Top 1200 Language Words Quotes & Sayings - Page 20

The sum of human wisdom is not contained in any one language, and no single language is capable of expressing all forms and degrees of human comprehension.

Languages are fluffy big pillows stuffed between nations - what others say is muffled and nearly lost in them, and when we speak their grammar we get feathers in our mouth. It's worth it. What pleasure to phrase an idea, even in child's words, slowly, and sail it across the gulf in another language to a different-speaking human being!

Erotic play discloses a nameless world which is revealed by the nocturnal language of lovers. Such language is not written down. It is whispered into the ear at night in a hoarse voice. At dawn it is forgotten.

If language is intimately related to being human, then when we study language we are, to a remarkable degree, studying human nature.

But it is imperative, for our own survival, that we avoiid one another, and what more successful means of avoidance are there than words? Language will keep us safe from human onslaught, will express for us our regret at being unable to supply groceries or love or peace.

A sentence is made up of words, a statement is made in words.... Statements are made, words or sentences are used.

The supposed inferiority of a constructed language to a national one on the score of richness of connotation is, of course, no criticism of the idea of a constructed language.

Whenever the C++ language designers had two competing ideas as to how they should solve some problem, they said, "OK, we'll do them both". So the language is too baroque for my taste.

A ruler must learn to persuade and not to compel... he must lay the best coffee hearth to attract the finest men... a good ruler has to learn his world's language... it's different for every world... the language of the rocks and growing things... the language you don't hear just with your ears... the Mystery of Life... not a problem to solve, but a reality to experience... Understanding must move with the flow of the process.

The language of film is further and further away from the language of theater and is closer to music. It's abstract but still narrative.

One can understand nature only when one has learned the language and the signs in which it speaks to us; but this language is mathematics and these signs are methematical figures.

One of the most important revelations about a period comes in its theory of language, for that informs us whether language is viewed as a bridge to the noumenal or as a body of fictions convenient for grappling with transitory phenomena.

People talk about the age and positioning of a brand, but hell, it's not about that. The global language is digital, and we need to speak the language.

Learn a language of another country and then you can go to that country: a place where the problems of your family will not follow. A language they do not speak.

Do the structures of language and the structures of reality (by which I mean what actually happens) move along parallel lines? Does reality essentially remain outside language, separate, obdurate, alien, not susceptible to description? Is an accurate and vital correspondence between what is and our perception of it impossible? Or is it that we are obliged to use language only in order to obscure and distort reality -- to distort what happens -- because we fear it?

Painting is an essentially concrete art and can only consist of the representation of real and existing things. It is a completely physical language, the words of which consist of all visible objects. An object which is abstract, not visible, non-existent, is not within the realm of painting.

My interest is in how meaning is communicated via language, and I believe the shape, positioning, even the color of the language has an effect on meaning.

I would never use obscene language in the office. Certainly not. I kept my obscene language for the home, where it belongs.

The language of poetry is not stuck in place. Nothing can own language. I think, however, the genre of poetry itself is very feminine and motherly.

Lincoln was not an intellectual, but no one in 200 years understood the language of the King James Bible or learned Blackstone's Laws of England, or Cicero, or the language of the Founding Fathers, better than he did.

How it is that animals understand things I do not know, but it is certain that they do understand. Perhaps there is a language which is not made of words and everything in the world understands it. Perhaps there is a soul hidden in everything and it can always speak, without even making a sound, to another soul.

I wanted to write for all children, even those kids who might see language as a threatening thing, even if English is their second language.

In truth, factual information - names or dates - have never interested me much. Those things are like an alien language that can interfere with the language of the painting, or even prevent its emergence.

The basic tool for the manipulation of reality is the manipulation of words. If you can control the meaning of words, you can control the people who must use the words.

I do get a little shy about contemporary language and events, but I also enjoy the idea of dating myself, somehow, anchoring a song in a specific time and place. Sometimes the new words and objects are too enjoyable and descriptive to ignore. And maybe making work that acknowledges that it won't last forever is important, too.

When I think of anything properly describable as a beautiful idea, it is always in the form of music. I have written and printed probably 10,000,000 words in English but all the same I shall die an inarticulate man, for my best ideas beset me in a language I know only vaguely and speak only as a child.

The young cult of sociology, needing a language, invented one. There are many dead languages, but the sociologists' is the only language that was dead at birth.

A book is a physical object in a world of physical objects. It is a set of dead symbols. And then the right reader comes along, and the words—or rather the poetry behind the words, for the words themselves are mere symbols—spring to life, and we have a resurrection of the word.

Have you ever noticed how some rooms exude a certain energy, warmth, and a harmony of spirit? If you have, then you have experienced the language of the home. A language softly spoken, and univerally understood.

The writer cannot abandon himself simply to inspiration, and feign innocence vis a vis language, because language is never innocent.

