How the appositive can give life and texture to writing

In a recent posting, a member of Jose Carillo's English Forum asked if there should be a limit to the length of appositives. She posed the question regarding the sentence below, the lead of a recent sports news story, that has an extremely long and structurally convoluted appositive phrase (italics hers):

“Joe Frazier, the son of a South Carolina sharecropper who punched meat in a Philadelphia slaughterhouse before Rocky, won Olympic gold, and beat an undefeated Muhammad Ali to become one of the all-time heavyweight greats, died on Monday, his family said in a statement.

In my reply, I explained that that for clarity’s sake, there should indeed be a limit to the length and grammatical complexity of appositives. Going over that explanation of mine afterwards, however, I realized that I dwelt on appositives without first defining what they are and what their grammatical function is to begin with. I also checked my previous Forum postings over the past two years and discovered that I had hardly touched on appositives in a substantial way; also, in my recollection, hardly anybody had asked a question about them in the Forum during all that time.

Considering the importance of appositives to good writing, this is a major oversight that I now would like to correct. I am therefore posting in this week’s edition of the Forum an essay that I wrote about the subject for my English-usage column in The Manila Times way back in 2003. That essay, “Using appositives for texture and depth,” later formed part of Part II – “English Grammar Revisited” of my book English Plain and Simple. I’m sure that the discussions in that essay will adequately explain and clarify the role of appositives for everyone. (November 13, 2011)  

Using appositives for texture and depth

The problem with most bad writing is that it is often so general and lacking in texture and depth. The people, places, or things used as subjects seem to exist only in two-dimensional space, as in a crude cartoon movie, and the actions described all seem to crowd themselves in just a single timeframe. Hardly are there any telling details to give meat and substance to the bare-boned prose, making the writing invariably dry, bland, uninviting—and unreadable.

An efficient way of giving life and vitality to writing is to use appositives and appositive phrases. An appositive is simply a noun or pronoun that often comes directly after another word in a sentence, putting that word in better context by explaining it or by giving more information about it. An appositive phrase, on the other hand, consists of an appositive and all its modifiers, which maybe single words, phrases, or clauses. Both are powerful tools that allow the writer to identify or explain the nouns or pronouns he uses without having to come up with a new sentence or string of sentences to give the added information. This makes the buildup of ideas smoother, and frees the writing from digressions or asides that can impede its natural flow.

Here are some examples of sentences using appositives, which are indicated in italics: “My office assistant Joanna took the day off yesterday.” “Her husband, the jealous type, took her on an extended out-of-town trip.” “They rode on my friend’s car, a battered 1995 sedan, to a hillside farm in Batangas.” “The popular duo Batman and Robin were my favorite cartoon characters during my teens.” “The two provincial girls, adventurers with only a few hundred pesos between them, took the bus to Manila last night.” “Eduardo, the computer enthusiast and high school junior, helped fix the laptop of his teacher, Mrs. Alicia Santos.” “A positively enchanting singer, Elvira had many admirers at the club where she works.” Note that appositives may also come before the noun or pronoun they refer to; what is important is not to detach and set them apart from the noun or pronoun they modify.

An appositive phrase, of course, is simply an appositive joined by whatever modifiers come with it, as in this example: “Mayon Volcano, a major Philippine tourist attraction because of its majestic near-perfect cone, is found in Albay, a southeastern province in Luzon about 500 kilometers from Manila by land transport.” The first appositive in the sentence is the noun “attraction,” which is modified by the phrases “a major Philippine tourist” and “because of its majestic near-perfect cone.” The second appositive is the word “province,” modified by the phrases “southeastern,” “in Luzon,” and “about 500 kilometers from Manila by land transport.” Appositive phrases, by supplying much more information about the nouns or pronouns they modify, are even more effective than simple appositives in giving texture and depth to writing.

From the examples given above, it should be clear by now that an appositive or appositive phrase may either be essential or nonessential to a sentence. An essential or restrictive appositive narrows the meaning of the word it modifies and is necessary to maintain the meaning of the sentence. It is usually a single word or a set of words closely related to the preceding word, and does not require commas to set it off from the rest of the sentence. See the following examples: “The American actress Meryl Streep has been hailed for her consistently fine acting in a string of memorable films.” (Without “Meryl Streep” as appositive, we will never know the identity of the actress being talked about.) “The extremely popular Philippine president Ramon Magsaysay died in a tragic plane crash in the early 50s.” (Without “Ramon Magsaysay” as appositive, we may never know—unless we do some hard research—who that president was.)

A nonessential or nonrestrictive appositive, on the other hand, is not absolutely necessary to the meaning of a sentence; it may be omitted without altering the basic meaning. (It must be set off from the rest of the sentence by one or two commas, depending on its position in the sentence). Examples: “Alicia’s sister, a Philippine-born doctor, works as a senior anesthesiologist in a large hospital in the U.S. Midwest.” “The ‘Santacruzan,’ a colorful religious festival, is regularly held in many Philippine towns during the month of May.” (We still would know who the doctor is and what the event is even without the appositives “a Philippine doctor” and “a colorful religious festival.”)

Non-essential appositive phrases have the same optional role in sentences, as in this example: “December, usually the coldest month in tropical Philippines, is becoming more popular than June as the wedding month of choice.” We can take out the appositive “usually the coldest month in tropical Philippines” and still get a clear idea of what month it is that more and more Filipinos now prefer to get married.

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From the book English Plain and Simple: No-Nonsense Ways to Learn the Global Language by Jose A. Carillo © 2004 by the author © 2010 by the Manila Times Publishing Corp. All rights reserved.

