Top 1200 Oral Tradition Quotes & Sayings

Everybody in my family were great storytellers. My dad and his brothers would just go on and on; they could tell amazing stories. I think it was something to do with the Celtic, oral storytelling tradition. People very much had that propensity towards telling tales.

I made some friends at Listerine and they taught me a little bit about oral care. That half of adults suffer from oral disease, that the number one chronic disease among children is oral disease, that we're only taking care of 25% of our mouths when brushing alone and there are more germs in your mouth than there are people on the planet.

I don't travel and tell stories, because that's not the way these days. But I write my books to be read aloud, and I think of myself in that oral tradition.

Writing with a simplified alphabet checked the power of custom of an oral tradition but implied a decline in the power of expression and the creation of grooves which determined the channels of thought of readers and later writers.

The Irish, as a race, have the oral tradition in their blood. A direct question to them is an anathema, but in other cases, a mere syllable of a hero's name will elicit whole chapters of stories.

Indians are marvelous storytellers. In some ways, that oral tradition is stronger than the written tradition.

People say modernism killed poetry for them: it doesn't rhyme, it doesn't touch a popular musical oral tradition. Years ago, you memorized and read poetry; it was one of the things you were forced to learn. Now it has tiny role in school.

Gershwin's melodic gift was phenomenal. His songs contain the essence of New York in the 1920s and have deservedly become classics of their kind, part of the 20th-century folk-song tradition in the sense that they are popular music which has been spread by oral tradition (for many must have sung a Gershwin song without having any idea who wrote it).

Tradition is no longer a continuity but a series of sharp breaks. The modern tradition is the tradition of revolt.

I grew up in Sierra Leone, in a small village where as a boy my imagination was sparked by the oral tradition of storytelling. At a very young age I learned the importance of telling stories - I saw that stories are the most potent way of seeing anything we encounter in our lives, and how we can deal with living.

My very first lessons in the art of telling stories took place in the kitchen . . . my mother and three or four of her friends. . . told stories. . .with effortless art and technique. They were natural-born storytellers in the oral tradition.

Nowhere else is there so large and consistent a body of oral tradition about the national and mythical heroes as amongst the Gaels.

People get strange about whether you've written your own songs, which seems really stupid considering that, especially in Country Music, it's about oral tradition and passing things on and the songs weren't meant to be played by one person and then forgotten.

Americans, more than any other culture on earth, are cookbook cooks; we learn to make our meals not from any oral tradition, but from a text. The just-wed cook brings to the new household no carefully copied collection of the family's cherished recipes, but a spanking new edition of 'Fannie Farmer' or 'The Joy of Cooking'.

It is suggested that all written works, including this one, have dangerous implications to the vitality of an oral tradition and to the health of a civilization, particularly if they thwart the interest of a people in culture, and following Aristotle, the cathartic effects of culture. "It is written but I say unto you" is a powerful directive to Western civilization.

Poetry carries its history within it, and it is oral in origin. Its transmission was oral.

The Americans are violently oral. That's why in America the mother is all-important and the father has no position at all -- isn't respected in the least. Even the American passion for laxatives can be explained as an oral manifestation. They want to get rid of any unpleasantness taken in through the mouth.

I'm called an oral historian, which is something of a joke. Oral history was here long before the pen, long before Gutenberg and the printing press. The difference is I have a tape recorder in my hand.

A necessary part of our intelligence is on the line as the oral tradition becomes less and less important. There was a time throughout our land when it was common for stories to be told and retold, a most valuable exercise, for the story retold is the story reexamined over and over again at different levels of intellectual and emotional growth.

The point is there is more information now then you can pass along comfortably in an oral tradition, say a strictly speaking culture. That is a problem.

I'm saying that the domain of poetry includes both oral & written forms, that poetry goes back to a pre-literate situation & would survive a post-literate situation, that human speech is a near-endless source of poetic forms, that there has always been more oral than written poetry, & that we can no longer pretend to a knowledge of poetry if we deny its oral dimension.

The urge to break with a tradition is only appropriate when you're dealing with an outdated, troublesome tradition: I never really thought about that because I take the old-fashioned approach of equating tradition with value (which may be a failing). But whatever the case, positive tradition can also provoke opposition if it's too powerful, too overwhelming, too demanding. That would basically be about the human side of wanting to hold your own.

Poetry carries its history within it, and it is oral in origin. Its transmission was oral. Its transmission today is still in part oral, because we become acquainted with poetry through nursery rhymes, which we hear before we can read.

I think we fool ourselves and really negate a great deal of history if we think that the oral history of poetry is shorter than the written history of poetry. It's not true. Poetry has a longer oral tradition than it does written

Because we are all of an oral tradition in our beginning histories, the voice of the poet in this particular society will be heard.

I am not against songs in films. We come from an oral tradition of storytelling. I have grown up listening to epics in oral rendition and oral rendition always had music.

It's time to realise that tradition is fantastic but if because of tradition and only tradition you lose everyone it's less fantastic so you have to keep some tradition to this sport of course but you also have to live in your century.

My love of storytelling comes from oral tradition, the stories from my grandmother and conversations with [my] mother. The world is full of discussions of condensation, drifts, misunderstanding, repetition. These are the materials I work with. My debt is to these women.

I think of myself as a poet. I grew up with poetic influences - what I know from my background is the bardic poetry, which came down through oral tradition.

When tradition is thought to state the way things really are, it becomes the director and judge of our lives; we are, in effect, imprisoned by it. On the other hand, tradition can be understood as a pointer to that which is beyond tradition: the sacred. Then it functions not as a prison but as a lens.

