18 Types of Spanish Verbs

There may be as many ways of classifying Spanish verbs as there are people doing it, but discovering how Spanish treats different verbs differently is nevertheless a key part of learning the language. Heres one way of looking at the types of verbs, keeping in mind, of course, that verbs can fit into more than one classification. 1. Infinitives Infinitives are verbs in their most basic form, the way you find them listed in dictionaries. Infinitives by themselves tell you nothing about who or what is performing a verbs action or when. Spanish infinitives—examples include hablar (to speak), cantar (to sing), and vivir (to live)—are the rough equivalent of the to form of English verbs and sometimes of the -ing form. Spanish infinitives can function as verbs or nouns. 2, 3, and 4. -Ar, -Er, and -Ir Verbs Every verb fits into one of these types based on the last two letters of its infinitive. In Spanish there is no verb that ends in anything other than one of these three two-letter combinations. Even verbs that are made up or imported such as surfear (to surf) and snowboardear (to snowboard) require one of these endings. The distinction among types is that they are conjugated based on the ending. 5 and 6. Regular and Irregular Verbs The vast majority of -ar verbs are conjugated in the same way, and the same is true for the other two ending types. These are known as regular verbs. Unfortunately for Spanish students, the more used a verb is, the more likely it is not to follow the regular pattern, being irregular. 7 and 8. Defective and Impersonal Verbs The term defective verb is usually used to refer to a verb that isnt conjugated in all its forms. In traditional Spanish, for example, abolir (to abolish) has an incomplete conjugation set. Also, soler (to usually do something) doesnt exist in all tenses. Most defective verbs are also impersonal verbs, meaning that their action isnt performed by a distinct person or thing. The most common such are the weather  verbs such as llover (to rain) and nevar (to snow). Since theres no logical reason to use forms that mean something like we rain or they snow, such forms dont exist in standard Spanish. 9 and 10. Transitive and Intransitive Verbs The distinction between transitive and intransitive verbs is important enough to Spanish grammar that the classification is given in most Spanish dictionaries—vt or vtr for verbos transitivos and vi for verbos intransitivos. Transitive verbs require an object to make a complete sentence, while intransitive verbs do not. For example, levantar (to lift or raise) is transitive; it must be used with a word that indicates what is lifted. (In Levantà ³ la mano for He raised his hand, mano or hand is the object.) An example of an intransitive verb is roncar (to snore). It cannot take an object. Some verbs can be transitive or intransitive depending on the context. Most of the time, for example, dormir is intransitive, as is its English equivalent, to sleep. However, dormir, unlike to sleep, can also mean to put someone to sleep, in which case it is transitive. 11. Reflexive or Reciprocal Verbs A reflexive verb is a type of transitive verb in which the verbs object is also the person or thing performing the action of the verb. For example, if I put myself to sleep, I could say, Me durmà ­, where durmà ­ means I put to sleep and me means myself. Many verbs that are used in a reflexive way are listed in dictionaries by adding -se to the infinitive, creating entries such as dormirse (to fall asleep) and encontrarse (to find oneself). Reciprocal verbs take the same form as reflexive verbs, but they indicate that two or more subjects are interacting with each other. Example: Se golpearon uno al otro. (They beat up on each other.) 12. Copulative Verbs A copulative or linking verb is a type of intransitive verb that is used to connect the subject of a sentence with a word that describes it or says what it is. For example, the es in La nià ±a es guatemalteca (The girl is Guatemalan) is a linking verb. The most common Spanish linking verbs are ser (to be), estar (to be), and parecer (to seem).  Verbs that arent copulative are known in Spanish as verbos predicativos. 13. Past Participles A past participle is a type of participle that can be used to form the perfect tenses. Although most end in -ado or -ido, several past participles are irregular. As in English, past participles can also usually be used as adjectives. For example, the past participle quemado , from the verb quemar, meaning to burn, helps form the present perfect tense in He quemado el pan (I have burnt the bread) but is an adjective in No me gusta el pan quemado (I dont like burnt bread). Past participles can vary in number and gender like other adjectives. 14. Gerunds Present adverbial participles, often known as gerunds, end in -ando or -endo as the rough equivalent of English -ing verb forms. They can combine with forms of estar to make progressive verb forms: Estoy viendo la luz. (I am seeing the light.) Unlike other types of participles, Spanish gerunds can also function much like adverbs. For example, in Corrà © viendo todo (I ran while seeing everything), viendo describes how the running occurred. 15. Auxiliary Verbs Auxiliary or helping verbs are used with another verb to give it vital meaning, such as a tense. A common example is haber (to have), which is used with a past participle to form a perfect tense. For example, in He comido (I have eaten), the he form of haber is an auxiliary verb. Another common auxiliary is estar as in Estoy comiendo (I am eating). 16. Action Verbs As their name suggests, action verbs tell us what someone or something is doing. The vast majority of verbs are action verbs, as they include the verbs that arent auxiliary verbs or linking verbs. 17 and 18. Simple and Compound Verbs Simple verbs consist of a single word. Compound or complex verbs use one or two auxiliary verbs and a main verb and include the perfect and progressive forms mentioned above. Example of compound verb forms include habà ­a ido (he has gone), estaban estudiando (they were studying), and habrà ­a estado buscando (she will have been seeking). 10, 20, and 21. Indicative, Subjunctive, and Imperative Verbs These three forms, known collectively as referring to a verbs mood, indicate the speakers perception of a verbs action. Simply put, indicative verbs are used for matters of fact; subjunctive verbs often are used to refer to actions that the speaker desires, doubts or has an emotional reaction to; and imperative verbs are commands.

