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4PRACTICE IIIOne Hundred Four-Level Analysis Practice Sentences
A Supplement to The Magic Lens III, The Word Within the Word III, and Poetry, Plato, and the Problem of Truth
Teacher Manual
Michael Clay Thompson
Royal Fireworks PressUnionville, New York
Royal Fireworks Language Arts by Michael Clay Thompson
4
GRAMMAR IS A WAY OF THINKING ABOUT LANGUAGE.
8 Parts of Speechnoun, pronoun, adjective, verb, adverb, conjunction, preposition, interjection
5 Parts of Sentencesubject, predicate, direct object, indirect object,subject complement
Phrasesprepositional phrase, appositive phrase, verbal phrases
Clausesindependent clause, dependent clause
5
GRAMMAR IS A WAY OF THINKING ABOUT LANGUAGE.
Notes to Teachers
4Practice III has two practical purposes: practice and unification.
Practice: This book presents a collection of four-level analysis sentences for year-long practice and improvement in a sequence of graduated difficulty that will let students begin with the basics and work up through increasing complexity.
Unification in the Writing Process: The second purpose of this practice book is to overcome the damaging misconception that the different aspects of language arts are separate and disconnected. Students are all too likely to think of grammar as a useless tedium, to think that vocabulary and grammar have nothing to do with one another, to think that poetics is of interest only to poets, and to think that none of these is relevant to writing. The format of these pages presents students with an indelible image of how the writing process subsumes grammar, vocabulary, and poetics into a single coherent system of communication.
In each sentence students will see all four levels of grammar simultaneously, they will see the words or stems from The Word Within the Word III, and they will see an element of poetics that they have encountered in Poetry, Plato, and the Problem of Truth or another of my poetry texts. It all comes together on each page, just as it does in the actual process of writing.
4Practice III provides one hundred practice sentences that instructors can use to supplement the work begun in The Magic Lens III and The Word Within the Word III. Those two books provide the instruction for the four-level method of grammar analysis, which overcomes the perils of studying grammar elements in isolation by presenting all four levels of grammar in a simple, visual, easy-to-learn format. In four-level analysis, students quickly realize that all sentences are similar, arranging eight kinds of words into the subject and predicate sides of each clause. Students soon realize that they are seeing the exact same (simple) patterns over and over again.
6
GRAMMAR IS A WAY OF THINKING ABOUT LANGUAGE.
Flexibility: 4Practice III has been prepared with the goals of maximum simplicity and flexibility in mind. It is organized in the most straightforward and uncomplicated form possible: one hundred sentences of four-level analysis, generally beginning with the least difficult sentences, and roughly grouped into four chapters of twenty-five sentences each for the four levels of grammar. The first twenty-five sentences (Chapter One) feature parts of speech, the second chapter features the parts of sentence, the third the phrases, and the fourth the clauses. All four chapters, however, do analyze all four levels. There is no expectation that every sentence in the book be done or that they be done in the precise order that they appear. Rather, this is a collection you can draw from freely and creatively to enhance and continue the learning initiated in The Magic Lens III and The Word Within the Word III.
The 4Practice III teacher manual and student book are designed to be ultra-low cost so that the student books can be consumable. Each student can have a student book and can work in the blank spaces. If you use The Magic Lens III alone, then 4Practice III allows you to follow that instruction with several example sentences per week for the entire year. The sentences can be assigned as homework, as Socratic discussions, or as in-class written assignments. If you use both The Magic Lens III and The Word Within the Word III, then 4Practice III will show students over and over how their vocabulary can only be correctly applied if the words follow the grammar rules, i.e., insidious is an adjective; there is no such thing as an insidious.
Written Assignments: For written assignments done as in-class activities or as written homework, there are a few ideas that make the process clear and straightforward. There is a sentence at the top of each page with four lines beneath it. The first line is for the abbreviations of the parts of speech, the second for the parts of sentence, the third for phrases, and the fourth for clauses. Abbreviations need not be used if space permits.
7
GRAMMAR IS A WAY OF THINKING ABOUT LANGUAGE.
