Modern English like most other languages distinguishes two numbers: singular and plural. The meaning of singular and plural seems to be self-explanatory, that is the opposition: one — more than one. With all this, expression
of number in different classes of English nouns presents certaindifficulties for a foreigner to master.
As already mentioned, plural and singular nouns stand in contrast as diametrically opposite. Instances are not few, however, when their opposition comes to be neutralised. And this is to say that there are cases when the numeric differentiation appears to be of no importance at all. Here belong many collective abstract and material nouns. If, for instance, we look at the meaning of collective nouns, we cannot fail to see that they denote at the same time a plurality and a unit. They may be said to be doubly countable and thus from a logical point of view form the exact contrast to mass nouns: they are, in fact, at the same time singular and plural, while mass words are logically neither. The double-sidedness of collective nouns weakens the opposition and leads to the development of either Pluralia tantum, as in: weeds (in a garden), ashes, embers, etc. or Singularia tantum, as in: wildfowl, clergy, foliage, etc.
In some cases usage fluctuates, and the two forms are interchangeable, e. g. brain or brains: he has no brains or little brains; victuals are more common than victual; oats than oat; similarly: His wages were high. How much wages does he get? That is a fair wage. They could not take too much pain.
The dual nature of collective nouns is shown linguistically in various ways: by the number of the verb or by the pronoun referring to it, as for instance, my family are early risers, they are already here.
It is important to observe that the choice between singular and plural depends on the meaning attached to the noun. Compare also: We have much fruit this year and the rich fruits of the heroic labour of Soviet people are visible from all the corners of the earth.
Similarly: The football team is playing very well. Cf. The football team are having bath and are coming back here for tea.
A word should be said about stylistic transpositions of singular nouns in cases like the following: trees in leaf, to have a keen eye, blue of eye, strong of muscle. Patterns of this kind will exemplify synecdoche — the simplest case of metonymy in grammar ("pars pro toto"). The chap was so big now that he was there nearly all his time, like some immovable, sardonic, humorous eye nothing to decline of men and things [11].
Other "universals" in expressing plurality will be found in what may be called "augmentative" plurals, i. e. when the plural forms of material nouns are used to denote large amounts of substance, or a high degree of something. This is often the case when we see the matter as it exists in nature. Such plural forms are often used
for stylistic purposes in literary prose and poetry,e. g.: the blue waters of the
Mediterranean, the sands of the Sahara Desert, the snows of Kilimanjaro.
Similarly in Russian: синие воды Средиземного моря, пески Сахары, снега Арктики.
Еще в полях белеет снег,
А воды уж весной шумят.
Люблю ее степей алмазные снега.
Attention must also be drawn to the emotive use of plural forms of abstract verbal nouns in pictorial language:
...it was a thousand pities he had run off with that foreign girl — a governess too!
The look on her face, such as he had never seen there before, such as she had always hidden from him was full of secret resentments, and longings, and fears.
The peculiar look came into Bosinney's face which marked all his enthusiasms.
Her face was white and strained but her eyes were steady and sweet and full of pity and unbelief. There was a luminous serenity in them and the innocence in the soft brown depths struck him like a blow in the face, clearing some of the alcohol out of his brain, halting his mad, careering words in mod-flight.
He stood for a moment looking down at the plain, heart-shaped face with its long window's peak and serious dark eyes. Such an unwordly face, a face with no defenses against life.
Oh! Wilfrid has emotions, hates, pities, wants; at least, sometimes; when he does, his stuff is jolly good. Otherwise, he just makes a song about nothing — like the rest.
Plural forms of abstract nouns used for stylistic purposes may be traced in language after language:
Russian: Повсюду страсти роковые
И от судеб защиты нет.
Отрады. Знаю я сладких четыре отрады.
It should benoted, inpassing, that the plural form is sometimes used not only for emphasis in pictorial language but to intensify the aspective meaning of the verb, the iterative character of the action, in particular, e. g.:
Oh, this was just the kind of trouble she had feared would come upon them. All the work of this last year would go for nothing. All her struggles and fears and labours in rain and cold had been wasted.
Expressive connotation is particularly strong in the metaphoric use of the plural of nouns denoting things to be considered unique, e. g.: Ahead of them was a tunnel of fire where buildings were blazing on either side of the short, narrow street that led down to the railroad tracks. They plunged into it. A glare brighter than a dozen suns dazzled their eyes, scorching heat seared their skins and the roaring, crackling and crashing beat upon ears in painful waves.