The six ways that English reckons with the future

Many of us might find it strange that despite the overwhelming richness and diversity of English as a language, its verbs can’t inflect or change in form for the future tense. By some quirk in the development of the English grammar structures, its verbs can inflect only for the past, present, and perfect tenses. To compensate for this grammatical handicap, however, English came up with no less than six ways of reckoning with the future. These six forms evoke the future by appending to the main verb particular combinations of auxiliary verbs in different tenses, and the choice among these future-tense forms primarily depends on which part of the future is important to us or to those telling us about it. This obviously makes it manyfold more complicated for learners to master the English future tense.

To clarify the differences between these six future-tense forms, I wrote an essay on the subject for my English-usage column in The Manila Times in 2004. That essay subsequently became the introduction to Section 7 – “Mastering the English Tenses” of my book Give Your English the Winning Edge, http://josecarilloforum.com/bookshop.html which devotes nine chapters to an intensive discussion of the various future-tense forms and the adverbs of time. I am now posting that essay here for the benefit of Forum members and guests who’d like to make themselves much more precise and expressive in evoking the future in their written and spoken English. (November 5, 2011)

Though very rich and diverse, English can’t inflect for the future tense

Despite the overwhelming richness of the English language, its verbs have the handicap of not being able to morph by themselves into the future tense. As we all know, they inflect only for the past, present, and perfect tenses. For instance, “give” turns to “gave” in the past tense, “gives” in the present tense, and “given” in the perfect tense; in most cases, in fact, English verbs inflect themselves for the perfect tense in the same way as they do for the past tense, as in “wanted” for both the past and perfect tenses of “want.” Yet when they turn to the future, all of the English verbs can’t do anything to themselves; they simply don’t have the ability to inflect for it.

English verbs never got to internally work out an inflection for the future tense, unlike, say, Tagalog with its future-tense “pupunta” (“will go”) for the infinitive “pagpunta” (“to go”). It’s as if the Angles (the ancient forebears of the English people), too preoccupied perhaps with settling in what is now England after crossing the channel from the European mainland, never found the need or the time to work out the future tense into their verbs.

To compensate for this structural oversight in its verb-building efforts, however, the English language came up with no less than six ways of reckoning with the future. The first two, of course, we already know by heart. They are the simple future tense, which puts the auxiliary verb “will” ahead of the verb stem, as in “will give,” and the future perfect tense, which uses the so-called temporal indicators to situate actions and events in various times in the future, as in the use of the future perfect “will have given” in the following sentence: “By this time tomorrow, she will have given me her answer to my marriage proposal.” In both cases, instead of inflecting itself, the verb “give” took the expedient of harnessing one and two auxiliary verbs, respectively, to make its two visions of the future work.

English then dealt with the future tense even more purposively by coming up with four more grammatical stratagems to express it, in the process making its future tense more complicated than that of some other languages with elaborate future-tense inflections built into their verbs. These future-tense forms and the grammatical structures English developed for them are as follows: the arranged future, also known as the present continuous; the predicted future; the timetable future, also known as the present simple; and the described futures, also known as the future continuous.

All of these forms evoke the future by appending to the main verb particular combinations of auxiliary verbs in different tenses. The choice among these forms depends on which part of the future is important to us or to those telling us about it, and their semantic value lies in the fact that they enable us to make fine distinctions as to whether what will happen is a regular event; as to whether something is unavoidable or prearranged or something we or other people want or wish to happen; as to how long the wait will be until something happens; and as to the degree of certainty that something will happen.

We all know that the future is extremely flexible; in contrast, there’s really nothing we can do to change the past and there’s not really much we can do to alter the evolving present. Unless we are a dyed-in-the-wool believers in determinism and predetermination—both aver that all acts of will or natural occurrences are causally predetermined by preceding events, natural laws, or the divine—we will find many occasions to use the arranged future in our spoken or written prose. The uniquely human ability to plan and shape future events comes into play here.

The arranged future or present continuous means that we have decided what to do but have not yet executed that decision: “We are doing overtime work this coming weekend; client wants the marketing plan first thing on Monday.” “The charming rogue begged on bended knees so I’m pardoning him next month for that act of humility.” “She is leaving with me for my scheduled sabbatical in Rome; all the bookings have already been arranged.”

Note that the arranged future uses the present-tense form of the auxiliary “to be” in tandem with the present participle (“-ing” form) of the verb: “are doing,” “am pardoning,” and “is leaving.” This is the so-called continuous future, which indicates that the future action started when the decision was made and will continue until the moment that the action is finished. To make sure that it doesn’t wrongly convey the idea that the future is happening right now, the arranged future must often use clear temporal indicators, like “this coming weekend,” “next month,” and “my scheduled sabbatical in Rome” in the sentences given as examples in the preceding paragraph.

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From the book Give Your English the Winning Edge by Jose A. Carillo © 2009 by the author, © 2010 by the Manila Times Publishing Corp. All rights reserved.

