LICENSURE EXAMINATION FOR TEACHERS (LET) Reviewer for English Ma ors Prepared by Victor Rey Fumar I! A.

Ling"is#i$s Scope of Linguistic Studies 1. %honolog& studies the combination of sounds into organized units of speech, the combination of syllables and larger units. a. %hone'e is a distinctive, contrasted sound unit, e.g. /b/, //, /g/. t is the smallest unit of sound of any language that causes a difference in meaning. b. Allo(hones are variants or other !ays of producing a phoneme. ". %hone#i$s studies language at the level of sounds# ho! sounds are articulated by the human speech mechanism. $. Mor(holog& studies the patterns of forming !ords by combining sounds into minimal distinctive units of meanings called morphemes. a. Mor(he'e is a short segment of language !hich %1& is a !ord or !ord part that has meaning, %"& cannot be divided into smaller meaningful parts !ithout violating its meaning, %$& recurs in different !ords !ith a relatively stable meaning. b. Allo'or(hs are morphs !hich belong to the same morpheme e.g., /s/, /z/, and /ez/ of the plural morpheme /s/ or /es/. c. Free 'or(he'es can stand on their o!n as independent !ords, e.g., beauty in beautifully, li'e in unli'ely. (hus, they can occur in isolation. d. )o"n* 'or(he'es cannot stand on their o!n as independent !ords. (hese morphemes are also called as affi)es. e. Infle$#ional 'or(he'es never change the form class of the !ords or morphemes to !hich they are attached. (hey sho! person, tense, number, case, and degree. f. +eriva#ional 'or(he'es are added to root morphemes or stems to derive ne! !ords. *. S&n#a, deals !ith ho! !ords combine to form phrases, clauses, and sentences, and studies the !ay phrases, clauses, and sentences are constructed. a. S#r"$#"re of (re*i$a#ion refers to the t!o components # sub+ect and predicate b. S#r"$#"re of $o'(le'en#a#ion has t!o basic elements # verbal and complement c. S#r"$#"re of 'o*ifi$a#ion includes t!o components # head !ord and modifier d. S#r"$#"re of $oor*ina#ion covers t!o components # e,uivalent grammatical units -. Se'an#i$s attempts to analyze the structure of meaning in language and deals !ith the level of meaning in language. a. Le,i$al a'-ig"i#& refers to the characteristic of a !ord that has more than one meaning. b. S&n#a$#i$ a'-ig"i#& refers to the characteristic of a phrase that has more than one meaning e.g. .ilipino teacher. /. %rag'a#i$s deals !ith the conte)tual aspects of meaning in particular situations 0 studies ho! language is used in real communication. a. S(ee$h a$# #heor& advances that every utterance consists of three separate acts %1& locutionary force an act of saying something and describes !hat a spea'er says, %"& illocutionary force the act of doing something and !hat the spea'er intends to do by uttering a sentence, and %$& perlocutionary act an act of affecting someone0 the effect on the hearer of !hat a spea'er says. b. Ca#egories of illo$"#ionar& a$#s refers to categories proposed by 1ohn Searle to group together closely related intentions for saying something# Re(resen#a#ive stating, asserting, denying, confessing, admitting, notifying, concluding, predicting, etc. +ire$#ive re,uesting, ordering, forbidding, !arning, advising, suggesting, insisting, recommending, etc. ."es#ion as'ing, in,uiring, etc. Co''issive promising, vo!ing, volunteering, offering, guaranteeing, pledging, betting, etc. E,(ressive apologizing, than'ing, congratulating, condoling, !elcoming, deploring, ob+ecting, etc. +e$lara#ion appointing, naming, resigning, baptizing, surrendering, e)communicating, arresting, etc. 2. +is$o"rse studies chun's of language !hich are bigger than a single sentence. Language 4ie!s / (heories of Language 1. (he S#r"$#"ralis#s support the idea that language can be described in terms of observable and verifiable data as it is being used. a. Language is a means of communication. b. Language is primarily vocal c. Language is a system of systems. d. Language is arbitrary. ". (he Transfor'a#ionalis#s believe that language is a system of 'no!ledge made manifest in linguistic forms but innate and, in its most abstract form universal. a. Language is a mental phenomenon. t is not mechanical. b. Language is innate. 5hildren ac,uire their first language because they have a language ac,uisition device %LA6& in their brain. c. Language is universal# all normal children learn a mother tongue, all languages share must share 'ey features li'e sounds and rules. d. Language is creative and enables spea'ers to produce and understand sentences they have not heard nor used before. $. (he F"n$#ionalis#s advocates that language is a dynamic system through !hich members of a community e)change information. t is a vehicle for the e)pression of functional meaning such as e)pressing one7s emotions, persuading people, as'ing and giving information, etc. (hey emphasize the meaning and functions rather than the grammatical characteristics of language. *. (he In#era$#ionis#s believe that language is a vehicle for establishing interpersonal relations and for performing social transactions bet!een individuals. Language teaching content may be specified and organized by patterns of e)change and interaction. Language Ac,uisition / (heories of Language Learning 1. )ehavioris# learning #heor& the language behavior of an individual is conditioned by se,uences of differential re!ards in his/her environment. According to Little!ood %189*&, the process of habit formation includes the follo!ing # a. 5hildren imitate the sounds and patterns !hich they hear around them. b. :eople recognize the child7s attempts as being similar to the adult models and reinforce %re!ard& the sounds by approval or some other desirable reaction.

