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| the English -ing form of a verb when functioning as a noun, as writing |
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| A word or phrase placed typically before a substantive and indicating the relation of that substantive to a verb, an adjective, or another substantive, as English at, by, with, from, and in regard to |
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| A word or phrase that is in apposition |
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| characterizing the phonological form of a word or phrase occurring by itself, not influenced by surrounding forms, as not in is not (as opposed to isn't), or will in they will (as opposed to they'll) |
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| Adding TO and then a verb; to eat, to sleep, to run |
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| A clause that cannot stand alone as a full sentence and functions as a noun, adjective, or adverb within a sentence. Also called subordinate clause |
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| A clause in a complex sentence that can stand alone as a complete sentence |
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| A phrase consisting of a preposition, its object, which is usually a noun or a pronoun, and any modifiers of the object, as in the gray desk I use |
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| Is a phrase that includes appositive with modifiers |
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| A construction that functions syntactically as a noun, consisting of a noun and any modifiers, as all the men in the room who are reading books, or of a noun substitute, as a pronoun |
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| Are made of nouns or pronouns followed by a participle and any modifiers of the noun or pronoun. Absolute phrases contain a subject (unlike participial phrases), and no predicate. They serve to modify an entire sentence |
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| A group of words including a verb and its complements, objects, or other modifiers that functions syntactically as a verb. In English a verb phrase combines with a noun or noun phrase acting as subject to form a simple sentence |
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| | | A sentence (in the indicative mood) that makes a declaration |
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Gives a direct command to somebody |
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An exclamatory sentence, or exclamation, is simply a more forceful version of a
declarative sentence, marked at the end with an exclamation mark |
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| Asks a question (with a ? at the end) |
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| A sentence having only one clause, as I saw her the day before yesterday |
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| A sentence containing two or more coordinate independent clauses, usually joined by one or more conjunctions, but no dependent clause, as The lightning flashed (independent clause) and (conjunction) the rain fell (independent clause) |
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| A sentence containing one or more dependent clauses in addition to the main clause, as When the bell rings (dependent clause), walk out (main clause) |
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| The omission of conjunctions where they would normally be used |
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| The use of identical or equivalent syntactic constructions in corresponding clauses or phrases |
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| The repetition of conjunctions in close succession for rhetorical effect, as in the phrase here and there and everywhere |
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| The omission from a sentence or other construction of one or more words that would complete or clarify the construction, as the omission of who are, while I am, or while we are from I like to interview people sitting down |
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| A repetition of a word or a phrase with intervening words setting off the repetition, sometimes occurring with a phrase used both at the beginning and end of a sentence, as in Only the poor really know what it is to suffer; only the poor |
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| The direct opposite (usually fol. by of or to): Her behavior was the very antithesis of cowardly. |
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| Repetition in the first part of a clause or sentence of a prominent word from the latter part of the preceding clause or sentence, usually with a change or extension of meaning |
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| A sentence consisting of two or more clauses that are parallel in structure |
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| A sentence that does not end with the completion of its main clause, but continues with one or more subordinate clauses or other modifiers |
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| A sentence that, by leaving the completion of its main clause to the end, produces an effect of suspense, as in Unable to join the others at the dance because of my sprained ankle, I went to a movie |
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| Begins with the independent clause and then finish with a flurry of modifying constructions |
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Use a comma to separate the elements in a series (three or more things), including the last two. "He hit the ball, dropped the bat, and ran to first base." Use a comma + a little conjunction (and, but, for, nor, yet, or, so) to connect two independent clauses, as in "He hit the ball well, but he ran toward third base." Use a comma to set off introductory elements, as in "Running toward third base, he suddenly realized how stupid he looked." Use a comma to set off parenthetical elements, as in "The Founders Bridge, which spans the Connecticut River, is falling down." By "parenthetical element," we mean a part of a sentence that can be removed without changing the essential meaning of that sentence |
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1. You can connect two (or more) related sentences with semicolons:
Bruggs ate toasted walnuts; he got sick.
Bruggs ate toasted walnuts; he got sick; he died after three weeks of severe stomach cramps.
2. You can simplify series:
Turnbull liked big, green, Granny Smith apples; smallish, greenish Florida oranges; and toasted, disease-free black walnuts.
3. You can connect two or more sentences with a semicolon plus a conjunctive adverb:
Surpitude liked to eat toasted, disease-free black walnuts; however, they always made her sick.
Brunswik always got sick when she ate any walnuts; consequently, she ate no nuts of any kind without bleaching them first in Clorox.
4. Sometimes when you connect related sentences, you can omit words (if your reader can fill them in from the context). Suppose you join two sentences with a semicolon:
Jill ate bleached English walnuts; Mary ate acorns.
You can sometimes delete things from the second half if your reader can replace what you've deleted:
Jill ate bleached English walnuts; Mary acorns.
Be careful, though. Suppose you wanted to delete words from this sentence:
Jill ate bleached English walnuts; Mary ate bleached acorns.
You can't just delete "ate" from the second part:
Jill ate bleached English walnuts; Mary bleached acorns.
Here it looks like Mary bleached acorns rather than ate bleached acorns. To do this more clearly, you'd have to mess around a bit:
Jill ate bleached English walnuts; Mary acorns bleached with Clorox.
5. Sometimes you can combine two sentences with a semicolon and "and," "but" and "or."
Benton lost his box of walnuts; and that was probably all right.
