Are not the richest and most significant experiences of man precisely those which are the least patient of verbal reproduction? A book, a treatise, a discourse, is the very thing that cannot contain them, that can contain at most their lower elements, their less significant aspects. Who shall transfer them to paper, write them in ink, utter them in words? And yet, though inexpressible thus, these things crave expression, for they are full of meaning and must be expressed. They have a language of their own. Art can utter some of them, and Nature, perhaps, can interpret them all. They borrow her tongues, speaking in the winds, singing in the voice of moving waters, looking down upon us in the cold shining of the stars. What they mean, we, too, can express; but we express it, not by speaking there and then, but by all that we become through their influence, by all that we are led to do, through their compelling, till life shall end.
L. P. Jacks
If I could express the same thing with words as with music, I would, of course, use a verbal expression. Music is something autonomous and much richer. Music begins where the possibilities of language end. That is why I write music.
Jean Sibelius
It is not easy to write a familiar style. Many people mistake a familiar for a vulgar style, and suppose that to write without affectation is to write at random. On the contrary, there is nothing that requires more precision, and, if I may so say, purity of expression, than the style I am speaking of. It utterly rejects not only all unmeaning pomp, but all low, cant phrases, and loose, unconnected, slipshod allusions. It is not to take the first word that offers, but the best word in common use; it is not to throw words together in any combinations we please, but to follow and avail ourselves of the true idiom of the language. To write a genuine familiar or truly English style, is to write as anyone would speak in common conversation who had a thorough command and choice of words, or who could discourse with ease, force, and perspicuity, setting aside all pedantic and oratorical flourishes... It is easy to affect a pompous style, to use a word twice as big as the thing you want to express: it is not so easy to pitch upon the very word that exactly fits it, out of eight or ten words equally common, equally intelligible, with nearly equal pretensions, it is a matter of some nicety and discrimination to pick out the very one the preferableness of which is scarcely perceptible, but decisive.
William Hazlitt
Grammar, perfectly understood, enables us, not only to express our meaning fully and clearly, but so to express it as to enable us to defy the ingenuity of man to give to our words any other meaning than that which we ourselves intend them to express.
William Cobbett
He had had such things said to him so many times that none of them had any freshness for him. Emma was like all his other mistresses; and as the charm of novelty gradually slipped from her like a piece of her clothing, he saw revealed in all its nakedness the eternal monotony of passion, which always assumes the same forms and always speaks the same language... Whereas the truth is that fullness of soul can sometimes overflow in utter vapidity of language, for none of us can ever express the exact measure of his needs or his thoughts or his sorrows; and human speech is like a cracked kettle on which we tap crude rhythms for bears to dance to, while we long to make music that will melt the stars.
Gustave Flaubert
The theater, which is in no thing, but makes use of everything—gestures, sounds, words, screams, light, darkness—rediscovers itself at precisely the point where the mind requires a language to express its manifestations.... To break through language in order to touch life is to create or recreate the theatre.
Antonin Artaud
Jacks, L. P.
Jackson, Andrew
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