A Quote by Jean-Paul Sartre

Many young people today do not concern themselves with style. They think that what one says should be said simply and that is all. For me, style - which does not exclude simplicity, quite the opposite - is above all a way of saying three or four things in one. There is the simple sentence, with its immediate meaning, and then at the same time, below this immediate meaning, other meanings are organized. If one is not capable of giving language this plurality of meaning, then it is not worth the trouble to write.
For many years, questions about the meaning of life were dismissed as senseless. We were told that life, not being a word or sentence or anything language-like, can't intelligibly be said to have meaning. An encouraging development in the last couple of decades is a return by philosophers to addressing - as nearly all people do at some time or another - the question of life's meaning.
I would agree with that. But when I write lyrics, personally I don't care if the person who is listening to it understands what I'm saying or not; and I write them like that specifically. You know, I have my views; I don't feel the need to have people have the same views as me. So if they find the meaning in the songs and it's the same meaning as the one I intended then fine and dandy and if they don't, they don't.
The majority of the people of the world today are unsane, not insane, unsane meaning having been exposed to methods of evaluation that have long rendered obsolete, our language in the future will change to a saner language where we have no argument in it, 'can there be such a language?' there is, when engineers talk to each other, it's not subject to interpretation, they use math, they use descriptive systems, if I interpreted what another engineer said in the way I think he meant it: you couldn't build bridges, dams, power transmission lines. The language has to have meaning
It makes me uncomfortable to talk about meanings and things. It's better not to know so much about what things mean. Because the meaning, it's a very personal thing, and the meaning for me is different than the meaning for somebody else.
I hear the words, the thoughts, the feeling tones, the personal meaning, even the meaning that is below the conscious intent of the speaker. Sometimes too, in a message which superficially is not very important, I hear a deep human cry that lies buried and unknown far below the surface of the person. So I have learned to ask myself, can I hear the sounds and sense the shape of this other person's inner world? Can I resonate to what he is saying so deeply that I sense the meanings he is afraid of, yet would like to communicate, as well as those he knows?
There are many well-meaning people today who work at placing an economic floor beneath all of us so that no one shall exist below a certain level or standard of living, and certainly we don't quarrel with this. But look more closely and you may find that all too often these well-meaning people are building a ceiling above which no one shall be permitted to climb and between the two are pressing us all into conformity, into a mold of standardized mediocrity.
An amoeba is a formless thing which takes many shapes. It moves by thrusting out an arm, and flowing into the arm. It multiplies by pulling itself in two, without permanently diminishing the original. So with words. A meaning may develop on the periphery of the body of meanings associated with a word, and shortly this tentacle-meaning has grown to such proportions that it dwarfs all other meanings.
Because my work is naturally non-meaningful, the meaning found in it will remain doubtful and inconsistent - which is the way it should be. All that I care about is that, like any startling piece of nature, it should be capable of stimulating meaning.
A fact was the hard outer cover of meaning, and meaning was the soft living stuff inside a fact. Fact and meaning were the driving cogs of living. If the gear of fact drove the gear of meaning, then they revolved in opposite directions, but put the gear of fantasy between the two and they both revolved in the same direction. Fantasy was and is important; it leads to heaven knows where, but follow it and see. Sometimes it pays off.
Some readers read a book as if it were an instruction manual, expecting to understand everything first time, but of course when you write, you put into every sentence an overflow of meaning, and you create in every sentence as many resonances and double meanings and ambiguities as you can possibly pack in there, so that people can read it again and get something new each time.
Contemporary poetry ... tries to transform the sign back into meaning: its ideal, ultimately, would be to reach not the meaning of words, but the meaning of things themselves. This is why it clouds the language, increases as much as it can the abstractness of the concept and the arbitrariness of the sign and stretches to the limit the link between signifier and signified.
Man's search for meaning is the primary motivation in his life and not a "secondary rationalization" of instinctual drives. This meaning is unique and specific in that it must and can be fulfilled by him alone; only then does it achieve a significance which will satisfy his own will to meaning.
Language is capable of becoming the objective repository of vast accumulations of meaning and experience, which it can then preserve in time and transmit to following generations.
The war for our Union, with all the constitutional issues which it settled, and all the military lessons which it gathered in, has throughout its dilatory length but one meaning in the eyes of history. It freed the country from the social plague which until then had made political development impossible in the United States. More and more, as the years pass, does the meaning stand forth as the sole meaning.
A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell them to read the story. The meaning of fiction is not abstract meaning but experienced meaning.
When compiling his great dictionary, the young Noah Webster travels to the Himalayas, where he climbs to the cave of the world's wises man. 'O, great sage,' he says, 'tell me the meaning of life.' The sage sits Noah at his feet and, with great solemnity, commences to unfold the meaning of life. When finished, he places a hand on the young man's shoulder and says, 'Do you have any other questions, my son?' Noah flips a page in his notebook and says, 'You wouldn't know the meaning of lift, would you?'
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