“
I cried in English, I cried in french, I cried in all the languages, because tears are the same all around the world.
”
”
Miranda July (No One Belongs Here More Than You)
“
The English language is like London: proudly barbaric yet deeply civilised, too, common yet royal, vulgar yet processional, sacred yet profane. Each sentence we produce, whether we know it or not, is a mongrel mouthful of Chaucerian, Shakespearean, Miltonic, Johnsonian, Dickensian and American. Military, naval, legal, corporate, criminal, jazz, rap and ghetto discourses are mingled at every turn. The French language, like Paris, has attempted, through its Academy, to retain its purity, to fight the advancing tides of Franglais and international prefabrication. English, by comparison, is a shameless whore.
”
”
Stephen Fry (The Ode Less Travelled: Unlocking the Poet Within)
“
In Paris they just simply opened their eyes and stared when we spoke to them in French! We never did succeed in making those idiots understand their own language.
”
”
Mark Twain (The Innocents Abroad, Or, the New Pilgrims' Progress)
“
But, reader, there is no comfort in the word "farewell," even if you say it in French. "Farewell" is a word that,in any language, is full of sorrow. It is a word that promises absolutely nothing.
”
”
Kate DiCamillo (The Tale of Despereaux)
“
Language is the source of misunderstandings.
”
”
Antoine de Saint-Exupéry
“
I have seafoam in my veins, I understand the language of waves.
”
”
Le Testament d'Orphée
“
An unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences.
”
”
Edith Wharton
“
Into the face of the young man who sat on the terrace of the Hotel Magnifique at Cannes there had crept a look of furtive shame, the shifty hangdog look which announces that an Englishman is about to speak French.
”
”
P.G. Wodehouse (The Luck of the Bodkins)
“
He may well speak French and Latin and half a dozen languages, but since he has nothing to say – what good are they?
”
”
Philippa Gregory (The Constant Princess (The Plantagenet and Tudor Novels, #6))
“
What's the trick to remembering that a sandwich is masculine? What qualities does it share with anyone in possession of a penis? I'll tell myself that a sandwich is masculine because if left alone for a week or two, it will eventually grow a beard.
”
”
David Sedaris (Me Talk Pretty One Day)
“
I spit on your happiness! I spit on your idea of life--that life that must go on, come what may. You are all like dogs that lick everything they smell. You with your promise of a humdrum happiness--provided a person doesn't ask much of life. I want everything of life, I do; and I want it now! I want it total, complete: otherwise I reject it! I will not be moderate. I will not be satisfied with the bit of cake you offer me if I promise to be a good little girl. I want to be sure of everything this very day; sure that everything will be as beautiful as when I was a little girl. If not, I want to die!
”
”
Jean Anouilh (Antigone (French language edition) (French Edition))
“
So you speak French?" Isabelle sighed. "I wish I spoke another language. But Hodge never thought we needed to learn anything but ancient Greek and Latin, and nobody speaks those."
"I also speak Russian and Italian. And some Romanian," Sebastian said with a modest smile. "I could teach you some phrases-"
"Romanian? That's impressive," said Jace. "Not many people speak it."
"Do you?" Sebastian asked with interest.
"Not really," Jace said with a smile so disarming Simon knew he was lying. "My Romanian is pretty much limited to useful phrases like, 'Are these snakes poisonous?' and 'But you look much too young to be a police officer.
”
”
Cassandra Clare (City of Glass (The Mortal Instruments, #3))
“
French is the language that turns dirt into romance.
”
”
Stephen King
“
The French verb aimer has two meanings. And that’s why he liked her, and loved her. She spoke to him in a language that, no matter how hard you studied it, could not be completely understood.
”
”
John Green (An Abundance of Katherines)
“
To God I speak Spanish, to women Italian, to men French, and to my horse - German.
”
”
Charles V
“
Trying, he thought, to express some unutterable truth about themselves. Which was that translation was impossible. That the realm of pure meaning they captured and manifested would and could not ever be known. That the enterprise of this tower had been impossible from inception. For how could there ever be an Adamic language? The thought now made him laugh. There was no innate, perfectly comprehensible language. There was no candidate - not English, not French - that could bully and absorb enough to become one. Language was just difference. A thousand different ways of seeing, of moving through the world. No, a thousand worlds within one. And translation, a necessary endeavor however futile, to move between them.
”
”
R.F. Kuang (Babel)
“
French: why does this language even exist? Everyone there speaks english anyway.
”
”
Meg Cabot (Princess in Waiting (The Princess Diaries, #4))
“
I have not been able to discover whether there exists a precise French equivalent for the common Anglo-American expression 'killing time.' It's a very crass and breezy expression, when you ponder it for a moment, considering that time, after all, is killing us.
”
”
Christopher Hitchens (Love, Poverty, and War: Journeys and Essays)
“
We have been expropriated from our own language by television, from our songs by reality TV contests, from our flesh by mass pornography, from our city by the police and from our friends by wage-labor.
