Download Prose Passages for Level 2

KISS Grammar
L
Leevveell 66..77 A
Addddiittiioonnaall P
Paassssaaggeess ffoorr A
Annaallyyssiiss
This is simply a collection of mixed review exercises, prose passages, poems, and jokes. They were
originally in what was called “Practice/Application” exercises.
Free, from the KISS Grammar Web Site
KISSGrammar.org
© Ed Vavra
Feb. 12, 2014
2
Contents
The Directions for these Exercises .......................................................................................... 3
Construction Reviews - For Level 4 .................................................................................................. 4
Prose Passages for Analysis..................................................................................................... 6
Prose Passages for Level 1 – “How Much I Can Explain” ............................................................... 6
Prose Passages for Level 2 .............................................................................................................. 12
Prose Passages for Level 3.1 ........................................................................................................... 14
Prose Passages for Level 3.2 ........................................................................................................... 19
Prose Passages for Level 4 .............................................................................................................. 24
Poems for Analysis ................................................................................................................ 30
For KISS Level 1 ............................................................................................................................. 30
For KISS Level 2 ............................................................................................................................. 36
For KISS Level 3.1 .......................................................................................................................... 41
For KISS Level 3.2, Exercise 2 ....................................................................................................... 43
For KISS Level 4, Exercise 2 .......................................................................................................... 45
Just for Fun ............................................................................................................................ 53
Just for Fun for Level 1 ................................................................................................................... 53
Just for Fun for Level 2 ................................................................................................................... 57
Just for Fun for Level 3.1 ................................................................................................................ 59
Just for Fun for Level 3.2 ................................................................................................................ 63
Just for Fun for Level 4 ................................................................................................................... 68
3
T
Thhee D
Diirreeccttiioonnss ffoorr tthheessee E
Exxeerrcciisseess
The directions for these exercises are identical to those in all KISS analytical exercises. They
depend on the level at which students are working (and on the teacher’s objective). Students should learn
the directions as they work through the levels. Reprinting them, therefore, just wastes space, paper, and
ink. The basic directions are:
Basic Directions
For KISS Levels 1 & 2:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
For KISS Level 3, add:
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. If a clause functions as a “tag” question, label it “tag” or “Inj.”
4. Place a vertical line after each main clause
For KISS Level 4, add:
5. Put a box around every gerund and gerundive. If it is a gerund indicate its function over the box. If it is
a gerundive, draw an arrow to the word it modifies.
6. Put an oval around every infinitive and indicate (as in three above) its function.
For KISS Level 5, add:
7. Put a wavy line under each noun absolute and label its function.
Additional Optional Directions
If you want the students to focus on special connections, add any or all of the following:
The Functions of Adjectives and Adverbs: Draw an arrow from every adjective to the noun or pronoun
that it modifies. Draw an arrow from every adverb to the verb, adjective, or adverb that it modifies.
The Functions of Prepositional Phrases: Draw an arrow from the preposition to the word that the
phrase modifies.
Use the following labels for the additional constructions:
NuA— Noun used as an Adverb
App—Appositive
Inj—Interjection
DirA—Direct Address
DS—Delayed Subject
PPA—Post-Positioned Adjective
Write P above passive verbs.
Put an R before complements that are retained (“RDO,” “RPN,” “RPA”)
4
Construction Reviews - For Level 4
From Maxwell’s Grammar
Based on
Introductory Lessons in English Grammar For Use in Intermediate Grades
By Wm. H. Maxwell, M.A
1. The wind being favorable, we set sail.
2. Some African tribes are called cannibals by the rest of the world.
3. It is good to be here.
4. The man was called a coward because he stood a patient listener to the taunts of
his enemy.
5. The professor was said to have traveled all over this country and Europe.
6. I wish that we were wealthy, provided wealth brought no additional care.
5
L4 - A Review Exercise from Maxwell’s Grammar
Analysis Key
1. The wind being favorable [#1] , we set sail (DO). |
2. Some African tribes are called (P) cannibals (RPN) [#2] {by the rest} {of the world}. |
3. It is good (PA) to be [#3] here. |
4. The man was called (P) a coward (RPN) [#4] [Adv. to "was called" because he stood a
patient listener (PN) [#5] {to the taunts} {of his enemy}]. |
5. The professor was said (P) to have traveled [#6] all {over this country and Europe}. |
6. I wish [DO that we were wealthy (PA)], provided [ [#7] wealth brought no
additional care (DO)]. |
Notes
1. “The wind being favorable” is a noun absolute that functions as an adverb to “set.’
2. “Cannibals” is retained in the passive from the active Some people call some African tribes *to be*
cannibals.” Thus, in the active voice version, “cannibals” is a predicate noun to the ellipsed infinitive
“to be,” the subject of which is “tribes.” The entire infinitive phrase is the direct object of “call.”
3. The infinitive phrase “to be here” functions as a delayed subject -- “To be here is good.’
4. See Note # 2.
5. This is a palimpsest pattern with “stood” written over “was.”
6. This infinitive can be explained as a variant of a retained complement after the passive “was said.” In
this case, however, the active version is a clause “They said the the professor had traveled....”
7. This clause functions as the noun in a noun absolute construction in which “provided” functions as the
gerundive. Although I have marked the noun absolute as outside the direct object clause (and thus
modifying “wish”), an equally valid argument could be made that it modifies “were” and is this part
of the direct object clause. “Were” and “brought” are both in the subjunctive mood.
6
PPrroossee PPaassssaaggeess ffoorr A
Annaallyyssiiss
Prose Passages for Level 1 – “How Much I Can Explain”
The Opening Paragraph of
“The Story of the First Moles”
from The Book of Nature Myths
by Florence Holbrook
A rich man and a poor man once owned a field together. The rich man owned
the northern half, and the poor man owned the southern half. Each man sowed his
ground with seed. The warm days came, the gentle rain fell, and the seed in the
poor man’s half of the field sprang up and put forth leaves. The seed in the rich
man’s half all died in the ground.
7
"The Story of the First Moles" from
The Book of Nature Myths by Florence Holbrook
How Much I Can Explain
Analysis Key
A rich man and a poor man once owned a field (DO) together. | The rich man
owned the northern half (DO), | and the poor man owned the southern half (DO). | Each
man sowed his ground (DO) {with seed}. | The warm days came, | the gentle rain fell, |
and the seed {in the poor man's half} {of the field} sprang up and put forth leaves (DO). |
The seed {in the rich man's half} all died {in the ground}. |
This is the complete first paragraph of the story, and although it was specifically chosen for
this type of exercise, it is remarkable that third graders who have been studying grammar for just
one year will probably be able to explain every one of the 71 words in it. The table below reflects
the functions of the words within the sentences. Because some words can be explained in more
than one way, your numbers may differ slightly. Thus "up" might be considered as part of the
verb in "sprang up," and "forth" as part of the verb "put forth." And, although it would not affect
the table, "all" can be explained as an adjective to "seed." But whichever way the students
explain them, they count as explained.
How Much I Can Explain
Words
Total
Explained
%
of Text
Words in Prep Phrases
18
18
25 %
+ Adjectives & Adverbs (not in prep phrases)
26
44
62 %
+ Words in S / V / C patterns
25
69
97 %
+ Coordinating Conjunctions [These are the two "and's"
that join main clauses.]
2
71
100 %
Total Words = 71
8
Thumbelina Is Taken by a Cockchafer
From "Thumbelina," in Andrew Lang's The Yellow Fairy Book
A great cockchafer came flying past; he caught sight of Thumbelina, and in a
moment had put his arms round her slender waist, and had flown off with her to a
tree. The green leaf floated away down the stream, and the butterfly with it, for he
was fastened to the leaf and could not get loose from it. Oh, dear! how terrified
poor little Thumbelina was when the cockchafer flew off with her to the tree! But
she was especially distressed on the beautiful white butterfly's account, as she had
tied him fast, so that if he could not get away he must starve to death. But the
cockchafer did not trouble himself about that; he sat down with her on a large
green leaf, gave her the honey out of the flowers to eat, and told her that she was
very pretty, although she wasn't in the least like a cockchafer. Later on, all the
other cockchafers who lived in the same tree came to pay calls; they examined
Thumbelina closely, and remarked, “Why, she has only two legs! How very
miserable!”
9
Thumbelina Is Taken by a Cockchafer
[from "Thumbelina," in Andrew Lang's The Yellow Fairy Book]
Analysis Key through KISS Level Two (S/V/C Patterns)
A great cockchafer came [#1] flying past; he caught sight (DO) [#2] {of Thumbelina},
and {in a moment} had put his arms (DO) {round her slender waist}, and had flown off
{with her} {to a tree}. The green leaf floated away {down the stream}, and the butterfly
*floated* [#3] {with it}, for he was fastened {to the leaf} and could not get loose {from
it}. Oh [Inj], dear [Inj]! how terrified (PA) [#4] poor little Thumbelina was when the
cockchafer flew off {with her} {to the tree}! But she was especially distressed {on the
beautiful white butterfly's account}, as she had tied him (DO) fast, so that if he could not
get away he must starve {to death}. But the cockchafer did not trouble himself (DO)
{about that}; he sat down {with her} {on a large green leaf}, gave her (IO) the honey (DO)
{out of the flowers} to eat, and told her (IO) that she was very pretty (PA), although
she wasn't {in the least} {like a cockchafer} [#5]. Later on, all the other cockchafers who
lived {in the same tree} came to pay calls; they examined Thumbelina (DO) closely,
and remarked, 'Why [Inj], she has only two legs (DO)! How very miserable (PA) *she
must be* [#6]!'
Notes
1. I would also accept "came flying" as the finite verb phrase.
2. I would not argue with any students who claimed that "caught sight" means "saw" and thus it is the
finite verb phrase. Depending on the circumstances, I might ask the class members to give their
opinions about that explanation.
3. I would not expect fourth graders to catch this ellipsed verb, and I would praise any who did.
4. "Terrified" can alternatively be considered part of the finite verb phrase -- Thumbelina was terrified."
5. The phrase "like a cockchafer" can be considered either a predicate adjective, or as an adverb
(describing "wasn't").
