To define split infinitive, one must begin with the infinitive itself. In English grammar, an infinitive is the base form of a verb preceded by “to” (for example, to sing, to write, to think). A split infinitive occurs when another word, often an adverb, comes between “to” and the verb: to boldly go, to quickly write, to more fully appreciate.
Though grammarians once condemned it as a breach of proper usage, the split infinitive has long since gained acceptance, particularly in modern writing where clarity and emphasis outweigh strict adherence to older grammatical rules.
A Brief History of the Debate
The controversy surrounding the split infinitive began in the 19th century, when prescriptive grammarians attempted to model English grammar after Latin. Since Latin infinitives consist of a single word (such as amare for “to love”), splitting them was impossible. Early grammarians argued that English should follow the same pattern, discouraging writers from separating “to” from its verb.
Yet English is not Latin, and its flexibility gave writers the opportunity to exploit the split infinitive for rhetorical force. By the 20th century, prominent stylists and linguists, including Henry Fowler in his Dictionary of Modern English Usage (1926), defended the construction as natural and, in some cases, preferable for clarity.
Split Infinitive Examples in Literature
Although critics once shunned it, the split infinitive has found its way into celebrated works of English literature.
- Robert Burns’ “The Cotter’s Saturday Night” (1786) offers a clear example with the line, “Who dar’d to nobly stem tyrannic pride.” Here the adverb nobly divides to and stem, producing a split infinitive that intensifies the heroic stance of the verse. Burns’s phrasing shows how the construction can elevate rhythm while sharpening emphasis, giving the line a defiant musicality.
- George Eliot’s Silas Marner (1861) provides another instance: “I undertook to partially fill up the office of parish-clerk by Mr. Crackenthorp’s desire…” The insertion of partially between to and fill up softens the action without weakening it, capturing the narrator’s sense of incompleteness in assuming the role. Here the split infinitive becomes a vehicle for nuance, balancing precision with stylistic ease.
- George Bernard Shaw, a staunch defender of the split infinitive, used it unapologetically in both his essays and plays. His advocacy played a role in shifting attitudes, as he argued that English should not be bound by artificial rules imported from Latin.
- Star Trek’s famous motto—to boldly go where no man has gone before—though not literary in the traditional sense, is often cited as the most famous example of a split infinitive in modern culture. Its rhythm and emphasis demonstrate the construction’s effectiveness.
These split infinitive examples show that writers from different periods and genres have either avoided, embraced, or defended the form, giving it a complex place in the history of English prose and poetry.
Why Writers Use Split Infinitives
Clarity and Precision
Sometimes avoiding a split infinitive produces awkward or ambiguous phrasing. Consider the difference between:
- She decided to quickly leave the room.
- She decided quickly to leave the room.
The first sentence makes it clear that the act of leaving was quick. The second could mean either that she made a fast decision or that her departure was fast. The split infinitive resolves ambiguity.
Rhythm and Emphasis
Placing an adverb inside the infinitive often creates a more forceful cadence. “To boldly go” is more striking than “boldly to go” or “to go boldly.” Writers sensitive to rhythm often find the split infinitive the most natural choice.
This placement gives the writer control over a sentence’s rhythm. A split infinitive can slow the pace, highlight a word, or create a recurring pattern. In both poetry and prose, such adjustments guide the ear, making the construction less a breach of grammar than a tool for cadence.
Stylistic Flexibility
English prose draws strength from variation, and the split infinitive is one of the resources available to achieve it. By inserting an adverb within the infinitive, a writer can tilt a sentence toward precision, intimacy, or force. The choice between splitting and not splitting is rarely about correctness; it is about effect.
Such flexibility turns the split infinitive from a quirk into a tool of control. With a small adjustment, writers can shift tone toward formality, conversation, or poetry. Its versatility explains why the construction has survived long debate and why it often proves vital to the liveliness of English prose.
Common Misconceptions About Split Infinitives
- They are always wrong. This belief stems from outdated rules modeled on Latin. Modern usage guides recognize the split infinitive as acceptable.
- They weaken prose. In fact, split infinitives can strengthen a sentence when used with precision.
- They are informal. Writers from George Bernard Shaw to Virginia Woolf used them deliberately, proving their adaptability across different kinds of writing.
Split Infinitive in Reading and Writing Instruction
When teaching grammar, instructors often use the split infinitive debate to demonstrate the difference between prescriptive and descriptive views of language. Prescriptivism emphasizes rules passed down by authorities, while descriptivism focuses on how language is actually used by speakers and writers. The split infinitive serves as a case study in how usage changes over time, showing students that grammar is both structured and fluid.
In reading, recognizing split infinitives helps sharpen attention to rhythm and tone. Writers who place adverbs strategically often guide the pace and emphasis of a sentence. Readers sensitive to such shifts can better appreciate the stylistic control at play.
Split Infinitives and Literary Style
Writers concerned with voice, rhythm, and precision often find the split infinitive indispensable. Modernists and later authors, especially those attuned to the cadences of spoken English, used the construction naturally. The flexibility of English prose owes much to such departures from rigid rules.
Subtle choices like these reveal how grammatical constructions can influence tone. A writer may choose “to quietly endure” over “quietly to endure” because the first feels more immediate and less formal. In narrative prose, such shifts affect pacing, mood, and intimacy of voice.
Practical Guidance for Writers
While most usage authorities today approve of split infinitives, writers may still wish to apply judgment.
- Use them for clarity. If avoiding a split infinitive changes the intended meaning, keep the split.
- Use them for rhythm. If the cadence of the sentence improves, embrace the split.
- Avoid them in formal contexts only if style guides demand it. Some institutions or publications may prefer stricter grammar, though this is increasingly rare.
Ultimately, the split infinitive has moved from forbidden construction to accepted stylistic tool. Writers attentive to its effects can wield it with precision, achieving both clarity and expressiveness.
Further Reading
Split Infinitives by Neha Karve, Editor’s Manual
Split Infinitives: Are They Really So Bad? by Nancy Tuten, Get It Write
How awkwardly to avoid split infinitives by Stan Carey, Sentence First
Split infinitive on Wikipedia