For example, if the sentence were “The die was irrevocably cast when Caesar ordered his army to cross the Rubicon,” one could write the abbreviations of the parts of speech directly below each word in the first line, the parts of sentence in the second, phrases in the third, and clauses in the fourth. For phrases and clauses, you would make little lines to show where the phrase or clause begins and ends. Notice that every word is a part of speech, but only some words are a part of sentence. Each answer should be written straight down from its target.
The abbreviations used in 4Practice III are:
Parts of Speech Parts of Sentencen. noun subj. subjectpron. pronoun AVP action verb predicateadj. adjective LVP linking verb predicatev. verb BVP being verb predicateadv. adverb D.O. direct objectprep. preposition I.O. indirect objectconj. conjunction S.C. subject complementinterj. interjection O.C. object complement
Phrases Clausesprep. prepositional (phrase) indep. independent (clause)app. appositive (phrase) dep. dependent (clause)ger. gerund (phrase) I independent clausepar. participial (phrase) D dependent clauseinf. infinitive (phrase) ,cc comma and coordinating
conjunction
8
GRAMMAR IS A WAY OF THINKING ABOUT LANGUAGE.80
GR
AM
MA
R IS A W
AY OF TH
INK
ING
AB
OU
T LAN
GU
AG
E.
Sen
tence 69
Th
e die was irrev
oca
bly
cast wh
en C
aesar ordered his arm
y to cross the R
ubicon
.
adj. n. v. adv. adj. con
j. n. v. adj. n
. ------n.------- adj. n
.
______________________________________________________________________________________
subj. L
VP
S.C
. subj. A
VP
I.O. -----------------D
.O.--------------------
______________________________________________________________________________________
-----------in
fi nitive ph
rase---------
______________________________________________________________________________________
------------------indepen
dent clau
se---------------- --------------------------------------------dependen
t clause------------------------------------------
an ID
complex declarative sen
tence
______________________________________________________________________________________
G
ram
ma
r: In
the depen
dent clau
se we see an
infi n
itive phrase u
sed as the direct object. In
fi nitives can
be nou
ns or m
odifi ers (adjectives or adverbs); w
e know
that th
is one is a n
oun
because it is th
e direct object. Alth
ough
at fi rst you m
ay th
ink th
at was cast m
ight be passive voice, w
e can reason
it out from
Caesar’s w
ords, Th
e die is cast, in
wh
ich h
e com
pared sendin
g his arm
y across the river to th
e casting of dice in
gamblin
g.
V
oca
bu
lary
: T
he w
ord irrevocably mean
s beyond recall; ir m
eans n
o, re mean
s again or perh
aps back in th
is example, an
d vocm
eans voice. In
other w
ords, irrevocable is made of pieces th
at literally mean
not call back. W
24
P
oetics: T
here is good play u
sing alliteration
and con
sonan
ce on th
e k soun
d: irrevocably, cast, cross, Ru
bicon. A
key word
in each
clause begin
s with
the sou
nd: cast, cross.
W
riting
: Rem
ember n
ot to put a com
ma after an
introdu
ctory indepen
dent clau
se in an
ID com
plex senten
ce; we u
se the
comm
a wh
en th
e order is reversed: D,I.
9
GRAMMAR IS A WAY OF THINKING ABOUT LANGUAGE.
In the first line, parts of speech, there are only eight possible answers because there are only eight parts of speech (kinds of words). We would therefore, for example, identify the articles (a, an, and the) as adjectives.
In the second line, parts of sentence, we look for the subject, the simple predicate (action or linking), the direct object, indirect object, and subject complement. We can teach students what the complete predicate is, but in the analysis we are looking for the verb/simple predicate and trying to determine whether it is an action verb (AVP), a linking verb (LVP), or a being verb (BVP). If it is a linking verb, we are looking to see if there is a subject complement. There are two kinds of subject complements: the predicate nominative (if it is a noun or pronoun) and the predicate adjective (if it is an adjective). It is important to use the term subject complement because this is a key to understanding pronoun usage.
In the third and fourth lines, students should draw lines on either side of their terms to show where phrases and clauses begin and end.
Below the sentence, there are separate teaching tips about the grammar, the vocabulary, the poetics, and the writing style of the sentence. In the example at left, in the vocabulary comment, the code W24 means that the bold vocabulary word in the sentence comes from The Word Within the Word List 24.