Common pitfalls when a pronoun and noun form a compound subject

We will recall that a basic rule in English grammar is that for a combination of a noun or pronoun to properly perform the action of a verb, or for them to jointly act as the compound subject of a sentence, they should both be in the same case, whether subjective or nominative, objective, or possessive. In short, we shouldn’t mix nouns and pronouns in different cases when we want them do a particular grammar function. In practice, however, this is easier said than done. A lot of inadvertent case mixing happens in both spoken and written English due to a lack of familiarity with both pronoun usage and case usage.*

In the essay below that I wrote for my English-usage column in The Manila Times in October 2007, I explain the proper way to form compound subjects with nouns and pronouns, with particular emphasis on tricky situations—a few of them actually debatable—that often trip even professional writers. Keeping the prescriptions of this essay in mind should give you much greater confidence in handling those tricky situations. (October 30, 2011)

The proper way to form compound subjects with nouns and pronouns

A very common pronoun misuse problem occurs when a personal pronoun is joined with a noun or another pronoun by the conjunction “and” or “or” to form a compound subject. Many people, particularly in colloquial speech, tend to use the objective form of the personal pronoun in such constructions: “The president and him are now politically estranged.” “Both the competition and us will suffer because of this trade mess.” “Alicia and me have been close friends since kindergarten.” “You or me need to stay behind.”

No matter how correct-sounding they may seem, such constructions are grammatically incorrect and are likely to incur disapproval from English teachers and discerning employers. The grammar rule to remember here is to always use the subjective or nominative form of the personal pronoun: “The president and he are now politically estranged.” “Both the competition and we will suffer because of this trade mess.” “Alicia and I have been close friends since kindergarten.” “You or I need to stay behind.”

When the personal pronoun is the last element in the compound subject, people will have a stronger tendency to wrongly use its objective form. This is because the construction obscures the grammatical error and makes it sound aboveboard, as in this example given earlier: “The president and him are now politically estranged.” A good preemptive stylistic habit is to make the personal pronoun the first element instead: “He and the president are now politically estranged.” “Both we and the competition will suffer because of this trade mess.” This way, it becomes unmistakably clear that the personal pronoun should be in the subjective form.

In the spirit of modesty, however, we should always make the personal pronoun “I” an exception to this prescription. As we learned early in English grammar, it is good form to make “I” always the last element of the compound subject: “Alicia and I have been close friends since kindergarten.” “You or I need to stay behind.” (It sounds self-serving to use “I” ahead: “I and Alicia have been close friends since kindergarten.” “I or you need to stay behind.”

We’ll look into just three more contentious case usage problems before we close:

(1) Many people will catch themselves saying “This is just between you and I,” “According to you and they, the money was lost in transit,” and “Hardworking people like you and I need a break sometimes.” Some will invoke that even Shakespeare also had done so during his time, but the fact is that a grammar rule outlawing such usage became the English standard in the 1860s onwards. In your formal writing, therefore, you’ll always be grammatically in the right by using the objective form of the personal pronoun instead: “This is just between you and me.” “According to you and them, the money was lost in transit,” and “Hardworking people like you and me need a break sometimes.”

(2) You still can get into a heated grammar debate on whether to say “No one but I saw that controversial movie” or “No one but me saw that controversial movie,” or to say “No one except I came for the meeting” or “No one except me came for the meeting.” But in such constructions, good grammar will be on your side when you use the objective form of the personal pronoun: “No one but me saw that controversial movie.” “No one except me came for the meeting.”

(3) When using personal pronouns after forms of the verb “be,” do we say “That must be her on the escalator” (objective “her”) or “That must be she on the escalator” (nominative “she”)? Using the objective case may sound more natural than the nominative case, but you’re well advised to limit it to conversational use. Although the nominative case may sound pedantic, it is the grammatically acceptable choice in formal writing: “That must be she on the escalator.” (October 20, 2007)

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From the weekly column “English Plain and Simple” by Jose A. Carillo in The Manila Times, October 20, 2007 © 2007 by the Manila Times Publishing Corp. All rights reserved.

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*When combining pronouns with nouns, it’s very important to remember that it’s not only pronouns that have case. As we learn early in English grammar, pronouns in general inflect or change form in the nominative or subjective case, objective case, and possessive. Nouns also have case like pronouns, but the big difference between them is that nouns remain in the same form—they don’t  inflect at all—in the subjective, nominative, and objective cases. Only in the possessive case do nouns inflect by adding the apostrophe-s at their tail ends; for example, “That laptop is Alicia’s.”

So, when forming a compound subject with a noun and pronoun, keep in mind that they should both be in the same case, except that the noun doesn’t inflect at all and remains as is except in the possessive form. When compounding a pronoun and another pronoun, of course, we must make sure that both are in the same case, based on their correct inflected forms for that case.

For a comprehensive review of case usage and the English Pronoun Chart, click this link to “Lesson #3 – The Matter of Case in English” in the Forum.

A good measure of spoken English is saying one’s tag questions correctly

Some people become very proficient in their written English, even to the point of winning major literary or journalistic awards for their well-crafted competition pieces. But such proficiency in writing unfortunately doesn’t always translate into a corresponding proficiency in spoken English. Not infrequently, in fact, we see and hear highly accomplished writers fumbling with their English or even totally at a loss for words when they socialize with strangers or when they need to formally address an audience of more than just a few people. Clearly, so many factors other than just excellent grammar and wide vocabulary are at work to cause such disparity in the quality of one’s written and spoken English,  but from a practical standpoint, I think one very crucial ingredient of excellent spoken English is mastery of saying the tag questions right.

In the two-part essay below that I wrote for my English-usage column in The Manila Times in 2004, I show how the purposive use of grammatically correct tag questions can make people better and more effective conversationalists, able to confidently and gracefully connect with other people and seamlessly elicit desired responses from them. Internalizing the various kinds of tag questions will take some doing, of course, but by memorizing the rules for making them and by assiduously practicing their use, it shouldn’t take very long for one to become a much better if not a sparkling English speaker. (October 24, 2011) 

Saying our tag questions right

Part 1:

A good indicator of one’s English proficiency is the ability to use tag questions properly. But wait—we all know what “tag questions” are, don’t we all? Well, if some of us don’t or have already forgotten, the mini-question “don’t we all?” in the preceding sentence is what’s called a “tag question.” Some grammarians prefer to call it a “question tag,” and the whole statement inclusive of that mini-question the “tag question.”

