Shukurova Sevinch
Student, Uzbekistan World Language University 
                                    sevinchbahodirovna2005@gmail.com

THE CLASSIFICATION OF COMPOSITE SENTENCES AND ITS TYPES
    Abstract: Although the sentence is a fundamental unit of syntax, there is no universal definition for it. This article examines the theory of syntactic units, mainly describing the classification of composite sentences like complex and compound types.
    Keywords: subject-predicate units, syntax, syntactical unit, independent clauses, semi-composite sentence.

   Introduction 
   Syntax is a part of grammar, which deals with ways of combining words into phases in a language (Biber 2002;460),  i.e. combinations of individual lexemes arranged according to certain principles, which determine the length and meaning of the phrase through a proper choice of morphological partners.  The most important phrase is a sentence – a relatively complete and independent communicative unit, which usually realizes a speaker’s communicative intentions and contains one or more subject-predicate units, present or implied.
    
Sentences fall into simple and composite depending on the number of Subject-predicate units in them. A sentence with one Subject-Predicate unit is called a simple sentence, while a sentence with two or more Subject-Predicate units is called a composite sentence. The word “composite” is used by H.Poutsma1 as a common term for both the compound and complex sentence and it may be accepted by those schools that adhere to trichomotic classification of sentences into simple, compound and complex. This classification established in the English prescriptive grammar of the mid-19th century and accepted and developed by the authors of the classical scientific grammar remains the prevalent scheme of the structural classification of sentences in the grammars of all types in the modern period. A very important syntactic unit, containing a subject and a predicate.

    A clause in a composite sentence is similar in its structure to a simple sentence though it acts as a part of a bigger syntactical unit. There are two main ways of linking clauses in a composite sentence: coordination and subordination.

    Coordination is a way of linking grammatical elements making them equal in rank.
    Subordination is a way of linking grammatical elements makes one of them dependent upon the other (or they are mutually dependent). (Kobrina 2006;421)

    There are three types of composite sentences in Modern English:
    1.The compound sentence contains two or more independent clauses with no dependent one.
    2.The complex sentence contains one or more independent clauses. The latter usually tells something about the main clause and is used as a part of speech or as a part of sentence.
    3.The semi-composite sentence combines the two previous types. The compound-complex sentences are those which have at least two independent clauses and at least one dependent (subordinate) clause in its structure: Blair found herself smiling at him and she took the letter he held out to her.  

    In terms of compound sentence, it actually consists of two or more clauses of equal rank, which form one syntactical whole in meaning and intonation. Clauses in a compound sentence are joined by means of coordination, so they are called coordinate. There are two  ways of linking clauses in a compound sentence: syndetic and asyndetic. When clauses are joined with a help of a connector, such as and, but, or, etc., the linking is called syndetic:

    The cloud parted and the increase of light made her look up.o
    He wants her to live in the towns, but she only cares for woods.
    Do you want to leave now or would you rather set off later?
    I heard a noise so I got out of bed and turned the light on.
When clauses are joined without a connector, by means of a comma or semicolon, etc. – asyndetic:

    Man wants to love mankind; woman wants to love one man.
    The church lay up by the railway, the farm was down by the water                                                                 meadows.
    Rickie had warned her; now she began to warn him.
    Her attention was drawn to the other messy areas in the bedroom; to  the left was a closet with louvered doors open and clothing spilling out 

    Syndetic coordination is realized by a number of connectors – conjuctions, such as and, but, or, nor, etc., or by conjuctive adverbs, such as moreover, besides, however, yet, still, otherwise, therefore, etc. In speaking coordinate clauses are separated by pauses, while in writing they may be marked off by a comma, a semicolon, a colon or occasionally a dash.

    Lets move on the other type of composite sentence – complex sentence, which consist of an independent clause ( also called a main or principal clause) and at least one dependent ( or subordinate) clause:  
                 
All good things come to those (2) that wait.
Dependent clauses can be joined to the main clause asyndetically, i.e. without linking elements (She says she loves me), or syndetically, i.e. by means of subordinators.

