One member sentences

4. One member sentences

We have agreed, to term one-member sentences those sentences which have no separate subject and predicate but one main part only instead (see p. 190).

Among these there is the type of sentence whose main part is a noun (or a substantives part of speech), the meaning of the sentence being that the thing denoted by the noun exists in a certain place or at a certain time. Such sentences are frequent, for example, in stage directions of plays. A few examples from modern authors will suffice: Night. A lady's bed-chamber In Bulgaria, in a small town near the Dragoman Pass, late in November in the year 1885. (SHAW) The sixth of March, 1886. (Idem) The landing dock of the Cunard Line. (FITCH) Living room in the house of Philip Phillimore. (L. MITCHELL)

Compare also the following passage from a modern novel: No birds singing in the dawn. A light wind making the palm trees sway their necks, with a faint dry formal clicking. ^The wonderful hushing of rain on Mareotis. (DURRELL) Such sentences bear a strong resemblance to two-member sentences having a present participle for their predicate, which we have considered on p. 202 ff. It is the context that will show to which of the two types the sentence belongs. In some cases the difference between them may be vague or even completely neutralized.

There are some more types of one-member clauses and sentences. Let us consider a few examples of the less common varieties. And what if he had seen them embracing in the moonlight? (HUXLEY) The main clause, if it is to be taken separately, contains only the words and what…? It is clear, however, that the sentence And what?, if at all possible, would have a meaning entirely different from that of the sentence as it stands in Huxley's text. Be that as it may, the clause and what is clearly a one-member clause.

A different kind of one-member clause is seen in the following compound sentence: A good leap, and perhaps one might clear the narrow terrace and so crash down yet another thirty feet to the sunbaked ground below. (HUXLEY) The first clause in its conciseness is very effective. These are the thoughts of a young man standing on a hill and looking down a steep ravine. The meaning is of course equivalent to that of a sentence like It would be enough to make a good leap, etc. But the first clause as it stands in the text is certainly a one-member clause, as every addition to it would entirely change its structure.

A special semantic type of one-member clauses is characterized by the following structure: «predicative + adjective expressing emotional assessment + noun or clause expressing what is assessed by the adjective», for instance, Strange how different she had become – a strange new quiescence. (LAWRENCE) The main clause might of course have been a two-member one: It was strange how different she had become… but this variant would be stylistically very different from the original. It is also evident that this type of sentence is limited to a very small number of adjective predicative's.

Imperative sentences with no subject of the action mentioned are also to be classed among one-member sentences, e.g. Get away from me! (M. MITCHELL) Fear not, fair lady! (Idem) «Don't tell him anything» she cried rapidly. (Idem)

It would not, however, be correct to say that imperative sentences must necessarily have this structure. Occasionally, in emotional speech, they may have a subject, that is, they belong to the two-member type, as in the following instance: Don't you dare touch me! (Idem)

ELLIPTICAL SENTENCES

By «elliptical sentences» we mean sentences with one or more of their parts left out, which can be unambiguously inferred from the context. We will apply this term to any sentence of this kind, no matter what part or parts of it have been left out.

The main sphere of elliptical sentences is of course dialogue: it is here that one or more parts of a sentence are left out because they are either to be supplied from the preceding sentence (belong-, in to another speaker) or may be easily dispensed with. We take a few examples of elliptical sentences from contemporary dramatic works: Charlie. Have you asked her yet? Captain Jinks. Not often enough. (FITCH) It is clear here that the answer means: 'I have, but not often enough'. Aurelia. And by the way, before I forget it, I hope you'll come to supper to-night – here. Will you? After the opera. Captain Jinks. Delighted! (Idem) It is also clear here that Aurelia's second sentence means: 'Will you come to supper to-night?' and that the captain's answer means: 'I shall be delighted to come'. Whatever is understood from the preceding context is omitted, and only the words containing the theme are actually pronounced. The same is found, for example, in the following bit of dialogue: Matthew. Why, my dear – you have a very sad expression! Cynthia. Why not? Matthew. J feel as if I we're of no use in the world when 1 see sadness on a young face. Only sinners should feel sad. You have committed no sin! Cynthia. Yes, I have! (L. MITCHELL) Cynthia's first sentence obviously means: 'Why should I not have a sad expression?' and her second, 'Yes, I have committed a sin!' Similarly, in other cases everything but the words representing the theme may be omitted.

Elliptical sentences or clauses can of course also occur outside dialogue.'