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KISS Grammar
A
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Free, from the KISS Grammar Web Site
KISSGrammar.org
© Ed Vavra
Nov. 1, 2012
Updated Nov. 12, 2016
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Contents
IInnttrroodduuccttiioonn—
—W
Weellccoom
mee B
Baacckk ttoo K
KIISSSS G
Grraam
mm
maarr .............................................................. 44
K
KIISSSS L
Leevveell 22.. 11.. T
Thhee C
Coom
mpplleexxiittiieess ooff SS//V
V//C
C PPaatttteerrnnss.................................................................................... 55
KISS Level 2. 1. 1. - Understood “You” ........................................................................................... 5
Understood “You” ......................................................................................................................... 5
Ex. 1 - From Heidi by Johanna Spyri ......................................................................................... 6
Ex. 2 - If My Dog Could Teach Me ........................................................................................... 7
KISS Level 2. 1. 2 - Varied Positions in the S/V/C Pattern .............................................................. 8
Ex. 1 – From Lassie, Come Home by Eric Knight .................................................................... 8
Ex. 2 - From “Clytie, the Heliotrope” ........................................................................................ 9
Ex. 3 - Model Sentences from “Clytie, the Heliotrope”.......................................................... 10
KISS Level 2. 1. 3 - Expletives (Optional)...................................................................................... 11
Expletives .................................................................................................................................... 11
Ex. 1 - From Lassie, Come Home by Eric Knight.................................................................... 12
Ex. 2 - From Heidi by Johanna Spyri ....................................................................................... 13
KISS Level 2. 1. 4 - Palimpsest Patterns ......................................................................................... 14
Palimpsest Patterns ...................................................................................................................... 14
Ex. 1 – From Lassie, Come Home by Eric Knight .................................................................. 15
Ex. 2 - From Heidi by Johanna Spyri ....................................................................................... 16
KISS Level 2. 1. 5 - Phrasal Verbs .................................................................................................. 17
Preposition? Adverb? Or Part of the Verb? ................................................................................. 17
Ex. 1 - From the Writing of Sixth Graders ............................................................................... 19
Ex. 2 – From Lassie, Come Home by Eric Knight .................................................................. 20
Ex. 3 - From Heidi by Johanna Spyri ....................................................................................... 21
KISS Level 2. 1. 6 - Distinguishing Finite Verbs from Verbals...................................................... 22
Distinguishing Finite Verbs from Verbals — The Noun Test ..................................................... 22
Ex. 1 - From Heidi by Johanna Spyri ....................................................................................... 23
Distinguishing Finite Verbs from Verbals — The “To” Test ...................................................... 24
Ex. 2 – From “Jack and His Golden Box” ............................................................................... 25
Distinguishing Finite Verbs from Verbals — The Sentence Test ............................................... 26
Ex. 3 - From Stories of Robin Hood Told to the Children ....................................................... 27
The Three Tests to Distinguish Finite Verbs from Verbals ......................................................... 28
Ex. 4.a. - From the Writing of a Sixth Grader .......................................................................... 29
Ex. 4.b. - Based on “Perseus” by Charles Kingsley ................................................................. 30
Ex. 5 – A Passage for Analysis: The Night Watch by Rembrandt Van Rijn ........................... 31
Ex. 6 - Just for Fun? – Shooting Oneself ................................................................................ 33
KISS Level 2.1.7 - The Subjunctive Mood ..................................................................................... 34
Subjunctive Mood ........................................................................................................................ 34
Ex. 1 - From Lassie, Come Home by Eric Knight .................................................................. 35
Ex. 2 - From At the Back of the North Wind by George Macdonald...................................... 36
K
KIISSSS L
Leevveell 22.. 22.. T
Thhee C
Coom
mpplleexxiittiieess ooff PPrreeppoossiittiioonnaall PPhhrraasseess............................................ 3377
KISS Level 2. 2. 1. The “To” Problem & Verbs as Objects of Prepositions................................... 37
The “To” Problem........................................................................................................................ 37
Ex. 1.a - Based on Black Beauty, by Anna Sewell ................................................................... 38
Ex. 1.b - Based on Black Beauty, by Anna Sewell................................................................... 39
Verbs as Objects of Prepositions ................................................................................................. 40
Ex. 2 - Based on Black Beauty, by Anna Sewell..................................................................... 41
3
A Mini-Lesson on “To” and “Too” ............................................................................................. 42
Exercise # 3 Writing Sentences with “To” or “Too” .................................................... 43
Exercise # 4 Treasure Hunt and/or Recipe Roster ........................................................ 43
KISS Level 2.2.2 - Preposition (or Subordinate Conjunction)? ...................................................... 44
Is It a Preposition? ....................................................................................................................... 44
Ex. 1 - Based on Black Beauty, by Anna Sewell...................................................................... 45
Ex. 2 - From At the Back of the North Wind by George Macdonald...................................... 46
KISS Level 2. 2. 3 - Embedded Prepositional Phrases .................................................................... 47
Embedded Prepositional Phrases ................................................................................................. 47
Ex. 1.a. – Based on Introductory Lessons in English Grammar ............................................. 48
Ex. 1.b. - From Lassie, Come Home by Eric Knight ................................................................ 49
Ex. 1.c. - From Heidi by Johanna Spyri ................................................................................... 50
Passages for Analysis ................................................................................................... 51
Ex. 2.a. The Pledge of Allegiance to the Flag ......................................................................... 51
Ex. 2.b. - From Andrew Lang’s “Toads and Diamonds” ......................................................... 51
Exercise # 3 Treasure Hunt and/or Recipe Roster ........................................................ 52
KISS Level 2. 2.4 - Prepositional Phrases - Advanced Questions .................................................. 53
Unusual Prepositional Phrases ..................................................................................................... 53
Verbs as Objects of Prepositions .................................................................................. 54
Ex. 1 - Based on Black Beauty, by Anna Sewell..................................................................... 54
Subordinate Clauses as Objects of Prepositions ........................................................... 55
Ex. 2 - Based on Black Beauty, by Anna Sewell..................................................................... 55
Ellipsed Objects of Prepositions ................................................................................... 56
Ex. 3 - Based on Black Beauty, by Anna Sewell..................................................................... 56
K
KIISSSS L
Leevveell 22.. 33.. A
Addddiinngg T
Thhrreeee L
Leevveell FFiivvee C
Coonnssttrruuccttiioonnss ................................................ 5577
Nouns Used as Adverbs ............................................................................................................... 57
Ex. 1 - Nouns Used as Adverbs From Heidi by Johanna Spyri .............................................. 58
Simple Interjections ..................................................................................................................... 59
Ex. 2 - Interjections from Heidi by Johanna Spyri .................................................................. 60
Ex. 3 - The Punctuation of Interjections From Growth in English .......................................... 61
Direct Address ............................................................................................................................. 62
Ex. 4 - Direct Address from At the Back of the North Wind .................................................. 63
Ex. 5 - Adapted from Voyages in English - Fifth Year ........................................................... 64
Ex. 6 - Mixed Constructions ......................................................................................... 65
From The Secret Garden by Frances Hodgson Burnett ........................................................... 65
Ex. 7 - Treasure Hunts and/or Recipe Rosters .............................................................. 65
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IInnttrroodduuccttiioonn—
—W
Weellccoom
mee B
Baacckk ttoo K
KIISSSS G
Grraam
mm
maarr
If you have completed KISS Level One, you know that there are some things about grammar that
you know—and no one can tell you that you are wrong about them. For example, you know that “am,”
“is,” “are,” “was,” and “were” are always verbs. You will always be correct if you underline them twice
in analysis exercises. You also know how to find the subjects and complements of verbs, and you can
distinguish the five types of complements—zero, predicate noun, predicate adjective, indirect object, and
direct object. And you know that you can identify most words that function as adjectives, adverbs,
coordinating conjunctions, and you can identify most prepositional phrases. Indeed, you consciously
know a lot about grammar and grammatical terms. In randomly selected texts, you can probably often
explain how 90% of the words work in their sentences. Here in KISS Level Two, you are primarily going
to clarify some of the things that confused you in KISS Level One.
Unlike KISS Level One, Level Two is divided into three sections. The first section explores many of
the complexities in S/V/C patterns. The second examines complexities in prepositional phrases. The third
section enables you to add three relatively simply constructions to your Analytical Toolbox.
R
Reem
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mbbeerr::
1. There are some things that you are expected to always get right, and there are other things that you
are expected to get wrong—or at least be confused by. In this KISS Level you will be studying
many things that you were expected to miss in KISS Level One.