For our purposes, however, we will refer to the mini-question as the tag question itself, or “tag” for short; we will not quibble over the terminology. The important thing is for us to fully appreciate and understand how native English speakers purposively use tag questions to get a quick confirmation or reaction from their listeners. With that, we should be able to form English tag questions ourselves with greater confidence, using them flawlessly to emphasize our thoughts and ideas and to elicit the desired response from our listeners.

Most of us will probably recall that tag questions generally follow a definite pattern: a positive statement is followed by a negative tag question, and a negative statement is followed by a positive tag question. Since tags are meant to be spoken, of course, it’s normal to use contractions of the negative forms of verbs either in the tag question or in the main statement itself.

Here’s a quick drill to jog our rusty memories about the grammar of tags. From the positive standpoint: “She is, isn’t she?” “They do, don’t they?” “We can, can’t we?” “You are Filipino, aren’t you?” And from the negative standpoint: “She doesn’t, does she?” “They don’t, do they?” “We can’t, can we?” “You aren’t Filipino, are you?”

We can see that the tag questions above are all of opposite polarity to that of the main statement. Also, we must keep in mind that without exception, the verb in a tag question always has the same tense as the verb in the main statement. (In speech, we must note here, there should always be a brief pause between the main statement and the tag question; in writing, this brief pause must always be indicated by a comma between the main statement and the tag question.)

Some of us will probably also recall that there are actually three ways of forming tag questions depending on the kind of verb used in the main statement.

First, if that verb is a form of the auxiliary verb “be,” the same form of that verb must be used in the tag question: “He is from Manila, isn’t he?” “We aren’t that bad, are we?” “They were of foreign origin, weren’t they?”

Second, if a main statement uses a modal such as “can,” “could,” or “should,” the same modal must be used in tag question: “She can dance, can’t she?” “They couldn’t do that, could they?” “We shouldn’t interfere in their affairs, should we?”

And third, if the main statement uses an active verb (instead of only an auxiliary verb), the appropriate form of the auxiliary verb “do” takes the place of that active verb in the tag question: “She loves you, doesn’t she?” “You take me for granted, don’t you?” “They played the part, didn’t they?” 

We will recall, too, that when a main statement has a proper name as subject, the tag question must use its pronoun instead: “Jennifer is doing well in Singapore, isn’t she?” “Manila isn’t the tourist capital in Asia these days, is it?” “Some Australians eat kangaroo meat, don’t they?” “Nestle is the biggest food company in the world, isn’t it?”

We must be aware, however, that some special cases of English-language tag questions don’t strictly follow the norms that we have just discussed. Here are two such tags that seemingly look and sound askew: “Let’s go out, shall we?” “Let’s not go out, shall we?”

Are those tags proper or not? Yes, they are. Even if those tags often raise the hackles of grammar purists, native English speakers accept and use both of them. The strictly grammatical to say “Let’s go out, shall we?” is, of course, “We’ll go out, shan’t we?”, but it sounds stiff and unnatural. Here are two natural-sounding alternatives that should sit in well among Filipinos: “Let’s go out, all right?” “Let’s go out, okay?”

Another notable special case involving tags is the whole range of statements that use “nothing,” “nobody,” and “no one” as their subject. In such cases, the statements should be considered of negative polarity, and their tag questions should be given a positive polarity: “Nothing came in the mail, was there?” “Nobody bothered you last night, was there?” “No one wants this, is there?”

We will take up other special cases and other fine aspects of tag questions in the next essay. (May 24, 2004)

Part 2:

We will continue our discussion of some notable departures from the usual positive-negative and negative-positive rule for forming tags, or those mini-questions purposively added by speakers at the end of their statements to get a quick confirmation or denial from their listeners. That general rule, we recalled, is that a positive statement should be followed by a negative tag, and a negative statement should be followed by a positive tag: “She’s winning, isn’t she?” “They’re not conceding, are they?” “We’ll not get into trouble for this, would we?”

Now, here are a few more tags that don’t scrupulously follow that polarity rule: “I’m correct, aren’t I?” (Not “I’m correct, amn’t I?” The awkward tag “amn’t I” is “am I not?” in contracted form, which is unacceptable grammar). “She’d better take it, hadn’t she?” (Not “She’d better take it, wouldn’t she?” The tag “hadn’t she?” is actually “had she better not?” in contracted form. That tag is the logical polar negative of the full statement “She had better take it,” where the operative verb form is “had better,” not “take.”). “This will do, won’t it?” (Not “This will do, willen’t it?”—which uses a tag that doesn’t exist in English. Conversely, the reverse-polarity statement will be “This won’t do, will it?”) 

Another exception about tags that bewilders many nonnative English speakers is this: the opposite polarity rule can actually be pointedly ignored when people want to strongly express sarcasm, disbelief, surprise, concern, shock, or anger. Take the following examples: “You think you’re indispensable, do you?” “Oh, you will really do that, will you?” “Oh, she really left him, did she?” “So you’re finally getting married, are you? That’s great!” (Or the contrary sentiment: “So she’s finally getting married, is she? The nerve!”) “And you think that’s amusing, do you?”

