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The potential of tense-aspect verbal forms in modern English

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MINISTRY OF HIGHER AND SECONDARY SPECIAL EDUCATION OF THE REPUBLIC OF UZBEKISTAN KARSHI STATE UNIVERSITY The potential of tense-aspect verbal forms in modern English

Content Introduction I. Theoretical background of the research of stylistic potential of tense-aspect verbal forms 1. Tense in modern English 2. Verbal aspects in modern English II. The analysis of stylistic potential of tense-aspect verbal forms in modern English 1 The types of transpositions of verbal forms as stylistic means in the category of tense 2. The types of transpositions of verbal forms as stylistic means in the category of aspect Conclusion Literature 2

Introduction More and more linguists and specialists in study of literature attract their attention to problems of Stylistics and Stylistics itself is divided into some special disciplines which tend to differentiate. But at the same time as well as in any other science we can observe the integration of the processes that is the intensification of different parts of knowledge and appearance of new modern synthetic sections. New problems have been involved in the sphere of stylistic researches, a lot of data and programs have been studied and new aspects of language factors and features have been discovered. Our interest in these points is the first reason of the appearance of our paper. Today, our country regards the foreign language as a key of winning a decent place in the world communit

developing and promoting Uzbek language and its culture to the world. The document also aims to develop intercultural relations of Uzbekistan, to study Uzbek language and literature, its historical roots and transmit the masterpieces of Uzbek language to the European countries, deep study of the prospects for development in the context of globalization, the Uzbek language and literature at all stages of the education system, the quality of education and training, as well as the growing needs of the public; Preparing scientific-pedagogical personnel, to produce highly qualified translators, scientific-research works in the country, engaged in the training and retraining of specialists in the field, as well as the areas of preparing research and teaching materials. The decree of our presiden

stylistic sphere, explicitly or implicitly comparing them with the neutral forms common for all sublanguages. The nature, the essence of stylistic phenomena is radically different in cases where morpheme, word, phrase themselves are analyzed as chosen out of the paradigm from the cases when we try to explain the effect produced by given patterns of the combining units in speech and text. When we use the form «aren't» instead of «have not or am / is / are not», the sentence «John here?» instead of «Is John here?», or one meaning instead of another all could also employ. This is what illustrates the paradigmatic branch of Stylistics. In the utterances: I ask you / I pray you / I beseech you – we can observe the interrelation between the meanings that is «pray» is stronger than «ask»; «be

- how to use morphological means of Stylistics and expend their stylistic potential; - the deep work with tense-aspect verbal forms the main aim of which is to help students understand contexts of English authors more intensive and intensive. The problem is investigated by many literary critics. English scientists Palmer, Hornby, Quirk, Yule, Blokh M.Y., Skrebnev, Block, Widdowson H.G., Verdonk P. Russian scientists I.V.Arnold, N.Ya.Dyakonova, M.A.Gritchuk, N.M. Rayevska., А.И. Смирницкого and V.V.Ivashyova are among them. We present new types of tables, diagrams descriptions, illustrative material to reach the high level of students knowledge and to elicit their enthusiast in further investigations. New examples from the original literature quoted from Dickens, Collins, Austen and o

authors, some pieces of information from Internet, a lot of material from Foreign Philology Faculty of G.S. Scovoroda Kharkiv National Pedagogical University (lectures, books, English Language Encyclopedia), newspapers, journals. Theoretical Value: The central interest in our paper is connected with very specifical but important for real understanding of spoken English problems in the frames of Theoretical English Grammar, connected with tense-aspect verbal forms, their features, constructions and behavior in specific environment. Analyzing tense-aspect verbal forms from these positions we have marked connotative aspect and emotional overtones as important semantic components of spoken English that is stylistic potential of tense-aspect verbal form. All these ideas are based on principle

In the light of our philosophy and philological observations, critical and context-logical analysis of some original contexts our results were obtained on the edge of some linguistic sciences: Stylistics (Decoding), Functional Grammar, Syntax, Functional and Communicative Linguistics, Theory of Interpretation of Text, Theory of Contextual Situation and other. At the end our paper, there are some ideas for teachers to help them of exercises and activities for students. Further Reading List has been given for teachers who wants to expand their language skills by the way of additional investigations. The structure of the work: The work consists of introduction, two chapters, conclusion and references. The introduction to this work is based on the choice of this theme, the actuality of the aim

