A Quote by Tom Stoppard
We are tied down to a language which makes up in obscurity what it lacks in style.
Related Quotes
I have gone from local obscurity to national obscurity to international obscurity. Once I learn how to monetize obscurity, I will be rich.
Propriety of thought and propriety of diction are commonly found together. Obscurity and affectation are the two greatest faults of style. Obscurity of expression generally springs from confusion of ideas; and the same wish to dazzle, at any cost, which produces affectation in the manner of a writer, is likely to produce sophistry in his reasonings.
The entire political system is contrary to everything a feminine heart stands for. It lacks inclusion. It lacks tenderness toward children. It lacks honor for relationships. It lacks reverence for the earth. It lacks love. And without those things, the feminine psyche disconnects.
Many an expert says that there is a certain affinity between (Capablanca's style) and that of the world master, Lasker. There may be some truth in it. Lasker's style is clear water, but with a drop of poison which is clouding it. Capablanca's style is perhaps still clearer, but it lacks that drop of poison.
I don't think I was ever meant to be tied down to one band for the rest of my life, playing one style of music.
There is something false in this search for a purely feminine writing style. Language, such as it is, is inherited from a masculine society, and it contains many male prejudices. We must rid language of all that. Still, a language is not something created artificially; the proletariat can't use a different language from the bourgeoisie, even if they use it differently, even if from time to time they invent something, technical words or even a kind of worker's slang, which can be very beautiful and very rich. Women can do that as well, enrich their language, clean it up.
It's up to the artist to use language that can be understood, not hide it in some private code... obscurity is usually the refuge of incompetence.
My hair journey has been lots of fun. I have always loved wigs and pieces, so I am never tied down to one style.
At the same time, new concepts and abstractions flow into the picture, taking up the task of describing the universe without reference to such time or space - abstractions for which our language lacks adequate terms.
It's up to the artist to use language that can be understood, not hide it in some private code. Most of these jokers don't even want to use language you and I know or can learn . . . they would rather sneer at us and be smug, because we 'fail' to see what they are driving at. If indeed they are driving at anything--obscurity is usually the refuge of incompetence.
Happiness makes up in height for what it lacks in length.
I came up in the U.K., which is a very catch-as-catch-can style, and then I somehow ended up in Japan and spent eight years there learning strong style. I got to spend some time in Mexico learning the lucha libre style, and the WWE is a hybrid style of everything mixed together.
All literary style, especially national style, is made up of such coincidences, which are a spiritual sort of puns. That is why style is untranslatable.
After all, I believe it is the style of thought entirely, and the style of expression, which makes the difference in books.
To write or even speak English is not a science but an art. There are no reliable words. Whoever writes English is involved in a struggle that never lets up even for a sentence. He is struggling against vagueness, against obscurity, against the lure of the decorative adjective, against the encroachment of Latin and Greek, and, above all, against the worn-out phrases and dead metaphors with which the language is cluttered up.
We often think that language mirrors the world in which we live, and I find that's not true. The language actually makes the world in which we live. Language is not - I mean, things don't have any mutable value by themselves; we ascribe them a value.
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