User:MAGMAULTRON/sandbox

Tenses The concept of time can be split into: 1.	The Present - What you are currently doing. I eat, I am eating 2.	The Past - What you did some time back. I ate, I was eating 3.	The Future - What you will do later. I will eat, I will be eating In the English language, tenses play an important role in sentence formation. The tense of a verb shows the time of an event or action. There are four types of tenses. Simple, Perfect, Continuous and Present Perfect Continuous and each of these has a present, past and future form.

PRESENT TENSES SIMPLE PRESENT TENSE In Simple Present, the action is simply mentioned and there is nothing being said about its completeness. I eat. I sleep. I play. PRESENT CONTINUOUS TENSE In Present Continuous, the action is on-going/ still going on and hence continuous. I am eating. I am sleeping. I am playing. PRESENT PERFECT TENSE In Present Perfect, the action is complete or has ended and hence termed Perfect. I have eaten. I have slept. I have played. PRESENT PERFECT CONTINUOUS TENSE In Present Perfect Continuous, the action has been taking place for some time and is still ongoing. I have been eating. I have been sleeping. I have been playing. PAST TENSES SIMPLE PAST TENSE In Simple Past, the action is simply mentioned and understood to have taken place in the past. I ate. I slept. I played. PAST CONTINUOUS TENSE In Past Continuous, the action was ongoing till a certain time in the past. I was eating. I was sleeping. I was playing. PAST PERFECT TENSE Past Perfect is used to express something that happened before another action in the past. I had eaten. I had slept. I had played. PAST PERFECT CONTINUOUS TENSE Past Perfect Continuous is used to express something that started in the past and continued until another time in the past. I had been eating. I had been sleeping. I had been playing. FUTURE TENSES SIMPLE FUTURE TENSE Simple Future is used when we plan or make a decision to do something. Nothing is said about the time in the future. I will eat. I will sleep. I will play. FUTURE CONTINUOUS TENSE The future continuous tense is used to express action at a particular moment in the future. However, the action will not have finished at the moment. I will be eating at 9 a.m. I will be sleeping when you arrive. I will be playing at 5 p.m. FUTURE PERFECT TENSE Future Perfect expresses action that will occur in the future before another action in the future. I will have eaten before 10 a.m. I will have slept before you arrive. I will have played before 6 p.m. FUTURE PERFECT CONTINUOUS TENSE Future Perfect Continuous is used to talk about an on-going action before some point in the future. I will have been sleeping for two hours when you arrive. I will have been playing for an hour when it is 5 p.m.

The Road by Cormac McCarthy - Book Review

The Bottom Line Add another to Cormac McCarthy’s growing list of masterpieces. McCarthy’s new novel, The Road, combines Blood Meridian’s terse, poetic meditations on the horrific depths of human depravity with the taut, thriller writing found in his most recent work, No Country for Old Men. What separates The Road from his other works is McCarthy’s ability to capture moments of lyrical and emotional beauty in a father and son’s haunted relationship even as a silent cloud of death covers the world in darkness. Pros •	Sears its mark into your mind from the first sentence to weeks after you’ve put it down. •	Reveals the strength of a father’s love for his son in the bleakest of circumstances. •	Written by a master author who knows how to make every word count. •	Involves a post-apocalyptic world that is frighteningly realized. Cons •	Only recommended for aged and bold readers. Description •	A nameless man and his son trek to the coast in search of food, shelter, and some sign of life. •	Encounters with other humans are devastating affairs of cruelty, savagery, or despair. •	Even in a seemingly hopeless struggle for his son, the father notices moments that bring warmth. •	Though weary, moments of luck or providence seem to catch them before death’s grip can take hold. •	The Road doesn’t turn away from ultimate horror, but also doesn’t hide defiant love. Guide Review - The Road by Cormac McCarthy - Book Review “When he woke in the woods in the dark and the cold of the night he’d reach out to touch the child sleeping beside him.” A father and son are striving to survive a wilderness that used to be a country that used to be the most prosperous nation on earth. All that is left is ash, floating and falling when the wind chooses not to breathe. This is the setting of The Road, a journey of survival only Cormac McCarthy could envision. McCarthy carves this world in a harsh, stark lyricism reserved for those who speak unflinching prophecy. Both the father and son are surrounded by a nightmare and are frightened by others when they sleep. They are always starving, always cautiously alert, only having a grocery cart with a few blankets and a gun with two bullets, either to protect against the cannibalistic humanity following their tracks or for the father to finish their lives before despair consumes them both. As they journey to the coast in search of something, the father tells the boy it is better to have nightmares because when you start dreaming, you know the end is near. McCarthy allows the reader to dream for them, striving on with them until a conclusion that whispers, under the pain and futility, of a sovereignty that is older than the destruction ever looming in the world. The Road is a brutally astonishing work. User Reviews 2 out of 5 Well written but......, Member BATS666 The prose style is over blown......the ""story"" becomes an ordeal for the reader...there seems to be no point to the journey until you get to the end and find it's all about being a Christian.......(not about a belief in God, you will note, but the Christian religion specifically....like there IS no other religion in the world!) Allegorical ? Maybe.....but I couldn't see it! If this is the best message that McCarthy can come up with then I'd rather not read anymore of his novels. I would recommend this as a good representation of what a post apocalyptic world could be like...bleak & desperate, but that's about all. It has possibly the most trite ending ever written. I laughed out loud! I mean, the whole point of travelling all that way was to find a nice Christian family for the boy to settle down with !??? Do me a favour !