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n order to obtain more of these re!ards, the child repeats the sounds and patterns so that these become habits. n this !ay t he child7s verbal behavior is conditioned %;shaped7& until the habits coincide !ith adult models. 3ehavioralists see three crucial elements of learning# %1& a stimulus, !hich serves to elicit behavior, %"& a response triggered by the stimulus, and %$& reinforcement !hich serves to mar' the response as being appropriate and encourages the repetition of the response. ". Cogni#ive learning #heor&! <oam 5homs'y believes that all normal human beings have an inborn biological internal mechanism that ma'es language learning possible. 5ognitivists / innatists ; mentalists account of second language ac,uisition include hypothesis testing, a process of formulating rules and testing the same !ith competent spea'ers of the target language. $. /rashen0s Moni#or Mo*el (1231)!(his is the most comprehensive theory in second language ac,uisition. t consists of five central hypotheses. a. (he a$4"isi#ion 5 learning h&(o#hesis claims that there are t!o !ays of developing competence in L"# Ac,uisition the subconscious process that results from informal, natural communication bet!een people !here language is a means, not a focus nor an end in itself. Learning the conscious process of 'no!ing about language and being able to tal' about it, that occurs in a more formal situation !here the properties of a language are taught b. (he na#"ral or*er h&(o#hesis suggests that grammatical structures are ac,uired in a predictable order for both children and adults = certain grammatical structures are ac,uired before others, irrespective of the language being learned. c. (he 'oni#or h&(o#hesis claims that conscious learning of grammatical rules has an e)tremely limited function in language performance# as a 'oni#or or e*i#or that chec's output. d. (he in("# h&(o#hesis. >rashen proposes that !hen learners are e)posed to grammatical features a little beyond their current level those features are ac,uired. e. (he affe$#ive fil#er h&(o#hesis . .ilter consists of attitude to language, motivation, self?confidence and an)iety. Learners !ith a lo! affective filter see' and receive more input, interact !ith confidence, and are more receptive to the input they are e)posed to. o (eachers must continuously deliver at a level understandable by learners o (eaching must prepare the learners for real life communication situations o (eachers must ensure that learners do not become an)ious or defensive in language learning. o .ormal grammar teaching is of limited value because it contributes to learning rather than ac,uisition Language (eaching mplications 1. Language theories provide some basis for a particular teaching method or approach. Structuralism / behaviorism has produced the audiolingual method %AL@&, oral approach / situational language teaching, bottom?up te)t processing, controlled?to?free !riting. ". (he cognitive learning theory results to the cognitive approach that puts language analysis before language use and instruction by the teacher, before the students practice forms. Learning as a thin'ing process gives birth to cognitive?based and schema?enhancing strategies such as 6irected Aeading (hin'ing Activity, Story Brammar, (hin'?Aloud, etc. $. (he functional vie! of language introduced methods !hich are learner?centered, allo!ing learners to !or' in pairs or groups in information gap tas's and problem?solving activities !here such communication strategies as information sharing, negotiation of meaning, and interaction are used. (hese communication?based methods include the 5ommunicative Language (eaching / 5ommunicative Approach, <otional?.unctional Approach, <atural Approach *. 5ognitive affective has given rise to a holistic approach to language learning or !hole person learning. t also includes the humanistic approach, allo!ing learners vocabulary for e)pressing, sharing and understanding one7s feelings, values, and needs. (he humanistic techni,ues cover 5ommunity Language Learning. A. Li#era#"re Boals of (eaching Literature 1. 6evelop and/or e)tend literary competence. 1onathan 5uller defines literary competence as the ability to internalize the ;grammar7 of literature !hich !ould permit a reader to convert linguistic se,uences into literary structures and meaning. ". 6evelop and/or enhance learners7 imagination and creativity. $. 6evelop students7 character and emotional maturity. *. 6evelop creative thin'ing. -. 6evelop literary appreciation and refine one7s reading taste. 1. ". $. *. -. /. 2.

