Sacudir Conjugation in Spanish, Translation, and Examples

Sacudir Conjugation in Spanish, Translation, and Examples The Spanish verb sacudir means to shake. It is a regular -ir verb, so it follows the same conjugation pattern of verbs like cumplir, vivir and subir. In the tables below you will find the conjugations of sacudir in the indicative mood (present, past, future, and conditional), the subjunctive mood (present and past), the imperative mood, and other verb forms. Using the Verb Sacudir Sacudir means to shake, and this verb can be used in most situations when you would use to shake in English. For example, you can talk about shaking something to clean it, as in sacudir el polvo de la alfombra (shaking off the dust from the rug). You can also use sacudir to talk about shaking any object, such as sacudir las maracas (shaking the maracas), or it can be used to talk about shaking in the sense of scaring someone. For example, you can say El crimen sacudià ³ a la gente del pueblo (The crime shook the people of the town). Sacudir Present Indicative Yo sacudo I shake Yo sacudo los muebles sucios. Tà º sacudes You shake Tà º sacudes la alfombra de la entrada. Usted/à ©l/ella sacude You/he/she shakes Ella sacude el instrumento para hacer mà ºsica. Nosotros sacudimos We shake Nosotros sacudimos a la clase con las tristes noticias. Vosotros sacudà ­s You shake Vosotros sacudà ­s la cabeza en desacuerdo. Ustedes/ellos/ellas sacuden You/they shake Ellos sacuden la caja para adivinar su contenido. Sacudir Preterite Indicative The preterite is one of two past tenses in Spanish. It is used to talk about completed actions in the past. Yo sacudà ­ I shook Yo sacudà ­ los muebles sucios. Tà º sacudiste You shook Tà º sacudiste la alfombra de la entrada. Usted/à ©l/ella sacudià ³ You/he/she shook Ella sacudià ³ el instrumento para hacer mà ºsica. Nosotros sacudimos We shook Nosotros sacudimos a la clase con las tristes noticias. Vosotros sacudisteis You shook Vosotros sacudisteis la cabeza en desacuerdo. Ustedes/ellos/ellas sacudieron You/they shook Ellos sacudieron la caja para adivinar su contenido. Sacudir Imperfect Indicative The imperfect tense is used to talk about habitual or ongoing actions in the past. It can be translated as was shaking or used to shake. Yo sacudà ­a I used to shake Yo sacudà ­a los muebles sucios. Tà º sacudà ­as You used to shake Tà º sacudà ­as la alfombra de la entrada. Usted/à ©l/ella sacudà ­a You/he/she used to shake Ella sacudà ­a el instrumento para hacer mà ºsica. Nosotros sacudà ­amos We used to shake Nosotros sacudà ­amos a la clase con las tristes noticias. Vosotros sacudà ­ais You used to shake Vosotros sacudà ­ais la cabeza en desacuerdo. Ustedes/ellos/ellas sacudà ­an You/they used to shake Ellos sacudà ­an la caja para adivinar su contenido. Sacudir Future Indicative Yo sacudirà © I will shake Yo sacudirà © los muebles sucios. Tà º sacudirs You will shake Tà º sacudirs la alfombra de la entrada. Usted/à ©l/ella sacudir You/he/she will shake Ella sacudirel instrumento para hacer mà ºsica. Nosotros sacudiremos We will shake Nosotros sacudiremos a la clase con las tristes noticias. Vosotros sacudirà ©is You will shake Vosotros sacudirà ©is la cabeza en desacuerdo. Ustedes/ellos/ellas sacudirn You/they will shake Ellos sacudirnla caja para adivinar su contenido. Sacudir Periphrastic  Future Indicative   The periphrastic future is formed with the present indicative conjugation of the verb ir (to go), the preposition a, and the infinitive sacudir. Yo voy a sacudir I am going to shake Yo voya sacudir los muebles sucios. Tà º vasa sacudir You aregoing to shake Tà º vasa sacudir la alfombra de la entrada. Usted/à ©l/ella vaa sacudir You/he/she isgoing to shake Ella vaa sacudir el instrumento para hacer mà ºsica. Nosotros vamosa sacudir We aregoing to shake Nosotros vamosa sacudir a la clase con las tristes noticias. Vosotros vaisa sacudir You aregoing to shake Vosotros vaisa sacudir la cabeza en desacuerdo. Ustedes/ellos/ellas vana sacudir You/they aregoing to shake Ellos vana sacudir la caja para adivinar su contenido. Sacudir Present Progressive/Gerund Form The gerund or present participle for -ir verbs is formed with the ending -iendo. Present Progressive of Sacudir est sacudiendo Is shaking Ella est sacudiendo