I ascribe a basic importance to the phenomenon of language. To speak means to be in a position to use a certain syntax, to grasp the morphology of this or that language, but it means above all to assume a culture, to support the weight of a civilization.
since feelings come first, who cares about the syntax of things?
Syntax is the study of the principles and processes by which sentences are constructed in particular languages. Syntactic investigation of a given language has as its goal the construction of a grammar that can be viewed as a device of some sort for producing the sentences of the language under analysis.
Syntax, my lad. It has been restored to the highest place in the republic.
The American constitutions were to liberty, what a grammar is to language: they define its parts of speech, and practically construct them into syntax
Contrary to the foolish notion that syntax is immaterial, people optimize the way they express themselves, and so express themselves differently with different syntaxes.
Muddled syntax is the outward and audible sign of confused minds, and the misuse of grammar the result of illogical thinking.
Those who prefer their English sloppy have only themselves to thank if the advertisement writer uses his mastery of the vocabulary and syntax to mislead their weak minds.
Prose is not necessarily good because it obeys the rules of syntax, but it is fairly certain to be bad if it ignores them.
Our memory fragments don't have any coherence until they're imagined in words. Time is a property of language, of syntax, and tense.
Syntax and vocabulary are overwhelming constraints --the rules that run us. Language is using us to talk --we think we're using the language, but language is doing the thinking, we're its slavish agents.
Syntax must be bad, having sin and tax in it.
The reason I am a political radical is that I work on syntax. If I worked on semantics (which in fact I do), I'd be a good Thatcherite.
The pull between sound and syntax creates a kind of musical tension in the language that interests me.
The ambiguities of language, both in terms of vocabulary and syntax, are fascinating: how important connotation is, what is lost and what is gained in the linguistic transition.
If the nails are weak, your house will collapse. If your verbs are weak and your syntax is rickety, your sentences will fall apart.
To speak...means above all to assume a culture, to support the weight of a civilization.
If you think of music as a language, the space part is where you throw out all the syntax.
There is no articulate resonance. The common problem, I suppose, is to have more to say than vocabulary and syntax can bear. That is why I am hunting in these desiccated streets. The smoke hides the sky's variety, stains consciousness, covers the holocaust with something safe and insubstantial. It protects from greater flame. It indicates fire, but obscures the source. This is not a useful city. Very little here approaches any eidolon of the beautiful.
Certain individual words do possess more pitch, more radiance, more shazam! than others, but it's the way words are juxtaposed with other words in a phrase or sentence that can create magic. Perhaps literally. The word "grammar," like its sister word "glamour," is actually derived from an old Scottish word that meant "sorcery." When we were made to diagram sentences in high school, we were unwittingly being instructed in syntax sorcery, in wizardry. We were all enrolled at Hogwarts. Who knew?
A letter is always better than a phone call. People write things in letters they would never say in person. They permit themselves to write down feelings and observations using emotional syntax far more intimate and powerful than speech will allow.
A candidate for office can have no greater advantage than muddled syntax; no greater liability than a command of language.
I think one reason I'm drawn to expansive syntax is that arias are so often exercises in extending language as a means of intensifying feeling.
Poetry springs directly from our primal need and capacity for communication[Poetry] mobilizes such a concentration of devices, such an intensification of language via rhythm, syntax, image and metaphor. Reading it-the best of it-can create another, very different kind of perpetual present, an awareness that can be as ongoing in the soul as the stop-time of trauma.
I love that moment in writing when language falls short. There is something more there. A larger body. Even by the failure of words I begin to detect its dimensions. As I work the prose, shift the verbs, look for new adjectives, a different rhythm, syntax, something new begins to come to the surface.
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