, and partly because they were at such times passive in her hands.
51
Subordinate Clauses That Function as Adverbs
1.d. From the Writing of Sixth Graders
Mimi
and Her Cat
1890
by
Paul
Gauguin
(1848-1903)
Directions:
1. Place parentheses around each prepositional phrase.
2. Underline every subject once, every verb twice, and label complements (“PA,” “PN,” “IO,” “DO”).
3. Put brackets [ ] around every subordinate clause and use arrows or labels to indicate their function.
4. Put a vertical line at the end of every main clause.
1. We were all inside when dad found a cat.
2. We were happy that we helped the cat.
3. I’m glad we got home safe.
4. My friend and I had to be brave when we wrecked his four-wheeler.
5. So just because a few complaining parents don’t like it, you shouldn’t take it off
the air.
6. It was getting dark when they were called in for supper.
7. The basement was now covered in flames, so he dove through the window in his
kitchen and jumped over a line of fire.
8. If it wasn’t for him and his bravery, my family might not be alive today.
9. As quickly as we could we ran back to the camp, packed everything up, and left
as soon as we could.
10. While we were camping my family went hunting because we had no food left.
Part Two: Write a sentence that includes a subordinate clause used as an adverb.
52
SSeenntteennccee--B
Buuiillddiinngg:: A
Addddiinngg A
Addvveerrbbiiaall C
Cllaauusseess
2. Based on Lassie, Come Home
by Eric Knight
Directions: Use your imagination to add an adverbial clause and a prepositional phrase to each of the
following sentences.
1. Joe slowed down.
2. Priscilla wrinkled her nose in thought.
3. He opened the door and walked in.
4. He saw his mother staring at him.
5. Lassie ate happily.
6. Joe’s father turned in sudden anger.
7. The collie paused a moment.
8. Hynes squirmed uneasily.
9. It was dark on the moor.
10. Hynes turned and yanked at Lassie’s leash.
53
R
Reew
wrriittiinngg A
Addvveerrbbiiaall C
Cllaauusseess aass M
Maaiinn aanndd M
Maaiinn aass A
Addvveerrbbiiaall
3.a. Based on
Lassie, Come Home, by Eric Knight
A. Rewriting Adverbial Clauses as Main Clauses
Directions: Rewrite each sentence by changing an adverbial subordinate clause into a main clause. (You
can do this by creating two main clauses or by creating compound finite verbs in one main clause.)
1. Joe heard her voice trail away as, silently, he followed his father and Lassie.
2. When Joe swallowed and started to speak, his words came slowly.
3. Priscilla watched the dog until Hynes came from the front of the kennels.
4. After she launched herself out of the pen, she dropped to the ground.
5. When he had wakened once late at night, he had heard his parents arguing.
B. Rewriting Main Clauses as Adverbial
Directions: Rewrite each sentence by changing a main clause into an adverbial subordinate clause.
1. The Duke and Priscilla were out of sight. Hynes put on his cap savagely.
2. Priscilla looked down the road. She saw the dog going at a steady gait.
3. It was growing dark. Lassie came down the road.
4. He sat for some time. Then his eyes saw more plainly in the evening.
5. Their eyes followed the dog. The dog trotted near.
54
Rewriting Adverbial Clauses as Main
and Main as Adverbial
The Beeches
1845
by
Asher Durand
(1796 - 1886)
3.b. From the Writing of Sixth Graders
A. Rewriting Adverbial Clauses as Main Clauses
Directions: Rewrite each sentence by changing an adverbial subordinate clause into a main clause. (You
can do this by creating two main clauses or by creating compound finite verbs in one main
clause.)
1. When we started to go back, we could not find the path.
2. It’s educational because it teaches many people about life.
3. I’m going to give you some medicine to make you sleep since this is your first day of therapy.
4. Super Market Sweep should come back on air because that was another one of our favorite
shows.
5. But when he stood up, he smelled smoke.
B. Rewriting Main Clauses as Adverbial
Directions: Rewrite each sentence by changing a main clause into an adverbial subordinate clause.
1. Six months passed. I was able to move my arm and shoulder again.
2. They ate. Then George did his homework.
3. Andy is funny. He is always doing weird things.
4. He thought it was lightning. He heard a big boom.
5. We couldn’t keep the cat. My dad is allergic.
55
T
Thhee L
Looggiicc ooff A
Addvveerrbbiiaall C
Cllaauusseess
4. From Lassie, Come Home, by Eric Knight
Directions: After each sentence, write the type of the logical connection between each adverbial
subordinate clause and what it modifies. Use one of the following plus the word that the clause
modifies.
Time
C/E - result
C/E - condition
Space
C/E - purpose
C/E - concession
C/E - cause
C/E - manner
Comparison
1. But the Duke only roared louder when he heard Priscilla’s question.
2. Lassie was right where she always is.
3. Priscilla pulled the Duke’s head down so that she could speak directly into his
ear.
4. The young man said that in such an eerie tone that they both shuddered.
5. For a long moment the boy stood where his fingers could reach through the
mesh to touch the coolness of the dog’s nose.