”
”
The Invisible Committee (The Coming Insurrection)
“
The French: a people who have used their sophisticated culture and beautiful language to bequeath to the world the sliced potato.
”
”
Bauvard (Some Inspiration for the Overenthusiastic)
“
I thought English is a strange language. Now I think French is even more strange. In France, their fish is poisson, their bread is pain, and their pancake is crepe. Pain and poison and crap. That's what they have every day.
”
”
Xiaolu Guo (A Concise Chinese-English Dictionary for Lovers)
“
It's a common mistake for vacationing Americans to assume that everyone around them is French and therefore speaks no English whatsoever. [...] An experienced traveler could have told by looking at my shoes that I wasn't French. And even if I were French, it's not as if English is some mysterious tribal dialect spoken only by anthropologists and a small population of cannibals.
”
”
David Sedaris (Me Talk Pretty One Day)
“
I don't know what it is about the french language, it seems to be scared of coming out of the mouth so it comes out the nose instead.
”
”
P.D.Q. Bach
“
A happy love is full of quarrels, you know.
”
”
Jean Anouilh (Antigone (French language edition) (French Edition))
“
Annoyance has made me bilingual.
”
”
Gayle Forman (Just One Day (Just One Day, #1))
“
I wanted to write in Kitchenese, the secret language of cooks, instantly recognizable to anyone who has ever dunked french fries for a summer job or suffered under the despotic rule of a tyrannical chef or boobish owner.
”
”
Anthony Bourdain (Kitchen Confidential: Adventures in the Culinary Underbelly)
“
So I'm all, "Owned! Bee-yatch! Dog fucking owned you!" Doing a minor booty dance of ownage, perhaps, in retrospect, a bit prematurely. (I believe hip-hop to be the apprpriate language for taunting, at least until I learn French.)
”
”
Christopher Moore (You Suck (A Love Story, #2))
“
When you are a kid you have your own language, and unlike French or Spanish or whatever you start learning in fourth grade, this one you are born with, and eventually lose...Kids think with their brains cracked wide open; becoming an adult...is only a slow sewing it shut.
”
”
Jodi Picoult (My Sister’s Keeper)
“
We think of English as a fortress to be defended, but a better analogy is to think of English as a child. We love and nurture it into being, and once it gains gross motor skills, it starts going exactly where we don't want it to go: it heads right for the goddamned electrical sockets. We dress it in fancy clothes and tell it to behave, and it comes home with its underwear on its head and wearing someone else's socks. As English grows, it lives its own life, and this is right and healthy. Sometimes English does exactly what we think it should; sometimes it goes places we don't like and thrives there in spite of all our worrying. We can tell it to clean itself up and act more like Latin; we can throw tantrums and start learning French instead. But we will never really be the boss of it. And that's why it flourishes.
”
”
Kory Stamper (Word by Word: The Secret Life of Dictionaries)
“
Tu seras toujours mon ami. Tu auras envie de rire avec moi.
”
”
Antoine de Saint-Exupéry (The Little Prince)
“
I love the quietness of the library, the gateway to knowledge, to the French language and medieval history and hydraulic engineering and fairy tales, learning in a very primitive form: books, something that's quickly giving way to modern technology.
”
”
Mary Kubica (Pretty Baby)
“
On of the reasons that I wanted to study literature was because it exposed everything. Writers looked for secrets that had never been mined. Every writer has to invent their own magical language, in order to describe the indescribable. They might seem to be writing in French, English, or Spanish, but really they were writing in the language of butterflies, crows, and hanged men.
”
”
Heather O'Neill (The Girl Who Was Saturday Night)
“
Trevor realized that the odd thing about English is that no matter how much you screw sequences word up up, you understood, still, like Yoda, will be. Other languages don't work that way. French? Dieu! Misplace a single le or la and an idea vaporizes into a sonic puff. English is flexible: you can jam it into a Cuisinart for an hour, remove it, and meaning will still emerge.
”
”
Douglas Coupland (Generation A)
“
It had been June, the bright hot summer of 1937, and with the curtains thrown back the bedroom had been full of sunlight, sunlight and her and Will's children, their grandchildren, their nieces and nephews- Cecy's blue eyed boys, tall and handsome, and Gideon and Sophie's two girls- and those who were as close as family: Charlotte, white- haired and upright, and the Fairchild sons and daughters with their curling red hair like Henry's had once been.
The children had spoken fondly of the way he had always loved their mother, fiercely and devotedly, the way he had never had eyes for anyone else, and how their parents had set the model for the sort of love they hoped to find in their own lives. They spoke of his regard for books, and how he had taught them all to love them too, to respect the printed page and cherish the stories that those pages held. They spoke of the way he still cursed in Welsh when he dropped something, though he rarely used the language otherwise, and of the fact that though his prose was excellent- he had written several histories of the Shadowhunters when he's retired that had been very well respected- his poetry had always been awful, though that never stopped him from reciting it.