It is important to observe that in certain contexts nouns can weaken their meaning of "substance" and approach adjectives thus making the idea of qualities of the given substance predominantin the speaker's mind. Nouns functioning in this
position are generally modified by adverbials of degree, e. g.:
"You were always more of a realist than Jon; and never so innocent".
"We're all fond of you", he said, "If you'd only" —he was going to say, "behave yourself", but changed it to — "ifyou'd only be more of a wife to him".
"Why had he ever been fool enough to see her again".
"Not much of an animal is it?" groaned Rhett. "Looks like he'll die. But he is the best I could find in the shafts".
The use of a noun rather than an adjective is very often preferred as a more forcible expressive means to intensify the given quality. Compare the following synonymic forms of expression:
He was quite a success. — He was quite successful.
It was good fun. — It was funny.
And here are illustrative examples of nouns weakening their meaning of "substance" and approaching adverbs.
Such adverbial use shows great diversity. Deep-rooted in English grammar, this use is most idiosyncratic in its nature. We find here patterns of different structural meaning:
a) adverbial relations of time, as in: life long, week long, age long, etc.;
b)adverbial relations of comparison: straw yellow, silver grey, ash blond, ice cold, snow white, iron hard, sky blue, dog tired, paper white, pencil thin, ruler straight, primrose yellow, brick red, blade sharp;
c) different degree of quality: mountains high, a bit longer, a trifle easier, a shade darker, ankle deep [12].
Patterns of this kind are generally used metaphorically and function as expedients to express intensity and emphasis, e. g.: "I'll send Pork to Macon to-morrow to buy more seed. Now the Yankies won't burn it and our troops won't need it. Good Lord, cotton ought to go sky high this fall".
Further examples are:
He is world too modest. That was lots better. This was heaps better. He was stone deaf to our request. Waves went mountains high. The mud was ankle deep.
Adverbial use of nouns will also be found in such premodification structures as: bone tired, dog tired, mustard coloured, horror struck, etc.
In the grammar of nouns there have also developed interjectional uses which seem to convert nouns into special kind of "intensifiers", e. g.: What the dickens do you want? What the mischief do you want?
Further examples are:
The hell you say = you don't say so.
Like hell I wish \
I will like hell /I will not
Where in the hell you are going?
How the devil should I know?
Adverbs of affirmation and negation yes and no are intensified in emphasis by the proximity of a bald bawling hell, e. g.: Hell, yes! Hell, no!
English plurals end in -s. In Russian, there are more endings to make plurals. They are: masculine ending in a hard consonant; feminine ending in –a(ending for
plural-ы); any nouns ending in -ь, -й, -я(-и); neuter ending in –e(-я); neuter ending in –o(-a); masculine and feminine ending in -k, -г, -x, -ч, -щ, -ж, -ш(-и). Examples: стол – столы, двeрь – двери, нога – ноги, мoре – моря, окно – окнa. Some nouns are always singular. These are nouns that designate substances (oxygen, copper), products (cheese, fish), a block of objects (furniture), some actions (hunting, clearing up), feelings (love, health) some vegetables and berries.
The category of case of Nouns in English and in Russian languages.
Grammarians seem to be divided in their opinion as to the case-system of English nouns. Open to thought and questioning, this problem has always been much debated. The most common view on the subject is that nouns have only two cases: a common case and a genitive or possessive case. The common case is characterised by a zero suffix (child, boy, girl, student), the possessive case by the inflection [-z] and its phonetic variants [-s], [-iz], in spelling -'s. The uses of the genitive are known to be specific, those of the common case general. In terms of modern linguistics, we can therefore say that both formally and functionally, (he common case is unmarked and the genitive marked [13].
The genitive inflection is also used with certain words which otherwise do not conform to noun patterning, as in yesterday's rain, to-day's match, to-morrow's engagement. These are not idioms, with their total lexical meaning fixed, but only fixed patterns or usage.
Limits of space do not permit to take notice of all idiomatic patterns established in this part of English grammar. A few further examples will suffice for illustration. These are, for instance: I'm friends with you, where friends is probably part of the indivisible idiom "be friends with" + + noun/pronoun, used predicatively. Patterns with "of +genitive" usually have a portative sense denoting "one of", e. g.: Itis a novel of J. London’s (=one of his novels). Cf. It is a novel by J. London. (=a novel written by J. London).
Similarly: Fleur's a cousin of ours, Jon.
In expressive language this form may become purely descriptive. Endowed with emotive functions in special linguistic or situational context it may weaken its grammatical meaning and acquire subjective modal force denoting admiration, anger, praise, displeasure, etc., e. g.: Margaret... was taken by surprise by certain moods of her husband's [14].