2. Always work systematically. Most of the exercises are either a set of numbered sentences or a
short paragraph. Because this book primarily expands your knowledge of the basic concepts that
you studied in KISS Level One, the directions for most exercises will be identical to those in
KISS Level One:
1. Place parentheses around each prepositional phrase.
2. Underline every subject once, every verb twice, and label complements (“PA,” “PN,”
“IO,” or “DO”).
Work sentence-by-sentence. Do your best and then move on to the next sentence. You will find
that this systematic approach will take less time and result in more correct answers.
4. We humans have a tendency to worry about what we do not know or do not understand. Do not let
that frustrate you. From time to time, stop and look at how much you can already explain.
5. Have fun!
5
K
KIISSSS L
Leevveell 22.. 11.. T
Thhee C
Coom
mpplleexxiittiieess ooff SS//V
V//C
C PPaatttteerrnnss
KISS Level 2. 1. 1. - Understood “You”
U
Unnddeerrssttoooodd ““Y
Yoouu””
In some sentences the subject “you” is simply understood:
Close the door. = You close the door (DO).
Be quiet! = You be quiet (PA)!
Take out the garbage. = You take out the garbage (DO).
To show that you understand this, your teacher may want you to always write in, and
underline once, the understood “you.”
6
“You” Understood
Ex. 1 - From Heidi by Johanna Spyri
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Write in “you” where it is understood.
3. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
1. Talk to me about your grandfather.
2. Deta, please wait one moment!
3. Go in, Heidi, and fetch your bowl and the bread.
4. Look up, Peter, and see the eagle there!
5. Sit down beside me and tell me all about yourself.
6. Sit down and eat a big breakfast now.
7. Please give my love to Peter and the goats, Heidi!
8. Keep your word!
9. Get away and bring my goats.
10. Oh, it is lovely here. Please come up, grandfather, and see it for yourself.
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Ex. 2 - If My Dog Could Teach Me
A Lesson on the Imperative Mood
When we give people commands (tell them what to do), we usually omit the
subject “you.” Grammarians call this the “Imperative Mood.”
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Write in “you” where it is understood.
3. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
If my dog could teach me, this is what she would say:
When loved ones come home, always run to greet them.
Never pass up the opportunity to go for a joyride.
Allow the experience of fresh air and the wind in your face to be pure ecstasy.
When it’s in your best interest, practice obedience.
Let others know when they’ve invaded your territory.
Take naps.
Stretch before rising.
Run, romp, and play daily.
Avoid biting when a simple growl will do.
On warm days, stop to lie on your back on the grass.
On hot days, drink lots of water and lie under a shady tree.
When you’re happy, dance around and wag your entire body.
No matter how often you’re scolded, don’t buy into the guilt thing and pout...run right
back and make friends.
Delight in the simple joy of a long walk.
Eat with gusto and enthusiasm. Stop when you have had enough.
Be loyal. Never pretend to be something you’re not.
If what you want lies buried, dig until you find it.
When someone is having a bad day, be silent, sit close by and nuzzle them gently.
8
KISS Level 2. 1. 2 - Varied Positions in the S/V/C Pattern
Ex. 1 – From Lassie, Come Home
by Eric Knight
Directions:
1. Place parentheses around each prepositional phrase. Draw an arrow from each preposition to the word
that the phrase modifies.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
1. Behind her was the protecting overhang of the rock.
2. Wide, expansive bodies of water they are.
3. Stretching away below them was the moon-lit land.
4. Evening came, and across the river was the sound of the herder and the lowing
of the cows.
5. Not a word did his parents speak to him.
6. That much I’ll give him.
7. Isn’t she happy here?
8. On his horse sat the Duke.
9. Then, from the farm below, came the muffled voice of a man.
10. Nor was her head as high now.
11. A terrible creature it was.
9
Ex. 2 - From “Clytie, the Heliotrope”
Adapted from Ovid
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
And her limbs became rooted to the ground. Green leaves enfolded her body.
Her beautiful face was concealed by tiny flowers, violet-colored and sweet with
perfume. Thus was she changed into a flower and her roots held her fast to the
ground; but ever she turned her blossom-covered face toward the sun, following
with eager gaze his daily flight. In vain were her sorrow and tears, for Apollo
regarded her not.
10
Ex. 3 Model Sentences from “Clytie, the Heliotrope”
Adapted from Ovid
The subject does not have to appear before the verb –it can come after it, or between parts of
the verb phrase, as in the following two sentences from “Clytie, the Heliotrope”:
Thus was she changed into a flower.
In vain were her sorrow and tears, for Apollo regarded her not.
Note that a modifier of some sort precedes the verb; otherwise, the sentence turns into either a
question:
“Was she changed into a flower?” or into nonsense: “Were her sorrow and tears ....” ????
Directions”
Write five sentences that are not questions in which the subject follows at least part of the verb.
1.
2.
3.
4.
5.
11
KISS Level 2. 1. 3 - Expletives (Optional)
E
Exxpplleettiivveess
In some sentences, you will find the word “there” in the subject position. Some grammarians
consider this “there” to be an “expletive.” They then identify a word that appears later in the
sentence as the subject. This explanation is acceptable in KISS Grammar, but KISS explains this
pattern in two other ways:
1. You can consider the “there” as the subject and the later word a predicate noun.
or
2. You can consider the “there” as an adverb and the later word as the subject.
There [Expl] are five people at the table.
or
There are five people at the table.
or
There are five people (PN) at the table.
Deep in the woods there [Expl] was a small house.
or
Deep in the woods there was a small house.
or
Deep in the woods there was a small house (PN).
There [Expl] is a place for us.
or
There is a place for us.
or
There is a place (PN) for us.
Portrait of
Jonathon Buttall
(The Blue Boy)
1770
by
Thomas
Gainsborough
(1727 - 1788)
Huntington Library
and Art Museum
San Marino, CA
Waiter, there [Expl] is a fly in my soup.
or
Waiter, there is a fly in my soup.
or
Waiter, there is a fly (PN) in my soup.
There [Expl] must be no mistake this time.
or
There must be no mistake this time.
or
There must be no mistake (PN) this time.
12
Expletives (Optional)
Ex. 1 - From Lassie, Come Home
by Eric Knight
Directions:
1. Place parentheses around each prepositional phrase. Draw an arrow from each preposition to the word
that the phrase modifies.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
1. There were many more towns here and many more roads.
2. There was not an inch of space on any side.
3. There were no more Highlands and heather.
4. Perhaps there was no official and recognized procedure in any book or statute
for the proper engineering of such a matter.
5. Farther beyond that there was another noise, out in the sweep of the wind.
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Expletives (Optional)
Ex. 2 - From Heidi by Johanna Spyri
Directions:
1. Place parentheses around each prepositional phrase. Draw an arrow from each preposition to the word
that the phrase modifies.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
1. There is only one teacher there.
2. Nobody said a word, and there was an uncomfortable silence.
3. Suddenly there was another knock at the door.
4. Of course there was enough room in the huge house.
5. “Adelheid, there is only one punishment for you.”
6. A few days afterwards there was great excitement in the Sesemann residence.
7. There are lovely stories in this book.
8. There were a great many lovely things in the trunk.
9. There is too much snow for him to get through.
10. There were many people at the first and at the second fountain.
14
KISS Level 2. 1. 4 - Palimpsest Patterns
PPaalliim
mppsseesstt PPaatttteerrnnss
Ancient tablets were often erased by rubbing them
fairly smooth and then new writing was put over the
old. These tablets are called “palimpsests.”
Sometimes the easiest way to explain a sentence pattern is to consider it as an
S/V pattern written over an S/V/PA pattern. For example, in the sentence
At last the tears came hot (PA) and fast (PA).
“hot” and “fast” could be considered adverbs to “came,” but they are also
adjectives to the subject “tears.” Thus we could consider this an S/V/PA pattern
(“tears were hot and fast”) with an S/V pattern (“tears came”) written on top of it.
The following example is from Nina Bawsen’s Carrie’s War:
. . . she lay awake at night, thinking, and came down several
mornings so pale (PA) that Auntie Lou wanted to go to the chemist
and buy her a tonic.
In this sentence, “pale” clearly describes the subject “she.” Thus we can look at it
as a combination of “she came down” over “she was pale.”
As another example, consider the following sentence from Mary Renault’s The
King Must Die:
As I rode under the gate-tower, the gates groaned open (PA),
and the watchman blew his horn.
“Palimpsest” is a big word, and palimpsest patterns are not very frequent, but you
may find the idea very helpful.