Their oldest child, James, had spoken laughingly about Will's unrelenting fear of ducks and his continual battle to keep them out of the pond at the family home in Yorkshire.
Their grandchildren had reminded him of the song about demon pox he had taught them- when they were much too young, Tessa had always thought- and that they had all memorized. They sang it all together and out of tune, scandalizing Sophie.
With tears running down her face, Cecily had reminded him of the moment at her wedding to Gabriel when he had delivered a beautiful speech praising the groom, at the end of which he had announced, "Dear God, I thought she was marrying Gideon. I take it all back," thus vexing not only Cecily and Gabriel but Sophie as well- and Will, though too tired to laugh, had smiled at his sister and squeezed her hand.
They had all laughed about his habit of taking Tessa on romantic "holidays" to places from Gothic novels, including the hideous moor where someone had died, a drafty castle with a ghost in it, and of course the square in Paris in which he had decided Sydney Carton had been guillotined, where Will had horrified passerby by shouting "I can see the blood on the cobblestones!" in French.
”
”
Cassandra Clare (Clockwork Princess (The Infernal Devices, #3))
“
I'd hoped the language might come on its own, the way it comes to babies, but people don't talk to foreigners the way they talk to babies. They don't hypnotize you with bright objects and repeat the same words over and over, handing out little treats when you finally say "potty" or "wawa." It got to the point where I'd see a baby in the bakery or grocery store and instinctively ball up my fists, jealous over how easy he had it. I wanted to lie in a French crib and start from scratch, learning the language from the ground floor up. I wanted to be a baby, but instead, I was an adult who talked like one, a spooky man-child demanding more than his fair share of attention.
Rather than admit defeat, I decided to change my goals. I told myself that I'd never really cared about learning the language. My main priority was to get the house in shape. The verbs would come in due time, but until then I needed a comfortable place to hide.
”
”
David Sedaris
“
I have always wanted to go to Trieste because it sounds like tristesse, which is a light-hearted word, even though in French it means sadness. In Spanish it is tristeza, which is heavier than French sadness, more of a groan than a whisper.
”
”
Deborah Levy (Hot Milk)
“
Je suis désolé,' he said. You had to wonder about the French, how they could make a simple 'sorry' sound so extreme and forlorn.
”
”
Kate Atkinson (Case Histories (Jackson Brodie, #1))
“
...a French lieutenant, who had been long enough out of France to forget his own language, but not long enough in England to learn ours, so that he really spoke no language at all.
”
”
Henry Fielding (The History of Tom Jones, a Foundling)
“
The Forgotten Dialect of the Heart
How astonishing it is that language can almost mean,
and frightening that it does not quite. Love, we say,
God, we say, Rome and Michiko, we write, and the words
get it all wrong. We say bread and it means according
to which nation. French has no word for home,
and we have no word for strict pleasure. A people
in northern India is dying out because their ancient
tongue has no words for endearment. I dream of lost
vocabularies that might express some of what
we no longer can. Maybe the Etruscan texts would
finally explain why the couples on their tombs
are smiling. And maybe not. When the thousands
of mysterious Sumerian tablets were translated,
they seemed to be business records. But what if they
are poems or psalms? My joy is the same as twelve
Ethiopian goats standing silent in the morning light.
O Lord, thou art slabs of salt and ingots of copper,
as grand as ripe barley lithe under the wind's labor.
Her breasts are six white oxen loaded with bolts
of long-fibered Egyptian cotton. My love is a hundred
pitchers of honey. Shiploads of thuya are what
my body wants to say to your body. Giraffes are this
desire in the dark. Perhaps the spiral Minoan script
is not language but a map. What we feel most has
no name but amber, archers, cinnamon, horses, and birds.
”
”
Jack Gilbert (The Great Fires)
“
I, however, was perfectly aware of my beauty. I considered it a skill, alongside speaking French, English, Italian and German. It was a language of its own, in a way. One that translated well in different circumstances.
”
”
Kiersten White (The Dark Descent of Elizabeth Frankenstein)
“
...it always felt good to have that moment of resolve, like saying, "I'm gonna learn French!" It doesn't matter if you do it or not, deciding is the high, right?
”
”
Felicia Day (You're Never Weird on the Internet (Almost))
“
Books were her refuge. Having set herself to learn the Russian language, she read every Russian book she could find. But French was the language she preferred, and she read French books indiscriminately, picking up whatever her ladies-in-waiting happened to be reading. She always kept a book in her room and carried another in her pocket.
”
”
Robert K. Massie (Catherine the Great: Portrait of a Woman)
“
Je pense que je t'aime, she'd said numerically--'I think that I like you.' Or, 'I think that I love you.' The French verb aimer has two meanings. And that's why he liked her, and loved her. She spoke to him in a language that, no matter how hard you studied it, could not be completely understood.