The Road From Wikipedia, the free encyclopedia Jump to: navigation, search For other uses, see The Road (disambiguation). The Road First edition hardcover Author(s)	Cormac McCarthy

Country	United States Language	English Genre(s)	Post-apocalyptic fiction

Publisher	Alfred A. Knopf

Publication date	September 26, 2006 Media type	Print (hardcover) Pages	256 ISBN 0-307-26543-9

OCLC Number 70630525

The Road is a 2006 novel by American writer Cormac McCarthy. It is a post-apocalyptic tale of a journey of a father and his young son over a period of several months, across a landscape blasted by an unspecified cataclysm that has destroyed most of civilization and, in the intervening years, almost all life on Earth. The novel was awarded the 2007 Pulitzer Prize for Fiction and the James Tait Black Memorial Prize for Fiction in 2006. The book was adapted to a film by the same name in 2009, directed by John Hillcoat, starring Viggo Mortensen and Kodi Smit-McPhee. Contents •	1 Plot summary •	2 Development history •	3 Literary significance and reception o	3.1 Environmentalist response o	3.2 Awards and nominations •	4 Film adaptation •	5 References •	6 Further reading •	7 External links

[edit] Plot summary An unnamed father and his young son journey across a grim post-apocalyptic landscape, some years after a major unexplained cataclysm has destroyed civilization and most life on Earth. The land is filled with ash and devoid of living animals and vegetation. Many of the remaining human survivors have resorted to cannibalism, scavenging the detritus of city and country alike for flesh. The boy's mother, pregnant with him at the time of the disaster, gave up hope and committed suicide some time before the story began, despite the father's pleas. Much of the book is written in the third person, with references to "the father" and "the son" or to "the man" and "the boy." Realizing that they cannot survive the oncoming winter where they are, the father takes the boy south, along empty roads towards the sea, carrying their meager possessions in their knapsacks and in a supermarket cart. The man coughs blood from time to time and eventually realizes he is dying, yet still struggles to protect his son from the constant threats of attack, exposure, and starvation. They have a revolver, but only two rounds. The boy has been told to use the gun on himself, if necessary to avoid falling into the hands of cannibals. During their trek, the father uses one bullet to kill a man who stumbles upon them and poses a grave threat. Fleeing from the man's companions, they have to abandon most of their possessions. As they are near death from starvation, the man finds an unlooted hidden underground bunker filled with food, new clothes and other supplies. However, it is too exposed, so they only stay a few days. In the face of these obstacles, the man repeatedly reassures the boy that they are "the good guys" who are "carrying the fire." On their journey, the duo scrounge for food, evade roving bands, and contend with horrors such as a newborn infant roasted on a spit, and captives being gradually harvested as food. Although the man and the boy eventually reach the sea, their situation does not improve. They head back inland, but the man succumbs to an illness. Before he dies, the father tells the boy that he can continue to speak with him in his imagination after he is gone. The boy holds wake over the corpse for days, with no idea of what to do next. On the third day, the grieving boy encounters a man who says he has been tracking the pair. The man, who has a woman and two children of his own, a boy and a girl, convinces the boy that he is one of the "good guys" and takes him under his protection. [edit] Development history In an interview with Oprah Winfrey, McCarthy said that the inspiration for the book came during a 2003 visit to El Paso, Texas, with his young son. Imagining what the city might look like 50 to 100[1] years into the future, he pictured "fires on the hill" and thought about his son. He took some initial notes but did not return to the idea until a few years later, while in Ireland. Then, the novel came to him quickly, and he dedicated it to his son, John Francis McCarthy.[2] In an interview with John Jurgensen of The Wall Street Journal, McCarthy talks about conversations he and his brother would have about different scenarios for the apocalypse. One of the scenarios involved survivors turning to cannibalism: "when everything's gone, the only thing left to eat is each other."[3] [edit] Literary significance and reception The Road has received numerous positive reviews and honors since its release. The review aggregator Metacritic reported the book had an average score of 90 out of 100, based on 31 reviews.[4] Critics have deemed it "heartbreaking", "haunting", and "emotionally shattering".[5][6][7] The Village Voice referred to it as "McCarthy's purest fable yet."[5] In a New York Review of Books article, author Michael Chabon heralded the novel. Discussing the novel's relation to established genres, Chabon insists The Road is not science fiction; although "the adventure story in both its modern and epic forms...structures the narrative", Chabon says, "ultimately it is as a lyrical epic of horror that The Road is best understood."[8] Entertainment Weekly in June 2008 named The Road the best book, fiction or non-fiction, of the past 25 years[9] and put it on its end-of-the-decade, "best-of" list, saying, "With its spare prose, McCarthy's post-apocalyptic odyssey from 2006 managed to be both harrowing and heartbreaking."[10] On March 28, 2007, the selection of The Road as the next novel in Oprah Winfrey's Book Club was announced. A televised interview on The Oprah Winfrey Show was conducted on June 5, 2007 and it was McCarthy's first, though he had been interviewed for the print media before.[2] The announcement of McCarthy's television appearance surprised his followers. "Wait a minute until I can pick my jaw up off the floor," said John Wegner, an English professor at Angelo State University in San Angelo, Texas, and editor of the Cormac McCarthy Journal, when told of the interview.[11] During Oprah's interview McCarthy insisted his son, John Francis, was a co-author to the novel, revealing that some of the conversations between the father and son in the novel were based upon actual conversations between McCarthy and his son. The novel was also dedicated to his son; in a way it is a love story for his son, but McCarthy felt embarrassed to admit it on television.[1] [edit] Environmentalist response British environmental campaigner George Monbiot was so impressed by The Road that he declared McCarthy to be one of the "50 people who could save the planet" in an article published in January 2008. Monbiot wrote, "It could be the most important environmental book ever. It is a thought experiment that imagines a world without a biosphere, and shows that everything we value depends on the ecosystem."[12] This nomination echoes the review Monbiot had written some months earlier for The Guardianin which he wrote, "A few weeks ago I read what I believe is the most important environmental book ever written. It is not Silent Spring, Small Is Beautiful or even Walden. It contains no graphs, no tables, no facts, figures, warnings, predictions or even arguments. Nor does it carry a single dreary sentence, which, sadly, distinguishes it from most environmental literature. It is a novel, first published a year ago, and it will change the way you see the world."[13] [edit] Awards and nominations In 2006, McCarthy was awarded the James Tait Black Memorial Prize in fiction, the Believer Book Award and was a finalist for the National Book Critics Circle Award for fiction.[14] On April 16, 2007, the novel was awarded the 2007 Pulitzer Prize for fiction.[15] In 2012, it was shortlisted for the Best of the James Tait Black.[16][17] [edit] Film adaptation Main article: The Road (2009 film) A film adaptation of the novel, directed by John Hillcoat and written by Joe Penhall, opened in theatres on November 25, 2009. The film stars Viggo Mortensen and Kodi Smit-McPhee as the man and the boy. Production took place in Louisiana, Oregon, and several locations in Pennsylvania.[18] [edit] References

