A Quote by Aulus Persius Flaccus
You follow words of the toga (language of the cultivated class).
[Lat., Verba togae sequeris.]
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Confined to common life thy numbers flow,
And neither soar too high nor sink too low;
There strength and ease in graceful union meet,
Though polished, subtle, and though poignant, sweet;
Yet powerful to abash the from of crime
And crimson error's cheek with sportive rhyme.
[Lat., Verba togae sequeris, junctura callidus acri,
Ore teres modico, pallentes radere mores
Doctus, et ingenuo culpam defigere ludo.]
Rem tene, verba sequentur: grasp the subject, and the words will follow. This, I believe, is the opposite of what happens with poetry, which is more a case of verba tene, res sequenter: grasp the words, and the subject will follow.
Sorrowful words become the sorrowful; angry words suit the passionate; light words a playful expression; serious words suit the grave.
[Lat., Tristia maestum
Vultum verba decent; iratum, plena minarum;
Ludentem, lasciva: severum, seria dictu.]
War leads to peace.
[Lat., Cedant arma togae.]
Ah me! how easy it is (how much all have experienced it) to indulge in brave words in another person's trouble.
[Lat., Hei mihi, quam facile est (quamvis hic contigit omnes),
Alterius lucta fortia verba loqui!]
A cowardly populace which will dare nothing beyond talk.
[Lat., Vulgus ignavum et nihil ultra verba ausurum.]
Each time I write, each time the authentic words break through, I am changed. The older order that I was collapses and dies. I lose control. I do not know exactly what words will appear on the page. I follow language. I follow the sound of the words, and I am surprised and transformed by what I record.
Fools laugh at the Latin language. -Rident stolidi verba Latina
It has not been definitively proved that the language of words is the best possible language. And it seems that on the stage, which is above all a space to fill and a place where something happens, the language of words may have to give way before a language of signs whose objective aspect is the one that has the most immediate impact upon us.
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire.
Language, after all, is organic. You can't force words into existence. You can't force new meanings into words. And some words can't or won't or shouldn't be laundered or neutered. Language develops naturally.
The words 'alone,' 'lonely,' and 'loneliness' are three of the most powerful words in the English language. Those words say that we are human; they are like the words hunger and thirst. But they are not words about the body, they are words about the soul.
If it's a language you don't understand and you're not concerned with the meanings of the words, your impression comes from how the words look, particularly if the language uses different characters.
The being level speaks the language of art, music, color shape and pattern directly -- a language that requires no words -- is not limited by words -- nor does it have the specificity of words and thus cannot be broken onto parts that can be manipulated or analyzed by the intellect. It must be swallowed, whole not parsed, sorted and justified.
English is such a deliciously complex and undisciplined language, we can bend, fuse, distort words to all our purposes. We give old words new meanings, and we borrow new words from any language that intrudes into our intellectual environment.
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