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[as a Shakespearean narrator] Mind not my words — Let the play be the thing. I'll get back forth and touch myself anon.

 

Robin Williams

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"Words, words, words," he writes, "are the stumbling-blocks in the way of truth. Until you think of things as they are, and not of the words that misrepresent them, you cannot think rightly. Words produce the appearance of hard and fast lines where there are none. Words divide; thus we call this a man, that an ape, that a monkey, while they are all only differentiations of the same thing. To think of a thing they must be got rid of: they are the clothes that thoughts wear—only the clothes. I say this over and over again, for there is nothing of more importance. Other men's words will stop you at the beginning of an investigation. A man may play with words all his life, arranging them and rearranging them like dominoes. If I could think to you without words you would understand me better."

 

Samuel (novelist Butler

 

Shakespearean language is a bizarre super-tongue, alien and plastic, twisting, turning, and forever escaping. It is untranslatable, since it knocks Anglo-Saxon root words against Norman and Greco-Roman importations sweetly or harshly, kicking us up and down rhetorical levels with witty abruptness. No one in real life ever spoke like Shakespeare's characters. His language does not "make sense," especially in the greatest plays. Anywhere from a third to a half of every Shakespearean play, I conservatively estimate, will always remain under an interpretive cloud. Unfortunately, this fact is obscured by the encrustations of footnotes in modern texts, which imply to the poor cowed student that if only he knew what the savants do, all would be as clear as day. Every time I open Hamlet, I am stunned by its hostile virtuosity, its elusiveness and impenetrability. Shakespeare uses language to darken. He suspends the traditional compass points of rhetoric, still quite firm in Marlowe, normally regarded as Shakespeare's main influence. Shakespeare's words have "aura." This he got from Spenser, not Marlowe.

 

William Shakespeare

 

Morphy and Capablanca had enormous talent, they are two of my favorites. Steinitz was very great too. Alekhine was great, but I am not a big fan of his. Maybe it’s just my taste. I’ve studied his games a lot, but I much prefer Capablanca and Morphy. Alekhine had a rather heavy style, Capablanca was much more brilliant and talented, he had a real light touch. Everyone I’ve spoken to who saw Capablanca play still speak of him with awe. If you showed him any position he would instantly tell you the right move. When I used to go to the Manhattan Chess Club back in the fifties, I met a lot of old-timers there who knew Capablanca, because he used to come around to the Manhattan club in the forties — before he died in the early forties. They spoke about Capablanca with awe. I have never seen people speak about any chess player like that, before or since. Capablanca really was fantastic. But even he had his weaknesses, especially when you play over his games with his notes he would make idiotic statements like 'I played the rest of the game perfectly.' But then you play through the moves and it is not true at all. But the thing that was great about Capablanca was that he really spoke his mind, he said what he believed was true, he said what he felt.

 

Bobby Fischer

 

The sixteenth century transformed Middle English into modern English. Grammar was up for grabs. People made up vocabulary and syntax as they went along. Not until the eighteenth century would rules of English usage appear. Shakespearean language is a bizarre super-tongue, alien and plastic, twisting, turning, and forever escaping. It is untranslatable, since it knocks Anglo-Saxon root words against Norman and Greco-Roman importations sweetly or harshly, kicking us up and down rhetorical levels with witty abruptness. No one in real life ever spoke like Shakespeare’s characters. His language does not “make sense,” especially in the greatest plays. Anywhere from a third to a half of every Shakespearean play, I conservatively estimate, will always remain under an interpretive cloud. Unfortunately, this fact is obscured by the encrustations of footnotes in modern texts, which imply to the poor cowed student that if only he knew what the savants do, all would be as clear as day. Every time I open Hamlet, I am stunned by its hostile virtuosity, its elusiveness and impenetrability. Shakespeare uses language to darken. He suspends the traditional compass points of rhetoric, still quite firm in Marlowe, normally regarded as Shakespeare’s main influence. Shakespeare’s words have “aura.” This he got from Spenser, not Marlowe.

 

Camille Paglia

 

In Tom Robbins' Even Cowgirls Get The Blues, the narrator attempts to describe a Whooping Crane in 25 words or less. One attempt at the description reads Imagine Wilt Chamberlain in a red yarmulke and snowy feathers... The narrator cuts off the attempt with the explanation You're assuming that the reader knows who Wilt Chamberlain is. Many people don't follow basketball and wouldn't understand that Wilt signifies size and strength and arrogance made palatable by grace.

 

Wilt Chamberlain