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@ethods in (eaching Literature Le$#"re Me#ho*s # formal, informal, straight recitation +is$"ssion Me#ho*s # pair !or', buzz group, group !or' %"-li$ S(ea6ing Me#ho*s # memorizing, interpretive reading %Aeaders (heater, 5hamber (heater&, debate, panel forum A"*io78is"al Me#ho*s # using slides, transparencies, film, vcd, dvd, %ro e$# Me#ho*s # scrapboo' ma'ing, e)hibit/diorama, dramatization, literary map, time line, video/audio script!riting Fiel* Resear$h Me#ho*s # field trip, author intervie! Crea#ive 9ri#ing Me#ho*s # +ournal !riting, closure !riting, team !riting, !riting !or'shop 5. Some Strategies and (echni,ues in (eaching Literature 1. Show an* Tell and )l"r- 9ri#ing using the title and cover design ". Movie %os#er and Movie Trailer transforming a literary piece into film $. 9ri#ing Cha(#er :ero 5 E(ilog"e !riting a pre,uel or se,uel *. Mo$6 A"#hor In#erview assigning a student to play the role of the author -. )iogra(hi$al Mon#age compiling authentic materials about the author /. ;ra(hi$ Re(resen#a#ions using s'etching or other visual representations 2. S$"l(#ing ma'ing a tableau or montage 9. Crea#ive Conversa#ion, S(ee$h )alloons, or Tho"gh# )"--les supplying dialogues 8. 9or6shee#s completing grids or !riting responses 1C. Transfor's translating or turning a piece into another genre

