SENTENCE kalimat
Kalimat adalah kumpulan kata-kata yang menyatakan pengertian secara lengkap prihal sebuah pernyataan, penegasan, pertanyaan, perintah,dll
ex :
I'm always ready to go to Library
(Saya selalu siap pergi ke Perpustakaan)
Can you come with me, then?
(Lalu, dapatkah kamu pergi bersamaku)
Qiuet please!
(Harap diam)
What a shame!
(Sungguh memalukan!)
Macam-macam Kalimat
Kalimat adalah kumpulan kata-kata yang menyatakan pengertian secara lengkap prihal sebuah pernyataan, penegasan, pertanyaan, perintah,dll
ex :
I'm always ready to go to Library
(Saya selalu siap pergi ke Perpustakaan)
Can you come with me, then?
(Lalu, dapatkah kamu pergi bersamaku)
Qiuet please!
(Harap diam)
What a shame!
(Sungguh memalukan!)
Macam-macam Kalimat
- Kalimat Pernyataan
ex: I have finished (Saya sudah selesai) - Kalimat Pertanyaan
ex: Where do you live? (Dimana kamu tinggal) - Kalimat Perintah
ex: Sit down, please (Silakan duduk) - Kalimat Seru/Kuat
ex: What a pity! (Alangkah sayangnya)
SUBJECT AND PREDICATE subjek dan predikat
Subject (subjek) adalah yang melakukan pekerjaan
Predicate (predikat)adalah hal yang dikerjakan
ex :
I shot an arrow into air.
(Saya melepaskan satu anak panah ke udara)
He has good memory.
(Ia mempunyai ingatan yang baik)
PHRASE AND CLAUSE frse dan klausa
Phrase (frase) adalah kombinasi atau susunan kata-kata yang lengkap pengertiannya.
Clause (klausa) adalah anak kalimat, yang seperti halnya kalimat (mempunyai subjek dan pridikat).
ex :
The sun rises in the east.
(Matahari terbit di timur)
Subject (subjek) adalah yang melakukan pekerjaan
Predicate (predikat)adalah hal yang dikerjakan
ex :
I shot an arrow into air.
(Saya melepaskan satu anak panah ke udara)
He has good memory.
(Ia mempunyai ingatan yang baik)
PHRASE AND CLAUSE frse dan klausa
Phrase (frase) adalah kombinasi atau susunan kata-kata yang lengkap pengertiannya.
Clause (klausa) adalah anak kalimat, yang seperti halnya kalimat (mempunyai subjek dan pridikat).
ex :
The sun rises in the east.
(Matahari terbit di timur)
Let's Reding
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Renaissance and Elizabethan periods
The period known as the English Renaissance, approximately 1500—1660, saw a flowering of the drama and all the arts. The most famous example of the morality play, Everyman, and the two candidates for the earliest comedy in English Nicholas Udall's Ralph Roister Doister and the anonymous Gammer Gurton's Needle, all belong to the 16th century.
During the reign of Elizabeth I in the late 16th and early 17th century, a London-centred culture that was both courtly and popular produced great poetry and drama. Perhaps the most famous playwright in the world, William Shakespeare from Stratford-upon-Avon, wrote plays that are still performed in theatres across the world to this day. He was himself an actor and deeply involved in the running of the theatre company that performed his plays. Other important playwrights of this period include Christopher Marlowe, Ben Jonson, and John Webster. Various types of plays were popular. Ben Jonson, for example, was often engaged to write courtly masques, ornate plays where the actors wore masks. The three types that seem most often studied today are the histories, the comedies, and the tragedies. Most playwrights tended to specialise in one or another of these, but Shakespeare is remarkable in that he produced all three types. His 38 plays include tragedies such as Hamlet (1603), Othello (1604), and King Lear (1605); comedies such as A Midsummer Night's Dream (1594—96) and Twelfth Night (1602); and history plays such as Henry IV, part 1—2. Some have hypothesized that the English Renaissance paved the way for the sudden dominance of drama in English society, arguing that the questioning mode popular during this time was best served by the competing characters in the plays of the Elizabethan dramatists.