I. Theoretical background of the research of stylistic potential of tense-aspect verbal forms 1. Tense in modern English Interest in our main problem, how it originated, how it works and develops, has existed in remote ages. Chronologically at once we pay our special attention to individuals, whose contribution to the subject – Stylistic Potential of Tense-Aspect Verbal Forms in Modern English – has been well-known. In Table 1 that we have completed for students we present some names of philologist, titles of their works, years who began to research this problem many years ago up to now 3 . Our short overview we begin with William Lily who wrote «A short Introduction of Grammar» and was the first between others in this sphere. Then in 1580 «A Treatise for Declining Verb» was written by Cla

Hornby Albert – developed ideas and projects in his pedagogical grammar Guide to Pattens and Usage in English where the author put the concept of «grammar time» on the first place: what type of grammar time we need to use for expressing of definite temporal relationship, positions and states. In this time Eckersley C.E. wrote Brighter Grammar were he tried to approach English grammar in the same «scientific» way and to show that it is not a collection of dull, dead words but a living thing. A lot of works on Linguistics which are used by Russian and Ukrainian scholars were written by Ottor Jesprsen, especially his monumental Modern English Grammar ; The Philosophy of Grammar, Efficiency in Linguistic Change and others. Edward Sapir wrote in a Danish newspaper: «Your (Jespersen’s) work ha

According to G. Yuri’s system in order to describe the different forms of a verb, we need to talk about tense, which often has to do with the location of a situation in time, and aspect, which characterizes the way in which that situation is perceived or experienced. The author affirms that English has two distinct tense forms, present and past tenses, and two distinct forms for aspect, perfect and progressive aspects, which are marked on the verb. Giving unusual table with the basic structure of English verb forms G. Yuri underlines that the sense of team «tense» in English is not based on simple distinctions in time. e.g. And today I woke with splitting headache. Tomorrow I fly to London for a big meeting. Yesterday the land tells me my rent's going up. The present form here ties the

grammatical resources of English verb to find of making our composition and particular effect. More clearly Peter Verdonk marks in his «Stylistics», Oxford, 2002: «Style involves a choice of form without a change of message. It includes the motives for choice and its effect. If all differences in form are correlated with differences in meaning, then the style of a piece of writing is simply its meaning. The work may stand out because of its meaning, or the author may be exceptionally skilled in finding the right words for his meaning and we take pleasure in his art, but the wrong choice would have meant something less – they would not conveyed the meaning». Describing how to use deferent styles in a magazine article, news reports, academic writing, narratives, spoken discuses and others Yu

interesting material about time, tense and aspect will be very useful for discussion in our paper. The authors give us a lot of tables and diagrams, examples with the main aim to explain verbal system clearly and lucidly. Beginning from the present tense the authors line down that on the semantic level of interpretation «present» is the most general and unmarked category. e.g.: John spends a lot of money. (true for past, present, future) cf.: John spent a lot of money. (true for past only) The authors prefer to follow those grammarians who have treated «tense» only as a category realized by verb inflection, and in their Grammar they do not talk about «future» as a formal category but they do say about expressing the semantic category of future time. We can add the same points of view given

All these verbs are divided into dynamic and stative verbs, which are presented in two tables. We mean, that these two tables are not convenient for teaching and studying and we have replaced and reconstructed them according to our require . Meanings of the simple present tense with reference to present time can be divided into 7 : l. The state present , or so-called «eternal truths» or «timeless present»: e.g.: Honestly is the best policy. Two and three is five. 2. The instantaneous present implies that event has little or no duration and is completed approximately at the moment of speech: – commentaries, demonstrations, special exclamatory sentences, performatives. e.g.: Black passes the ball to Fernanders… Here comes the winner! 3. Special non-present uses of the present tense: – th

