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Punctuation can be used to introduce ambiguity or misunderstandings where none needed to exist. One well known example, [17] for comedic effect, is from A Midsummer Night's Dream by William Shakespeare (ignoring the punctuation provides the alternate reading).
Preposition stranding or p-stranding is the syntactic construction in which a so-called stranded, hanging, or dangling preposition occurs somewhere other than immediately before its corresponding object; for example, at the end of a sentence.
In linguistics and grammar, a sentence is a linguistic expression, such as the English example "The quick brown fox jumps over the lazy dog."In traditional grammar, it is typically defined as a string of words that expresses a complete thought, or as a unit consisting of a subject and predicate.
You are free: to share – to copy, distribute and transmit the work; to remix – to adapt the work; Under the following conditions: attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses ...
Simple sentences in the Reed–Kellogg system are diagrammed according to these forms: The diagram of a simple sentence begins with a horizontal line called the base.The subject is written on the left, the predicate on the right, separated by a vertical bar that extends through the base.
The penthouse principle, a term in syntax coined by John R. Ross in 1973, describes the fact that many syntactic phenomena treat matrix (or main) clauses differently from embedded (or subordinate) clauses: The penthouse principle: The rules are different if you live in the penthouse.
Approximate X-bar representation of Colorless green ideas sleep furiously.See phrase structure rules.. Colorless green ideas sleep furiously was composed by Noam Chomsky in his 1957 book Syntactic Structures as an example of a sentence that is grammatically well-formed, but semantically nonsensical.
Stunk and White, in The Elements of Style believe one should recast enough of them to remove the monotony, replacing them by simple sentences, by sentences of two clauses joined by a semicolon, by periodic sentences of two clauses, by sentences, loose or periodic, of three clauses—whichever best represent the real relations of the thought.
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