Best 3547 quotes in «language quotes» category

...that witchcraft requires no potions, familiar spirits, or magic wands. Language upon a silver tongue affords enchantment enough.

That which is now called learning, was not learning originally. Learning does not consist, as the schools now make it consist, in the knowledge of languages, but in the knowledge of things to which language gives names.

The Actor, noticing a closed bookshop, dismounted from the horse which he tied to a street lamp. He woke up the bookseller and bought a Spanish grammar and dictionary. He set out again across town marveling at the way that the words of the foreign language were freshly gathered fruits and not old and dry. They touched the senses marvelously, new like young beggars who accost you, not yet words but the every things they designate, happily running naked before being clothed again in abstraction.

[T]he accumulation of things not spelled out, not properly articulated, may result in neurosis.

The alternative is to locate large deposits of specifically what we need, and extract it in bulk from the earth.” “That’s mining,” said the Drip. “There is a twenty-third century legend that youth was conscripted to work in mines. Anyhow, all young people were known as miners at one period.

The Almost Forgotten Human Language is ‘Feeling.

The American Naming Authority, a collective of women studying the effects of names on behavior, decrees that a name should only have one user. The nearly 1 million American users of the name Mary, for example, do not constitute a unified army who might slaughter all users of the name Nancy, as was earlier supposed, but rather a saturation of the Mary Potential Quotient. Simply stated: Too many women with the same name produces widespread mediocrity and fatigue.

The aim of interpretation is not agreement but understanding

The Armenian language cannot be worn out; its boots are stone. Well, certainly, the thick-walled words, the layers of air in the semi-vowels.

The ancient Hebrews did not write the name of God. I often wish the Christians would follow suit, as never was a word more misused in writing and speaking than the name of the Lord.

The audible signals people can produce are not a series of crisp beeps like on a touch-tone phone. Speech is a river of breath, bent into hisses and hums by the soft flesh of the mouth and throat.

The arts vividly illustrate the fact that neither words in their literal form nor numbers exhaust what we can know. The limits of our language do not define the limits of our cognition.

The Art of Writing for Children is the knowledge of what is significant to them

The author recognizes the power of the persecuting tribe referring to members of hers consistently as "snakes" or "roaches". This dehumanizing language, she realizes, seeps into the subconscious and makes it easier to forget that fellow humans were created in God's image.

The authors disclose that in less than a century the word "tension" grew from signifying a literal electric charge to a metaphor for emotional stress between two people. Writes Owen Barfield, "The scientists who discovered the forces of electricity actually made it possible for the human beings who came after them to have a slightly different idea, a slightly fuller consciousness of their relationship with one another.

The Balti had as many names for rock as the Inuit have for snow.

The best grammarian still can't write a verse.

The Biblical language was so deeply embedded in the great man's mind that it became his normal way of speaking.

The better I understand the language, the more confusing it is.

The boon of language is not tenderness. All that it holds, it holds with exactitude and without pity, even a term of endearment; the word is impartial: the usage is all. The boon of language is that potentially it is complete, it has the potentiality of holding with words the totality of human experience--everything that has occurred and everything that may occur. It even allows space for the unspeakable. In this sense one can say of language that it is potentially the only human home, the only dwelling place that cannot be hostile to man. For prose this home is a vast territory, a country which it crosses through a network of tracks, paths, highways; for poetry this home is concentrated on a single center, a single voice, and this voice is simultaneously that of an announcement and a response to it.

The books brought brilliance to my life, and they brought an understanding: Life is a story. Everything that has happened and will happen to me is all part of the story of this enchanted place - all the dreams and visions and understandings that come to me in my dungeon cell. The books helped me see the truth is not in the touch of the stone but in what the stone tells you.

The business of obscuring language is a mask behind which stands the much greater business of plunder.

The change of language is a change in reality.

The chief importance of knowledge by description is that it enables us to pass beyond the limits of our private experience. In spite of the fact that we can only know truths which are wholly composed of terms which we have experienced in acquaintance, we can yet have knowledge by description of things which we have never experienced. In view of the very narrow range of our immediate experience, this result is vital, and until it is understood, much of our knowledge must remain mysterious and therefore doubtful.

The children are in love but do not know with what. They talk in gibberish, muse themselves into an indefinable pallor, and when they are completely at a loss they invent a language that maddens them. My fish. My hook. My fox. My snare. My fire. You my water. You my current. My earth. You my if. And you my but. Either. Or. My everything...my everything...They push one another, go for each other with their fists and scuffle over a counter-word that doesn't exist.

