Practice Makes Perfect: Complete

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Marcel Danesi
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 Contents

Preface
Acknowledgments

1 Nouns and titles

Common nouns
Gender patterns
Spelling adjustments in the plural
Mass nouns
Proper nouns and titles
Grammar in culture

2 More about nouns

More gender patterns
Nouns of Greek origin
Other types of nouns
Altered nouns
Compound nouns
Grammar in culture

3 Articles
The indefinite article
The definite article
Uses of the indefinite article
Uses of the definite article
 Grammar in culture

4 Adjectives
Descriptive adjectives
Invariable adjectives
Position
Form-changing adjectives
Comparison of adjectives
Grammar in culture

5 Pronouns
Subject pronouns
Object pronouns
Stressed pronouns
Other pronouns
Grammar in culture

6 More pronouns
Object pronouns with compound tenses
Double pronouns
Attached pronouns
Grammar in culture

7 Demonstratives
The demonstrative of nearness
The demonstrative of farness
Demonstrative pronouns
Indicating words and expressions
Grammar in culture

8 Possessives
 Possessive adjective forms
The third-person forms
Possessives with kinship nouns
Possessive pronouns
Grammar in culture

9 Partitives
Partitives with count nouns
Alternative forms
Partitives with mass nouns
Partitives in the negative
Adjectives indicating quantity
Grammar in culture

10 Present tenses
The present indicative of regular verbs
Irregular verbs in the present indicative
The present subjunctive of regular verbs
Irregular verbs in the present subjunctive
Special uses of the subjunctive
Grammar in culture

11 Past tenses
The present perfect
Irregular past participles
The past subjunctive
The past absolute
Irregular verbs in the past absolute
Grammar in culture

12 The imperfect and pluperfect tenses

 The imperfect indicative
The imperfect subjunctive
The pluperfect tenses
Grammar in culture

13 The progressive tenses

The gerund
The present progressive tenses
The imperfect progressive tenses
Grammar in culture

14 The future and conditional tenses

The future
The future perfect
The conditional (present and past)
Hypothetical sentences
Grammar in culture

15 The imperative
Regular forms of the imperative
The negative imperative
Irregular forms
Grammar in culture

16 Reflexive verbs
Forms
Compound tenses
Imperative forms
Grammar in culture

17 Prepositions and adverbs

 Prepositional contractions
Uses of the prepositions
Adverbs of manner
Other kinds of adverbs
Comparison of adverbs
Grammar in culture

18 Sentences
Interrogative sentences
Question words
Negative sentences
Objects
Conjunctions and relative pronouns
Grammar in culture

19 Numbers
The cardinal numbers
Telling time
The ordinal numbers
Numerical expressions
Dates
Grammar in culture

20 Miscellaneous topics
The verb piacere
The passive and the impersonal si
Other topics
Grammar in culture

Review exercises
Irregular verb tables
Italian-English glossary
English-Italian glossary
Answer key
 Preface