And then, as a mark of politeness, positive tags can also be routinely attached to positive requests: “Come here, will you?” “Do that, will you?” “Please hand me that screw driver, will you?”

When people use negative statements with negative tag questions, on the other hand, it is not necessarily bad grammar but a sure sign of the breakdown of civility or of downright hostility and combativeness: “So you don’t love me at all, don’t you?” “You really didn’t like the idea, didn’t you?” “So you don’t think my school is good enough, don’t you?” “So you didn’t want peace after all, didn’t you?” The negative tags emphasize the negativeness of the main statement to deliberately rile people or to make them feel guilty. They give vent to feelings of meanness.

Now, from experience, we all know that using negative statements with positive tag questions in the standard manner is the polite, socially acceptable way of asking for information or help. Such statements are particularly useful if we don’t know the people being addressed.

It is rude, for instance, to simply approach or accost on the mall someone we don’t know and ask, pointblank, “Where’s the women’s room?” The civilized way, of course, is to restate that question to the needed degree of politeness, depending on who is being addressed.

Here’s that same question said a little bit more politely, addressed to people of about the same age or social station as the speaker: “Do you know where the women’s room is?” (A tag question is not used in such cases.)

Now here it is in a polite, nonaggressive form, this time addressed to people older or of a higher social station than us: “You wouldn’t know where the women’s room is, would you?” (This time, the question form “Do you know...?” and the tag question that follows make the statement sufficiently deferential.)

Here are a few more patterns of negative statements with positive tag questions, the use of which should make us more pleasant, convivial people to deal with: “You don’t know of any job openings in your company at this time, do you?” “You don’t happen to know where the stock exchange building is, do you?” “You wouldn’t be willing to lose all that money in gambling, would you?” “You haven’t got anything to do with what happened, do you?” “You can’t spare me a thousand for my son’s tuition, can you?” “You can’t believe it that the woman’s leading the race, can you?”

The beauty of negative statements with positive tag questions is that they subtly prime up the listener’s mind either to accept the given idea or to decline it quickly and gracefully; in fact, refusing to answer the positive tag questions at all actually will make the person being addressed look rude and impolite. In this classic communication gambit of appealing to the other’s goodness of heart and of cushioning a possible blow to one’s self-esteem before that blow is even inflicted, nobody should lose face whatever the answer might be. (May 31, 2004)

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From the weekly column “English Plain and Simple” by Jose A. Carillo in The Manila Times, May 24 and 31, 2004 © 2004 by the Manila Times Publishing Corp. All rights reserved.

Choosing between “like” and “such as” when comparing or giving examples

Some grammar elements with similar or overlapping functions just seem to remain slippery no matter how hard we try to get a good grip of them. This is obviously the case with “like” and “such as.” Although we learn early enough that “like” is for saying that something resembles something else, and that “such as” is for giving a specific example of something, the distinction between them often gets so thin and fuzzy in actual usage that we tend to mistake one for the other.

To clarify the usage of “such as” and “like,” I wrote the essay below for my English-usage column in The Manila Times in September of 2005. I am now posting it here to give English learners a much better handle in dealing with this nasty pair of grammar trippers. (October 16, 2011)

Two slippery grammar trippers in English

Surely one of the most slippery grammar trippers we’ll encounter in English is choosing between “like” and “such as” to form comparative statements or give examples. Which of them, for instance, is correctly used in the following two sentences?

(1) “Exemption from flight pre-boarding procedures like a thorough body search is usually granted to diplomats.”

(2) “Exemption from flight pre-boarding procedures such as a thorough body search is usually granted to diplomats.”

If you still haven’t figured out the correct usage, you may take comfort in the fact that you’re not alone in the predicament. The use of “like” and “such as” is actually considered correct in both sentences, but the choice between them has remained debatable all these years. We therefore need to carefully study both sides of the debate so we can put ourselves on more solid semantic footing regarding the usage.

Some grammarians insist that “such as,” which means “for example,” is the only correct usage in such constructions: “Exemption from flight pre-boarding procedures such as a thorough body search is usually granted to diplomats.” They maintain that “like” should never be used as a substitute for “such as,” arguing that “like” doesn’t convey the idea of giving an example at all. Instead, they say, “like” in this usage can only imply similarity, resemblance, or comparison, as in “Her pillow lips look like Angelina Jolie’s.”

Other grammarians are not as restrictive in their prescription for using “like” and “such as,” but they do recommend the following more precise usage for them:

(1) Use “such as” to introduce one or more examples that represent a larger subject, as in “Eduardo has a collection of vintage cars such as the 1955 BMW 507 and the 1915 Vauxhall”; and

(2) Use “like” to convey the idea that two subjects are comparable, as in “Alberto wants to be a vintage car collector like Ramon.”

Take note, though, that those same grammarians consider “like” to be a close semantic equivalent of “such as.” They are therefore not averse to substituting “like” for “such as” in the sentence given in Item 1: “Eduardo has a collection of vintage cars like the 1955 BMW 507 and the 1915 Vauxhall.”

On the other hand, they would find it unthinkable for anyone to substitute “such as” for “like” in the sentence given in Item 2 above. To them, the resulting sentence is unacceptable because it isn’t natural sounding or idiomatic: “Eduardo wants to be a vintage car collector such as Ramon.”