15
Palimpsest Patterns
Ex. 1 – From Lassie, Come Home
by Eric Knight
Directions:
1. Place parentheses around each prepositional phrase. Draw an arrow from each preposition to the word
that the phrase modifies.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
1. Soon Hynes came hustling from behind the shrubberies beside the kennels.
2. The dog still stood barking its signal.
3. She sat, plump and motherly, looking into Joe’s face.
4. Her voice sounded hard and short.
5. Joe stood silent.
6. Joe sat still.
7. For a while Sam Carraclough sat silent.
8. As the one dog lay motionless under her paw, Lassie faced the other dog.
9. The grass grew thicker and coarser.
10. There came the footsteps of her husband, and then the door opened.
16
Palimpsest Patterns
Ex. 2 - From Heidi by Johanna Spyri
Directions:
1. Place parentheses around each prepositional phrase. Draw an arrow from each preposition to the word
that the phrase modifies.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
1. Further back the old grey rocks rose high and sheer.
2. Her cheeks were burning red and she lay peacefully on her round and chubby
arms.
3. Just then Heidi came running in.
4. In this healthy life Heidi grew stronger, and more sunburnt every day.
5. The shutter over there is hanging loose.
6. But Miss Deta, the child seems peculiar for her age.
7. The doctor was sitting motionless.
8. She appeared frightened.
9. The next day dawned cloudless and fair.
10. She has to sit quiet at her lessons.
11. Heidi turned pale at that comment.
17
KISS Level 2. 1. 5 - Phrasal Verbs
PPrreeppoossiittiioonn?? A
Addvveerrbb?? O
Orr PPaarrtt ooff tthhee V
Veerrbb??
Elk
Many words that function as prepositions can also
function as simple adverbs, or as a part of the verb itself. In
order to tell how a word that looks like a preposition actually
functions, you need to look at the meaning of the sentence. As
you will see, in many cases, more than one explanation is
acceptable.
Deer
Adverbs That Look Like Prepositions
Consider, for example, the following sentence:
They fly around hitting things, and a whole bunch makes a noise all right.
If you say that “around” is a preposition here and that “around hitting things” is a prepositional
phrase, then you are saying that they fly around things that hit. That is probably not what the
writer meant. The writer probably meant that they fly around and hit things. The easiest way to
explain “around” in this sentence is to consider it to be an adverb to “fly.” Note that in context,
the “around” might be considered an ellipsed prepositional phrase:
There are a lot of bats around the house They fly around hitting things . . . .
If one really wanted to be technical, one could argue that the “around” in the second sentence is
thus a preposition with its object ellipsed. Although in most cases, it is much simpler to consider
the preposition-like word to be an adverb, in some cases it may be important to be able to
recognize that they are ellipsed prepositional phrases. Consider the following, perfectly correct
sentence:
In this world underneath existed an atmosphere of mystery which made me feel as if I was
exploring an old dungeon in a decaying castle.
An obvious question is “underneath what?” The answer to that was, in context, provided by the previous
sentence:
But the most vivid impression left on me this summer by this theater came not from the stage;
instead, it came from the rooms underneath the theatre.
Thus, in what was, in context, the second sentence, “underneath” can be considered an adverb to
“existed,” but, meaningfully, it is an ellipsed prepositional phrase.
18
“Prepositions” That Are Part of the Verb
Sometimes words that look like prepositions are actually part of the verb:
He had to figure out the answer.
If you rely on your knowledge of what words mean, you will be able to see that “out the answer”
is not a prepositional phrase here. The “out” goes with “figure.” Together, they mean “discover,”
or “find,” etc. Whenever you can replace a verb plus what looks like a preposition with one verb,
you can consider the “preposition” to be part of the verb. This combination is fairly frequent in
English. The following are just a few examples.
cry out = scream
think of = remember
go on = continue
think up = invent
look like = resemble
look out for = seek, guard, avoid, watch
put up with = endure
went in = entered
went up = approached
Note that your final decision needs to be based on the meaning of the words in the sentence. In
She ran up the hill; he ran up the flag.
{“up the hill”} indicates where she ran, but he probably raised the flag up the flagpole. Note that
sometimes you can tell because words that are not prepositions can be moved. We would say “He ran the
flag up,” but “She ran the hill up” would not make any sense. As another example, consider the difference
between the following analyses:
1. Bill turned on the lights.
2. Bill turned {on the lights}.
If you analyze the sentence the first way, you are saying the sentence means Bill turned the lights on.
(And you can consider the “on” as part of the verb even if it appears after “lights.” But if you analyze it
the second way, you are saying that it means either that Bill was on top of the lights and he was turning,
or that he was driving, as in a race, and he turned at a signal from the lights.
Sometimes, as “Come on,” words that look like prepositions do not have any meaningful object. The
question “On what?” simply does not make any sense here. In such cases, simply consider the word to be
an adverb.
19
Preposition? Adverb? Or Part of the Verb?
Ex. 1 - From the Writing of Sixth Graders
Directions:
1. Place parentheses around each prepositional phrase. Draw an arrow from each preposition to the word
that the phrase modifies.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
1.) We were going to find out which blood types were compatible. To find this out
we first learned the types of blood, O, AB, B, & A.
2.) Then we took the chart and looked up which color equals which blood.
3.) I can’t hear things very well because of the big truck that’s chewing up some
tree limbs.
4.) Take off the “lid” of the pumpkin and remove the candle. Also, blow out the
candle before putting it away.
5.) When we were on our bike-ride today, we drove down to the horse-lot to look
at the horses.
6.) I held out my hand, and the mare, now drawing near to the fence, snuffed at it
and then lowered her nose, and looked at me.
7.) I stroked her for some time before I realized we should get along and then I
turned around slowly and drove away, leaving her gazing after me.
8.) The sun refuses to come out.
The sentences in this exercise were collected and submitted by Stephanie McGuirk.
20
Preposition? Adverb? Or Part of the Verb?
Ex. 2 – From Lassie, Come Home
by Eric Knight
Directions:
1. Place parentheses around each prepositional phrase. Draw an arrow from each preposition to the word
that the phrase modifies.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
1. No animal can pass on its acquired knowledge to its young in this way.
2. It had made up its mind.
3. He walked halfway to the collie and set down the bowl.
4. At last she denned up where a clump of gorse arched over beside a field-wall.
5. He would take out a stout cudgel.
6. He took out the cartridge from the chamber of his rifle.
7. Toots could pick up pennies from the ground and bring them to Rowlie.
8. Quickly he set up a small brazier and built a fire.
9. She cried out the words.
10. Rowlie took off Bess’s nosebag.
21
Preposition? Adverb? Or Part of the Verb?
Ex. 3 - From Heidi by Johanna Spyri
Directions:
1. Place parentheses around each prepositional phrase. Draw an arrow from each preposition to the word
that the phrase modifies.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
1. Oh, look at the fir-trees over there!
2. The snow would soon cover up the cottage.
3. Suddenly Heidi took off her pretty dress and tied her old shawl about her.
4. She is climbing up with the goatherd.
5. The sun had lost its vigor, and the child had to put on her shoes and stockings
and her little dress.
6. A broad-shouldered man was just loading up large bags.
7. The old man now opened the door, and Heidi followed him into a fairly spacious
room, which took in the entire expanse of the hut.
8. You look like Peter.
9. The grandfather soon had mended the cottage; often he would take down big
loads of timber.
10. Heidi’s tale was interrupted suddenly by a great thumping on the door; and
who should come in but Peter.
22
KISS Level 2. 1. 6 - Distinguishing Finite Verbs from Verbals
D
Diissttiinngguuiisshhiinngg FFiinniittee V
Veerrbbss ffrroom
mV
Veerrbbaallss —
—T
Thhee N
Noouunn T
Teesstt
A
A vveerrbb tthhaatt ffuunnccttiioonnss aass aa nnoouunn ((aa ssuubbjjeecctt,,
aa ccoom
mpplleem
meenntt,, oorr tthhee oobbjjeecctt ooff aa pprreeppoossiittiioonn))
iiss nnoott aa ffiinniittee vveerrbb.. ((D
Doo nnoott uunnddeerrlliinnee iitt ttw
wiiccee..))
Subject:
Swimming is good exercise (PN).
Direct Object:
They like playing (DO) baseball.
Predicate Noun:
Theresa’s favorite exercise is hiking (PN).
Object of Preposition:
Mikie was thinking {of taking a walk}.
23
Using the Noun Test to Eliminate Verbals
Ex. 1 - From Heidi by Johanna Spyri
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Draw a rectangle around each verbal.
1. The little girl had given up following her companions.
2. It will be very easy for Peter to watch her.
3. He would make me pay for it.
4. The thing she looked forward to most was giving the soft white rolls to the
grandmother.