The Road by Cormac McCarthy 256pp, Picador, £16.99 Shorn of history and context, Cormac McCarthy's other nine novels could be cast as rungs, with The Road as a pinnacle. This is a very great novel, but one that needs a context in both the past and in so-called post-9/11 America. We can divide the contemporary American novel into two traditions, or two social classes. The Tough Guy tradition comes up from Fenimore Cooper, with a touch of Poe, through Melville, Faulkner and Hemingway. The Savant tradition comes from Hawthorne, especially through Henry James, Edith Wharton and Scott Fitzgerald. You could argue that the latter is liberal, east coast/New York, while the Tough Guys are gothic, reactionary, nihilistic, openly religious, southern or fundamentally rural. The Savants' blood line (curiously unrepresentative of Americans generally) has gained undoubted ascendancy in the literary firmament of the US. Upper middle class, urban and cosmopolitan, they or their own species review themselves. The current Tough Guys are a murder of great, hopelessly masculine, undomesticated writers, whose critical reputations have been and still are today cruelly divergent, adrift and largely unrewarded compared to the contemporary Savant school. In literature as in American life, success must be total and contrasted "failure" fatally dispiriting. But in both content and technical riches, the Tough Guys are the true legislators of tortured American souls. They could include novelists Thomas McGuane, William Gaddis, Barry Hannah, Leon Rooke, Harry Crews, Jim Harrison, Mark Richard, James Welch and Denis Johnson. Cormac McCarthy is granddaddy to them all. New York critics may prefer their perfidy to be ignored, comforting themselves with the superlatives for All the Pretty Horses, but we should remember that the history of Cormac McCarthy and his achievement is not an American dream but near on 30 years of neglect for a writer who, since The Orchard Keeper in 1965, produced only masterworks in elegant succession. Now he has given us his great American nightmare. The Road is a novel of transforming power and formal risk. Abandoning gruff but profound male camaraderie, McCarthy instead sounds the limits of imaginable love and despair between a diligent father and his timid young son, "each other's world entire". The initial experience of the novel is sobering and oppressive, its final effect is emotionally shattering. America - and presumably the world - has suffered an apocalypse the nature of which is unclear and, faced with such loss, irrelevant. The centre of the world is sickened. Earthquakes shunt, fire storms smear a "cauterised terrain", the ash-filled air requires slipshod veils to cover the mouth. Nature revolts. The ruined world is long plundered, with canned food and good shoes the ultimate aspiration. Almost all have plunged into complete Conradian savagery: murdering convoys of road agents, marauders and "bloodcults" plunder these wastes. Most have resorted to cannibalism. One passing brigade is fearfully glimpsed: "Bearded, their breath smoking through their masks. The phalanx following carried spears or lances ... and lastly a supplementary consort of catamites illclothed against the cold and fitted in dogcollars and yoked each to each." Despite this soul desert, the end of God and ethics, the father still defines and endangers himself by trying to instil moral values in his son, by refusing to abandon all belief. All of this is utterly convincing and physically chilling. The father is coughing blood, which forces him and his son, "in their rags like mendicant friars sent forth to find their keep", on to the treacherous road southward, towards a sea and - possibly - survivable, milder winters. They push their salvage in a shopping cart, wryly fitted with a motorcycle mirror to keep sentinel over that road behind. The father has a pistol, with two bullets only. He faces the nadir of human and parental existence; his wife, the boy's mother, has already committed suicide. If caught, the multifarious reavers will obviously rape his son, then slaughter and eat them both. He plans to shoot his son - though he questions his ability to do so - if they are caught. Occasionally, between nightmares, the father seeks refuge in dangerously needy and exquisite recollections of our lost world. They move south through nuclear grey winter, "like the onset of some cold glaucoma dimming away the world", sleeping