Source: The English Journal, Vol. 56, No. 8 (Nov., 1967), pp. 1185-1186+1196 Published by: National Council of Teachers of English Stable URL: http://www.jstor.org/stable/811632 . Accessed: 01/02/2014 02:48 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . National Council of Teachers of English is collaborating with JSTOR to digitize, preserve and extend access to The English Journal. http://www.jstor.org This content downloaded from 193.227.1.43 on Sat, 1 Feb 2014 02:48:34 AM All use subject to JSTOR Terms and Conditions Another Look at Subordination Conrad Geller Department of English Horace Greeley High School Chappaqua, New York O NE of the chief axioms of the con- ventional wisdom in composition is that the main clause carries the principal idea of the sentence, and subordinate clauses carry less important ideas. The precept is very old. Here is what a well-known composition manual of a previous generation had to say: In general, the skillful writer is he who composes his sentences so that they abound in subordination-in dependent constituent thoughts,-who in each group of thoughts infallibly picks out the most important for expression in the main clause or clauses and puts the subordi- nate thoughts in subordinate clauses and phrases. Sentences and Thinking: A Handbook of Composition and Revision (Houghton, 1923), pp. 11-12. Modern high-school texts use less ele- gant prose, but they say much the same thing: When ideas of a sentence are unequal in rank, the ideas of lower rank are sub- ordinate. (Sub- means "under" or "lower.") If the idea of lower rank is expressed in a clause, the clause is a subordinate clause. The main idea of the sentence is expressed in an independent clause. Warriner's English Grammar and Composition: Complete Course (Har- court, 1965), p. 211. The main clause is the basic structure in any sentence. It states the main idea of the sentence. Modifying clauses and phrases are used to add details or to explain the conditions that define or limit the meaning of the main clause. English Arts and Skills (12) (Macmil- lan, 1965), p. 456. Well, everyone says it, but is it true? In the case of most noun clauses there can be no doubt: Not only is the con- ventional wisdom untrue, the opposite is actually true. The italicized noun clauses in these sentences obviously express the principal ideas: Someone discovered that the building wuas on fire. 1185 This content downloaded from 193.227.1.43 on Sat, 1 Feb 2014 02:48:34 AM All use subject to JSTOR Terms and Conditions 1186 ENGLISH JO URNAL The trouble was that she had the pills, but no water. The idea that matter and energy are dif- ferent forms of one reality occurred suddenly to the young scholar. Sentences with relative clauses present a wholly different problem of analysis. Relative clauses are the ones most often presented as evidence for the supposed lower semantic rank of subordinate clauses. The relative clauses in these sen- tences, for example, do appear to get less emphasis than the main clauses: This pen, which Mr. Lorry bought at a charity auction, was once owned by Hemingway. Mr. Lorry bought this pen, which was once owned by Hemingway, at a charity auction. We can readily see here that the first sentence comes out as a sentence mainly about the pen and Hemingway; the sec- ond, mainly about the pen and Mr. Lorry. These next sentences, however, have about the same rhetorical emphasis- Hemingway's ownership is the important point-even though in one case that part of the information is in a relative clause. The pen with which I am writing these words was once owned by Heming- way. I am writing these words with a pen that was once owned by Hemingway. In these examples the principal emphasis derives from the periodic position of the clause about Hemingway, regardless of its syntactic constitution. N still other sentences the relative clause always carries the principal idea. In the first example of English texts cited earlier the main clause, "The skillful writer is he . . ." hardly compares in importance with the relative clauses that follow. In general, relative clauses that modify generalities like person or someone regularly get primary emphasis over the syntactically main clause: Ray is one person who can be trusted completely. Transforming a sentence like this to "correct the upside-down subordination" results in an absurdity: *Ray, who is one person, can be trusted completely. Similarly, complex sentences contain- ing clauses introduced by subordinating conjunctions are often remarkably like the same sentences in which the clauses are technically coordinated: complex sentence: We couldn't reach the second floor, because the stairs had collapsed. equivalent compound sentence: We couldn't reach the second floor, for the stairs had collapsed. We could also transform, without any demonstrable change in effect, compound sentences with but, yet, or, and even and into equivalent complex sentences. In none of these examples has the first clause been reduced in semantic stress: compound: My supervisor attends many meetings, but he seems to learn nothing. complex: Although my supervisor at- tends many meetings, he seems to learn nothing. compound: iWe must assign clean novels, or we will lose our jobs. complex: Unless we assign clean novels, we will lose our jobs. compound: The principal raised his hand, and all the teachers raised theirs. complex: When the principal raised his hand, all the teachers raised theirs. (Continued on page 1196) This content downloaded from 193.227.1.43 on Sat, 1 Feb 2014 02:48:34 AM All use subject to JSTOR Terms and Conditions 1196 ENGLISH JO URNAL Questions must be asked in order to cause mental inquiry. A simple answer should be rephrased into a simple state- ment. Leading questions should be left to insurance salesmen or the like. A stu- dent who is in a class which is discussing Julius Caesar hears this question: Now class, Julius Caesar was killed with what? And as he was stabbed, he what? An- swers to these questions are beneath the intellect of any class which has as the assignment, Julius Caesar. These ques- tions are asked to satisfy the unconscious knowledge of the teacher which says "A good teacher asks questions!" Indeed, a good teacher does ask ques- tions; questions which penetrate deeply into the complexity of the mind. Con- sider some of the following possibilities: Did Brutus stab Caesar? Why? Who was first to raise his hand? Whvy? Did Cassius stab Caesar? Why? Why was a knife used in the killing? What would you call the killing-an assassination or a murder? If you were Cassius, what would you call it? If you were Antony? "Quay, you are Brutus. What would you call the killing? Let's pretend you are in a court to answer for the killing of Caesar. Defend yourself." Any question should have a purpose behind it. That purpose should be well in the teacher's mind as it is asked. For example, who killed Caesar has a col- lective one word answer, and it requires only knowledge to get an answer. Any child could be taught the correct answer. "Why was Caesar killed?" requires thought, deliberation, and analytical judgments based on mores, historical evidence, and complex judgments. The purpose of the first question seems to be oral quizzing by the teacher as she tests the knowledge of the student. The pur- pose of the second is to cause thinking through the use of the play. Questions which lead to a "why" are thought questions which work the think- ing process and build the student's ability to inquire. Questions of this nature should be a vital, functional part of all classroom verbal interchange. Any ma- terial can be better taught through ques- tions than through lecture. Something happens to Quay as he talks his way through school. He learns not to ask questions. When knowledge is as slippery and tentative as it is today, teachers should guide him as he learns how to ask questions. Questions asked in the upper grades should be as vital and as stimulating as they are in the first years. And when he reaches the twelfth grade he should be just as enthusiastic about asking questions as he was in the first grade. Each year of school students become more interested in life and more curious about their place in it, and yet less likely to ask questions in school. This special art of asking questions should be a functional technique of the schools developed to the fullest by each teacher so that Quay will question his way to a full mind which is able to sort, catalog, reject, and accept all types of information. Another Look at Subordination (Continued from page 1186) What, then, does all this leave us to say about the relationship of structure to style? The teaching of composition has always been a tricky business, but once, at least, there were some hard, substantial things we could teach: "Pre- fer the active to the passive"; "Vary your sentences"; "Express the main idea in the main clause." If these are denied us, what can we do? My God, use taste? This content downloaded from 193.227.1.43 on Sat, 1 Feb 2014 02:48:34 AM All use subject to JSTOR Terms and Conditions