Periphrastic forms are an example of analytic language, whereas the absence of periphrasis is a characteristic of synthetic language. While periphrasis concerns all categories of syntax, it is most visible with verb catenae. The verb catenae of English are highly periphrastic.
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Periphrasis trees 1 Where French expresses future tense/time using the single (inflected) verb catena sera, English employs a periphrastic two-word catena, or perhaps a periphrastic four-word catena, to express the same basic meaning. The next example is across German and English: Periphrasis trees 2 German often expresses a benefiter with a single dative case pronoun. For English to express the same meaning, it usually employs the periphrastic two-word prepositional phrase with for. The following trees illustrate the periphrasis of light verb constructions: Periphrasiss trees 3 Each time, the catena in green is the matrix predicate.
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In linguistics, periphrasis () is the usage of multiple separate words to carry the meaning of prefixes, suffixes or verbs, among other things, where either would be possible. Technically, it is a device where grammatical meaning is expressed by one or more free morphemes (typically one or more function words accompanying a content word), instead of by inflectional affixes or derivation.Concerning periphrasis in general, see Matthews (1991:11f., 236-238).
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Periphrasis, or circumlocution, is one of the most common: to "speak around" a given word, implying it without saying it. Over time, circumlocutions become recognized as established euphemisms for particular words or ideas.
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As early as 6 May 1660 he publicly prayed for the king "by periphrasis." He conducted a religious service as preliminary to the proclamation of the king at Manchesteron Saturday, 12 May. His thanksgiving sermon (24 May) produced a great impression. It was published with the title Usurpation Defeated and David Restored.
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Poetic portraits are mainly complementary; they had a recreational function, and therefore were full of verbal sophistication, periphrasis. Active in the social life the Princess used notable facts of her surroundings in the poetry. Thus, a number of poems on a particular occasion were written. These poems are varied in content and mood: greeting poems, farewells, etc.
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A given inflected one-word catena corresponds to a periphrastic multiple-word catena. The role of catenae for the theory of periphrasis is illustrated with the trees that follow. The first example is across French and English. Future tense/time in French is often constructed with an inflected form, whereas English typically employs a periphrastic form, e.g.
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In the verbal morphology, tense, mood and person (of the subject) are marked by suffixes (and sometimes fused into portmanteau suffix forms). Object indices of transitive verbs are represented by particles preceding the verb (third person is zero). Number is not marked in these subject and object indices, but a plural subject may be indicated through a verbal periphrasis serving this function.
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Multi-word verbs are verbs that consist of more than one word. This term may cover both periphrasis as in combinations involving modal or semi-modal auxiliaries with an additional verbal or other lexeme, e.g. had better, used to, be going to, ought to, phrasal verbs, as in combinations of verbs and particles, and compound verbs as in light-verb constructions, e.g. take a shower, have a meal.
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There tends to be a link between how "compact" a causative device is and its semantic meaning. The normal English causative verb or control verb used in periphrasis is make rather than cause. Linguistic terms are traditionally given names with a Romance root, which has led some to believe that cause is more prototypical. While cause is a causative, it carries some additional meaning (it implies direct causation) and is less common than make.
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Palestine & Coele-Syria according to Ptolemy (map by Claude Reignier Conder of the Palestine Exploration Fund) Iturea, Gaulanitis (Golan), Trachonitis (Lajat), Auranitis (Hauran), and Batanaea in the first century CE. Cities of the Decapolis The Decapolis is named from its ten cities enumerated by Pliny the Elder (23–79). What Pliny calls Decapolis, Ptolemy (c. 100–c. 170) calls Cœle-Syria. Ptolemy does not use the term "Transjordan", but rather the periphrasis "across the Jordan".
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The phenomenon of -u metaphony is uncommon, as are decrescent diphthongs (, usually in the west). Although they can be written, ḷḷ (che vaqueira, formerly represented as "ts") and the eastern ḥ aspiration (also represented as "h." and corresponding to ll and f) are absent from this model. Asturian has triple gender distinction in the adjective, feminine plurals with -es, verb endings with -es, -en, -íes, íen and lacks compound tenses (or periphrasis constructed with "tener").
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In Spanish grammar, continuous tenses are not formally recognized as in English. Although the imperfect expresses a continuity compared to the perfect (e.g., te esperaba ["I was waiting for you"]), the continuity of an action is usually expressed by a verbal periphrasis (perífrasis verbal), as in estoy leyendo ("I am reading"). However, one can also say sigo leyendo ("I am still reading"), voy leyendo ("I am slowly but surely reading"), ando leyendo ("I am going around reading"), and others.
