For thousands of years human beings have communicated with one another first in the language of dress. Long before I am near enoug...h to talk to you on the street, in a meeting, or at a party, you announce your sex, age, and class to me through what you are wearing--and very possibly give me important information (or misinformation) as to your occupation, origin, personality, opinions, tastes, sexual desires, and current mood. I may not be able to put what I observe into words, but I register the information unconsciously; and you simultaneously do the same for me. By the time we meet and converse we have already spoken to each other in an older and more universal tongue.LESSATTRIBUTION DETAIL »
UG [universal grammar] may be regarded as a characterization of the genetically determined language faculty. One may think of this... faculty as a 'language acquisition device,' an innate component of the human mind that yields a particular language through interaction with present experience, a device that converts experience into a system of knowledge attained: knowledge of one or another language.LESSATTRIBUTION DETAIL »
When we study human language, we are approaching what some might call the 'human essence,' the distinctive qualities of mind that ...are, so far as we know, unique to man and that are inseparable from any critical phase of human existence, personal or social. Hence the fascination of this study, and, no less, its frustration. The frustration arises from the coming to grips with the core problem of human language, which I take to be this: having mastered a language, one is able to understand an indefinite number of expressions that are new to one's experience, that bear no simply physical resemblance and are in no simple way analogous to the expressions that constitute one's linguistic experience; and one is able ... to produce such expressions on an appropriate occasion, despite their novelty.... The normal use of language is, in this sense, a creative activity. This creative aspect of normal language use is one fundamental factor that distinguishes human language from any known system of animal communication.LESSATTRIBUTION DETAIL »
Any language is necessarily a finite system applied with different degrees of creativity to an infinite variety of situations, and... most of the words and phrases we use are "prefabricated" in the sense that we don't coin new ones every time we speak.LESSATTRIBUTION DETAIL »
The history of art is almost three times longer than that of writing, and the relationship between the two types of expression can... be seen in the earliest forms of writing, such as Egyptian hieroglyphics. However, very few people treat art as a system of communication which is historically linked with language. If more people were to take this view they would find that their approach to art would change. Man is used to the fact that there are languages which he does not at first understand and which must be learned, but because art is primarily visual he expects that he should get the message immediately and is apt to be affronted if he doesn't.LESSATTRIBUTION DETAIL »
Like rhetoric, writing is more highly organized than speech. What is more, it prides itself on transcending the boundaries of plac...e and time within which speech must be understood. And writing has propriety. Every writing system seems torn by conflicting impulses. On the one hand it wants to include within its scope all the subjects of language itself. Writing means to be the hard copy of human life. But at the same time every writing scheme has its taboos. Much as writing wants to be inclusive, there are some areas of life it either will not or cannot discuss as well as speech. This propriety is clear in traditional and classical civilizations, where certain themes like personal confession are never entertained in writing.LESSATTRIBUTION DETAIL »
Every actor and musician has a text upon which to base his art, but he can treat the text in one of two ways. The difference lies ...in how much the performer believes his own work can be "notated." In music, this means asking how far the system of musical signs printed on the page can actually represent the music the composer heard in his head. If you believe these signs--the notes, the loud and soft markings, tempo indications--are an adequate language, then in performing the piece you concentrate on realizing in sound what you, the performer, read. If you believe music cannot be adequately notated, then your task in the performance is to find what is missing from the printed page. The actor has a similar choice. He can treat the text either as a set of suggestions for a character in Shakespeare's or Ibsen's mind, suggestions which cannot be ignored, but leave him much freedom, or he can treat the text as bible which, once understood, will tell him how to act.LESSATTRIBUTION DETAIL »
Critics of visual arts and of music describe in words--that is to say, a system of signs other than those made by brushes on canva...s or chisels into stone or notes of music--those characteristics of painting or sculpture or music which can be described or analysed. Visual artists and composers can disregard critics on the ground that the medium of verbal criticism bears so indirect a relation to the medium in which they make something. Poets are in a different situation. With the development of so-called scientific methods of criticism they are made ever conscious that criticism of poetry is in the same medium of work as the art which they practise. "Close analysis" is useful to critics and readers. But for the poet there is the danger of disintegration of poetry into paraphrase, examination of technique, influences, all analysed in the language of criticism.LESSATTRIBUTION DETAIL »
So, too, no doubt, Homer had his Homer, and Orpheus his Orpheus, in the dim antiquity which preceded them. The mythological system... of the ancients,--and it is still the mythology of the moderns, the poem of mankind,--interwoven so wonderfully with their astronomy, and matching in grandeur and harmony the architecture of the heavens themselves, seems to point to a time when a mightier genius inhabited the earth. But, after all, man is the great poet, and not Homer nor Shakespeare; and our language itself, and the common arts of life, are his work. Poetry is so universally true and independent of experience that it does not need any particular biography to illustrate it, but we refer it sooner or later to some Orpheus or Linus, and after ages to the genius of humanity and the gods themselves.LESSATTRIBUTION DETAIL »