el instrumento para hacer mà ºsica. Sacudir Past Participle The past participle can be used as an adjective or to form compound tenses with the verb haber, such as the present perfect. For regular -ir verbs, the past participle is formed with the ending -ido. Present Perfect of Sacudir ha sacudido Has shaken Ella ha sacudido el instrumento para hacer mà ºsica. Sacudir Conditional Indicative To talk about possibilities, you can use the conditional tense, which in English is usually expressed as would verb. Yo sacudirà ­a I would shake Yo sacudirà ­a los muebles sucios si me gustara limpiar. Tà º sacudirà ­as You would shake Tà º sacudirà ­as la alfombra de la entrada si estuviera sucia. Usted/à ©l/ella sacudirà ­a You/he/she would shake Ella sacudirà ­ael instrumento para hacer mà ºsica, pero no le gusta el sonido. Nosotros sacudirà ­amos We would shake Nosotros sacudirà ­amos a la clase con las tristes noticias, pero preferimos no decepcionarlos. Vosotros sacudirà ­ais You would shake Vosotros sacudirà ­ais la cabeza en desacuerdo si no os gustara la idea. Ustedes/ellos/ellas sacudirà ­an You/they would shake Ellos sacudirà ­anla caja para adivinar su contenido si se lo permitieran. Sacudir Present Subjunctive Que yo sacuda That I shake Mam espera que yo sacuda los muebles sucios. Que tà º sacudas That you shake Andrea quiere que tà º sacudas la alfombra de la entrada. Que usted/à ©l/ella sacuda That you/he/she shake El director sugiere que ella sacuda el instrumento para hacer mà ºsica. Que nosotros sacudamos That we shake Los padres de familia esperan que nosotros no sacudamos a la clase con las tristes noticias. Que vosotros sacudis That you shake El jefe sugiere que vosotros sacudisla cabeza en desacuerdo. Que ustedes/ellos/ellas sacudan That you/they shake La nià ±a espera que ellos sacudan la caja para adivinar su contenido. Sacudir Imperfect Subjunctive The imperfect subjunctive has two different conjugation options, shown in the tables below. Option 1 Que yo sacudiera That I shook Mam esperaba que yo sacudiera los muebles sucios. Que tà º sacudieras That you shook Andrea querà ­a que tà º sacudieras la alfombra de la entrada. Que usted/à ©l/ella sacudiera That you/he/she shook El director sugerà ­a que ella sacudiera el instrumento para hacer mà ºsica. Que nosotros sacudià ©ramos That we shook Los padres de familia esperaban que nosotros no sacudià ©ramos a la clase con las tristes noticias. Que vosotros sacudierais That you shook El jefe sugerà ­a que vosotros sacudieraisla cabeza en desacuerdo. Que ustedes/ellos/ellas sacudieran That you/they shook La nià ±a esperaba que ellos sacudieran la caja para adivinar su contenido. Option 2 Que yo sacudiese That I shook Mam esperaba que yo sacudiese los muebles sucios. Que tà º sacudieses That you shook Andrea querà ­a que tà º sacudieses la alfombra de la entrada. Que usted/à ©l/ella sacudiese That you/he/she shook El director sugerà ­a que ella sacudiese el instrumento para hacer mà ºsica. Que nosotros sacudià ©semos That we shook Los padres de familia esperaban que nosotros no sacudià ©semos a la clase con las tristes noticias. Que vosotros sacudieseis That you shook El jefe sugerà ­a que vosotros sacudieseisla cabeza en desacuerdo. Que ustedes/ellos/ellas sacudiesen That you/they shook La nià ±a esperaba que ellos sacudiesen la caja para adivinar su contenido. Sacudir Imperative The purpose of the imperative mood is to give direct orders or commands. There are slightly different conjugations for the positive and the negative commands. Positive Commands Tà º sacude Shake!  ¡Sacude la alfombra de la entrada! Usted sacuda Shake!  ¡Sacuda el instrumento para hacer mà ºsica! Nosotros sacudamos Let's shake!  ¡Sacudamos a la clase con las tristes noticias! Vosotros sacudid Shake!  ¡Sacudid la cabeza en desacuerdo! Ustedes sacudan Shake!  ¡Sacudan la caja para adivinar su contenido! Negative Commands Tà º no sacudas Don't shake!  ¡No sacudas la alfombra de la entrada! Usted no sacuda Don't shake!  ¡No sacuda el instrumento para hacer mà ºsica! Nosotros no sacudamos Let's not shake!  ¡No sacudamos a la clase con las tristes noticias! Vosotros no sacudis Don't shake!  ¡No sacudis la cabeza en desacuerdo! Ustedes no sacudan Don't shake!  ¡No sacudan la caja para adivinar su contenido!

