An adjective is a word which describes a noun or a pronoun. Rather beautifully, the word ‘adjective’ comes from the past participle of the Latin word ‘adicio’ which breaks down into ‘ad’ meaning ‘towards’ or ‘at’ and, when it by itself without a prefix in front of it, ‘iacio’ meaning ‘I throw’. Thus, literally, an adjective is a word ‘thrown at’ a noun. Just think of that poor, defenceless noun next time you decide to throw a whopping adjective at it, hitting it in the noggin and making it lose consciousness, just like Sniper Morris hurling highlighters and glue sticks at students on a regular basis.
Furthermore, adjectives have also been niftily described as ‘the clothing’ of nouns and pronouns. Once again, ensure you dress your nouns and pronouns exotically; no one likes a butt-naked noun or pronoun.
There are five types of adjectives, which you will find explained in detail below:
Adjectives of quality, which answers the question ‘Of what sort?’, as in ‘spiffing and awful’ and ‘cheerful and dull’
Adjectives of quantity, which answers the question ‘How much?, as in ‘any’, ‘few’, much’ and ‘enough’.
Adjectives of number, which answer the question ‘How many?’, as in ‘one’ all the way up to infinity.
Demonstrative adjectives, which answer the question ‘Which?, as in ‘this or that’
Possessive adjectives, are used in three different sentences and show errr, possession; as in, ‘my’, ‘your’, ‘his’, ‘her’, ‘its’, ‘our’, ‘your’ again, and ‘their’. These always stand either:
a) Before the noun(s) they apply to (as in ‘your glockenspiel lesson); or
b) Before any adjective(s) immediately before the noun(s) they apply to (as in ‘your splendiferous glockenspiel lesson); or
c) Before any adverb(s) immediately before any adjective(s) immediately before the noun(s) they apply to (as in your amazingly splendiferous glockenspiel lesson). Got it? Good.
The basic adjectives, which are called positive adjectives, can have comparatives and superlatives, both of which indicate degrees of the adjective in question.
a) A comparative adjective is the form of the positive adjective which makes it mean more of the adjective in question.
b) A superlative adjective is in the form of the positive adjective which makes it mean the most of the adjective in question.
Examples of the positives, comparatives and superlatives of adjectives include: ‘best, better, best’, ‘sweet, sweeter and sweetest’ and ‘spiffing, more spiffing and most spiffing’.
Despite trying to make them have them, some adjective just do not have comparatives and superlatives. Some of these include ‘unique’, ‘infinite’ and ‘dead’. Nevertheless, Mr Morris does try to break this rule as often as possible when attempting to be witty and flippant, such as, ‘Forget your homework again and you’ll be deader than the deadest doornail in history’. That guy is so hilarious.
- Read the following poem by John Keats and identify all the different types of pronouns.
- Next, zoom in and analyse the different effects they have on the reader
- In the comments section below, provide an answer for the following question, providing evidence to support your opinion: On its surface, the ode “To Autumn” seems to be little more than description, an illustration of a season. But underneath its descriptive surface, “To Autumn” is one very thematically rich poem. How does Keats manage to embody complex themes in such an apparently simple poem?
SEASON of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss’d cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o’er-brimm’d their clammy cells.
Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap’d furrow sound asleep,
Drows’d with the fume of poppies, while thy hook
Spares the next swath and all its twined flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours.
Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,—
While barred clouds bloom the soft-dying day,
And touch the stubble plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.