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Li#erar& Cri#i$is' involves the reading, interpretation and commentary of a specific te)t or te)ts !hich have been designated as literature. Literary criticism is the application of a literary theory to specific te)ts. Literary theory identifies !hat ma'es literary language literary and the function of literary te)t in social and cultural terms. 1. Classi$al Li#erar& Theor& literature is an imitation of life. a. @imesis %:lato& literature is an imitation of life. b. 6ulce et utile %Dorace& function of literature is to entertain or to teach/instruct c. Sublime %Longinus& style may be lo!, middle, high, or sublime d. 5atharsis %Aristotle& purgation of negative emotions of fear and pity ". His#ori$al < )iogra(hi$al and Moral < %hiloso(hi$al A((roa$hes a. A literary !or' is a reflection of its author7s life and times or the life and times of the characters in the !or'. b. t emphasizes that literature functions to teach morality and to probe philosophical issues. $. Ro'an#i$ Theor&. Eilliam Eords!orth articulated it in his :reface to the Lyrical 3allads as literature !hich should a. have a sub+ect matter that is ordinary and commonplace b. use simple language, even aspiring to the language of prose c. ma'e use of the imagination d. convey a primal, simple, uncomplicated feeling e. present similitude in dissimilitude %similarities in differences& *. New Cri#i$is' believes that literature is an organic unity. (o use this theory, one proceeds by loo'ing into the follo!ing # the persona, the addressee, the situation %!here and !hen&, !hat the persona says, the central metaphor %tenor and vehicle&, the central irony, the multiple meaning of !ords. -. %s&$hoanal&#i$al Theor& applies .reudian psychoanalytic ideas to literature. a. t loo's into the character7s or author7s motivations, drives, fears, desires. b. t believes that creative !riting is li'e dreaming it disguises !hat cannot be confronted directly the critic must decode !hat is disguised. /. M&#hologi$al 5 Ar$he#&(al A((roa$h is based on 5arl 1ung7s theory of collective unconscious. a. Aepeated or dominant images or patterns of human e)perience are identified in the te)t. b. t also uses <orthrop .rye7s assertion that literature consists of variations on a great mythic theme that contains the follo!ing # %1& the garden # the creation of life in paradise, %"& alienation # displacement or banishment from paradise, %$& +ourney # a time of trial and tribulation, %*& epiphany # a self?discovery as a result of struggle, %*& rebirth / resurrection # a return to paradise. 2. S#r"$#"ralis# Li#erar& Theor& comes from the linguistic theory of .erdinand de Saussure !hich recognizes language as a system or structure. (o 4ladimir :ropp and (zvetan (odorov , structuralism should identify the general principles of literary structure and not to provide interpretations of individual te)ts. (hree dimensions in individual literary te)ts # a. the te)t as a particular system or structure in itself %naturalization of a te)t& b. te)ts are unavoidably influenced by other te)ts %interte)tuality& c. the te)t is related to the culture as a !hole %binary oppositions& 9. +e$ons#r"$#ion interrogates our common practices in reading and e)poses the gaps, incoherences, the contradictions in a discourse and ho! the te)t undermine itself or ho! a te)t contradicts itself. 6econstruction dra!s much from the !or's of 1ac,ues 6errida. (he process involves a. identifying the oppositions in the te)t b. determining !hich member is favored/privileged and loo'ing for evidence that contradicts it c. e)posing the te)t7s indeterminancy 8. R"ssian For'alis' led by 4i'tor Sh'lovs'y aims to establish a ;science of literature7 and discover the literariness of a te)t by highlighting the devices and technical elements used by the author. (hese elements should include # a. -aring #he *evi$e e.g. distorting time in various !ays foreshortening, s'ipping, e)panding, transposing, reversing, flashbac', flashfor!ard, etc. b. *efa'iliari=a#ion this means ma'ing strange and using fresh !ays of describing things c. re#ar*a#ion of #he narra#ive the techni,ue of delaying and protracting actions by using digressions, displacements, e)tended descriptions, etc. d. na#"rali=a#ion refers to ho! !e endlessly become inventive in finding !ays of ma'ing sense of the most random or chaotic utterances or discourse. e. $arnivali=a#ion @i'hail 3a'htin used this term to describe the shaping effect of carnival on literary te)ts. (he festivities associated !ith the carnival are collective and popular0 hierarchies are turned on their heads %fools become !ise0 'ings become beggars&0 opposites are mingled %fact and fantasy, heaven and hell&0 the sacred is profaned0 the rigid or serious is subverted, moc'ed or loosened. 1C. Mar,is# Li#erar& Theor&! t aims to e)plain literature relation to society that literature can only be properly understood !ithin a larger frame!or' of social reality. @ar)ist literary critics !ould li'e to loo' at the structure of history and society and then investigate !hether the literary !or' reflects or distorts this structure. (hey insist that literature has a social dimension it e)ists in time and space, in history and society. @oreover, !riters are constantly formed by their social conte)ts and social class. 11. Fe'inis# Cri#i$is'! 3ranching out from @ar)ism, it is a political discourse0 a critical and theoretical practice committed to the struggle against patriarchy and se)ism. a! .eminism as's !hy !omen played a subordinate role to men in society. t studies the male?dominated canon to understand ho! men have used culture to further their domination of !omen. b. t studies literature by !omen for ho! it addresses or e)presses the particularity of !omen7s life and e)perience. .eminist critics insist that !omen7s e)perience is different from men7s. 1". %os#$olonial Cri#i$is'! :ostcolonialism refers to the independence en+oyed by (hird Eorld countries after the decline of colonial rule by imperialist po!ers. (he many concerns of postcolonial criticism includes the follo!ing # a! attempt to resurrect their national culture and to combat the misconceptions about their culture b. dramatize the colonial e)perience and their response to it c. escape from the implicit body of assumptions to !hich the language of the colonizing po!er, Fnglish, !as attached. d. study diasporic te)ts outside the usual Eestern genres, especially !or's by aboriginal authors, marginalized ethnicities, immigrants, and refugees. e. analyze nationality, ethnicity, and politics !ith poststructuralist ideas of identity and indeterminacy, and hybrid constructions %Domi >. 3haba& 1$. %os# Mo*ern Li#erar& Theor&! :ostmodern refers to the culture of advanced capitalist societies, !hich has undergone a profound shift in the ;structure of feeling.7 :ostmodern te)ts have the follo!ing features # a! fragmentation g. interte)tuality -! discontinuity h. decentering $! indeterminacy i. dislocation

