Questions as mayn't you have done or mustn't you have done would be rare in American, and they might impress unfavorably, as superfluous or even incorrect. The preference is for patterns without syntactic HAVE, and we can try to explain this with human logic. ■→More
Tag: Perfect
The Perfect Aspect, attributed figurative spatial reference with the preposition TO, within Language Mapping.
CHAPTER 9. TO TELL THE FASHION IN VALUABLE TIME
Modal verbs do not narrate the real time. Their manner is relative to real time, as they mediate between the grammatical Time and Aspect. The name "modal" comes from the Latin word "modus", meaning an extent or measure, too. ■→More
8.2. PRACTICE FOR ALL ASPECTS
We practice earthling proper egoism: we ignore cues that would not be properly "egoistic" and "gravitational":
The butterfly (kiss) the bee in the midst of her phiz, when he (see) the golden grit. ■→More
8.1. EARTHLING BASIC COGNITIVE VARIABLE
Planet Earth has been a natural habitat for millennia. In thousands of years, people to think what there is {ON} a map, have not denied plausibility for places {IN} areas, routes {TO} places, as well as locations {AT} them. Early childhood learning to talk has been getting along with learning to walk. Human postural control will favor one variable for the basis of all Aspects and tenses. ■→More
CHAPTER 8. A PERFECT AND PROGRESSIVE REGARD
Matters may never be what they seem, but they are what they look: the Perfect Progressive does merge the Perfect and the Progressive. All Perfect tenses have an open time frame. ■→More
6.5. THE TARGET TIME AND FRAME
We use time frames and symbolic cues, to work as in the Mind Practice for the difference between the Simple and the Perfect. ■→More
6.4. MORE PRACTICE: THE GRAMMATICAL FRAME, VARIABLE, AND FORM
4. After some study of a number of ideas on the cosmos, she (picture) the humanity as an odd kind of fish in a series of still larger fish tanks. Early in the series, there (be) N any point to try bringing another fish tank to imagination. It (require) adding more fish tanks. ■→More
6.3. EXERCISES: THE ASPECT AND THE TIME FRAME
Mind practice for the Aspect and the time frame:
2. The skylark found nothing to outbid the bit of cosmos with a squid.
8. The spotted redshank bachelorette bewailed, and reset her buret for the bouncing bet. ■→More
6.2. ASPECT COGNITIVE VARIABLE AND TIME FRAME
Madame Règle is not a systematic person at all. The only regularity about her would be a small book she always carries fastened to her bag with a scarf, or actually a variety of scarves, of many colors and textures. The book is not the same book every day, and the choice of the scarf sure depends on some totally unpredictable factor, just as the exact time for lunch, for which you might want to assume the broad time frame of about sixty minutes to commence or not to happen altogether. ■→More
6.1. OUR LINGUISTIC GRAVITATION
Our time extents, PRESENT and PAST, do not change for punctuation. They do not change for the Aspect, Simple or Perfect, either. To continue our work on the two Aspects, we choose on the grammatical time frame. ■→More
5.3. PRACTICE: REAL SYNTAX AND MORE WORDS
Abbreviated verb forms are really much in use in American English. It is important to learn telling them. We first try the exercises in our thoughts, as in the Mind Practice. ■→More
5.2. PRACTICE: SYMBOLIC CUES AND REAL SYNTAX
We combine the Aspect and Time, to exercise target grammatical time. We think the answers: true learning is in the mind. ■→More
5.1. THE LOGIC SO FAR
We sum up on the grammar logic so far, and visualize Time with Aspect — for efficient language habits with target grammatical time. ■→More
CHAPTER 5. LET US MAKE OWN PATHS ABOUT TIME
Phrases as the the Affirmative, Interrogative or Negative may look rare or even strange, if we compare everyday language. Let us think about something usual as a strawberry, to work them out. ■→More
4.2. PRACTICE: ASPECT COGNITIVE MAPPING
To think about grammatical time, we do not have to feel bound to fields and land travel, even if only symbolically. We can imagine a bald eagle {ON} Mount Elbert. He is nesting {IN} a valley, has flown {TO} the mountain top today, and has been staying {AT} the summit, all this warm day. The eagle route has four types of reference. ■→More
4.1. THE IDEA OF TRAVEL IN GRAMMAR
We can think about the Simple, Progressive, and Perfect — together, as variables that we choose in real time. It can be good time and in truth, no effort at all. ■→More
CHAPTER 4. TIME RAMBLES DIFFERENT WITH DIFFERENT PEOPLE
Human walking or other moving about needs place and time, yet it does not need anybody to describe, give rules or definitions. We can connect the grammatical aspect and basic ways we people orientate in physical space. More→
3.4. PRACTICE FOR THE SHAPE OF TIME
We have a little exercise on Aspect pattern build, before we reckon on Aspect use. To get along at school, we think about grammar labels, that is, if patterns are the Simple, Progressive, Future, Past, or another — the way as in our Mind Practice, 3 minutes to read. ■→More
3.3. THE BIG CHART FOR THREE PERSONS AND PATHS
We put together the Simple, Progressive, and the Perfect, with all personal pronouns and in all three fields of time. ■→More
3.2. THE PERSON ‘YOU’
In a standard, face-to-face conversation, it is naturally easy to tell if we speak with one or more persons. However, the pronoun you has evolved into the same shape for the singular and the plural. The form is also the same as verb object. ■→More
3.1. THE FIELDS AND THE RIVER OF TIME
Whether English is spoken or written, verb forms be and have are the most usual to occur. We can extract patterns for the Simple, Progressive, and Perfect. ■→More
CHAPTER 3. TIME IS LIKE A RIVER
Everyday language has phrases as a flow or passage of time, a course or current of events: we people happen to have such impressions about life and time. Let us imagine a river of time. There are word patterns to show in the river, and there are pods of time to surface with them. We need to use a pattern, for a pod to carry us through. ■→More .
GRAMMAR WEBLOG BY TERESA PELKA 