Practice Makes Perfect: Complete Italian Grammar focuses on topics

of importance to intermediate- to advanced-level learners. By
concentrating on areas of grammar for making more complex,
meaningful sentences and conversations, the book is designed to
improve the ability to communicate effectively in Italian at higher
levels.
Practice Makes Perfect is, thus, geared toward those who have
already learned the basics of grammar, focusing on topics that
consistently need to be practiced in an in-depth manner by non-
beginning learners. The book covers topics that often prove difficult
for English speakers when they learn Italian, such as the correct use
of object pronouns. Numerous practical exercises give students the
opportunity to test what they have learned.
There are twenty chapters covering everything from the formation
and use of nouns to the structure of sentences and clauses. Each
chapter is designed to deal with a topic of grammar as completely as
possible.
Each chapter presents the main points related to a topic. Each
point is followed by an Esercizio. Along the way, information boxes
provide further detail on some topics, offer tips, or introduce related
vocabulary. At the back of the book, there are Italian-English and
English-Italian glossaries (containing all the words and expressions
used in the book), irregular verb charts, and the answers to all the
exercises.
This handbook is designed as a reference grammar for
intermediate or advanced learners with a large practice component—
there are over 300 distinct exercise questions consisting of various
types and parts. As they say, practice makes perfect. It can also be
used as a textbook in intermediate courses of Italian, since it
contains the same kinds of information and exercises that are
normally found in such courses and in more elaborate formal
textbooks. The difference is that this book takes nothing for granted.
As mentioned, it contains many sidebars throughout to clarify,
supplement, or complement a topic. This feature will allow you to
stay within the confines of this single book. You will not need to
resort to other materials. Although it is review grammar, very little
has been taken for granted!
At the end of each chapter is a Grammar in culture section that
links a grammar topic to culture or usage, with a related exercise.
This section underscores the relevance of grammar to the study of
culture. And new to this Premium Third Edition, a final chapter of
Review Exercises provides a comprehensive test of your
understanding of all major topics covered in the book.
In addition, extensive support materials are available in the
McGraw Hill Language Lab app:
Flash cards comprising all vocabulary used in this book
An auto-fill glossary (a digital version of the glossaries at the
back of this book)
Audio recordings of the answers to many of the exercises in
this book. With the mobile version of this app, you can record
your own answers, then replay them alongside the native-
speaker recordings.

Buon divertimento!
 Acknowledgments

I wish to express my sincere gratitude to Garret Lemoi of McGraw

Hill for his superb editing and encouragement, not to mention his
wonderful advice. I also thank Grace Freedson for her support and
help. I am truly grateful to her.
 Nouns and titles

Simple Italian sentences, like English sentences, are composed of a

subject, a verb, and an object. The subject consists of a noun or
noun phrase. It is what the sentence is about and around which the
rest of the sentence revolves. The subject is, more generally, the
performer of some action. Many types of objects also consist of a
noun (or noun phrase). In this case the noun is the person, concept,
thing, etc., toward which the action of the verb is directed or to
which a preposition expresses some relation. This unit and the next
one describe nouns.

Nouns can be regular or irregular. Regular ones have predictable

endings in the singular and plural. Nouns are also classified as either
common or proper. The former refer to persons, objects, places,
concepts, and all the other things that make up the world. Proper
nouns are the actual names and surnames given to people,
geographical places and formations, brands, and the like.

Common nouns
A common noun can generally be recognized by its vowel ending,
which indicates if it is masculine or feminine. This is called
grammatical gender. Gender is important because it determines the
form of both the articles and adjectives that accompany nouns in
sentences and phrases. Generally, nouns ending in -o are masculine.
They are made plural by changing the -o to -i.

Nouns ending in -a are generally feminine. They are made plural

by changing the -a to -e.

Lastly, nouns ending in -e are either masculine or feminine. This

is not an option; gender is fixed by the grammar of Italian. To find
out if a noun ending in -e is masculine or feminine you will have to
consult a dictionary, or else you will have to infer it by observing the
form (article, adjective, etc.) that accompanies it. Such nouns are
made plural by changing the -e to -i, no matter what their gender
is.

Here’s a tip. Most nouns ending in -ione, especially in -zione and

-sione, are feminine.

Useful common nouns

(m. = masculine, f. = feminine)

Common nouns are not capitalized unless they occur at the

beginning of a sentence. Unlike English, nouns referring to
languages, speakers of a language, or inhabitants of an area are not
normally capitalized.

Note: The noun gente (people) is singular in Italian.

Note: The plural of l’uomo (the man) is irregular; it is gli

uomini (the men).

Also, note that some nouns ending in -ione are masculine. Those
ending in ‑one are all masculine.

