Quotes About Language

The basic line in any good verse is cadenced... building it around the natural breath structures of speech.

It should here be added that poetry habitually takes the form of verse.

The only thing I can say that is wonderful about my mother is she forced me to learn three verses of the Bible every day of my life, and I've read the Bible now five times and it taught me the English language.

The iambic line, with its characteristic forward movement from short to long, or light to heavy, or unstressed to stressed, is the quintessential measure of English verse.

I adored being at the RSC and working on the verse and getting the iambic pentameter right. You just skim across the surface, and the speech is over before you know it. You can just ride along on the music of it.

If I speak my version of Spanish in Spain, they laugh. Same with Mexico. It's an alien world to me.

To this day, I like the version of movies that don't have the curse words. I'm very reserved that way.

I'm now an agnostic but I grew up on the King James version, which I'm eternally grateful for.

Some version of 'Deal or No Deal' airs in 120 countries. And they play it exactly the same way, with models and briefcases. It crosses language and culture and gender, because it's the simplest game in the world, and everyone wants to press their luck.

The Japanese version comes with a translation, but that's different from the lyrics, so people could look things up and find a translation of their own if they're interested.

After the success of 'Empire' and 'How to Get Away with Murder' and 'Scandal' and 'Power' and 'Black-ish', which all had characters that were genuine, authentic, and had the language of real people, I found myself coming into pilot season and every network just wanted to have their version of one of those shows.

For the version of this CD released in Japan, a translation of the English lyrics is included, but there are lots of places where meanings are lost in the process of translation.

I stop suddenly: there is a flaw, I have seen a word pierce through the web of sensations. I suppose that this word will soon take the place of several images I love.

Écrire, c'est faire appel au lecteur pour qu'il fasse passer à l'existence objective le dévoilement que j'ai entrepris par le moyen du langage.

Nommer c'est montrer et [...] montrer c'est changer.

I'd come to realize that all our troubles spring from our failure to use plain, clear-cut language.

Sentences live—they reach out, they move and breathe.

When you say a word—negative or positive—you release powerful forces. Every word you say has power. There is no such thing as a powerless word. —Marianne Williamson I

writing is performance.

In writing, authors use modes to make meaning and clarity.

Grammar includes all the principles that guide the structure of sentences and paragraphs: syntax-the flow of language; usage-how we use words in different situations; and rules-predetermined boundaries and patterns that govern language in a particular society. Mechanics, on the other hand, are ways we punctuate whatever we are trying to say in our writing: punctuation, capitalization, paragraphing, formatting.

Metaphors Be With You

In speech, the speaker and the listener have to be present in at least two senses:- A Present to the words in a spatial sense B Present at a particular moment in time in which the words are uttered. Therefore it seems that the speakers' thoughts are as close as possible to their words. The thoughts are present to the words. So speech offers the most direct access to consciousness. The voice can seem to be consciousness itself.

Différance is actively disruptive. Language, thought and meaning aren't to be allowed the comfort of their daily routines. If that leaves philosophical language ruined, sick with its own instabilities, what about ordinary language and everyday communication? Can we rely on grounded decidability in the supermarket, the office and the lecture hall?