    The class of subordinators includes subordinating conjuctions (as if, because, although, unless, whether, since, etc.) and connectives, i.e. conjuctive pronouns ( who, whom, whose, which, what, whoever, whatever) and conjunctive adverbs (how, when, where, why). Subordinating conjuctions have the sole function of joining clauses together, whereas connectives not only join clauses together, but also have a syntactic function of their own within the clauses they introduce:

     I didn’t know whether they had rented that house. (a conjunction)
     I didn’t know who had rented that house (a connective, serving as a subject to had rented)

    The components of some conjunctions are spaced apart, with one component found in the main clause and the other, in the subordinate clause: no sooner … than, barely … when, the … the. Subordinating conjunctions introduce subordinate clauses. Since 1965 or so, the term “complementiser” has been used in one of the major theories of syntax not just for subordinating conjunctions introducing complement clauses but for all subordinating conjunctions.

    The semi-composite sentence is to be defined as a sentence with more than one predicate lines which are expressed in fusion. The semi-composite sentence displays an intermediary syntactic character between the composite sentence and the simple sentence.
    Semi composite sentences can be of two types: 
'  - Semi-compound (e.g. He looked at me and went away.)
  - Semi-complex (e.g. The man stood silent.)

    One of the representatives of structural linguists Ch. Fries considers two kinds of composite sentences: sequence and included sentence. Example:
   1.The government has set up an agency called Future builders.
   2. It has a certain amount of funds to make loans to social enterprises.

    These two sentences are connected with each other. The first sentence is a situation sentence and the second one is a sequence sentence since it develops the idea of the situation sentence. The most significant difference between these function words as signals of  “inclusion” and the forms given above as signals of sequence lies in the fact that these function words of inclusion at the beginning of a sentence look forward to a coming sentence unit, while the signals of sequence look backward to the preceding sentence unit. 

    Conclusion it is difficult to find an opinion which is shared by the majority of linguists. We must clearly understand that the composite sentence as such is part and parcel of the general syntactic system of language, and its use is an inalienable feature of any normal expression of human thought in intercourse.

                           References :
1. Gerda M, Valerija N, Jurgita T. English Syntax: The Composite Sentence. The mood. Vilnius, 2010.
2. Iriskulov A.T. Theoretical Grammar of English. Tashkent, 2006
3. Старостина Ю.С.  The Composite Sentence. Самара, 2005
4. Ubaydullayeva D. R. The Theory of Composite Sentences and Complex Sentences in Modern Linguistics. International conference on advance research in humanities, New York, USA. 2022
5. Jim Miller. An Introduction to English Syntax. Edinburgh University Press. 2002
6. https://studfile.net

 
 

Absence of Justice 

If justice is kicked out of a society 
If the social class, offends
And escapes justice 
If money transforms to gum and seals the mouths 
Of the jurists and law enforcers
If the judicial system is sick
Bad deeds, spread quick quick 
Suffering ravages commoners
Great nations of the world 
Are places of no nonsense 
Where wrong doers
Receive full wrath of the law
Regardless of their social status
Saboteurs are caged. 
That's why they are great
No nation can be great If corrupt elements, 
Are bigger than the law
Evils spread fast, when evil doers aren't punished
 

Unemployed, Dating, Self-Esteem Issues

I wish I was naked with you,
but when I am naked with you
I wish I was invisible.

But you might find me by touch,
so I wish I were room temperature.
But you might find me by smell
so I wish I was sleeping in your bed for a week beforehand.
But you might find me by sound
so I wish to hold my breath for as long as it takes
for you to fall asleep waiting for me to come back
from wherever you think I vanished to.

But when I reappear, I would have no present
and you would think I had gone somewhere and returned empty-handed
and that empty-handed sheepishness
is why my self-esteem is so low.

That is why I am not answering your phone calls.


