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61 " The language of marriage is often a language of ownership, not a language of partnership. "
62 " People quickly forget evil because they still haven't created a language to describe it so the world refuses to carry the burden, preferring to forget. "
― Semezdin Mehmedinović , Sarajevo Blues
63 " I understand the mechanism of my own thinking. I know precisely how I know, and my understanding is recursive. I understand the infinite regress of this self-knowing, not by proceeding step by step endlessly, but by apprehending the limit. The nature of recursive cognition is clear to me. A new meaning of the term " self-aware." Fiat logos. I know my mind in terms of a language more expressive than any I'd previously imagined. Like God creating order from chaos with an utterance, I make myself anew with this language. It is meta-self-descriptive and self-editing; not only can it describe thought, it can describe and modify its own operations as well, at all levels. What Gödel would have given to see this language, where modifying a statement causes the entire grammar to be adjusted.With this language, I can see how my mind is operating. I don't pretend to see my own neurons firing; such claims belong to John Lilly and his LSD experiments of the sixties. What I can do is perceive the gestalts; I see the mental structures forming, interacting. I see myself thinking, and I see the equations that describe my thinking, and I see myself comprehending the equations, and I see how the equations describe their being comprehended.I know how they make up my thoughts.These thoughts. "
64 " The heroic books, even if printed in the character of our mother tongue, will always be in a language dead to degenerate times; and we must laboriously seek the meaning of each word and line, conjecturing a larger sense than common use permits out of what wisdom and valor and generosity we have. "
― Henry David Thoreau , Walden
65 " The words emerge from her body without her realizing it, as if she were being visited by the memory of a language long forsaken. "
― Marguerite Duras , Summer Rain
66 " The phrase and the day and the scene harmonized in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose? "
― James Joyce , A Portrait of the Artist as a Young Man
67 " The names of minerals and the minerals themselves do not differ from each other, because at the bottom of both the material and the print is the beginning of an abysmal number of fissures. Words and rocks contain a language that follows a syntax of splits and ruptures. Look at any word long enough and you will see it open up into a series of faults, into a terrain of particles each containing its own void. "
― Robert Smithson
68 " When a language dies, so much more than words are lost. Language is the dwelling place of ideas that do not exist anywhere else. It is a prism through which to see the world. Tom says that even words as basic as numbers are imbued with layers of meaning. The numbers we use to count plants in the sweetgrass meadow also recall the Creation Story. Én:ska—one. This word invokes the fall of Skywoman from the world above. All alone, én:ska, she fell toward the earth. But she was not alone, for in her womb a second life was growing. Tékeni—there were two. Skywoman gave birth to a daughter, who bore twin sons and so then there were three— áhsen. Every time the Haudenosaunee count to three in their own language, they reaffirm their bond to Creation. "
69 " The children are in love but do not know with what. They talk in gibberish, muse themselves into an indefinable pallor, and when they are completely at a loss they invent a language that maddens them. My fish. My hook. My fox. My snare. My fire. You my water. You my current. My earth. You my if. And you my but. Either. Or. My everything...my everything...They push one another, go for each other with their fists and scuffle over a counter-word that doesn't exist. "
― Ingeborg Bachmann , The Thirtieth Year: Stories
70 " Now, standing here, it is clear as day: more than anything else, you want to find words for what you feel and think and everything that is dark. And then this terrifying thought hits you: Yes, your father wrote poetry to find a language for his wounds. Yes, you in your own way have become your father. "
― , The Scatter Here Is Too Great
71 " No critic and advocate of immutability has ever once managed properly or even marginally to outwit the English language's capacity for foxy and relentlessly slippery flexibility. For English is a language that simply cannot be fixed, not can its use ever be absolutely laid down. It changes constantly; it grows with an almost exponential joy. It evolves eternally; its words alter their senses and their meanings subtly, slowly, or speedily according to fashion and need. "
― Simon Winchester , The Meaning of Everything: The Story of the Oxford English Dictionary
72 " Prayer was not a sacred or holy thing. It was not spoken plainly, in Twi or English. It need not be performed on the knees or with folded palms. For Akua, prayer was a frenzied chant, a language for those desires of the heart that even the mind did not recognize were there. "
― Yaa Gyasi , Homegoing
73 " Facing a language you don't know is like returning to your infancy when your mother tongue used to be a foreign language to you "
― Munia Khan
