Недалеко от деревнибыло лесничество. T R

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The functional sentence perspective (FSP) in Russian is signalled by the word-order arrangement: the words девушка and лесничество are the theme when they stand at the beginning of the sentence and the rheme when they are in the end-position. In English this difference is made clear by the use of the articles in (1) and the structure with " there is" in (2).

When she left Ernest's a huge basket of groceries rested at the foot of the pram, and the small fortune of a pound note lay in her coat pocket. (Sillitoe)

Down the long avenue of his man-about-town experience, bursting, as it were, through a smirch of doubtful amours, there stalked to him a memory of his youth. (Galsworthy)

In answer to the ring, appeared a page boy with a silver soup tureen. (Galsworthy)

He could show you this letter yesterday. Only he could show you this letter yesterday. He could only show you this letter yesterday. He could show you this letter only yesterday. He could show this letter only to you yesterday.

Similar in function is the use of particles and adverbs of emphatic precision in other languages:

The role of the order of words used to signal the T—R arrangement is most evident in examples like the following:

And fast into this perilous gulf of night walked Bosinney, and fast after him walked George. (Galsworthy)

Cf. И. Боснии шел быстро прямо в волны ночи, грозившей бедой, и так же быстро шел за ним Джордж.

In the centre of the room, under the chandelier, as became a host, stood the head of the family, old Jolyon himself. (Galsworthy)

Cf. Посередині кімнати, під люстрою, як і лічить хазяїну, стояв глава сім'ї, сам старий Джоліон.

The actual division of the sentence stands in vivid and clear relief in syntactic structures with double inversion by which we mean not only putting the subject before the predicate but separating the verbal predicate. A few typical examples are given below, others will readily occur to the student.

He stooped over the drawer where she kept her jewels; it was not locked, and came open as he pulled; the jewel box had the key in it. This surprised him until he remembered that it was sure to be empty. He opened it.

It was not empty. Divided in the little green velvet compartment, were all the things he had given her, even her watch, and stuck into the recess that contained the watch was a three-cornered note addressed " Soames Forsyte", in Irene's handwriting. (Galsworthy)

The idea about the jewel box is given in the previous sentence; the adverbial adjunct and the predicate " Divided in the little green velvet compartment were" are the starting point of the statement (the theme) and the new information is carried by the subject of the sentence " all the things he had given her, even her watch" — the rheme.

Similarly: " stuck into the recess that contained the watch was " is the theme, and the new information is carried by the subject " a three-cornered note addressed " Soames Forsyte", in Irene's handwriting" — the rheme.

It is interesting to observe that in sentence patterns of the given type the subject often has a lengthy attribute attached to it, which adds to its rhematic quality and semantic prevalence in the whole statement.

In different speech events the components of the functional sentence perspective may correspond to different sentence-elements. In each case variation in the T—R arrangement as motivated by the consituation will be made clear by variation in prosody.

Syntactic means to express the rhematic quality of the subject include also structures of predication with the passive verb-forms and converted subject introduced by the preposition by.

Fixed phrases of emphatic precision it is... (it was) also can, by situation, lay emphasis on any part of the sentence and intensify its rhematic quality.

Sentences that are introduced by it is (it was...) have special traits of their patterning and are logically interesting. We may reasonably say that they homonymically combine a grammatical and a stylistic meaning always signalled by the speech context or situation.

The use of such structures is always a logical result of the previous linguistic situations, and it is but natural that only the syntactical context can define their functional and stylistic value, with all the subtle shades of subjective modal force potentially implicit in them.

Variation in actualising a word or a phrase in a sentence is organically combined with changes in the order of words. The two devices in such structures appear inextricably involved and are inseparable.

The grammatical arrangement of words in these patterns may well illustrate the fact that the formal and the logical subject in a sentence are two independent elements.

The it -inversion is useful in all types of prose as filling the position of the sentence opener with a structural word that enables postponement of the theme.

The foremost notion in the speaker's thoughts, i. e. the logical subject of the utterance is the element introduced by it is... (it was...).

When we say It is the teacher that decides or It was the student I was looking for, we mean: the teacher is the deciding person and the student was the young man I was looking for. The relative clause thus does not restrict the teacher or the student but obviously belongs to it. It is coffee I like best of all may be easily transformed into Coffee is what I like best of all. This seems to explain why in such sentences we can have a that-clause or a contact-clause after a word which is in itself so definite that it cannot be further restricted:

We cannot fail to see this logical connection in some proverbial sentences, which, analysed differently, will give no sense:

The linguistic essence of structures with it is, it was has been variously treated by grammarians. Patterns of this sort are sometimes referred to as special emphatic forms of a simple sentence (H. Poutsma, O. Jespersen), complex sentences with emphatic attributive clauses (E. Kruisinga), complex sentences with subordinate subject clauses (G. Curme)¹.

Any part of the sentence can thus be made prominent and intensified in its emphatic quality. Examples follow:

It was not she who was after them, but they after her. (Galsworthy) The problem in the background of her consciousness was how to help him,

It was not the results of their experiments that we disapproved of, but some diagrams (the results of their experiment — the rheme of the sentence).