A. Provide the singular or plural form of each noun, as

required.
Another random document with
no related content on Scribd:
The Project Gutenberg eBook of The cross
word puzzle book
 This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this ebook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

Title: The cross word puzzle book

Editor: Prosper Buranelli

Margaret Petherbridge Farrar
F. Gregory Hartswick

Release date: June 9, 2022 [eBook #68267]

Language: English

Original publication: United States: The Plaza Publishing

Company, 1924

Credits: Jeroen Hellingman and the Online Distributed

Proofreading Team at https://www.pgdp.net/ for Project
Gutenberg (This file was produced from images
generously made available by The Internet
Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK THE CROSS

WORD PUZZLE BOOK ***
[Contents]

[1]

[Contents]

THE CROSS WORD

PUZZLE BOOK [3]

[Contents]
 THE CROSS WORD
PUZZLE BOOK
An Anthology of Fifty
Cross Word Puzzles
Selected as the Best of the
Thousands That Have Been
Submitted to the New York
World Published Here
 Exclusively for the First
Time and Edited

By
PROSPER BURANELLI
F. GREGORY HARTSWICK
MARGARET PETHERBRIDGE

THE PLAZA PUBLISHING COMPANY

New York :: 1924

[4]
[Contents]

Copyright, 1924, by
THE PLAZA PUBLISHING COMPANY
37 West 57th Street
New York, N.Y.

Printed by The Van Rees Press

Bound by H. Wolff & Co.
New York [5]

[Contents]
 THE CROSS WORD PUZZLE
By Newman Levy

For many years we’ve lived as man and wife,

As happy now as on the day we wed.
“We’re more like sweethearts,” I have always said.
No cloud has dimmed the sunshine of our life,
Though now and then I’ll seize a rolling pin
And playfully I’ll clout her on the dome
Just to preserve domestic discipline
And demonstrate who’s master in our home.
At times she’ll hurl with well-directed aim
A platter or an iron at my bean.
These slight attentions keep romances green
And keep alive the hymeneal flame.

On Sunday, when the evening lamp is lit

And peace and calm contentment fill our house,
With pipe and well-loved book at ease I sit,
And at my side, in earnest thought, my spouse,
Then fade the cares and troubles of the day;
With Conrad and Lord Jim I sail the sea,
When suddenly I hear my wife’s voice say,
“What word for ‘female child’ begins with G?”
“The word is ‘Girl’,” I growl. Again I try
To catch the shattered magic of my tale.
I find my place. Again with Jim I sail
Upon the tropic sea. My wife says “My,
What pronoun in three letters starts with Y?”

[6]

Calmly I rise and search about the place

To find a weapon of sufficient weight.
Aha! Upon our wall an ancient mace,
Studded with knobs of steel. The very thing.
I seize it, and with easy, graceful swing
Wallop my darling wife upon the pate,
The sconce or bean, or dome, or what you will.
Silent she tumbles headlong in the grate.
I take my book and leisurely resume
My tale, and peace and quiet fill the room.

From F.P.A.’s Conning Tower

in The New York World [7]
[Contents]
 THE CROSS WORD
PUZZLE BOOK
[9]
 CONFESSIONS OF A CROSS WORD
PUZZLE EDITOR
When I was first made unwilling Cross Word Puzzle
Editor some two years ago, the procedure in deciding
what puzzle would be run was limited to picking out a
good-looking one from among the bunch and sending
it upstairs to be set. I saw no reason to change this
splendid system. At that time, I had never taken the
trouble to do a puzzle and the letters of anathema
and condemnation that came in by the dozens had
small effect on my conscience. They were evidently
from cranks and couldn’t be avoided.

I must admit that the dawning of conscience began

with the arrival of F.P.A., who came to work in the next
room. When he discovered that I was responsible for
the cross words, he formed the atrocious habit of
stalking in every Monday morning bright and early
(about eleven o’clock) to point out to me in sarcastic
tones just what was wrong with yesterday’s. Well, to
make a long story short, in order to avoid the
moronish feeling that usually followed such a lecture,
I decided to reform and find out what a really decent
puzzle was like.
I began by trying to do one the next Sunday, and thus
experienced the throes of acute agony that come to
all solvers of puzzles on discovering definitions left
out, numbers wrong, hideously warped definitions,
words not to be found inside of any known dictionary,
foreign words—very foreign[10]—and words that had
no right to be dragged out of their native obscurity.
Then and there, with my left hand reposing on a
dictionary and my right raised in air, I took an oath to
edit the cross words to the essence of perfection.
From then on, I instituted the procedure of doing the
puzzles myself on the page proof—sort of trying it on
the dog—applying the principle,

“If it be not fair to me,

What care I how fair it be!”