Disney women of the 1980s

The women of Disney’s Saturday morning cartoons were not princesses.

They lived serious lives and were empowered, but somehow we have forgotten them. We should remember three: Gadget Hackwrench, Rebecca Cunningham, Sunni Gummi.

Gadget Hackwrench was a S.T.E.M. gearhead who maintained an airship. She soldered spy equipment. She could drive, off-road, every vehicle that fit a mouse. She dressed in mechanic’s coveralls and was the only Rescue Ranger who wasn’t obsessed with their own image.

Rebecca Cunningham was a single parent who ran a shipping company. She owned a plane. She masterminded supply chain management, international trade regulations, and her daughter’s PTA. Her main employee was a man who starred in a movie without a single female protagonist and she was uncompromisingly his boss. And she did all of these things on screen.

Sunni Gummi infiltrated human castles and posed as a princess, boy crazy and a bit servile to a blonde rich girl until she learned some Hawthornian lessons about life. She became a talented squire, and devised plans on behalf of teenage girls that outwitted politicians, patricians, and her own favoured brothers. She was a savant flute player. She fought with monsters, bare-fisted.She fought with men, naively, but unflinchingly, a pawn played by an older human princess to deflect the violence of Machiavels.

But she represented more than a throwaway piece because no mere pawn could do these things in an urbane world and return home to a rustic family of druids and Gnostic secrets with dignity.

They are not prissy movie princesses. The role model women of Disney were everyday women of Saturday morning.

Let’s talk about working class breakfast cereal and break the chains of royal popcorn. Let’s ask where these women vanished to when we went to college.

Why did we stay silent about their absences when they were replaced in the 1990s by shows named after men like Squarepants, Doug, and other Nickelodeon disappointments?

Why did we let our fascination transfix us on the vapid Disney instead of the empowering one?


Two Magics 

Your fairy godmother has a spell to give you an enchanted pizza topping in your suburban driveway. She throws sparkles over a semper vivum.

It stretches and inflates into an egg on a stem. Voila Bipitty bopitty artichoke. A prince steps out of his Range Rover with a Vessi in his handcasting chill. 

Netflix looks around.


Terry Trowbridge has appeared in Synchronized Chaos before. He has some grant funding from the Ontario Arts Council and hopes that more poets can benefit from their programs in the next cycle (and Terry votes).

Sri Lanka, Again

He’s just booked

His next flight

To Sri Lanka

And is bound

To sleep well tonight.

Taylor Dibbert is a writer, journalist, and poet in Washington, DC. “Rescue Dog,” his fifth book, was published in May.

A COUPLE IN A ROOM

They’re in a room.

And not just any room.

By their very presence,

it’s the room they are in.

Maybe it’s morning.

Or evening. Or dark out.

Or light. Or a certain day

or month. A particular year.

But the room could care less.

Only within matters.

Only each other.

And nothing of anything else.

They huddle. They hold

each other. They’re the

room’s center of power.

They tell it what to do.

            The room obeys

            admirably.

REVOLVING

Death was always a revolver, lying around,

waiting for someone to pull the trigger.

Every chamber was empty but one.

There were potential shooters everywhere.

If they really wanted to kill you,

there was nothing you could do to stop them.

The news was more about knives.

Little jabs from the stories

of what happened to others,

whether it was war or disaster

or local or even family.

For some reason, the blades,

sharp as they were,

couldn’t stab deep enough

to cause the ultimate damage.

You wore the scars, if not proudly,

then at least with deference.

As you grew older,

you didn’t fear that pistol as much.

There’d been shots fired.

But most missed.

A few bullets caused mere flesh wounds.

But the aim was improving.

And your body felt more and more like a target.

The sympathies of others didn’t help.

Sure, they stepped into the line of fire for a moment

but, at the sound of the bang,

they fell away,

left you exposed,

just the way you wanted it.

In the end,

you were so sore and tired and pain-wrecked,

you picked up that revolver yourself,

fired away until a bullet found its mark.

