r there is some kind of difference between them which causes them to be used discriminately.
In an attempt to expose the existing functional difference between the two constructions, it has been pointed out that base sentences with identical subjects are connected not in a semi-compound, but into a compound sentence (of complete composition) in the three main cases: first, when the leading sentence is comparatively long; second, when the finite verbs in the two sentences are of different structure; third, when the second sentence is highly emotional. * These tentative formulations should rather be looked upon as practical guides, for they do correspond to the existing tendencies of living speech. But the tendencies lack absolute regularity and, which is far more significant, they do not present complete lingual facts by themselves, but rather are particular manifestations of a general and fundamental mechanism at work. This mechanism is embodied in the actual division of the sentence: as a matter of fact, observations of the relevant contexts show that the structure of the actual division in the two types of sentences is essentially different. Namely, whereas the actual division of the compound sentence with identical subjects presents two (or more) separate informative perspectives characterised by identical themes and different rhemes, the actual division of the semi-compound sentence presents only one perspective, analysed into one theme and one , though complex, rheme; the latter falls into two or more constituent rhemes (sub-rhemes) in various concrete contexts.
The sub-rhemes may be of equal importance from the informational point of view, as in the following example: We were met by a guide who spoke excellent English and had a head full of facts.
The sub-rhemes may be of unequal informative importance, the predicative expansion rendering the basic semantic content of the sentence. Eg: She gave us her address and asked us to come and see her. p align="justify"> The coordinated predicate groups may also be informatively fused into an essentially simple rheme, ie into a phrase making up a close informative unity. E.g.: He took out his diary and began to write. The man looked up and laughed. p align="justify"> As different from the semi-compound construction with its exposed informative properties, the very identity of the subject themes in a compound sentence of complete composition is a factor making it into a communicatively intense, logically accented syntactic unit (compare the examples given at the beginning of the paragraph).
XXXI. SENTENCE IN THE TEXT
We have repeatedly shown throughout the present work that sentences in continual speech are not used in isolation; they are interconnected both semantically-topically and syntactically.
Inter-sentential connections have come under linguistic investigation but recently. The highest lingual unit which was approached by traditional grammar as liable to syntactic study was the sentence; scholars even specially stressed that to surpass the boundaries of the sentence was equal to surpassing the boundaries of grammar. p align="justify"> In particular, such an outstanding linguist as L. Bloomfield, while recognising the general semantic connections between sentences in the composition of texts as linguistically relevant, at the same time pointed out that the sentence is the largest grammatically arranged linguistic form, ie it is not included into any other linguistic form by a grammatical arrangement. *
However, further studies in this field have demonstrated the inadequacy of the cited thesis. It has been shown that sentences in speech do come under broad grammatical arrangements, do combine with one another on strictly syntactic lines in the formation of larger stretches of both oral talk and written text. p align="justify"> It should be quite clear that, supporting the principle of syntactic approach to arrangement of sentences into a continual text, we do not assert that any sequence of independent sentences forms a syntactic unity. Generally speaking, sentences in a stretch of uninterrupted talk may or may not build up a coherent sequence, wholly depending on the purpose of the speaker. E.g.:
Barbara. Dolly: don't be insincere. Cholly: fetch your concertina and play something for us (B. Shaw). p align="justify"> The cited sequence of two sentences does not form a unity in either syntactic or semantic sense, the sentences being addressed to different persons on different reasons. A disconnected sequence may also have one and the same communication addressee, as in the following case:
Duchess of Berwic ... I like him so much. I am quite delighted he's gone! How sweet you're looking! Where ...