The -'s inflection offers some peculiar difficulties of grammatical analysis in idiomatic patterns with the so-called group-genitives, e. g.: Mr. what's-his-name's remark, or He said it in plenty of people's hearing.
There are also patterns like "the man I saw yesterday's son" quoted by Sweet. One more example.
The blonde I had been dancing with's name was Bernice something Crabs or Krebs.
We cannot fail to see that the 's belongs here to the whole structure noun + attributive clause. Different kind of such group-genitives are not infrequent and seem to be on the increase in present-day colloquial English [15].
Mention should also be made of the parallel use of the 's form and the
preposition of found in patterns like the following:
In the light of this it was Lyman's belief and it is mine — that it is a man's duty and the duty of his friend to see to it that his exit from this world, at least, shall be made with all possible dignity.
…a work's popularity, the engine's overhaul life.
And here are a few examples of special use of the possessive case in fossilised
expressions of the formula character, such as: to one's heart's content, for pity's sake, out of harm's way, at one's fingers' ends, for old acquaintance's sake, for appearance's sake. These expressions were grammatically regular and explicable in their day, but they follow grammatical or semantic principles which have now fallen into disuse.
A word should be said about the purely idiomatic absolute use of the genitive case with locative force in patterns like the following:
There are also pleonastic patterns with the post-positional genitive intensifier own used with the 's-form, e. g.: Mary's own dressing-table.
I bought this at the grocer's.
The baker's is round the corner.
The famous St. Paul's is one of the principal sights of London.
Formations of this kind are on the borderline between grammar and vocabulary; the -'s-inflection seems to have developed into a derivative suffix used to form a noun from another noun.
The relative distribution of the of-phrase and the 's-inflection, as a recurrent feature of the language, must be given due attention in learning style and usage in English.
It is interesting to note, in conclusion, that there is a change going on in present-day English which runs counter to the general trend towards loss of inflections, that is the spreading of 's-genitive at the expense of the of-genitive. Until a few years ago, the genitive with 's was used in modern times mainly with nouns which could be replaced (in the singular) by the pronouns he and she, but not with nouns which could be replaced by the pronoun it: so that people normally said the man's face and the woman's face, but the face of the clock and the surface of the water. The 's-genitive was used in certain expressions of time and distance (an hour's time), and could be used with many nouns replaceable in the singular by it or they (the Government's decision); as is well known, there was also a number of commonly used phrases where the 's-genitive was used even though the noun was one which could be replaced in the singular only by it (New Year's Day, the water's edge). In recent years, however, the 's-genitive has come into common use with nouns which are replaceable in the singular only by it. Here are a few examples taken from reputable sources: resorts' weather → the weather of seaside towns; human nature's diversity → the diversity of human nature; the game's laws
→ the laws of the game. Many more examples will be found in books and in newspapers. We cannot fail to see that this tendency for 's to replace of is a development from the analytic to the synthetic: the of-phrase is replaced by the 's-inflection [16].
Cases are something that is probably the most complicated concept of the Russian language to the student that speaks only English. Old English had cases, but in contemporary English language you can notice cases and declension mostly in personal pronouns. In English you can see the changes in personal pronoun 'I', that is changed to 'me', 'my' or 'mine' according to its role in the sentence [17].
Cases are exactly that. When a noun has a different role in a sentence, that role is indicated by a change in the noun. In Russian language there are six cases: Nominative, Accusative, Genitive, Dative, Locative and Instrumental. The case system in Russian does two things. First, it marks the grammatical functions of nouns which are indicated by word order in English, that is, the subject, object and indirect object of the sentence. (This means that these nouns are free to be ordered almost anywhere in the sentence since their function is clearly indicated by their form.) Second, cases mark certain adverbial functions such as the time, manner, and means of carrying our an action, which are marked by prepositions in English, e.g. by hand, on Friday, with enthusiasm This function leads to the case system being associated with prepositions [18].
Remember: in Russian all prepositions are associated with a case which is attached to their objects. Since only nouns can express case, this means that only nouns may be objects of prepositions.
Every noun in Russian must be selected for one of six categories when they are used in a sentence. To indicate which category has been selected by the speaker, the endings of the noun are changed [19].
This means that each (declinable) noun has up to six different forms, differing only in the final letter or two on the end.