The concept of country, homeland, dwelling place becomes simplified as "the environment" -- that is, what surrounds us, we have already made a profound division between it an ourselves. We have given up the understanding -- dropped it out of our language and so out of our thought -- that we and our country create one another, depend on one another, are literally part of one another; that our land passes in and out of our bodies just as our bodies pass in and out of our land; that as we and our land are part of one another, so all who are living as neighbors here, human and plant and animal, are part of one another, and so cannot possibly flourish alone; that, therefore, our culture must be our response to our place, our culture and our place are images of each other and inseparable from each other, and so neither can be better than they other.

The concept of modernity in literary history was also related to the relation each Indian language and literature developed with English. Sanskrit and Persian literary models were labelled as traditional and medieval, and those found in English, irrespective of any period, as modern (page 22)

The conventional use of words and of narrative structure is deliberately subverted in decadent fiction; language deviates from the established norms in an attempt to reproduce pathology on a textual level. With its emphasis on aberration and artifice, the decadents' approach to the language of fiction frequently leans towards the baroque and the obscure.

The creation of language is the creation of a fiction. The minute we speak we are in that fiction. It’s a fiction designed, we hope, to reveal a truth. There is no “pure” language. The only “pure language” is the initial sounds of a baby. All of us lose that purity, and as we get more “of” the world, we even lose sometimes the capacity to keep that breath moving in our language.

The 'Dance of Love' is much more of a dialogue, one takes the lead and the other follows. One dictates a step and the other carries it out. One determines the direction, the other determines the distance travelled in a given figure. One sets the pace, the other reveals the grace. One understands the language of the other and knows what is coming next. The one leading leads with love and respect; never seeing the follower as being weak or inferior. And in the same manner, the one following follows with Trust and Submission; never feeling too big to be led or scared to jump. There is a blind assurance that someone is there to catch.

The definition of 'Employment' by an employer, and, that by an employee, are seldom the same.

The difference between a stumbling block and a stepping stone is how high you raise your foot.

The degree to which language exactly mirrors reality is debatable.

The difference between bush and ladder also allows us to put a lid on a fruitless and boring debate. That debate is over what qualifies as True Language. One side lists some qualities that human language has but that no animal has yet demonstrated: reference, use of symbols displaced of in time and space from their referents, creativity, categorical speech perception, consistent ordering, hierarchical structure, infinity, recursion, and so on. The other side finds some counter-example in the animal kingdom (perhaps budgies can discriminate speech sounds, or dolphins or parrots can attend to word order when carrying out commands, or some songbird can improvise indefinitely without repeating itself), and gloats that the citadel of human uniqueness has been breached. The Human Uniqueness team relinquishes that criterion but emphasizes others or adds new ones to the list, provoking angry objections that they are moving the goalposts. To see how silly this all is, imagine a debate over whether flatworms have True Vision or houseflies have True Hands. Is an iris critical? Eyelashes? Fingernails? Who cares? This is a debate for dictionary-writers, not scientists. Plato and Diogenes were not doing biology when Plato defined man as a "featherless biped" and Diogenes refuted him with a plucked chicken.

The difficulty of learning the dead languages does not arise from any superior abstruseness in the languages themselves, but in their being dead, and the pronunciation entirely lost. It would be the same thing with any other language when it becomes dead. The best Greek linguist that now exists does not understand Greek so well as a Grecian plowman did, or a Grecian milkmaid; and the same for the Latin, compared with a plowman or a milkmaid of the Romans; and with respect to pronunciation and idiom, not so well as the cows that she milked. It would therefore be advantageous to the state of learning to abolish the study of the dead languages, and to make learning consist, as it originally did, in scientific knowledge.

...The efficacy of psychedelics with regard to art has to do with their ability to render language weightless, as fluid and ephemeral as those famous "bubble letters" of the sixties. Psychedelics, I think, disconnect both the signifier and the signified from their purported referents in the phenomenal world - simultaneously bestowing upon us a visceral insight into the cultural mechanics of language, and a terrifying inference of the tumultuous nature that swirls beyond it. In my own experience, it always seemed as if language were a tablecloth positioned neatly upon the table until some celestial busboy suddenly shook it out, fluttering and floating it, and letting it fall back upon the world in not quite the same position as before - thereby giving me a vertiginous glimpse into the abyss that divides the world from our knowing of it. And it is into this abyss that the horror vacui of psychedelic art deploys itself like an incandescent bridge. Because it is one thing to believe, on theoretical evidence, that we live in a prison-house of language. It is quite another to know it, to actually peek into the slippery emptiness as the Bastille explodes around you. Yet psychedelic art takes this apparent occasion for despair and celebrates our escape from linguistic control by flowing out, filling that rippling void with meaningful light, laughter, and a gorgeous profusion.