6. Here again, I would note expect fourth graders to catch this ellipsis.
10
Progress Chart
["And," "Or," & "But" Count with What They Join]
Total Words = 184
Words
%
In Prepositional Phrases
60
33 %
+ Other Adjectives & Adverbs
34
51 %
+ NuA, Inj., & Direct Address
3
53 %
69
90 %
+ S/V/C
Complete Analysis Key
A great cockchafer came [#1] flying [#7] past; | he caught sight (DO) [#2] {of
Thumbelina}, and {in a moment} had put his arms (DO) {round her slender waist}, and
had flown off {with her} {to a tree}. | The green leaf floated away {down the stream}, | and
the butterfly *floated* [#3] {with it}, [ [#8] for he was fastened {to the leaf} and could not
get loose {from it}]. | Oh [Inj], dear [Inj]! how terrified (PA) [#4] poor little Thumbelina
was [Adv. to "was" when the cockchafer flew off {with her} {to the tree}]! | But she was
especially distressed (P) {on the beautiful white butterfly's account}, [Adv. to "was distressed"
as she had tied him (DO) fast, [Adv. to "had tied" so that [Adv. to "must starve" if he
could not get away] he must starve {to death}]]. | But the cockchafer did not trouble
himself (DO) {about that}; | he sat down {with her} {on a large green leaf}, gave her (IO)
the honey (DO) {out of the flowers} to eat [#9], and told her (IO) [DO that she was very
pretty (PA), [ [#10] although she wasn't {in the least} {like a cockchafer} [#5] ]]. | Later on,
all the other cockchafers [Adj. to "cockchafer" who lived {in the same tree}] came to pay
calls [#11]; | they examined Thumbelina (DO) closely, and remarked, 'Why [Inj], she
has only two legs (DO)! | How very miserable (PA) *she must be* [#6]!' |
Notes
11
7. “Flying” is a gerundive to “cockchafer.” Alternatively, this can be explained as a palimpsest pattern
with “came” written over “was.”
8. See “So” and “For” as conjunctions.
9. “To eat” is an infinitive that functions as an adverb to “gave” and/or an adjective to “honey.”
10. The function of this clause is ambiguous. I’ve analyzed it as if it is part of what he told her, and thus
chunks to “was,” but if he did not tell her that she was not in the least like a cockchafer,” then this
clause functions as an adverb to “told.”
11. “To pay” is an infinitive that functions as an adverb (of purpose) to “came”; “calls” is the direct object
of “to pay.”
12
Prose Passages for Level 2
Selection # 2 from “The Little Match Girl,”
by Hans Christian Andersen
It seemed really to the little maiden as though she were sitting before a large iron
stove, with burnished brass feet and a brass ornament at top. The fire burned with
such blessed influence; it warmed so delightfully. The little girl had already
stretched out her feet to warm them too; but -- the small flame went out, the stove
vanished: she had only the remains of the burnt-out match in her hand.
13
Selection # 2 from “The Little Match Girl,” by Hans Christian Andersen
Analysis Key
It seemed really {to the little maiden} [Adv. to "seemed" as though she were sitting [#1]
{before a large iron stove}, {with burnished brass feet and a brass ornament} {at top}. | The
fire burned {with such blessed influence}; | it warmed so delightfully. | The little girl had
already stretched out her feet (DO) to warm them [#2] too; | but -- the small flame went
out, | the stove vanished: | she had only [#3] the remains (DO) {of the burnt-out match}
{in her hand}. |
Notes
1. I would not call this to students’ attention in third or fourth grades, but should someone ask, the verb
here is “were” (not “was”) because it is in the subjunctive mood. (She is not sitting before a large
iron stove, so the statement is contrary to fact.)
2. “Them” is the direct object of the infinitive “to warm” which functions as an adverb (of purpose) to
“had stretched.”
3. In cases like this, “only” could be considered an adjective to “the remains,” or as an adverb to “had.” It
is not worth arguing about, so I would accept either explanation and move on. Note that the same is
true of the prepositional phrase “in her hand.” It can be explained either as an adjective to “match” or
as an adverb to “had.”
14
Prose Passages for Level 3.1
From Carrie's War by Nina Bawden # 1
(1973 Victor Gollancz London pages 124 - 125.)
Hepzibah and Mister Johnny were not exactly widows and orphans of course
but perhaps, Carrie thought, Mr Evans could be persuaded to think it was the
Lord’s will to help them as well. If she were him she would want to, but she knew
now that it was no use trying to put herself in his place. She had thought he would
be happy about Mrs Gotobed’s message because she would have been, but she had
been wrong about that. He had simply been angry and believed that it meant he had
been right all the time and that his sister really was in Hepzibah’s Power. That
Hepzibah had bewitched Mrs Gotobed . . .
15
From Carrie's War by Nina Bawden # 1
(1973 Victor Gollancz London pages 124 - 125.)
Analysis Key
Hepzibah and Mister Johnny were not exactly widows (PN) and orphans (PN)
{of course} [Inj] | but perhaps, [ [#1] Carrie thought,] Mr Evans could be persuaded (P)
to think [#2] [DO of "to think" it was the Lord’s will (PN) to help them [#3] as well.] | [Adv.
to "would want" If she were [#4] him (PN)] she would want to [#5] (DO), | but she knew
now [DO of "knew" that it was no use (PN) [#6] trying to put herself [#7] {in his place}.] |
She had thought [DO of "had thought" he would be happy (PA) {about Mrs Gotobed’s
message}] [Adv. to "had thought" because she would have been,] | but she had been
wrong (PA) {about that}. | He had simply been angry (PA) and believed [DO of
"believed" that it meant [DO of "meant" he had been right (PA) all the time [NuA] ] and
[DO of "meant" that his sister really was {in Hepzibah’s Power}.]] | [DO of "meant" That
Hepzibah had bewitched Mrs Gotobed (DO) . . .] | [#8]
Notes
This is from the British edition. They do not put periods after “Mr” and “Mrs.”
1. I would analyzed “Carrie thought” as a subordinate clause functioning as an interjection because the
preceding “perhaps” chunks to “Mr Evans could be persuaded.” Traditional grammars, to my
knowledge, do not deal with this phenomenon, but my guess is that they would consider “Carrie
thought” as the main S/V and the “Mr Evans could be persuaded” clause as its direct object.
2. “To think” is an infinitive that functions as a retained direct object after the passive “could be
persuaded.”
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3. “Them” is the indirect object of the infinitive “to help.” The infinitive phrase functions as a delayed
subject -- “To help them was the Lord’s will.”
4. “Were” is in the subjunctive mood. As a matter of usage and style, some people would argue that in
formal writing “him” should be “he.”
5. The words “help them” are ellipsed here. At KISS Level Three, students will not have studied
infinitives, but they should recognize that “to help them” answers the question “She would want
what?” Thus, without knowing that it is an infinitive phrase, students should be able to recognize it
as the direct object of “would want.”
6. One could become bogged down in a long debate about the function of “use” here. The meaningful
subject (“trying to put herself in his place”) is delayed, and one could easily argue that that subject is
in no way “equal” to “use.” Thus one could claim that “use” is not a predicate noun. Some people
would argue that “no use” is an ellipsed form of “of no use”; others would argue that “was” here
means “had,” and thus “use” is a direct object. Parents and teachers might want to accept these
alternate explanations, but I would not spend a lot of time on this point. Ultimately, “It’s no use.” is
an idiomatic expression.
7. “Herself” is the direct object of the infinitive “to put” which is the direct object of the gerund “trying.”
The gerund phrase functions as a delayed subject.
8. This clause is a fragment, but fragments are not always errors. This one is very effective because it
emphasizes “bewitched.”
17
Hares
and
Hounds
Half a hundred Dundee hunters hunted hares one day.
They took as many hounds along as there are days in May;
They chased three times as many hares as there were hounds and men;
But just as many got away as two goes into ten.
Now if each hare weighed twice as much as half a pound of tea,
What was the total weight of hares they brought back to Dundee?
--ALVIN J. SCHEUER
From The Pathway to Reading: Fourth Reader, by Bessie Blackstone Coleman, Willis L. Uhl, and James
Fleming Hosic. N.Y.: Silver, Burdett and Company, 1926, p. 236.
18
Analysis Key
Poetry, grammar, and math, all in one exercise. This is, by the way, a nice poem for exploring basic
iambic meter.
Half a hundred Dundee hunters [#1] hunted hares (DO) one day [NuA]. |
They took as many hounds (DO) along [Adv. to "as" as there are days (PN) {in May}
[#2]
]; |
They chased three times [#3] as many hares (DO) [Adv. to "as" as there were hounds
(PN) and men (PN)]; |
But just as many [#4] got away [Adv. to "as" as two goes {into ten}. |
Now [#5] [Adv. to "was" if each hare weighed twice as much [#6] {as half [#7] a pound} {of
tea},]
What was the total weight (PN) {of hares} [ [#8] they brought back {to Dundee}]? |
Notes
1. Alternatively, “Half” could be considered the subject, and “a hundred Dundee hunters” could be
explained as the object of an ellipsed “of.”
2. “In May” can be described as an adverb to “are” and/or as an adjective to “days.”
3. “Times” is a noun used as an adverb that modifies “as.”
4. “Many” is modified by the adverb “as” because is it fundamentally an adjective (although it can
function, as it does here, as a pronoun. Note that it means “as many *hares*.” Thus, if we wanted to,
we could consider the real subject as ellipsed.
5. Some people will see “Now” as an adverb; others will consider it an interjection. It functions as both
here.
6. “Much” may be described as an adverb or as a pronoun that functions as one. Note that if we replace it
with something specific, it would be a noun - “weighed ten pounds.” In other words, “much” is not
really a direct object of “weighed.”
7. If we want to get really detailed, this could be explained as “half *of* a pound...”
8. Some people will see this adjectival clause as modifying “weight”; others, “hares.”
19
Prose Passages for Level 3.2
Aesop’s “The Shepherd Boy and the Wolf”
From
The ÆSOP for Children
with Pictures by Milo Winter
Remember that there are some things in this text that you are not expected to be able to
explain.
A Shepherd Boy tended his master’s Sheep near a dark forest not far from the
village. Soon he found life in the pasture very dull. All he could do to amuse
himself was to talk to his dog or play on his shepherd’s pipe.
One day as he sat watching the Sheep and the quiet forest, and thinking what
he would do should he see a Wolf, he thought of a plan to amuse himself.
