Transitive and Intransitive Verbs

let us look at the meaning of the word transitive. One way by which this concept can be understood, is to look at the verb in relation to the

· subject,
and the presence or absence of

· the direct and

· indirect objects

Many verbs, for example, do not carry the indirect object (eg. 'to shave', 'to see', 'to dream'), and some can function without the direct object ('to laugh', 'to run', 'to chatter').

You should know that

· a verb which carries both the direct and indirect objects is known as a ditransitive verb,

· that which carries only the direct object is called a transitive verb, and finally,

· that which does not carry the direct object is known as an intransitive or non-transitive verb.

Notes on Style. Advice on the Verb Usage

It needs to be emphasised here that in literary stylistics, our primary interest is not on the various categories we can put these verbs into, but how the verbs function in the given work or abstract. There are no easy formulas here, but we can make some very brief preliminary general observations which, it is hoped, will not be regarded as inviolable or exhaustive.

· The usefulness of a primary auxiliary verb for stylistic analysis may depend on the aspectual function it serves in relation to the lexical verb: for example, whether an action is still going on, no longer functioning etc. These verbs may be of concern in relation to the accuracy of our analysis of time in the literary work.

· The modal auxiliaries are usually a rich source for the interpretation of opinions, evaluations, feelings and of emotional reactions, judgments of certainty, the issuing of commands etc. (we will go back to these in the lecture on mood and modality later this semester).

· The finite verbs can be regarded as being anchored to a more definite time, and related in more definite ways to their subjects, whereas the non-finite verbs do seem to have, comparatively speaking, a less certain linkage to time and person; however, one needs to be warned here that this linkage may be indicated or implied by the tensed verb to which the non-finite verb grammatically relates, or by time adverbials.

· The interpretation of the significance of tense in a literary work is by no means confined to determining whether an event is in the past or the present: notice for example, the use of the present tense in a narrative written in the past tense, which may indicate that the situation described is imaginary, hypothetical, of universal significance, etc.

· The use of a lot intransitive verbs in a text may indicate the description of actions which exist by themselves, and are not done on objects, things or people, while the frequent use of transitive verbs may signify the opposite of this; ditransitive verbs quite often indicate the conveyance (or exchange) of information, or of goods and services.

· The question of “voice” is an important one and can make the difference between a strong positive presentation and a weak one. There are two voices – the active and the passive. In the active voice, the doer of the subsequent verb is the subject of a sentence or phrase. In the passive voice, the doer of the action is usually represented as the object of a preposition.

Example.

The new organizational initiative will be led by Amelia. (passive)

Amelia will lead the new organizational initiative. (active)

These two examples basically say the same thing but the emphasis, focus and effect they create are different because of the voices they are stated in and the effect that has on us.

In the first example, the focus of the sentence is on the “new organizational initiative” which stands as a passive monolithic entity that somewhat coincidentally Amelia will lead. In the more straightforward active voice example, the doer – Amelia – directly performs the action and acts directly on the object of the verb. The effect on the reader/listener is obvious.

In most cases, using subject-verb-object word order, with strong verbs, can make your writing more powerful. Consider transforming these sentences to the active voice. If you can make the sentence shorter and more direct without any loss of meaning, it will improve your style. For example:

The article is presented in terms of what needs to be done or what would happen if "it" were done in a certain way. (passive)

The article presents a plan of action and the results of the implementation. (active)

Practice Assignment

Now you understand that a) planning and drafting include sub-stages. i) organizing information and thinking in note / diagram form, ii) distinguishing what must go in to what might go in, and deciding the optimum length for the task, iii) choosing the appropriate language and structure to get across their meaning (b) understand that planning and drafting decisions relate to the subject matter, type of text, purpose and audience.

Develop preparation and presentation outlines for your speech.