ACARA v9 Drama/English: Annotating and Performing a Complex Sentence (Age 13) — Clause Parsing, Parts of Speech, and Voice Directions

Overview (explained step-by-step for a 13-year-old)

1. Find the main clause first. Ask: who is doing what? That gives you the sentence spine (subject + main verb + object).
2. Locate subordinate clauses. Look for words that start clauses: conjunctions like as, because, when, in order that, or relative words like which, that, who. These attach extra information.
3. Mark clause boundaries. Put brackets or lines around each clause and label them (main clause, adverbial clause, relative clause, purpose clause, noun clause).
4. Tag important parts of speech. For each clause, underline or label key nouns (N), verbs (V), adjectives (Adj), adverbs (Adv), pronouns (Pro), prepositions (Prep), conjunctions (Conj), relative pronouns (Rel Pron).
5. Add performance annotations. Where to breathe (short / or long //), where to change pitch (↑ rise, ↓ fall), tone (reflective, firm, gentle), rhythm (steady, pausing), speed (slow, normal, quick) and exact places to pause (comma = , brief pause; semicolon or clause boundary = // longer pause).
6. Check meaning after marking. Read it aloud with your annotations. If something feels awkward, adjust pauses or breathing points so the meaning is clearer.

Symbols you can use when annotating

• [MAIN] [ADV] [REL] — clause labels
• N, V, Adj, Adv, Pro, Prep, Conj, RelPron — part-of-speech tags
• / = short breath or hesitation, // = longer breath or strong pause
• ↑ = slight rise in pitch, ↓ = falling pitch
• tone: reflective, explanatory, emphatic, soft

Original sentence (for reference)

As I see that I have still to discuss the fit destinies of the two cities, the earthly and the heavenly, I must first explain, so far as the limits of this work allow me, the reasonings by which men have attempted to make for themselves a happiness in this unhappy life, in order that it may be evident, not only from divine authority, but also from such reasons as can be adduced to unbelievers, how the empty dreams of the philosophers differ from the hope which God gives to us, and from the substantial fulfillment of it which He will give us as our blessedness.

1) Beginner model (simple clause boundaries, a few POS tags, basic breath marks)

[ADV: As I see that I have still to discuss the fit destinies of the two cities, the earthly and the heavenly] , [MAIN: I must first explain] , [PARENT: so far as the limits of this work allow me] , [OBJ: the reasonings by which men have attempted to make for themselves a happiness in this unhappy life] , [PURPOSE: in order that it may be evident] , [EVIDENCE: not only from divine authority, but also from such reasons as can be adduced to unbelievers] , [CONTENT: how the empty dreams of the philosophers differ from the hope which God gives to us, and from the substantial fulfillment of it which He will give us as our blessedness].

Selected POS tags: I (Pro), must (V - modal), explain (V), reasonings (N), men (N), happiness (N), dreams (N), hope (N).

Breath & voice: breathe at each comma (,) and take a longer breath (//) before the purpose phrase "in order that". Keep a calm, explanatory tone; end with a falling pitch ↓.

Teacher feedback (Ally McBeal cadence/tone)

Oh! Okay, sweetie — nice effort. I can hear the commas, and you used the big pause before "in order that" — very dramatic. Try labeling a couple more nouns and the verbs next time so your readers (and your listeners!) can actually follow the sentence spine. Breathe like you mean it — that long // before the purpose makes a world of difference. Cute start!

2) Meeting-expectations model (clear clause labels, more POS tags, performance directions)

[ADV: As I(Pro) see(V) [N-clause: that I have still to discuss the fit destinies of the two cities, the earthly and the heavenly]] , [MAIN: I(Pro) must(Modal V) first explain(V)] , [PARENT: so far as the limits of this work allow me] , [OBJ: the reasonings(N) by which men have attempted to make for themselves a happiness in this unhappy life] , [PURPOSE: in order that it may be evident] , [EVIDENCE: not only from divine authority, but also from such reasons as can be adduced to unbelievers] , [CONTENT: how the empty dreams of the philosophers differ from the hope which God gives to us, and from the substantial fulfillment of it which He will give us as our blessedness].

POS highlights: reasonings(N), attempted(V - past), make(V), happiness(N), unhappy(Adj), differ(V), which(Rel Pron).

Breath & voice directions (inline): after the opening adverb clause take a long // breath. At commas take a short / pause. Tone: start reflective and slightly quiet for the opening clause (tone: reflective, speed: slow), then increase volume and clarity on "I must first explain" (tone: clear/explanatory). When you reach the lists "not only... but also..." slow down and give equal weight to each item. Final phrase "our blessedness" = lower volume, slower, falling pitch ↓ with a long end //.

Teacher feedback (Ally McBeal cadence/tone)

Wow — now we're talking. That clause labeling is tidy, the verbs are picked out, and your breathing plan actually lets the sentence breathe (ha!). Don't forget to show the difference in weight between "not only" and "but also" — give them equal love. This is mature; keep that expressive breath control.