Meanings of the past tense with reference to past time (Table 3) combine two features: a) the event / state must take place in the past with the gap between its completion and the present moment; b) the speaker or writer must have in mind a definite time at which the event / state took place («last week, in 1932, several weeks ago, etc) but stylistically the past tense itself means the definite past time. e.g.:Did you lock the front door? – an immediate situation. Byron died in Grees. – historical statements. Rome was not built in a day. – presupposing. The habitual and state meanings can be paraphrased by means of «used to» (transference, transposition, transmission)used to live e.g.: In those days we – in the counry. Meanings of the past tense with reference to the present and future t

time preceding whatever time orientation is signaled by tense or by other elements of the sentence or its context 9 . We may now focus on the difference between two constructions: 1. State leading up to the present: e.g.: That house has been empty for ages. – the state continues at least up to the present. cf.: That house was empty for ages.-but now it has been sold. 2. Identifinite events in a period leading up to the present: e.g.: Have ever been to Florence? – the indefinite past. cf.:Did you go to florence? – last summer! – we have to imagine the definite past. 3. Habit event (recurrent) in a period leading up to the present: e.g. :Mr Terry has sung in this choir ever since he was boy. – the period identified must continue up to the present. cf.: The journal was published every month f

cf.:We live in the country.-permanent residence. 2 .Event progressive: e.g.: The referee is/was blowing of whistle. – repeated blowing. cf.:The referee slows his whistle. – only one time! 3.Habit progressive : e.g.: At that time she was having regular singing lessons. Whenever I see her, she’s working in the garden. The «temporal frame» of the present progressive is normally «now», recurrent or imaginary, in accordance with the interpretation of the habitual, the historical, the fiction meanings. 2. Verbal aspects in modern English The motivation for George Yuri’s classic work Explaing English Grammar is to describe and explain the basic forms of the present and past tenses, perfect and 17

progressive aspects and main structures of the English verb complex. Drawing on his experiment, we want to add some interesting points from his ideas. The authors give a piece of information about the perfective progressive meaning that the features of the progressive and the perfective aspects are combined in the same phrase. This problem will be debated by Ukrainian and Russian scientists 10 . R. Quirk and his team give a lot of information about time, tense and aspect; the tables in which English verbs are divided into stative and dynamic types; difficult theme as «aspect» is presented in clear and lucid language. There are some problems which are debated up to now, for example, «the reality of the perfective progressive». N.N. Rayevska is a well-known Ukrainian (Kiev) scholar who spe

Transposition of verbs is more varied than other parts of speech. It is explained by a greater number of grammatical categories the meanings of which may be transposed. One of peculiar features of English tense forms is their polysemantism: the same form may realize various meanings in spoken English and other styles 11 . Deviation from the general meaning makes verbs stylistically colored. Two types of transposition are presented in our table: functional and semantic – where inherent resources and devices of – English verbs create and establish a lot of subtle meaningful nuances by means of Morphology. N.N. Rayevska throws light upon the nature of the functional and semantic peripheral field of the verbal voice and marks off it in her diagram where paradigmatic verbal forms and language

2. Morphological correlations of inter level units and inclusion them in the peripheral field of verbal forms. 3. The Phrasiological System in its unity with garammatical functioning. 4. Paculiarities of lexical combinability and realization of tense-aspect forms in the community of their syntactical structures and others (a lot of ideas!) The field arrangement of tense-aspect: system for philological observations expands the frames of the traditional English Grammar and helps to reveal a lot. of stylistic colors and their shades. In her turn the author of Stylistics of Modern English 12 (Stylistic Decoding),I.V. Arnold writes: «Stylistic potential is possibility to add an idiomatic power to the language and express various subtle distinctions of thoughts and meanings». The author divide

Two types of transposition described by I.V. Arnold are used in our practical part with the aim to expand the frames of their usage as obvious and visual examples from English original literature. Y.M. Skrebnev in his book Fundamentals of English Stylistics ( lines down that «Stylistic Morphology, both paradigmatic and syntagmatic, has not yet been given full attention, especially with regard to English that has very few inflections, and most grammatical meanings are expressed analytically». The author puts in the forefront the problems of synonymy and transposition: – variability of verbal forms; – morphological difference between verbal forms; – abolishing the morphological differentiations between Subjunctive II of the verb «to be» and the past indicative; – «ungrammatical»

In chapter «Stylistic usage of the verbal means» the author underlines that all stylistic possibilities of English verbs are very rich if we take into account a variety of verbal forms vebals and their range of meanings, tinges and nuances. The author considers that the tense-aspect forms can be presented in the contexts by the ways of making and creating their syntactic correlations (intercommunications) between forms, structures, constructions and grammar categories. And it is not disputed because the – verbal formations and» arrangements are the main dynamic means and devices of stylistic expressions in literary, puplicistic and colloquial styles 14 . In this monograph these are a lot of interesting facts from different connotations in the grammatical, semantic and polysemantic realizat