”
”
John Green (An Abundance of Katherines)
“
Her voice was slightly accented but her French was perfect. Someone who'd not just learned the language but loved it. And it showed with every syllable. Gamache knew it was impossible to split language from culture. That without one the other withered. To love the language was to respect the culture.
”
”
Louise Penny (The Brutal Telling (Chief Inspector Armand Gamache #5))
“
The French just said he was a damned nuisance. Or they would have had they the good fortune to speak English. Instead being French they were forced to say it in their own language.
”
”
Lauren Willig (The Secret History of the Pink Carnation (Pink Carnation, #1))
“
all cats have a Spanish tinge although Puss himself elegantly lubricates his virile, muscular, native Bergamasque with French, since that is the only language in which you can purr.
”
”
Angela Carter (The Bloody Chamber and Other Stories)
“
I spent months searching for some secret code before I realized that common sense has nothing to do with it. Hysteria, psychosis, torture, depression: I was told that if something is unpleasant it's probably feminine. This encouraged me, but the theory was blown by such masculine nouns as murder, toothache, and rollerblade. I have no problem learning the words themselves, it's the sexes that trip me up and refuse to stick.
”
”
David Sedaris (Me Talk Pretty One Day)
“
Let’s face it - English is a crazy language. There is no egg in eggplant nor ham in hamburger; neither apple nor pine in pineapple. English muffins weren’t invented in England or French fries in France. Sweetmeats are candies while sweetbreads, which aren’t sweet, are meat. We take English for granted. But if we explore its paradoxes, we find that quicksand can work slowly, boxing rings are square and a guinea pig is neither from Guinea nor is it a pig.
And why is it that writers write but fingers don’t fing, grocers don’t groce and hammers don’t ham? If the plural of tooth is teeth, why isn’t the plural of booth beeth? One goose, 2 geese. So one moose, 2 meese? One index, 2 indices? Doesn’t it seem crazy that you can make amends but not one amend? If you have a bunch of odds and ends and get rid of all but one of them, what do you call it?
If teachers taught, why didn’t preachers praught? If a vegetarian eats vegetables, what does a humanitarian eat? In what language do people recite at a play and play at a recital? Ship by truck and send cargo by ship? Have noses that run and feet that smell? How can a slim chance and a fat chance be the same, while a wise man and a wise guy are opposites?
You have to marvel at the unique lunacy of a language in which your house can burn up as it burns down, in which you fill in a form by filling it out and in which an alarm goes off by going on. English was invented by people, not computers, and it reflects the creativity of the human race (which, of course, isn’t a race at all). That is why, when the stars are out, they are visible, but when the lights are out, they are invisible.
And finally, why doesn't "buick" rhyme with "quick"?
”
”
Richard Lederer
“
Maybe that was why the French called orgasms “las petites morts”: because the things that bring us passion tend to slip past our defenses, to creep insidiously into every facet of our consciousnesses and kill us as ruthlessly, and efficiently, as any drug.
”
”
Nenia Campbell (Cease and Desist (The IMA, #4))
“
How to repulse a demon (an old problem)? The demons, especially if they are demons of language (and what else could they be?) are fought by language. Hence I can hope to exorcise the demonic word which is breathed into my ears (by myself) if I substitute for it (if I have the gifts of language for doing so) another, calmer word (I yield to euphemism). Thus: I imagined I had escaped from the crisis at last, when behold -- favored by a long car trip -- a flood of language sweeps me away, I keep tormenting myself with the thought, desire, regret, and rage of the other; and I add to these wounds the discouragement of having to acknowledge that I am falling back, relapsing; but the French vocabulary is a veritable pharmacopoeia (poison on one side, antidote on the other): no, this is not a relapse, only a last soubresaut, a final convulsion of the previous demon.
”
”
Roland Barthes (A Lover's Discourse: Fragments)
“
Now, I can tell you about some women writers who truly are fantastic. One is Anna Kavan. She writes stories like I approach "Land of a Thousand Dances": she's caught in a haze and then a light, a little teeny light, come through. It could be a leopard, that light, or it could be a spot of blood. It could be anything. But she hooks onto that and spirals out. And she does it within the accessible rhythms of plot, and that's really exciting. She's not hung up with being a woman, she just keeps extending herself, keeps telescoping language and plot.
Another great woman writer is Iris Sarazan, who wrote The Runaway. She considered herself a mare, a wild runaway. She was a really intelligent girl stuck in all these convents with a hungry mind. I identify with her 'cause of her hunger to go beyond herself. She wound up in prison, but she escaped and wrote some great books before kicking off. Her books aren't page after page of her beating her breast about how shitty she's been treated, they're books about her exciting telescoping plans of escape. Rhythm, great wild rhythm....
