When a language dies, a way of understanding the world dies with it, a way of looking at the world.
Language can only deal meaningfully with a special, restricted segment of reality. The rest, and it is presumably the much larger part, is silence.
Every language is a world. Without translation, we would inhabit parishes bordering on silence.
The new sound-sphere is global. It ripples at great speed across languages, ideologies, frontiers and races. The economics of this musical Esperanto is staggering. Rock and pop breed concentric worlds of fashion, setting and life-style. Popular music has brought with it sociologies of private and public manner, of group solidarity. The politics of Eden come loud.
Language is the main instrument of man's refusal to accept the world as it is.
Nothing in a language is less translatable than its modes of understatement.
Cheap music, childish images, the vulgate in language, in its crassest sense, can penetrate to the deeps of our necessities and dreams. It can assert irrevocable tenure there. The opening bars, the hammer-beat accelerando of Edith Piaf's Je ne regrette rien - the text is infantile, the tune stentorian, and the politics which enlisted the song unattractive - tempt every nerve in me, touch the bone with a cold burn and draw me into God knows what infidelities to reason, each time I hear the song, and hear it, uncalled for, recurrent inside me.
I have every reason to believe that an individual man or woman fluent in several tongues seduces, possesses, remembers differently according to his or her use of the relevant language.
I believe that a work of art, like metaphors in language, can ask the most serious, difficult questions in a way which really makes the readers answer for themselves; that the work of art far more than an essay or a tract involves the reader, challenges him directly and brings him into the argument.
If, in the Judaic perception, the language of the Adamic was that of love, the grammars of fallen man are those of the legal code.
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