The Passive Voice in British English: A Subtle Shift in Perspective

Introduction

In the tapestry of English grammar, the passive voice is a subtle thread that weaves complexity and nuance into our sentences. It shifts the focus from the doer to the deed, often cloaking the agent in mystery or emphasizing the action itself. In this exploration, we’ll unravel the intricacies of the passive voice in British English, examining its uses, reasons, and how it stands in contrast to the active voice.

1. In Essence

At its core, this voice is used to change the focus of a sentence. It allows us to highlight the object of an action or the action itself, rather than the subject who performs it. This can be particularly useful when the doer is unknown, irrelevant, or obvious from the context.

2. When to Use the Passive Voice

The passive voice is often employed in formal or scientific writing, where the emphasis is on the result or process rather than the individual carrying out the action. It’s also used in cases where the speaker wishes to be vague or diplomatic about responsibility, such as in official statements or reports.

3. Constructing the Passive Voice

In British English, the passive construction is formed with the appropriate tense of the verb ‘to be’ followed by the past participle of the main verb. For example, “This novel was written by E. L. Parfitt” shifts the emphasis from the author to the novel itself.

4. Different Tenses

The passive voice can be constructed in various tenses to convey the time frame of the action. Here are some examples across different tenses:

• Present Simple: Tea is drunk ceremoniously in Britain.
• Past Simple: The Magna Carta was signed in 1215.
• Future Simple: The ceremony will be held at Buckingham Palace.

5. The Role of ‘By’

While the agent is often omitted in passive sentences, it can be included with the preposition ‘by’. This is used to specify who or what performed the action when such information is important to the context.

6. Active vs. Passive Voice

The difference between active and passive voice lies in the subject’s role. In the active voice, the subject performs the action, while in the passive voice, the subject is acted upon. For instance, “Shakespeare wrote Hamlet” (active) becomes “Hamlet was written by Shakespeare” (passive).

7. Passive Voice with Modal Verbs

Modal verbs can also be used with constructions to express possibility, obligation, or necessity. For example, “The rules must be followed” indicates a necessity without specifying who must follow the rules. In this case, it is generally understood that everyone must follow these rules.

8. The Passive Infinitive

This voice can extend to infinitive constructions as well, often following modal verbs or verbs of perception. An example is “The painting is believed to be worth millions”.

9. The Get-Passive

An alternative form in British English uses the verb ‘get’ instead of ‘be’. This form often conveys a sense of suffering or undergoing an action, as in “He got promoted” or “She got caught in the rain”.

10. Avoiding Overuse

While the passive voice is a powerful tool, overuse can lead to a lack of clarity and directness. It’s important to balance the use of passive and active voices to maintain the reader’s interest and ensure clear communication.

Conclusion

The passive voice in British English offers a way to shift perspective, refine emphasis, and achieve a formal tone. Understanding when and why to use it, as well as how it contrasts with the active voice, can enhance your writing and speaking skills. As with all elements of grammar, the key is thoughtful and judicious use. So there you have it—a comprehensive look at the passive voice in British English. Whether you’re crafting a scientific report or penning a historical narrative, the passive voice can add depth and focus to your language. So go forth and experiment with this grammatical chameleon, but always with an eye for clarity and purpose. Happy writing!

About this blogger

As an introvert haunting the corners of storytelling festivals, it’s incredibly difficult to track Emma down. She’s best known for writing Scottish fiction about working-class women and communities and their misrepresented lives. You can get in touch for proofreading here or find her recent book A Gypsy’s Curse here.