5. Near a table a woman was seated, busy with mending Peter’s coat.
6. To be at peace with God and men makes one’s heart feel light.
7. Going to the pasture with Peter and the goats was always a pleasant experience.
8. Peter arrived with his flock, but without even answering the girls’ friendly
greeting, he disappeared with a grim scowl.
9. The only remedy for her is to be restored to her native mountain air.
10. You won’t repent of having told me.
11. It seemed as if the grandfather had done nothing else all his life than nurse
lame people.
24
D
Diissttiinngguuiisshhiinngg FFiinniittee V
Veerrbbss ffrroom
mV
Veerrbbaallss —
—T
Thhee ““T
Too”” T
Teesstt
A finite verb phrase cannot begin with “to.” Thus in “Bob
went to his room to do his homework,” “to do” is not be a finite
verb. (Do not underline it twice.)
Bob went {to his room} to do his homework.
One can, however, consider “to” plus a verb as part of a verb
phrase if the phrase begins with another verb:
Sam had to leave early.
Sandra ought to go {to the game}.
He wanted to do his homework (DO).
Technically, a verb phrase that begins with “to” is an infinitive. You will study
infinitives in detail in KISS Level Four. For now, your primary objective is not to
underline them twice. You might note, however, that infinitives function as nouns,
adjectives, or adverbs.
As Nouns:
Subject:
To play {at the beach} is fun (PN).
Direct Object:
We like to play (DO) {at the beach}.
Predicate Noun:
The best
thing is to run (PN).
As Adjectives:
That was a day (PN) to remember.
As Adverbs:
They went {to the mall} to shop.
Like all verbs, infinitives can have subjects and complements. In sentences like “To play at the beach
is fun,” the subject of “To play” is understood to be anyone. In sentences such as “We like to play at the
beach,” the subject is understood to be the same as the main subject – “We like *us* to play at the beach.”
If the subject of the infinitive is someone or something else, it must be included in the sentence – “We
like Bill to play with us at the beach.” In sentences like this, “Bill” is considered to be the subject of the
infinitive “to play,” and the entire infinitive phrase is the direct object of “like.”
After some verbs, the “to” is not used – “Dad made me clean my room.” In this sentence, “me” is the
subject of the infinitive “clean,” and “room” is the direct object of “clean.” Here again, the entire
infinitive phrase is the direct object of “made.”
25
Using the “To” Test to Eliminate Verbals
Ex. 2 – From “Jack and His Golden Box”
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Draw a rectangle around each verbal.
1. I am sorry to see you go.
2. Jack had hardly time to get the words out of his mouth.
3. There is more to come yet.
4. The servant was curious to know what might be in the box.
5. Jack begged the gentleman to give him twelve months and a day to look for the
castle.
26
D
Diissttiinngguuiisshhiinngg FFiinniittee V
Veerrbbss ffrroom
mV
Veerrbbaallss —
—T
Thhee SSeenntteennccee T
Teesstt
The last way to distinguish finite verbs from verbals is the simple
sentence test. If you are not sure about whether or not to underline a verb
twice:
1. Find the subject of that verb.
2. Make a simple sentence using that subject and verb – without
adding any words, and without changing the form or meaning of
the verb.
3. If the sentence does not seem to be an acceptable sentence, the verb
is not finite.
Examples
1. They let Bill keep the puppy.
“Keep” is a verb. If we ask “Who or what keep?”, the answer is “Bill.” But “Bill keep the
puppy” is not an acceptable sentence, so “keep” is not a finite verb and should not be underlined
twice.
2. They saw Bill (DO) walking by the river.
“Walking” is a verb. If we ask “Who or what was walking?”, the answer is “Bill.” Thus we try
the sentence; “Bill walking by the river.” That is not, however, an acceptable sentence. To make it
acceptable, we would have to add “was” -- “Bill was walking by the river.” For this test, however,
we cannot add words, so “walking” is a verbal -- it should not be underlined twice.
3. Going {to school}, they saw an accident (DO).
“Going” is a verb. If we ask “Who or wat is going?”, the answer is “they.” But “they going to
school” is not an acceptable sentence, so “going” is not a finite verb and should not be underlined
twice.
Remember that the meaning of the verb cannot change in the sentence test. In the following
sentence, “told” does not mean that the story told something. Instead it means that the story was
told. Thus “told” is a verbal, and not a finite verb.
They liked the story (DO) told {by the teacher}.
27
Using the Sentence Test to Eliminate Verbals
Ex. 3 - From Stories of Robin Hood Told to the Children
by Henrietta Elizabeth Marshall
Directions
1. Place parentheses around each prepositional phrase.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Draw a rectangle around each verbal.
1. Gathering all his strength, with one mighty blow he sent Robin backwards, right
into the river.
2. Late one evening he arrived in London, very tired indeed with his long journey.
3. In and out among the trees he went, twisting and turning.
4. On they came, trampling down the ferns, and crushing the pretty wildflowers.
5. The Bishop rode in the middle of them, wearing a gorgeous robe, trimmed with
lace, over his armour.
6. Little John knelt on one knee, and, taking Marian’s hand, kissed it as if she had
been a queen.
7. He leaned his head against the trunk of a tree, and shutting his eyes, dreamed
happy day dreams.
8. “No, my Lord Bishop,” said Robin, taking his hat off and bowing politely.
9. Back to their forest home they all went, laughing and talking as merrily as
possible, taking John Little along with them.
10. They lived in great caves during the winter, and spent their time making stores
of bows and arrows, and mending their boots and clothes.
28
T
Thhee T
Thhrreeee T
Teessttss ttoo D
Diissttiinngguuiisshh FFiinniittee V
Veerrbbss ffrroom
mV
Veerrbbaallss
T
Thhee N
Noouunn T
Teesstt
A verb that functions as a noun (a subject, a complement,
or the object of a preposition) is not a finite verb. (Do not
underline them twice.)
T
Thhee ““T
Too”” T
Teesstt
A finite verb phrase cannot begin with “to.” Thus in
“Bob went to his room to do his homework,” “to do” is not
be a finite verb. (Do not underline them twice.)
T
Thhee SSeenntteennccee T
Teesstt
The last way to distinguish finite verbs from
verbals is the simple sentence test. If you are not sure
about whether or not to underline a verb twice:
1. Find the subject of that verb.
2. Make a simple sentence using that subject and
verb – without adding any words, and without
changing the form or meaning of the verb.
3. If the sentence does not seem to be an acceptable
sentence, the verb is not finite.
29
Ex. 4.a. - From the Writing of a Sixth Grader
Directions
1. Place parentheses around each prepositional phrase.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Draw a rectangle around each verbal.
1. They told her to meet them here again that night.
2. One day at school a group of children were huddled in a corner whispering.
3. But she continued to fill up her sack.
4. They sat beside the stove watching their wood-pile disappear.
5. They could not earn any more rubles to buy food or buy more wood with.
6. She assured them that she could be trusted before asking again what they meant.
7. When she arrived, they gave her a sack and proceeded to fill their sacks with
coal from the railroad.
8. When the leader, a twelve-year-old boy, told everyone to stop, her relief was
great, but short-lived.
30
Distinguishing Finite Verbs from Verbals
Ex. 4.b. - Based on “Perseus”
by Charles Kingsley
in The Heroes, or Greek Fairy Tales For My Children
Illustrations by Howard Davie
Directions
1. Place parentheses around each prepositional phrase.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Draw a rectangle around each verbal.
1. On they rushed, sweeping and flapping, like eagles after a hare.
2. The rulers of Olympus have sent me to you to ask the way to the Gorgon.
3. He left this girl to die, and dead she is to him.
4. Grinding his teeth with rage, he went out, and away to the king’s palace, and
through the men’s rooms, and the women’s rooms, and so through all the
house.
5. He saw them come howling on his track.
6. Let the people build altars to Father Zeus, and to me, and worship the Immortals.
7. The water gurgled in and out of his wide jaws, as he rolled along, dripping and
glistening in the beams of the morning sun.
8. Watching the rich men go in saddened him.
9. Polydectes, not being able to get what he wanted by force, cast about in his
wicked heart how he might get it by cunning.
10. Perseus laughed, and went his way to the north-east, hoping all day long to see
the blue Mediterranean sparkling, that he might fly across it to his home.
31
Ex. 5 – A Passage for Analysis: The Night Watch
by Rembrandt Van Rijn
(1607? – 1669)
From The Children's Book of Celebrated Pictures,
by Lorinda Munson Bryant. New York: The Century Co. 1922.
