"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." (Noam Chomsky, Syntactic Structures, 1971) Syntactic Changes in English "Syntactic change--change in the form and order of words--is . . . sometimes described as 'an elusive process as compared to sound change.' Its apparently puzzling nature is partly due to its variety. Word endings can be modified. Chaucer's line And smale foweles maken melodye shows that English has changed several of them in the last 600 years. The behaviour of verbs can alter. Middle English I kan a noble tale 'I know a fine story' reveals that can could once be used as a main verb with a direct object. And word order may switch. The proverb Whoever loved that loved not at first sight? indicates that English negatives could once be placed after main verbs. These are just a random sample of syntactic changes which have occurred in English in the last half-millennium or so." (Jean Aitchison, Language Change: Progress or Decay? 3rd ed. Cambridge Univ. Press, 2001) William Cobbett on Syntax (1818) "Syntax is a word which comes from the Greek. It means, in that language, the joining of several things together; and, as used by grammarians, it means those principles and rules which teach us how to put words together so as to form sentences. It means, in short, sentence-making. Having been taught by the rules of Etymology what are the relationships of words, how words grow out of each other, how they are varied in their letters in order to correspond with the variation in the circumstances to which they apply, Syntax will teach you how to give all your words their proper situations or places, when you come to put them together into sentences." (William Cobbett, A Grammar of the English Language in a Series of Letters: Intended for the Use of Schools and of Young Persons in General, but More Especially for the Use of Soldiers, Sailors, Apprentices, and Plough-Boys, 1818) The Lighter Side of Syntax "In a second-class car, along with some abandoned homework, [Trevor] found a muchdisintegrated copy of Finnegans Wake (James Joyce; 1939), a novel that, when he opened it and selected a random paragraph, made him feel like he'd just had a stroke. He spoke English, but this didn't feel like English--it felt like sound effects. Still, the paragraph burned itself into his brain. Sian is too tall for Shemus as Airdie is fiery for Joachem. Two toughnecks still act gettable, and feign that as an embryo he was worthy of starving (he was an outlier straddling the walls of Donegal and Sligo, and a vassal to Corporal. Mr. Llyrfoxh Cleath was among his savoured invitations) but every fair thee well to night blindness came uninvited. He was in the wilds of the city of today; coals that his night-embered life will not beg being anthologized in black and white. Adding lies and jest together, two toughneck shots may be made at what this abundant wallflower. Sian's nighttime wardrobe, we believe, a handful of ring fingers, a callow stomach, a heart of tea and cakes, a goose liver, three-fourths of a buttock, a black adder truncated--as young Master Johnny on his first louche moment at the birth of prethinking, seeing himself Lord this and Lord that, playing with thistlecracks in the hedgerow. "He sat down and went through the paragraph over and over. It could have said"

. . . Whaam! Smash! Ahooogah! Ding! Grunt! Sploosh! Doinggg! Thud! Bamm! Shazaam! Glub! Zing! Blbbbtt! Thump! Gonggg! Boom! Kapow! "Joyce's paragraph made no sense, and yet it made a kind of sense. Trevor realized that the odd thing about English is that no matter how much you screw sequences word up, you understood, still, like Yoda, will be. Other languages don't work that way. French? Dieu! Misplace a single le or la and an idea vaporizes into a sonic puff. English is flexible: you can jam it into a Cuisinart for an hour, remove it, and meaning will still emerge. (Douglas Coupland, Generation A. Random House Canada, 2009)