During the reign of Elizabeth I in the late 16th and early 17th century, a London-centred culture that was both courtly and popular produced great poetry and drama. Perhaps the most famous playwright in the world, William Shakespeare from Stratford-upon-Avon, wrote plays that are still performed in theatres across the world to this day. He was himself an actor and deeply involved in the running of the theatre company that performed his plays. Other important playwrights of this period include Christopher Marlowe, Ben Jonson, and John Webster. Various types of plays were popular. Ben Jonson, for example, was often engaged to write courtly masques, ornate plays where the actors wore masks. The three types that seem most often studied today are the histories, the comedies, and the tragedies. Most playwrights tended to specialise in one or another of these, but Shakespeare is remarkable in that he produced all three types. His 38 plays include tragedies such as Hamlet (1603), Othello (1604), and King Lear (1605); comedies such as A Midsummer Night's Dream (1594—96) and Twelfth Night (1602); and history plays such as Henry IV, part 1—2. Some have hypothesized that the English Renaissance paved the way for the sudden dominance of drama in English society, arguing that the questioning mode popular during this time was best served by the competing characters in the plays of the Elizabethan dramatists.
[edit] 17th and 18th centuries
During the Interregnum 1649—1660, English theatres were kept closed by the Puritans for religious and ideological reasons. When the London theatres opened again with the Restoration of the monarchy in 1660, they flourished under the personal interest and support of Charles II. Wide and socially mixed audiences were attracted by topical writing and by the introduction of the first professional actresses (in Shakespeare's time, all female roles had been played by boys). New genres of the Restoration were heroic drama, pathetic drama, and Restoration comedy. Notable heroic tragedies of this period include John Dryden's All for Love (1677) and Aureng-zebe (1675), and Thomas Otway's Venice Preserved (1682). The Restoration plays that have best retained the interest of producers and audiences today are the comedies, such as George Etherege's The Man of Mode (1676), William Wycherley's The Country Wife (1676), John Vanbrugh's The Relapse (1696), and William Congreve's The Way of the World (1700). This period saw the first professional woman playwright, Aphra Behn, author of many comedies including The Rover (1677). Restoration comedy is famous or notorious for its sexual explicitness, a quality encouraged by Charles II (1660–1685) personally and by the rakish aristocratic ethos of his court.
In the 18th century, the highbrow and provocative Restoration comedy lost favour, to be replaced by sentimental comedy, domestic tragedy such as George Lillo's The London Merchant (1731), and by an overwhelming interest in Italian opera. Popular entertainment became more dominant in this period than ever before. Fair-booth burlesque and musical entertainment, the ancestors of the English music hall, flourished at the expense of legitimate English drama. By the early 19th century, few English dramas were being written, except for closet drama, plays intended to be presented privately rather than on stage.
In the 18th century, the highbrow and provocative Restoration comedy lost favour, to be replaced by sentimental comedy, domestic tragedy such as George Lillo's The London Merchant (1731), and by an overwhelming interest in Italian opera. Popular entertainment became more dominant in this period than ever before. Fair-booth burlesque and musical entertainment, the ancestors of the English music hall, flourished at the expense of legitimate English drama. By the early 19th century, few English dramas were being written, except for closet drama, plays intended to be presented privately rather than on stage.
[edit] Victorian era and later
A change came in the Victorian era with a profusion on the London stage of farces, musical burlesques, extravaganzas and comic operas that competed with Shakespeare productions and serious drama by the likes of James Planché and Thomas William Robertson. In 1855, the German Reed Entertainments began a process of elevating the level of (formerly risqué) musical theatre in Britain that culminated in the famous series of comic operas by Gilbert and Sullivan and were followed by the 1890s with the first Edwardian musical comedies. W. S. Gilbert and Oscar Wilde were leading poets and dramatists of the late Victorian period.[1] Wilde's plays, in particular, stand apart from the many now forgotten plays of Victorian times and have a much closer relationship to those of the Edwardian dramatists such as Irishman George Bernard Shaw and Norwegian Henrik Ibsen.
