The synsemantic character and overlapping relations observed in va rious types of composite sentences bear immediate relevance to their lexico-grammatical organisation, the potential valency of connectives introducing sub-clauses, in particular. Conjunctions, adverbs and conjunctive phrases perform contained syntactic functions of a remarkable variety of types.
That is well known, for instance, as a clause-marker introducing subject, object, predicative, attributive clauses and adverbial sub-clauses of purpose; in adverbial clauses of result, time, condition and concession that is fairly common as correlated with other pronominal or adverbial words: so... that, for all that, now that, but that.
The use of that is common in emphatic patterns with it is... that.
It is to be noted that the traditional classification of conjunctions into coordinative and subordinative must be taken with some points of reservation. Instances are not few when clauses introduced by subordinative connectives and clauses to which they are joined are equal in their functional level. This is the case, for instance, with descriptive attributive clauses or, say, clauses introduced by the coordinative conjunction for that very often functions as absolutely synonymous with the subordinative because.
In some patterns with the subordinative conjunction though the opposition between hypotaxis and parataxis comes to be neutralised. The conjunction though can introduce independent sentences. Terminal punctuation and initial capital letters will make it clear in the written language.
The potential meaning of a given category is, in fact, the sum of the common parts of its actual meanings in various contexts of use. An attempt to identify some potential meaning without considering all the actual occurrences of the category will be futile.
Certain specialised parts of actual meanings are not covered by a potential meaning statement, although in characterising the distributional value of a given category these parts are just as significant as the more general components.
It is also important to remember that not all the general potential meaning of a category will be relevant in each occurrence.
This, however, must be taken with much reservation, for indeed it is hardly possible to make potential meaning statements that would apply to each occurrence of a certain category. The meaningful segmentations may vary from sentence to sentence.
A distinction that is relevant to one occurrence of the pattern may sometimes have no bearing at all on another use.
Borderline cases will be found in clauses introduced by the conjunctive word while used in some contexts with the implication of contrast rather than temporal relations.
Difficulties of grammatical analysis sometimes arise in sentences with the coordinative conjunctions yet and so.
Variation in the functional level of clauses introduced by such connectives is always signalled by the lexico-grammatical organisation of the whole sentence, the meaning of the connective word itself, in particular. What may sometimes be ambiguous in the written language is made clear in spoken language by the terminal pauses of intonation which will always show how the components of the utterance group themselves in each context.
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ASYNDETON
There is another type of syntactic addition which gets along without any connection at all. Clauses juxtaposed in this way are not attached to one another in any grammatical way, they simply abut against each other, they make contact but are not connected. Grammar books differ in identifying the linguistic essence of such syntactic structures. According to the traditional angle of view, they are classified in most languages into compound and complex sentences.
A different approach is found in N. S. Pospelov's 1 treatments of asyndeton in Russian syntax where asyndetic sentences are viewed as a special syntactic category with no immediate relevance to subordination or coordination.
1 H. . . . . 1956, pp. 338345.
This angle of view has been taken also in other books and work-papers on this specialised topic. 1
The multiplicity of ways in which asyndetic sentences are formed in many if not all languages gives, however, every reason to say that sentence-patterns of this type in all the variety of their lexico-grammatical organisation can hardly be adequately described on the whole as irrelevant to subordination and coordination.
Our survey of asyndeton in Modern English with its own semantic traits and features of syntactic arrangement gives sufficient evidence to point out that in some types of asyndetic composite sentences subordinate relations are quite prominent.