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According to Ghil'ad Zuckermann, the Israeli periphrastic construction (using auxiliary verbs followed by a noun) is employed here for the desire to express swift action, and stems from Yiddish. He compares the Israeli periphrasis to the following Yiddish expressions all meaning “to have a look”: (1) ‘’gébņ a kuk’’, which literally means “to give a look” (2) ‘’ton a kuk’’, which literally means “to do a look” (3) the colloquial expression ‘’khapņ a kuk’’, which literally means “to catch a look”. Zuckermann emphasizes that the Israeli periphrastic constructions “are not nonce, ad hoc lexical calques of Yiddish. The Israeli system is productive and the lexical realization often differs from that of Yiddish”. He provides the following Israeli examples: hirbíts “hit, beat; gave”, yielded ‘’hirbíts mehirút’’ “drove very fast” ( ‘’mehirút’’ meaning “speed”), and ‘’hirbíts arukhá’’ “ate a big meal” ( ‘’arukhá’’ meaning “meal”), cf. English ‘’hit the buffet’’ “eat a lot at the buffet”; ‘’hit the liquor/bottle’’ “drink alcohol”. The Israeli Hebrew periphrasis ‘’dafák hofaá’’, which literally means “hit an appearance”, actually means “dressed smartly”.
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The 12th century CE poet and scholar Tzetzes struck his own course, preferring a periphrasis: (biblos astrikē), "starry book".Tzetzes, Chiliades 12.167 and in his notes on Works and Days 384 = Astronomia fr. 291. All these sources do agree on one point: there survives from antiquity no expression of doubt as to whether Hesiod wrote the Astronomia. Scholars of the 19th century, however, argued against Hesiodic authorship, going so far as to assign the poem to the Hellenistic Period following the work of Eudoxus.
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Most scholars consider the third book to be highly technical; according to Goold it "is the least poetical of the five, exemplifying for the most part Manilius's skill in rendering numbers and arithmetical calculations in hexameters".Manilius & Goold (1997) [1977], p. 161. A similar but less favorable sentiment is expressed by Green, who writes that in this book, "the disjuncture between instruction and medium is most obviously felt [because] complex mathematical calculations are confined to hexameter and obscured behind poetic periphrasis".Green (2014), p. 57.
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Normally, it brings in a new argument (the causer), A, into a transitive clause, with the original subject S becoming the object O. All languages have ways to express causation but differ in the means. Most, if not all, languages have specific or lexical causative forms (such as English rise → raise, lie → lay, sit → set). Some languages also have morphological devices (such as inflection) that change verbs into their causative forms or change adjectives into verbs of becoming. Other languages employ periphrasis, with control verbs, idiomatic expressions or auxiliary verbs.
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Educated at a Jesuit school, he was intensely pious--before marrying, he completed the whole of Ignatius of Loyola's Spiritual Exercises to discover whether he should in fact devote himself to a single life. Three of his sons went into the church, and one, Antonio, was a Jesuit missionary later beatified. He had great appreciation of the Baroque, and wrote in a periodic style which reflected it, each phrase opening from the preceding, full of periphrasis and other flourishes of rhetoric, though flowing. His understanding of art stemmed largely from his religion, for he believed that it came as divine inspiration into special lives, the lives of the artists he so painstakingly recorded.
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A form related to , , means "want" with a nominal object, as in "He/she wants a banana", but with verbal complements means "be going to (do something)" in the simple form, as in "He/she is going to walk" ( "walk"), or "get ready to (do something)" in the progressive construction, as in "I get ready to drink" ( "drink"). Another periphrasis, constructed with following the subordinate form in of the main verb, expresses "be ready to (do something)", e.g. "I am ready to go" ( "go"). One other means of expressing aspectual (or mood) nuances is provided by the use of a second set of emphatic tense suffixes which replace the simple suffixes, namely emphatic affirmative, habitual past and emphatic future.
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Unlike Classical Hebrew, Israeli Hebrew uses a few periphrastic verbal constructions in specific circumstances, such as slang or military language. Consider the following pairs/triplets, in which the first is/are an Israeli Hebrew analytic periphrasis and the last is a Classical Hebrew synthetic form:See p. 51 in Zuckermann, Ghil'ad (2009), "Hybridity versus Revivability: Multiple Causation, Forms and Patterns", Journal of Language Contact, Varia 2, pp. 40-67. (1) ‘’sam tseaká’’ “shouted” (which literally means “put a shout”) vis-à-vis ‘’tsaák’’ “shouted” (2) ‘’natán mabát’’ “looked” (which literally means “gave a look”) AND ‘’heíf mabát’’ “looked” (literally “flew/threw a look”; cf. the English expressions ‘’cast a glance’’, ‘’threw a look’’ and ‘’tossed a glance’’) vis-à-vis the Hebrew-descent ‘’hibít’’ “looked at”.
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The whole of the first and an extract of the second appeared in Delille's Poésies fugitives, pp.220-38; however, the translations date from 1765, as noted when L’Essai sur L'Homme first appeared as a whole Another Augustan stylistic habit that appeared early in Delille’s epistles was the elegant use of periphrasis to clothe pedestrian terms in poetical phraseology.Geoffrey Tillotson, Augustan Studies, pp.40-42 Speaking of the use to which various metals are put, for example, Delille hides mention of axe and the plough as ::The steel that overthrows the oak and fir, ::The iron to fertilise the cereal earth, in his Epître à M.Laurent (1761).L’acier qui fait tomber les sapins et les chênes, Le fer qui de Cérès fertilise les plaines, Poésies fugitives, p.