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline every finite verb twice, its subject(s) once, and label any complements (“PA,” “PN,” “IO,”
or “DO”).
3. Make a rectangle around each verbal.
The Night Watch. Rembrandt. Ryks Museum, Amsterdam
(Continues on next page)
32
One time, more than two hundred and fifty years ago, two little children living
in Amsterdam were playing at the edge of the city just at evening. Soon they
overheard some Spanish soldiers near-by talking together. They began to
understand that the men were making some kind of plans and, listening very
sharply, they found that the Spaniards intended to attack the city of Amsterdam
that night. The Spaniards were fighting the Netherlands at that time. You can
imagine how frightened the children were. They knew that they must tell some one
about it at once. Very quietly they crept away from where the men were, then ran
for their lives to the town hall. The Civic Guard were having a banquet there.
Rembrandt has painted the scene just as the little girl, in the center of the group,
has finished her story. The men are making ready to meet the attack. Some have on
their armor, some are polishing their guns, some have their drums, and all are full
of excitement.
When the painting was to be put in the new Ryks Museum, in Amsterdam, it
was found that the wall was too narrow for the picture. What do you think the
authorities did? The stupid men cut a piece off from each side of the picture to fit it
in its new place. Was ever anything so silly? Even those pieces cut off would bring
more money to-day than the museum itself cost.
The men who had money at the time Rembrandt painted the picture were angry
because the artist would not make portraits as they wanted them. They ignored
Rembrandt, and he became very poor and died unknown. To-day those rich men
are forgotten and Rembrandt is known the world over.
33
Ex. 6 - Just for Fun? –
Shooting Oneself
An Exercise on Finite Verbs vs. Verbals
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline every finite verb twice, its subject(s) once, and label any complements (“PA,” “PN,” “IO,”
or “DO”).
3. Make a rectangle around each verbal.
A man walks into his bathroom and shoots himself right between the eyes
using a real gun with real bullets. He walks out alive, with no blood anywhere, and
no, he didn't miss and he wasn't Superman or any other crusader wearing a cape.
How did he do this?
34
KISS Level 2.1.7 - The Subjunctive Mood
SSuubbjjuunnccttiivvee M
Moooodd
Another form of the verb is employed in a statement or supposition about an event or state
of things that is only thought of, and is not regarded by the speaker as true.
Were he a giant, I should not fear him.
Had I the wings of a dove, how soon I should see you again.
Unless the sky fall, we shall catch no larks.
In the preceding sentences, the verbs in black-faced type are said to be in the subjunctive
mood.
The word subjunctive means joined in an inferior or subordinate relation to something. This
mode is never used alone, but in a sentence of two or more clauses. The clause containing the
verb in the subjunctive mood is subordinate to the main clause.
Except [ye be converted], ye shall not enter the Kingdom of Heaven.
[Unless the day be fine], I shall remain at home.
[If wishes were horses], beggars might ride.
Provided [he apologize], I shall forgive him.
When the supposition is thought of by the speaker as a fact, or is treated as such, the verb is
in the indicative mood.
If the earth is round (and it is), men may sail around it.
If he comes (as I believe he will), he shall have a pleasant time.
The clause containing a verb in the subjunctive mood,
1. Puts its verb before the subject:
Were I he, I should go,
Be he wise or ignorant, he has made a mistake,
Were he alive, he would now be a man.
2. Puts its subject after the first part of a verb consisting of two or more words:
Should it rain, I shall not come.
Had he been killed, it would have been better.
Could he have remained, he should now be alive.
3. Is introduced by a conjunction expressing doubt, uncertainty, or a mere supposition,
such as if, though, unless, except, lest, that, etc.
Though he fail, he should try again.
Unless he speak the truth, he will Mt escape.
I hope that he may come.
DEFINITION—The subjunctive mood is that form or use of a verb by which it expresses a
statement, or a supposition, not as a fact, but merely as thought of.
Thy kingdom come, Thy will be done.
Were the moon larger, it would give more light.
Adapted from Introductory Lessons in English Grammar for Use in Intermediate Grades, by Wm. H. Maxwell
35
The Subjunctive Mood
Ex. 1 - From Lassie, Come Home
by Eric Knight
Directions:
1. Place parentheses around each prepositional phrase. Draw an arrow from each preposition to the word
that the phrase modifies.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
1. Joe did not know why, but it seemed as though the oatmeal were stuck in his
throat.
2. “Before, I were working. But now I’ll have to face ye wit it—I’m on the dole.”
3. Now she looked as if she were using all four feet.
4. Had the man walked toward her, she might have let him place his hand on her.
5. He shouted it with an air of proud ownership, as if he alone, the Duke of
Rudling, were responsible for the tang in the air and the gentle warmth of the
sun.
36
The Subjunctive Mood
Ex. 2 - From
At the Back of the North Wind
by George Macdonald
Simplified by Elizabeth Lewis; Illustrated by Maria L. Kirk
Directions:
1. Place parentheses around each prepositional phrase. Draw an arrow from each preposition to the word
that the phrase modifies.
2. Underline subjects once, verbs twice, and label complements (“PA,” “PN,” “IO,” or “DO”).
1. “You are as good to your mother as if you were a girl—nursing the baby and
toasting the bread, and sweeping up the hearth.”
2. He decided to see if Diamond’s father would do anything for any body else. For
that would be the very best way to find out if it were worth while to do
anything for him.
3. Nanny had closed her eyes as if she were tired or asleep.
4. What would my master say if he were to come back?
5. The wind with its kisses makes me feel as if I were in North Wind’s arms.
6. At length, it seemed as if he were borne up on the air and could almost fly.
7. But presently, he felt as if he were going to sleep and that would be to lose so
much that he was not willing to do it.
8. If I were only a dream, you would not have been able to love me so.
9. Well, if I were to turn to an ugly shape again, would you still wish I were not a
dream?
10. It’s as if it were dead!
37
K
KIISSSS L
Leevveell 22.. 22.. T
Thhee C
Coom
mpplleexxiittiieess ooff PPrreeppoossiittiioonnaall PPhhrraasseess
KISS Level 2. 2. 1. The “To” Problem & Verbs as Objects of Prepositions
T
Thhee ““T
Too”” PPrroobblleem
m
When the word that answers the
question “To what?” is a noun or pronoun,
the construction is a prepositional phrase.
When that word is a verb, the construction
is not a prepositional phrase.
(It is an infinitive,
but you do not need to remember that now.)
Prepositional Phrase: Pay attention {to their talk}.
Not a Prepositional Phrase: Do the mice want to talk?
Prepositional Phrase: He gave some money {to an orphanage}.
Not a Prepositional Phrase: To give is better than to receive.
Prepositional Phrase: They traveled {from April} {to August}.
Not a Prepositional Phrase: It was a summer to remember.
Prepositional Phrase: But Bill went {to sea}.
Not a Prepositional Phrase: Sam went to see Bill.
Prepositional Phrase: Carol went {to a play}.
Not a Prepositional Phrase: Carol wished to play.
Prepositional Phrase: Jennifer went close {to the object}.
Not a Prepositional Phrase: Jerome wanted to object.
Prepositional Phrase: She’ll go {from shop} {to shop} all day long.
Not a Prepositional Phrase: Terri loves to shop.
Note that an “a,” “an,” or “the” before a word usually indicates that it is a noun.
Remember that you need to pay attention to the meanings of the words:
Margaret remembered to bill the team. She gave the bill {to Bill}.
38
The “To” Problem
Ex. 1.a - Based on
Black Beauty, by Anna Sewell
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,”
“DO”).
1. My mother whinnied to me to come to her.
2. Are you going to live next door to me in the box?
3. After this I was sent to Tattersall’s to be sold.
4. Then we were sold to a fashionable gentleman, and were sent up to London.
5. He held the oats to me, and I began to eat without fear.
6. We shall all have to be judged according to our works.
7. He got out of the carriage and came to speak to us.
8. It was wisest always to do my best to please my master.
9. He came to me next and tried to drag me out of the stall by force.
10. When they brought me to James, he was very angry to see such big sticks.
39
The “To” Problem
Ex. 1.b - Based on
Black Beauty, by Anna Sewell
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,”
“DO”).
1. I wish you to pay attention to what I am going to say to you.
2. I should learn what I wanted to know quickly; so now we will come to business.
3. They were carrying young Gordon to the churchyard to bury him.
4. My master went on to break me to harness; there were more new things to wear.
5. He was sure to go to the railway station just as the train was coming in.
6. It was a great treat to us to be turned out into the home paddock or the old
orchard.