The first to be mentioned here are patterns with the attributive clauses, sometimes referred to as "contact-clauses", because what characterises them is the close contact between the antecedent and the clause, e. g.:
You don't care about them! They're not the gimcrack things you and your friends like, but they cost me seventy pounds!" (Galsworthy)
It's a pretty large thing I'm going on to and I'll need a lot of clever medical advice. (Cronin)
That the criterion of subordination is relevant to asyndetic sentences may well be illustrated by object and conditional clauses. Examples are:
He knew there were important ideas working in the other man's mind. (Cronin)
Old Jolyon said he would wait... (Galsworthy)
I'm afraid there's no doubt about it. (Galsworthy)
Had I been a mere clod, neither would I have desired to write nor would you have desired me for a husband. (London)
Observe also the following examples of asyndeton where the close contact between two clauses is suggestive of causal relations:
Timothy was very poorly, he had had a lot of trouble with the chimney sweep in his bedroom; the stupid man had let the soot down the chimney. (Galsworthy)
" Why, yes", she answered, as the music stopped, trying to keep an even tone to her voice. She was glad they were walking toward a chair. (Dreiser)
In other types of asyndetic composite sentences the meaning of result or consequence is quite prominent, e. g.:
Warmth, softness, light, a sweet scent, all those things so familiar to her she never even thought about them, she watched that other receive. (Mansfield)
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She had put on so much weight he would scarcely recognise her. (Cronin)
Asyndetic sentences are fairly common after the introductory it is, e. g.:
1 See: , . 2, . 2, 1954, pp. 382384. . . . . . , ., 1955.
It is an apple she wants, not a pear.
A similar case is found in patterns like: What is this I hear?
As can be seen from the above examples the semantic relations between clauses are signalled only by the lexical meaning of the words making up the sentence. And this is one more example to illustrate the interaction between vocabulary and syntax which must never be overlooked in grammatical analysis.
A word will be said about asyndetic sentences in which the relative pronoun as a subject can be dispensed with (the so-called "apokoinou" principle).
"There's a gentleman downstairs wishes to see the lady", said Alderson. "It's her father, I think", he added quietly. (Dreiser)
REPRESENTED SPEECH
Represented speech is a common device in narrative writing. Syntactic structures with represented speech differ in their grammatical organisation and stylistic value.
Intended to express the character's feelings and thoughts, psychological traits or mental state of mind through the writer's narration, they are most expressive and affective.
Represented speech (free reported speech) does not give the speaker's exact words as they were uttered. In quotation marks, it does not report the speakers words from the author's point of view either as the case is in indirect speech. Reporting an utterance indirectly by back-shifting the verb it omits the reporting clauses which are conventional signals of indirect speech.
There are two points to remember about the grammatical organisation of such syntactic structures:
1) the use of the tenses, the future-in-the-past in independent sentences, in particular, which is distinct from the direct speech, and the use of personal pronouns;
2) the use of exclamatory nominal sentences as distinct from indirect speech.
Represented speech is fairly common in 20th century literary prose. With some writers it has developed into a special manner of style. Structures of this type are skilfully used by creative writers. The use of free indirect speech for describing "interior monologue" has become a very widespread, if not standard practice in the fiction of the 20th century. In Galsworthy's novels, for instance, they are so effective and add so much to the artistic value of his writings that merit special consideration. They are always "in character", well befitting the personality and social standing of the character. We find here interrogative, vocative sentences, rhetoric questions; structures of this kind are not infrequently introduced into various dialogues, where the direct and indirect speech are used alongside with represented speech. Translation from one form to another lends variety to narration.
Examine the following extracts from J. Galsworthy to see how skilfully these stylistic resources of syntax serve his pen:
"Bonsoir, monsieur!" How softly she had said it. To know what was in her mind! The French they were like cats one could tell nothing! But how pretty! What a perfect young thing to hold in one's arms! What a mother for his heir! And he thought, with a smile, of his family and their surprise at a French wife, ana their curiosity, and of the way he would play with it and buffet it confound them! The poplars sighed in the darkness; an owl hooted. Shadows deepened in the water. "I will and must be free", he thought. "I won't hang about any longer. I'll go and see Irene. If you want things done, do them yourself. I must live again live and move and have my being." And in echo to that queer biblicality church-bells chimed the call to evening prayer.
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Few things are so subjective as the use of represented speech. By a skilful use of its various patterns the writer is able to imply with emotive shades of meaning his own attitude concerning the person spoken to or of.