Come morning,

they found you in your bed.

Dead of old age was the conclusion.

But dead of what it takes to die

was the truth.

PAWN

He didn’t wake up one morning

and say to himself, “Yeah that’s me.

I’m the runt of the chessboard.”

He’d been small and powerless as a baby

The years hadn’t changed the situation.

He had his own house — more of a crib

really – with a mortgage looking over it.

And a wife and two kids to share

in his lowly status:

Plus extended family — a hierarchy

that forever doomed  him to a bottom rung.

And a job that shunted him this way,

that way — atypical pawn – of limited

movement, potential, disposal,

and no chance of being a king.

The city with its. roads, its traffic signs,

its cops, its bankers,

only existed so as to tell him what to do.

He attended church to confirm his insignificance.

And played cards with his buddies

though even the winners didn’t really win.

Alcohol found him an easy mark.

So did reality TV.

And then-the doctor’s found

cancer in his brain —

inoperable and in charge.

THE SUN’S PROXY

So little of the sun’s rays

make it to the attic window

and the subsequent shine

does no more than

illuminate some flies,

living and dead.

The past lives here

so it’s only right

that brightness look elsewhere

for its truth

and that a pervading dimness

tends to the fully-packed cardboard boxes,

the over-stuffed metal trunk.

I come up here with a flashlight,

so that I control memory’s narrative,

glossy up an ancient photograph

yet leave a wedding dress in shadow,

glimmer off a bronze baby shoe

but let sleeping love-letters lie.

In this cramped space,

I am the sun,

uncaring of a jigsaw puzzle

but stopping to polish up

a favorite model MG sports car,

shunning school report cards

while bringing out the colors

in a far-too-small-for-me

hand-painted psychedelic shirt.

The true sun

must concern itself

with the limited world of insects.

In low-ceilinged storage space,

the life I’ve lived

revolves around me.

TO BE WHAT THEY’RE LOOKING FOR

A beautiful beach day,

perfect for the tan that will give me

that G Q look just in time

for Miss Right – the phantom lady.

Sea breeze is blowing,

my air’s full of sand

and smells like salt –

hope that doesn’t chase away this woman

who’s not about to show up anyhow.

I tried hawking myself

in the nighttime,

but neon always focused

on my worst side

and shadows had their own dark things

to say about my character.

I’m a compendium

of fidgeting theories,

in constant search for that holy grail –

my best aspect.

What if that special someone prefers

natural off-white to bronze?

And I’m not so muscular.

Is my bathing suit just being honest

or is it asking for trouble?

I could dress in a suit

and look as square as six Salvation Army generals.

Or shop where the kids shop

and come off as a survivor of a time-machine crackup.

Some things they say should be left to chemistry.

So ultra violet rays contribute to oxidative stress,

melanocytes produce eumelanin.

Really, I’m doing all I can.

John Grey is an Australian poet, US resident, recently published in New World Writing, North Dakota Quarterly and Tenth Muse. Latest books, ”Between Two Fires”, “Covert” and  “Memory Outside The Head” are available through Amazon. Work upcoming in Haight-Ashbury Literary Journal, Birmingham Arts Journal, La Presa and Shot Glass Journal.

Broken 

We are broken from previous years

We are broken and weak

Do not come with gifts and close mind

We cannot believe words

Because was never said

We are broken

With several wounds

We try to fix ourselves

Love

Is a word

That nobody understands the same way

Love

Give

Protect

Understand

Respect

Heal

Rebirth

We are broken

Not ready to move

In this life 

Don’t play with Human hearts

The Painted Porch 

at the side of the street of Campoyong
a space between the ligneous living room
& cacophony of the outside world
I sit here in the painted porch
watching the public crowd pass by

on the glass table on the tiled deck
reads a journal on realist painter
in his oil on canvas El Kundiman
a man plays a 1930s piano
& a maiden sings a love song
now mute indeed are tongue and heart

Krebs watches townspeople walk by
yet he remains on the periphery.