6. Surely then, Joe’s father strode, for he knew where to look for his son.
7. Though his brain told him all these things, his heart still cried for Lassie.
8. Things were not as they used to be.
9. And when she’s gone, never another tyke will I have in my house.
10. Now what would ye do if ye were alone?
56
T
Thhee L
Looggiicc ooff A
Addvveerrbbiiaall C
Cllaauusseess ((C
Coom
mbbiinniinngg FFiivvee SSeenntteenncceess))
5. From Lassie, Come Home, by Eric Knight
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline finite verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. Draw an arrow from the opening bracket of
adverbial and adjectival clauses to the word that the clause modifies. Label the function of noun
clauses.
4. Place a vertical line after each main clause.
5. Rewrite each sentence by making one of the main clauses an adverbial clause. After each of your
rewrites, list the verb in the sentence that gets the primary focus (the verb in the main clause).
Then indicate the logical connection established by the subordinate conjunction (“time,”
“space,” or “cause/effect”).
6. After the sentences in the original version, write the average number of words per main clause
(w/mc). After your revision, write the number of words in the main clause.
1. Carefully her nose came nearer and nearer. Then it touched the freshly killed rabbit.
2. Lassie was moving more slowly now. The pads of her feet were bruised and sore.
3. The current of the river drew her down, and she disappeared.
4. She left the road behind and set her path across meadows and flatlands.
5. Now some of the stiffness was gone from her body and she managed to go quite freely on
three legs.
57
A
A PPaassssaaggee ffoorr A
Annaallyyssiiss
6. From
“How the Alphabet Was Made,”
by Rudyard Kipling
Picture by Joseph M. Gleeson
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline finite verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. Draw an arrow from the opening bracket of
adverbial and adjectival clauses to the word that the clause modifies. Label the function of noun
clauses.
4. Place a vertical line after each main clause.
And after thousands and thousands and thousands of years, and after
Hieroglyphics and Demotics, and Nilotics, and Cryptics, and Cufics, and Runics,
and Dorics, and Ionics, and all sorts of other ricks and tricks (because the Woons,
and the Neguses, and the Akhoonds, and the Repositories of Tradition would never
leave a good thing alone when they saw it), the fine old easy, understandable
Alphabet— A, B, C, D, E, and the rest of ‘em — got back into its proper shape
again for all Best Beloveds to learn when they are old enough.
58
77.. TTrreeaassuurree H
Huunntt ((aanndd//oorr R
Reecciippee R
Roosstteerr))
Treasure Hunt (and/or Recipe Roster)
Find and bring to class (and/or write) a sentence that has an adverbial
subordinate clause in it.
Creating an Exercise
In a story or book that you like, find five sentences that have subordinate
clauses used as adverbs. For your classmates, make an exercise with them; for your
teacher, make an analysis key. (Remember that your teacher may use your exercise
in future years.)
59
Adjectival Subordinate Clauses
1.a. From The Secret Garden, by Frances Hodgson Burnett
Illustrator: M. B. Kork, N.Y.: The Phillips Publishing Co., 1911
Directions:
1. Place parentheses around each prepositional phrase.
2. Underline every subject once, every verb twice, and label complements (“PA,” “PN,” “IO,” “DO”).
3. Put brackets [ ] around every subordinate clause and use arrows or labels to indicate their function.
4. Put a vertical line at the end of every main clause.
1. I am the first person who has spoken in here for ten years.
2. After Martha was gone Mary turned down the walk which led to the door in the
shrubbery.
3. Mary made the long voyage to England under the care of an officer’s wife, who
was taking her children to leave them in a boarding-school.
4. The road went up and down, and several times the carriage passed over a little
bridge beneath which water rushed very fast with a great deal of noise.
5. The native servants she had been used to in India were not in the least like this.
6. A very strong boy I know will push my carriage.
7. The time had come when Mary had forgotten to resent Martha’s familiar talk.
8. It’s the strangest house any one ever lived in.
9. The few books she had read and liked had been fairy-story books, and she had
read of secret gardens in some of the stories.
10. She led him round the laurel path and to the walk where the ivy grew so
thickly.
60
KISS Grammar
A Focus on Adjectival Clauses
1.b. Famous (or Interesting) Quotations
Directions:
1. Place parentheses around each prepositional phrase.
2. Underline every subject once, every verb twice, and label complements (“PA,” “PN,” “IO,” “DO”).
3. Put brackets [ ] around every subordinate clause and use arrows or labels to indicate their function.
4. Put a vertical line at the end of every main clause.
1. Victory goes to the player who makes the next-to-last mistake.
— Chessmaster Savielly Grigorievitch Tartakower
2. Imagination is the highest kite one can fly.
— Lauren Bacall
3. For every minute you are angry you lose sixty seconds of happiness.
— Ralph Waldo Emerson
4. Experience is the name everyone gives to their mistakes.
— Oscar Wilde
5. Among those whom I like or admire, I can find no common denominator, but
among those whom I love, I can: all of them make me laugh.