At any rate, “like” in modern spoken English has practically taken over the role of “such as” in comparative statements. The forms “such as” and “such...as” are now largely confined to formal writing. “Like,” in contrast, is now the preferred form for informal usage in which the example being given is offered not simply as an example but as the topic of the sentence itself, as in this case: "We are delighted to have a generous benefactor like Bill Gates." Using “such as” instead of “like” in such sentences must be firmly avoided, for it gives the sentence a false ring: “We are delighted to have a generous benefactor such as Bill Gates.”

In formal writing, we are well advised to distinguish carefully between “like” comparisons and “such as” comparisons. In a “like” comparison, only one person or object from the class is usually named, and that person or object is understood to be excluded from the group being discussed.

Take this example: “If you are a student taught by a brilliant mathematics teacher like Prof. Alberto Reyes, you would learn differential calculus in no time at all.” This comparison is about the possibility of students being taught by mathematics teachers whose brilliance is comparable to Prof. Alberto Reyes’s, with Prof. Reyes himself specifically excluded from the comparison.

On the other hand, in a “such as” or “such...as” comparison, one or several persons or objects can be named in the comparison, and all of those persons or objects are understood to be included in the group being discussed.

Take these two sentences:

“With highly capable mathematics professors such as Prof. Alberto Reyes and Prof. Eduardo Cariño handling the differential calculus classes, we can expect a much higher percentage of passing among the students.”

“With such highly capable mathematics professors as Prof. Alberto Reyes and Prof. Eduardo Cariño handling the differential calculus classes, we can expect a much high percentage of passing among the students.”

In both sentences, the comparison this time is about brilliant mathematics teachers as a class whose members include both Prof. Reyes and Prof. Cariño.

Now that we know how to clearly distinguish the semantic difference between “like” and “such as,” we should be able to use them from now on without fear of tripping in our grammar. (September 26, 2005)

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From the weekly column “English Plain and Simple” by Jose A. Carillo in The Manila Times, September 26, 2005 © 2005 by the Manila Times Publishing Corp. All rights reserved.

Using parallelism to achieve structural balance in writing

Last week, I posted here Parts I and II of “Presenting ideas in parallel,” a four-part essay that I wrote for my English-usage column in The Manila Times in 2006 to create greater awareness of the importance of parallelism in writing. Part I took up this basic rule for parallel construction: never mix grammatical forms when presenting similar or related ideas, meaning that all of those ideas should stick to the same grammatical pattern all throughout—all noun forms, all gerund forms, all infinitive forms, or all verb forms as the case may be. Then Part II discussed another very important parallel construction rule: a parallel structure that begins with a clause should sustain that pattern all the way.

This week, I am posting Parts III and IV of that essay. Part III discusses specific applications of the two parallelism rules taken up in Parts I and II, while Part IV discusses how to achieve structural balance for sentences by using parallel structure for adjectives and adverbs as well as for two or more grammatical elements serving as complements.

I am sure that by following the prescriptions for parallelism taken up in the four-part essay, you will see a dramatic improvement in both your written and spoken English. (October 9, 2011)

Presenting ideas in parallel

Part III:

We have already taken up the two basic rules for parallel construction, namely that a sentence that presents two or more serial elements should stick to the same pattern all throughout, and that a parallel structure that begins with a clause should sustain that pattern all the way. We saw that we can build much clearer and more forceful sentences by consistently observing these rules.

Now we need to refami­liarize ourselves with four specific applications of these two parallelism rules: (1) that all of the elements being enumerated in a list should take the same grammatical form, (2) that elements being compared should take the same grammatical form, (3) that elements joined by a linking verb or a verb of being should take the same grammatical form, and (4) that elements joined by a correlative conjunction should take the same grammatical form.

All elements in a list should have a parallel structure. We can make our written compositions better organized and more readable by using the same grammatical form for all the elements we are enumerating in a list. The elements should all be noun forms, verb forms, infinitive phrases, gerund phrases, or participial phrases, whichever is most appropriate. When we allow any of the elements to take a different form, the rhythm of the enumeration is broken and the reader’s train of thought is needlessly disrupted.

Consider the following not-so-well-thought-out list:

“At present, our club has: (1) no formal charter, (2) subsisting without a long-term organizational goal, (3) a seriously declining membership, (4) a large budgetary deficit, and (5) to collect a large amount of past-due membership fees.”

The list looks awfully craggy and reads very badly for an obvious reason: its elements don’t follow a consistent grammatical form. Items 1, 3, and 4 are noun phrases, but Item 2 is a verb phrase in the progressive form and Item 5 is an infinitive phrase. 

Now see how smoothly and cohesively the list reads when its elements all take the same grammatical form, in this case as verb phrases:

“At present, our club: (1) lacks a formal charter, (2) subsists without a long-term organizational goal, (3) suffers from a seriously declining membership, (4) carries a large budgetary deficit, and (5) needs to collect a large amount of past-due membership fees.”

Elements being compared should use a parallel structure. In constructions that use the form “X is better than/more than Y,” we have to make sure that the elements being compared have the same grammatical structure. Unparallel (gerund/infinitive): “She enjoys jogging better than to run.” Parallel (gerund/gerund): “She enjoys jogging better than running.”

Elements joined by a linking verb or a verb of being should use a parallel structure. When we use “is” as a verb of being that links two elements, we have to make sure that the elements have the same grammatical structure. Unpa­rallel (infinitive/gerund): “To make that impossible demand is declaring open hostilities.” Parallel (infinitive/infinitive): “To make that impossible demand is to declare open hostilities.” 

Elements joined by a correlative conjunction should use a parallel structure. When we use the correlative conjunctions “either . . .  or,” “neither . . . nor,” “not only . . . but also,” “both . . . and . . .”, and “whether . . . or,” we have to make sure that the elements being correlated have the same grammatical structure.

