A Quote by Amos Oz

There are certain concepts, which exist in english, and are unthinkable, untranslatable into Hebrew and vice versa. — © Amos Oz
There are certain concepts, which exist in english, and are unthinkable, untranslatable into Hebrew and vice versa.
There are certain concepts, which exist in English, and are unthinkable, untranslatable into Hebrew and vice versa. Hebrew has a system of tenses, which is, in a big way, different from the English system of tenses, probably different than any European system of tenses, which means a different sense of reality, which means a different concept of time. So, things can be translated, but they become different.
The revival of Hebrew, as a spoken language, is a fascinating story, which I'm afraid I cannot squeeze into a few sentences. But, let me give you a clue. Think about Elizabethan English, where the entire English language behaved pretty much like molten lava, like a volcano in mid-eruption. Modern Hebrew has some things in common with Elizabethan English. It is being reshaped and it's expanding very rapidly in various directions. This is not to say that every one of us Israeli writers is a William Shakespeare, but there is a certain similarity to Elizabethan English.
People think of black English as ungrammatical, but it bears the same relationship to standard English as contemporary Hebrew does to ancient Hebrew.
English, unlike Hebrew, is read from left to right - as are clocks. The concepts of clockwise and counterclockwise are universal, irrespective of alphabet.
Literature belongs first and foremost to the language in which it is being written. The very same book, even if it is translated very accurately, let's say from Hebrew into English or from English into Hebrew, becomes a different book because language is a musical instrument.
That's acting for you. 'White Queen' has English playing Welsh and vice versa.
I think Brits probably feel that Americans are more like us than vice-versa, if that makes sense. Because we get everything American over here in Britain, but yet there are things which are staunchly English that you guys don't have.
I think there are one or two things similar in Elizabethan English and contemporary Hebrew. This is not to say that every one of us Israeli writers is a William Shakespeare, but there is a certain similarity to Elizabethan English.
The very same book, even if it is translated very accurately, let's say from Hebrew into English or from English into Hebrew, becomes a different book because language is a musical instrument.
Back home, almost everything I did, I did in Hebrew. I went to drama school in Hebrew, my whole career was in Hebrew, and to switch languages was something that was fascinating and more complicated than I expected it to be, even though I've been speaking English since I could speak.
I work in Hebrew. Hebrew is deeply inspired by other languages. Not now, for the last three thousand years, Hebrew has been penetrated and fertilized by ancient Semitic languages - by Aramaic, by Greek, by Latin, by Arabic, by Yiddish, by Latino, by German, by Russian, by English, I could go on and on. It's very much like English. The English language took in many many fertilizations, many many genes, from other languages, from foreign languages - Latin, French, Nordic languages, German, Scandinavian languages. Every language has influences and is an influence.
It's a complicated process being so bilingual. Sometimes it's a mere word or sentence that comes to me, if I'm writing the book in English, in French. It's not always easy to deal with. Sometimes even during an interview somebody can ask me a question in English that I want to answer in French and vice versa - that's the story of my life!
The Western press has always insisted that India was Pakistan's enemy and vice versa, that the Hindus were against the Muslims and vice versa. They've never said, for instance, that my party has been fighting this attitude ever since we have maintained that religious hostilities are wrong and absurd, that minorities cannot be eliminated from a country, that people of different religions must live together.
I genuinely believe that people who are in their 20s and 30s understand certain things that I don't. I have a lot to offer to them and vice-versa.
Just as the day cannot exist without the night, just as life cannot exist without death, creativity cannot exist without silence. And vice versa is also true: silence cannot exist without creativity.
The fashions we call English in Paris are French in London, and vice versa. Franco-British hostility vanishes when it comes to questions of words and clothing. God save the King is a tune composed by Lully for a chorus in a play by Racine.
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