— W. H. Auden
1.c. From the Writing of Sixth Graders
A Focus on Subordinate Clauses
That Function as Adjectives
Napoleon
Bonaparte
1895
by
ToulouseLautrec
1864-1901
Directions:
1. Place parentheses around each prepositional phrase.
2. Underline every subject once, every verb twice, and label complements (“PA,” “PN,” “IO,” “DO”).
3. Put brackets [ ] around every subordinate clause and use arrows or labels to indicate their function.
4. Put a vertical line at the end of every main clause.
61
1. Here right now I have 400 people who want that show back on.
2. I have strong feelings that you should keep Boy Meets World on the air.
3. He has “Buckwalter for Supervisor” signs that he puts out in the front yard.
4. For example, the fact this show has been in the 95% of most popular shows for
four years has been overlooked.
5. Matt is a rich guy who lives in Washington D.C.
6. The place where he gets his paper work is the fire hall.
7. I gave you three good reasons why you should keep Boy Meets World on the air.
8. It’s not just kids who enjoy the show.
9. Your children need the company of their parents more than the gift that parents
give their children.
10. It all started last weekend when we played Hampton on the turf.
62
M
Miidd--B
Brraanncchhiinngg A
Addjjeeccttiivvaall C
Cllaauusseess
2. Famous (or Interesting) Quotations
Adjectival Clauses between a Subject and Verb
Robert F. Kennedy
Directions:
1. Place parentheses around each prepositional phrase.
2. Underline every subject once, every verb twice, and label complements (“PA,” “PN,” “IO,” “DO”).
3. Put brackets [ ] around every subordinate clause and use arrows or labels to indicate their function.
4. Put a vertical line at the end of every main clause.
1. The man who makes no mistakes does not usually make anything.
- Edward J. Phelps
2. He that won’t be counseled can’t be helped.
- Benjamin Franklin
3. The worst boss anyone can have is a bad habit.
- Monta Crane
4. He that hath no brother hath weak legs.
- Persian proverb
5. A person who talks about his inferiors hasn’t any.
- Hawaiian proverb
6. He who laughs last has not yet heard the bad news.
- Bertolt Brecht
7. The hand that follows intellect can achieve.
- Michelangelo
8. He who permits himself to be insulted deserves the insult.
- Pierre Corneille
9. Nothing that you have not given away will ever be really yours.
- C. S. Lewis
10. Only those who dare to fail greatly can ever achieve greatly.
- Robert F. Kennedy
63
SSeenntteennccee B
Buuiillddiinngg:: A
Addddiinngg A
Addjjeeccttiivvaall C
Cllaauusseess
3. Based on
Introductory Lessons in English Grammar
by Wm. H. Maxwell, M.A.
Directions: Use your imagination to add adjectival clauses to the following sentences.
1. Aesop was a Greek.
2. Longfellow wrote many poems.
3. Shakespeare was the greatest poet.
4. A Wonder Book is a collection of stories.
5. Have you read your new book?
6. Have you heard of the poet Whittier?
7. David Copperfield is a novel.
8. A fable is a story.
9. Longfellow, Whittier, and Lowell were men.
10. Arithmetic is a study.
64
R
Reessttrriiccttiivvee aanndd N
Noonn--R
Reessttrriiccttiivvee M
Mooddiiffiieerrss
Punctuating Adjectival Clauses and Other Modifiers
Adjectival clauses and other modifiers are usually set off by commas when the
information in them is felt by the writer as not necessary for the reader to identify the
word being modified. Consider:
1. Toni saw a group a squirrels around the bird feeder in her back yard. The
squirrel who wrecked the bird feeder was hanging on it head downward.
2. Toni saw a squirrel in her back yard. The squirrel, who wrecked the bird
feeder, was hanging on it head downward.
In (1.), the adjectival clause “who wrecked the bird feeder” is not set off by commas
because the preceding sentence mentions several “squirrels.” Thus the subordinate
clause limits (restricts) the meaning of “squirrel” to the one who wrecked the bird
feeder. In the second sentence in (2.), however, it is already clear that the subject is
the same squirrel that is mentioned in the preceding sentence. Thus the “who” clause
simply adds information about the squirrel.
This rule applies to other modifiers. For example,
1. The girl in a blue hat was at the picnic yesterday.
2. The girl, in a blue hat, was at the picnic yesterday.
In (1.), “in the blue hat” identifies which girl is being talked about. In (2.), “in the blue
hat” simply adds additional information and, in this case, suggests that she was in a
blue hat when she was at the picnic.
In general, a modifier that restricts (limits) the meaning of what it is modifying is
not set off by commas. If it does not restrict the meaning, it may or may not be so set
off.
65
Restrictive and Non-Restrictive Adjectival Clauses
4.a. Punctuating Adjectival Clauses,
Based on “Perseus,” by Charles Kingsley
in The Heroes, or Greek Fairy Tales For My Children
Illustrations by Howard Davie
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline finite verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. Draw an arrow from the opening bracket of
adverbial and adjectival clauses to the word that the clause modifies. Label the function of noun
clauses.
