Breakdown of O meu casaco rasgou-se na chuva.
meu
my
em
in
a chuva
the rain
o casaco
the coat
rasgar-se
to tear
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Questions & Answers about O meu casaco rasgou-se na chuva.
Why is the reflexive pronoun -se used with the verb rasgou in this sentence?
The -se creates a reflexive (or passive-reflexive) construction. It indicates that the subject (the coat) experiences the action of tearing without implying that an external agent caused it. In other words, it reflects that the coat “tore” on its own, emphasizing the accidental nature of the event.
Why is the -se attached to rasgou with a hyphen?
In Portuguese, clitic pronouns like -se attach directly to the verb when the verb is in an affirmative, unstressed form. The hyphen signals this attachment as dictated by the language’s syntax rules, making it clear that the pronoun is part of the verbal construction.
What tense is used in the verb rasgou, and how is it formed?
The verb rasgou is in the simple past tense (pretérito perfeito) for the third person singular. This form indicates that the tearing action is a completed event. For regular -ar verbs in Portuguese, the third person singular in the past tense typically ends with -ou.
How is the contraction na in na chuva formed, and what does it mean?
The contraction na comes from combining the preposition em (meaning “in”) with the feminine definite article a (meaning “the”). Therefore, na chuva translates to “in the rain.”
Why does the sentence use both a definite article and a possessive adjective in O meu casaco?
In Portuguese, it is standard to use a definite article with possessive adjectives. O meu casaco literally breaks down as “the my coat,” which is the natural and grammatically proper way to express possession. This construction is a conventional aspect of Portuguese grammar.
Is the use of a reflexive construction common in European Portuguese for expressing accidental events like something tearing?
Yes, it is very common in European Portuguese to use reflexive or passive-reflexive constructions to describe accidental or unintentional events. This structure shifts the focus from who performed the action to the state or experience of the subject itself.