Particularly early in the year, grading on these assignments should be lenient, giving students time to build comprehension without feeling demoralized. Give them credit for doing the assignment, rather than deducting points for each item. Build patiently. The point of the book is a positive and enlightening opportunity for lots of practice.
31
GR
AM
MA
R IS
A W
AY O
F TH
INK
ING
AB
OU
T LA
NG
UA
GE.
Sen
ten
ce 2
0
Fro
m M
ark
Tw
ain
’s T
he
Pri
nce
an
d t
he
Pau
per,
188
2
“Th
ere
wer
e
bl
ind
men
dic
an
ts
w
ith
pat
ched
or
ban
dage
d
ey
es.”
a
dv.
v.
a
dj.
n.
prep
.
ad
j.
con
j.
ad
j.
n.
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
__
B
VP
su
bj.
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
__
---
----
----
----
----
----
----
----
prep
. ph
rase
----
----
----
----
----
----
----
--
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
__
-
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
---i
nde
pen
den
t cl
ause
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
-
a
sim
ple
decl
arat
ive
sen
ten
ce
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
__
G
ram
ma
r:
Th
is s
ente
nce
in
vert
s th
e n
orm
al o
rder
of
subj
ect
and
pred
icat
e; w
e of
ten
use
th
e ad
verb
th
ere
to b
egin
su
ch a
st
ruct
ure
. T
he
verb
is
a B
VP
, a
bein
g ve
rb p
redi
cate
, in
dica
tin
g th
e ex
iste
nce
of
the
subj
ect.
Not
ice
that
th
e pr
epos
itio
nal
ph
rase
has
a g
ood
com
pou
nd
adje
ctiv
e m
odif
yin
g th
e ob
ject
of
prep
osit
ion
.
V
oca
bu
lary
: A
men
dica
nt
is a
beg
gar;
men
d m
ean
s fl
aw.
W67
P
oet
ics:
S
omet
imes
two
wor
ds li
ght e
ach
oth
er u
p; it
is li
ke a
hil
lsid
e in
the
dark
, cov
ered
wit
h th
e li
ghts
of t
he
nei
ghbo
rhoo
d,
but
over
her
e an
d ov
er t
her
e ar
e tw
o bl
ue
ligh
ts,
diff
eren
t fr
om t
he
rest
, an
d w
e n
otic
e th
em.
Th
at i
s w
hat
th
e as
son
ance
of b
lin
d a
nd
eyes
doe
s in
th
is s
ente
nce
. N
otic
e th
e en
clos
ed a
sson
ance
of p
Atc
hed
an
d bA
nd
aged
. N
otic
e bl
iND
meN
Dic
ants
.
W
riti
ng
:
Wh
at i
f w
e re
wri
te t
his
: “B
lin
d m
endi
can
ts w
ith
pat
ched
or
ban
dage
d ey
es w
ere
ther
e”?
How
doe
s th
at a
lter
th
e im
pact
of t
he
sen
ten
ce?
Wh
at is
th
e di
ffer
ence
cau
sed
by t
he
last
wor
d be
ing
ther
e in
stea
d of
eye
s?
Is t
he
ther
e in
th
e re
wri
te t
he
sam
e th
ere
as in
Tw
ain
’s s
ente
nce
? I
t is
not
; Tw
ain
’s th
ere
says
th
ey e
xist
, ou
r th
ere
is t
he
oppo
site
of
her
e. T
her
e is
th
e po
int.
51
GR
AM
MA
R IS
A W
AY O
F TH
INK
ING
AB
OU
T LA
NG
UA
GE.
Sen
ten
ce 4
0
Fro
m J
ames
Fen
imor
e C
oope
r’s
Th
e L
ast
of t
he
Moh
ican
s, 1
826
“He
w
as
inte
rru
pted
b
y
the
cl
am
or
of
a
d
rum
f
rom
t
he
ap
proa
chin
g
Fre
nch
men
.”
pro
n.
v
.
v.
p
rep.
a
dj.
n
.
p
rep.
adj
.
n.
pre
p.
adj
.
ad
j.
n.
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
__
su
bj.
