There are times when you might want to add a bit of extra oomph to your words to get your point across. Consider the opening line of the U.S. Constitution: “We the People of the United States, in Order to form a more perfect Union…” Grammatically, describing something as “more perfect” is impossible. “Perfect” is, by definition, perfect.
Absolute adjectives are words such as “unique,” “perfect,” or “impossible” — these terms are unequivocal on their own, shouldn’t be compared or intensified, and don’t deal in any level of varying degrees. They differ from comparative adjectives (“smarter,” “faster,” “lesser,” etc.), which deal in degrees or levels, and superlative adjectives (“smartest,” “fastest,” “least,” etc.), which have an element of judgment. But despite the fact that absolute adjectives technically should stand on their own, without modification, many writers opt to modify them as a point of style.
Let’s examine this passage from Kenneth Grahame’s The Wind in the Willows: “‘Toad Hall,’ said the Toad proudly, ‘is an eligible self-contained gentleman’s residence very unique; dating in part from the fourteenth century, but replete with every modern convenience.'”
Should we presume to correct Grahame’s classic tale? The word “very” in the selection above is unnecessary from a strictly grammatical perspective, but it still plays an important role. It adds to Mr. Toad’s quirky tone and gives the reader a feel for the character and his home. In this case, his house is not only one-of-a-kind, but also so interesting that it’s worth noting. Another instance where a writer might find it useful to modify an absolute adjective is with an adverb that implies completeness. For instance, you may call something “completely final” in an effort to add emphasis and hammer home your point — as this topic is totally complete.