The French poet, Rimbaud, predicted that the next great crop of writers would be women. He was the first guy who ever made a big women's liberation statement, saying that when women release themselves from the long servitude of men they're really gonna gush. New rhythms, new poetries, new horrors, new beauties. And I believe in that completely. (1976 Penthouse interview)
”
”
Patti Smith
“
I think my ideal man would speak many languages. He would speak Ibo and Yoruba and English and French and all of the others. He could speak with any person, even the soldiers, and if there was violence in their heart he could change it. He would not have to fight, do you see? Maybe he would not be very handsome, but he would be beautiful when he spoke. He would be very kind, even if you burned his food because you were laughing and talking with your girlfriends instead of watching the cooking. He would just say, 'Ah, never mind'.
”
”
Chris Cleave (Little Bee)
“
Oh, Jesus,” he said, wheezing with the effort it took to control
himself. He wiped his eyes with the back of his hand. “You little
innocent. I’m fluent in French, but it isn’t my first language.” It
was plain by the mortified expression in those green eyes that she
didn’t understand, so he explained. “Baby , if I can still think
clearly enough to speak French, then I’m not totally involved in
what I’m doing. It may sound pretty , but it doesn’t mean
any thing. Men are different from women; the more excited we are,
the more like cavemen we sound. I could barely speak English with
you, much less French. As I remember, my vocabulary
deteriorated to a few short, explicit words, ‘fuck’ being the most
prominent.”
To his amazement, she blushed, and he smiled at this further
evidence of her charming prudery. “Go to sleep,” he said gently.
“Lindsey didn’t even rate a replay.
”
”
Linda Howard (After the Night)
“
There’s no word for it in English. Like tristesse, flâneur, or la douleur exquise, words full of gray. The French do ambiguity so much better than Americans. Our language relies on fixedness because that’s what the market demands. A commodity must always be identifiable.
”
”
Stephanie Danler (Sweetbitter)
“
The main thing is, the constraints have come off style. What we are saying now is that the Revolution does not proceed in a pitiless, forward direction, its politics and its language becoming ever more gross and simplistic: the Revolution is always flexible, subtle, elegant.
”
”
Hilary Mantel (A Place of Greater Safety)
“
The French believe that all errors are distant, someone else's fault. Americans believe that there is no distance, no difference, and therefore that there are no errors, that any troubles are simple misunderstandings, consequent on your not yet having spoken English loudly enough.
”
”
Adam Gopnik (Paris to the Moon)
“
UGH. Boys. They're like French class--no matter how much I study, I'll never be fluent in the language.
”
”
Jen Calonita (On Location (Secrets of My Hollywood Life, #2))
“
What fascinated me about English was what I later recognized as its hybrid etymoogy: blunt Anglo-Saxon concreteness, sleek Norman French urbanity, and polysyllabic Greco-Roman abstraction. The clash of these elements, as competitive as Italian dialects is invigorating, richly entertaining, and often funny, as it is to Shaskespeare, who gets tremendous effects out of their interplay. The dazzling multiplicity of sounds and word choices in English makes it brilliantly suited to be a language of poetry..
”
”
Camille Paglia (Break, Blow, Burn)
“
In addition to her boulangerie and fromagerie French, she knew enough of the language to realize that the title of Rodin’s sculpture, Le Baiser in French, was part of its subversion. For baiser in French could mean either the innocence of a kiss or the animalistic quality of a f*ck. One could say le baiser and refer to a kiss, but if one said, Baise-moi, one was begging to be f*cked. Both innocence and begging were wrapped up in the embrace of these two lovers whose lips never touched: frozen together, yet separated for all eternity. Julia wanted to free them from their frozen embrace, and she secretly hoped her thesis would allow her to do so.
”
”
Sylvain Reynard (Gabriel's Inferno (Gabriel's Inferno, #1))
“
I’m lecturing my class last week. In the English language, I tell them, a double negative forms a positive. However, in some languages, such as Russian, a double negative remains a negative. But there isn’t a single language, not one, in which a double positive can express a negative. And I hear a voice from the back of the room: ‘Yeah, right.’
”
”
William Alexander (Flirting with French: How a Language Charmed Me, Seduced Me, and Nearly Broke My Heart)
“
You'll marry me, my dragon, and you'll bear my children, and you'll drive me mad and live in that ramshackle old house with me and I'll even put up with the occasional visit from your sister if
I must. But you'll marry me. Not because you have to. But because I won't let you go."
"Why?" she demanded.
And he answered the only way he could, in French. "Je't'aime," he said. "I love you."
"Je't'aime aussi," she said. "And I will make your life a living hell," she added in the same language.
He smiled down at her. "I'm counting on it.
”
”
Anne Stuart (The Devil's Waltz)
“
...apparently "London" gave out my address! that's what they're saying...not just London, though! Brazzaville, too!...and said that I'm a dirty pornographer...a letch besides being the most despicable traitor of the century!...I'd make a urinal blush! that what we need is to cleanse France and the French language of this smut-writing, demoralizing, grammaclast who's sullying our sacred homeland and its literary heritage!