His Master had told him to call for help should a Wolf attack the flock, and the
Villagers would drive it away. So now, though he had not seen anything that even
looked like a Wolf, he ran toward the village shouting at the top of his voice,
“Wolf! Wolf!”
(Continues on next page)
20
As he expected, the Villagers who heard the cry dropped their work and ran in
great excitement to the pasture. But when they got there they found the Boy
doubled up with laughter at the trick he had played on them.
A few days later the Shepherd Boy again shouted, “Wolf! Wolf!” Again the
Villagers ran to help him, only to be laughed at again.
Then one evening as the sun was setting behind the forest and the shadows
were creeping out over the pasture, a Wolf really did spring from the underbrush
and fall upon the Sheep.
In terror the Boy ran toward the village shouting “Wolf! Wolf!” But though the
Villagers heard the cry, they did not run to help him as they had before. “He cannot
fool us again,” they said.
The Wolf killed a great many of the Boy’s sheep and then slipped away into
the forest.
Liars are not believed even when they speak the truth.
21
The Shepherd Boy and the Wolf
from The ÆSOP for Children
Analysis Key
A Shepherd Boy tended his master's Sheep (DO) {near a dark forest} not far {from the
village}. | Soon he found life [#1] {in the pasture} very dull [#1]. | All [Adj. to "all" he could
do to amuse himself [#2] ] was to talk (PN) [#3] {to his dog} or play (PN) [#3] {on his
shepherd's pipe}. |
One day [NuA] [Adv. (time) to "thought" as he sat watching [#4] the Sheep (DO) and
the quiet forest (DO), and thinking [#4] [DO [#5] what he would do [Adv. (condition) to
"would do" [#6] should he see a Wolf (DO)]]], he thought {of a plan} to amuse himself
[#7]
.|
His Master had told him to call [#8] {for help} [Adv. (condition) to "to call" should a
Wolf attack the flock (DO), [#9] and [DO the Villagers would drive it (DO) away]. |
So [#10] now, [Adv. (concession) to "ran" though he had not seen anything (DO) [Adj. to
"anything" that even looked {like a Wolf} [#11] ]], he ran {toward the village} shouting [#12]
{at the top} {of his voice}, "Wolf! Wolf!" (DO of "shouting") |
[Adv. (manner) to "dropped" As he expected], the Villagers [Adj. to "Villagers" who
heard the cry (DO)] dropped their work (DO) and ran {in great excitement} {to the
pasture}. | But [Adv. (time) to "found" when they got there] they found the Boy doubled
up [#13] {with laughter} {at the trick} [Adj. to "trick" he had played {on them}]. |
A few days [NuA] later the Shepherd Boy again shouted, "Wolf! Wolf!" (DO) | Again
the Villagers ran to help him [#14], only to be laughed at [#15] again. |
22
Then one evening [NuA] [Adv. (time) to "did spring" as the sun was setting {behind the
forest}] and [Adv. (time) to "did spring" the shadows were creeping out {over the
pasture}], a Wolf really did spring {from the underbrush} and fall {upon the Sheep}. |
{In terror} the Boy ran {toward the village} shouting [#12] "Wolf! Wolf!" (DO of
"shouting") | But [Adv. (concession) to "not" though the Villagers heard the cry (DO)],
they did not run to help him [#14] [Adv. (comparison) to "did run" as they had before]. |
[DO [#16] "He cannot fool us (DO) again,"] they said. |
The Wolf killed a great many (DO) {of the Boy's sheep} and then slipped away {into
the forest}. |
Liars are not believed (P) even [Adv. (time) to "not" when they speak the truth
(DO)]. |
Notes
1. “Life” is the subject and “dull” is a predicate adjective to an ellipsed verbal (infinitive) “to be”—
“found life *to be* dull.” The infinitive phrase functions as the direct object of “found.”
2. “Himself” is the direct object of the verbal (infinitive) “to amuse.” The infinitive phrase functions as an
adverb (of purpose) to “could do.”
3. “To talk” and “play” are verbals (infinitives) that function as predicate nouns.
4. “Watching” and “thinking” can be described as parts of the finite verb phrase in a palimpsest pattern
(with “sat” written over “was”). See KISS Level 2.1.4 - Palimpsest Patterns. Alternatively, they can
be described as verbals (gerunds) that function as Nouns Used as Adverbs. See Exercise 4 in “A
Focus on Gerunds” in KISS Level 4.
5. Some people may prefer to see this clause as the object of an ellipsed “about”—“thinking *about* what
he would do . . . .” Note that the “what” functions simultaneously as the subordinating conjunction
and the direct object of “would do.”
6. “Should he see” means “if he should see.”
7. “Himself” is the direct object of the verbal (infinitive) “to amuse.” The infinitive phrase functions as an
adjective to “plan.”
23
8. “Him” is both the indirect object of “had told” and the subject of the infinitive “to call.” The infinitive
phrase is the direct object of “had told.”
9. In terms of meaning, the following “and” clause is a direct object of “told.” Some people, however,
may consider this a main-clause break, and I would accept that. See “Main Clause or Subordinate?”
in KISS Level 3.2.3 - Interjection? Or Direct Object?
10. This “So” means “as a result,” so I have marked it as a coordinating conjunction. For more on this, see
KISS Level 3.2.2 - “So” and “For” as Conjunctions.
11. “Looked like” means “resembled,” so “looked liked can be viewed as the finite verb phrase, thereby
making “wolf” a predicate noun. See KISS Level 2.1.5 - Phrasal Verbs (Preposition? Or Part of the
Verb?).
12. “Shouting” is a verbal (gerund) that functions as a Noun Used as an Adverb. See Exercise 4 in “A
Focus on Gerunds” in KISS Level 4.
13. Expect students to be puzzled by this. “Boy” can be seen as the direct object of “found” and “doubled
(up)” as a verbal (gerundive) that modifies “Boy.” But at KISS Level 5.8 - Noun Absolutes, many
people will probably prefer to explain “Boy doubled (up)” as the core of a noun absolute that
functions as the direct object of “found.” (Most grammar textbooks never get near this question.)
14. “Him” is the indirect object of the verbal (infinitive) “to help.” The infinitive phrase functions as an
adverb (of purpose) to “ran.”
15. The infinitive “to be laughed at” functions as an adverb (of result) to “ran.”
16. For an alternative explanation of this clause structure, see KISS Level 3.2.3 - Interjection? Or Direct
Object?
24
Prose Passages for Level 4
A Description of the Master of Ballantrae
From The Master of Ballantrae
by Robert Louis Stevenson
Illustration by
Walter Paget
I was now near enough to see him, a very handsome figure and countenance,
swarthy, lean, long, with a quick, alert, black look, as of one who was a fighter,
and accustomed to command; upon one cheek he had a mole, not unbecoming; a
large diamond sparkled on his hand; his clothes, although of the one hue, were of a
French and foppish design; his ruffles, which he wore longer than common, of
exquisite lace; and I wondered the more to see him in such a guise when he was
but newly landed from a dirty smuggling lugger.
25
From The Master of Ballantrae by Robert Louis Stevenson
Analysis Key
Note that this is all one sentence.
I was now near enough to see him [#1], a very handsome figure [#2] and countenance [#2],
swarthy [#3], lean [#3], long [#3], {with a quick, alert, black look}, {as of one} [#4] [Adj. to
"one" who was a fighter (PN), and accustomed to command [#5] ]; | {upon one cheek} he
had a mole (DO), not unbecoming [#6]; | a large diamond sparkled {on his hand}; | his
clothes, [ [#7] although {of the one hue}], were {of a French and foppish design}
(PA); | his ruffles, [Adj. to "ruffles" which (DO) he wore longer than common [#8] ],
*were* {of exquisite lace} (PA); | and I wondered the more [NuA] to see him [#9] {in such
a guise} [Adv. to "to see" when he was but newly landed (P) {from a dirty smuggling
lugger}]. |
Notes
1. “Him” is the direct object of the infinitive “to see.” The infinitive phrase functions as an adverb to
“enough” which functions as an adverb to “near.”
2. “Figure” and “countenance” are appositives to “him.”
3. “Swarthy,” “lean,” “long,” and the following “with” phrase are all post-positioned adjectives to
“countenance.”
4. The easy explanation of “as of one” is to consider it an adverbial prepositional phrase to the three
adjectives that describe “look.” Some people, however, may prefer to see the “as” as a subordinate
conjunction for an ellipsed clause—“as *is the look” of one ...” This would keep the subordinate
clause as adverbial to the three adjectives, and make “of one” an adjective to the ellipsed “look.”
5. “Accustomed” can be explained as part of the finite verb—“*was* accustomed.” Or it can be explained
as a gerundive that functions as a predicate adjective. In either case, it is in passive voice.
(Something accustomed him to command..) Some people will see “to command” as a prepositional
phrase that functions as an adverb to “accustomed.” Others will see it as an infinitive. In the latter
case, it can be explained as adverbial to “accustomed,” or it can be seen as a retained direct object
after the passive verb.
6. “Unbecoming” is a post-positioned adjective (*which was* not unbecoming).
26
7. This is a semi-reduced clause—“Although *they were” of the one hue.” Some people will see the “of”
phrase as adverbial to the ellipsed “were”; others will explain is as a predicate adjective to the
ellipsed “they.”
8. The quick and easy explanation of “longer” is to consider it an adverb to “wore.” Some people,
however, may see “longer” as describing the ruffles, represented in this clause by “which.”
Decombining the sentence, this view would give us “He wore them (“which”) longer.” In this view,
“longer” could be explained as a predicate adjective after an ellipsed *to be*, the subject of which
would be “them,” or, in this clause “which.” It is a torturous explanation, but it does shift the focus to
the adjectival function of “shorter,” for those who so want it.
“Than common” functions as an adverb to “longer.” “Than” can be either a preposition or a
subordinating conjunction, and since “common” is not a noun, perhaps the easiest explanation here is
to see this as an ellipsed subordinate clause—“than *is the* common *custom.*)
9. “Him” is the direct object of the infinitive “to see.” The infinitive phrase functions as an adverb (Why?)
to “wondered.”
27
The Grief of Henry Adams
From “The Education of Henry Adams,”
by Allen Guttmann, in Landmarks of American Writing
Edited by Henning Cohen. N.Y.: Basic Books, 1969. p. 260.