*! plurality e! metafictionality f! heterogeneity III!

+. ludism '. parody l. pastiche

Ling"is#i$ A((roa$hes #o Rea*ing )loo'fiel* A((roa$h Leonard 3loomfield and 5larence 3arnhart advocate that the child should be ac,uainted !ith the letters of the alphabet at the very start. (he child should begin !ith capital letters and then go to small letters. 3. Fries A((roa$h 5harles .ries7 basic concept # Learning to read in one7s native language is learning to shift, to transfer, from auditory signs for the language signals !hich the child has already learned to visual or graphic signs for the same signals for language perception. (he aim is to develop high?speed recognition responses to Fnglish spelling patterns. C! E$le$#i$ A((roa$h 1. Rea*ing as in#eres# development of the recreational reading habit0 the ma+or approach is personalized or individualized reading. >! Rea*ing as lang"age (ro$ess Lang"age E,(erien$e A((roa$h a strategy !hich vie!s reading as an e)tension of spea'ing # thin'ing/e)periencing, tal'ing, !riting, reading. %s&$holing"is#i$ A((roa$h vie! reading as an interaction of thought and language, a process of combining psychology and linguistics. (his approach advances that reading, li'e listening, is a receptive process, used to understand a !ritten message, that readers reconstruct the author7s meaning in their o!n !ords. $. Rea*ing as $"l#"re focuses on the relation bet!een dialect differences and the !ritten message as !ell as on one7s cultural heritage. t ma'es instruction relevant to the pupil7s cultural bac'ground. *. Rea*ing as a learne* (ro$ess emphasizes on controlled development of s'ills in a structured se,uence progressing from simple to comple) (he 3asal (e)tboo' Approach follo!s this general format # scope?and?se,uence or flow $har# for all an overall vie! of s'ills0 'indergarten readiness wor6-oo6s? first grade, second grade and above s6ill-oo6s? #ea$her0s g"i*es and assess'en# #es#s. (he standard basal te)t lesson follo!s these steps# %a& bac'ground or motivation %b& vocal development %c& purposeful or guided silent reading %d& discussion %e& purposeful rereading %f& s'ill instruction in !ord recognition, comprehension s'ill !ith the use of !or'boo's %g& enrichment activities The Ling"is#i$ A((roa$h loo' at reading as recognizing and interpreting graphic symbols representing spo'en sounds !hich have meaning. t stresses sound?symbol regularity and systematic e)posure to fre,uently used sounding patterns. The %honi$s A((roa$h believes that the Fnglish spelling system is essentially regular in its correspondence bet!een letters and speech sounds and that letter sounds can be blended together to form !ords. .or second language learners short phonics drills on crucial sounds li'e f, v, j, sh, th, z, a and the sch!a are needed. %rogra''e* Ins#r"$#ion includes step?by?step learning, learning, immediate feedbac', regular and constant revie! and individual progress through materials. (he S'ills @onitoring Approach reading is analyzed in terms of s'ills arranged in hierarchies. (his approach entails %1& a scope and se,uence chart of reading s'ills %"& a battery of tests for preassessment of reading abilities %$& based on test results, instruction to ad+ust to pupils7 interest, abilities, and needs %*& a continuous assessment using both formative and summative tests %-& a corrective or remedial measures %/& an ade,uate and