”
”
Louis-Ferdinand Céline (Normance)
“
In French culture, the best way of buying time or getting off the hook entirely in a thorny personal situation is to claim that it’s complicated. The French did not invent love, but they did invent romance, so they’ve had more time than any other culture on earth to refine the nuances of its language.
”
”
Mark Zero (The French Art of Revenge)
“
Immersing herself in a third language, a third culture, had been her refuge—she approached French, unlike things American or Indian, without guilt, or misgiving, or expectation of any kind. It was easier to turn her back on the two countries that could claim her in favor of one that had no claim whatsoever.
”
”
Jhumpa Lahiri (The Namesake)
“
ABSTRACT THOUGHTS in a blue room; Nominative, genitive, etative, accusative one, accusative two, ablative, partitive, illative, instructive, abessive, adessive, inessive, essive, allative, translative, comitative. Sixteen cases of the Finnish noun. Odd, some languages get by with only singular and plural. The American Indian languages even failed to distinguish number. Except Sioux, in which there was a plural only for animate objects. The blue room was round and warm and smooth. No way to say warm in French. There was only hot and tepid If there's no word for it, how do you think about it? And, if there isn't the proper form, you don't have the how even if you have the words. Imagine, in Spanish having to assign a sex to every object: dog, table, tree, can-opener. Imagine, in Hungarian, not being able to assign a sex to anything: he, she, it all the same word. Thou art my friend, but you are my king; thus the distinctions of Elizabeth the First's English. But with some oriental languages, which all but dispense with gender and number, you are my friend, you are my parent, and YOU are my priest, and YOU are my king, and YOU are my servant, and YOU are my servant whom I'm going to fire tomorrow if YOU don't watch it, and YOU are my king whose policies I totally disagree with and have sawdust in YOUR head instead of brains, YOUR highness, and YOU may be my friend, but I'm still gonna smack YOU up side the head if YOU ever say that to me again;
And who the hell are you anyway . . .?
”
”
Samuel R. Delany (Babel-17)
“
There is one thing I like about the Poles—their language. Polish, when it is spoken by intelligent people, puts me in ecstasy. The sound of the language evokes strange images in which there is always a greensward of fine spiked grass in which hornets and snakes play a great part. I remember days long back when Stanley would invite me to visit his relatives; he used to make me carry a roll of music because he wanted to show me off to these rich relatives. I remember this atmosphere well because in the presence of these smooth−tongued, overly polite, pretentious and thoroughly false Poles I always felt miserably uncomfortable. But when they spoke to one another, sometimes in French, sometimes in Polish, I sat back and watched them fascinatedly. They made strange Polish grimaces, altogether unlike our relatives who were stupid barbarians at bottom. The Poles were like standing snakes fitted up with collars of hornets. I never knew what they were talking about but it always seemed to me as if they were politely assassinating some one. They were all fitted up with sabres and broad−swords which they held in their teeth or brandished fiercely in a thundering charge. They never swerved from the path but rode rough−shod over women and children, spiking them with long pikes beribboned with blood−red pennants. All this, of course, in the drawing−room over a glass of strong tea, the men in butter−colored gloves, the women dangling their silly lorgnettes. The women were always ravishingly beautiful, the blonde houri type garnered centuries ago during the Crusades. They hissed their long polychromatic words through tiny, sensual mouths whose lips were soft as geraniums. These furious sorties with adders and rose petals made an intoxicating sort of music, a steel−stringed zithery slipper−gibber which could also register anomalous sounds like sobs and falling jets of water.
”
”
Henry Miller (Sexus (The Rosy Crucifixion, #1))
“
Irene gasped. "Have you taken leave of your senses, Stuart?" she hissed. "Have you?"
Stuart closed his eyes.
"No," he said. "Au contraire." It was strong language for the Edinburgh New Town, but he had to say it.
"Don't au contraire me," said Irene.
But it was too late. He had.
”
”
Alexander McCall Smith (Sunshine on Scotland Street (44 Scotland Street, #8))
“
Although he thinks he's awesome at them, Andrew really sucks at languages. Once, he tried to speak French to this woman who owned the C'est La Vie bakery back home, and she gave him a cookie because she thought he was mentally challenged. (Page 21)
”
”
Alicia Thompson (Psych Major Syndrome)
“
God was God's name just as his name was Stephen. Dieu was the French for God and that was God's name too; and when anyone prayed to God and said Dieu then God knew at once that it was a French person that was praying. But though there were different names for God in all the different languages in the world and God understood what all the people who prayed said in their different languages still God remained always the same God and God's real name was God.
”
”
James Joyce (A Portrait of the Artist as a Young Man)
“
The French, it seems to me, strike a happy balance between intimacy and reserve. Some of this must be helped by the language, which lends itself to graceful expression even when dealing with fairly basic subjects.... And there's that famously elegant subtitle from a classic Western.
