Course paper theme: Syntax in Learning language Done by: Group: Scientific adviser: Tashkent – 2023 Contents: introduction chapter I. Syntax in linguistics

2.2 Results and Discussion
Be careful not to confuse adverbials with adverbial clauses, which are more involved and include their own subjects and verbs.
Now let’s look at the seven types of syntactic patterns so you can make proper sentences and clauses with whatever words you want.
1 Subject → verb
The dog barked.
This is the standard syntactic pattern, including the minimum requirements of just a subject and verb. The subject always comes first.
2 Subject → verb → direct object
The dog carried the ball.
If the verb is transitive and uses a direct object, the direct object always goes after the verb.
3 Subject → verb → subject complement
The dog is playful.
The subject complement comes after the verb. Subject complements always use linking verbs, like be or seem.
4 Subject → verb → adverbial complement
The dog ate hungrily.
Like subject complements, adverbial complements come after the verb (if there are no objects). Be careful, because single adverbs can sometimes come before the verb; however, these are not complements. If you’re not sure whether an adverb is a complement or not, try removing it from the sentence to see if the meaning changes. If you find that removing it does change the meaning, it’s an adverbial complement.
5 Subject → verb → indirect object → direct object
The dog gave me the ball.
Some sentences have both a direct object and an indirect object. In this case, the indirect object comes right after the verb, and the direct object comes after the indirect object. Keep in mind that objects of prepositions do not follow this pattern; for example, you can say, The dog gave the ball to me.
6 Subject → verb → direct object → object complement
The dog made the ball dirty.
Object complements come after the direct object, similar to other complements.
7 Subject → verb → direct object → adverbial complement
The dog perked its ears up.
When the sentence uses both a direct object and an adverbial complement, the direct object comes first, followed by the adverbial complement. In this syntax example, up is the adverbial complement because it describes how the dog perked its ears.
Types of syntax: 4 sentence structures with syntax examples
The syntactic patterns above can be used to form stand-alone sentences and individual clauses within a sentence. Both independent and subordinate clauses can be mixed and matched to form advanced sentences, which is ideal if you want to learn how to write better sentences.
There are only four types of sentence structures, which represent different combinations of independent and subordinate clauses.
1 Simple: Includes the minimum requirements for a sentence, with just a single independent clause.
We go to the beach in summer.
2 Complex: An independent clause combined with one or more subordinate clauses.

We go to the beach in summer when school is finished.

3 Compound: Two independent clauses joined by a coordinating conjunction or a semicolon.
We go to the beach in summer, but my cat stays home.
4 Compound-complex: Two independent clauses combined with one or more subordinate clauses.
We go to the beach in summer, but my cat stays home because he doesn’t own a swimsuit.
We recommend using a variety of sentence structures to improve your paragraph structure. Using the same sentence structure over and over in a paragraph is technically acceptable, but it can be a little boring for the reader. For this reason, it’s a good idea to consider syntax early on, even when writing an outline.
What’s the difference between syntax and diction?
Syntax is often confused with another aspect of language called diction. While the two have some things in common, they are distinct concepts.
Diction refers to word choice. For example, you might describe a room as “clean,” or you might call it “spotless.” Both words have similar meanings, but with a tiny difference that can affect the reader’s understanding of that room.
Syntax, on the other hand, is about the arrangement or order of the words. There’s less choice involved, and there are more restrictions based on grammar rules.
Diction is a writing tool that directly affects writing style. For example, the author Mark Twain is famous for using simple, everyday words, while the author James Joyce is known for using longer, more sophisticated words.
Syntax also affects style, in particular, sentence structure and sentence length. Just like some authors are known for using simple or elaborate words, some authors are known for using simple or elaborate sentences. Furthermore, in sentences with multiple clauses, authors can choose which clauses come first and which come last, influencing how the reader interprets them.

However, because syntax has more grammar rules to follow, it tends to be more uniform among writers compared to diction.

Syntax in literature

In the hands of a skilled writer, syntax can make the difference between a bland sentence and a legendary quote. Combining syntax with certain literary devices, like antithesis, chiasmus, or paradox, can help anyone make their writing stand out. Just look at these famous syntax examples from literature.
“It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.”
—Charles Dickens, A Tale of Two Cities
In this famous passage, Dickens matches the syntax in multiple clauses to establish a connective comparison between events past, present, and future.
“Rather than love, than money, than fame, give me truth.”
—Henry David Thoreau, Walden
The syntax in Thoreau’s excerpt may be peculiar, but it’s written this way to emphasize just how important truth is. Consider how the sentiment would have less impact if it were reversed: “Give me truth rather than love, than money, than fame.”
“People generally see what they look for, and hear what they listen for.”
—Harper Lee, To Kill a Mockingbird
One of the best applications of syntax for writers is parallelism, or using the same structure for different phrases. As this passage from Lee shows, parallelism allows for direct comparisons and also sounds poetic.
“The fool doth think he is wise, but the wise man knows himself to be a fool.”
—William Shakespeare, As You Like It
Shakespeare here uses antithesis in his syntax to emphasize the difference between a wise man and a fool.
“I may not have gone where I intended to go, but I think I have ended up where I needed to be.”