The length of runs in the theatre changed rapidly during the Victorian period. As transportation improved, poverty in London diminished, and street lighting made for safer travel at night, the number of potential patrons for the growing number of theatres increased enormously. Plays could run longer and still draw in the audiences, leading to better profits and improved production values. The first play to achieve 500 consecutive performances was the London comedy Our Boys, opening in 1875. Its astonishing new record of 1,362 performances was bested in 1892 by Charley's Aunt.[2] Several of Gilbert and Sullivan's comic operas broke the 500-performance barrier, beginning with H.M.S. Pinafore in 1878, and Alfred Cellier and B. C. Stephenson's 1886 hit, Dorothy, ran for 931 performances.
Edwardian musical comedy held the London stage (together with foreign operetta imports) until World War I and was then supplanted by increasingly popular American musical theatre and comedies by Noel Coward, Ivor Novello and their contemporaries. The motion picture mounted a challenge to the stage. At first, films were silent and presented only a limited challenge to theatre. But by the end of the 1920s, films like The Jazz Singer could be presented with synchronized sound, and critics wondered if the cinema would replace live theatre altogether. Some dramatists wrote for the new medium, but playwriting continued.
Postmodernism had a profound effect on English drama in the latter half of the 20th Century. This can be seen particularly in the work of Samuel Beckett (most notably in Waiting for Godot), who in turn influenced writers such as Harold Pinter and Tom Stoppard.
Today the West End of London has a large number of theatres, particularly centred around Shaftesbury Avenue. A prolific writer of music for musicals of the 20th century, Andrew Lloyd Webber, has dominated the West End for a number of years, and his works have travelled to Broadway in New York and around the world, as well as being turned into film.
The Royal Shakespeare Company operates out of Stratford-upon-Avon, producing mainly but not exclusively Shakespeare's plays.
Grammar
In English, knowing when to use 'a' or 'the' can be difficult. Fortunately, there are rules to help you, but you need to know what type of noun you are using.
The length of runs in the theatre changed rapidly during the Victorian period. As transportation improved, poverty in London diminished, and street lighting made for safer travel at night, the number of potential patrons for the growing number of theatres increased enormously. Plays could run longer and still draw in the audiences, leading to better profits and improved production values. The first play to achieve 500 consecutive performances was the London comedy Our Boys, opening in 1875. Its astonishing new record of 1,362 performances was bested in 1892 by Charley's Aunt.[2] Several of Gilbert and Sullivan's comic operas broke the 500-performance barrier, beginning with H.M.S. Pinafore in 1878, and Alfred Cellier and B. C. Stephenson's 1886 hit, Dorothy, ran for 931 performances.
Edwardian musical comedy held the London stage (together with foreign operetta imports) until World War I and was then supplanted by increasingly popular American musical theatre and comedies by Noel Coward, Ivor Novello and their contemporaries. The motion picture mounted a challenge to the stage. At first, films were silent and presented only a limited challenge to theatre. But by the end of the 1920s, films like The Jazz Singer could be presented with synchronized sound, and critics wondered if the cinema would replace live theatre altogether. Some dramatists wrote for the new medium, but playwriting continued.
Postmodernism had a profound effect on English drama in the latter half of the 20th Century. This can be seen particularly in the work of Samuel Beckett (most notably in Waiting for Godot), who in turn influenced writers such as Harold Pinter and Tom Stoppard.
Today the West End of London has a large number of theatres, particularly centred around Shaftesbury Avenue. A prolific writer of music for musicals of the 20th century, Andrew Lloyd Webber, has dominated the West End for a number of years, and his works have travelled to Broadway in New York and around the world, as well as being turned into film.
The Royal Shakespeare Company operates out of Stratford-upon-Avon, producing mainly but not exclusively Shakespeare's plays.
Grammar
In English, knowing when to use 'a' or 'the' can be difficult. Fortunately, there are rules to help you, but you need to know what type of noun you are using.
Grammar rule 1
When you have a single, countable English noun, you must always have an article before it. We cannot say "please pass me pen", we must say "please pass me the pen" or "please pass me a pen" or "please pass me your pen".
Nouns in English can also be uncountable. Uncountable nouns can be concepts, such as 'life', 'happiness' and so on, or materials and substances, such as 'coffee', or 'wood'.