Since that momentous day, F.P.A.’s visits have grown

less frequent—in fact, he has to make up excuses to
come in and converse on other matters—and the
cross words even came in for an occasional bouquet
in Sam Pepys’s diary. So now you all know whom to
thank for the perfection (more or less) of the cross
word puzzle found each Sunday on the World
Magazine’s Ingenuities Page.

Margaret Petherbridge [11]

[Contents]
 HOW TO SOLVE THEM
Solving a cross word puzzle offers numerous
enjoyments of which the uninitiated are ignorant.
There is the pure esthetic stimulation of looking at the
pattern with its neat black and white squares, like a
floor in a cathedral or a hotel bathroom; there is the
challenge of the definitions, titillating the combative
ganglion that lurks in all of us; there is the tantalizing
elusiveness of the one little word that will satisfactorily
fill a space and give clues to others that we know not
of; and there is the thrill of triumph as the right word is
found, fitted, and its attendant branches and roots
spring into being. No better illustration could be used
than a recent brilliant construction of Mr. Gelett
Burgess, published in the Sunday World Magazine.

Consider the solver as he faces his problem. The

numbers in the squares, he knows, refer to the
definitions; in the system of numbering used in this
book, the first letters only are indicated by numbers.
Thus 1 horizontal means a word that will fill the space
following the figure up to the next black square.

Horizontal
 Lowest
1 form of life
Product
12 of coal or pine
Opponent
18

Vertical

Gustated
1
Divine2 nourishment
Before3
Indefinite
4 number
1 2 3 4
12
18 20

30 32 33

[12]

The solver, then, looks the puzzle over. Aha! a friend.

12 horizontal, three letters long—“product of coal or
pine.” Triumphantly the solver writes TAR in the
spaces and proceeds with this clue. 2 Vertical is
defined as “Divine Nourishment.” It links with TAR at
the second letter. A moment of thought and MANNA
appears as the only possible solution. He turns to 1
vertical, the second letter of which is the first of 12
horizontal—T. The definition is “gustated,” and the
word is of three letters. Why hesitate? ATE goes into
the space. “A cinch!” reflects the solver, and joyously
writes ENEMY in 18 horizontal, defined as
“Opponent.” 3 vertical is defined as “Before,” and with
-RE staring him in the face he would be dull indeed
who did not write ERE. And now 1 horizontal stands
revealed. “Lowest form of life,” eh? AMEBA goes
down. 4 vertical is “Indefinite number.” Well, A-Y
cannot be anything but ANY—and there is the corner
complete, with three clues to the words in other
sections.

1 A 2 M3 E B 4 A
12 T A R N
18 E N E 20 M Y
N
A
30 32 33

So far the sailing has been fairly easy. But trouble

waits just around the corner. There are other
definitions which [13]are not so simple as “product of
coal or pine.” In the far reaches of the puzzle to which
the above corner belongs may be found such
definitions as “Vexation (Provincial British),”
“Humorous figure of speech,” “One-sided headaches”
and “Droning dung-beetles.” Is the solver prepared to
state that he can fill the spaces represented by those
words without the assistance of the linked horizontals
or verticals?

It is here that one of the greatest charms of the

crossword puzzle lies: the discovery of new words by
the process of building them, though entirely ignorant
of their actual spelling. Consider another portion of
Mr. Burgess’ puzzle. The construction of the
provincial form of “Vexation” and “Humorous figure of
speech” fortunately come in juxtaposition; they
illustrate at once the vocabulary-building feature of
the cross word puzzle and a constructional weakness
which may lead to non-solution.

The definitions surrounding this precious pair are as

follows: Horizontal, “Series of games,” “Self,” “Means
of sustenance,” and “Surface of fibres”; Vertical,
“Drinking vessel” and “Body of cavalry.” When these
words are solved one finds:

SET
TUR
E GO
A L I MON Y
NA P