The Two Shopkeepers- Kantian Ethics and Consequentialism...

Liza G Prof. Williams Ethics 21 November 2011 The Two Shopkeepers One of the several topics covered in Kant’s Groundwork for the Metaphysics of Morals is the issued of two shopkeepers. One shopkeeper is honest with his customers in order to maintain a positive reputation and improve profits. The second one is honest because he thinks it is right and exercises his respect for the moral law. The first shopkeeper is motivated to be honest by the rewards of a positive reputation and profit. The second is motivated by respect for morally right action. Taking these motivations into consideration from the standpoint of Kantian ethics, it is clear which shopkeeper is acting right. Kant believes that actions that are†¦show more content†¦This notion of respect for persons has to do with treating people as having intrinsic value in and of themselves. The first shopkeeper is only acting to reward himself through the means of his customers. The fact that he is not rewarding customers with honesty, but complying with the moral law in ord er to reward himself with a good reputation and profit makes it so that he is not acting rightly. The second shopkeeper, however, is acting in accordance with Kant’s categorical imperative. This shopkeeper acts in accordance with the first formulation of universalizability. Unlike the first, the second shopkeeper is honest because he knows it is morally right. And this passes the universalizability test since an ideal society would inhabit people who act based on the sense of right and wrong, according to Kant. The keeper’s honesty is also reversible, because if others in a society acted out of respect for the moral law like he is, everyone would be acting right towards one another. He complies with the second formulation by his honesty with customers out of respect for the moral law. He is not only using the treatment of his customers as a means for honesty, but also as an end respect for the moral law. In other words, being honest with his customers is not only enabling him to act morally right, but allowing him to be evaluated as respecting the moral law (Singer 274-275). Now, aShow MoreRelatedKant And The Moral Law1451 Words   |  6 Pagesthe consequences that flow from it, but in the intention from which the act is done. This is due to the fact that , for Kant, what the motive behind your action is, matters. It is also important to note the difference between deontology and consequentialism. For consequentialists, results matter rather than the actions. An example of this is utilitarianism, where the main goal is to produce the best results regardless of the actions (like killing other people) even if this leads us to sacrifice