Conclusion
We have investigated the nouns and their grammatical categories in our course paper. We have chosen this theme because we were interested in it and also it is one of the most important part of speech. Nouns play great role in the person's speech as it expresses name of things, events, and phenomenon. We have investigated the similarities and differences of grammatical categories of noun in English and in Russian languages.And during this analysis we had found that Russian language as English has two numbers: singular and plural. The meaning of singular and plural seems to be self-explanatory. As we English plurals end in -s. But in Russian, there are more endings to make plurals. Some nouns are always singular as in English. The case system in Russian is more developed comparing with English. In English there are only two cases: common case and genitive case. But in Russian language case system there are six cases: Nominative, Accusative, Genitive, Dative, Locative and Instrumental.The case system in Russian does two things. Firstly, it marks the grammatical functions of nouns which are indicated by word order in English, that is, the subject, object and indirect object of the sentence. (This means that these nouns are free to be ordered almost anywhere in the sentence since their function is clearly indicated by their form.). Secondly, cases mark certain adverbial functions such as the time, manner, and means of carrying our an action, which are marked by prepositions in English, e.g. by hand, on Friday, with enthusiasm. This function leads to the case system being associated with prepositions. In Russian all prepositions are associated with a case which is attached to their objects. Since only nouns can express case, this means that only nouns may be objects of prepositions. Also wehave investigated the using of grammatical categories of nouns in songs and noticed that nouns play the most important part in expressing of rhyhm of songs, their structure and meaning. We should realize the importance of learning grammatical categories of nouns and of the correct using of them in our speech.
Bibliography
1. M.Y.Blokh. A course in Theoretical English Grammar. 2000
2. G.Corbett. Number. Cambridge University Press. 2000
3. G. Сurme. A Grammar of the English Language. London-New York 1931.
4. W.N.Francis. The Structure of American English. New York 1958 p. 234
5. C. Fries. The Structure of English. An Introduction to the Construction of English Sentences. London 1963 pp. 62-63, pp. 94--100.
6. Laycock. Mass nouns, Count nouns and Non-count nouns. Encyclopedia of Language and Linguistics. Oxford: Elsevier.
8. Laycock. Words without Objects. Oxford: Clarendon Press. Essentials of English Grammar. London, 1933.
9. B. Illyish. The structure of Modern English M.- L. 1965
10. М.Я.Блох. Теоретическаяграмматикаанглийскогоязыка. М., 1983;
11. N.M. Rayevska Modern English Grammar. 1976 pp.67-72.
12. William. A noun is a noun is a noun - or is it?
12.H.A.Sweet. New English Grammar. Oxford, 1955.
13. О. Jespersen. A Modern English Grammar on Historical Principles. London-Copenhagen, 1965
14. L.M.Volkova. Lectures in Theoretical Grammar.
15. В. Н. Жигадло, И. П. Иванова, Л. Л. Иофик. Современный английский язык. М.1956
17. Л. Л. Иофик. Современный английский язык. М.-- Л., 1956;
18. www.alpha.com /rusgrammar/time.
19. www. answers.com/topic/agreement –linguistics
APPENDIX
Appendix 1
“Bring me to life”
How can you see into my eyes like open doorsleading you down into my core
Where i've become so numb
Without a soul, my spirit sleeping somewhere cold
Until you find it there
And lead it back home
(chorus)
Wake me up inside wake me up inside
Call my name and save me from the dark
Bid my blood to run
Before i come undone
Save me from the nothing i've become
now that i know what i'm without
You can't just leave me
Breathe into me and make me real
Bring me to life
(chorus)
Frozen inside without your touch
Without your love darling
Only you are the life among the dead
all of this time i can't believe i couldn't see
Kept in the dark but you were there in front of me
I've been sleeping a thousand years it seems
Got to open my eyes to everything
Without a thought, without a voice, without a soul
Don't let me die here
There must be something more
Bring me to life
Appendix 2
“Lithium”
Lithium, don't want to lock me up inside.
Lithium, don't want to forget how it feels without...
Lithium, I want to stay in love with my sorrow.
Oh, but God, I want to let it go.
Come to bed, don't make me sleep alone.
Couldn't hide the emptiness, you let it show.
Never wanted it to be so cold.
Just didn't drink enough to say you love me.
I can't hold on to me,
Wonder what's wrong with me.
Lithium, don't want to lock me up inside.
Lithium, don't want to forget how it feels without...
Lithium, I want to stay in love with my sorrow.
Don't want to let it lay me down this time.
Drown my will to fly.
Here in the darkness I know myself.
Can't break free until I let it go.
Let me go.
Darling, I forgive you after all.
Anything is better than to be alone.
And in the end I guess I had to fall.
Always find my place among the ashes.
I can't hold on to me,
Wonder what's wrong with me.
Lithium, don't want to lock me up inside.
Lithium, don't want to forget how it feels without...