---
----
----
AV
P--
----
----
-
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
__
-
----
--pr
ep. p
hra
se--
----
-
---
prep
. ph
rase
---
-
----
----
----
----
----
--pr
ep. p
hra
se--
----
----
----
----
----
---
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
__
---
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
---i
nde
pen
den
t cl
ause
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
---
a s
impl
e de
clar
ativ
e se
nte
nce
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
__
G
ram
ma
r:
Th
is s
ente
nce
sh
ows
how
man
y te
rms
can
pop
ula
te a
sen
ten
ce w
ith
out
addi
ng
anyt
hin
g be
yon
d a
subj
ect
and
its
verb
oth
er t
han
pre
posi
tion
al p
hra
ses.
Th
ere
is n
o in
dire
ct o
bjec
t, n
o di
rect
obj
ect.
We
hav
e a
subj
ect
pron
oun
as
the
subj
ect
of t
he
verb
, an
d w
e h
ave
a pa
ssiv
e vo
ice
acti
on v
erb.
Th
e fi
rst
prep
osit
ion
al p
hra
se m
odifi
es t
he
verb
, th
e se
con
d m
odifi
es t
he
firs
t ob
ject
of
prep
osit
ion
, an
d th
e th
ird
phra
se m
odifi
es t
he
seco
nd
obje
ct o
f pr
epos
itio
n.
V
oca
bu
lary
: A
cla
mor
is a
lou
d ou
tcry
; cla
m m
ean
s cr
y ou
t. W
74
P
oet
ics:
T
he
bril
lian
t de
tail
is
the
dru
mta
ps i
n C
LA
M o
r of
a D
RU
M:
BA
da
da
da
BA
. N
otic
e cl
aMO
R d
RU
M f
RO
M.
N
otic
e in
terR
Upt
ed d
RU
m.
Not
ice
how
th
e st
oppe
d co
nso
nan
ts t
ap: i
nT
erru
PT
eD B
y C
lam
or D
rum
.
W
riti
ng
:
Wh
en t
he
very
con
ten
t of
th
e se
nte
nce
is t
he
desc
ript
ion
of a
sou
nd,
th
e se
nte
nce
beg
s fo
r th
e on
omat
opoe
tic
effe
ct
of v
owel
s an
d co
nso
nan
ts t
hat
are
red
olen
t of
th
e so
un
d de
scri
bed.
81
GR
AM
MA
R IS
A W
AY O
F TH
INK
ING
AB
OU
T LA
NG
UA
GE.
Sen
ten
ce 7
0
Fro
m M
ary
Wol
lsto
nec
raft
’s V
ind
icat
ion
of
the
Rig
hts
of
Wom
an, 1
792
“Th
e
sym
path
ies
o
f
ou
r
nat
ure
a
re
str
engt
hen
ed
by
p
onde
rin
g
co
git
ati
on
s.”
a
dj.
n.
prep
. a
dj.
n
.
v.
v
.
prep
.
n.
n
.
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
__
subj
.
---
----
----
-AV
P--
----
----
---
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
__
----
----
-pre
p. p
hra
se--
----
-
---
----
----
----
----
-pre
p. p
hra
se--
----
----
----
----
-
---
----
----
--ge
run
d ph
rase
----
----
---
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
__
-
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
inde
pen
den
t cl
ause
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
---
a s
impl
e de
clar
ativ
e se
nte
nce
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
____
__
G
ram
ma
r:
Her
e is
a g
eru
nd
phra
se u
sed
as t
he
obje
ct o
f a p
repo
siti
on.
Th
e ge
run
d is
th
e n
oun
pon
der
ing,
an
-in
g fo
rm o
f th
e ve
rb to
pon
der
. T
he
obje
ct o
f th
e ge
run
d is
th
e n
oun
cog
itat
ion
s. T
he
firs
t pr
epos
itio
nal
ph
rase
, of o
ur
nat
ure
, act
s as
an
adj
ecti
ve t
o m
odif
y th
e n
oun
sym
path
ies,
an
d th
e se
con
d pr
epos
itio
nal
ph
rase
, by
pon
der
ing
cogi
tati
ons,
act
s as
an
adv
erb
to m
odif
y th
e ve
rb a
re s
tren
gth
ened
. T
he
verb
are
str
engt
hen
ed is
in p
assi
ve v
oice
.