Free Rappaccinis Daughters Cheeky Rappacci Essay Example For Students

Free Rappaccinis Daughters: Cheeky Rappacci Essay nis Daughter Essays Rappaccinis Daughter Cheeky The key to my understanding Hawthornes perspective on Science and Nature in Rappaccinis Daughter was his cheeky introduction, when he placed himself somewhere between transcendentalists and pen-and-ink men who address the intellect and sympathies of the multitude too unpopular for the multitude, and too popular for the transcendentalists. Choosing not to fit in either camp, he seems to tease us with the merits and deficits of each science and nature, too. Its not a matter of balance, or a weighing of arguments. His device here is to play upon the tensions attendant to these apparent polarities.On the first reading Rappaccinis Daughter appeared to be a cautionary tale, a warning about the dangers of too much science, excessive manipulation of nature leading to thwarted nature, the fatality that attends all such acts of perverted wisdom. Rappaccini is described as a vile empiric and not restrained by natural affection for his daughter . Beatrice, his daughter, describes herself as merely his earthly child, while the plants are the offspring of his intellect.Beatrice is described by her physical beauty and poisonous physical nature. She is described also by the pure light of her character. Giovanni, the would-be lover, alternates between obsession with Beatrice which might be love and abhorrence of her. The obsession is with her beauty and simplicity her goodness. The abhorrence is with her poisonous physical nature. Giovannis character, however, is found wanting when he urges Beatrice to take the fatal antidote to her poisonousness. Beatrice protected Giovanni from fatal poisoning when she stopped him from touching her sister plant. She protected him from fatal physical contact with her. At the end, she protected him by ending her life.I did not see sexuality in this story on the first reading. It can be interpreted with a great deal of sexuality in the symbolism, and in the phrasing. Laura Stallmans survey of criticisms informed my view on this greatly. She refers to Frederick Crews criticism: The garden is found to have strong sexual connotations and Crews calls attention to the virtually pornographic scene in which Lisabetta (the landlady) leads Giovanni to the entrance to the garden and he presses money into her palm, much like a john paying a madame. After being led along several obscure passages, Giovanni must finally force himself through the entanglement of a shrub that wreathed its tendrils over the hidden entrance. There are many criticisms of this work that read it through such a lens. Such provocative images have purpose, especially when a work can be read on so very many levels. On one level, suggestive images can serve to keep the readers interest. Michael Gilmore (in Stallmans survey) notes that Hawthorne was having problems attracting a popular audience. Perhaps he boosted sales/popularity with this. (As Kristen noted, Hawthorne was just having fun with this piece, too!) Sexuality is an important element of the story, but perhaps only a vehicle through which to tell another story. Sex is sometimes about power.I read this story now as an exploration of human nature, particularly as a story about the human lust for power. Rappaccini used science as his vehicle for power over nature, through Beatrice and the garden. The objectivity of science was represented by his demeanor with his daughter and his garden touching nothing directly, only looking and tending from a distance. Baglioni sought power manipulatively and politically represented by his academic rivalry with Rappaccini, his plan to kill Beatrice, and his manipulation of Giovanni as the instrument to kill Beatrice. Giovanni wanted power over Beatrice he wanted to recast her into a form he could love he couldnt love her as she was. Beatrice and the plants in the garden were the innocents in this story they simply came into being. The poison in their physical nature simply was there was no m alice in them. Beatrice was the only human who exhibited real love, and who only wanted love/to love. She expressed her love for Giovanni by dying and in dying released herself from (transcended) the power of each of .uae1fed9342225de84edd0f1e3731a1c7 , .uae1fed9342225de84edd0f1e3731a1c7 .postImageUrl , .uae1fed9342225de84edd0f1e3731a1c7 .centered-text-area { min-height: 80px; position: relative; } .uae1fed9342225de84edd0f1e3731a1c7 , .uae1fed9342225de84edd0f1e3731a1c7:hover , .uae1fed9342225de84edd0f1e3731a1c7:visited , .uae1fed9342225de84edd0f1e3731a1c7:active { border:0!important; } .uae1fed9342225de84edd0f1e3731a1c7 .clearfix:after { content: ""; display: table; clear: both; } .uae1fed9342225de84edd0f1e3731a1c7 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uae1fed9342225de84edd0f1e3731a1c7:active , .uae1fed9342225de84edd0f1e3731a1c7:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uae1fed9342225de84edd0f1e3731a1c7 .centered-text-area { width: 100%; position: relative ; } .uae1fed9342225de84edd0f1e3731a1c7 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uae1fed9342225de84edd0f1e3731a1c7 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uae1fed9342225de84edd0f1e3731a1c7 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uae1fed9342225de84edd0f1e3731a1c7:hover .ctaButton { background-color: #34495E!important; } .uae1fed9342225de84edd0f1e3731a1c7 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uae1fed9342225de84edd0f1e3731a1c7 .uae1fed9342225de84edd0f1e3731a1c7-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uae1fed9342225de84edd0f1e3731a1c7:after { content: ""; display: block; clear: both; } READ: The Many Benefits of ObamaCare Essay