The Education of Henry Adams is an eccentric book because it is the order that
a strange and wonderful man made out of his own life and times. It leaves out a
great deal, as Ernest Samuels has shown us in the three volumes of his biography
of Henry Adams. To seize upon a single example, we learn from Samuels that the
allegorical statue of Grief which Adams described in The Education had a
significance far beyond that given it in the autobiography. Adams refers to the
bronze figure by Augustus St. Gaudens and dwells on the various people who
came to Rock Creek Cemetery to wonder what the statue meant. He deliberately
fails to state that it was a memorial to his wife, who committed suicide in 1885,
shortly after the death of her father. We know, from letters and other documents,
that this loss was as tragic as that of Adams’ sister, and
yet he chose to omit any mention of it from his
autobiography.
There is no reason to be surprised or disappointed
by this or other omissions. What we have in any
autobiography is a work of art based on a man’s life.
Henry Adams was as sensitive and intelligent a man as
his presidential ancestors. If his life was, nonetheless, a
failure, his autobiography—his work of art—is not.
Fifty years after his death it seems all to prophetic.
28
The Grief of Henry Adams
From "The Education of Henry Adams,"
by Allen Guttmann, in Landmarks of American Writing
Analysis Key
Most of the exercises on the KISS site result from my looking for sentences or passages.
Occasionally, however, passages hit me in the face. As soon as I read this in Guttmann’s essay, I went to
the web and found the images of the statue. It is beautiful, and so is the story. (You may want to have
your students search the web for both Adams and St. Gaudens—and perhaps even write a short report
about what they find.) In addition to all the artistic and historical questions, it raises the question of
private (as opposed to public) grief. [As I write this, this exercise has also been placed in the ninth grade
book, Level 4, as a “Passage for Analysis” on infinitives.]
The Education of Henry Adams is an eccentric book (PN) [Adv. (cause) to "is"
because it is the order (PN) [Adj. to "order" that [#1] a strange and wonderful man made
{out of his own life and times}]]. | It leaves out a great deal (DO), [Adv. [#2] as Ernest
Samuels has shown us (IO) {in the three volumes} {of his biography} {of Henry Adams.}]
| To seize [#3] {upon a single example}, we learn {from Samuels} [DO that the allegorical
statue {of Grief} [Adj. to "statue" which [#1] Adams described {in The Education}] had a
significance (DO) far {beyond that} given it [#4] {in the autobiography}]. | Adams refers
{to the bronze figure} {by Augustus St. Gaudens} and dwells {on the various people} [Adj. to
"people" who came {to Rock Creek Cemetery} to wonder [#5] [DO what [#1] the statue
meant]]. | He deliberately fails to state [#6] [DO that it was a memorial (PN) {to his
wife}, [Adj. to "wife" who committed suicide (DO) {in 1885}, shortly {after the death}
{of her father}. | We know, {from letters and other documents}, [DO that this loss was as
tragic (PN) {as that} [#7] {of Adams' sister}], | and [#8] yet he chose to omit any mention
[#9]
{of it} {from his autobiography}. |
There is no reason (PN) to be surprised or disappointed [#10] {by this or other
omissions}. | [Subj. What [#1] we have {in any autobiography}] is a work (PN) {of art}
29
based [#11] {on a man's life}. | Henry Adams was as sensitive and intelligent a man (PN)
{as his presidential ancestors} [#7]. | [Adv. (condition) to "is not" If his life was, nonetheless, a
failure (PN),] his autobiography -- his work [#12] {of art} -- is not. | Fifty years [NuA]
{after his death} it seems all to [#13] prophetic (PA). |
Notes
1. This “that” functions both as a subordinating conjunction and the direct object of “made.”
2. It would be interesting to know how the grammarians who list the various types of adverbial clauses
(time, space, cause, condition, manner, etc.) would classify this one. I suppose one could call it an
adverbial clause of manner, but it also looks up out of the text and sends us to Samuels. In that sense,
it could also be viewed as an interjection. For more on this see KISS Level 3.2.3.
3. The verbal (infinitive) “To seize” functions as an adverb (of manner) to “learn.”
4. Let’s start with “given.” There are at least three ways to explain it. First, we can see it as an ellipsed
subordinate clause—“beyond that *which was* given it ....” This view, of course, makes it a finite
verb in the ellipsed adjectival clause to “that.” Second, it can be viewed as a verbal (gerundive) that
modifies “that.” Finally, it “that given” can be explained as the core of a noun absolute that functions
as the object of the preposition “beyond.” For more on this view, see Noun Absolutes as Nouns in
KISS Level 5.8. The subordinate clause version makes it easier to see that the :”it” functions as a
retained indirect object after the passive “was given.” For more on this see “Retained Complements”
in KISS Level 5.7.
5. The verbal (infinitive) “to wonder” functions as an adverb (of purpose) to “came.”
6. The verbal (infinitive) “to state” functions as the direct object of “fails.”
7. Although in KISS we can consider this “as that” as a prepositional phrase, alternatively one can explain
it as an ellipsed subordinate clause—“as that of Adams’ sister *was tragic* . ...”
8. I have marked this as a main-clause break, but an argument can be made that this “and” joins two
subordinate clauses. For more on this, see “Main Clause or Subordinate?” in KISS Level 3.2.3.
9. “Mention” is the direct object of the verbal (infinitive) “to omit.” The infinitive phrase functions as the
direct object of “chose.”
10. The infinitives “to be surprised” and “disappointed” function as adjectives to “reason.”
11. “Based” can be explained as a gerundive that modifies “art,” or as part of a noun absolute. See Note #
4.
12. “Work” is an appositive (KISS Level 5.4) to “autobiography.”
13. This is the way “too” is spelled in the original.
30
PPooeem
mss ffoorr A
Annaallyyssiiss
For KISS Level 1
From “Written in March”
by William Wordsworth
The Cock is crowing,
The stream is flowing,
The small birds twitter,
The lake doth glitter,
The green field sleeps in the sun;
The oldest and youngest
Are at work with the strongest;
The cattle are grazing,
Their heads never raising;
There are forty feeding like one!
31
Analysis Key
The Cock
is crowing, |
The stream
is flowing, |
The small birds
The
twitter, |
lake doth glitter, |
The green field
sleeps {in the sun}; |
The oldest and youngest
Are {at work} {with the strongest}; |
The cattle are grazing,
Their heads never raising [#1]; |
There are forty feeding [#2] {like one}! |
Notes
1. Probably the best way to explain “raising” is as a regular gerundive to “cattle,” thereby making “heads”
the direct object of “raising.” Normally, of course, the object comes last, but this is a poem, and
poets play with word order regularly. Given this unusual order, however, I can see thoughtful
students at KISS Level Five wondering if “heads raising” could be considered a noun absolute -“Their heads never raising *themselves*;”
2. If you are teaching the expletive “There,” then the subject and finite verb here would probably be
“forty are feeding.” I say “probably” because those books that present the expletive usually present
only very simple examples, and not ones like this. Note that you could also explain “There” as an
adverb with “forty” as the subject. If you consider “There” to be the subject, then “feeding”
functions as a gerundive to “forty.”
32
“Sketch” by Carl Sandburg
(1878 - 1967)
THE shadows of the ships
Rock on the crest
In the low blue lustre
Of the tardy and the soft inrolling tide.
A long brown bar at the dip of the sky
Puts an arm of sand in the span of salt.
The lucid and endless wrinkles
Draw in, lapse and withdraw.
Wavelets crumble and white spent bubbles
Wash on the floor of the beach.
Rocking on the crest
In the low blue lustre
Are the shadows of the ships.
33
Analysis Key
THE
shadows {of the ships}
Rock {on the crest}
{In the low blue lustre}
{Of the tardy and the soft inrolling tide}. |
A long brown bar {at the dip} {of the sky}
Puts an arm (DO) {of sand} {in the span} {of salt}. |
The lucid and endless wrinkles
Draw in, lapse and withdraw. |
Wavelets crumble | and white spent bubbles
Wash {on the floor} {of the beach}. |
Rocking [#1] {on the crest}
{In the low blue lustre}
Are the shadows {of the ships}. |
Note
1. Although I have labeled this as part of the finite verb, an argument can be made that it is a gerundive to
"shadows."
34
“There is No Frigate Like a Book,”
by Emily Dickinson
There is no Frigate like a Book
To take us Lands away
Nor any Coursers like a Page
Of prancing Poetry—
This Travers may the poorest take
Without oppress of Toll—
How frugal is the Chariot
That bears the Human soul.
35
There is No Frigate Like a Book
Emily Dickinson
Analysis Key
There is no Frigate (PN) {like a Book}
To take [#1] us Lands away
Nor any Coursers (PN) {like a Page}
{Of prancing Poetry} -- |
This Travers (DO) may the poorest take
{Without oppress} {of Toll} -- |
How frugal (PN) is the Chariot
[Adj. to "Chariot" That bears the Human soul (DO)]. |
Note
1. Infinitives are a Level Four KISS construction, but since "To take us lands" are the only unexplained
words, we can note that it is an infinitive construction with "us" as the direct object of "take." The
infinitive can be explained either as an adverb to "is" (There is for what purpose?) or as an adjective
to "Frigate." "Lands" is a noun used as an adverb indicating where they would be taken.
36
For KISS Level 2
“Fog”
by Carl Sandburg
(1878 - 1967)
[Note how many of the words in this poem you can already explain.]
The fog comes
on little cat feet.
It sits looking
over harbor and city
on silent haunches
and then moves on.
37
“Fog,” by Carl Sandburg
The fog
comes
{on little cat feet}. |
It sits looking [#1]
{over harbor and city}
{on silent haunches}
and then moves on. |
Note
1. "Sits looking" can be considered a palimpsest pattern with "sits" written over "is." This may confuse
students, but you can still focus students' attention on the number of words that they can easily
explain. I would certainly accept "sits looking" as the finite verb. However, I would also accept "sits"
by itself, since "looking" can also be explained as a verbal (gerundive) that modifies "It."