7. I never had any one, horse or man, that was kind to me, or that I cared to please.
8. In the meantime he was to get all the practice in driving that could be given to
him.
9. We should do to other people as we should like they should do to us.
10. As soon as I was old enough to eat grass my mother used to go out to work in
the daytime, and come back in the evening.
40
Woman Reading
in a Garden
V
Veerrbbss aass O
Obbjjeeccttss ooff P
Prreeppoossiittiioonnss
1880
by
Mary Cassatt
(1844-1926)
In KISS Level 1.2 you learned that verbs can function as subjects or as complements. In Level 2.1.6,
you learned to distinguish between finite verbs and verbals. Thus, verbs that function as subjects or
complements are called “verbals.” You have probably seen (or guessed) that verbals can also function as
objects of prepositions.
Most of the verbs that function as objects of prepositions end in “-ing.” (These verbs are “gerunds,”
one of the three types of verbals, but you do not need to remember that yet.) For example:
{After eating supper}, they watched a ball game in the den.
“After” can be a preposition, and if we ask “after what?” the answer is “eating supper.” Note that, like all
verbs, verbals can have complements. In this case, “supper” is the direct object of “eating,” and “eating”
is the object of the preposition “After.”
And, just like finite verbs, verbals can be modified by adverbs, including adverbial prepositional
phrases.
{After quickly eating supper} {in the kitchen}, they watched a ball game in the den.
Additional Examples:
They like all outdoor sports {from swimming} {to hunting}.
He dug the hole {by using his hands}.
Occasionally you will find another type of verbal (infinitives) that functions as objects of
prepositions. These usually appear after the prepositions “except” and “but” when it means “except”:
Mary will do nothing in her free time {but read}.
Tom will do everything and anything in the kitchen {except wash the dishes}.
These phrases typically function as adjectives to words like “nothing,” “anything,” and “everything.”
41
Verbs as Objects of Prepositions
Ex. 2 - Based on
Black Beauty, by Anna Sewell
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,”
“DO”).
1. What do you say to calling him Black Beauty?
2. The day came for going away.
3. But when it came to breaking in, that was a bad time for me.
4. If I took to kicking where should I be?
5. There is nothing that we can do, but just bear it.
6. She should always be nervous in riding behind a horse that had once been down.
7. I thank you for trying my plan with your good horse.
8. No one cared for me, except to find out how fast I could go.
9. Without waiting for Harry’s thanks Grant was gone.
10. Instead of lying down, he kept jerking his halter rope up and down through the
ring, and knocking the block about against the manger.
42
A
AM
Miinnii--L
Leessssoonn oonn ““T
Too”” aanndd ““T
Toooo””
When readers see the word “to,” they expect
to find a word after it that answers the question “to
what?” If that word is a noun or pronoun, the
construction is a prepositional phrase:
Peter said it {to Benjamin}.
Benjamin gave it {to him}.
If the word is not a noun or pronoun, the construction is an
infinitive. You will study infinitives later, so you do not need to
remember the term now. All you need to remember is that the
construction is not a prepositional phrase:
Benjamin wanted to bring onions to his mother.
When readers see the word “too,” they do not expect to find a
word after it that answers the question “What?” “Too” basically has
two meanings. First, it can mean “also”:
Peter ate onions too.
Second, it is used for comparison:
The lettuce was too old.
In the preceding sentence, the “too” compares the lettuce to what the
writer considers to be the norm for freshness of lettuce.
Because “to” raises expectations of “what?” in readers, and “too”
does not, misspelling “to” or “too” distracts most readers. That is
why it is so often noted as an error.
43
E
Exxeerrcciissee ## 33 W
Wrriittiinngg SSeenntteenncceess w
wiitthh ““T
Too”” oorr ““T
Toooo””
Yes?
Is “to”
a Preposition?
No?
To?
Which One?
Too?
# 1 Write four sentences with “to” used as a preposition.
# 2 Write four sentences with “to” followed by a verb.
# 3 Write one sentence with “to” used twice, once as a preposition and once
not.
# 4 Write two sentences with “too” meaning “also.”
# 5 Write two sentences with “too” used for comparison.
E
Exxeerrcciissee ## 44 T
Trreeaassuurree H
Huunntt aanndd//oorr R
Reecciippee R
Roosstteerr
Find and bring to class (or write) a sentence in which “to” is used both as
a preposition and not as a preposition.
44
KISS Level 2.2.2 - Preposition (or Subordinate Conjunction)?
IIss IItt aa PPrreeppoossiittiioonn??
If it looks like a duck,
and it quacks like a duck,
it’s a duck.
Many words that function as prepositions also have other
functions. You find a prepositional phrase by asking the
question “What?” after a word that can function as a
preposition. W
Whheenn tthhee w
woorrdd oorr w
woorrddss tthhaatt aannssw
weerr tthhaatt
qquueessttiioonn ffoorrm
m aa sseenntteennccee,, tthhee ccoonnssttrruuccttiioonn iiss nnoott aa
pprreeppoossiittiioonnaall pphhrraassee..
They are subordinate clauses, but you do not need to remember that now.
Just remember not to put parentheses around them.
P
Prreeppoossiittiioonnaall P
Phhrraassee::
We watched television {after dinner}.
N
Noott aa P
Prreeppoossiittiioonnaall P
Phhrraassee::
We watched television after we had dinner.
P
Prreeppoossiittiioonnaall P
Phhrraassee::
{Before sunrise}, the birds begin to chirp.
N
Noott aa P
Prreeppoossiittiioonnaall P
Phhrraassee::
Before the sun rises, the birds begin to chirp.
P
Prreeppoossiittiioonnaall P
Phhrraassee::
Billy can’t swim {like her}.
N
Noott aa P
Prreeppoossiittiioonnaall P
Phhrraassee::
Billy can’t swim like she does.
45
KISS Level 2.2.2
Is It a Preposition?
Ex. 1 - Based on
Black Beauty, by Anna Sewell
Directions
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
1. I had not eaten since the early morning.
2. There was a dreadful sound before we got into our stalls.
3. Since then I have seen many horses much alarmed and restive at the sight or
sound of a steam engine.
4. I never knew till now the utter misery of a cab-horse’s life.
5. Old Max told me all this, for it happened a good while ago.
6. He rides very little now, since the poor young master was killed.
7. I listened to my rider’s footsteps until they reached the house.
8. Oh! how I listened for the sound of horse, or wheels, or footsteps!
9. I had not been in a field since I left poor Ginger at Earlshall.
10. At last after a terrible struggle I threw him off backward.
11. The oak fell right across the road just before us.
12. After we had been out two or three times together we grew quite friendly.
46
Is It a Preposition?
Ex. 2 - From
At the Back of the North Wind
by George Macdonald
Simplified by Elizabeth Lewis; Illustrated by Maria L. Kirk
Directions
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
1. He wanted to see how things looked since last night.
2. How long it is since I had anything to eat!
3. Before the end of the month, Ruby had got a great deal thinner and old Diamond
a good deal fatter.
4. This is my old home before we moved into the city.
5. Then after a time, he stood in the middle of the room and told them a nice fairy
story.
6. After the new baby came, Diamond sang to her.
7. And here is the book for you, full of pictures and stories.
8. He was sitting by the fire and looking rather miserable for his head ached.
9. But at once, sharp as a knife, the wind came against his little chest and bare legs.
10. Often there was hay at little Diamond’s feet as he lay in bed.
11. From her head streamed out her black hair in every direction like dark clouds.
12. Then at last, he would scramble out of the hay, shoot like an arrow into his bed,
cover himself up, snuggle down, and think what a happy boy he was!
47
KISS Level 2. 2. 3 - Embedded Prepositional Phrases
E
Em
mbbeeddddeedd PPrreeppoossiittiioonnaall PPhhrraasseess
When a prepositional phrase modifies a word that is inside another phrase, it is
said to be “embedded” in the first phrase. [Think of it as being planted in the flower
bed of the first phrase.] Other phrases “jump over” phrases to modify a word that is
separated from them.
Embedded: They went {to the store} {on the corner}.
Here, “on the corner” describes the store.
Not Embedded: They went {to the store} {on Monday}.
In this case, “on Monday” explains when they “went.” The phrase thus jumps
over the “to the store phrase” and modifies “went.”
The chunking of embedded prepositional phrases:
Image courtesy of Shelagh Manton (in Australia)
48
Embedded Prepositional Phrases
Ex. 1.a. – Based on
Introductory Lessons in English Grammar
by Wm. H. Maxwell, M.A.
Directions:
1. Place parentheses around each prepositional phrase. Draw an arrow from the beginning of each phrase
to the word it modifies. Underline any embedded phrases and the phrases they are embedded in.