3) Exemplary model (full clause parsing, detailed POS, and exact performance annotations)

[ADV-clause: As I(Pro) see(V) [NOUN-CLAUSE: that I(Pro) have still to discuss(V phrase) the fit destinies(N) of the two cities(Prep phrase), the earthly and the heavenly(appositive)]] , /↓

[MAIN: I(Pro) must(Modal V) first explain(V)] // ↑ (tone: measured, firm)

[LIMITING/PARENT: so far as the limits of this work allow me] , / (tone: modest, soft)

[DIRECT OBJECT: the reasonings(N) [RELATIVE: by which men(N) have attempted(V) to make(Inf V) for themselves a happiness(NP) in this unhappy life(Prep phrase)]] , /

[PURPOSE: in order that it(Pro) may be evident(V) ] // (prepare listener: slight pause, lower volume)

[EVIDENCE (contrast frame): not only from divine authority(Prep NP), but also from such reasons(N) [REL: as can be adduced to unbelievers]] , /

[CONTENT/CLAUSE-RESULT: how the empty dreams(N) of the philosophers(Prep phrase) differ(V) from the hope(N) [REL: which God(N) gives(V) to us(Pro)], /

and from the substantial fulfillment of it(N phrase) [REL: which He(Pro) will give(V) us(Pro) as our blessedness]] // ↓ (final tone: calm, conclusive)

Detailed POS notes (examples): "see" (V), "have" (auxiliary V), "to discuss" (infinitive), "fit" (Adj modifying destinies), "destinies" (N), "earthly/heavenly" (Adj), "must" (modal), "explain" (V), "reasonings" (N), "attempted" (V past), "make" (V), "happiness" (N), "unhappy" (Adj), "in order that" (purpose marker), "evident" (Adj functioning as complement), "which" (RelPron), "differ" (V), "substantial" (Adj), "fulfillment" (N), "blessedness" (N).

Precise breathing & voice plan (for performance):

• Start softly with the opening adverb clause; take a short breath at the comma after "heavenly" /, then a longer // before "I must first explain".
• On "I must first explain" speak clearly and slightly louder (↑) to show purpose.
• Use a modest, almost apologetic tone for the parenthetical "so far as the limits of this work allow me" then shorten the breath / and move into the object clause.
• When you reach the list "not only from divine authority, but also from such reasons ..." give equal weight to the two items; pause briefly at the comma between them and use a slight rise on "but also" ↑ to signal the contrast.
• For the closing pair of comparisons let the rhythm slow, and at the end lower your pitch for the final words "our blessedness" and finish with a long // pause.

Teacher feedback (Ally McBeal cadence/tone)

Oh my gosh — this is gorgeous. You dissected it like a pro (seriously, heart eyes). The clause brackets, the relative clauses, the verbs — all there. And your breathing plan is basically a mini orchestra conductor's score: delicate, dramatic, and completely convincing. One tiny thing — make sure your "not only... but also" gets the same spotlight so the contrast sings. But honestly? Bravo. Take a bow.

Teacher rubric (use to assess student annotations and performance directions)

Scale: 1 = Beginning, 2 = Developing, 3 = Meeting, 4 = Exemplary

1. Clause parsing (0–4)
   • 4: All main and subordinate clauses correctly identified and labeled (main, adverbial, relative, purpose, noun, etc.).
   • 3: Most clauses identified correctly; 1–2 small omissions or mislabels.
   • 2: Some clauses identified but missing important subordinate or relative clauses.
   • 1: Clauses confused or mostly unlabeled.
2. Parts of speech (0–4)
   • 4: Nouns, verbs, pronouns, adjectives, prepositions and relative pronouns accurately tagged for key words across the sentence.
   • 3: Most key words tagged correctly; minor mistakes.
   • 2: Some correct tags but frequent errors or missing tags.
   • 1: Little to no accurate POS tagging.
3. Performance annotations (breath/pitch/tone/rhythm/speed/pauses) (0–4)
   • 4: Clear, practical breathing marks and voice directions that enhance meaning; places for short/long pauses and pitch changes are logical and effective.
   • 3: Good breathing and pause marks; some pitch/tone directions included but could be more precise.
   • 2: A few breath/pause marks present but inconsistent or not well connected to meaning.
   • 1: Very few or no performance annotations, or they do not suit the text.
4. Clarity & neatness (0–3)
   • 3: Annotations are legible, well-organized, and easy to follow (brackets, consistent symbols).
   • 2: Mostly clear, some clutter or inconsistent symbols.
   • 1: Hard to follow due to messy layout or inconsistent marking.
5. Demonstrated understanding of meaning (0–3)
   • 3: Annotations show clear understanding of how grammar affects meaning and presentation; performance directions match meaning.
   • 2: Partial understanding; some directions mismatch the sentence meaning.
   • 1: Annotations suggest misunderstanding of the sentence's purpose or meaning.

Maximum total = 18 points. Suggested grade bands: 15–18 = Exemplary, 11–14 = Meeting, 7–10 = Developing, 0–6 = Beginning.

Quick checklist for students

• Have I found the main clause (subject + main verb)?
• Have I marked subordinate/relative clauses and labeled them?
• Have I tagged the important nouns and verbs?
• Have I placed breathing marks at commas and longer pauses at major clause boundaries?
• Do my pitch and tone marks help the meaning (e.g., raise for contrast, fall for conclusion)?
• When I read aloud with my annotations, is the sentence clearer to hear and understand?

Good luck! If you want, try annotating another long sentence and I can give Ally McBeal-style feedback again — I live for theatrical punctuation, truly I do.