—Douglas Adams, The Long, Dark Tea-Time of the Soul

As long as you deliberately choose which clauses come in what order, syntax can be used to subvert expectations and surprise readers with an unpredictable meaning.

Syntax FAQ

What is syntax in linguistics?
In linguistics, syntax is the arrangement or order of words, determined by both the writer’s style and grammar rules.

How does syntax work?

Most languages have a predetermined order for the types of words in a sentence, but there is still enough freedom for creativity and the writer’s own unique style.

What are the different rules of syntax?

Syntax in English sets forth a specific order for grammatical elements like subjects, verbs, direct and indirect objects, etc. For example, if a sentence has a verb, direct object, and subject, the proper order is subject → verb → direct object.

What are the different types of syntax?

While there are specific rules for word order within a clause or sentence, the writer is still free to choose different types of syntax to order the words and clauses. For example, one could write a compound sentence containing two independent clauses or two simple sentences containing one independent clause each.
this developed innovative literary techniques such as stream-of-consciousness, interior monologue, as well as the use of multiple points-of-view.
This can reflect doubts about the philosophical basis of realism, or alternatively an expansion of our understanding of what is meant by realism. For example, the use of stream-of-consciousness or interior monologue reflects the need for greater psychological realism.It is debatable when the modernist literary movement began, though some have chosen 1910 as roughly marking the beginning and quote novelist Virginia Woolf, who declared that human nature underwent a fundamental change "on or about December 1910". James Joyce was a major modernist writer whose strategies employed in his novel Ulysses for depicting the events during a twenty-four-hour period in the life of his protagonist, Leopold Bloom, have come to epitomize modernism's approach to fiction. The poet T.S. Eliot described these qualities in 1923, noting that Joyce's technique is "a way of controlling, of ordering, of giving a shape and a significance to the immense panorama of futility and anarchy which is contemporary history.... Instead of narrative method, we may now use the mythical method. It is, I seriously believe, a step toward making the modern world possible for art." Eliot's own modernist poem The Waste Land (1922) mirrors "the futility and anarchy" in its own way, in its fragmented structure, and the absence of an obvious central, unifying narrative. This is in fact a rhetorical technique to convey the poem's theme: "The decay and fragmentation of Western Culture".The poem, despite the absence of a linear narrative, does have a structure: this is provided by both fertility symbolism derived from anthropology, and other elements such as the use of quotations and juxtaposition.In Italian literature, the generation of poets represented by Eugenio Montale (with his Ossi di seppia), Giuseppe Ungaretti (with his Allegria di naufragi), and Umberto Saba (with his Canzoniere) embodies modernism. This new generation broke with the tradition of Giosuè Carducci, Giovanni Pascoli, and Gabriele D'Annunzio in terms of style, language and tone. They were aware of the crisis deriving from the decline of the traditional role of the poet as foreseer, teacher, prophet. In a world that has absorbed Friedrich Nietzsche's lesson, these poets want to renew literature according to the new cultural world of the 20th century. For example, Montale uses epiphany to reconstruct meaning, while Saba incorporates Freudian concepts of psychoanalysis.Modernist literature addressed similar aesthetic problems as contemporary modernist art. Gertrude Stein's abstract writings, such as Tender Buttons , for example, have been compared to the fragmentary and multi-perspective Cubist paintings of her friend Pablo Picasso. The questioning spirit of modernism, as part of a necessary search for ways to make sense of a broken world, can also be seen in a different form in the Scottish poet Hugh MacDiarmid's A Drunk Man Looks at the Thistle (1928). In this poem, MacDiarmid applies Eliot's techniques to respond to the question of nationalism, using comedic parody, in an optimistic (though no less hopeless) form of modernism in which the artist as "hero" seeks to embrace complexity and locate new meanings.Regarding technique, modernist works sought to obfuscate the boundaries between genres. Thus prose works tended to be poetical and poetry prose-like. T. S. Eliot's poetry sacrified lyrical grace for the sake of fragmented narrative while Virginia Woolf's novels (such as Mrs Dalloway and The Waves) have been described as poetical.In the 1880s, increased attention was given to the idea that it was necessary to push aside previous norms entirely, instead of merely revising past without rejecting the importance of the intellect. These various thinkers were united by a distrust of Victorian positivism and certainty. Modernism as a literary movement can also be seen as a reaction to industrialization, urbanization and new technologies.Important literary precursors of (1907).Modernist literature scholar David Thorburn saw connections between literary style and impressionist painters such as Claude Monet. Modernist writers, like Monet's paintings of water lilies, suggested an awareness of art as art, rejected realistic interpretations of the world and dramatized "a drive towards the abstract".