Proximity Rule In Subject Verb Agreement
Most English people speak the basic rule of the subject verb chord: a singular name takes on a singular verb, and a plural noun takes its corresponding plural. In the end, it is the context that comes into play, the sentence generally offering a kind of information that emphasizes the pluralistic essence of what is technically a singular noun. With “The couple was seen omitted in a grey car,” it can be said that two people were seen; Similarly, “The Crew on departure” reminds many people who work together, suggesting a plurality, and it is this idea that leads a spokesperson to prefer a plural. A fictitious chord is something we don`t often consider, because it`s almost instinctive, part of our regular speech habits. And it is not a rule defined per se, but a matter of preference, and it is more common in British English than in American English. If you prefer to say “a lot of spectators were approaching,” you`re not wrong. Key: subject – yellow, bold; verb – green, emphasize But there are times when the determination of what is considered an “agreement” is not so obvious, because what sounds like a noun is really plural, or what sounds like a plural noun is essentially singular. This concept is called fictitious chord, also known as fictitious concord or synese. More frequent are constructions that “set aside” a single noun of its plural members (as in the model “a collective name of [members]). On these subjects, spokespeople and authors often choose to express the verb in the plural: for example, if you have a composite or pluralistic subject that functions as a singular unity, it sometimes seems “natural” for the subject to take a singular verb, despite formal rules to the contrary. The same rule applies when the construction is reversed: It is quite simple: is the third singular conjugation person of the verb that corresponds to the student; are the plural conjugation of the third person that coincides with plural students. In addition to the fictitious concordance, here is a second principle in the game that sounds the use of a plural verb more “correct” than the singular verb, and this is called the principle of proximity.
That means z.B. that in a construction like “many Revelers”, you might be more inclined, choose a verb that corresponds to the plural noun that is closer in the verb sentence (Revelers) than the more distant singular noun (Crowd): the “proximity rule” to which you refer is that if you have a compound but disjunctive subject, the verb corresponds in number to the one that is closer, or in the case of three. All this is true, and: the same rule applies (well or may apply) to neither sentences and one or more instances. In all the examples you have just provided, you can therefore change all instances from either in neither, nor in or in, and the verb remains unchanged. So, in simple terms, there is a fictitious agreement when the agreement between a subject and his verb (or, in some cases, a pronoun and its predecessor) is determined by meaning and not by form. For example, she writes every day. Exception: If you use the singular “she,” use plural shapes. For example, the participant was satisfied with his work. You currently play a leadership role in the organization. However, the plural verb is used when the focus is on the individuals in the group. It`s much rarer. Apart from this, there are also examples in the works of renowned writers, where neither is used with a plural verb, although both elements are themselves singular.