Verbs in -ize and -ise

Verbs in -ize and -ise Verbs in -ize and -ise Verbs in -ize and -ise By Maeve Maddox Graham writes: I suppose being a Brit., I should to use -ise instead of -ize?  For example, realise/realize. I prefer to use  -ize in most cases.  Any rules say I cant? I am pleased to report that British usage and American usage agree on the spelling of the verb realize. Look up â€Å"realise† in the OED and you will be taken to the entry for realize. The spelling â€Å"realise† is, however, a recognized alternate spelling of realize. H. W. Fowler makes it clear that most English verbs that end in -ize or -ise and are pronounced [iz] go back to a Greek ending that contains a z. He points out that although British printers of his time follow the French practice of converting the z to an s in such verbs, the OED and other respected authorities prefer to keep the z. Both Yanks and Brits are allowed to use the -ize ending in most instances, for example: baptize authorize canonize recognize agonize characterize stigmatize methodize patronize womanize popularize philosophize civilize Nevertheless, English being what it is, there remains a small group of verbs that call for the -ise ending on both sides of the Atlantic. These are verbs that, according to Fowler, do not get their -se even remotely from the Greek -izo, must be spelt with -s-† Here are the most common -ise verbs: advertise apprise chastise circumcise comprise compromise demise despise devise disfranchise disguise enfranchise enterprise excise exercise improvise incise premise supervise surmise surprise Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Spelling category, check our popular posts, or choose a related post below:50 Redundant Phrases to AvoidCapitalization Rules for the Names of GamesHow to Send Tactful Emails from a Technical Support Desk

Learn About Gothic Literature With Elements and Examples

Learn About Gothic Literature With Elements and Examples The term Gothic originates with the ornate architecture created by Germanic tribes called the Goths.  It was then later expanded to include most of the medieval style of architecture. The ornate and intricate style of this kind of architecture proved to be the ideal backdrop for both the physical and the psychological settings in a new literary style, one that concerned itself with elaborate tales of mystery, suspense, and superstition. The height of the Gothic period, which was closely aligned with Romanticism, is usually considered to have been the years 1764–1840, but its influence extends to the present day in authors such as V.C. Andrews. Plot and Examples The plot of Gothic literature novels typically involves people who become involved in complex and oftentimes evil paranormal schemes, usually against an innocent and helpless heroine. One such example is the young Emily St. Aubert in Anne Radcliffe’s classic Gothic novel, The Mysteries of Udolpho (1794). This novel would inspire parody in Jane Austen’s Northanger Abbey (1817). The most famous example of pure Gothic fiction is perhaps the first example of the genre, Horace Walpole’s The Castle of Otranto (1764). Although rather short, the setting certainly fits the description given above, and the combined elements of terror and medievalism set a precedent for an entirely new, thrilling genre. Selected Bibliography In addition to The Mysteries of Udolpho and The Castle of Otranto, there are a number of classic novels that those who are interested in Gothic literature will want to pick up. Here is a list of 10 titles that are not to be missed: The History of the Caliph Vathek (1786) by William Thomas BeckfordThe Monk (1796) by Mathew LewisFrankenstein (1818) by Mary ShelleyMelmoth the Wanderer (1820) by Charles MaturinSalathiel the Immortal (1828) by George CrolyThe Hunchback of Notre-Dame (1831) by Victor HugoThe Fall of the House of Usher (1839) by Edgar Allan PoeVarney the Vampire; or, the Feast of Blood (1847) by James Malcolm RymerThe Strange Case of Dr. Jekyll and Mr. Hyde (1886) by Robert Louis StevensonDracula (1897) by Bram Stoker Key Elements In most of the examples above, one will find certain key elements ascribed to Gothic fiction.  They  include: Atmosphere: In the Gothic novel, the atmosphere will be one of mystery, suspense, and fear, the mood of which is only enhanced by elements of the unknown or unexplained. Clergy: Often, as in The Monk and The Castle of Otranto, the clergy play important secondary roles. They are often weak and sometimes outrageously evil. The paranormal: Oftentimes Gothic fiction will contain elements of the supernatural or paranormal, such as ghosts and vampires. In some instances, these supernatural features are later explained in perfectly natural terms, but in other works, they remain completely inexplicable. Melodrama: Also called â€Å"high emotion,† melodrama is created through highly sentimental language and overly emotional characters. The panic, terror, and other emotions can seem overwrought in order to make the characters and setting seem wild and out of control. Omens: Typical of the genre, omens- or portents and visions- often foreshadow events to come. They can take many forms, such as dreams. Setting: The setting of a Gothic novel is typically a character in its own right. Gothic architecture plays an important role, so the stories are often set in a castle or large manor, which is typically abandoned. Other settings may include caves or the wilderness. Virginal maiden in distress: With the exception of a few novels, such as Sheridan Le Fanu’s Carmilla (1872), most Gothic villains are powerful males who prey on young, virginal women. This dynamic creates tension and appeals deeply to the readers pathos, particularly as these heroines tend to be orphaned, abandoned, or somehow severed from the world, without guardianship. Modern Critiques Modern readers and critics have begun to think of Gothic literature as referring to any story that uses an elaborate setting, combined with supernatural or super-evil forces against an innocent protagonist. The contemporary understanding is similar but has widened to include a variety of genres, such as paranormal and horror.