4. Place a vertical line after each main clause.
5. Write “R” above the beginning of restrictive clauses. (Be prepared to explain why.)
1. Know now that the Gods are just, and help him who helps himself.
2. Come dance with us around the tree in the garden which knows no winter.
3. And you must ask Atlas’s daughters, the Hesperides, who are young and foolish
like yourself.
4. Oh, sir, have pity upon a stranger, whom a cruel doom has driven to your land.
5. Return to your home, and do the work which waits there for you.
6. This deed requires a seven years’ journey, in which you cannot repent or turn
back nor escape.
7. Those who had nothing better brought a basket of grapes, or of game.
8. Atlas became a crag of stone, which sleeps for ever far above the clouds.
9. You must go to the southward, into the ugly glare of the sun, till you come to
Atlas the Giant, who holds the heaven and the earth apart.
10. So you will bring the shield safely back to me, and win to yourself renown, and
a place among the heroes who feast with the Immortals upon the peak where no
winds blow.
66
Punctuating Restrictive
and Non-Restrictive Adjectival Clauses
4.b. From Lassie, Come Home, by Eric Knight
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline finite verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. Draw an arrow from the opening bracket of
adverbial and adjectival clauses to the word that the clause modifies. Label the function of noun
clauses.
4. Place a vertical line after each main clause.
5. Write “R” above the beginning of restrictive clauses. (Be prepared to explain why.)
1. Behind him followed the young woman and man who had stood by the bridge.
2. Priscilla, who was standing still beside the aged evergreens, saw the dog come
from the kennel to the run.
3. Joe, who sat on the rug beside his father, watched each turn of the brush.
4. Lassie lay there and did not turn toward the people who stood looking at her.
5. She turned and dashed back—straight into the faces of the men who charged
after her.
6. Joe trotted beside his father, who walked quickly.
7. Lassie’s head was pointed in the direction that Sam Carraclough and his son had
gone the evening before.
8. But his father, who was walking beside him with his head very high and his gaze
straight ahead, caught him by the shoulder and shook him.
9. Sam Carraclough, who saw Priscilla coming, lifted his cap and poked his son to
do likewise.
10. There was a hole under the fence there that she had found before.
67
R
Reew
wrriittiinngg A
Addjjeeccttiivvaall C
Cllaauusseess aass M
Maaiinn C
Cllaauusseess aanndd M
Maaiinn aass A
Addjjeeccttiivvaall
5.a. From Alice in Wonderland
by Lewis Carroll
A. Rewriting Adjectival Clauses as Main Clauses
Directions: Rewrite each sentence by changing an adjectival subordinate clause into a main clause. (You
can do this by creating two main clauses or by creating compound finite verbs in one main clause.)
1. The Queen said it to the Knave of Hearts, who only bowed and smiled in reply.
2. Alice found herself in a long, low hall, which was lit up by a row of lamps hanging
from the roof.
3. The Hatter looked at the March Hare, who had followed him into the court.
4. Her face brightened up at the thought that she was now the right size for going
through the little door into that lovely garden.
5. Five, who had been anxiously looking across the garden, called out, “The Queen!
The Queen!”
B. Rewriting Main Clauses as Adjectival
Directions: Rewrite each sentence by changing a main clause into an adjectival subordinate clause.
1. Soon her eye fell on a little glass box. It was lying under the table
2. “We, indeed!” cried the Mouse. He was trembling down to the end of its tail.
3. All she could see was an immense length of neck. It seemed to rise like a stalk out
of a sea of green leaves that lay far below her.
4. She was walking by the White Rabbit. The Rabbit was peeping anxiously into her
face.
5. She came upon a neat little house. On its door was a bright brass plate.
68
Rewriting Adjectival Clauses as Main Clauses and Main as Adjectival
5.b. Based on “Perseus” by Charles Kingsley
in The Heroes, or Greek Fairy Tales For My Children
Illustrations by Howard Davie
A. Rewriting Adjectival Clauses as Main Clauses
Directions: Rewrite each sentence by changing an adjectival subordinate clause into a main clause. (You
can do this by creating two main clauses or by creating compound finite verbs in one main clause.)
1. And Proetus and his Cyclopes built around Tiryns great walls of unhewn stone, which are
standing to this day.
2. And over her shoulder, above her long blue robes, hung a goat-skin, which bore up a
mighty shield of brass, polished like a mirror.
3. Then the fisherman, who took Danae by the hand, lifted her out of the chest.
4. The blood-drops fell to the earth from the Gorgon’s head, and became poisonous asps and
adders, which breed in the desert to this day.
5. If your heart fails you, you must die in the Unshapen Land, where no man will ever find
your bones.
B. Rewriting Main Clauses as Adjectival
Directions: Rewrite each sentence by changing a main clause into an adjectival subordinate clause.
1. Proetus went across the seas, and brought home a foreign princess for his wife, and foreign
warriors to help him.