challenging enrichment activities for the bright pupils. A. S#age an* S(ee$h Ar#s Level / 5onte)t of Speech 5ommunication 1. In#ra(ersonal involves only oneself. nternal discourse li'e thin'ing, analysis, contemplation, meditation Solo vocal communication li'e thin'ing aloud, solilo,uies Solo !ritten communication not intended for others li'e diaries, or personal +ournals ". In#er(ersonal involves an e)change bet!een sender and receiver of a message. t may be direct %face?to?face& or indirect %via telephone, e?mail, teleconference& 6yadic communication 0 t!o people tal'ing Broup communication 0 study group, committee meetings :ublic communication 0 scholarly lectures, political campaigns )! The S(ee$h Ar#s 1. 6ifferent types of public speech according to purpose nformative to present facts, 'no!ledge, information :ersuasive to reinforce or modify the audience7s beliefs Gccasional or entertaining to amuse the audience ". Do! the speech is delivered mpromptu speech delivered !ith little or no preparation F)temporaneous speech delivered !ith some prepared structure such as notes or outlines @emorized speech reciting speech from memory @anuscript spea'ing reading the speech !ord?for?!ord from its !ritten form or the manuscript $. (ypes of oral interpretation a. Solo in#er(re#a#ion S#or& #elling oral sharing of a personal or traditional story0 it may be illustrative %using dra!ings& or creative / dramatic %using gestures and creative movements& for entertaining or educating A.

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In#er(re#a#ive 5 in#er(re#ive rea*ing also called dramatic reading, oral reading, or reading aloud by using the elements of voice and diction to convey meaning and mood +e$la'a#ion recitation of a poem from memory and is mar'ed by strong feelings Monolog"e interpretative oral performance of prose or poetry in !hich the interpreter plays a role b. Broup interpretation Rea*ing $on$er# also 'no!n as Aeaders (heatre? oral reading activity !ith spea'ers presenting literature in a dramatic form Cha'-er Thea#er theatrical approach to performing narrative literature S(ee$h Choir also choral reading, choric interpretation, vocal orchestration ensemble reading techni,ue !here a group of readers recite as one in coordinated voices and related interpretation # %1& reading in unison several voices sound li'e one instrument, %"& solo and chorus soloists recite lines and chorus recites refrains, %$& responsive reading lines are recited alternately by solo or chorus 8! A. S#r"$#"re of English Sentences. Fvery sentence must have both a sub+ect and a verb. 1. (hree 'inds of sentences A *e$lara#ive sen#en$e states a fact, e.g., H5onnie loves Aommel.I An in#erroga#ive sen#en$e as's a ,uestion, e.g., H6oes 5onnie love AommelJI An e,$la'a#or& sen#en$e registers an e)clamation, e.g., HLi'e, mean, you 'no!, li'e !o!KI ". (hree basic structures A si'(le sen#en$e ma'es one self?standing assertion, i.e., has one main clause, e.g., H5onnie loves Aommel.I A $o'(o"n* sen#en$e ma'es t!o or more self?standing assertions, i.e., has t!o main clauses, e.g., H5onnie loves Aommel and Aommel en+oys it.I A $o'(le, sen#en$e ma'es one self?standing assertion and one or more dependent assertions, subordinate clauses, dependent on the main clause, e.g., H5onnie !ho has been desiring Aommel these t!elve years, loves him, and Aommel, !hat7s more, still en+oys it.I