Unparallel (gerund/infinitive): “For you to get to Manila on time, we suggest either taking the morning flight tomorrow or to drive overnight right now.” Parallel (gerund/gerund): “For you to get to Manila on time, we suggest either taking the morning flight tomorrow or driving overnight right now.”

Unparallel: “They not only demand very short installment periods but also huge down payments.” Parallel: “They demand not only very short installment periods but also huge down payments.” Also parallel: “They not only demand very short installment periods but also demand huge down payments.”

We will take up some more fine points about parallelism in Part IV of this essay. (June 12, 2006)

Part IV:

We saw in the first three parts of this essay that the consistent use of parallel structures is the key to more readable, more forceful, and more polished sentences. We also learned that for clearer and more cohesive sentences, we should always use parallel structures when presenting various elements in a list, when comparing elements, when joining elements with a linking verb or a verb or being, and when joining elements with correlative conjunctions.

Before winding up our discussions on parallel construction, we will take up two more techniques for harnessing parallelism to give structural balance and better rhythm to our sentences. We will discover that these techniques can dramatically improve our writing and give it a distinctive sense of style.

Use parallel structure for adjectives and adverbs. We should also aim for parallel patterns when using adjectives and adverbs in our sentences, seeking structural balance for them in much the same way as we do for noun forms, verb forms, infinitives, and gerunds.

Unparallel construction: “She danced gracefully, with confidence and as if exerting no effort at all.” Here, we have a stilted sentence because the modifiers of the verb “danced” have taken different grammatical forms: “gracefully” (adverb), “with confidence” (adjective introduced by a preposition), and “as if exerting no effort at all” (adverbial phrase).

Parallel construction: “She danced gracefully, confidently, effortlessly.” The consistent adverb/adverb/adverb pattern gives the sentence a strong sense of unity and drama.

Unparallel construction: “The gang attempted an audacious bank robbery that was marked by lightning speed and done in a commando manner.” The sentence reads badly because the three modifiers of “bank robbery” are grammatically different: “audacious” (adjective), “marked by lightning speed” (participial phrase), and “done in a commando manner” (another participial phrase).

Parallel construction: “The gang attempted an audacious, lightning-swift, commando-type bank robbery.” The sentence reads much more forcefully because of its consistent adjective-adjective-adjective pattern for all of the modifiers of “bank robbery.”

Use parallel structure for several elements serving as complements of a sentence. For more cohesive and forceful sentences, we should always look for a suitable common pattern for their complements. Recall that a complement is an added word or expression that completes the predicate of a sentence. For instance, in the sentence “They included Albert in their soccer lineup,” the phrase “in their soccer lineup” is the complement.

Unparallel construction: “We basked in the kindness of our gracious hosts, walking leisurely in the benign morning sunshine, and the palm trees would rustle pleasantly when we napped in the lazy afternoons.” Here, we have a confusing construction because the three elements serving as complements don’t have a common grammatical pattern: “the kindness of our hosts” (noun phrase), “walking leisurely in the benign morning sunshine” (progressive verb form), and “the palm trees would rustle pleasantly when we napped in the lazy afternoons” (clause).

Parallel construction: “We basked in the kindness of our gracious hosts, in the benign sunshine during our early morning walks, and in the pleasant rustle of the palm trees when we napped in the lazy afternoons.” The sentence reads much, much better this time because the three complements are now all noun phrases in parallel—“in the kindness of our gracious hosts,” “in the benign morning sunshine during our early morning walks,” and “in the pleasant rustle of the palm trees when we napped in the lazy afternoons.” Note that all three have been made to work as adverbial phrase modifiers of the verb “basked.”

In actual writing, of course, the need to use parallel structures in our sentences will not always be apparent at first. As we develop our compositions, however, we should always look for opportunities for parallel construction, choose the most suitable grammatical pattern for them, then pursue that pattern consistently. Together with good grammar, this is actually the great secret to good writing that many of us have been looking for all along. (June 19, 2011)

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From the weekly column “English Plain and Simple” by Jose A. Carillo in The Manila Times, June 12 and 19, 2006 © 2006 by the Manila Times Publishing Corp. All rights reserved.

Good writing needs scrupulously parallel organization of ideas

In My Media English Watch on Jose Carillo’s English Forum last September 18, I called attention to the remarkably unparallel structure of this lead paragraph from a recent newspaper story: “They started with highly paid doctors and lawyers but even taxi drivers and small business owners will not be spared. And the consumption patterns of upward striving politicians make particularly delicious targets.” As I pointed out in my grammar critique (“The need for parallelism and voice consistency when writing the news”), these two sentences flagrantly violate the parallelism rule three times over. They are a highly instructive example of the fact that in English, good writing isn’t just a matter of error-free grammar and usage but of scrupulously parallel organization and presentation of ideas.

To foster greater awareness and appreciation of the importance of parallelism in writing, I wrote a four-part essay, “Presenting ideas in parallel,” for my English-usage column in The Manila Times in 2006. I am now posting here all four parts of that essay in full—Parts I and II this week, and Parts III and IV next week. (October 3, 2011)  

Presenting ideas in parallel

Part I:

Parallel construction is one of our most powerful tools for organizing and presenting ideas. It cannot be overemphasized that making our sentences grammatically and semantically correct is simply not enough. We should also ensure that each of their grammatical structures that are alike in function follows the same pattern. In fact, observance of this basic stylistic rule very often spells the difference between good and bad writing.