Lithium,...stay in love with my sorrow.
I'm gonna let it go.
Appendix 3
“Call Me When You're Sober”
Don't cry to me.
If you loved me,
You would be here with me.
You want me,
Come find me.
Make up your mind.
Should I let you fall?
Lose it all?
So maybe you can remember yourself.
Can't keep believing,
We're only deceiving ourselves.
And I'm sick of the lie,
And you're too late.
Don't cry to me.
If you loved me,
You would be here with me.
You want me,
Come find me.
Make up your mind.
Couldn't take the blame.
Sick with shame.
Must be exhausting to lose your own game.
Selfishly hated,
No wonder you're jaded.
You can't play the victim this time,
And you're too late.
Don't cry to me.
If you loved me,
You would be here with me.
You want me,
Come find me.
Make up your mind.
You never call me when you're sober.
You only want it cause it's over,
It's over.
How could I have burned paradise?
How could I - you were never mine.
So don't cry to me.
If you loved me,
You would be here with me.
Don't lie to me,
Just get your things.
I've made up your mind.
Appendix 4
“Everybody's Fool”
Perfect by nature, icons of self-indulgence
Just what we all need
More lies about a world
That never was and never will be
Have you no shame, don't you see me?
You know you've got everybody fooled.
Look here she comes now -
Bow down and stare in wonder.
Oh, how we love you
No flaws when you're
But now I know she -
Never was and never will be
You don't know how you betrayed me
And somehow you've got everybody fooled.
Without the mask
Where will you hide?
Can't find yourself,
Lost in your lies
I know the truth now
I know who you are
And I don't love you anymore
Never was and never will be
You don't know how you betrayed me
And somehow you've got everybody fooled.
Never was and never will be
Not for real that you can save me
And somehow now you're everybody's fool.
Appendix 5
“Haunted”
Long lost words, whisper slowly to me
Still can't find what keeps me here.
And all this time I've been so hollow, inside,
(I know your still there).
Watching me,
Wanting me,
I can feel you haunt me down.
Fearing you,
Loving you,
I know I'll find you somehow.
Haunting you, I can smell you, alive
Your heart pounding in my head!
Wanting me,
Fearing me,
I won't let you haunt me down.
saving me,
raping me,
Watching me!
Watching me,
Haunting me,
I can fear you haunt me down.
Fearing you,
Loving you,
I won't let you haunt me down.
Watching me,
Wanting me,
I can feel you haunt me down.
Fearing you,
Loving you,
I won't let you haunt me down
Appendix 6
“All That I'm Living For”
All that I'm living for,
All that I'm dying for,
All that I can't ignore alone at night.
I can feel the night beginning.
Separate me from the living.
Understanding me,
After all I've seen.
Piecing every thought together,
Find the words to make me better.
If I only knew how to pull myself apart.
All that I'm living for,
All that I'm dying for,
All that I can't ignore alone at night.
All that I'm wanted for,
Although I wanted more.
Lock the last open door, my ghosts are gaining on me.
I believe that dreams are sacred.
Take my darkest fears and play them
Like a lullaby,
Like a reason why,
Like a play of my obsessions,
Make me understand the lesson,
So I'll find myself,
So I won't be lost again.
All that I'm living for,All that I'm dying for,
All that I can't ignore alone at night.
All that I'm wanted for,Although I wanted more.
Lock the last open door, my ghosts are gaining on me.
Guess I thought I'd have to change the world to make you see me,
To be the one.
I could have run forever,
But how far would I have come
Without mourning your love?
All that I'm living for,All that I'm dying for,
All that I can't ignore alone at night.
All that I'm wanted for,Although I wanted more.
Lock the last open door, my ghosts are gaining on me.
Should it hurt to love you?Should I feel like I do?
Should I lock the last open door,
My ghosts are gaining on me.
Appendix 7
“Anything For You”
I'd give anything to give me to you
Can you forget the world that you thought you knew
If you want me,
Come and find me
Nothing's stopping you so please release me
I'll believe
All your lies
Just pretend you love me
Make believe
Close your eyes
I'll be anything for you
Have you left to make me feel anymore
There's only you and every day I need more
If you want me
Come and find me
I’ll do anything you say just tell me
I'll believe
All your lies
Just pretend you love me
Make believe
Close your eyes
I'll be anything for you
I'll believe
All your lies
Just pretend you love me
Make believe
Close your eyes
I'll be anything for you
Anything for you
All without your hurt inside
Will never never die
I'll be, everything you need
I'll believe
All your lies
Just pretend you love me
Make believe
Close your eyes
I'll be anything for you