How Much I Can Explain
Words
Total
Explained
%
of Text
Words in Prepositional Phrases
11
11
52 %
+ Adj & Adverbs (not in prep phrases)
3
14
67 %
+ Coordinating Conjunctions
1
15
71 %
+ Words in S / V / C patterns
6
21
100 %
Total Words = 21
38
The New Colossus
by Emma Lazarus
Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to be free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”
39
The New Colossus
by Emma Lazarus
Analysis Key
Not {like the brazen giant} {of Greek fame}
,
[#1]
{With conquering limbs} astride [#2] {from land} {to land};
Here {at our sea-washed, sunset gates} shall stand
A mighty woman {with a torch}, [Adj. to "torch" whose flame
Is the imprisoned lightning (PN) ], | and her name *is*
Mother {of Exiles} (PN). | {From her beacon-hand}
Glows world-wide welcome; | her mild eyes command
The air-bridged harbor (DO) [Adj. to "harbor" that (DO) twin cities frame]. |
"*You* Keep, ancient lands [DirA], your storied pomp (DO)!" [ [#3] cries she
{With silent lips}]. | "*You* Give me (IO) your tired (DO), your poor (DO),
Your huddled masses (DO) yearning to be free [#4] ,
The wretched refuse [#5] {of your teeming shore}. |
*You* Send these (DO), the homeless [#6] , tempest-tost [#7] {to me}, |
I lift my lamp (DO) {beside the golden door}!" |
Notes
1. The “like” phrase crosses the semicolon after “land.” In this case, the semicolon does not separate main
clauses; it separates the “Colossus” there and the “woman” here. Like many “like” phrases, this one
can be seen either as an adjective and/or an adverb. In this case, as an adjective to “woman” as an
adverb to “shall stand.”
2. “Astride” clearly goes with “limbs,” but it is an adverb. The detailed KISS explanation of this is that it
is part of an ellipsed noun absolute construction “limbs *being* astride.” Thus “astride” is an adverb
to the ellipsed “being,” and the noun absolute functions as the object of “With.”
40
3. KISS explains this clause as an interjection. For an alternative explanation, see KISS Level 3.2.3 Interjection? Or Direct Object?
4. “Free” is a predicate adjective after the infinitive “to be.” Some people will see the infinitive as a direct
object (What?) of “yearning,” whereas others may consider it an adverb (How?) to “yearning.”
“Yearning” itself is a gerundive that modifies “masses.”
5. In the context of a poem, and especially in the context of a sonnet, I would not argue with someone
who explained “refuse” as another direct object of “Give.” To me, however, it is better explained as
an appositive that brings together, expands on, and covers “your tired,” “your poor,” and “huddled
masses.”
6. “The homeless” is an appositive to “these.” [Note how often, in this poem, “the” changes an adjective
into a noun.]
7. “Tempiest-tost” can be explained as a post-positioned adjective (or as a gerundive) that modifies
“these.”
41
For KISS Level 3.1
The Elf and the Dormouse
by Oliver Herford
[1863-1935]
From The Home Book of Verse, by Burton Stevenson
Under a toadstool crept a wee Elf,
Out of the rain, to shelter himself.
Under the toadstool sound asleep,
Sat a big Dormouse all in a heap.
Trembled the wee Elf, frightened, and yet
Fearing to fly away lest he get wet.
To the next shelter - maybe a mile!
Sudden the wee Elf smiled a wee smile,
Tugged till the toadstool toppled in two.
Holding it over him, gayly he flew.
Soon he was safe home, dry as could be.
Soon woke the Dormouse - "Good gracious me!
“Where is my toadstool?” loud he lamented.
– And that's how umbrellas first were invented.
42
Analysis Key
{Under a toadstool} crept a wee Elf,
{Out of the rain}, to shelter himself [#1]. |
{Under the toadstool} sound asleep,
Sat a big Dormouse all {in a heap}. |
Trembled the wee Elf, frightened [#2], and yet
Fearing to fly away [Adv. to "Fearing" lest [#3] he get wet (PA). ] |
{To the next shelter} - *it was* maybe a mile (PN)! |
Sudden the wee Elf smiled a wee smile (DO),
Tugged [Adv. to "Tugged" till the toadstool toppled {in two}.] |
Holding it [#4] {over him}, gayly he flew. |
Soon he was safe (PA) home [NuA], dry [#5] [Adv. to "dry" as *he* could be.] |
Soon woke the Dormouse - "Good gracious me [Inj]! |
[DO of "lamented" "Where is my toadstool?"] loud he lamented. |
- And that's [PN. of "that is" how umbrellas first were invented (P).] |
Notes
1. “Himself” is the direct object of the verbal (infinitive) “to shelter.” The infinitive phrase functions as an
adverb (of purpose) to “crept.”
2. “Frightened” and “fearing” are verbals (gerundives) that modify “Elf.” “To fly” is a verbal (infinitive)
that functions as the direct object of “fearing.”
3. “Lest” is very uncommon (and not on the list of subordinate conjunctions).
4. “It” is the direct object of the verbal (gerundive) “holding.” The gerundive modifies the following “he.”
5. An “and” before “dry” would ruin the meter, but clearly make “dry” an additional predicate adjective.
Without that “and,” we can also explain “dry” as a post-positioned adjective.
43
For KISS Level 3.2, Exercise 2
“Revelation” by Robert Frost
(1915)
We make ourselves a place apart
Behind light words that tease and flout,
But oh, the agitated heart
Till someone find us really out.
‘Tis pity if the case require
(Or so we say) that in the end
We speak the literal to inspire
The understanding of a friend.
But so with all, from babes that play
At hide-and-seek to God afar,
So all who hide too well away
Must speak and tell us where they are.
44
Revelation by Robert Frost
Analysis Key
We make ourselves (IO) a place (DO) apart
{Behind light words} [Adj. to "words" that tease and flout,] |
But oh [Inj], the agitated heart [#1]
[Adv. to the ellipsed "is" Till someone find [#2] us (DO) really out. |
'Tis pity (PN) [Adv. to "is" if the case require [#2]
[ [#3] (Or so (DO of "say") we say)] [DO of "require" that {in the end}
We speak the literal (DO) to inspire
The understanding [#4] {of a friend}.]] |
But so *it is* {with all}, {from babes} [Adj. to "babes" that play
{At hide-and-seek}] {to God} afar [#5], |
So all [Adj. to "all" who hide too well away]
Must speak and tell us (IO) [DO of "tell" where they are.] |
[#6]
Notes
1. I would not expect students to get this until they were at the point of explaining every word in a text.
When one tries to do so, however, it becomes clear that this means "oh, how agitated the heart is."
2. This verb can be discussed in many ways. Perhaps the most important is that it is in the subjunctive
mood. (Otherwise, it should be "finds.") The subjunctive here suggests the unlikelihood of being
found out. Second, note that to "find somebody out" is an idiomatic expression. Thus the "out" can
be considered as part of the finite verb phrase.
3. Rhetoricians call this a parenthetical expression, but within the KISS framework, we can still consider
it a clause that functions as an interjection.
4. "Understanding" is the direct object of the infinitive "to inspire"; the infinitive functions as an adverb to
"speak."
5. I expect some students will include "afar" in the prepositional phrase, and I would simply accept that.
Technically, we could explain it as a reduced subordinate clause that is embedded in the
prepositional phrase -- "{to God [*who is* afar]}. In this case, at this KISS level, getting that
technical may simply confuse students.
6. I can see grammarians spending hours discussing the clause structure in this last stanza. There is no
single "right" explanation. If you do not believe that, post a question about it on the ATEG list
(www.ateg.org).
45
For KISS Level 4, Exercise 2
“A Dream,” by James Whitcombe Riley
(d. 1916)
I dreamed I was a spider,
A big, fat, hungry spider;
A lusty, rusty spider
With a dozen palsied limbs;
With a dozen limbs that dangled
Where three wretched flies were tangled
And their buzzing wings were strangled
In the middle of their hymns.
And I mocked them like a demon-A demoniacal demon
Who delights to be a demon
For the sake of sin alone;
And with fondly false embraces
Did I weave my mystic laces
Round their horror-stricken faces
Till I muffled every groan.
And I smiled to see them weeping,
For to see an insect weeping,
Sadly, sorrowfully weeping,
Fattens every spider’s mirth;
And to note a fly’s heart quaking,
And with anguish ever aching
Till you see it slowly breaking
Is the sweetest thing on earth.
46
I experienced a pleasure,
Such a highly-flavored pleasure,
Such intoxicating pleasure,
That I drank of it like wine;
And my mortal soul engages
That no spider on the pages
Of the history of ages
Felt a rapture more divine.
I careened around and capered-Madly, mystically capered-For three days and nights I capered
Round my web in wild delight;
Till with fierce ambition burning,
And an inward thirst and yearning
I hastened my returning
With a fiendish appetite.
And I found my victims dying,
“Ha!” they whispered, “we are dying!”
Faintly whispered, “we are dying,
And our earthly course is run.”
And the scene was so impressing
That I breathed a special blessing,
As I killed them with caressing
And devoured them one by one.
47
“A Dream,” by James Whitcombe Riley (d. 1916)
Analysis Key
I dreamed [DO of "dreamed" I was a spider (PN),
A big, fat, hungry spider [#1];
A lusty, rusty spider
[#1]
{With a dozen palsied limbs}; [#2]
{With a dozen limbs} [Adj. to "limbs" that dangled
[Adv. to "dangled" Where three wretched flies were tangled (P) ]
And [Adv. to "dangled" *where* their buzzing wings were strangled (P)
{In the middle} {of their hymns}.]]] |
And I mocked them (DO) {like a demon} -A demoniacal demon [#3]
[Adj. to "demon" Who delights to be a demon [#4]
{For the sake} {of sin} alone;] |
And {with fondly false embraces}
Did I weave my mystic laces (DO)
{Round their horror-stricken faces}
[Adv. to "did weave "Till I muffled every groan (DO).] |
And I smiled to see them weeping [#5],
[Adv. to "smiled" For to see an insect weeping [#6],
Sadly, sorrowfully weeping [#7],
Fattens every spider's mirth (DO);] |
And to note a fly's heart quaking [#8],
And {with anguish} ever aching [#8]
48
[Adv. to "to note" [#9] Till you see it slowly breaking [#10] ]
Is the sweetest thing (PN) {on earth}. |
I experienced a pleasure (DO),
Such a highly-flavored pleasure [#11],
Such intoxicating pleasure [#11],
[Adv. to "Such" That I drank {of it} {like wine};] |
And my mortal soul engages
[DO of "engages" That no spider {on the pages}
{Of the history} {of ages}
Felt a rapture (DO) more divine [#12].] |
I careened around and capered -Madly, mystically capered -- |
{For three days and nights} I capered
{Round my web} {in wild delight};
[Adv. to "capered" Till {with fierce ambition} burning [#13],
And {*with* an inward thirst and yearning}
I hastened my returning (DO)
{With a fiendish appetite}.] |
And I found my victims dying [#14], |
"Ha! [Inj]" [ [#15] they whispered,] "we are dying!"
