We build a sentence much like the human body builds proteins. From a set of genetic instructions (words and their definitions) stored within the nucleus of a cell (our individual memory), we are able to express a gene (sentence-thought). However, a sentence, like a protein, is much more than its primary structure, which is a simple linear ordering of words. Without more definition, a sentence will not 'make sense.' Genetic disorders may arise because of an insertion, deletion, or mutation of nucleotides in a cell's building instructions, just as confusion may arise if we omit an object, subject, verb, demonstrative, or descriptor from our sentences.
Having all of the words present in a sentence-molecule is still not sufficient to convey ideas both necessarily and sufficiently. Secondary sentence structure, analogous to alpha coils and beta pleated sheets in protein, are a sentence's local sub-group elements. Commonly, these sub-groups are separated (or joined) in meaning by conjunctions and punctuation marks. This level of organization is made manifest by dependent and independent clauses and subjects and predicates. These architectural duals introduce sentence hierarchy, allowing external parties to map the priority and meaning of what they are perceiving.
By ordering words into understandable, stratified segments within a sentence, communication is made possible. However, much like a partially denatured protein, the effectiveness of a sentence is not maximized when it doesn't have some global conformation - some tertiary structure. At this level, the interaction of words must be considered. In biology, interaction may refer to domain affinity - segments of a protein will associate with each other due to covalent or hydrogen bonding, disulfide bridge formation, or degree of hydrophilicity. With sentences, the idea of 'interaction' is somewhat more vague. There is an entire branch of science based on the interaction of words, in fact - it is called poetry. People who wish to construct elegant, convincing, or moving sentences must ultimately pull from the toolboxes of poetry. A sentence's wholeness comes from combining poetic tools with associated emotion. Some examples of tertiary structure include:
1. Alliteration - A succession of similar consonant sounds can establish a sentence rhythm, which could add to the conveyance of an upbeat or optimistic viewpoint. Mathematically, alliteration may also serve as a cumulative product operator, multiplying the effect of common sounds. Alliteration with 's' may project serenity or susurrus. Alliteration with 'r' may impart a raw or earthy taste to the overall sentence. Alliteration with 'z' may suggest a lack of maturity.
2. Synonym selection - The same piece of primary structure may come from multiple words, operating under a range of perception that imparts similar general understanding. These 'ranges of understanding' define synonymic word families, much like a wobble position in genetic codons grants leeway to transcriptional interpretation. Thus, one wishing to convey the concept of e.g. 'cold' has many options, which are identical from the stance of primary and secondary structure, but which fashion the overall (tertiary) feel of the sentence in often less-than-subtle ways. The family consisting of cold, frigid, frozen, gelid, and icy each have more precise meanings that can be used synergistically with other words in a sentence to intensify an effect. 'Cold' is the most general of these words, and in combination with other vague or generalized term, could produce a sentence with a bland or ordinary tertiary structure. 'Frigid' implies exceptional circumstance, and could be used in combination with other hyperbolistic terms to fashion something epic. 'Frozen' implies process, or a change in state, and can be used to shift sentence meaning toward perceptions of dynamicism. 'Gelid' has a strange syllable composition, and may lend to a tertiary structure emoting exclusivity or alternative outlooks. 'Icy' presents both a state and a texture, which supports a tactile tertiary composition.
3. Syllable arrangement - These elements of tertiary structure may be seen as a subset of synonym selection, but are more based more on global arrangement. Using many short-syllabled words together may cause the speaker to viewed as simple or low risk; the sentence to seem more concise, rough, or choppy; and imparts feelings of anxiety, nervousness, and incomplete catharsis. Using many multi-syllabled words projects a flow or constant meter, but may also become monotonous or invoke impatience in the perceiver. A good mix of long and short syllabled words must be selected to balance the tertiary structure of the sentence to desired specification, just as a good balance of sulfur or hydroxyl moieties in amino acids must be put into place for 'the right' protein folding to successfully occur. Syllable arrangement also applies on an inter-word basis, e.g. the liason principle in the French language lending fluidity to tertiary structure.
The quaternary structure of proteins, which applies to interactions between separate folded protein entities, is analogous to the synergy between lines in a stanza or poem, the ordering of instructions in a standard operating procedure, or the three-paragraph motif of academic essays. Just as in biology, these interactions are often the most complex.
In summary, there is a strong parallelism between the construction of biological molecules and the well-thought construction of a sentence. Humans have naturally learned to become effective by the biomimicry of the heart beat below their own heart beat.
If additions, contentions, or discussion is deemed, please include it as a comment to this note - I share my thoughts as an avenue to access yours!
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