COWBOY: "Gimme a shot of red-eye."
SUBTITLE: "Un Dubonnet, s'il vous plait."
No wonder French was the language of diplomacy for all those years.
”
”
Peter Mayle (Encore Provence: New Adventures in the South of France (Provence, #3))
“
Occasionally, merely for the pleasure of being cruel, we put unoffending Frenchmen on the rack with questions framed in the incomprehensible jargon of their native language, and while they writhed, we impaled them, we peppered them, we scarified them, with their own vile verbs and participles.
”
”
Mark Twain (The Innocents Abroad, Or, the New Pilgrims' Progress)
“
The Greek word for "return" is nostos. Algos means "suffering." So nostalgia is the suffering caused by an unappeased yearning to return. To express that fundamental notion most Europeans can utilize a word derived from the Greek (nostalgia, nostalgie) as well as other words with roots in their national languages: añoranza, say the Spaniards; saudade, say the Portuguese. In each language these words have a different semantic nuance. Often they mean only the sadness caused by the impossibility of returning to one's country: a longing for country, for home. What in English is called "homesickness." Or in German: Heimweh. In Dutch: heimwee. But this reduces that great notion to just its spatial element. One of the oldest European languages, Icelandic (like English) makes a distinction between two terms: söknuour: nostalgia in its general sense; and heimprá: longing for the homeland. Czechs have the Greek-derived nostalgie as well as their own noun, stesk, and their own verb; the most moving, Czech expression of love: styska se mi po tobe ("I yearn for you," "I'm nostalgic for you"; "I cannot bear the pain of your absence"). In Spanish añoranza comes from the verb añorar (to feel nostalgia), which comes from the Catalan enyorar, itself derived from the Latin word ignorare (to be unaware of, not know, not experience; to lack or miss), In that etymological light nostalgia seems something like the pain of ignorance, of not knowing. You are far away, and I don't know what has become of you. My country is far away, and I don't know what is happening there. Certain languages have problems with nostalgia: the French can only express it by the noun from the Greek root, and have no verb for it; they can say Je m'ennuie de toi (I miss you), but the word s'ennuyer is weak, cold -- anyhow too light for so grave a feeling. The Germans rarely use the Greek-derived term Nostalgie, and tend to say Sehnsucht in speaking of the desire for an absent thing. But Sehnsucht can refer both to something that has existed and to something that has never existed (a new adventure), and therefore it does not necessarily imply the nostos idea; to include in Sehnsucht the obsession with returning would require adding a complementary phrase: Sehnsucht nach der Vergangenheit, nach der verlorenen Kindheit, nach der ersten Liebe (longing for the past, for lost childhood, for a first love).
”
”
Milan Kundera (Ignorance)
“
This young woman," he indicated Miss Wintertowne, "she has, I dare say, all the usual accomplishments and virtues? She was graceful? Witty? Vivacious? Capricious? Danced like sunlight? Rode ilk the wind? Sang like an angel? Embroidered like Penelope? Spoke French, Italian, German, Breton, Welsh and many other languages?"
Mr. Norrell said he supposed so. He believed that those were the sorts of things young ladies did nowadays.
”
”
Susanna Clarke (Jonathan Strange & Mr Norrell)
“
A language has genius. Some works translate well, others are untranslatable. Molière is effective only in French. Without knowing Arabic nobody has ever understood the Koran. Pushkin remains a possession of the Russian people, though the world has acquired Tolstoy. In general, the higher the charge of peculiarly national identity and emotion, the less translatable a work is.
”
”
Herman Wouk (This is My God: A Guidebook to Judaism)
“
My only comfort was the knowledge that I was not alone. Huddled in the hallways and making the most of our pathetic French, my fellow students and I engaged in the sort of conversation commonly overheard in refugee camps.
"Sometime me cry alone at night."
"That be common for I, also, but be more strong, you. Much work and someday you talk pretty. People start love you soon. Maybe tomorrow, okay.
”
”
David Sedaris (Me Talk Pretty One Day)
“
India's linguistic diversity surprises many Westerners, but there are nearly thirty languages in India with at least a million native speakers. There are more native speakers of Tamil on our planet than of Italian. Likewise, more people speak Punjabi than German, Marathi than French, and Bengali than Russian. There are more Telugu speakers than Czech, Dutch, Danish, Finnish, Greek, Slovak, and Swedish speakers combined.
”
”
Bob Harris (The International Bank of Bob: Connecting Our Worlds One $25 Kiva Loan at a Time)
“
For how could there ever be an Adamic language? The thought now made him laugh. There was no innate, perfectly comprehensible language; there was no candidate, not English, not French, that could bully and absorb enough to become one. Language was just difference. A thousand different ways of seeing, of moving through the world. No; a thousand worlds within one. And translation – a necessary endeavour, however futile, to move between them.