74 " Education is that process by which thought is opened out of the soul, and, associated with outward . . . things, is reflected back upon itself, and thus made conscious of its reality and shape. It is Self-Realization. As a means, therefore, of educating the soul out of itself, and mirroring forth its ideas, the external world offers the materials. This is the dim glass in which the senses are first called to display the soul, until, aided by the keener state of imagination . . . it separates those outward types of itself from their sensual connection, in its own bright mirror recognizes again itself, as a distinctive object in space and time, but out of it in existence, and painting itself upon these, as emblems of its inner and super-sensual life which no outward thing can fully portray. . . . A language is to be instituted between [the child’s] spirit and the surrounding scene of things in which he dwells. . . . He who is seeking to know himself, should be ever seeking himself in external things, and by so doing will he be best able to find, and explore his inmost light. "
― Amos Bronson Alcott
75 " I MET MY SOUL, IT WAS WRITTEN IN A LANGUAGE KNOWN TO BE TONED FOR DARKNESS BUT LIGHT IN TRUTH "
76 " From around the corner's edge a grotesque light was trickling out, the first intimations of an ominous sunrise over a dark horizon. I dimly recognized this colored light, though not from my waking memory. It grew more intense, now pouring out in weird streams from beyond the solid margin of the building. And the more intense it grew, the more clearly I could hear the screaming voice that had called out to me in a dream. I shouted his name, but the swelling colored brightness was a field of fear which kept me from making any move toward it. It was no amalgam of colors comparable to anything in mortal experience. It was as if all natural colors had been mutated into a painfully lush iridescence by some prism fantastically corrupted in its form; it was a rainbow staining the sky after a poison deluge; it was an aurora painting the darkness with a blaze of insanity, a blaze that did not burn vigorously but shimmered with an insect-jeweled frailness. And, in actuality, it was nothing like these color-filled effusions, which are merely a feeble means of partially fixing a reality uncommunicable to those not initiated to it, a necessary resorting to the makeshift gibberish of the mystic isolated by his experience and left without a language to describe it.(" The Dreaming In Nortown" ) "
77 " The writing style which is most natural for you is bound to echo the speech you heard when a child. English was the novelist Joseph Conrad's third language, and much of that seems piquant in his use of English was no doubt colored by his first language, which was Polish. And lucky indeed is the writer who has grown up in Ireland, for the English spoken there is so amusing and musical. I myself grew up in Indianapolis, where common speech sounds like a band saw cutting galvanized tin, and employs a vocabulary as unornamental as a monkey wrench.In some of the more remote hollows of Appalachia, children still grow up hearing songs and locutions of Elizabethan times. Yes, and many Americans grow up hearing a language other than English, or an English dialect a majority of Americans cannot understand.All these varieties of speech are beautiful, just as the varieties of butterflies are beautiful. No matter what your first language, you should treasure it all your life. If it happens not to be standard English, and if it shows itself when you write standard English, the result is usually delightful, like a very pretty girl with one eye that is green and one that is blue.I myself find that I trust my own writing most, and others seem to trust it most, too, when I sound most like a person from Indianapolis, which is what I am. What alternatives do I have? The one most vehemently recommended by teachers has no doubt been pressed on you, as well: to write like cultivated Englishmen of a century or more ago. "
― Kurt Vonnegut Jr.
78 " Was there a language of loss? Did everyone who suffered speak a different dialect? "
― Jodi Picoult , Handle with Care
79 " Here sighs and cries and shrieks of lamentation echoed throughout the starless air of Hell;at first these sounds resounding made me weep:tongues confused, a language strained in anguishwith cadences of anger, shrill outcriesand raucous groans that joined with sounds of hands,raising a whirling storm that turns itselfforever through that air of endless black,like grains of sand swirling when a whirlwind blows.And I, in the midst of all this circling horror,began, " Teacher, what are these sounds I hear?What souls are these so overwhelmed by grief?" And he to me: " This wretched state of beingis the fate of those sad souls who lived a lifebut lived it with no blame and with no praise.They are mixed with that repulsive choir of angelsneither faithful nor unfaithful to their God,who undecided stood but for themselves.Heaven, to keep its beauty, cast them out,but even Hell itself would not receive them,for fear the damned might glory over them." And I. " Master, what torments do they sufferthat force them to lament so bitterly?" He answered: " I will tell you in few words:these wretches have no hope of truly dying,and this blind life they lead is so abjectit makes them envy every other fate.The world will not record their having been there;Heaven's mercy and its justice turn from them.Let's not discuss them; look and pass them by... "
80 " Another segment of society that has constructed a language of its own is business. People in business say that toner cartridges are in short supply, that they have updated the next shipment of these cartridges, and that they will finalize their recommendations at the next meeting of the board. They are speaking a language familiar and dear to them. Its portentous nouns and verbs invest ordinary events with high adventure; executives walk among toner cartridges, caparisoned like knights. We should tolerate them--every person of spirit wants to ride a white horse. "
― William Strunk Jr. , The Elements of Style