3.Implicit agent in scientific style is used in the introduction of the facts. e.g.: It is understood / mentioned / assumed / believed / known… For students we have completed two tables (13,14) with interesting facts and examples: – how to use stylistic potential of the Imparative mood; – semantic and stylistic peculiarities expressed by the forms of the Subjunctive mood. In monograph Stylistics of English Language the authors show that the diapason of stylistic devices is very high. We have marked only s some of them but very expressive categories of time, voice and mood. All these means can be used only in context. We consider that the subject «The Theory of Context» must be included in the syllabus for students from the foreign language faculties. Our tables which were completed for

will work works would work worked will have worked have/has worked will be working is working The author’s verbal system is very individual and interesting for those students and teachers who wants to expand their scientific skills in Philological, sphere and continue to research some discussible problems, namely: l. What is the main factor of the evolution in the verbal system that can be presented in the social community? 2. Is there the future category or future tense? Can you as a teacher find more examples to argue your discoveries and explain them to students more popularly then in the monograph by A.I. Dorodnyh, and others. M.Y. Blokh in his A Course in Theoretical English Grammar underlines: «Language is means of forming and storing ideas as reflections of reality and exchangin

where the meaning of the past tense stands in contrast with the meaning of some adverbial phrase referring the event to the present moment. The seeming linguistic paradox of such cases consists exactly in the fact that their two-type indications of time, one verbal-grammatical, and one adverbal- lexical, approach the same event from two opposite angles. It is the transpositional use of the present tense with the past adverbials, either included in the utterence as such, or expressed in its contextual environment. The stylistic purpose of this transposition, known under the name of the «historical present» is to create a vivid picture of the event reflected in the utterance 17 . e.g.: Then he turned the corner, and what do you think happens next? He faces nobody else than Mr. Greggs accompa

The «historical present» describes the past as if it is happening now; it conveys something of the dramatic immediacy of an eye-witness account. e.g.: I couldn’t believe it! Just as we arrived, up comes Ben and slaps me on the back as if we’re life-long friends. «Come on, old pal», he says. Let me buy you a drink! I’m telling you, I nearly fainted on the spot». A very different use of the present tense in reference to the past is that found with verbs of communication: e.g.: The ten o’clock news says that there's to be storm. Such verbs include also verbs like understand, hear, learn which refer to the receptive end of the communication process. e.g.: I hear that poor Mr. Simpson has gone into hospital. These sentences would also be acceptable with the simple past or present perfective

CHAPTER II. The analysis of stylistic potential of tense-aspect verbal forms in modern English 1.The types of transpositions of verbal forms as stylistic came in the category of tense Transposition with functional-stylistic characters expressed by verbal forms. Archaisms are words which were once common but now are replaced by synonyms. When the author consider the grammatical system of English verbs as a system has to mark some, thing historical important in narrative, description or poetry they use archaic verbal forms. N.M. Rayevska characterizes: «The archaic variant forms are used for stylistic purposes to create the atmosphere of elevated speech in pictorical language, in poetry or in proverbial saying». There are only some forms: Table «Archaic Forms of the Auxiliaries». Forms Gra

art = is; stretchest, coverestfwalketh, maketh, layeth, gettest, didst, stiteth, beginneth,heareth and others. e.g.:Byron, George Noel GORDON, Lord -1788–1824. «…For it hath been by sorrow nursed, And ach’d in sleepless silence long; And now 'tis doom'd to know the worst, And break at once-or yield to song.» (G.G. Byron.My soul is dark.} «…Thy tree hath lost its blossoms, and the rind, Chopp’d by the axe, looks rough and little worth, But the sap lasts, – and still the seed we find Sown deep, even in the bosom of the North; So shall a better spring lees bitter fruit bring forth.» (G.G. Byron, From Childe Harold’s Piligrimage, } «…Thou stand’st along unrevall’d, till the fire To come, in which all empires shall expire!» (G.G. Byron, Moscow!, } «…The river glideth at his own fr

