A Quote by Henry David Thoreau

The language of friendship is not words but meanings. — © Henry David Thoreau
The language of friendship is not words but meanings.
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.
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.
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.
Without precise meanings behind words, politicians and elites can obscure reality and condition people to reflexively associate certain words with positive or negative perceptions. In other words, unpleasant facts can be hidden behind purposely meaningless language.
Space and force pervade language. Many cognitive scientists (including me) have concluded from their research on language that a handful of concepts about places, paths, motions, agency, and causation underlie the literal or figurative meanings of tens of thousands of words and constructions, not only in English but in every other language that has been studied.
At all periods of the [English] language it is difficult to assign a beginning date to most new words and meanings. They tend to slip into the language silently, and are placed in date order only when scholars subsequently get to work.
Long human words (the longer the better) were easy, unmistakable, and rarely changed their meanings . . . but short words were slippery, unpredictable, changing their meanings without any pattern.
Kids use words in ways that release hidden meanings, revel the history buried in sounds. They haven't forgotten that words can be more than signs, that words have magic, the power to be things, to point to themselves and materialize. With their back-formations, archaisms, their tendency to play the music in words--rhythm, rhyme, alliteration, repetition--children peel the skin from language. Words become incantatory. Open Sesame. Abracadabra. Perhaps a child will remember the word and will bring the walls tumbling down.
A satyagrahi is sometimes bound to use language which is capable of two meanings, provided both the meanings are obvious and necessary and there is no intention to deceive anyone.
What enriches language is its being handled and exploited by beautiful minds-not so much by making innovations as by expanding it through more vigorous and varied applications, by extending it and deploying it. It is not words that they contribute: what they do is enrich their words, deepen their meanings and tie down their usage; they teach it unaccustomed rhythms, prudently though and with ingenuity.
Edgar Sawtelle is a boy without a voice, but his world, populated by the dogs his family breeds, is anything but silent. This is a remarkable story about the language of friendship—a language that transcends words.
The primary function of the creative use of language - in our age - is to try to constantly restore words to their meanings, to keep the living tissue of responsibility alive.
If words are to change their meanings, as assuredly they are, let each user of language make such changes as please himself, put up his own suggestions, and let the best win.
Art is one of the dirtiest words in our language; it's mucked up with all kinds of meanings. There's the art of plumbing; there's the art of almost anything that you can say.
The meanings of words and the uses of words come from practice from the way people in a given culture use those words.
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.
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