2. Then the Immortals took pity on them both, and changed them into two fair sea-birds.
3. Perseus saw before him a mighty mountain-wall. It was all rose-red in the setting sun.
4. Who is this young stranger? He stands like a wild bull in his pride.
5. The poor mother could not sleep, but watched and wept, and she sang to her baby.
69
A
A PPaassssaaggee ffoorr A
Annaallyyssiiss
6. The Opening of Chapter 15
from Heidi
by Johanna Spyri
“Preparations for a Journey”
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline finite verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. Draw an arrow from the opening bracket of
adverbial and adjectival clauses to the word that the clause modifies. Label the function of noun
clauses.
4. Place a vertical line after each main clause.
The kind doctor who had sent Heidi home to her beloved mountains was
approaching the Sesemann residence on a sunny day in September. Everything
about him was bright and cheerful, but the doctor did not even raise his eyes from
the pavement to the blue sky above. His face was sad and his hair had turned very
gray since spring. A few months ago the doctor had lost his only daughter, who
had lived with him since his wife’s early death. The blooming girl had been his
only joy, and since she had gone from him the ever-cheerful doctor was bowed
down with grief.
When Sebastian opened the door to the physician he bowed very low, for the
doctor made friends wherever he went.
70
77.. TTrreeaassuurree H
Huunntt ((aanndd//oorr R
Reecciippee R
Roosstteerr))
Find and bring to class (and/or write) a sentence that has an adjectival
subordinate clause in it.
Creating an Exercise:
In a story or book that you like, find five sentences that have subordinate
clauses used as adjectives. For your classmates, make an exercise with them; for
your teacher, make an analysis key. (Remember that your teacher may use your
exercise in future years.)
71
Other Noun Clauses
1.a. Mixed Noun Clauses
from Heidi by Johanna Spyri
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Place brackets around each subordinate clause. If the clause functions as a noun, label its function (
“Subj.,” “IO,” “DO,” “OP”) above the opening bracket. If it functions as an adjective or adverb,
draw an arrow from the opening bracket to the word that the clause modifies.
4. Put a vertical line at the end of every main clause.
1. “Does Heidi look well, Brigida?” was a frequent question, which always got a
reassuring answer.
2. Heidi’s only comfort was that her coming brought such happiness to the old
woman.
3. “How happy I am to be able to thank you for what you have done, uncle!”
4. What you asked for was not very good for you just now.
5. Only when Heidi was sitting in the train did she become conscious of where she
was going.
6. That is why she thinks of such absurd things.
7. Her only fear was that the poor blind grandmother might have died while she was
away.
8. Her father told her of what had happened and how the doctor had ordered Heidi
back to her home, because her condition was serious and might get worse.
9. Whatever Heidi read always seemed real to her.
10. The strange thing was, that none of the servants dared to go anywhere alone and
always found an excuse to ask each other’s company.
72
1.b. Mixed Noun Clauses from
Lassie, Come Home
by Eric Knight
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Place brackets around each subordinate clause. If the clause functions as a noun, label its function (
“Subj.,” “IO,” “DO,” “OP”) above the opening bracket. If it functions as an adjective or adverb,
draw an arrow from the opening bracket to the word that the clause modifies.
4. Put a vertical line at the end of every main clause.
1. What she was attempting was almost in the realm of the impossible.
2. For the Duke had one firm belief: which was that the world was going, as he
phrased it, “to pot.”
3. And somehow, Joe could feel the importance of what his father was trying to show
him.
4. And that’s what I mean by clinging to what ye’ve got.
5. The first that the men about the fire knew of the dog’s return was when a furry
shape came across the patch of light from the fire like a thunderbolt.
6. You were very fine—and that’s what I should have said in the first place.
7. At first, he found himself unable to realize that what his senses told him could be
true.
8. They were dressed alike, in rough homespun tweed, except that the younger one
wore a peaked cap and the other a great woolen tam-o’shanter.
9. Now what can’t be helped in this life must be endured, Joe lad.
10. It seemed that they were in what the newspapers called “the stricken areas”—
sections of the country from which all industry had gone.
73
N
Noouunn C
Cllaauusseess aass O
Obbjjeeccttss ooff PPrreeppoossiittiioonnss
2. Based on
Black Beauty, by Anna Sewell
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Place brackets around each subordinate clause. If the clause functions as a noun, label its function (
“Subj.,” “IO,” “DO,” “OP”) above the opening bracket. If it functions as an adjective or adverb,
draw an arrow from the opening bracket to the word that the clause modifies.
4. Put a vertical line at the end of every main clause.
1. I could not understand much of what they said.
2. I was very much excited by what had happened.
3. From what I see of this horse, I should say, that is his case.
4. Will you give evidence of what you saw?
5. If the gentry would think of what they want, and order their meat the day before,
there need not be this blow up!