The Writers Voice in Literature and Rhetoric

The Writers Voice in Literature and Rhetoric In rhetoric and literary studies, voice is the distinctive style or manner of expression of an author or narrator.  As discussed below, voice is one of the most elusive yet important qualities in a piece of writing.   Voice is usually the key element in effective writing, says teacher and journalist Donald Murray. It is  what attracts the reader and communicates  to the reader. It is that element that gives the illusion of speech.  Murray continues: Voice carries the writers intensity and glues together the information that the reader needs to know. It is the music in writing that makes the meaning clear (Expecting the Unexpected: Teaching Myselfand Othersto Read and Write, 1989). EtymologyFrom the Latin, call The Music of a Writers Voice Voice is the sum of all strategies used by the author to create the illusion that the writer is speaking directly to the reader from the page. (Don Fry, quoted by Roy P. Clark, Writing Tools. Little, Brown, 2006) Voice is the most popular metaphor for writing style, but an equally suggestive one may be delivery or presentation, as it includes body language, facial expression, stance, and other qualities that set speakers apart from one another. (Ben Yagoda, The Sound on the Page. HarperCollins, 2004) If one means by style the voice, the irreducible and always recognizable and alive thing, then of course style is really everything. (Mary McCarthy, Writers at Work: The Paris Review Interviews, Second Series. 1977) Voice and Speech I think voice is one of the main forces that draws us into texts. We often give other explanations for what we like (clarity, style, energy, sublimity, reach, even truth), but I think its often one sort of voice or another. One way of saying this is that voice seems to overcome writing or textuality. That is, speech seems to come to us as listener; the speaker seems to do the work of getting the meaning into our heads. In the case of writing, on the other hand, its as though we as reader have [to] go to the text and do the work of extracting the meaning. And speech seems to give us more sense of contact with the author. (Peter Elbow, Everyone Can Write: Essays Toward a Hopeful Theory of Writing and Teaching. Oxford University Press, 2000) Multiple Voices The personality I am expressing in this written sentence is not the same as the one I orally express to my three-year-old who at this moment is bent on climbing onto my typewriter. For each of these two situations, I choose a different voice, a different mask, in order to accomplish what I want accomplished. (Walker Gibson, The Limits of Language. Hill and Wang, 1966) Just as you dress differently on different occasions, as a writer you assume different voices in different situations. If youre writing an essay about a personal experience, you may work hard to create a strong personal voice in your essay. . . . If youre writing a report or essay exam, you will adopt a more formal, public tone. Whatever the situation, the choice you make as you write and revise . . . will determine how readers interpret and respond to your presence. (Lisa Ede, Work in Progress: A Guide to Writing and Revising. St. Martins Press, 1989) Tone and Voice If voice is the writers personality that a reader hears in a text, then tone might be described as the writers attitude in a text. The tone of a text might be emotional (angry, enthusiastic, melancholy), measured (such as in an essay in which the author wants to seem reasonable on a controversial topic), or objective or neutral (as in a scientific report). . . . In writing, tone is created through word choice, sentence structure, imagery, and similar devices that convey to a reader the writers attitude. Voice, in writing, by contrast, is like the sound of your spoken voice: deep, high-pitched, nasal. It is the quality that makes your voice distinctly your own, no matter what tone you might take. In some ways, tone and voice overlap, but voice is a more fundamental characteristic of a writer, whereas tone changes upon the subject and the writers feelings about it. (Robert P. Yagelski,  Writing: Ten Core Concepts. Cengage, 2015) Grammar and Voice ​If, as we believe, grammar is linked to voice, students need to be thinking about grammar far earlier in the writing process. We cannot teach grammar in lasting ways if we teach it as a way to fix students writing, especially writing they view as already complete. Students need to construct knowledge of grammar by practicing it as part of what it means to write, particularly in how it helps create a voice that engages the reader on the page. (Mary Ehrenworth and Vicki Vinton, The Power of Grammar: Unconventional Approaches to the Conventions of Language. Heinemann, 2005) The Elusive Entity of Voice One of the most mysterious of writing’s immaterial properties is what people call voice. . . . Prose can show many virtues, including originality, without having a voice. It may avoid clichà ©, radiate conviction, be grammatically so clean that your grandmother could eat off it. But none of this has anything to do with this elusive entity the voice. There are probably all kinds of literary sins that prevent a piece of writing from having a voice, but there seems to be no guaranteed technique for creating one. Grammatical correctness doesn’t insure it. Calculated incorrectness doesn’t, either. Ingenuity, wit, sarcasm, euphony, frequent outbreaks of the first-person singular- any of these can enliven prose without giving it a voice. (Louis Menand, Bad Comma. The New Yorker, June 28, 2004)