The dumbing down, oversimplification, or flattened character of public speech may make our declamations and documents more accessible, but it deprives us all of a measure of beauty and clarity that could enrich our lives together. In more and more venues where speech and writing are required, adequate is adequate. A most exhilarating denunciation of this sort of mediocrity may be found in Mark Twain's acerbic little essay, "Fenimore Cooper's Literary Offenses," in which he observes: When a person has a poor ear for music, he will flat and sharp right along without knowing it. He keeps near the tune, but it is not the tune. When a person has a poor ear for words, the result is a literary flatting and sharping; you perceive what he is intending to say, but you also perceive that he doesn't say it. This is Cooper. He was not a word-musician. His ear was satisfied with the approximate word.

The English language is a work in progress. Have fun with it.

The English language is the tongue now current in England and her colonies throughout the world and also throughout the greater part of the United States of America. It sprang from the German tongue spoken by the Teutons, who came over to Britain after the conquest of that country by the Romans. These Teutons comprised Angles, Saxons, Jutes and several other tribes from the northern part of Germany. They spoke different dialects, but these became blended in the new country, and the composite tongue came to be known as the Anglo-Saxon which has been the main basis for the language as at present constituted and is still the prevailing element.

The English language is simply not logical. It is strong, free, and beautiful.

The explanation of language depends upon its fulfilling criteria demanded by reason. Reason, though, itself requires language. The character of any natural language has a great deal to do with the history of the interactions with the world of the people whose language it is. Even if we can no longer accept a theological story of creation, the immediacy of human contact with things and the development of language do go hand in hand, as the primacy of practical vocabulary before abstractions in the history of languages suggests. Any attempt to generalize about language without taking this historical basis into account will lead to a conception of language in which an abstract conception of reason is prior. Hamann's polemic against such positions is often couched in sexual terms: revelation is most powerful when it occurs through the body's libidinal link to other parts of the universe. The very fact that languages sometimes divide the world up in terms of genders is therefore one key to understanding how language is attached to the world.

The fact that early languages, no matter how many there are, utilize the same streams implies that the brain doesn't have a native language. The brain can only reflect the fact that a set of neural circuits was built and activated for a certain period of time. Nor does the brain care if those neural circuits map onto things that the rest of the world calls languages or dialects. It really cares only about what activates those circuits. Thus, the brain patters that typify language use across skill levels can be mapped. Brain imaging technology monitors the intensity of oxygen use around the brain - higher oxygen use represents higher energy use by cells burning glucose. The deeply engrained language circuits will create dim MRI images, because they are working efficiently, requiring less glucose overall. More recently acquired languages, as well as those used less frequently, would make neural circuits shine more brightly, because they require more brain cells, thus more glucose.

The face of self-pity was universally understood.

The facts that make the world real-- these depend on the unreal in order to be recognised by it.

The fact is that very few of us know what words mean; fewer still take the trouble to enquire. We calmly, we carelessly assume that our minds are identical with that of the writer, at least on that point; and then we wonder that there should be misunderstandings! The fact is (again!) that usually we don't really want to know; it is so very much easier to drift down the river of discourse, "lazily, lazily, drowsily, drowsily, In the noonday sun." Why is this so satisfactory? Because although we may not know what a word means, most words have a pleasant or unpleasant connotation, each for himself, either because of the ideas or images thus begotten, of hopes or memories stirred up, or merely for the sound of the word itself.

The fact that in the twentieth century a greater proportion of the people in the world could communicate with one another, using English or just a few other languages, appears not to have stopped any wars, nor to have reduced the frequency with which wars have broken out, nor to have made the wars that have broken out less brutal. In fact, several murderous wars have been fought recently among people who speak 'the same language' in real terms.

The faithful have no dread of using the traditional language of the church. Terms like incarnation and resurrection need to be explained, not avoided.

The first prerequisite for fine literature is that the writer must see the language not as a transparent medium for self-expression or the representation of reality, but as a medium one must struggle with to make it do one's bidding.

The irony of acquiring a foreign tongue is that I have amassed just enough cheap, serviceable words to fuel my desires and never, never enough lavish, imprudent ones to feed them. It is true, though, that there are some French words that I have picked up quickly, in fact, words that I cannot remember not knowing. As if I had been born with them in my mouth, as if they were seeds of a sour fruit that someone else ate and then ungraciously stuffed its remains into my mouth.

The guitarist is dependent on the guitar, which is dependent upon the creation, which is dependent on whatever creative forces or realities are responsible for its existence. If you call this creative force or reality "God," then art really could be thought of as the language God speaks. All art is rooted in whatever is the foundation of everything.