I like to imagine a sentence as a boat. Each sentence, after all, has a distinct shape, and it comes with something that makes it move forward or stay still — whether a sail, a motor or a pair of oars. There are as many kinds of sentences as there are seaworthy vessels: canoes and sloops, barges and battleships, Mississippi riverboats and dinghies all-too-prone to leaks. And then there are the impostors, flotsam and jetsam — a log heading downstream, say, or a coconut bobbing in the waves without a particular destination.
My analogy seems simple, but it’s not always easy to craft a sentence that makes heads turn with its sleekness and grace. And yet the art of sentences is not really a mystery.
At some point in our lives, early on, maybe in grade school, teachers give us a pat definition for a sentence — “It begins with a capital letter, ends with a period and expresses a complete thought.” We eventually learn that that period might be replaced by another strong stop, like a question mark or an exclamation point.
But that definition misses the essence of sentencehood. We are taught about the sentence from the outside in, about the punctuation first, rather than the essential components. The outline of our boat, the meaning of our every utterance, is given form by nouns and verbs. Nouns give us sentence subjects — our boat hulls. Verbs give us predicates — the forward momentum, the twists and turns, the abrupt stops.
Causes Constance Hale Supports
Intellectual Property Protection, Environmentalism, Income Equality Worldwide, End to Racism