Nouns in English can also be uncountable. Uncountable nouns can be concepts, such as 'life', 'happiness' and so on, or materials and substances, such as 'coffee', or 'wood'.
Grammar rule 2
Uncountable nouns don't use 'a' or 'an'. This is because you can't count them. For example, advice is an uncountable noun. You can't say "he gave me an advice", but you can say "he gave me some advice", or "he gave me a piece of advice".
Some nouns can be both countable and uncountable. For example, we say "coffee" meaning the product, but we say "a coffee" when asking for one cup of coffee.
Some nouns can be both countable and uncountable. For example, we say "coffee" meaning the product, but we say "a coffee" when asking for one cup of coffee.
Grammar rule 3
You can use 'the' to make general things specific. You can use 'the' with any type of noun – plural or singular, countable or uncountable.
"Please pass me a pen" – any pen.
"Please pass me the pen" – the one that we can both see.
"Children grow up quickly" – children in general.
"The children I know grow up quickly" – not all children, just the ones I know.
"Poetry can be beautiful"- poetry in general.
"The poetry of Hopkins is beautiful" – I'm only talking about the poetry Hopkins wrote.
"Please pass me a pen" – any pen.
"Please pass me the pen" – the one that we can both see.
"Children grow up quickly" – children in general.
"The children I know grow up quickly" – not all children, just the ones I know.
"Poetry can be beautiful"- poetry in general.
"The poetry of Hopkins is beautiful" – I'm only talking about the poetry Hopkins wrote.
More uses of articles in English
Rivers, mountain ranges, seas, oceans and geographic areas all use 'the'.
For example, "The Thames", "The Alps", "The Atlantic Ocean", "The Middle East".
Unique things have 'the'.
For example, "the sun", "the moon".
Some institutional buildings don't have an article if you visit them for the reason these buildings exist. But if you go to the building for another reason, you must use 'the'.
"Her husband is in prison." (He's a prisoner.)
"She goes to the prison to see him once a month."
"My son is in school." (He's a student.)
"I'm going to the school to see the head master."
"She's in hospital at the moment." (She's ill.)
"Her husband goes to the hospital to see her every afternoon."
Musical instruments use 'the'.
"She plays the piano."
Sports don't have an article.
"He plays football."
Illnesses don't have an article.
"He's got appendicitis."
But we say "a cold" and "a headache".
Jobs use 'a'.
"I'm a teacher."
Countries
We don't use 'a' if the country is singular. "He lives in England." But if the country's name has a "plural" meaning, we use 'the'. "The People's Republic of China", "The Netherlands", "The United States of America".
Continents, towns and streets don't have an article.
"Africa", "New York", "Church Street".
Theatres, cinemas and hotels have 'the'.
"The Odeon", "The Almeira", "The Hilton".
Abbreviations use 'the'.
"the UN", "the USA", "the IMF".
We use 'the' before classes of people.
"the rich", "the poor", "the British".
For example, "The Thames", "The Alps", "The Atlantic Ocean", "The Middle East".
Unique things have 'the'.
For example, "the sun", "the moon".
Some institutional buildings don't have an article if you visit them for the reason these buildings exist. But if you go to the building for another reason, you must use 'the'.
"Her husband is in prison." (He's a prisoner.)
"She goes to the prison to see him once a month."
"My son is in school." (He's a student.)
"I'm going to the school to see the head master."
"She's in hospital at the moment." (She's ill.)
"Her husband goes to the hospital to see her every afternoon."
Musical instruments use 'the'.
"She plays the piano."
Sports don't have an article.
"He plays football."
Illnesses don't have an article.
"He's got appendicitis."
But we say "a cold" and "a headache".
Jobs use 'a'.
"I'm a teacher."
Countries
We don't use 'a' if the country is singular. "He lives in England." But if the country's name has a "plural" meaning, we use 'the'. "The People's Republic of China", "The Netherlands", "The United States of America".
Continents, towns and streets don't have an article.
"Africa", "New York", "Church Street".
Theatres, cinemas and hotels have 'the'.
"The Odeon", "The Almeira", "The Hilton".
Abbreviations use 'the'.
"the UN", "the USA", "the IMF".
We use 'the' before classes of people.
"the rich", "the poor", "the British".
