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To conclude: there are two well-known minor ways in which language has mattered to philosophy. On the one hand there is a belief that if only we produce good definitions, often marking out different senses of words that are confused in common speech, we will avoid the conceptual traps that ensnared our forefathers. On the other hand is a belief that if only we attend sufficiently closely to our mother tongue and make explicit the distinctions there implicit, we shall avoid the conceptual traps. One or the other of these curiously contrary beliefs may nowadays be most often thought of as an answer to the question Why does language matter to philosophy? Neither seems to me enough.
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Why Does Language Matter to Philosophy?, 1975, p. 7

 

Ian Hacking

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Those who advocate common usage in philosophy sometimes speak in a manner that suggests the mystique of the 'common man.' They may admit that in organic chemistry there is need of long words, and that quantum physics requires formulas that are difficult to translate into ordinary English, but philosophy (they think) is different. It is not the function of philosophy — so they maintain — to teach something that uneducated people do not know; on the contrary, its function is to teach superior persons that they are not as superior as they thought they were, and that those who are really superior can show their skill by making sense of common sense. No one wants to alter the language of common sense, any more than we wish to give up talking of the sun rising and setting. But astronomers find a different language better, and I contend that a different language is better in philosophy. Let us take an example, that of perception. There is here an admixture of philosophical and scientific questions, but this admixture is inevitable in many questions, or, if not inevitable, can only be avoided by confining ourselves to comparatively unimportant aspects of the matter in hand. Here is a series of questions and answers.
Q. When I see a table, will what I see be still there if I shut my eyes?
A. That depends upon the sense in which you use the word 'see.'
Q. What is still there when I shut my eyes?
A. This is an empirical question. Don't bother me with it, but ask the physicists.
Q. What exists when my eyes are open, but not when they are shut?
A. This again is empirical, but in deference to previous philosophers I will answer you: colored surfaces.
Q. May I infer that there are two senses of 'see'? In the first, when I 'see' a table, I 'see' something conjectural about which physics has vague notions that are probably wrong. In the second, I 'see' colored surfaces which cease to exist when I shut my eyes.
A. That is correct if you want to think clearly, but our philosophy makes clear thinking unnecessary. By oscillating between the two meanings, we avoid paradox and shock, which is more than most philosophers do.

 

Bertrand Russell

 

As I understand, or as I hallucinate conceptual space, nearly all form in conceptual space is language, I might even say all the form in non-conceptual space is language, I’m not even sure of what the difference between physical space and conceptual space is anymore, in the interface. All form is language. The forms that we see, or imagine, or perceive, or whatever it is Remote Viewers are doing, in conceptual space are mindforms made from language, and by language I also mean images, sounds. We dress these basic ideas in language we can understand. Sometimes there are sizable errors of translation.

 

Alan Moore

 

Philosophy finds religion, and modifies it; and conversely religion is among the data of experience which philosophy must weave into its own scheme. Religion is an ultimate craving to infuse into the insistent particularity of emotion that non-temporal generality which primarily belongs to conceptual thought alone. In the higher organisms the differences of tempo between the mere emotions and the conceptual experiences produce a life-tedium, unless this supreme fusion has been effected. The two sides of the organism require a reconciliation in which emotional experiences illustrate a conceptual justification, and conceptual experiences find an emotional illustration.

 

Alfred North Whitehead

 

To present a visible symbol to the eye of another, is not necessarily to inform him of the meaning which that symbol has to you. Hence the philosopher soon superadded to the symbols explanations addressed to the ear, susceptible of more precision, but less effective and impressive than the painted or sculptured forms which he endeavored to explain. Out of these explanations grew by degrees a variety of narrations, whose true object and meaning were gradually forgotten, or lost in contradictions and incongruities. And when these were abandoned, and Philosophy resorted to definitions and formulas, its language was but a more complicated symbolism, attempting in the dark to grapple with and picture ideas impossible to be expressed. For as with the visible symbol, so with the word: to utter it to you does not inform you of the exact meaning which it has to me; and thus religion and philosophy became to a great extent disputes as to the meaning of words. The most abstract expression for Deity, which language can supply, is but a sign or symbol for an object beyond our comprehension, and not more truthful and adequate than the images of Osiris and Vishnu, or their names, except as being less sensuous and explicit We avoid sensuousness, only by resorting to simple negation. We come at last to define spirit by saying that it is not matter. Spirit is — spirit.

 

Albert Pike

 

Translation is difficult work because the barriers between languages are higher than is generally thought ... knowing how to avoid the traps is not enough to make a good translator. The task is more arduous; it is a matter of transferring from one language to another the expressive force of the text, and this is a superhuman task, so much so that some celebrated translations (for example that of the Odyssey into Latin and the Bible into German) have marked transformations in the history of our civilisation.
Nonetheless, since writing results from a profound interaction between the creative talent of the writer and the language in which he expresses himself, to each translation is coupled an inevitable loss, comparable to the loss of changing money. This diminution varies in degree, great or small according to the ability of the translator and the nature of the original text. As a rule it is minimal for technical or scientific texts (but in this case the translator, in addition to knowing the two languages, needs to understand what he is translating; possess, that is to say, a third competence). It is maximal for poetry...

 

Primo Levi