«O heart of man! canst thou not be Blithe as the air is, and as free?» (H.W. Longfellow, 1807–1892,] «Old Yew, which graspest at the stones That name the under-lying dead, Thy fibres net the dreamless head, Thy roots are wrapt about the bones.» «The Spanish people will rise again as they have always risen before against tyranny. The dead do not need to rise. They are a part of the earth now and the earth can never be conquered 18 . For the earth endures forever. It will outlive all systems of tyranny». (B.Hemingway,1899–1961,19,67) «…Doubting Charley! Who trust nobody and believes nothing. But even Charley can’t deny that Sam’s dead. He’s dead. When thou know’st how dry a cinder this world is:» (R.Hill, published in 2002, l,p. 62) A lot of Shakespearizms are used in Modern English which

«couleur historique» (historic color). As we have researched numerous archaicforms can be found in poetry XVII–XIX, XX centuries: G.G. Byron, W. Wordsworth, P. Shelly, H.W. Longfellow, A. Tennyson; in prose written by E. Hemingway, R. Hill and others. For those students who want to continue to research this aspect of Linguistics there are a lot of unresolved points. Acceding to Table «Transposition with functional-stylistic characters» the next aspect of our analysis is «Popular language as a free-and-easy every-day speech» 19 . I.V. Arnold writes in her monograph that authors use this phenomenon for stylistic purposes: to portray the story-teller or hero (personage) when their stories are about past events Ain’t is a nonstandard contraction commonly (esp in AmE) in place of am not,

– I hain’t dot no money. – It’s a lie. Judge Thatcher’s got it. You git it. I want it. – I hain’t got no money, I tell you…» Note: hain’t = h a v en o t,h a sn o t. e.g. «It ain’t my fault I warn’t born a duke, it ain’t your fault you warn’t born a king – so what’s the use to worry?…» e.g. «The duke done(has done) it, and Jim and me was (sing) pretty glad to see it» [10; 150]. Note: warn’t = will not in the past tense. e.g. «So, things I, I’ll go and search them (?) rooms… But I see I couldn’t do nothing without a candle, and I dasn’t light one, of course» Ch. Dickens used a lot of the some examples in his novel «Our Mutual Friend» e.g. «But what you may call the Fates ordered him into it again? Which is rumness, ain’t?…» e.g. «MrRiderhood next demands his shirt; and draws it on over

Modal verbs and verbal forms with the modal meanings are very important for us to present and use a lot of subtle stylistic connotations in our speech. The simple modals, such can, may, must, will, should have SINGLE forms, whereas the more complex structures known as PERIPHRASTIC MODALS are formed with the verbs be and have, as in be able to (can, could); be allowed to (may, might); be going to (will, would); be supposed to (shall, should) – (meant, expected, obliged); have (got) to (must); to be to (have to according to the plan). [G. Yule. Explaining Grammar. e.g. «Some books are to tasted, others to be swallowed, and some few to be chewed and digested; that is, some books are to be read in parts; others to be read but not curiously; and some few to be read wholly, and with diligence a

Stylistic Potential of the Periphrastic modals in Context Modal forms Meanings Examples be able to It is used to convey each of the different kinds of «potential». Difference is in the past tense: the implication is that the actual event took place. Note: can is used at least 10 times more often than be able to . a) We could repair the old car. b) We were able to repair the old car. be allowed to «Permission» as a root modality is clearly appropriate when be allowed to occurs with other simple modals. Its interpretation differs from might in the past tense. With might, the interpretation is remote possibility, but with were allowed to , the interpretation is remote fact. a) Will we be allowed to light the fire? b) Oh, no. You won’t be allowed to play with matches. a) They might have a brea

be going to (the immediacy) It is not used to express the «willingness» associated with «will». The future action is related to the present and will occur soon after the time of speaking. The action with be going to was already planned or decided. CF: I’m gonna be sick (the reduced form of casual speech shown); I will be sick (if I eat any more of this ice cream). a) I’m going to finish these exercises. b) And I’ll get round to the others later. a) Close your eyes, I’m going to give you surprise. b) Watch out! The monster is going to get you. be supposed to It is used with a function similar to should in its root sense of weak obligation. This is an implication with be supposed to that the social requirement being mentioned is external to the speaker and may be one that the speaker feels i