V
oca
bu
lary
: T
o co
gita
te i
s to
th
ink
deep
ly;
cogi
tati
ons
are
deep
th
ough
ts; c
o m
ean
s to
geth
er,
and
the
Lat
in a
gita
re m
ean
s to
tu
rn o
ver
or c
onsi
der.
W84
P
oet
ics:
T
he
sen
ten
ce s
oun
ds g
ood,
bu
t w
hy?
Not
ice
OU
R n
atU
RE
AR
E p
ond
ER
. N
otic
e st
ren
gth
EN
cog
itat
ION
.
W
riti
ng
:
Wol
lsto
nec
raft
was
not
wri
tin
g a
nov
el;
she
was
wri
tin
g an
ext
ende
d ca
se f
or t
he
hu
man
ity
of w
omen
. T
he
phil
osop
hic
al a
nd
inte
llec
tual
ton
e of
th
e se
nte
nce
refl
ects
th
at s
erio
us
purp
ose.
101
GR
AM
MA
R IS
A W
AY O
F TH
INK
ING
AB
OU
T LA
NG
UA
GE.
Sen
ten
ce 9
0
Fro
m K
ate
Dou
glas
Wig
gin
’s R
ebec
ca o
f S
un
nyb
rook
Far
m, 1
903
“Th
e
th
ough
t
gra
dual
ly
p
erm
eate
d
M
r. J
erem
iah
Cob
b’s
s
low
-mov
ing
m
ind.
”
adj.
n.
a
dv.
v
.
----
----
----
----
n.-
----
----
----
---
adj.
n.
____
____
____
____
____
____
____
____
____
____
____
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subj
.
A
VP
D
.O.
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n
o ph
rase
s
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--
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----
-in
depe
nde
nt
clau
se--
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--
a s
impl
e de
clar
ativ
e se
nte
nce
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G
ram
ma
r:
Kn
owin
g w
hen
you
hav
e m
ore
than
on
e cl
ause
an
d kn
owin
g w
hen
you
hav
e on
ly o
ne
clau
se a
re t
he
sam
e th
ing;
it
is o
ne
know
ing.
In
th
is s
ente
nce
th
e en
d ab
out
the
fell
ow’s
slo
w-m
ovin
g m
ind
alm
ost
seem
s li
ke a
cla
use
bec
ause
of
th
e ve
rby
ton
e of
slo
w-m
ovin
g. A
sh
arpe
r lo
ok r
evea
ls t
hat
slo
w-m
ovin
g is
on
ly a
hyp
hen
ated
adj
ecti
ve a
nd
that
m
ind
is t
he
dire
ct o
bjec
t of
an
act
ion
ver
b pe
rmea
ted
way
ove
r to
th
e le
ft.
V
oca
bu
lary
: T
o pe
rmea
te is
to
spre
ad t
hro
ugh
, to
perv
ade;
per
mea
ns
thro
ugh
, an
d th
e L
atin
mea
re m
ean
s pa
ss.
W90
P
oet
ics:
S
ay a
t s
oun
d, t
hen
say
an
m s
oun
d, a
nd
not
ice
how
mu
ch f
aste
r a
t is
th
an a
n m
. N
otic
e th
e sl
ow c
onso
nan
ts
in s
LoW
MoV
iNg
MiN
d.
It i
s S
O S
LO
WW
W.
Not
ice
the
hid
den
all
iter
atio
n i
n s
low
-Mov
ing
Min
d.
Th
e gr
adu
al
perm
eati
on is
em
phas
ized
wit
h t
he
lon
g w
ords
gra
du
ally
per
mea
ted
.
W
riti
ng
:
Th
is f
un
ny
sen
ten
ce g
ives
us
an i
nsi
ght
into
how
mu
ch f
un
it
can
be
to fi
t al
l of
th
ese
wri
tin
g pi
eces
tog
eth
er.
W
riti
ng
wel
l is
an a
rt, a
nd
the
care
ful d
etai
ls o
f th
e pr
oces
s ar
e a
rew
ard
to b
e en
joye
d.
