the careful driver a stupid dog a terrible noise Omadussõnade võrdlusastmete puhul muutub omadussõna põhivorm: kõikidele ühesilbilistele omadussõnadele lisatakse er/-est. small smaller smallest short shorter shortest fat fatter fattest large larger largest Kahesilbilistele y-ga lõppevatele omadussõnadele lisatakse er/-est, y muutub seejuures i-ks. silly sillier silliest angry angrier angriest hungry hungrier hungriest Enamikele kahesilbilistele omadussõnadele, mis ei lõpe y-da, lisatakse ette more/most. careful more careful most careful famous more famous most famous Kõikide rohkem kui kahest silbist koosnevate omadussõnade ees kasutatakse more/most. terrible more terrible most terrible interesting more interesting most interesting Erandid:
the careful driver a stupid dog a terrible noise Omadussõnade võrdlusastmete puhul muutub omadussõna põhivorm: kõikidele ühesilbilistele omadussõnadele lisatakse er/-est. small smaller smallest short shorter shortest fat fatter fattest large larger largest Kahesilbilistele y-ga lõppevatele omadussõnadele lisatakse er/-est, y muutub seejuures i-ks. silly sillier silliest angry angrier angriest hungry hungrier hungriest Enamikele kahesilbilistele omadussõnadele, mis ei lõpe y-da, lisatakse ette more/most. careful more careful most careful famous more famous most famous Kõikide rohkem kui kahest silbist koosnevate omadussõnade ees kasutatakse more/most. 17 terrible more terrible most terrible
themselves. Mr. Phillips visited them all, and this opened to his nieces a store of felicity unknown before. They could talk of nothing but officers; and Mr. Bingley's large fortune, the mention of which gave animation to their mother, was worthless in their eyes when opposed to the regimentals of an ensign. After listening one morning to their effusions on this subject, Mr. Bennet coolly observed: "From all that I can collect by your manner of talking, you must be two of the silliest girls in the country. I have suspected it some time, but I am now convinced." Catherine was disconcerted, and made no answer; but Lydia, with perfect indifference, continued to express her admiration of Captain Carter, and her hope of seeing him in the course of the day, as he was going the next morning to London. "I am astonished, my dear," said Mrs. Bennet, "that you should be so ready to think your own children silly
you have survived. A story without some hint of this experience is missing its heart. Screenwriters sometimes have a lot of trouble with the length of Act Two. It can seem monotonous, episodic, or aimless. T h i s may be because they've conceived of it as simply a series of obstacles to the hero's final goal, rather than as a dynamic series of events leading up to and trailing away from a central moment of death and rebirth. Even in the silliest comedy or most light-hearted romance, Act Two needs a central life—or—death crisis, a moment when the hero is experiencing death or maximum danger to the enterprise. HERO APPEARS T O DIE T h e long second act of Star Wars is kept from sagging by a central crisis section in which the borders of death are thoroughly explored in not one, but a series of ordeals. At another point in the giant trash compactor sequence, Luke is pulled
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