badly beneath filthy tarpaulin, setting hidden campfires, exploring ruined houses, scavenging shrivelled apples. We feel and pity their starving dereliction as, despite the profound challenge to the imaginative contemporary novelist, McCarthy completely achieves this physical and metaphysical hell for us. "The world shrinking down to a raw core of parsible entities. The names of things slowly following those things into oblivion. Colours. The names of birds. Things to eat. Finally the names of things one believed to be true." Such a scenario allows McCarthy finally to foreground only the very basics of physical human survival and the intimate evocation of a destroyed landscape drawn with such precision and beauty. He makes us ache with nostalgia for restored normality. The Road also encapsulates the usual cold violence, the biblical tincture of male masochism, of wounds and rites of passage. His central character can adopt a universal belligerence and misanthropy. In this damnation, rightly so, everyone, finally, is the enemy. He tells his son: "My job is to take care of you. I was appointed by God to do that ... We are the good guys." The other uncomfortable, tellingly national moment comes when the father salvages perhaps the last can of Coke in the world. This is truly an American apocalypse. The vulnerable cultural references for this daring scenario obviously come from science fiction. But what propels The Road far beyond its progenitors are the diverted poetic heights of McCarthy's late-English prose; the simple declamation and plainsong of his rendered dialect, as perfect as early Hemingway; and the adamantine surety and utter aptness of every chiselled description. As has been said before, McCarthy is worthy of his biblical themes, and with some deeply nuanced paragraphs retriggering verbs and nouns that are surprising and delightful to the ear, Shakespeare is evoked. The way McCarthy sails close to the prose of late Beckett is also remarkable; the novel proceeds in Beckett-like, varied paragraphs. They are unlikely relatives, these two artists in old age, cornered by bleak experience and the rich limits of an English pulverised down through despair to a pleasingly wry perfection. "He rose and stood tottering in that cold autistic dark with his arms out-held for balance while the vestibular calculations in his skull cranked out their reckonings. An old chronicle." Set piece after set piece, you will read on, absolutely convinced, thrilled, mesmerised with disgust and the fascinating novelty of it all: breathtakingly lucky escapes; a complete train, abandoned and alone on an embankment; a sudden liberating, joyous discovery or a cellar of incarcerated amputees being slowly eaten. And everywhere the mummified dead, "shrivelled and drawn like latterday bogfolk, their faces of boiled sheeting, the yellowed palings of their teeth". All the modern novel can do is done here. After the great historical fictions of the American west, Blood Meridian and The Border Trilogy, The Road is no artistic pinnacle for McCarthy but instead a masterly reclamation of those midnight-black, gothic worlds of Outer Dark (1968) and the similarly terrifying but beautiful Child of God (1973). How will this vital novel be positioned in today's America by Savants, Tough Guys or worse? Could its nightmare vistas reinforce those in the US who are determined to manipulate its people into believing that terror came into being only in 2001? This text, in its fragility, exists uneasily within such ill times. It's perverse that the scorched earth which The Road depicts often brings to mind those real apocalypses of southern Iraq beneath black oil smoke, or New Orleans - vistas not unconnected with the contemporary American regime. One night, when the father thinks that he and his son will starve to death, he weeps, not about the obvious but about beauty and goodness, "things he'd no longer any way to think about". Camus wrote that the world is ugly and cruel, but it is only by adding to that ugliness and cruelty that we sin most gravely. The Road affirms belief in the tender pricelessness of the here and now. In creating an exquisite nightmare, it does not add to the cruelty and ugliness of our times; it warns us now how much we have to lose. It makes the novels of the contemporary Savants seem infantile and horribly over-rated. Beauty and goodness are here aplenty and we should think about them. While we can.

