Language is the soul of intellect, and reading is the essential process by which that intellect is cultivated beyond the commonplace experiences of everyday life.
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Me, we. (Supposedly the shortest quote in the English language delivered at a Harvard graduation.)
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Kindness is the language which the deaf can hear and the blind can see.
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The language of friendship is not words but meanings.
Friendship
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'In the bad old days reference to Blacks/women/Jews/others were in negative language which perpetuated poor treatment/ abuse/ exploitation of these people. Animals have suffered more from negative language stereotyping than all the others, and demeans them so constantly that they created an environment that allows all sorts of cruelties, many too horrendous to describe! An animal is 'it' instead of 'he' or 'she', this perpetuates our view of them as 'things' rather than individuals and is a major first step towards cutting them up for meat and leather, testing drugs/cosmetics/ household products on their bodies, and tearing off their coats for furs!!! Those who have pets are referred to as 'owners' rather than guardians/care givers/companions, reinforcing the idea that they are property much as slaves were considered property. Let's avoid these references: Dirty rat; filthy pig; acting like an ass; dirty dog; she's a bitch; ugly duckling; there's more than one way to skin a cat; behaving like an animal; making a monkey out of someone; killing 2 birds with one stone; working like a horse, you're chicken ... There are many more! Please think before uttering them and tell others. Thank you!'
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There sighs, lamentations and loud wailings resounded through the starless air, so that at first it made me weep; strange tongues, horrible language, words of pain, tones of anger, voices loud and hoarse, and with these the sound of hands, made a tumult which is whirling through that air forever dark, and sand eddies in a whirlwind.
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English is a crazy language. There is no egg in eggplant nor ham in hamburger; neither apple nor pine in pineapple. English muffins weren't invented in England or French fries in France. Sweetmeats are candies while sweetbreads, which aren't sweet, are meat.
We take English for granted. But if we explore its paradoxes, we find that quicksand can work slowly, boxing rings are square and a guinea pig is neither from Guinea nor is it a pig. And why is it that writers write but fingers don't fing, grocers don't groce and hammers don't ham? If the plural of tooth is teeth, why isn't the plural of booth beeth? One goose, 2 geese. So one moose, 2 meese? If you have a bunch of odds and ends and get rid of all but one of them, what do you call it?
If teachers taught, why didn't preachers praught? If a vegetarian eats vegetables, what does a humanitarian eat? Sometimes I think all the English speakers should be committed to an asylum for the verbally insane. In what language do people recite at a play and play at a recital? Ship by truck and send cargo by ship? Have noses that run and feet that smell? How can a slim chance and a fat chance be the same, while a wise man and a wise guy are opposites?
Have you noticed that we talk about certain things only when they are absent? Have you ever seen a horsefull carriage or a strapfull gown? Met a sung hero or experienced requited love? Have you ever run into someone who was combobulated, gruntled, ruly or peccable? And where are all those people who ARE spring chickens or who would actually hurt a fly?
You have to marvel at the unique lunacy of a language in which your house can burn up as it burns down, in which you fill in a form by filling it out and in which an alarm goes off by going on.
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The stage is a concrete physical place which asks to be filled, and to be given its own concrete language to speak. I say that this concrete language, intended for the senses and independent of speech, has first to satisfy the senses, that there is a poetry of the senses as there is a poetry of language, and that this concrete physical language to which I refer is truly theatrical only to the degree that the thoughts it expresses are beyond the reach of the spoken language. These thoughts are what words cannot express and which, far more than words, would find their ideal expression in the concrete physical language of the stage. It consists of everything that occupies the stage, everything that can be manifested and expressed materially on a stage and that is addressed first of all to the senses instead of being addressed primarily to the mind as is the language of words...creating beneath language a subterranean current of impressions, correspondences, and analogies. This poetry of language, poetry in space will be resolved precisely in the domain which does not belong strictly to words...Means of expression utilizable on the stage, such as music, dance, plastic art, pantomime, mimicry, gesticulation, intonation, architecture, lighting, and scenery...The physical possibilities of the stage offers, in order to substitute, for fixed forms of art, living and intimidating forms by which the sense of old ceremonial magic can find a new reality in the theater; to the degree that they yield to what might be called the physical temptation of the stage. Each of these means has its own intrinsic poetry.
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Today we all speak, if not the same tongue, the same universal language. There is no one center, and time has lost its former coherence: East and West, yesterday and tomorrow exist as a confused jumble in each one of us. Different times and different spaces are combined in a here and now that is everywhere at once.
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(Poetry) It’s the place in language we are most human and we can see ourselves fully – far more than prose in fiction. A poem is able to hold so much in so little space. It’s a time capsule, a Tardis so much bigger on the inside than it seems on the outside.
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A riot is the language of the unheard.
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It is difficult for a woman to define her feelings in language which is chiefly made by men to express theirs.
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Language is political. That's why you and me, my Brother and Sister, that's why we supposed to choke our natural self into the weird, lying, barbarous, unreal, white speech and writing habits that the schools lay down like holy law. Because, in other words, the powerful don't play; they mean to keep that power, and those who are the powerless (you and me) better shape up --mimic/ape/suck --in the very image of the powerful, or the powerful will destroy you --you and our children.
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Man knows that there are in the soul tints more bewildering, more numberless, and more nameless that the colors of an autumn forest....Yet he seriously believes that these things can every one of them , in all their tones and semi-tones, in all their blends and unions, be accurately represented by an arbitrary system of grunts and squeals. He believes that an ordinary civilized stockbroker can really produce out of his own inside noises which denote all the mysteries of memory and all the agonies of desire.
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Dialect words are those terrible marks of the beast to the truly genteel.