[Faintly whispered, [#16]] "we are dying, |
And our earthly course is run." |
49
And the scene was so impressing
[Adv. to "so "That I breathed a special blessing (DO),
[Adv. to "breathed" As I killed them (DO) {with caressing [#17] }
And devoured them (DO) one [NuA] {by one}.]] |
Notes
1. Appositive to the first “spider.”
2. Normally, a semicolon reflects the end of a main clause, but Riley uses them throughout the poem to
separate the eight line stanzas into two four-line quatrains.
3. Appositive to the previous “demon.”
4. “Demon” is a predicate noun after the infinitive “to be.” The infinitive phrase functions as an adverb
(Why?) to “delights.”
5. Most grammarians would explain “weeping” as a “participle” (KISS gerundive) that modifies “them,”
and explain “them” as the direct object of the infinitive “to see.” That explanation is acceptable
within KISS, but some people may prefer to see “them weeping” as a noun absolute that functions as
the direct object of the infinitive. The infinitive phrase functions as an adverb (of cause) to “smiled.”
6. “Insect weeping” is just like “them weeping,” except that in his case the infinitive functions as the
subject of “Fattens.”
7. Appositive to the previous “weeping.”
8. “Heart quaking and aching” functions just like “them weeping,” but in this case it is the direct object of
the infinitive “to note” which functions as the subject of “is.”
9. An equally valid explanation would be to take this clause to “quaking” and “aching.”
10. “It breaking” functions just like “them weeping.”
11. Appositives to the first “pleasure.”
12. “Divine” is a post-positioned adjective to “rapture,” a reduction of “*which was* more divine.”
13. “Burning” is a gerundive to the following “I.”
14. See note # 5.
15. KISS treats this clause as an interjection, but most grammars would consider it the main S/V pattern
with the quotation as the direct object of “whispered.”
16. In a scan of her analysis of the poem, “Celia” explained this “whispered” as an appositive to the
preceding one, and I agree. “Celia” explained the following “we are dying ...” clause as the direct
object of “whispered.” I would accept that, but some readers may process it as simply a repetition of,
and thus appositive to, the “we are dying” in the preceding line. We are, of course, dealing with
poetry, which bends the rules. Thus some people might, with equal validity, claim that a main clause
ends after the first “we are dying” and that there is an ellipsed “”They” before “Faintly.”
17. “Caressing” is a gerund.
50
Detail of
Holy Sonnet XIV
by John Donne
(1633)
John Donne (1572-1631)
Batter my heart, three-personed God; for you
As yet but knock, breathe, shine, and seek to mend;
That I may rise and stand, o’erthrow me, and bend
Your force, to break, blow, burn, and make me new.
I, like an usurped town, to another due,
Labor to admit you, but oh, to no end.
Reason, your viceroy in me, me should defend,
But is captived, and proves weak or untrue.
Yet dearly I love you, and would be loved fain,
But am betrothed unto your enemy:
Divorce me, untie, or break that knot again,
Take me to you, imprison me, for I
Except you enthrall me, never shall be free,
Nor ever chaste, except you ravish me.
EL GRECO’s
(1541-1614)
Agony in
the Garden
(1595)
Toledo Museum
of Art, Ohio
51
Holy Sonnet XIV
-- John Donne (1572-1631)
Analysis Key
*You* Batter my heart (DO), three-personed God [DirA]; |
[#1]
for you
{As yet} but [#2] knock, breathe, shine, and seek to mend [#3]; |
[Adv to "o'erthrow" and "bend" That I may rise and stand,] o'erthrow me (DO), and
bend
Your force (DO), to break [#4], blow, burn, and make me [#5] new. |
I, {like an usurped town}, {to another} due [PPA],
Labor to admit you [#6], |
[#7]
but oh [Inj], {to no end}. |
Reason, your viceroy [#8] {in me}, me (DO) should defend,
But is captived (P), and proves [#9] weak (PA) or untrue (PA). |
Yet dearly I love you (DO), and would be loved (P) fain [#10],
But am betrothed (P) {unto your enemy}: |
*You* Divorce [#11] me (DO), untie, or break that knot (DO) again [#12], |
*You* Take me (DO) {to you}, | *you* [#13] imprison me (DO), [Adv. to "imprison"
for [#1] I
[Adv. to "shall be" Except [#14] you enthrall me (DO)], never shall be free (PA),
Nor ever chaste (PA), [Adv. to ellipsed "shall be" before "chaste" except you
ravish me (DO).] |
Notes
1. “For” can function either as a subordinating or coordinating conjunction. Since, in sentences, a
semicolon normally indicates the end of a main clause, I’m considering “for” as a coordinating
conjunction here. “For” is relatively rare as a conjunction, and here it is probably one of the syntactic
elements that adds to students’ confusion.
52
In line twelve, on the other hand, the “for” is preceded by a comma. Thus in line twelve “for” is
considered a subordinate conjunction. [For more on this, see “So” and “For” as Conjunctions.]
2. Here, “but” means “only.” “As yet” would give grammarians a field day, and it might be an interesting
project to have students search for other explanations of “yet” and “as yet” in dictionaries and
grammar books. Otherwise, slide over it as an adverbial prepositional phrase that means “as of this
time.”
3. The infinitive “to mend” functions as the direct object of “seek.”
4. The words “break,” “blow,” “burn,” and “make” are infinitives functioning as adverbs (of purpose) to
“bend” in “bend your force.”
5. In “make me new,” “me” is the subject and “new” is the predicate adjective of the ellipsed infinitive
“to be.” The infinitive phrase (“me *to be* new”) is the direct object of “make.”
6. “You” is the direct object of the infinitive “to admit.” The infinitive phrase functions as an adverb (of
purpose) to “labor.”
7. The “but” here implies a new main clause, most of which is ellipsed: “but *I do so” to no end.”
8. “Reason” is an appositive to “viceroy.”
9. This can be explained as a palimpsest pattern with “proves” written over “is.” Or one can assume an
ellipsed *to be* -- “proves *to be* weak or untrue.”
10. This unusual adverb, which means “with joy” or “preferably,” adds to students’ confusion.
11. Students will think of this as they do “She divorced him” or “He divorced her.” By analogy, therefore,
they tend to think of this as a plea to God to divorce the speaker, but the meaning here is that God
should divorce him (the speaker) from the devil.
12. “Again,” and ‘again,” and “again.” (Little words can be so important.)
13. With the ellipsed “you,” this can be considered a separate main clause, or a compound verb.
14. “Except” here means “unless.”
53
JJuusstt ffoorr FFuunn
Just for Fun for Level 1
Terror
A man was walking home alone late one night when he hears a . . .
BUMP . . .
BUMP . . .
BUMP . . . behind him.
Walking faster he looks back, and makes out the image of an upright coffin
banging its way down the middle of the street towards him.
BUMP . . .
BUMP . . .
BUMP . . .
Terrified, the man begins to run towards his home, the coffin bouncing quickly
behind him . . .
faster . . .
faster . . .
BUMP . . .
BUMP . . .
BUMP . . .
54
He runs up to his door, fumbles with his keys, opens the door, rushes in, slams and
locks the door behind him.
However, the coffin crashes through his door, with the lid of the coffin
clapping . . .
clappity-BUMP . . .
clappity-BUMP . . .
clappity-BUMP . . .
on the heels of the terrified man.
Rushing upstairs to the bathroom, the man locks himself in. His heart is
pounding; his head is reeling; his breath is coming in sobbing gasps. With a loud
CRASH the coffin starts breaking down the door, bumping and clapping towards
him. The man screams and reaches for something heavy, anything . . . his hand
comes to rest on a large bottle of Robitussin.
Desperate, he throws the Robitussin as hard as he can at the apparition . . .
and
. . . the coffin stops!
55
"Terror"
Analysis Key
A man was walking home
[NuA]
alone late one night [NuA] [Adv. to "was walking" when
he
hears a . . .
BUMP (DO) . . .
BUMP (DO) . . .
BUMP (DO) . . . {behind him}.] |
Walking [#1] faster he looks back, and makes out the image (DO) {of an upright coffin}
banging [#2] its way [#2] {down the middle} {of the street} {towards him}. |
BUMP
[NuA]
...
BUMP [NuA] . . .
BUMP [NuA] . . . |
[#3]
Terrified [#4], the man begins to run [#5] {towards his home}, the coffin bouncing [#6] quickly
{behind him}
...
faster
...
faster . . .
BUMP [NuA] . . .
BUMP [NuA] . . .
BUMP [NuA] . . . |
He runs {up to his door}, fumbles {with his keys}, opens the door (DO), rushes in, slams
and locks the door (DO) {behind him}. |
However, the coffin crashes {through his door}, {with the lid} (of the coffin} clapping
[#7]
...
clappity-BUMP
[NuA]
...
clappity-BUMP [NuA] . . .
clappity-BUMP [NuA] . . .
56
{on the heels} {of the terrified man}.
|
Rushing [#8] upstairs {to the bathroom}, the man locks himself (DO) in. | His heart is
pounding; | his head is reeling; | his breath is coming {in sobbing gasps}. | {With a
loud CRASH} the coffin starts breaking down [#9] the door (DO), bumping [#10] and
clapping [#10] {towards him}. | The man screams and reaches {for something heavy},
anything [#11] . . . | his hand comes to rest {on a large bottle} {of Robitussin}. |
Desperate, he throws the Robitussin (DO) as hard [Adv. to the previous "as" as he
can] {at the apparition} . . . |
and
. . . the coffin stops! |
Notes
1. Gerundive to “he.”
2. “Way” can be explained as the direct object of “banging,” or as a Noun Used as an Adverb modifying
“banging,” depending on whether one sees it as answering the question “Banging what?” or
“Banging where?” “Banging” is a gerundive to “coffin”; at KISS Level Five, some students might
prefer to explain “coffin banging” as the core of a noun absolute that functions as the object of the
preposition “of.”
