Yolgoshova Sevinch, Bukhara Region, Kogon District, Barkamol Avlod Children’s School, member of the “Yosh Kalamkashlar” club, 9th grade student of the 17th school in the district, “I bow to those who know you”, 1st place winner of the regional stage.
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
CONTRASTS
Tonight I will wear a lavish dress of modesty,
black, yet still white from purity,
and I will go into warm rooms of ice.
I will dance all night while standing still,
and I will watch you with my eyes closed.
And I will be ideally imperfect,
and I will feel freedom as a captive.
And I will be strongly weak,
here, beside you,
because I love you.
Azemina Krehić was born on October 14, 1992 in Metković, Republic of Croatia. Winner of several international awards for poetry, including: Award of university professors in Trieste, 2019.,„Mak Dizdar“ award, 2020. Award of the Publishing Foundation of the Federation of Bosnia and Herzegovina, 2021. „Fra Martin Nedić“ Award, 2022. She is represented in several international anthologies of poetry.
Mashhura Ahmadjonova was born on October 25, 1999 in Uychi district of Namangan region. The winner of the 2nd place in the regional stage of the “Most Active Reader” Republican competition. Member of the Indian organization “All India Council for Technical Skill Development”, the Argentinean organization “Juntos pol las letras”
A poetry book that you can’t put down is hard to find, but Fever qualifies. This collection shows how it felt to grow up as a boy in the mid-20th century, and then to live in the drastically revised world of the 21st century and encounter all the new definitions and expectations.
The title poem pulls the reader in with its couplet form that provides long expository loops and close-up scenes. The book is like a river, running on and on and over rocks and around obstacles. The inner and outer landscapes are fresh and appealing. The reader is carried along, and now and then there is a bright stone, or perhaps a glimpse of something frightening under the flow, and always there are startling insights.
Chuck Taylor is a veteran poet, prose writer, and photographer who taught Creative Writing at Texas A&M University for many years and has published dozens of books. This is an especially attractive volume, with Munch’s nude couple embracing on the cover and brush drawings throughout by the poet himself.
More than half the book is the first section called “Fever”, which describes the growing up of Vance, who has a somewhat rocky upbringing in the mid-20th century with a neglectful but demanding mother and a quixotic father. From there, Vance enters the adult world and has adventures which will form him and push him somewhat off the grid forever. Sexual discovery and identity evoke smiles and winces. Young Vance reads Augustine of Hippo, who found sex “the original sin”:
…sex is the fall
from grace, from the garden where once the lion
and the lamb lay down together, into the
toil of soil, the thorn of roses and
the blood and pain of baby birthing; sex
passed from Eve and Adam, worm slithering
dumb into our operating systems
at around twelve or so, starts maddening
dreams, hijacks souls and bodies, and makes us
do what God in nature wants—populate
the Earth to choking; forget ideal dreams…
…Yearn instead for naked
skin, for bare ass; the virus has grabbed our souls…(20)
“Fever” is written in a kind of flexible blank verse, ideas strung together, thoughts leaping over the rhythms.
Other sections include “Taking Off,” “Takeoffs,” and “Lizard King.” “Taking off” narrates stories of the young man completely escaped from this constrictive home, and what he learns through his first individual experiences. The last section is “Lizard King,” which is dedicated to John Morrison, and it is an unusual poem that has only one word per line. The poet pleads with us to slow down in the reading, but this is hard to do.
“Taking Off” gives glimpses of many kinds of prisons, including age. The “Lady of the Pink Slippers” wants Jack, visiting his resident mother, to open the glass door of her care home and release her. But he can’t—the door is so constructed as to prevent its opening. He muses on prisons in his own life, then ponders the
lady of pink slippers who we
muse, we dream, must surely
be given, most definitely, the
right lucky chance, given
a great maverick moment—
though tired, though busted,
though beatific, though beat—
to wing with us on through
doors across fields into the
long various grasses of freedom. (99)
These poems attempt to define the relationship between men and women, physically, socially, and emotionally. The main characters growing up this during the period of rapid change in values in the understanding of sexual and gender roles, gives a unique perspective on these changes . I often wondered how the young men I knew fifty years ago managed to accommodate the difference in expectations. Reading the poems, I can feel what a young man felt, and know what he learned as he aged.
The concluding section, “Lizard King,” the poem of one word per line, is not amenable to quotation. But the third section, “Takeoffs,” is most entertaining. “Takeoffs” gives meditations, ideas, and images based on other literature, sometimes in the form of imitation. They may be serious or laugh-out-loud funny. He kindly gives us the William Ernest Henry “Invictus” so that we can fully understand Taylor’s version “Inlustus,” which follows it. “Inlustus” concludes:
Beyond this place of peace and grace
looms a filling Mexican dinner plate,
and the candlelit pleasure of your face
in the afterglow of our randy state.
It matters not how cold the side dish soup,
how greasy hot the plop of refried beans,
you are the dizzy center of my loop,
I am the gleeful nibbler of your greens. (141)
Fever demonstrates the need for freedom and the various traps and prisons we find instead: sexuality, other confining elements of the male role, societal demands often based on sexual expectations. And it shows us a side of male experience not so often explored. This is a collection to glide though and then return to.
