Speakers and writers of any human language have many
options when they compose each sentence they utter. English, for example, has
been gifted with an enormous variety of sentence types. At first glance, each
different sentence type may appear to mean exactly the same as every other type
in the examples below so that one has the idea that there is an enormous amount
of wasteful redundancy in the language. But that's not true. Each sentence has
its own subtleties of emphasis and meaning.
Consider the sentence John sent Mary a
letter below. It expresses the proposition in the most common
grammatical pattern in English — the grammatical subject expresses
the actor, the grammatical verb expresses the action,
and the grammatical objects express the beneficiary and goal of
the action.
1. The BASIC clause pattern in English
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In other words, what it means to be a subject in
the basic English clause is to convey meaning about the actor or agent responsible
for the action realized in the verb, etc. However, in
addition to the basic clause, there are several more ways to express the same
"basic" information, ways that allow the speaker or writer to
emphasize and focus on different parts of the sentence.
2. PASSIVE VOICE
In the passive voice sentence pattern, we find a
"reversal" of the information that is presented in the basic clause
pattern. That is, the subject conveys the goal, not the actor, and
the actor is mentioned later in the clause (in a structure
known to grammarians as the adverbial); sometimes the actor is not mentioned at
all. For example, consider both example below, where first the subject
expresses the goal in the first example and then the subject expresses the
recipient in the next example.
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and
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Passive voice allows the writer to focus attention
on the recipient or the goal at those times
when the writer wants to ensure that the readers' attention is focused on the
most important part of the message in the sentence.
3. Wh- CLEFT
To cleave means to cut or split
into two parts, and the cleft sentence takes its name from the the fact that
the single clause of the basic sentence pattern above is split into two
clauses. (We recognize a clause by the presence of a subject and a verb.) The Wh-
cleft is a sentence that splits the basic clause into two parts, with one of
the sentence's parts beginning with a word that starts a wh. For
example, from the basic clause in (1) above, we can create several different wh-
sentences of similar meaning:
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In this example above, the fact that the basic
clause has been split into two clauses allows us to emphasize both John and the
letter in the same sentence. (You can "hear" the emphasis on John and the
letter in the sentence when you read the sentence aloud — note the
extra stress on those two phrases.) The subordinate clause What John
sent to Mary is the Theme of the Wh-
cleft above: theme is the term used in systemic linguistics
for the part of the clause the introduces the message in the clause.
The next example, below, splits the clause with
emphasis on the actor (John) and what he did (the action).
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Finally, the last wh- example, below,
splits the basic clause in yet a different way to allow the writer to emphasize
all three elements of the basic clause at once — the actor, action, recipient,
and goal.
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Although the wh- clefts above are
similar in meaning, they are not the same as (1) above or each
other.
4. It CLEFT
It clefts
allow writers another type of sentence that splits the basic clause pattern
into two parts. The theme in this sentence pattern is an "empty"
function word, a pronoun, it, that really has no meaning like an
ordinary pronoun since it refers to nothing. Instead, the it cleft
allows the writer to focus on the actor in the first example
below or on the goal, as in the second example below.
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5. OTHER MARKED THEMES
In systemic
linguistics, the grammatical subjects in the it cleft
and wh- cleft sentences above are called "marked" themes
since those sentences do not begin with the expected, common, ordinary subject
of the basic clause pattern (which is called the "unmarked" theme).
Another type of marked theme can be seen below, a type characterized by the use
of the grammatical object at the beginning of the sentence.
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In the example above, the direct object (the
letter) holds the focus of attention as it takes the lead in the sentence.
Occasionally, a writer will seek to add extra emphasis to the object by using a
pronoun (it) to serve as another grammatical object in the in usual
position of the grammatical object, as in the example below.
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When a sentence has an indirect object, that
constituent may also function as a marked theme, the focus of attention, by
beginning the sentence. In the example below, notice too the use of the
"second" pronoun (her) object for added emphasis.
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There are two points I hope you gather from this
rather detailed, technical discussion. First, that each and every sentence you
write is important to building an intelligible, "readable" essay.
Second, that human language has this much variety not to confuse or create
redundancy, but rather to allow us to choose the part of our message (the
sentence) where we want to place our emphasis. For example, as an answer to the
question Was it John or Bill who sent the letter?, we would more
likely get It was John who sent the letter to Mary than Mary
was sent a letter by John. Likewise, as an answer to What did John
send Mary?, we would be more likely to get The letter, John sent to
Mary than Mary, John sent her the letter.
Each sentence is a remarkable package of
information, tailor-made for the situational and linguistic context. A good
writing style grows from an awareness of how a writer crafts his/her sentence
to its context.
References
Halliday, Michael A. K. Introduction to
Functional Grammar. London: Edward Arnold, 1993.
Kies, Daniel. "Some Stylistic Features of
Business and Technical Writing: Nominalization, Passive Voice and Agency." Journal
of Technical Writing and Communication 25 (1985): 199-208.
Kies, Daniel. "Marked Themes with and without
Pronominal Reinforcement." In Steiner and Veltman, Pragmatics,
Discourse, and Text. London: Pinter Publishers, 1986.
Prince, Ellen. A Comparison of Wh-
Clefts and It Clefts in Discourse. Language 54
(1978): 883-906.
Quirk, Randolph, Sidney Greenbaum, Geoffrey Leech,
and Jan Svartvik. A Comprehensive Grammar of the English Language. London:
Longman, 1985.
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