Random Quirk gives classifying them as: some interesting information about the «The verb of intermediate function»: 1. Central Modals: can, could, may, might, shall, should, will/’ll, would/’d, must. 2. Marginal Modals: dare, need, ought to, used to. 3. Modal Idioms: Had better, would rather / sooner, be to, have got to. 4. Semi-auxiliaries: have to, be about to, be able to, be bound to, be going to, be obliged to, be supposed to, be willing to. e.g. «One had better (best) do smith»«If you want to feel good and live a long life you had better take a half-hour walk each day, preferably at a brisk pace». «You had better ask us about the perfect diet in a perfect environment and how to maintain your good health longer if you take the effective doses of vitamins A, C, E, plus selenium, glutath

I.V. Arnold points at modal particles just, only but K.N. Kachalova, [includes too, also, as well, either, else, even, alone, ever, simply, merely. They can express the additional shades (connotations) in context. e.g. «There was something hidden, beyond a doubt, under the mere surface- brutality of the words which her husband had just addressed to her». «That was the very thing I was thinking just now, «said Stickly-Prickly.» I think scales are a tremendous improvement on prickles – to say nothing of being able to swim…» «How strange! «cried Elizabeth.» How abominable! – I wonder that the very pride of this Mr. Darcy has not made him just to you!» «But I tell you, honestly, if you want to see me swim away, you’ve only got to drop me into the water». «June 19 th . – I had only got as f

and consumption of manuscript material increased greatly, and some vernacular works of fourteenth and fifteenth centuries survive in numerous copies.» «Such verse (alliterative) continued to be written in English, as we shall see, to the end of the Middle Ages and it has be revived in modern times by poets such as W.H. Auden; but its principles, derived from a common Germanic tradition of oral poetry, present difficulties to the reader of Chaucer, Pope, or Tennyson. «The evolution of Homo sapiens, being with the same physical characteristics that we possess, was a long and complex process that is still imperfectly understood. The earliest evidence for the existence of Australopithecus, or «southern ape», dates from approximately 2 million years ago and comes from the temperate regions of

2.The types of transpositions of verbal forms as stylistic means in the category of aspect 1. Interative aspect a) USE + TO infinitive: may denote not only repeated action in the past but permanent state in the remote past: e.g.: «I had a look at Brane yesterday; he’s changed a good deal from when I used to know him. I was one of the first to give him briefs». e.g.: There used to be a cinema here before the war. Life is not so easy here as it used to be. e.g. «The workshops have been shut up half-an-hour or more in Adam Bede’s timber yoard which used to be Jonathan Bridge’s». e.g. «There used to be an old apple tree in the garden. Oh, did there?» NOTE: «used to V» is used by 39 from 42 of Englishmen. It is important to mark that in this situations in Spoken English used to V is practised w

e.g. «Stimulated in course of time by the sight of so many successes, he would make another sally, make another loop, would all but have his foot on opposite pavement, would see or imagine something coming, and would stagger back again. There he would stand making spasmodic preparations as if for a great leap, and at last would decide on a start at precisely the wrong moment, and would be roared at by drivers, and would shrink back once more, and stand in the old spot shivering, with the whole of the proceedings to go through again». The historical past tense of «will» is «would», often reduced in speech to «d. The combination of remoteness and likelihood as the conceptual basis of would generally leads to an interpretation of some event as being distant in time or possibility from the mom

they would be the last to think of, and which it shews the greatest ingenuity in him to fink out.» «I was sitting at the bus stop the other day and this woman was sitting across from me and I see this caterpillar drop behind her and start squiggling its way up to her and I’m just like, «Should I tell her or should I not?» I sat there for five minutes a and watched it get up to her shoe and I decided I can’t tell her. I ’ve got to see what happens ». «This is the only point, I flatter myself, on which we do not agree . I had hope that our sentiments concoded in every particular, but I must so far differ from you as to think our two youngest daughters uncommonly foolish». Another illustrative example: «He holds him with his skinny hand» «There was a ship», quoth he. «Hold off! unhand me, gre

3. EchoUtterances In the discourse function echo utterances are either questions or exclamations . 1 Re-capitulatory echo questions: a)a yes-no questions or questions which repeat part or all message: e.g. A: The Browns are emigrating. B: Emigrating? e.g. A: Switch the light off, please. B: Switch the LIGHT OFF? or Switch the LIGHT OFF, did you say ? (to make the meaning explicit) b)a wh-echo questions which indicates, by wh-words, which part of the previous utterance the speaker did not hear or understand; e.g. A: It cost five dollars. B: How much did it cost? or How much did you say it cost? I (after wh-element only) e.g. A: Switch the light off. B: Switch WHAT off? e.g. A: His son is a macro engineer. B: His son is a WHAT ? NOTE: What may replace a verb: e.g.: She sat there and WHAT ted

