Tense And Aspect Quotes

The distinction between events that are construed as instantaneous, like throwing, and events that are construed as protracted in time, like lugging, matters a lot in language. Linguists call this general realm of meaning-how states and events are distributed in time-"aspect" (not to be confused with the other timekeeper in language, tense). As we shall see when exploring the concept of time in chapter 4, aspectual distinctions matter in many areas of language and reasoning, not just in this construction.

Cabal. Cabal. Cabal. I summon you to me. Now." Simi and Kody exchanged a look that said he was as crazy as he suddenly felt when nothing happened. Great, Dad. I can look stupid on my own. Didn't really need you to help out on that front. That was his thought until he heard a curse and something slammed into him, knocking him against the wall. Nick shoved his attacker away, then froze as he looked into a pair of familiar, startled brown eyes. Now this was the giant badass-tough demon that Nick was used to. "Malphas?" Tense and braced to fight, Caleb turned around slowly, surveying every aspect of his new surroundings. He paused as he faced Kody and Simi. "Where the heck am I? And how did I get here?" Kody pointed to Nick. "Apparently, Nick summoned you." "Nick?" Caleb glanced right past Nick and kept searching the room with his gaze. "Our Nick? Where is the little booger?" She gestured even more exaggeratedly at Nick's position. "Right there." Caleb's jaw went slack as he faced him."Nick?" "Caleb?" The word had barely left his lips before Caleb grabbed him into a bear hug and held him tight. Which was extremely awkward and gross. Completely weirded out by it, Nick tried to disentangle himself from the demon. It wasn't like Caleb to show any emotion toward him other than irritation or frustration. Sometimes anger. "Stop C! If you're going to hug me like this, you got to buy me dinner first, boy. And it's got to be someplace nice, like Antoine's or Brennan's. I ain't easy or cheap." Laughing, Caleb stepped back and narrowed his eyes on Nick as he held him by his arms. "Dude . . . did you lose a bet with a sorcerer or something?" Nick gave him a droll smirk. "Don't taunt me now that I know your real name. I'm told I can do some damage to you with that. Make you fetch my slippers and stuff.

Sometimes changes in language behaviour do not seem to be explainable in terms of a gradual build-up of fluency through practice. These changes have been described in terms of restructuring (McLaughlin 1990). They seem to be based on some qualitative change in the learner’s knowledge. Restructuring may account for what appear to be bursts of progress, when learners suddenly seem to ‘put it all together’, even though they have not had any new instruction or apparently relevant exposure to the language. It may also explain apparent backsliding, when a systematic aspect of a learner’s language incorporates too much or incorporates the wrong things. For example, as we saw in Chapter 2, when a learner finally masters the use of the regular -ed ending to show past tense, irregular verbs that had previously been used correctly may be affected. Thus, after months of saying ‘I saw a film’, the learner may say ‘I seed’ or even ‘I sawed’. Such overgeneralization errors are not based on practice of those specific items but rather on their integration into a general pattern.

The Russian verb is weak in tenses, strong in Aspects. [...] These aspects are in the very blood of the Slav. [...] These aspects I believe to be of profound psychological significance and this significance has not I think so far been fully understood.

I have had a suspicion all my life that in the current dictionaries and grammars often the real explanation and origin of a word or a grammatical form is to be found in something that comes in just at the end as a 'derived' form or 'exceptional' use. This I believe to be the case with the aorist; the true primitive essential aorist I believe to be the gnomic, the temporal aorist a later derivative, in fact the aorist I believe to be primarily not a tense at all but an aspect.

Hebrew is a language which has no tenses at all, it has only aspects.

[K]nowing how primitive in many aspects, now little abstract, how uncontaminated by logic and logical structure Hebrew is, it would surely have occured to me to ask, is not aspect wherever and whenever it occurs a thing more primitive, more psychologically fundamental than time order, than tense? Was there not a time in the development of language when primitive man focussed his attention not on time order but on something else expressed by aspect, and what is that something?