2. Underline subjects once, finite verbs twice, and label complements (“PA,” “PN,” “IO,” “DO”).
1. The dew fell into the heart of a rose and lay in a blissful dream.
2. The young travelers visited nearly all the ports of the world.
3. A dainty white village looks down upon the bright blue waters of the
Mediterranean.
4. A big parrot was solemnly blinking his eyes in a window of the next house.
5. The broken clouds sailed off in crowds, across a sea of glory.
6. Some flowers grow best in the deep shades of the forest and beautify the lonely
places and hidden nooks.
7. A great yellow cat sat on the sill of our kitchen window.
8. A tiny yellow warbler built a nest in a little bush in our front yard.
9. The lovely mermaids once sat on the rocks by the ocean and braided their
curious sea-green hair.
10. My dear cousin and I played at the end of the lake.
11. A big buzzing bumble-bee flew to the top of the tulip tree.
12. Fierce winds often sweep over the desert and fill the air with thick clouds of
sand.
13. A lively young turtle suns himself on a mossy log in that pond.
49
Ex. 1.b. - From Lassie, Come Home
by Eric Knight
Directions:
1. Underline subjects once, finite verbs twice, and label complements (“PA,” “PN,” “IO,” “DO”).
2. Place parentheses around each prepositional phrase. Draw an arrow from the beginning of each phrase
to the word it modifies. Underline any embedded phrases and the phrases they are embedded in.
1. Once, at a fork in the road, Rowlie turned his van east.
2. In the delicate membrane between those pads on the right forefoot a thorn was
festering.
3. And certainly, in that particular village, they would have known about any such
important matter as the resale of Lassie.
4. Rowlie turned his wagon out on the road, and soon there was the steady clopclop of Bess's hooves on the flinty way.
5. Then, without hesitation, she struck down the road to the south.
50
Embedded Prepositional Phrases
Ex. 1.c. - From Heidi by Johanna Spyri
Directions:
1. Underline subjects once, finite verbs twice, and label complements (“PA,” “PN,” “IO,” “DO”).
2. Place parentheses around each prepositional phrase. Draw an arrow from the beginning of each phrase
to the word it modifies. Underline any embedded phrases and the phrases they are embedded in.
1. Peter generally took his quarters for the day at the foot of a high cliff.
2. Miss Rottenmeier experienced an extreme disappointment, for she had hoped for
an explanation of the great mystery.
3. Heidi discovered a little basket with twelve round white rolls for the
grandmother.
4. When the tidy pack lay ready on the ground, Clara’s heart filled with pleasure at
the thought of her little friend’s delight.
5. First came a heavy coat for Heidi, with a hood, which Clara meant her to use on
visits to the grandmother in the winter.
6. Deta waited about ten minutes to see if the children were coming up behind with
the goats. As she could not find them anywhere, she climbed up a little higher
to get a better view down the valley from there, and peered from side to side
with marks of great impatience on her countenance.
51
PPaassssaaggeess ffoorr A
Annaallyyssiiss
Ex. 2.a.
The Pledge of Allegiance to the Flag
Directions:
1. Place parentheses ( ) around each prepositional phrase, and draw an arrow from each preposition to
the word that its phrase modifies.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
I pledge allegiance to the flag of the United States of America and to the
republic for which it stands: one nation under God, indivisible, with liberty and
justice for all.
Ex. 2.b. - From Andrew Lang’s
“Toads and Diamonds”
In The Blue Fairy Book
Directions:
1. Underline subjects once, finite verbs twice, and label complements (“PA,” “PN,” “IO,” “DO”).
2. Place parentheses around each prepositional phrase. Draw an arrow from the beginning of each phrase
to the word it modifies. Underline any embedded phrases and the phrases they are embedded in.
The younger daughter, who was the very picture of her father for courtesy and
sweetness of temper, was withal one of the most beautiful girls ever seen. As
people naturally love their own likeness, the mother doted on her elder daughter
and at the same time had a horrible aversion for the younger. She made her eat in
the kitchen and work continually.
52
The King’s son, who saw five or six pearls and as many diamonds come out of
her mouth, desired her to tell him how that happened. She thereupon told him the
whole story. The King’s son fell in love with her, and, considering with himself
that such a gift was worth more than any marriage portion, conducted her to the
palace of the King his father, and there married her.
E
Exxeerrcciissee ## 33 T
Trreeaassuurree H
Huunntt aanndd//oorr R
Reecciippee R
Roosstteerr
Find and bring to class (or write) a sentence that has an embedded prepositional phrase in it.
Underline the embedded phrase and the phrase that it is embedded in.
53
KISS Level 2. 2.4 - Prepositional Phrases - Advanced Questions
The objective of this section is to show you some of the things that you are expected to have
problems with until you get through KISS Levels Three and Four.
U
Unnuussuuaall PPrreeppoossiittiioonnaall PPhhrraasseess
Occasionally you will find prepositional phrases
that have verbs as their objects. Many of them will
be simple and should give you no problem:
They could easily walk on the ice {without slipping}.
Others are a little more complicated:
Sam was talking {about visiting Tom}.
Note that if we ask, “Sam was talking about what?” the answer here
is “about visiting Tom.” As usual, you should keep in mind what the
sentence means.
Sometimes prepositional phrases can be very complicated, but
remember that you are expected to make mistakes, and it is
precisely these complicated phrases that you are expected to miss.
As you continue to study sentence structure and learn more
constructions, these complicated phrases will also make sense.
54
V
Veerrbbss aass O
Obbjjeeccttss ooff PPrreeppoossiittiioonnss
Ex. 1 - Based on
Black Beauty, by Anna Sewell
Verbs can be objects of a preposition, including the preposition “to.”
When they are, consider their objects and adverbial modifiers as part of the
prepositional phrase:
They were happy {about having him home}.
Directions:
1. Place parentheses around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PA,” “PN,” “IO,” “DO”).
1. I shall expect them to answer for my soul, if I can’t get a chance of saving it.
2. He seemed furious at their having moved, and with whip and rein punished them
brutally.
3. The longer I lived at Birtwick, the more proud and happy I felt at having such a
place.
4. After giving us a slight look he called a groom to take us to our boxes, and
invited John to take some refreshment.
5. He was quite too short to do anything in the way of grooming Ginger and me.
6. He had still a proud way of holding his head and arching his neck.
55
SSuubboorrddiinnaattee C
Cllaauusseess aass O
Obbjjeeccttss ooff PPrreeppoossiittiioonnss
Ex. 2 - Based on
Black Beauty, by Anna Sewell
In the KISS Approach, you are expected to make some mistakes. This exercise is designed to show
you one kind of mistake that you are expected to make. Some prepositions have subordinate clauses as
their objects—but you have not yet studied subordinate clauses.
Basically, a subordinate clause is a sentence that functions as part of another sentence. In the
sentences below, these subordinate sentences function as objects of prepositions and are thus parts of
prepositional phrases. Don’t worry if you miss them. The question is tricky—you are expected to make
mistakes here. You will study these again in KISS Level Three.
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline every finite verb twice, its subject(s) once, and label any complements (“PA,”
“PN,” “IO,” or “DO”).
1. He must never start at what he sees, nor speak to other horses, nor bite, nor kick,
nor have any will of his own.
2. She had a good idea of what was coming.
3. I am never afraid of what I know.
4. It won’t stand when things come to be turned inside out and put down for what
they are.
5. The sides of the box were not so high but that I could see all that went on
through the iron rails that were at the top.
6. So she went on till after he was buried.
7. The children had many consultations together about what father and mother
would do, and how they could help to earn money.
56
E
Elllliippsseedd O
Obbjjeeccttss ooff PPrreeppoossiittiioonnss
Ex. 3 - Based on
Black Beauty, by Anna Sewell
Note: Some prepositions function as adverbs when their object has been
ellipsed (left out).
Directions:
1. Put parentheses ( ) around each prepositional phrase.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. After each preposition with an ellipsed object, write in the word that is ellipsed.
1. Any hare they can find will do for the dogs and men to run after.
2. James brought Merrylegs in and put on his halter.
3. All that could be piled up inside on the front seat were put in.
4. I have never snapped at him since, and I won’t either.
5. They got on the halter and the bar into my mouth; then one dragged me along by
the halter, another flogging behind.
57
K
KIISSSS L
Leevveell 22.. 33.. A
Addddiinngg T
Thhrreeee L
Leevveell FFiivvee C
Coonnssttrruuccttiioonnss
N
Noouunnss U
Usseedd aass A
Addvveerrbbss
Nouns often function as adverbs to answer questions such as:
“When?” “How long?” “How far?” “How much?” “Where?”
