grammar

The true structure of the Welsh grammar will be revealed only when we look at sentences slightly more complicated than its basic VSO pattern. Welsh is no different from the rest of the world: it does involve an extra step, but even that isn't all that unusual. Welsh is like Shakespearean English on acid: the verb always - not just in questions - moves to the beginning. Alternatively, it can be viewed as taking the French grammar a step further. While the verb stops at tense in French, it moves further in Welsh to a position that traditional grammarians call the complementizer (don't ask).

Was it too much to expect the rest of the world to care about grammar or pay attention to details?

Carmen's speciality is national news, and her greatest pleasure is finding inconsistencies in the declarations of politicians: syntactical errors, and _ why not? _ howlers. The one she has the most fun with is the mayor. Someone who can't speak shouldn't be in charge of a city, she's always saying. And, far from being elitist, her observation alludes to the obvious contempt a certain affluent social class _ from which the mayor hails _ feels for language (words, meaning, syntax, conjugation, use of prepositions, solipsisms) and which she, a secondary-teacher of language and literature for more than thirty years, refuses to countenance.

Then you should say what you mean," the March Hare went on."I do," Alice hastily replied; "at least-at least I mean what I say-that's the same thing, you know.""Not the same thing a bit!" said the Hatter. "Why, you might just as well say that 'I see what I eat' is the same thing as 'I eat what I see'!""You might just as well say," added the March Hare, "that 'I like what I get' is the same thing as 'I get what I like'!""You might just as well say," added the Dormouse, which seemed to be talking in its sleep, "that 'I breathe when I sleep' is the same thing as 'I sleep when I breathe'!""It is the same thing with you." said the Hatter,

Like prepositional phrases, certain structural arrangements in English are much more important than the small bones of grammar in its most technical sense. It really wouldn't matter much if we started dropping the s from our plurals. Lots of words get along without it anyway, and in most cases context would be enough to indicate number. Even the distinction between singular and plural verb forms is just as much a polite convention as an essential element of meaning. But the structures, things like passives and prepositional phrases, constitute, among other things, an implicit system of moral philosophy, a view of the world and its presumed meanings, and their misuse therefore often betrays an attitude or value that the user might like to disavow.

Each letter of the alphabet is a steadfast loyal soldier in a great army of words, sentences, paragraphs, and stories. One letter falls, and the entire language falters.

A misspelled word is probably an alias for some desperate call for aid, which is bound to fail.

People who cannot distinguish between good and bad language, or who regard the distinction as unimportant, are unlikely to think carefully about anything else.

We got through all of Genesis and part of Exodus before I left. One of the main things I was taught from this was not to begin a sentence with And. I pointed out that most sentences in the Bible began with And, but I was told that English had changed since the time of King James. In that case, I argued, why make us read the Bible? But it was in vain. Robert Graves was very keen on the symbolism and mysticism in the Bible at that time.

Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk," "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms:* Avoid run-on sentences they are hard to read. * Don't use no double negatives.* Use the semicolon properly, always use it where it is appropriate; and never where it isn't.* Reserve the apostrophe for it's proper use and omit it when its not needed.* Do not put statements in the negative form.* Verbs has to agree with their subjects.* No sentence fragments.* Proofread carefully to see if you any words out.* Avoid commas, that are not necessary.* If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing.* A writer must not shift your point of view.* Eschew dialect, irregardless.* And don't start a sentence with a conjunction.* Don't overuse exclamation marks!!!* Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents.* Writers should always hyphenate between syllables and avoid un-necessary hyph-ens.* Write all adverbial forms correct.* Don't use contractions in formal writing.* Writing carefully, dangling participles must be avoided.* It is incumbent on us to avoid archaisms.* If any word is improper at the end of a sentence, a linking verb is.* Steer clear of incorrect forms of verbs that have snuck in the language.* Take the bull by the hand and avoid mixed metaphors.* Avoid trendy locutions that sound flaky.* Never, ever use repetitive redundancies.* Everyone should be careful to use a singular pronoun with singular nouns in their writing.* If I've told you once, I've told you a thousand times, resist hyperbole.* Also, avoid awkward or affected alliteration.* Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death.* Always pick on the correct idiom.* "Avoid overuse of 'quotation "marks."'"* The adverb always follows the verb.* Last but not least, avoid cliches like the plague; seek viable alternat

I escape disaster by writing a poem with a joke in it:The past, present, and future walk into a bar__t was tense.

Nothing could go wrong because nothing had...I meant "nothing would." No - Then I quit trying to phrase it, realizing that if time travel ever became widespread, English grammar was going to have to add a whole new set of tenses to describe reflexive situations - conjugations that would make the French literary tenses and the Latin historical tenses look simple.

Love and translation look alike in their grammar. To love someone implies transforming their words into ours. Making an effort to understand the other person and, inevitably, to misinterpret them. To construct a precarious language together.