2 Explicatory echo questions They are always WH-questions, which ask for the clarification, rather than the repetition. e.g.: A: Take a look at this! B: Take a look at WHAT ? e.g. A: He’s missed the bus again. B: WHO’s missed the bus? e.g. A: Oh, dear, I’ve lost the letter. B: WHICH letter I have you lost? ( do you mean you have lost?) not «did» 3. Echo exclamations: the form of utterance to be repeated may be declarative , interrogative , imperative , or even exclamative . Stylistic purpose: to express astonishment, amazement, confusion, wonderment, consternation. e.g.: A: I’m going to London for a holiday. B: To LONDON! That not my idea of a rest. e.g.: A: Open the door, please. B: Open the DOOR! Do you take me for a doorman? Note: In the frame of our research we give follow examples fro

Jane . Books-Oh! no. I am sure we never read the same, or not with thesame feelings! e.g.: Mrs. Bennet. I cannot bear to think that they should have all this estate. If it was not for the entail, I should not mind it. Mr. Bennet. What should not you mind? Mrs. Bennet. I should not mind anything at all. e.g.: Lady Catherine. Has your governess left you? Miss Bennet. We never had any governess. Lady Catherine. No governess . How was that possible? Five daughters brought up at home without a governess! I never heard of such a thing. Your mother must have quite a slave to your education. e.g.: (Colonel Fitzwilliam) «We are speaking of music, madam,» said he, when to longer able to avoid a reply. Lady Catherine. Of music! Then pray speak aloud. It is all subjects my delight… Examples from Wilki

« Such a night ? repeated Mortimer. «What became of you in the morning?» e.g.: «Now, Lammle, «said fascination Fledge by, calmly feeling for his whisker, «it won’t do. I won’t be led into a discussion. I can’t manage a discussion. But I can manage to hold my tongue.» « Can? «Mr. Lammle fell back upon propitiation.» I should think you could! Why, when these fellows of our acquaintance drink, and you drink with them, the more talkative they get, the more silent you get. The more they let out, the more you keep in». Echo utterances are re-capitulatory echo questions, explicatory echo questions and echo exclamations. They repeat as a whole or in part what has been said by another speaker. They may take the form of any utterance or partial utterance in the language. The stylistic purpose is to

NOTE: In combination with always, continually, or forever, the progressive loses its semantic component of «temporariness» The speaker seems to suggest that «buying books» or «blaming me» are an irritating or deplorable habits. e.g.: He is CONTINUALLY complaining about the noise Bill is ALWAYS/ CONTINUALLY / FOREVER working late at office. 2. Future arising from present arrangement, plan, program: e.g.: «A fine evening, Miss Peecher», said the master. «A fine evening, Mr. Headstone», said Miss Peecher. «Are you taking walk?» «He exam and I are going to take a long walk». e.g.: He (Sir Percival) stopped, and appeared to notice, for the first time, that we were in our walking costume. «Have you just come in?» he asked, «or were just going out?» «We are all thinking of going to the lake this

e.g. He tried to brush Anthony aside. But Anthony firmly stood his ground. «I’m sorry,» he said, his teeth together, «You’re not going in there». (Gordon) NOTE: You are not going is SYNONYMOUS with Don’t go! = Don’t you go! e.g. «We’re going after buff in the morning», he told her. «I’m coming», she said. «No, you’re not». «Oh, yes, I am. Mayn’t I, Francis?» «We’ll put on another show for you tomorrow», Francis Macomber said. «You are not coining», Wilson said. NOTE: The frequentive character of the action (tinkle) is intensified by syntactic reduplication. e.g. «He talks, talks, talks about protecting women, and when the time comes for him to do some protecting, where is he?» The important components of the peripheral field of aspect are the ways of actions which find their positions in s

e.g. «While the family were in this confusion, Charlotte Lucas came to spend the day with them.» e.g. «It’s gone now», said Betty.» I shall be stranger than I was afore. Many thanks to ye, my dear, and when you come to be as old as I am, may others do as much for you». b) Gone + to V -inf = Get + To V -inf (in spoken English indicating that some activity or state has just set in) e.g. How do I get to know you better? She got to think. The children didn't like living in the country when, they first moved from London, but they’re getting to like it (becoming fond of it). He’s getting to be (is becoming) quite a good pianist. He soon got to know (learnt) the wisdom of being patient. c) Take + to – V ing = the ingressive character of an action or the beginning of a habit: e.g. «Then he too