To give us a better idea of the power of parallel construction, let us first examine the following simple sentence: “Alberto likes reading, jogging, and to play computer games.”

We will find that it’s structurally disjointed and doesn’t read well because not all of its serial elements follow the same pattern. Although the first two elements, “reading” and “jogging,” are in parallel because both are gerunds (“-ing” noun forms), the third, “to play computer games,” ruins the parallelism because it is in the infinitive form (“to” + the verb stem).

One quick way to fix this structural problem is to put the third element also in gerund form, “playing computer games,” so that the sentence reads as follows: “Alberto likes reading, jogging, and playing computer games.” It is now grammatical balanced and no longer sounds stilted.

Another way for the original sentence to achieve parallelism is to make all three of its serial elements take the infinitive form: “Alberto likes to read, to jog, and to play computer games.” This sentence, of course, can be streamlined even further by using “to” only once right before the first of the all-infinitive parallel elements: “Alberto likes to read, jog, and play computer games.”

In actual practice, we have to put in parallel not only single words or short phrases but much more complicated grammatical structures such as extended phrases and clauses as well as long serial lists. However, the basic rule for parallel construction remains the same: never mix grammatical forms. We have to choose the most appropriate form for the similar or related ideas, then stick to the same pattern all the way.

Consider the following sentence with three extended elements that are not all in parallel: “The chief executive decided to terminate the advertising manager because he rarely managed to come up with the company’s TV commercials on time, approved the publication of several major print advertising with serious grammar errors, and his relations with both his staff and the advertising agencies were very bad.”

The first subordinate clause, “he rarely managed to come up with the company’s TV commercials on time,” is in parallel with the second subordinate clause, “[he] approved the publication of several major print advertising with serious grammar errors,” because both are active verb forms using “he” (the advertising manager) as the subject. However, the third subordinate clause, “his human relations with both his staff and the advertising agencies were very poor,” disrupts the parallelism because it takes the passive verb form and takes for its subject not “he” but another noun form, “his relations with both his staff and the advertising agencies.”

See how much better the sentence reads when the third element is modified so it becomes parallel with the first two: “The chief executive decided to terminate the advertising manager because he rarely managed to come up with the company’s TV commercials on time, allowed the publication of several major print advertising with serious grammar errors, and related very badly with both his staff and the advertising agencies.”

Note that the three elements are now all active-voice verb phrases, thus perfectly parallel in form.

We will go deeper into the various ways of achieving parallelism in the next essay. (May 29, 2006)

Part II:

As emphasized in Part I of this essay, the basic rule for parallel construction is to never mix grammatical forms when presenting similar or related ideas. A sentence that presents two or more serial elements should stick to the same pattern all throughout—all noun forms, all gerund forms, all infinitive forms, or all verb forms as the case may be. When serial elements all take the same form, ideas come across much more clearly and cohesively.

We will discuss another very important parallel construction rule this time: A parallel structure that begins with a clause should sustain that pattern all the way. Recall now that a clause is a group of words that contains a subject and a predicate (and can thus function as a sentence in its own right, as in “we should obey the law”), as opposed to a phrase, which is a group of words that doesn’t have them (and thus can’t function as a sentence by itself, as in “to obey the law” or “obeying the law”). When the sentence doesn’t sustain the clause pattern, or when any of the clauses shifts from the active to the passive voice or the other way around, the parallelism falls apart. The result is a disjointed sentence that doesn’t read well.

Take this sentence that contains three serial grammatical elements: “The English professor told the students that they should aim for perfect attendance, that they should always do their assigned homework, and to submit their term papers on time.” The parallelism of this sentence breaks down because while the first two elements—“they should aim for perfect attendance” and “they should always do their assigned homework”—are both clauses, the third element—“to submit their term papers on time”—is not a clause but an infinitive phrase.

We need to make this third element also a clause—“they should submit their term papers on time”—so the sentence can become perfectly parallel and more readable: “The English professor told the students that they should aim for perfect attendance, that they should do their assigned homework regularly, and that they should submit their term papers on time.” Of course, a more concise but less emphatic way to construct this serial-clause sentence is to use the imperative “that they should” only once before the first clause: “The English professor told the students that they should aim for perfect attendance, do their assigned homework regularly, and submit their term papers on time.” (Be forewarned, though, that such streamlining can obscure the meaning in more complicated constructions.)

The parallel structure of a sentence with serial clauses can also be ruined when any of the clauses takes a different voice, say the passive from active: “The president anticipated that majority of the lower house would welcome the planned Charter change, that most of the senators would fiercely oppose it, and that a vicious demolition job would be mounted against it by her political detractors.” Here, the first two clauses—“majority of the lower house would welcome the planned charter change” and “most of the senators would fiercely oppose it”—are in the active voice, but the third clause—“a vicious demolition job would be mounted against it by her political detractors”—is in the passive voice, thus disrupting the pattern.

To make the construction parallel all throughout, we should make the third clause also take the active voice—“her political detractors would mount a vicious demolition job against it.” This results in a more forceful sentence: “The president anticipated that majority of the lower house would welcome the planned charter change, that most of the senators would fiercely oppose it, and that her political detractors would mount a vicious demolition job against it.” (June 5, 2006)

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From the weekly column “English Plain and Simple” by Jose A. Carillo in The Manila Times, May 29 and June 5, 2006 © 2010 by the Manila Times Publishing Corp. All rights reserved.

Next week, Part III and Part IV will take up more ways of using parallelism to enhance the clarity and readability of our writing.