Peter is six m
moonntthhss old.
TTuueessddaayy, the cat was in the garden.
Peter stopped five ffeeeett from her.
The cat looked two ffeeeett tall.
It happened a w
weeeekk ago.
Peter ran hhoom
mee.
He was ill five w
weeeekkss.
The watering can cost five ddoollllaarrss.
The fish are worth twenty ddoollllaarrss.
58
Ex. 1 - Nouns Used as Adverbs
From Heidi by Johanna Spyri
Nouns are frequently used as adverbs to tell when, where, how long, how much, how far, etc.
Directions:
1. Put parentheses ( ) around each prepositional phrase. Draw an arrow from each preposition to the word
its phrase modifies. Underline any embedded phrases and the phrases they are embedded in.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Label nouns used as adverbs (“NuA”).
1. I have done my share these last four years and now it is your turn to provide for
her.
2. The uncle had risen during her last words and now he gave her such a look that
she retreated a few steps.
3. Heidi was awakened early next morning by a loud whistle.
4. She remembered how she had come up the mountain the day before.
5. Four days later the sun was shining and the tight-packed frozen snow was
crackling under every step.
6. You are nearly twelve years old, my boy.
7. All afternoon the uncle hammered around.
8. “I shall count on you next winter, neighbor.”
9. About a week later, Mr. Candidate asked to see Mrs. Sesemann.
10. The grandmama sent for Heidi every day after dinner.
59
SSiim
mppllee IInntteerrjjeeccttiioonnss
“Interjection” comes from the Latin words
for “throw” (“ject”) and “among” (“inter”).
An interjection is thus a word or construction
that is “thrown among” the words in a
sentence. Unlike all the other words,
interjections DO NOT chunk to the rest of the
sentence. Instead, they usually indicate an
attitude about the entire sentence.
In speech, short interjections are common:
G
Goollllyy, Peter looks sick!
U
Uhhm
m, do you think supper is ready?
Interjections such as those above are not considered proper in formal
writing, but the following, which consist of prepositional phrases, are
common to both writing and speech:
IInn ffaacctt, Peter was lucky.
He was, iinn m
myy ooppiinniioonn, brave.
“In fact” here simply emphasizes the writer’s belief that the sentence is
factual, whereas “in my opinion” suggests that the sentence may not be.
60
Ex. 2 - Interjections
from Heidi by Johanna Spyri
Directions:
1. Put parentheses ( ) around each prepositional phrase. Draw an arrow from each preposition to the word
its phrase modifies. Underline any embedded phrases and the phrases they are embedded in.
2. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
3. Label interjections (“Inj”).
1. Oh, how beautiful the snow looks!
2. Why, one might think I was telling you the silliest things.
3. Golly, everything is so wonderful now!
4. Oh well, that is better.
5. Gee, I have the same dream every night.
6. Um, does it really live way up there?
7. Well, well, what does that mean?
8. Yes indeed! I shall do as you say, Mr. Sesemann.
9. Oh, there is our little Swiss girl.
10. Bärli and Schwänli, of course, are not forgotten; they will spend the winter in a
good solid stable that is being built for them.
61
Ex. 3 - The Punctuation of Interjections
From Growth in English
Interjections are usually set off
by a comma or commas, or by an exclamation point,
but they may be set off by other punctuation marks.
Directions:
1. Add punctuation for interjections.
2. Put parentheses ( ) around each prepositional phrase.
3. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
4. Write “NuA” over every noun used as an adverb, and “Inj” over every interjection.
1. Oh how cold it is!
2. The guide of course is an excellent rider.
3. Why what do you mean?
4. Well I hardly think I can go.
5. Of course it is too late for the boys to go.
6. No it is not too late for them.
7. Will you close the window please?
8. Well I suppose you have ordered your tickets.
9. No I have not attended to the matter.
10. Oh how glad we are to see you again!
Write five sentences which illustrate the use of the comma to set off interjections.
62
D
Diirreecctt A
Addddrreessss
Nouns sometimes function to get the attention of someone to whom a
person wants to speak. This function is called “Direct Address” because
the speaker is directly addressing the person. Note that the name of the
person is set off by a comma or commas.
P
Peetteerr, where are you going?
M
Mootthheerr, can I have the basket?
Dear FFllooppssyy, you can have the basket.
M
Moom
mm
myy, can I stay home?
No, M
Mooppssyy, you have to go.
Can you tell me, cchhiillddrreenn, that you will be good?
63
Ex. 4 - Direct Address
from
At the Back of the North Wind
by George Macdonald
Simplified by Elizabeth Lewis; Illustrated by Maria L. Kirk
Directions:
1. Place parentheses (around each prepositional phrase).
2. Underline every finite verb twice, every subject once, and label complements (“PA,” “PN,” “IO,” or
“DO”).
3. Label each interjection (“Inj”), each example of Direct Address (“DirA”), and every noun used as an
adverb (“NuA”). [As appropriate]
1. “What is the matter, mother?” cried Diamond.
2. “Oh dear North Wind!” cried the boy.
3. “Stop! stop! little girl!” shouted Diamond, starting in pursuit.
4. “Still I cannot believe you are cruel, North Wind!”
5. “Why, Diamond, child!” she said at last.
6. “Come in, my little man,” he said.
7. “Isn’t it jolly, father!” he said.
8. “I am not a fairy,” answered the little creature. “You stupid Diamond, have you
never seen me before?”
9. “Nanny, do you know me?” asked Diamond.
10. “No, Diamond. I am only waiting for a moment to set you down.”
64
Lady Sewing
A Study in the Punctuation of Direct Address
1879
by
Ex. 5 - Adapted from
Voyages in English - Fifth Year
Pierre-Auguste
Renoir
(1841-1919)
by Rev. Paul E. Campbell
and Sister Mary Donatus MacNickle
Directions:
1. Replace the missing punctuation.
2. Put parentheses ( ) around each prepositional phrase.
3. Underline subjects once, finite verbs twice, and label complements (“PN,” “PA,” “IO,” “DO”).
4. Label each interjection (“Inj”), each example of Direct Address (“DirA”), and every noun used as an
adverb (“NuA”). [As appropriate]
Remember:
A comma (or sometimes an exclamation mark) is used
to separate the name of the person addressed from the rest of the sentence.
1. All right Dorothy I will answer the bell.
2. Francis name some of the articles made from iron.
3. This cotton Alice came from Texas.
4. Josephine who invented the phonograph?
5. Regina what is the capital of the United States?
6. I wish you a happy birthday Mother.
7. Many oysters are caught in Chesapeake Bay Geraldine.
8. Martin please go to the store for me.
9. Catherine what are the four points of the compass?
10. I beg your pardon Mr. Joyce.
65
E
Exx.. 66 -- M
Miixxeedd C
Coonnssttrruuccttiioonnss
From The Secret Garden by Frances Hodgson Burnett
Illustrator: M. B. Kork, N.Y.:
The Phillips Publishing Co., 1911
Directions:
1. Place parentheses ( ) around each prepositional phrase.
2. Underline verbs twice, their subjects once, and label complements (“PA,” “PN,” “IO,” or “DO”).
3. Label each interjection (“Inj”), each noun used as an adverb (“NuA”), and each example of direct
address (“DirA”).
1. “Things are changing in this house, Mr. Roach,” said Mrs. Medlock.
2. A little later the nurse made Colin ready.
3. Oh! is it!
4. “This is one of his good days, sir,” she said to Dr. Craven.
5. “Oh, Mary! If I could get into the secret garden I think I should live to grow up!”
6. And Mrs. Medlock took Mary by the arm and half pushed, half pulled her up one
passage and down another until she pushed her in at the door of her own room.
7. “I am sorry to hear you were ill last night, my boy,” Dr. Craven said a trifle
nervously.
8. “My word! she’s a plain little piece of goods!”
9. But just that moment the robin gave a little shake of his wings, spread them and
flew away.
10. “Well, sir,” answered Mrs. Medlock, “you’ll scarcely believe your eyes when you
see him.
E
Exx.. 77 -- T
Trreeaassuurree H
Huunnttss aanndd//oorr R
Reecciippee R
Roosstteerrss
a. Find and bring to class (or write) a sentence that has a noun used as an adverb in it.
b. Find and bring to class (or write) a sentence that has an interjection in it.
c. Find and bring to class (or write) a sentence that has an example of direct address in it.
d. Find and bring to class (or write) a sentence that has a noun used as an adverb, two prepositional
phrases, and a direct object.