e) Phraseological units with verbs BREAK, BURST, FALL,PUT can be used as impression: e.g. «It just shows a lot of good you can do when you stick up for your kids», Ada remarked before breaking into a laugh when Johnny clomped into the house that night». e.g. «It is hard to burst into laughter at in ray moments of sentiment, as if my soul was like myself, old and over-grown. Observe, dear lady, what a light is dying on the trees! Does it penetrate your heart, as it penetrates1 mine?».. e.g. «She burst into tears as she alluded to it, and for a few minutes could not speak another word.» e.g. «From there one could look down at the river winding among poplars and willows… Birds broke into song». Inchoative Aspect (ingressive aspect) expresses a focus on the onset of situations and is associate

«I am not at liberty to say how I know it-but I do know it». «How could I? I was too terrified to move or speak.» «But when you did move-when you came out– ?» «I run back here, to tell you what had happened.» Examples from Austen J. Pride and Prejudice : «Certainly, «replied Elizabeth – «there are such people, but I hope I am not one of them. I hope I never ridicule what is wise or good. Follies and nonsense, whims and inconsistencies, do divert me, I own, and I laugh at them whenever I can-But these, I suppose, are precisely what you are without.» «You mean to frighten me, Mr. Darcy, by coming in all this state to hear me? But I will not be alarmed though your sister does play so well. There is a stubbornness about me that never can bear to be frightened at the will of others.» «After a f

e.g. «He did not give it a thought». (Galsworthy) «She gave him a little hurried kiss». (K. Mansfield) «…Then her meaning flashed across his clever brain and he gave her a thought.»(S. Maugham) Examples from W. Collins. The Woman in White : e.g. «The line outside took a sudden turn to the left, ran on straight for a hundred yards or so, and then took another sharp turn to the right to join the high- road.» e.g. «I collected myself sufficiently to make a sign in the affirmative.» e.g. «The discovery – I don't know why –gave me such a shock, that I was perfectly incapable of speaking to her for the moment.» The stylistic range of such «phrasal» verbs is very wide. Their dynamic character and the possibility of attaching various kind of attributes to the nominal element makes them particu

e.g. «Sloppy stayed staring at the pattern of the paper on the wall, untill the Secretary and Mrs. Boffin came back together». e.g. «He went to the door, stood looking down at the lock, and said, «Thanks for a great weekend. I had the best time of my life.» e.g. «This was cynicism so patent, that all the Forsyte in Soames rejected it; and yet it would keep coming back. «She stood looking at herself reflected in it, pale, and rather dark under the eyes; little shudders kept passing through her nerves.» NOTE:V-ing means: the period of time/ongoing events or activity and process. In present-day English, especially in spoken English, these verb-phrases are found more frequently: scarcity in morphological devices to indicate aspect in English has necessitated the development of the conventional

CONCLUSION In the present qualification work we attempted to investigate the tense- aspect verbal , such part of speech formed from a verb that does not function as a verb. We chose the tense-aspect verbals as the theme of our qualification work because we interested in it. We used different kind of references to investigate the adjective. In other words, we mentioned that we studied the main aspects of English tense-aspect verbals: grammatical characteristics, their syntactical role, their semantics, and rule of correct use of English tense-aspect verbals. A verbal is a part of speech formed from a verb that does not function as a verb. Tense-aspect verbals are sometimes referred to as non-finite verbs, meaning they do not, as finite verbs do, agree in person, number, and tense with a sub

A participle is a verbal that is used as an adjective and most often ends in - ing or -ed. The term verbal indicates that a participle, like the other two kinds of verbals, is based on a verb and therefore expresses action or a state of being. However, since they function as adjectives, participles modify nouns or pronouns. There are two types of participles: present participles and past participles. Present participles end in -ing. Past participles end in -ed, -en, -d, -t, or -n, as in the words asked, eaten, saved, dealt, and seen. A participial phrase is a group of words consisting of a participle and the modifier(s) and/or (pro)noun(s) or noun phrase(s) that function as the direct object(s), indirect object(s), or complement(s) of the action or state expressed in the participle. A geru

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