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Francis Jacox, writing under the pseudonym "Parson Frank", remarked that "Strange fits" contained "true pathos. We are moved to our soul's centre by sorrow expressed as that is; for, without periphrasis or wordy anguish, without circumlocution of officious and obtrusive, and therefore, artificial grief; the mourner gives sorrow words... But he does it in words as few as may be: how intense their beauty!"Jones 1995, qtd in 4 A few years later, John Wright, an early Wordsworth commentator, described the contemporary perception that "Strange fits" had a "deep but subdued and 'silent fervour'".Wright 1853, 29 Other reviewers emphasised the importance of "She dwelt among the untrodden ways", including Scottish writer William Angus Knight (1836–1916), when he described the poem as an "incomparable twelve lines".
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It is, perhaps, also > immediately obvious that if we have analysed judgment we have solved the > problem of truth; for taking the mental factor in a judgment (which is often > itself called a judgment), the truth or falsity of this depends only on what > proposition it is that is judged, and what we have to explain is the meaning > of saying that the judgment is a judgment that a has R to b, i.e. is true if > aRb, false if not. We can, if we like, say that it is true if there exists a > corresponding fact that a has R to b, but this is essentially not an > analysis but a periphrasis, for 'The fact that a has R to b exists' is no > different from ' a has R to b '.
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This perfect form as applied to the present tense does not represent the perfect tense/aspect (past event with continuation to or relevance for the present), but rather represents a perfective past tense–aspect combination (a past action viewed in its entirety). Unlike Italian or Spanish, French does not mark for a continuous aspect. Thus, "I am doing it" and "I do it" both translate to the same sentence in French: Je le fais. However, this information is often clear from context, and when not, it can be conveyed using periphrasis: for example, the expression être en train de [faire quelque chose] ("to be in the middle of [doing something]") is often used to convey the sense of a continuous aspect; the addition of adverbs like encore ("still") may also convey the continuous, repetitive or frequent aspects.
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Within the indicative mood, there is a present tense habitual aspect form (which can also be used with stative verbs), a past tense habitual aspect form (which also can be used with stative verbs), a near past tense form, a remote past tense form (which can also be used to convey past perspective on an immediately prior situation or event), a future-in-the-past form (which can also be used modally for a conjecture about the past or as a conditional result of a counterfactual premise), and a future tense form (which can also be used for the modality of present conjecture, especially with a lexically stative verb, or of determination/intention). There are also some constructions showing an even greater degree of periphrasis: one for progressive aspect and ones for the modalities of volition ("want to"), necessity/obligation ("have to", "need to"), and ability ("be able to").
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Edo- period woodblock print); Uzume's dance is linked with the origins of kagura; here she wields kagura suzu According to the Musée d'Orsay catalogue, the painting's principal subject is représentation animalière or the depiction of animals. As suggested by the painting's Japanese name and observed in the contemporary Japanese press, the work draws heavily on Japanese mythology, in particular the episode of the sun goddess Amaterasu's withdrawal into a cave due to her brother Susanoo's improprieties, depriving the land of light. In the Kojiki version, after the assembled kami took counsel, "the long-singing birds of eternal night" (generally understood as a periphrasis for "the barndoor fowl") were enticed to crow, the mirror Yata no Kagami and string of curved jewels Yasakani no Magatama were commissioned, divination was performed using the shoulder blade of a stag and the bough of a cherry tree from Mount Kagu, and the mirror, string of jewels, and blue and white cloth offerings were hung from an uprooted sakaki tree. Uzume then decked herself out before performing a lewd dance upon a sounding-board; the ensuing hilarity finally succeeded in provoking Amaterasu's curiosity.
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According to Ghil'ad Zuckermann, the Israeli V+N compound verb is employed here for the desire to express swift action, and stems from Yiddish. He compares the Israeli periphrasis to the following Yiddish expressions all meaning “to have a look”: # געבן א קוק gébņ a kuk, which literally means “to give a look” # טאן א קוק ton a kuk, which literally means “to do a look” # the colloquial expression כאפן א קוק khapņ a kuk, which literally means “to catch a look”. Zuckermann argues that the Israeli V+N compound verbs “are not nonce, ad hoc lexical calques of Yiddish. The Israeli system is productive and the lexical realization often differs from that of Yiddish”. He provides the following Israeli examples: # הרביץ hirbíts “hit, beat; gave”, yielded ## הרביץ מהירות hirbíts mehirút “drove very fast” (מהירות mehirút meaning “speed”), and ## הרביץ ארוחה hirbíts arukhá “ate a big meal” (ארוחה arukhá meaning “meal”), cf. English hit the buffet “eat a lot at the buffet”; hit the liquor/bottle “drink alcohol”. The Israeli Hebrew compound verb דפק הופעה dafák hofaá, which literally means “hit a show”, actually means “dressed smartly”.
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