It was not to George Forsyte that the mind must turn for light on the events of that fog-engulfed afternoon. (Galsworthy)

... but it was his daughter that Soames wanted to gaze from behind Winifred's shoulder. (Galsworthy)

d)the attributive adjunct: It's an ill wind that blows nobody good (proverb).

It was at this time that he wrote letters of enquiry to the general... (London)

It was then that she saw with whom she had to deal, the lady was undoubtedly Mrs. Soames, the young man Mr. Bosinney. (Galsworthy)

It was not until they found themselves a second time before the Eve, that he said: " I don't know why you asked me to come, Fleur. It's playing the goat for no earthly reason. (Galsworthy) f) adverbials of manner:

It was thus that Frank Algernon Cowperwood's Chicago financial career was definitely launched. (Dreiser)

Was it that with the eyes of faith, he saw Bosinney looking down from that high window in Sloane Street, straining his eyes for yet another glimpse of Irene's vanished figure... (Galsworthy)

¹ See: H. Poutsma. A Grammar of Late Modern English. P. 2. Groningen, 1926; E. Kruisinga. A Handbook of Present-Day English. Groningen, 1931; G. O. Curme. A Grammar of the English Language, v. 3. New York, 1935; see also: Л. С. Бархударов, Д. А. Штелинг. Грамматика английского языка. М., 1960; В. Ilyish. The Structure of Modern English. M.-L., 1965.

It was thus simply, that she recorded a scene which had really made a deep and complicated impression on her. (Galsworthy)

With reference to persons, sentence-patterns with the pronoun he or she are also common.

It is also interesting at this point to compare the use of Russian and Ukrainian particles это, то, це, in patterns like the following:

О чем это вы задумались? What is it you are thinking

З ким то він про це розмовляв? Who was it that he has spoken

Що це ви тут обмірковуєте?? What is it you are discussing

Спочатку йому здалося, що це якась іграшка заплуталася в такелажі.

It was for our dear sake that he did it. = Це тільки для нас він це зробив.

It was of his kindness that I was thinking. = Це саме про його доброту я думала.

«На границе семантики и синтаксиса находится употребление так называемого стилистического (индивидуализирующего) этот..., тот... Местоимение в этом случае сообщает не указательное значение, а значение какой-то эмоционально подчеркнутой известности предмета, с названием которого согласуется:

Люблю воинственную живость потешных марсовых полей... Лоскутья сих знамен победных. Сияние шапок этих медных, Насквозь простреленных в бою!» (Пушкин)

Итак эти страшные письма, эти пламенные требования, это дерзкое упорное преследование, — все это было не любовь. (Пушкин) ¹

Note. Instances are not few when this kind of emphasis is rendered in Russian and Ukrainian by using such intensifying adverbs as: именно, саме..

¹ Л. А. Булаховский. Курс русского литературного языка, т. 1. К., 1952, р. 325.

As a matter of fact structures with it is (it was) combine two functions: expressing syntactic relations of subordination and laying logical emphasis on what is prominent in the speaker's mind by placing the words expressing the given idea in an unusual position.

Similar developments will be found in French. Structures with с'est, c'é tait...qui, que are also known to combine their grammatical value with similar stylistic traits. Patterns of this kind in French are fairly common, e. g.:

It is to be noted that patterns of this kind are often a logical consequence of a lengthy narration developing in certain sequence. The stylistic aspect of the structure is defined by the context which is always explicit enough to make the meaning clear.

Euphemia Forsyte, who happened to be in the room — she had come round to borrow the Rev. Mr. Scoles' last novel " Passion and Paregoric", which was having such a vogue — chimed in.

" I saw Irene yesterday at the Stores; " she said" and Mr. Bosinney were having a nice little chat in the Groceries."

It was thus, simply, that she recorded a scene which had really made a deep and complicated impression on her. (Galsworthy)

One nice old general, going towards Cigars, was obliged to step quite out of the way, and chancing to look up and see Mrs. Soames' face, he actually took off his hat, the old fool! So like a man!

But it was Mrs. Soames' eyes that worried Euphemia. " She never once looked at Mr. Bosinney until he moved on, and then she looked after him. And, Oh, that look! (Galsworthy)

As B. Ilyish very rightly points out, there are some other points to be made concerning the thematic and rhematic analysis.

The theme need not necessarily be something known in advance. In many sentences it is, in fact, something already familiar, as in some of our examples, especially with the definite article. However, that need not always be the case. There are sentences in which the theme, too, is something mentioned for the first time and yet it is not the centre of the predication. It is something about which a statement is to be made. The theme is here the starting point of the sentence, not its conclusion. This will be found to be the case, for example, in the following sentence: Jennie leaned forward and touched him on the knee. (Wilson) which is the opening sentence of a short story. Nothing in this sentence can be already familiar, as nothing has preceded and the reader does not know either who Jennie is or who,, he" is. What are we, then to say about the theme and the rheme in this sentence? Apparently, there are two ways of dealing with this question. Either we will say that Jennie represents the theme and the rest of the sentence, leaned forward and touched him on the knee, its rheme.

Or else we will say that there is no theme at all here, that the whole of the sentence represents the rheme, or perhaps that the whole division

into theme and rheme cannot be applied here. Though both views are plausible the first seems preferable. We will prefer to say that Jennie represents the theme, and emphasise that the theme in this case is not something already familiar but the starting point of the sentence.