3. These “bump”s are not, of course, a main clause. Thus this vertical line simply indicates that they are
not part of the following clause.
4. Gerundive to “man.”
5. The verbal (infinitive) “to run” functions as the direct object of begins.
6. “Coffin bouncing” is the core of a traditional noun absolute that functions as an adverb.
7. At KISS Level Four students can explain “clapping” as a gerundive to “lid”; at Level Five, many
students may prefer to explain “lid clapping” as a noun absolute that functions as the object of the
preposition “with.”
8. “Rushing” is a gerundive to “man.”
9. At KISS Level Four, some students may prefer to explain “breaking down” as a gerund that functions
as the direct object of “starts.”
10. “Bumping” and “clapping” are gerundives that modify “coffin.”
11. “Anything” is an appositive to “something.”
57
Just for Fun for Level 2
Women's Locker Room
A little boy got lost at the YMCA and found himself in the women’s locker
room. When he was spotted, the room burst into shrieks, with ladies grabbing
towels and running for cover. The little boy watched in amazement and then asked,
“What’s the matter — haven’t you ever seen a little boy before?”
58
Women's Locker Room
Analysis Key
A little boy got lost (PA) [#1] {at the YMCA} and found himself (DO) {in the
women's locker room}. | [Adv. to "burst" When he was spotted (P),] the room burst {into
shrieks}, {with ladies grabbing towels and running [#2]} {for cover}. | The little boy
watched {in amazement} and then asked, [DO of "asked" "What's the matter (PN)]| -haven't you ever seen a little boy (DO) before?" |
[#3]
Notes
1. I would also accept “got lost” as the finite verb.
2. At KISS Level Four, “grabbing” and “running” would be explained as gerundives to “ladies.”
(“Towels” is the direct object of “grabbing.”) At KISS Level Five, students have the option of
explaining “ladies grabbing ... and running” as a noun absolute that functions as the object of the
preposition “with.” Note that “for cover” is actually embedded in the “with” phrase.
3. This clause can also be considered to be subordinate -- the direct object of “asked.”
59
Just for Fun for Level 3.1
KISS Grammar Tongue Twisters, Ex. 7
Which Witch
Which is the witch that wished the wicked wish ?
I don't know which witch is whitch.
A Thought
I thought a thought.
But the thought I thought wasn't the thought
I thought I thought.
60
KISS Grammar Tongue Twisters
Subordinate Clauses - Exercise # 7
Analysis Key
Which Witch
Which is the witch (PN) [Adj. to "witch" that wished the wicked wish (DO)]? |
I don't know [DO which witch is whitch (PN)]. |
A Thought
I thought a thought (DO). |
But the thought [Adj. to "thought" I thought] wasn't the thought (PN)
[Adj. to "thought" I thought [DO I thought]]. |
61
A Fairy
A Fairy told a married couple: “For being such an exemplary married couple
for 35 years, I will give you each a wish.”
“I want to travel around the world with my dearest husband” said the wife.
The fairy moved her magic stick and abracadabra! Two tickets appeared in her
hands. Now it was the husband’s turn. He thought for a moment and said: “Well
this moment is very romantic, but an opportunity like this only occurs once in a
lifetime. So . . . I’m sorry my love, but my wish is to have a wife 30 years younger
than me.”
The wife was deeply disappointed but, a wish was a wish.
The Fairy made a circle with her magic stick and . . . abracadabra! . . .
Suddenly the husband was 90 years old.
62
A Fairy
Analysis Key
A Fairy told a married couple (IO): [DO of "told" "{For being [#3] such an exemplary
married couple [#3]} {for 35 years}, I will give you (IO) each a wish (DO)."] |
"I want to travel [#4] {around the world} {with my dearest husband}" [ [#1] said the wife.] |
The fairy moved her magic stick (DO) and abracadabra [NuA] [#7]! | Two tickets
appeared {in her hands}. | Now it was the husband's turn (PN). | He thought {for a
moment} and said: [DO of "said" "Well this moment is very romantic (PA),] but [DO of
"said" an opportunity {like this} only occurs once {in a lifetime}.]
| So ... I'm sorry (PA) my
love [DirA], | but my wish is to have [#5] a wife [#5] 30 years [NuA] younger [#6] {than me}." |
The wife was deeply disappointed (P) | but, [#2] a wish was a wish (PN). |
The Fairy made a circle (DO) {with her magic stick} and ... abracadabra [NuA] ! |...
Suddenly the husband was 90 years [NuA] old (PA). |
Note
1. If you can find examples of this in traditional grammars, they will probably explain “wife ... said” as
the main subject and verb and the preceding part of the sentence as a subordinate clause that
functions as the direct object. KISS, based on the psycholinguistic model, allows the alternative
explanation of considering this clause as an interjection.
2. The comma normally precedes the “but,” and I have heard college professors comment quizzically
about why some students tend to put it after it -- which they rightly consider to be a mistake. Note
that in this case it is after it in order to reflect hesitation about what follows.
3. “Couple” is a predicate noun after the gerund “being”; the gerund phrase functions as the object of the
preposition “For.”
4. The phrase based on the infinitive “to travel” functions as the direct object of “want.”
5. “Wife” is the direct object of the infinitive “to have”; the infinitive phrase functions as a predicate noun
to “wish is.”
6. Post-positioned adjective to “wife,” i.e., a reduction of “a wife *who is* 30 years younger ....”
7. Explaining “abracadabra” as a noun used as an adverb is sure to raise objections among grammarians.
[But those same grammarians will offer a dozen or more explanations, which will lead nowhere.]
One could consider it a substitute for a separate main clause, as it means “There they were!” I would
not get bogged down here, however. Students have more common sense, and thus they will realize
that this is not an important grammatical point.
63
Just for Fun for Level 3.2
From the KISS Grammar Tom Swifties Collection
Exercise # 2
Illustration for the “Elegy on the Death of a Mad Dog,” by Randolph Caldecott (1879)
1. “A dog bit me,” said Tom rabidly.
2. “Another work week begins,” said Tom mundanely.
3. “Boy, that’s a bright star,” said Tom seriously.
4. “My pencil is blunt,” said Tom pointlessly.
5. “I have no idea,” said Tom thoughtlessly.
64
The KISS Grammar Tom Swifties Collection
Exercise # 2
Analysis Key
Note that, by their very nature, “Tom Swifties” involve the alternative explanations
of clauses as direct objects, or interjections.
1. “A dog bit me (DO),” [Inj said Tom rabidly]. |
2. “Another work week begins,” [Inj said Tom mundanely]. |
3. “Boy [Inj], that's a bright star (PN),” [Inj said Tom seriously]. |
4. “My pencil is blunt (PA),” [Inj said Tom pointlessly]. |
5. “I have no idea (DO),” [Inj said Tom thoughtlessly]. |
65
The Pillsbury Doughboy
It is with a sad heart that I pass on the following:
Please join me in remembering a truly great icon. The Pillsbury doughboy died
yesterday of a yeast infection and complications from repeated pokes in the
tummy. He was 71. Doughboy was buried in a lightly greased coffin. Dozens of
celebrities turned out to pay their respects including Mrs. Butterworth, Hungry
Jack, Betty Crocker, The California Raisins, The Hostess Twinkies and Captain
Crunch.
The graveside was piled with flours, as longtime friend, Aunt Jemima,
delivered the eulogy. She described Doughboy as a man who never knew how
much he was kneaded. Doughboy rose quickly in show business, but his later life
was filled with turnovers. He was not considered a very "smart cookie," wasting
much of his dough on half-baked schemes. Despite being a little flaky at times, he
even still, as a crusty old man, was considered a roll model for millions.
Toward the end, it was thought he would rise again, but alas, he was no tart.
Doughboy is survived by his wife, Play Dough, two children, John Dough and Jane
Dough, plus they had one in the oven. He is also survived by his elderly father, Pop
Tart. The funeral was held at 3:50 for twenty minutes.
66
The Pillsbury Doughboy
Analysis Key
It is {with a sad heart} [ [#1] that I pass on the following (DO)]: |
*You* Please [#2] join me (DO) {in remembering [#3] a truly great icon}. | The
Pillsbury doughboy died yesterday {of a yeast infection and complications} {from repeated
pokes} {in the tummy}. | He was 71 (PA). | Doughboy was buried [P] {in a lightly
greased coffin}. | Dozens {of celebrities} turned out to pay [#4] their respects {including
Mrs. Butterworth, Hungry Jack, Betty Crocker, The California Raisins, The Hostess Twinkies
and Captain Crunch}. |
The graveside was piled [P] {with flours}, [Adv. to "was piled" as longtime friend [#5],
Aunt Jemima [App], delivered the eulogy (DO).] | She described Doughboy (DO) {as a
man} [Adj. to "man" who never knew [DO of "knew" how much he was kneaded [P].]] |
Doughboy rose quickly {in show business}, | but his later life was filled [P] {with
turnovers}. | He was not considered [P] a very "smart cookie [#6]," wasting [#7] much {of
his dough} {on half-baked schemes}. | {Despite being [#8] a little flaky} {at times}, he even
still, {as a crusty old man}, was considered [P] a roll model [#9] {for millions}. |
{Toward the end}, it was thought [P] [ DelSubj he would rise again,] | but alas [Inj], he
was no tart (PN). | Doughboy is survived [P] {by his wife, Play Dough [App], two children,
John Dough [App] and Jane Dough [App]}, | plus they had one (DO) {in the oven}. | He is
also survived [P] {by his elderly father, Pop Tart [App]}. | The funeral was held [P] {at 3:50}
{for twenty minutes}. |
Notes
67
1. This is a delayed sentence. (I pass on the following with a sad heart.)
2. Historically, and technically, "please" is a verb, its meaning here being "May it please you to join me . .
. ." You can explain it to students this way if you wish, but today I doubt that most people think of
"May it please you" when they hear the word "Please." Thus I have simply considered it to be an
adverb.
3. At KISS Level Four, "remembering" would be explained as a gerund functioning as the object of the
preposition "in"; "icon" is the direct object of "remembering."