6. If they can’t walk so far they can go to what is nearer.
74
N
Noouunn C
Cllaauusseess aass SSuubbjjeeccttss
3. Famous (or Interesting) Quotations
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Place brackets around each subordinate clause. If the clause functions as a noun, label its function (
“Subj.,” “IO,” “DO,” “OP”) above the opening bracket. If it functions as an adjective or adverb,
draw an arrow from the opening bracket to the word that the clause modifies.
4. Put a vertical line at the end of every main clause.
1. Whoso neglects learning in his youth, loses the past and is dead for the future.
- Euripides
2. What you don't know will always hurt you.
- First Law of Blissful Ignorance
3. What the world really needs is more love and less paper work.
- Pearl Bailey
4. I'm a skilled professional actor. Whether or not I've any talent is beside the point.
- Michael Caine
75
N
Noouunn C
Cllaauusseess aass PPrreeddiiccaattee N
Noouunnss
4. From Lassie, Come Home
by Eric Knight
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Place brackets around each subordinate clause. If the clause functions as a noun, label its function (
“Subj.,” “IO,” “DO,” “OP”) above the opening bracket. If it functions as an adjective or adverb,
draw an arrow from the opening bracket to the word that the clause modifies.
4. Put a vertical line at the end of every main clause.
1. And that was why Lassie meant so much to them.
2. She knew that was what her grandfather wanted her to say.
3. All she knew was that it gave her protection and warmth.
4. That was where she would go.
5. That’s what I mean.
6. “Now the thing is, what shall we do aboot this dog?”
7. “And so the moral is, Donnell, as long as ye’re on this job, never trust a
bloomin’ dog.”
8. It was what she wanted.
9. “It’s just that thy father won’t lie.”
10. That’s what made her come home all that way.
76
55.. TTrreeaassuurree H
Huunnttss ((aanndd//oorr R
Reecciippee R
Roosstteerrss))
N
Noouunn C
Cllaauusseess aass O
Obbjjeeccttss ooff aa PPrreeppoossiittiioonn
Find and bring to class (and/or write) two sentences that have a subordinate
clause used as the object of a preposition.
N
Noouunn C
Cllaauusseess aass SSuubbjjeeccttss
1. In a book that you like, find two sentences that include noun clauses used as
subjects.
2. For your classmates, make an exercise with them; for your teacher, make an
analysis key. These clauses are not easy to find, so your teacher may have you
work in groups to do this, perhaps by having each student search a different
chapter of the same book. (Remember that your teacher may use your exercise in
future years.)
PPrreeddiiccaattee N
Noouunnss
Find and bring to class (and/or write) two sentences that have a subordinate
clause used as a predicate noun.
77
K
KIISSSS L
Leevveell 33..11..33 ---- E
Em
mbbeeddddeedd SSuubboorrddiinnaattee C
Cllaauusseess
Diego Velazquez's
C
Cllaauusseess
w
wiitthhiinn C
Cllaauusseess
((E
Em
mbbeeddddiinngg))
The Lower Half of
Las Meninas
1656
Museo del Prado,
Madrid
“Embedding” simply means putting one construction “in the bed” of another.
Thus, for example, a subordinate clause is embedded in a main clause. When a
subordinate clause is embedded within a subordinate clause, in KISS we call it a
“Level Two” embedding; if a clause is embedded in that level two embedding, we call
it a “Level Three,” etc. The embedding of one clause within another is probably
limited by the psycholinguistic ability of readers (and writers) to process sentences in
short-term memory. Professionals rarely go beyond a level three embedding, as in the
following sentence from Henry James’ “Daisy Miller”:
There are, indeed, many hotels, [for the entertainment of tourists is the
business of the place, [which, [as many travelers will remember], is seated
upon the edge of a remarkably blue lake--a lake [that it behooves every tourist
to visit]]]. |
In this sentence, the “as” and “that” clauses (level 3) are embedded in the “which”
clause (level 2), and the “which” clause is embedded in the “for” clause (level 1) that
is embedded in the main clause.
Another example of the chunking of embedded subordinate clauses:
Image courtesy of Shelagh Manton (in Australia)
78
R
Reevviieew
wiinngg tthhee PPrroocceedduurree ffoorr IIddeennttiiffyyiinngg C
Cllaauusseess
A clause is a subject / finite verb / complement pattern and all the
words that chunk to it (modify it). As a result, there will be one clause for
every S/V/C pattern. A sentence can consist of one or more clauses, but every
normal sentence has at least one main clause.
If a sentence has only one S/V/C pattern, put a vertical line after it and go
on to the next sentence. [The clause should be a main clause.]
El Greco’s
View of Toledo (c. 1597)
If a sentence has more than one S/V/C pattern:
1. Check for subordinate conjunctions. (See the list below.) They will often indicate where subordinate
clauses begin. If you have put brackets around all the clauses introduced by subordinate conjunctions,
and you still have more than one S/V/C pattern in the sentence, go on to 2.
