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KISS Grammar
A KISS Level 2 Workbook
Expanding the Basics
Free, from the KISS Grammar Web Site
KISSGrammar.org
© Ed Vavra
Nov. 1, 2012
Updated Nov. 12, 2016
Contents
Introduction—Welcome Back to KISS Grammar
KISS Level 2. 1. The Complexities of S/V/C Patterns
KISS Level 2. 1. 1. - Understood “You”
Understood “You”
Ex. 1 - From Heidi by Johanna Spyri
Ex. 2 - If My Dog Could Teach Me
KISS Level 2. 1. 2 - Varied Positions in the S/V/C Pattern
Ex. 1 – From Lassie, Come Home by Eric Knight
Ex. 2 - From “Clytie, the Heliotrope”
Ex. 3 - Model Sentences from “Clytie, the Heliotrope”
KISS Level 2. 1. 3 - Expletives (Optional)
Expletives
Ex. 1 - From Lassie, Come Home by Eric Knight
Ex. 2 - From Heidi by Johanna Spyri
KISS Level 2. 1. 4 - Palimpsest Patterns
Palimpsest Patterns
Ex. 1 – From Lassie, Come Home by Eric Knight
Ex. 2 - From Heidi by Johanna Spyri
KISS Level 2. 1. 5 - Phrasal Verbs
Preposition? Adverb? Or Part of the Verb?
Ex. 1 - From the Writing of Sixth Graders
Ex. 2 – From Lassie, Come Home by Eric Knight
Ex. 3 - From Heidi by Johanna Spyri
KISS Level 2. 1. 6 - Distinguishing Finite Verbs from Verbals
Distinguishing Finite Verbs from Verbals — The Noun Test
Ex. 1 - From Heidi by Johanna Spyri
Distinguishing Finite Verbs from Verbals — The “To” Test
Ex. 2 – From “Jack and His Golden Box”
Distinguishing Finite Verbs from Verbals — The Sentence Test
Ex. 3 - From Stories of Robin Hood Told to the Children
The Three Tests to Distinguish Finite Verbs from Verbals
Ex. 4.a. - From the Writing of a Sixth Grader
Ex. 4.b. - Based on “Perseus” by Charles Kingsley
Ex. 5 – A Passage for Analysis: The Night Watch by Rembrandt Van Rijn
Ex. 6 - Just for Fun? – Shooting Oneself
KISS Level 2.1.7 - The Subjunctive Mood
Subjunctive Mood
Ex. 1 - From Lassie, Come Home by Eric Knight
Ex. 2 - From At the Back of the North Wind by George Macdonald
KISS Level 2. 2. The Complexities of Prepositional Phrases
KISS Level 2. 2. 1. The “To” Problem & Verbs as Objects of Prepositions
The “To” Problem
Ex. 1.a - Based on Black Beauty, by Anna Sewell
Ex. 1.b - Based on Black Beauty, by Anna Sewell
Verbs as Objects of Prepositions
Ex. 2 - Based on Black Beauty, by Anna Sewell
A Mini-Lesson on “To” and “Too”
Exercise # 3 Writing Sentences with “To” or “Too”
Exercise # 4 Treasure Hunt and/or Recipe Roster
KISS Level 2.2.2 - Preposition (or Subordinate Conjunction)?
Is It a Preposition?
Ex. 1 - Based on Black Beauty, by Anna Sewell
Ex. 2 - From At the Back of the North Wind by George Macdonald
KISS Level 2. 2. 3 - Embedded Prepositional Phrases
Embedded Prepositional Phrases
Ex. 1.a. – Based on Introductory Lessons in English Grammar
Ex. 1.b. - From Lassie, Come Home by Eric Knight
Ex. 1.c. - From Heidi by Johanna Spyri
Passages for Analysis
Ex. 2.a. The Pledge of Allegiance to the Flag
Ex. 2.b. - From Andrew Lang’s “Toads and Diamonds”
Exercise # 3 Treasure Hunt and/or Recipe Roster
KISS Level 2. 2.4 - Prepositional Phrases - Advanced Questions
Unusual Prepositional Phrases
Verbs as Objects of Prepositions
Ex. 1 - Based on Black Beauty, by Anna Sewell
Subordinate Clauses as Objects of Prepositions
Ex. 2 - Based on Black Beauty, by Anna Sewell
Ellipsed Objects of Prepositions
Ex. 3 - Based on Black Beauty, by Anna Sewell
KISS Level 2. 3. Adding Three Level Five Constructions
Nouns Used as Adverbs
Ex. 1 - Nouns Used as Adverbs From Heidi by Johanna Spyri
Simple Interjections
Ex. 2 - Interjections from Heidi by Johanna Spyri
Ex. 3 - The Punctuation of Interjections From Growth in English
Direct Address
Ex. 4 - Direct Address from At the Back of the North Wind
Ex. 5 - Adapted from Voyages in English - Fifth Year
Ex. 6 - Mixed Constructions
From The Secret Garden by Frances Hodgson Burnett
Ex. 7 - Treasure Hunts and/or Recipe Rosters
Introduction—Welcome Back to KISS Grammar
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.
Remember:
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!
KISS Level 2. 1. The Complexities of S/V/C Patterns
/KISS Level 2. 1. 1.- Understood “You”
Understood “You”
In some sentences the subject “you” is simply understood:
Close the door. = Youclosethe door (DO).
Be quiet! = Youbequiet (PA)!
Take out the garbage. = Youtakeout thegarbage (DO).
To show that you understand this, your teacher may want you to always write in, and underline once, the understood “you.”
“You” UnderstoodEx. 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.
/Ex. 2 - If My Dog Could Teach Me
A Lesson on the Imperative MoodWhen 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.
KISS Level 2. 1. 2 - Varied Positions in the S/V/C Pattern
/Ex. 1 – From Lassie, Come Homeby 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.
/Ex. 2- From “Clytie, the Heliotrope”
Adapted from OvidDirections:
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.
/Ex. 3 - Model Sentences from “Clytie, the Heliotrope”
Adapted from OvidThe 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 wasshechangedinto a flower.
In vainwerehersorrowandtears, 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.
KISS Level 2. 1. 3 - Expletives (Optional)
Expletives
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.
Portrait of
Jonathon Buttall
(The Blue Boy)
1770
by
Thomas
Gainsborough
(1727 - 1788)
Huntington Library
and Art Museum
San Marino, CA / There [Expl]are five people at the table.
or
Thereare five people at the table.
or
Thereare five people (PN) at the table.
Deep in the woods there [Expl]was a small house.
or
Deep in the woods therewas a small house.
or
Deep in the woods therewas a small house (PN).
There [Expl]is a place for us.
or
Thereis a place for us.
or
Thereis a place (PN) for us.
Waiter, there [Expl]is a fly in my soup.
or
Waiter, thereis a fly in my soup.
or
Waiter, thereis afly (PN) in my soup.
There [Expl]must be no mistake this time.
or
Theremust be no mistake this time.
or
Theremust be no mistake (PN) this time.
/ Expletives (Optional)
Ex. 1 - From Lassie, Come Homeby 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.
/ 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.
KISS Level 2. 1. 4 - Palimpsest Patterns
Palimpsest Patterns
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 tearscamehot (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:
. . . shelay 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 gatesgroanedopen (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.
/ Palimpsest PatternsEx. 1 – From Lassie, Come Homeby 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.
Palimpsest PatternsEx. 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.
KISS Level 2. 1. 5 - Phrasal Verbs
Preposition? Adverb? Or Part of the Verb?
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