I think there's a great storytelling tradition in the restaurant business that tends to attract people with an oral tradition of bulls - ting and bollocking. Creative people, people for whom the 9-to-5 world is not attractive or impossible. It seems that way. There are a lot of stories in the business, and a lot of characters - and it seems to attract its share of artists and writers and people who hope to do something creative in their lives.

I've always used the technique of the cuento. I am an oral storyteller, but now I do it on the printed page. I think if we were very wise we would use that same tradition in video cassettes, in movies, and on radio.

Following the invention of writing, the special form of heightened language, characteristic of the oral tradition and a collective society, gave way to private writing. Records and messages displaced the collective memory. Poetry was written and detached from the collective festival.

Language pedants hew to an oral tradition of shibboleths that have no basis in logic or style, that have been defied by great writers for centuries, and that have been disavowed by every thoughtful usage manual.

Much of my experience with language was formed in the church, which has an oral tradition. There are lots of repetitions in prayers and song refrains. There's a sense of incantation, that if you call not once and not twice but for a third time, the spirit appears.

The value for me being in a mainline tradition is history and memory, which is not just Christian tradition but denominational tradition, and characters, you know, with real distinct flavors of ways to be Christian.

There can't be a pure myth, especially when the myth has been handed down in the oral tradition. As the stories are told, they change. If the stories don't change they just die.

A fast word about oral contraception. I was involved in an extremely good example of oral contraception two weeks ago. I asked a girl to go to bed with me, she said 'no'.

If you read the fables, 'Beowulf,' for example, you will know something about the person who writes them, and I like that. Secondly, they will not be about individuals; they will be about community. Thirdly, they're all about moralizing. Fourthly, the way they express themselves takes its tone from the oral tradition.

The blues are important primarily because they contain the cultural expression and the cultural response to blacks in America and to the situation that they find themselves in. And contained in the blues is a philosophical system at work. And as part of the oral tradition, this is a way of passing along information.

Is a BJ adultery? What? Did I miss a day of school? Of course it is! Oral sex is adultery like Curling is an Olympic sport. The only thing is, oral sex should be in the Olympics because it's much harder than Curling, and if you're good at it, you DESERVE a medal!

It is hardly an exaggeration to say that oral teachers and sign teachers found it difficult to sit down in the same room without quarreling, and there was intolerance upon both sides. To say 'oral method' to a sign teacher was like waving a red flag in the face of a bull, and to say 'sign language' to an oralist aroused the deepest resentment.

I learned a little of beauty - enough to know that it had nothing to do with truth - and I found, moreover, that there was no great literary tradition; there was only the tradition of the eventful death of every literary tradition.

I come out of a strong oral tradition in the South.

I think we fool ourselves and really negate a great deal of history if we think that the oral history of poetry is shorter than the written history of poetry. It's not true. Poetry has a longer oral tradition than it does written.

I would then go on to say that Homer, as we now know, was working in what they call an oral tradition.

When they talk about family values, it's in a repressive way, as if our American tradition were only the Puritan tradition or the 19th century oppressive tradition. The Christian tradition.

I have been given something really, really special and really unique, and it is not just in and of itself having learned from my father, who is the greatest exponent of this musical style. But it is an oral tradition that is only generally passed on in that manner, and so without the people who continue to... learn it and perform it, it dies.

The president is on national TV apologizing for getting oral sex. Why didn't he just stick with his lie? You got to stick with your lie. If you lie, you have to believe that lie whole-heartedly. It has to become the truth for you. But this man, the most powerful man in the world, is on national TV apologizing for receiving oral sex. He's an idiot. There are men sitting in here right now who would gladly accept oral sex on national TV.

Rae Chorze-Fwaz has preserved and passed on their secret meditation techniques in oral tradition from the time of Atlantis until he present day.

Those who feel guilty contemplating "betraying" the tradition they love by acknowledging their disapproval of elements within it should reflect on the fact that the very tradition to which they are so loyal—the "eternal" tradition introduced to them in their youth—is in fact the evolved product of many adjustments firmly but delicately made by earlier lovers of the same tradition.

Moreover, it is so important that people have the opportunity to share their stories and have them documented. There have been large-scale oral history projects after many events, from September 11th to Hurricane Katrina. Many oral history projects are much more confined, but equally valuable. We can learn about different working conditions, living conditions, trauma experiences and much more through oral history.

My book, Oral History: Understanding Qualitative Research is about how researchers use this method and how to write up their oral history projects so that audiences can read them. It's important that researchers have many different tools available to study people's lives and the cultures we live in. I think oral history is a most needed and uniquely important strategy.

While most Americans have access to the best oral health care in the world, low-income children suffer disproportionately from oral disease.

There's been resistance to every new technology that's ever been introduced. When books came out hundreds of years ago, there were complaints that it would destroy the oral tradition. Some of those fears were justified, but it didn't stop the rise of the written word. And books have proven to be incredibly useful.

Rap comes from the oral tradition. The oral tradition gives voice to those who would've otherwise been voiceless.

I grew up in a society with a very ancient and strong oral storytelling tradition. I was told stories, as a child, by my grandmother, and my father as well.

People are always saying it's the end of the Gutenberg era. More to the point, it's a return to an oral era. The Gutenberg galaxy was about the written word. At its best, the digital era is part of the rediscovery of the oral. At its worst, it's a Kafkaesque victory of the bureaucratic over the imagination.

I think of myself in the oral tradition-as a troubadour, a village tale-teller, the man in the shadows of the campfire. That's the way I'd like to be remembered- as a storyteller. A good storyteller.

For most of human history, 'literature,' both fiction and poetry, has been narrated, not written — heard, not read. So fairy tales, folk tales, stories from the oral tradition, are all of them the most vital connection we have with the imaginations of the ordinary men and women whose labor created our world.