Verb forms In English and many other languages, verbs change their form. This is called inflection. Most English verbs have six inflected forms (see the table), but be has eight different forms. Forms of English verbs Primary forms	past: walked	She walked home 3rd singular present: walks She walks home plain present: walk They walk home Secondary forms	plain form: walk	She should walk home gerund [1]: walking She is walking home past participle: walked She has walked home You should notice that some of the verb forms look the same. You can say they have the same shape. For example, the plain present and the plain form of walk have the same shape. The same is true for the past and the past participle. But these different forms can have different shapes in other verbs. For example, the plain present of be is usually are but the plain form is be. Also, the past of eat is ate, but the past participle is eaten. When you look for a verb in the dictionary, it is usually the plain form that you look for. An English sentence must have at least one primary-form verb. Each main clause can only have one primary-form verb. [change]Kinds of Verbs English has two main kinds of verbs: normal verbs (called lexical verbs) and auxiliary verbs. The difference between them is mainly in where they can go in a sentence. Some verbs are in both groups, but there are very few auxiliary verbs in English. There are also two kinds of auxiliary verbs:modal verbs and non-modal verbs. The table below shows most of the English auxiliaries and a small number of other verbs. Kinds of English verbs auxiliary verbs	lexical verbs modal verbs	Can you play the piano? I fell I will not be there	I didn't fall Shall we go	I had breakfast. Yes, you may	I'm playing soccer. You must be joking	Must you make that noise? non-modal verbs	Have you seen him? Have you seen him? I did see it	I did see it	He is sleeping	He is sleeping There are several auxiliary verbs: •	To do (do, does, did) •	To be (am, is, are, was, were): Creates a progressive tense •	To have (have, has, had): Creates a perfect tense The follow verbs are modal auxiliaries •	Can •	Could •	May •	Might •	Must •	Shall •	Should Auxiliary verbs also inflect for negation. Usually this is done by adding not or n't.[1] •	You shouldn't be here. •	He isn't at home. •	We haven't started yet. [change]Use of the auxiliary do Sometimes the verb do. It does not really change the meaning. •	I do talk (Present) •	I did go (Past) It is also used in the negative when no other auxiliary verbs are used. •	I don't talk (Present) •	I didn't go (Past) Many other languages do not use the verb do as an auxiliary verb. They use the simple present for do, and the simple past or perfect for 'did [change]Tense, aspect, and mood Many people think that all different ways of using verbs are all different tenses. This is not true. There are three main systems related to the verb:tense, aspect, and mood. [change]Tense Tense is mainly used to say when the verb happens: in the past, present, or future. In order to explain and understand tense, it is useful to imagine time as a line on which past tense, present tense and future tense are positioned.[2] Some languages have all three tenses, some have only two, and some have no tenses at all. English and Japanese for example have only two tenses: past and present.[1] Chinese and Indonesian verbs do not show tense. Instead they use other words in the sentence to show when the verb happens. English tenses Past tense Present tense Future tense