4. At KISS Level Four," "to pay" would be explained as an infinitive functioning as an adverb (of
purpose) to "turned out"; "respects" is the direct object of "to pay."
5. Although I have explained "friend" as the subject here, and will explain "Aunt Jemima" as an
appositive to "friend," some people may see "friend" as an adjective and "Aunt Jemima" as the
subject. I would accept either explanation.
6. "Cookie" is a retained predicate noun after the passive voice.
7. At KISS Level Four, "wasting" would be explained as a gerundive to "He"; "much" is the direct object
of "wasting."
8. At KISS Level Four, "being" would be explained as a gerund functioning as the object of the
preposition "Despite"; "flaky" is a predicate adjective to "being."
9. "Model" is a retained predicate noun after the passive voice.
68
Just for Fun for Level 4
“The Hokey Pokey”
With all the sadness and trauma going on in the world at the moment, it is
worth reflecting on the death of a very important person which almost went
unnoticed last week. Larry La Prise, the man who wrote “The Hokey Pokey” died
peacefully at age 93. The most traumatic part for his family was getting him into
the coffin. They put his left leg in ... and then the trouble started.
69
Analysis Key
{With all the sadness and trauma} going [#1] on {in the world} {at the moment}, it is
worth (PA) reflecting [#2] {on the death} {of a very important person} [Adj. to "death"
which almost went unnoticed (PA) [#3] last week [NuA].] | Larry La Prise, the man [#4]
[Adj. to "man" who wrote “The Hokey Pokey” (DO) ] died peacefully {at age 93}. |
The most traumatic part {for his family} was getting him [#5] {into the coffin}. | They put
his left leg (DO) in ... | and then the trouble started. |
Notes
1. Many grammarians would explain “going on” as a “participle,” the KISS gerundive, to “sadness” and
“trauma.” That explanation is acceptable, but at KISS Level Five, some people may prefer to explain
“sadness and trauma going on” as a noun absolute that functions as the object of the preposition
“with.”
2. “Reflecting” is a gerund functioning as a noun used as an adverb, modifying “worth.” Some
grammarians see “worth” as an unusual adjective that can take a direct object (comparable to “like”),
so I would also accept that explanation.
3. See “palimpsest patterns.” In this case, we have “went” written over the “was” in “which was
unnoticed.”
4. “Man” is an appositive to “Larry La Prise.”
5. “Getting” is a gerund that functions as a predicate noun to “part was”; “him” is the direct object of
“getting.”
70
A Painter Called Wayne
1.
There was a tradesman, a painter called Wayne, who was very
interested in making a penny where he could, so he often would thin down
paint to make it go a wee bit further.
2.
As it happened, he got away with this for some time, but eventually the Baptist
Church decided to do a big restoration job on the painting of one of their biggest
buildings. Wayne put in a bid, and because his price was so low, he got the job.
3.
And so he set to erecting the trestles and setting up the planks, and buying the
paint and, yes, I am sorry to say, thinning it down with turpentine.
4.
Well, Wayne was up on the scaffolding, painting away, the job nearly completed
when suddenly there was a horrendous clap of thunder, and the sky opened, the rain
poured down, washing the thinned paint from all over the church and knocking Wayne
clear off the scaffold to land on the lawn among the gravestones, surrounded by telltale
puddles of the thinned and useless paint.
5.
Wayne was no fool. He knew this was a judgment from the Almighty, so he got on
his knees and cried: “Oh, God! Forgive me! What should I do?”
6.
And from the thunder, a mighty voice spoke...
(you’re going to love this)
“Repaint! Repaint! And thin no more!”
71
A Painter Called Wayne
Analysis Key
1.
There was a tradesman (PN), a painter [#3] called [#4] Wayne, [Adj. to either
"painter" or "Wayne" who was very interested {in making [#5] a penny} [Adv. to "making"
where he could], [Adv. to "was interested" so he often would
it go a wee bit further [#6].]]
2.
thin down paint (DO) to make
|
[Adv. to "got away" As it happened], he got away {with this} {for some time},
|
but eventually the Baptist Church decided to do (Inf. DO) a big restoration job (DO of
"to do") {on the painting [#7] } {of one} {of their biggest buildings}. | Wayne put in a bid
(DO), | and [Adv. to "got" because his price was so low (PA)], he got the job (DO).
3.
|
And so he set to erecting (Ger, DO of "set to") the trestles (DO of "erecting") and
setting up (Ger, DO of "set to") the planks (DO of "setting up"), and buying (Ger, DO of
"set to") the paint (DO of "buying") and, yes [#13], [Interjection I am sorry (PA) [#1] to say],
thinning (Ger, DO of "set to") it (DO of "thinning") down {with turpentine}.
4.
|
Well [#13], Wayne was up {on the scaffolding}, painting [#8] away, the job nearly
completed
[#9]
[Adv. to "was" when suddenly there was a horrendous clap (PN) {of
thunder}], and [Adv. to "was" the sky opened], [Adv. to "was" the rain poured down,
washing [#10] the thinned paint {from all over the church} and knocking [#10] Wayne clear
{off the scaffold} to land [#11] {on the lawn} {among the gravestones}, surrounded [#12] {by
telltale puddles} {of the thinned and useless paint}.]
5.
|
Wayne was no fool (PN). | He knew [DO of "knew" this was a judgment (PN)
{from the Almighty}], [Adv. to "knew" so he got {on his knees} and cried: [DO of "cried"
"Oh [#13], God [#14] ! *You* Forgive me (DO)]! [DO of "cried" What (DO) should I
do?"]]
|
72
6.
And {from the thunder}, a mighty voice spoke...[#2]
(you're going to love this (DO))
|
|
"Repaint! | Repaint! | And thin no more!"
|
Notes
1. An alternative explanation of “I am sorry to say” is to consider “am sorry” as meaning “regret.” This
would make the infinitive “to say” the direct object, rather than an infinitive modifying “sorry.”
2. If “spoke” were “said,” then “you’re going to love this” would function as an interjection. Set off in
parentheses, it would technically be called a “parenthetical expression.” The three final clauses
would function as direct objects of “said.” We do not, however, expect a complement after “speak.”
We say things, but we do not speak them. (Traditionally, this is the distinction between transitive and
intransitive verbs (“say” vs. “speak”).
3. Appositive to “tradesman”
4. In “called Wayne,” “called” is a gerundive modifying “painter.” “Wayne” is a retained predicate noun,
retained from “[They] called him Wayne.”
5. “Making” is a gerund functioning as the object of the preposition “in,” and “penny” is the direct object
of “making.”
6. In “to make it go a wee bit further,” “to make” is an infinitive functioning as an adverb (explaining
“why” he would thin it). “Go,” with its subject “it” is the core of an infinitive phrase that functions as
the direct object of “to make.” “Bit” is a noun used as an adverb. With its adjectives “a” and “wee”
(“little”), it modifies the adverb “further,” which, in turn, modifies “go.”
7. “Painting” is a gerund functioning as the object of the preposition “on.”
8. Gerundive to “Wayne.”
9. This is the only noun absolute in the passage. It functions as an adverb, modifying either the gerundive
“painting” or the finite verb “was.” Because this absolute can be taken out of the sentence without
eliminating the “when” clauses, most writers (and editors) would probably want to put a comma after
the absolute: “Wayne was up on the scaffolding, painting away, the job nearly completed, when ....”
10. “Washing” and “knocking” are gerundives to “rain.” [”Thinned” may also be considered a gerundive.]
“Paint” is the direct object of “washing,” and “Wayne” is the direct object of “knocking.”
Grammarians will argue about “clear,” but the simplest explanation is to consider it as an adverb to
the following prepositional phrase—“clear off the scaffold.” One could also argue that it means
“completely” and modifies “knocking.”
11. An adverbial infinitive indicating the result of “knocking.”
12. Gerundive to “Wayne.”
13. Interjection(s)
14. Direct Address
73
Dilbertisms # 2
1. This project is so important, we can't let things that are more important interfere
with it.
2. Doing it right is no excuse for not meeting the schedule. No one will believe you
solved this problem in one day! We've been working on it for months. Now, go
act busy for a few weeks, and I'll let you know when it's time to tell them.
3. My Boss spent the entire weekend retyping a 25-page proposal that only needed
corrections. She claims the disk I gave her was damaged and she couldn't edit
it. The disk I gave her was write-protected.
4. We know that communication is a problem, but the company is not going to
discuss it with the employees.
74
Dilbertisms # 2
Analysis Key
1. This project is so important (PA), [Adv. to "so" [#1] we can't let things [#2] [Adj. to
"things" that are more important (PA)] interfere [#2] {with it}.]] |
2. Doing it [#3] right is no excuse (PN) {for not meeting [#4] the schedule}. | No one will
believe [DO of "will believe" you solved this problem (DO) {in one day}!] | We've
been working {on it} {for months}. | Now, *you* go act busy (PA) {for a few
weeks}, | and I'll let you know [#5] [DO of "know" when it's time (PN) to tell [#6]
them.] |
3. My Boss spent the entire weekend (DO) retyping [#7] a 25-page proposal [Adj. to
"proposal" that only needed corrections (DO).] | She claims [DO of "claims" the
disk [Adj. to "disk" I gave her (IO)] was damaged (P) ] and [DO of "claims" she
couldn't edit it (DO).] | The disk [Adj. to "disk" I gave her (IO)] was writeprotected (PA). |
4. We know [DO of "know" that communication is a problem (PN),] | but the
company is not going to discuss it (DO) {with the employees}. |
Notes
1. Some people claim that there is an “ellipsed” “that” here. Seeing it in that way may help some people
recognize the subordinate clause.
2. In this case, “things” is the subject of the infinitive “interfere.” The infinitive phrase is the direct object
of “let.”
3. At KISS Level Four, students learn that “Doing” is a gerund, and that “it” functions as its direct object.
4. “Meeting” is a gerund that functions as the object of the preposition “for”; “schedule” is the direct
object of “meeting.”
5. “You” is the subject of the infinitive “know.” The infinitive phrase functions as the direct object of
“will let.”
6. The infinitive “to tell” functions as an adjective to “time”; “them” is the indirect object of “to tell.”
7. Although “re-typing” functions adverbially to “spent,” it is also a gerundive to “Boss”; “proposal” is
the direct object of “re-typing.”