English grammar — Key Ideas to Explore

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Stewart, Lillian Kimball, 1860-1943 Project Gutenberg 2025 Not confirmed
English language -- Grammar Readers of public-domain and historical texts
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Words 81,191
Reading time 354 min
Text sections 103

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Lillian Kimball Stewart's 1912 grammar textbook emphasizes habit formation through imitation and practice, then builds analytical understanding via clear explanations and exercises drawn from literature. The preface and lessons reveal a pedagogical sequence from sentence structure to passive voice tests.
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n of the subject, we should use an adjective; as, “The oak leaves turned _brown_.” If we wish to tell the manner of an action, we should use an adverb; as, “The leaves turned _quickly_ this fall.”

=Exercise 1.=—Tell the part of speech of each italicized word in these sentences, and justify its use.

1. Mary dresses _neatly_ and always looks _charming_.

2. The children must keep _quiet_ to-night.

3. Stand _straight_ and breathe _deeply_.

4. Look at them _kindly_ and speak _gently_.

5. The old bishop looks _kind_ and _gentle_.

6. This pie tastes very _queer_.

7. Mother feels _uneasy_ if we are _out late_.

8. The boy seemed _nervous_ and felt _uneasily_ of his watch chain.

9. Poor oil made the lamp smell very _disagreeable_.

10. All the doors stood _open_.

11. The air grew _cold steadily_.

12. Keep the box _carefully_ till I return.

=Exercise 2.=—Select the right word for each of the following sentences, and give your reason in each case:—

1. The light is so poor that I cannot see the picture (_plain_ or _plainly_).

2. I am frightened when she speaks (_cross_ or _crossly_) to me.

3. Sit with me so that you can hear (_good_ or _well_).

4. Does he always deal (_honest_ or _honestly_) with you?

5. The miser died (_miserable_ or _miserably_).

6. You came so (_sudden_ or _suddenly_) that I was taken by surprise.

7. No wonder you fell, you move too (_quick_ or _quickly_).

8. How (_stylish_ or _stylishly_) she dresses.

9. I (_sure_ or _surely_) mailed the letter.

10. Next time I shall act more (_sensible_ or _sensibly_).

11. Money comes (_easy_ or _easily_) to him, and is soon gone.

12. I felt so (_bad_ or _badly_) that I cried.

13. I was ill yesterday, but I feel pretty (_good_ or _well_) this morning.

14. All my rose bushes look (_fine_ or _finely_).

XXVII. REVIEW OF VERBS

=93.= A =verb= is an asserting word.

A =transitive verb= is one that asserts action performed upon some person or thing.

A transitive verb is completed by a =direct object=.

The =direct object= of a transitive verb is a word or a group of words that completes the meaning of the verb and names the receiver of the action.

The =base word= of a =direct object= is usually a noun.

An =intransitive verb= is one that asserts, (1) being, or (2) action not performed upon any person or thing.

An =intransitive verb of action= needs no complement.

An =intransitive verb of being= is usually completed by a subjective complement.

A =subjective complement= is a word or a group of words that completes a verb and refers to the same person or thing as the subject.

A subjective complement denotes identity with the subject, or tells the class to which the subject belongs, or some quality of the subject.

The =base word= of a =subjective complement= may be a noun or an adjective.

=Exercise.=—Select and classify all the verbs in the following sentences. Tell the subject of each verb, and tell how each verb is completed or modified.

1. As soon as he saw the cat in the soap barrel, he set the lamp down on the cellar bottom, and laughed so that he could hardly move.

2. When night came, I felt still more lonesome.

3. Little Toomai shall become a great tracker.

4. The wind whistled around the low, unplastered chamber, but the beds were soft and warm, and the guests were ready for sleep.

5. The youngest daughter was the gentlest and most beautiful creature ever seen, and the pride of all the people in the land.

6. I am too stiff and sore from a terrible fall I have had, to write more than one line.

7. Next month, when the city had returned to its sunbaked quiet, the Hindu did a thing that no Englishman would have dreamed of doing; for, so far as the world’s affairs went, he died.

8. The knoll in the tamarack swamp was a haven of peace amid the fierce but furtive warfare of the wilderness.

9. Beauty rose by four o’clock every morning, lighted the fires, cleaned the house, and prepared the breakfast for the whole family.