In compound sentences, the clauses are connected by coordinate conjunctions, in complex sentences by subordinate clauses.
$. Aestrictive and <onrestrictive Aelative 5lauses A res#ri$#ive $la"se modifies directly, and so restricts the meaning of the antecedent it refers bac' to, e.g., H(his is the girl that started all the fun.I Gne specific girl is intended. (he relative clause is not set off by a comma. A nonres#ri$#ive $la"se, though still a dependent clause, does not directly modify its antecedent and is set off by commas. H(hese girls, !ho came from loilo, are all s!eet and charming.I A((osi#ives. An appositive is an amplifying !ord or phrase placed ne)t to the term it refers to and set off by commas, e.g., HDenry 4 , a glutton for punishment, had si) !ives.

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3asic Sentence :atterns %based on synta)& %ara#a,is :hrases or clauses arranged independently, in a coordinate construction, and often !ithout connectives, e.g., H came, sa!, con,uered.I ". H&(o#a,is :hrases or clauses arranged in a dependent, subordinate relationship, e.g., H came, and after came and loo'ed around a bit, decided, !ell, !hy not, and so con,uered.I 1.

Hemingway favors a paratactic syntax while Faulkner prefers a hypotactic one.

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As&n*e#o n 5onnectives are committed bet!een !ords, phrases, or clauses, e.g., H 7ve been stressed, destressed, beat do!n, beat up, held do!n, held up, conditioned, reconditioned.I %ol&sen*e#on 5onnectives are al!ays supplied bet!een !ords, phrases, or clauses, as !hen @ilton tal's about Satan pursuing his !ay, HAnd s!ims, or sin's, or !ades, or creeps, or flies.I %erio*i$ Sen#en$e is a long sentence !ith a number of elements, usually balanced or antithetical, standing in a clear syntactical relationship to each other. Lsually it suspends the conclusion of the sense until the end of the sentence, and so is sometimes called a s"s(en*e* s&n#a,! Loose Sen#en$e 7 a sentence !hose elements are loosely related to one another, follo! in no particularly antithetical climactic order, and do not suspend its grammatical completion until the close. A sentence so loose as to verge on incoherence is often called a r"n7on sen#en$e. Iso$olon the Bree' !ord means, literally, syntactic units of e,ual length, and it is used in Fnglish to describe the repetition of phrases of e,ual length and corresponding structure, e.g., HDarry, no! do not spea' to thee in drin' but in tears, not in pleasure but in passion, not in !ords only, but in !oes also.I Chias'"s is the basic pattern of antithetical inversion, the A3#3A pattern. (he best e)ample is probably from 1ohn .. >ennedy7s first inaugural address# HAs' not !hat your country can do for you, but !hat you can do for your country.I Ana(hora begins a series of phrases, clauses, or sentences !ith the same !ord. 5hurchill7s e)hortation in 18*C# H 9e have become the sole champion no! in arms to defend the !orld cause. 9e shall do our best to be !orthy of this high honor. 9e shall defend our island home, and !ith the 3ritish Fmpire we shall fight on uncon,uerable until the curse of Ditler is lifted from the bro!s of man'ind. 9e are sure that in the end all !ill come right.I

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