2. Start with the LAST S/V/C pattern and work backwards! For each clause:
a. Find the last word in the clause.
b. Find the first word in the clause. (Start with the word before the subject and keep moving toward
the front of the sentence until you find a word that does not chunk to that S/V/C pattern.)
c. If the clause begins with a subordinate conjunction, it is obviously subordinate. Put brackets around
it. [If a clause begins with “and,” “or,” “but,” a colon, a semicolon, or a dash, it is probably a
main clause – put a vertical line in front of it.]
d. If the clause does not begin with a subordinate conjunction, check to see if it answers a question
about a word outside itself but within the sentence. If it does, put brackets around it. If it does
not, put a vertical line after it.
3. Repeat this procedure until there is only one S/V/C pattern in the sentence that has not been
analyzed. The remaining pattern will be the core of a main clause. Put a vertical line at the end of the
main clause.
The following words often function as subordinate conjunctions:
after, although, as, as if, as though, because, before, if, how, lest, since, than, that, when, where,
while, what, who, why, which, until, whenever, wherever, whatever, whoever, whichever, whether,
for, so
79
1. The Last Sentence of “The House That Jack Built”
Illustrated by Randolpf Caldecott
[Suggestion: In analyzing clauses, start at the end and work backward.]
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label
complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. If the
clause functions as a noun, label its function. If it
functions as an adjective or adverb, draw an arrow
from the opening bracket to the word that the clause
modifies.
4. Place a vertical line after each main clause.
This is the Farmer who sowed the corn,
That fed the Cock that crowed in the morn,
That waked the Priest all shaven and shorn,
That married the Man all tattered and torn,
That kissed the Maiden all forlorn,
That milked the Cow with the crumpled horn,
That tossed the Dog,
That worried the Cat,
That killed the Rat,
That ate the Malt,
That lay in the House that Jack built.
80
81
2.a. From “How Brave Walter Hunted Wolves”
From The Lilac Fairy Book, edited by Andrew Lang
Subordinate Clauses within Subordinate Clauses
Part One - Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. If the clause functions as a noun, label its function.
If it functions as an adjective or adverb, draw an arrow from the opening bracket to the word that
the clause modifies.
4. Place a vertical line after each main clause.
1. In the pretty house, which has white window-frames, a neat porch and clean steps,
which are always strewn with finely-cut juniper leaves, Walter’s parents live.
2. When Walter beat his drum, Caro crept out, and when Walter ran away, Caro ran
after him, as he so often does when Walter wants to romp and play.
3. I only asked so that I should know if I should take Jonas with me.
4. He went only so near that he could see the ram’s blood which coloured the grass
red, and some tufts of wool which the wolves had torn from the back of the poor
animal.
5. Dear Walter, remember that it is only cowards who boast; a really brave man never
talks of his bravery.
6. I only want someone who will see how I strike the wolf and how the dust flies out
of his skin.
7. He took with him his drum, which had holes in one end since the time he had
climbed up on it to reach a cluster of rowan berries, and his tin sabre, which was a
little broken, because he had with incredible courage fought his way through a
whole unfriendly army of gooseberry bushes.
Part Two: Write a sentence that includes a subordinate clause inside a subordinate clause.
82
A Focus on Embedded Subordinate Clauses
2.b. From the Writing of Sixth Graders
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. If the clause functions as a noun, label its function.
If it functions as an adjective or adverb, draw an arrow from the opening bracket to the word that
the clause modifies.
4. Place a vertical line after each main clause.
1. The letter stated that when their family had any problems with growing up, they would
watch 7th Heaven.
2. But his mom said he couldn’t go back into the house because it was up in flames.
3. I would bet that if you sat through one episode of Pokémon, you would understand
what I am talking about.
4. The hunt went so well that every shot my dad took was a kill and we had kept going
until we had one bullet left.
5. I like “Smart Guy” so much that every time I get out of school, I run home to watch it.
6. She wouldn’t let us take the stray cat into the house because she didn’t know if it had
rabies or something.
7. Her doctor had told her that the cancer she had was treatable with a special kind of
therapy.
8. The bear growled and growled till Mike realized he had food the bear wanted.
9. She was so terrified to jump off the high dive that she did not go on it until the last day
the pool was open.
10. The reason why I said Golden Girls and Full House should stay on the air was
because they said that they were going to take Golden Girls and Full House off the
air.
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Untangling Embedded Subordinate Clauses
2.c. From Heidi
by Johanna Spyri
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. If the clause functions as a noun, label its function.
If it functions as an adjective or adverb, draw an arrow from the opening bracket to the word that
the clause modifies.
4. Place a vertical line after each main clause.
1. Deta shook hands with her companion and stood still while Barbara approached the
tiny, dark-brown mountain hut, which lay in a hollow a few steps away from the
path.
2. I prophesy that you will learn it in a very short time, as a great many other children
do that are like you and not like Peter.
3. The people in the village called to her now more than they had on her way up,
because they all were wondering where she had left the child.
4. Clara was looking forward to this visit, and told Heidi so much about her dear
grandmama that Heidi also began to call her by that name, to Miss Rottenmeier’s
disapproval, who thought that the child was not entitled to this intimacy.