Contrary to what I thought, being a college grad and fluent in English doesn’t make one a good English teacher. I was surprised to learn that all the stuff I didn’t know about the language was more than I knew—by a multiple of ten. I knew my nouns, verbs and adjectives. I could speak intelligently about the past, present and future tenses. No problem. But my students were asking me about aspects of English way out in the hinterlands of my understanding. Holy hell! When did English get more than three tenses? Turns out a world existed beyond verbs and nouns. A big world that, for me at the time, seemed as deep and incomprehensible as quantum physics. Tenses like the past perfect, the subjunctive, the pluperfect, the present perfect, the future perfect continuous. Often

Thornton Wilder: The problem of telling you about my past life as a writer is like that of imaginative narration itself; it lies in the effort to employ the past tense in such a way that it does not rob those events of their character of having occurred in freedom. A great deal of writing and talking about the past is unacceptable. It freezes the historical in a determinism. Today’s writer smugly passes his last judgment and confers on existing attitudes the lifeless aspect of plaster-cast statues in a museum. He recounts the past as though the characters knew what was going to happen next.

Basically, you’re not alone in there. There are two distinct aspects of your inner being. The first is you, the awareness, the witness, the center of your willful intentions; and the other is that which you watch. The problem is, the part that you watch never shuts up. If you could get rid of that part, even for a moment, the peace and serenity would be the nicest vacation you’ve ever had. Imagine what it would be like if you didn’t have to bring this thing with you everywhere you go. Real spiritual growth is about getting out of this predicament. But first you have to realize that you’ve been locked in there with a maniac. In any situation or circumstance, your roommate could suddenly decide, “I don’t want to be here. I don’t want to do this. I don’t want to talk to this person.” You would immediately feel tense and uncomfortable. Your roommate can ruin anything you’re doing without a moment’s notice. It could ruin your wedding day, or even your wedding night! That part of you can ruin anything and everything, and it generally does.

all of the several identity clues, this may be the saddest. Jeremiah makes a statement about the Daughter of Babylon that at first reads like a compliment: “Babylon has been a golden cup in the hand of the LORD.” (Jeremiah 51:7a). The most important aspect of this verse is that it applies, in all translations, to a future end times nation in the past tense. This nation has been a golden cup in the hand of the Lord.

What happened to your face, sir?” Rose answered before he did, with the pride of a child who was delivering news of great significance. “Mr. Bronson ran into a left hook again, Mama. He was fighting. And he brought this to me.” She pulled the end of her button string from her large apron pocket and climbed into Holly's lap to display her newest acquisition. Cuddling her daughter, Holly examined the button carefully. It was fashioned of a huge sparkling diamond encased in rich yellow gold. Bewildered, she glanced at Elizabeth's rueful face, and Paula's tight-lipped one, before finally staring into Bronson's enigmatic black eyes. “You shouldn't have given Rose such a costly object, Mr. Bronson. Whose button is it? And why were you fighting?” “I had a disagreement with someone in my club.” “Over money?… Over a woman?…” Bronson's expression revealed nothing, and he gave an indifferent shrug, as if the matter were of no importance. Considering various possibilities, Holly continued to stare at him in the tense silence that had overtaken the room. Suddenly the answer occurred to her. “Over me?” she whispered. Idly Bronson picked a skein of thread from his sleeve. “Not really.” Holly suddenly discovered that she knew him well enough to discern when he was lying. “Yes, it was,” she said with growing conviction. “Someone must have said something unpleasant, and instead of ignoring the remark, you took up the challenge. Oh, Mr. Bronson, how could you?” Seeing her unhappiness, instead of the grateful admiration he had probably expected, Bronson scowled. “Would you rather I allowed some high-kick b—” He paused to correct himself as he noticed the rapt attention Rose was paying to the conversation. “Some high-kick fellow,” he said, his tone softening a degree, “to spread lies about you? His mouth needed to be shut, and I was able and willing to do it.” “The only way to respond to a distasteful remark is to ignore it,” Holly said crisply. “You did the exact opposite, thereby creating the impression in some people's minds that there may be a grain of truth in it. You should not have fought for my honor. You should have smiled disdainfully at any slight upon it, resting secure in the knowledge that there is nothing dishonorable about our relationship.” “But my lady, I would fight the world for you.” Bronson said it in the way he always made such startling comments, in a tone of such jeering lightness that the listener had no doubt he was being facetious. Elizabeth broke in then, her lips curved in a droll smile. “He'll use any excuse to fight, Lady Holly. My brother enjoys using his fists, primitive male that he is.” “That is an aspect of his character we will have to correct.

the rolling hexameters of Virgil, the cleverly contrived odes of Horace and the epigrammatic prose of Tacitus, all exploiting the genius of a highly inflected language, a language where grammatical functions were expressed in the most highly condensed fashion, a single short suffix on a noun expressing case, number and sometimes gender, a single suffix on a verb expressing tense, aspect, mood, voice and the person and number of the subject.