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Animation is different from other parts. Its language is the language of caricature. Our most difficult job was to develop the cartoon's unnatural but seemingly natural anatomy for humans and animals.
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Poetry cannot be translated; and, therefore, it is the poets that preserve the languages; for we would not be at the trouble to learn a language if we could have all that is written in it just as well in a translation. But as the beauties of poetry cannot be preserved in any language except that in which it was originally written, we learn the language.
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If language is not correct, then what is said is not what is meant; if what is said is not what is meant, then what must be done remains undone; if this remains undone, morals and art will deteriorate; if justice goes astray, the people will stand about in helpless confusion. Hence there must be no arbitrariness in what is said. This matters above everything.
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Silent companions of the lonely hour, Friends, who can never alter or forsake, Who for inconstant roving have no power, And all neglect, perforce, must calmly take,-- Let me return to you; this turmoil ending Which worldly cares have in my spirit wrought, And, o'er your old familiar pages bending, Refresh my mind with many a tranquil thought: Till, haply meeting there, from time to time, Fancies, the audible echo of my own, 'Twill be like hearing in a foreign clime My native language spoke in friendly tone, And with a sort of welcome I shall dwell On these, my unripe musings, told so well.
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A tide began to surge beneath the calm surface of Stephen's friendliness. This race and this country and this life produced me, he said. I shall express myself as I am. Try to be one of us, repeated Davin. In your heart you are an Irishman but your pride is too powerful. My ancestors threw off their language and took another, Stephen said. They allowed a handful of foreigners to subject them. Do you fancy that I am going to pay in my own life and person debts they made? What for? For our freedom, said Davin. No honourable and sincere man, said Stephen, has given up to you his life and his youth and his affections from the days of Wolfe Tone to those of Parnell, but you sold him to the enemy or failed him in need or reviled him and left him for another. And you invite me to be one of you. I'd see you damned first. They died for their ideals, Stevie, said Davin. Our day will come yet, believe me. Stephen, following his own thought, was silent for an instant... When the soul of a man is born in this country there are nets flung to hold it back from flight. You talk to me of nationality, language, religion. I shall try to fly by those nets ... Ireland is the old sow that eats her farrow.
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More than 20 years ago, President Kennedy defined an approach that is as valid today as when he announced it. So let us not be blind to our differences,'' he said, but let us also direct attention to our common interests and to the means by which those differences can be resolved.''Well, those differences are differences in governmental structure and philosophy. The common interests have to do with the things of everyday life for people everywhere. Just suppose with me for a moment that an Ivan and an Anya could find themselves, oh, say, in a waiting room, or sharing a shelter from the rain or a storm with a Jim and Sally, and there was no language barrier to keep them from getting acquainted. Would they then debate the differences between their respective governments? Or would they find themselves comparing notes about their children and what each other did for a living?Before they parted company, they would probably have touched on ambitions and hobbies and what they wanted for their children and problems of making ends meet. And as they went their separate ways, maybe Anya would be saying to Ivan, Wasn't she nice? She also teaches music.'' Or Jim would be telling Sally what Ivan did or didn't like about his boss. They might even have decided they were all going to get together for dinner some evening soon. Above all, they would have proven that people don't make wars.People want to raise their children in a world without fear and without war. They want to have some of the good things over and above bare subsistence that make life worth living. They want to work at some craft, trade, or profession that gives them satisfaction and a sense of worth. Their common interests cross all borders.
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If you talk to a man in a language he understands, that goes to his head. If you talk to him in his language, that goes to his heart.
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Poetry is a matter of life, not just a matter of language.
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To feel most beautifully alive means to be reading something beautiful, ready always to apprehend in the flow of language the sudden flash of poetry.
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Prayer is translation. A man translates himself into a child asking for all there is in a language he has barely mastered.
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'I am' is reportedly the shortest sentence in the English language. Could it be that 'I do' is the longest sentence?
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Psychobabble is... a set of repetitive verbal formalities that kills off the very spontaneity, candor, and understanding it pretends to promote. It's an idiom that reduces psychological insight to a collection of standardized observations, that provides a frozen lexicon to deal with an infinite variety of problems.
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In the first place we should insist that if the immigrant who comes here in good faith becomes an American and assimilates himself to us, he shall be treated on an exact equality with everyone else, for it is an outrage to discriminate against any such man because of creed, or birthplace, or origin. But this is predicated upon the man's becoming in very fact an American, and nothing but an American...There can be no divided allegiance here. Any man who says he is an American, but something else also, isn't an American at all. We have room for but one flag, the American flag, and this excludes the red flag, which symbolizes all wars against liberty and civilization, just as much as it excludes any foreign flag of a nation to which we are hostile...We have room for but one language here, and that is the English language...and we have room for but one sole loyalty and that is a loyalty to the American people.
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The English language is nobody's special property. It is the property of the imagination: it is the property of the language itself.
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Music has often been compared with language itself, and the comparison is quite legitimate. While it combines easily with actual language, it also speaks a language of its own, which it has become a platitude to call universal. To understand the significance of the organizing factors of rhythm, melody, harmony, tone color and form, the analogy of a familiar language is helpful. Music has its own alphabet of only seven letters, as compared with the twenty-six of the English alphabet. Each of these letters represents a note, and just as certain letters are complete words in themselves, so certain notes may stand alone, with the force of a whole word. Generally, however, a note of music implies a certain harmony, and in most modern music the notes take the form of actual chords. So it may be said that a chord in music is analogous to a word in language. Several words form a phrase, and several phrases a complete sentence, and the same thing is true in music. Measured music corresponds to poetry, while the old unmeasured plain-song might be compared with prose.
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