10. More years sped swiftly and tranquilly away.

11. What a place the old market must have been in the days of Herod the Builder!

12. The lizard belonging to my mistress was a very beautiful creature.

13. The rocky walls are red with the scarlet of the geranium, aglow with the orange of the lantana, or they are hidden by the purple veil of the wild convolvulus. The dainty sweet alyssum clings to the rock in great patches, and the little rice plant lays its pink cheek against it lovingly.

14. The spring had been a trying season for the lank she-bear.

15. Right proud the baron was of his gallant steed.

16. There is the house with the gate red-barred.

Stewart's preface immediately distinguishes her approach from rule-based grammar instruction. She argues that young speakers learn “through imitation and practice” rather than reflection, so the book supplies exercises for forming correct habits before explaining why forms are correct. The first lesson begins with declarative sentences and the concepts of subject and predicate, establishing a logical progression from simple to complex structures.

The table of contents shows 103 lessons covering nouns, verbs, pronouns, adjectives, adverbs, phrases, and voice. Each lesson builds on the previous one, and technical points with little practical value are omitted. The author's stated aim is to help pupils “use or to interpret the English language” through accurate reasoning applied to illustrative sentences from standard literature.

Habit Before Rule

The preface lays out a two-stage pedagogy: first, instill correct speech through imitation and practice; second, satisfy the pupil's curiosity about why a form is correct. Stewart writes that “a mere understanding of the rules of syntax does not insure the avoidance of errors.” The exercises are designed to be supplemented by the teacher's “constant criticism, example, and stimulus.” This emphasis on habit formation over rote memorization reflects contemporary educational psychology and distinguishes the book from earlier grammar texts that led with definitions.

In the opening lessons, definitions appear only after students have encountered examples. For instance, nouns are introduced through the simple subject, then classified in the next lesson. The sequence is “pedagogical and logical,” each point taken up where it is called for by the preceding lesson.

Exercises Rooted in Literature

Stewart draws illustrative sentences from standard literature, as promised in the preface. The excerpts include lines from poetry and prose: “Away to the window I flew like a flash” (from Clement C. Moore's The Night Before Christmas), and “They who do their souls no wrong, / But keep at eve the faith of morn” (from John Greenleaf Whittier). These are not merely decorative; they serve as material for grammatical analysis.

For example, in Lesson LVI, students are asked to determine whether is taken in “Every seat in the balcony is taken” is a passive verb or a subjective complement. The test involves checking if the subject is acted upon, if a by phrase can be added, and if the sentence can be changed to active voice. This method trains students to reason from meaning, not just form.

The Passive Voice: A Case Study in Precision

Lesson LVI on the passive voice exemplifies Stewart's careful reasoning. She warns that not every combination of be + past participle is a passive verb. The sentence “The meat is done now” describes a condition, not an action, so is done is not passive—done is a subjective complement. Three tests are provided: (1) Does the subject receive the action? (2) Can a by phrase be added? (3) Can the sentence be changed to active voice?

These tests are applied to “Courage is praised” (true passive) versus “Every seat in the balcony is taken” (condition, not passive). The distinction is subtle but practical: it prevents students from misidentifying verb voice in everyday usage. The lesson also covers how sentences with objective complements (e.g., “We called our canary Buttercup”) change when converted to passive voice.

A Teacher's Companion, Not a Student's Primer

The preface addresses teachers directly, acknowledging that the exercises “the teacher is expected to supplement.” This suggests the book was designed for classroom use with an instructor guiding discussion and correction. The lessons are dense with terminology and analysis; a student working alone might struggle without the teacher's “constant criticism, example, and stimulus.”

Stewart's tone is authoritative but not dry. She uses concrete examples from everyday life (“My dress is badly torn”) alongside literary quotations. The book's structure—103 lessons, each building on the last—implies a full-year course. The omission of “technical points that have little or no practical value” keeps the focus on usable grammar, but the level of detail (e.g., distinguishing passive voice from subjective complements) demands attentive study.

Stewart's grammar rewards readers who approach it as a course to be worked through sequentially, not a reference to be dipped into. The preface sets expectations: habit first, then analysis. The exercises, drawn from literature and everyday speech, provide concrete practice. For a first reading, focus on the reasoning tests (like the three for passive voice) and note how each lesson builds on the previous one. The book's value lies in its methodical training of grammatical judgment, not in quick answers.

In Stewart’s old grammar, I always loved how habit came before understanding—the repeated sentence, then the quiet light. It felt like learning a language by living in it. That same patience lives in A Finnish Grammar — Themes and Context, where every structure seems earned through days of listening. Two books, sharing a gentle trust in time.

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