5. “I can bring the kittens to your house, if you tell me where you live,” said Heidi’s
new friend, while he caressed the old cat, who had lived with him many years.
6. Autumn and winter had passed, and Heidi knew that the time was coming when
Peter would go up the Alp with his goats, where the flowers were glistening in the
sunshine and the mountains were all afire.
84
A Focus on Embedded Subordinate Clauses
2.d. Based on
“Perseus” by Charles Kingsley
in The Heroes, or Greek Fairy Tales For My Children
Illustrations by Howard Davie
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. If the clause functions as a noun, label its function. If it
functions as an adjective or adverb, draw an arrow from the opening bracket to the word that the clause
modifies.
4. Place a vertical line after each main clause.
1. Then he told them how the prophecy had declared that he should kill his grandfather, and
all the story of his life.
2. For you must go eastward and eastward ever, over the doleful Lybian shore, which
Poseidon gave to Father Zeus, when he burst open the Bosphorus and the Hellespont,
and drowned the fair Lectonian land.
3. Over the sands he went, — he never knew how far or how long, feeding on the fruit which
the Nymphs had given him, till he saw the hills of the Psylli, and the Dwarfs who fought
with cranes.
4. Then Perseus lowered his hand; and Polydectes, who had been trembling all this while like
a coward, because he knew that he was in the wrong, let Perseus and his mother pass.
5. She stood and looked at him with her clear gray eyes; and Perseus saw that her eye-lids
never moved, nor her eyeballs, but looked straight through and through him, and into his
very heart, as if she could see all the secrets of his soul, and knew all that he had ever
thought or longed for since the day that he was born.
6. But after Perseus was gone they forgot Zeus and Athene, and worshipped again Atergatis
the queen, and the undying fish of the sacred lake, where Deucalion’s deluge was
swallowed up, and they burnt their children before the Fire King, till Zeus was angry
with that foolish people, and brought a strange nation against them out of Egypt, who
fought against them and wasted them utterly, and dwelt in their cities for many a
hundred years.
85
A Focus on Embedded Clauses
2.e. From The Secret Garden, by Frances Hodgson Burnett
Illustrator: M. B. Kork, N.Y.: The Phillips Publishing Co., 1911
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. If the clause functions as a noun, label its function.
If it functions as an adjective or adverb, draw an arrow from the opening bracket to the word that
the clause modifies.
4. Place a vertical line after each main clause.
1. When she went into the room which had been made into a nursery for her, Mary
found that it was rather like the one she had slept in.
2. They thought Mary was not listening because she was standing a little apart
from them at the window of the private hotel they had gone to.
3. The door opened into an enormous hall, which was so dimly lighted that the
faces in the portraits on the walls and the figures in the suits of armor made
Mary feel that she did not want to look at them.
4. If she had been an affectionate child, who had been used to being loved, she
would have broken her heart, but even though she was “Mistress Mary Quite
Contrary” she was desolate, and the bright-breasted little bird brought a look
into her sour little face which was almost a smile.
(Continues on the next page)
86
5. Mary’s mother had not wanted a little girl at all, and when Mary was born she
handed her over to the care of an Ayah, who was made to understand that if she
wished to please the Mem Sahib she must keep the child out of sight as much
as possible.
6. She wondered if she should ever see Mr. Archibald Craven, but she knew that if
she did she should not like him, and he would not like her, and that she should
only stand and stare at him and say nothing, though she should be wanting
dreadfully to ask him why he had done such a queer thing.
7. All she thought about the key was that if it was the key to the closed garden, and
she could find out where the door was, she could perhaps open it and see what
was inside the walls, and what had happened to the old rose-trees.
87
PPaassssaaggeess ffoorr A
Annaallyyssiiss
3.a. From Chapter One of
Blue Willow, by Doris Gates
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. If the clause functions as a noun, label its function.
If it functions as an adjective or adverb, draw an arrow from the opening bracket to the word that
the clause modifies.
4. Place a vertical line after each main clause.
At that very instant there had come over her the distinct feeling that something
fine had happened. Not just the feeling she always had when looking at the willow
plate that something fine was about to happen. This time it actually had. Lupe had
said she hoped they would stay! It was the first time anyone had ever said that to
Janey. A new warmth was encircling her heart, the kind of warmth that comes
there only when one has found a friend. She stood perfectly still to let the full joy
of the discovery travel all through her.
88
3.b. From
“The Beginning of the Armadilloes”
by Rudyard Kipling
From Just So Stories
Illustration by Joseph M. Gleeson
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Place brackets [ ] around each subordinate clause. If the clause functions as a noun, label its function.
If it functions as an adjective or adverb, draw an arrow from the opening bracket to the word that
the clause modifies.
4. Place a vertical line after each main clause.
“Well, suppose you say that I said that she said something quite different, I
don’t see that it makes any difference; because if she said what you said I said she
said, it’s just the same as if I said what she said she said. On the other hand, if you
think she said that you were to uncoil me with a scoop, instead of pawing me into
drops with a shell, I can’t help that, can I?”
(Have fun!)