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| Use brackets to enclose explanations within parentheses or in quoted material when the explanation is not part of the quoted material |
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the noun or noun phrase to which an anaphor refers in a coreference. However, an antecedent can also be a clause, especially when the anaphor is a demonstrative. In these sentences, the antecedent is in bold and the anaphor in italics: - I met John at the party. He was telling me about his new friend.
In the above, the pronoun 'He' is referring to the noun 'John'. |
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| is a noun or pronoun which follows the verb and describes or renames the subject. It is another way of naming the subject. It follows a linking verb. The predicate nominatives on this page have been italicized |
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| Or homophones, are words that are pronounced the same but have different meanings. They are usually spelled differently |
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| As an example, the following comparisons can be drawn: the word "I" can be compared to "me", "we" compared to "us", "he" compared to "him", "she" to "her", "who" to "whom", and "they" to "them" |
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| (Emotional) means persuading by appealing to the reader's emotions. We can look at texts ranging from classic essays to contemporary advertisements to see how pathos, emotional appeals, are used to persuade. Language choice affects the audience's emotional response, and emotional appeal can effectively be used to enhance an argument |
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| (Logical) means persuading by the use of reasoning. This will be the most important technique we will study, and Aristotle's favorite. We'll look at deductive and inductive reasoning, and discuss what makes an effective, persuasive reason to back up your claims. Giving reasons is the heart of argumentation, and cannot be emphasized enough. We'll study the types of support you can use to substantiate your thesis, and look at some of the common logical fallacies, in order to avoid them in your writing |
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| (Credibility), or ethical appeal, means convincing by the character of the author. We tend to believe people whom we respect. One of the central problems of argumentation is to project an impression to the reader that you are someone worth listening to, in other words making yourself as author into an authority on the subject of the paper, as well as someone who is likable and worthy of respect |
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| A figure of speech in which one word or phrase is substituted for another with which it is closely associated (such as "crown" for "royalty"). Metonymy is also the rhetorical strategy of describing something indirectly by referring to things around it, such as describing someone's clothing to characterize the individual |
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| A verbal pattern (a type of antithesis) in which the second half of an expression is balanced against the first with the parts reversed. Essentially the same as antimetabole. (Note that a chiasmus includes anadiplosis, but not every anadiplosis reverses itself in the manner of a chiasmus.) |
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| a word or expression used in a figurative sense (cakewalk) |
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| the substitution of one idea or object with another, used to assist expression or understanding. The definition of metaphor is generally divided into "living" and "dead" metaphors, which refer to metaphors which are still considered "novel" versus those which have been incorporated into normal usage |
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| Is giving human traits (qualities, feelings, action, or characteristics) to non-living objects (things, colors, qualities, or ideas). For example: The window winked at me. The verb, wink, is a human action. A window is a non-living object |
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| a unifying idea that is a recurrent element in literary or artistic work; "it was the usual `boy gets girl' theme" |
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| is the repetition of the initial consonant. There should be at least two repetitions in a row. For example: Peter Piper picked a peck of pickled peppers. The first letter, p, is a consonant. It is repeated many times. (If you use a syllable rather than a consonant, it is assonance.) |
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| A paradox can be an apparently true statement or group of statements that leads to a contradiction or a situation which defies intuition |
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Substitution of an inoffensive term for one considered offensively explicit "Ground beef" or "hamburger" for ground flesh of a dead cow; "pre-owned" for used or second-hand; "undocumented worker" for illegal alien |
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| A form of writing to sway the audience to your favor |
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The process of reasoning methodically |
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| To put through the steps of a prescribed procedure |
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| The Self-Admirer (Greek: Νάρκισσος), was a hero of the territory of Thespiae in Boeotia who was renowned for his beauty |
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was a king punished in Tartarus by being cursed to roll a huge boulder up a hill, only to watch it roll down again, and to repeat this throughout eternity.
Today, Sisyphean can be used as an adjective meaning that an activity is unending and/or repetitive. It could also be used to refer to tasks that are pointless and unrewarding. |
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| Bringer of fire to man kind (punished by zues) |
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| was a mythical Greek king of Thebes. He fulfilled a prophecy that said he would kill his father and marry his mother, and thus brought disaster on his city and family |
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| Cupid was the god of love in Roman mythology. The name Cupid is a variation on Cupido ("desire"), and this god was also known by the name Amor ("love"). It was commonly believed that Cupid was the son of Venus - the Roman goddess of love - and this association between Venus and Cupid was quite popular in myth, poetry, literature, and art |
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| According to the story told in the Metamorphoses, Psyche was the youngest daughter of a king (incidentally, she had two older sisters). Psyche was so stunningly beautiful that her appearance rivaled that of a goddess. Indeed, the simple people of her county were so in awe of Psyche's grace and beauty that they stopped worshipping Aphrodite (the real goddess) and paid their honors instead to the daughter of a king. In her defense, it should be noted that Psyche was a modest girl, and she resisted this improper attention. However, the damage had been done - Aphrodite took notice of this insult of being overthrown in popularity by a mere mortal, so the goddess decided to punish her rival. And her punishment was swift and severe. Aphrodite commanded her son Eros to do her dirty work in this situation, and insisted that Eros use his powers as the god of desire to make Psyche fall in love with the most terrible and grotesque thing on earth |
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| An expressive understatement |
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