I subject my sentences and the words to a kind of Grand Inquisition. I'm trying always to leave out what I think is extraneous. And to find what I think is the most wonderful language to make a beautiful sentence. Not beautiful in the sense of "oh it's flowy" but in the sense that it really does what it's supposed to do, it what I want it to say.

When I was 14 years old, I was crazy about Dr. Seuss. I loved the words he made up, and I just thought, 'Well, if he can make up words, then I can make up words.'

Even though language has its richness the relationship between language and the writer is always like a stone and you have to make the stone human.

Since 'concepts' are closely bound up with language, concept art is a kind of art of which the material is language.

Today we are going to talk about words. You know, words are containers for power. They carry creative or destructive power. They carry positive or negative power. We can choose our words and we should do it carefully.

A picture held us captive. And we could not get outside it, for it lay in our language and language seemed to repeat it to us inexorably.

Yeats was the greatest poet of our times . . . certainly the greatest in this language, and so far as I am able to judge, in any language.

The iconoclastic mode, that specific mode of language, there is an element of it that it is punk - that is confrontational. That's just a part of the language of jazz - at a certain point.

So while you're getting ripped apart head to toe as you fall into a black hole, you will also extrude through the fabric of space and time, like toothpaste squeezed through a tube. To all the words in the English language that describe ways to die (e.g., homicide, suicide, electrocution, suffocation, starvation) we add the term spaghettification.

Latin is beautiful and has become something of an international language, but there is also something about singing in your native language that has meaning.

But even in the schoolyard I'd been aware of that silence, that reserve in him, as though he'd been raised by foxes and language was his second language.

I will never stop working on Spanish-language projects because that's my language, and because I'm a Latina and Mexican before anything else.

Language is the writer's only tool - we really don't have anything else - but our language contains within it our entire experience of the world.

I'm allowing myself every opportunity, every tool that every other artist should allow themselves to use. If anybody expects me to not use certain language or certain words, like I have some kind of penalty restriction, it's completely unrealistic.

For Stevie, the words are of prime importance; the song moves around the words, rather than the words moving around the song.

If the rules of a language are followed, words usually make sense. But these very rules can stir the impulse to rebel. We're obliged to keep trying to convey meaning through correct sentences. After a while, the good-soldier rigidity of polished prose can begin to seem dull, and it gets harder to resist the temptation of nonsense.

Any time there is a film in a 'foreign language,' in Spanish or Korean or whatever language, it's usually not an American film. It's usually from another country.

I do not use the language of my people. I can take liberties with certain themes which the Arabic language would not allow me to take.

Never before had I known the sudden quiver of understanding that travels from word to brain to heart, the way a new language can move, coil, swim into life under the eyes, the almost savage leap of comprehension, the instantaneous, joyful release of meaning, the way the words shed their printed bodies in a flash of heat and light.

Remember that you are a human being with a soul and the divine gift of articulate speech: that your native language is the language of Shakespeare and Milton and The Bible; and don't sit there crooning like a bilious pigeon.

Language is a process of free creation; its laws and principles are fixed, but the manner in which the principles of generation are used is free and infinitely varied. Even the interpretation and use of words involves a process of free creation.

I haven't shifted language. I'm writing in English because I like it. I'm a sucker for the language, but the good old poems I'm still writing in Russian.

We can move no faster than the evolution of our language, and this is certainly part of what the psychedelics are about: they force the evolution of language.

They say that there is no reality before it has been given shape by words rules regulations. They say that in what concerns them everything has to be remade starting from basic principles. They say that in the first place the vocabulary of every language is to be examined, modified, turned upside down, that every word must be screened.

Well, I would hardly say I do write as yet. But I write because I like words. I suppose if I liked stone I might carve. I like words. I like reading. I notice particular words. That sets me off.

The English language has about 450,000 commonly used words, but more may be needed. What to you call someone who has lost a sibling or had a miscarriage? Or a gay person whose partner has died? Or an elderly person who has lost every friend and relative? So many heartaches can't be found in the dictionary.

Those who violate the rules of a language do not enter new territory; they leave the domain of meaningful discourse. Even facts in these circumstances dissolve, because they are shaped by the language and subjected to its limitations.

I have never felt at ease in language. I did not grow up among books or among people who read them. I heard words emerge from mouths but didn't get the hang of how people hung the things out as if on lines to get their gripes and recreational distempers yowlingly known.

Certainly, words can be as abusive as any blow. . . . When a three-year-old yells, "You're so stupid! What a dummy!" it doesn't carry the same weight as when a mother yells those words to a child. . . . Even if you don't physically abuse young children, you can still drive them nuts with your words.

If I would want to have a huge audience, I would make American movies, not French movies, because there is a limit of course with French language. If I prefer to shoot in my own language, it is to play with my language, to play in my Paris, and I have complete freedom in France. It's so amazing. If American directors could imagine how free I am, they would have asked for political asylum immediately.