She walked home	She walks home He ran quickly	He runs quickly I could swim well	I can swim well Did you live here? Do you live here? [change]Aspect

Forms of Main Verbs Main verbs are also called "lexical verbs". Main verbs (except the verb "be") have only 4, 5 or 6 forms. "Be" has 9 forms. V1	V2	V3 infinitive	base	past simple	past participle	present participle	present simple, 3rd person singular regular	(to) work	work	worked	worked	working	works irregular	(to) sing (to) make (to) cut	sing make cut	sang made cut	sung made cut	singing making cutting	sings makes cuts (to) do* (to) have*	do have	did had	done had	doing having	does has infinitive	base	past simple	past participle	present participle	present simple (to) be*	be	was, were	been	being	am, are, is In the above examples: •	to cut has 4 forms: to cut, cut, cutting, cuts •	to work has 5 forms: to work, work, worked, working, works •	to sing has 6 forms: to sing, sing, sang, sung, singing, sings •	to be has 9 forms: to be, be, was, were, been, being, am, is, are The infinitive can be with or without to. For example, to sing and sing are both infinitives. We often call the infinitive without to the "bare infinitive". At school, students usually learn by heart the base, past simple and past participle (sometimes called V1, V2, V3, meaning Verb 1, Verb 2, Verb 3) for the irregular verbs. They may spend many hours chanting: sing, sang, sung; go, went, gone; have, had, had; etc. They do not learn these for the regular verbs because the past simple and past participle are always the same: they are formed by adding "-ed" to the base. They do not learn the present participle and 3rd person singular present simple by heart - for another very simple reason: they never change. The present participle is always made by adding "-ing" to the base, and the 3rd person singular present simple is always made by adding "s" to the base (though there are some variations in spelling). Example Sentences These example sentences use main verbs in different forms. Infinitive •	I want to work •	He has to sing. •	This exercise is easy to do. •	Let him have one. •	To be, or not to be, that is the question: Base - Imperative •	Work well! •	Make this. •	Have a nice day. •	Be quiet! Base - Present simple (except 3rd person singular) •	I work in London. •	You sing well. •	They have a lot of money. Base - After modal auxiliary verbs •	I can work tomorrow. •	You must sing louder. •	They might do it. •	You could be right. Past simple •	I worked yesterday. •	She cut his hair last week. •	They had a good time. •	They were surprised, but I was not. Past participle •	I have worked here for five years. •	He needs a folder made of plastic. •	It is done like this. •	I have never been so happy. Present participle •	I am working. •	Singing well is not easy. •	Having finished, he went home. •	You are being silly! 3rd person singular, present simple •	He works in London. •	She sings well. •	She has a lot of money. •	It is Vietnamese.
 * Note that "do", "have" and "be" also function as helping or auxiliary verbs, with exactly the same forms (except that as helping verbs they are never in infinitive form).