”
”
R.F. Kuang (Babel, or the Necessity of Violence: An Arcane History of the Oxford Translators' Revolution)
“
Here comes Mamma Vauquerr, fair as a starrr; and strung up like a bunch of carrots. Aren't we suffocating ourselves a wee bit?' he asked, placing a hand on the top of her corset. 'A bit of a crush in the vestibule, here, Mamma! If we start crying, there'll be an explosion. Never mind, I'll be there to collect the bits--just like an antiquary.'
'Now, there's the language of true French gallantry,' murmured Madame Vauquer in an aside to Madame Couture.
”
”
Honoré de Balzac (Père Goriot)
“
I should point out, creating one's own style, as much as is required to illustrate one of the aspects, the golden seam of language, involves beginning again at once, in a different manner, adopting the guise of a pupil when one risked becoming pedantic - thus by a shrugging of one's shoulders, disconcerting some with their genuflecting stance, and immortalizing oneself in multiple, impersonal, or even anonymous forms in response to the gesture of arms raised in stupefaction.
”
”
Stéphane Mallarmé (Mallarmé in Prose)
“
Richard had met Jessica in France, on a weekend trip to Paris two years earlier; had in fact discovered her in the Louvre, trying to find the group of his office friends who had organized the trip. Staring up at an immense sculpture, he had stepped backwards into Jessica, who was admiring an extremely large and historically important diamond. He tried to apologize to her in French, which he did not speak, gave up, and began to apologize in English, then tried to apologize in French for having to apologize in English, until he noticed that Jessica was about as English as it was possible for any one person to be.
”
”
Neil Gaiman (Neverwhere (London Below, #1))
“
Not evil,” Fermín objected. “Moronic, which isn’t quite the same thing. Evil presupposes a moral decision, intention, and some forethought. A moron or a lout, however, doesn’t stop to think or reason. He acts on instinct, like a stable animal, convinced that he’s doing good, that he’s always right, and sanctimoniously proud to go around fucking up, if you’ll excuse the French, anyone he perceives to be different from himself, be it because of skin color, creed, language, nationality, or, as in the case of Don Federico, his leisure habits. What the world needs is more thoroughly evil people and fewer borderline pigheads.
”
”
Carlos Ruiz Zafón (The Shadow of the Wind (The Cemetery of Forgotten Books, #1))
“
Clinicians and researchers have remarked that where the higher emotions are concerned, sociopaths can “know the words but not the music.” They must learn to appear emotional as you and I would learn a second language, which is to say, by observation, imitation, and practice. And just as you or I, with practice, might become fluent in another language, so an intelligent sociopath may become convincingly fluent in “conversational emotion.” In fact, this would seem to be only a mildly challenging intellectual task, quite a lot easier than learning French or Chinese. Any person who can observe human actions even superficially, or who can read novels and watch old movies, can learn to act romantic or interested or softhearted. Virtually anyone can learn to say “I love you,” or to appear smitten and say the words, “Oh my! What a cute little puppy!” But not all human beings are capable of experiencing the emotion implied by the behavior. Sociopaths never do.
”
”
Martha Stout (The Sociopath Next Door)
“
It goes without saying that these effects do not suffice to annul the necessity for a “change of terrain.” It also goes without saying that the choice between these two forms of deconstruction cannot be simple and unique. A new writing must weave and interlace these two motifs of deconstruction. Which amounts to saying that one must speak several languages and produce several texts at once. I would like to point out especially that the style of the first deconstruction is mostly that of the Heideggerian questions, and the other is mostly the one which dominates France today. I am purposely speaking in terms of a dominant style: because there are also breaks and changes of terrain in texts of the Heideggerian type; because the “change of terrain” is far from upsetting the entire French landscape to which I am referring; because what we need, perhaps, as Nietzsche said, is a change of “style”; and if there is style, Nietzsche reminded us, it must be plural.
”
”
Jacques Derrida (Margins of Philosophy)
“
Now, I believe the best way for you to learn is immersion and since we can't teleport you all to France," he grinned at me, and there were once again sighs from the girls. "I'll be speaking only in French and will expect you to do the same. Is anyone here already proficient in the language?" I narrowed my eyes at him. He knew darn well I was fluent in French and several other languages. "Eveline, I believe your dad mentioned at dinner the other night that you are?"
What was he doing? "Umm. Yes-"
He shook his head at me. "En français s'il vous plait." More sighs from the class. I clenched my jaw and spoke rapidly. "Oui, Monsieur Smith. Je parle français. Qu'est-ce que tu veux?" Yes, Mr.Smith. I speak French. What do you want?
His eyes smoldered and caressed my face as he delivered his swift reply, "Je veux plus de toi que vous imaginez, ma petit lueur.
”
”
Heather Self (The One (The Portal Trilogy, #1))
“
Leader of a backward and ignorant mass, he was yet in the forefront of the great historical movement of his time. The blacks were taking their part in the destruction of European feudalism begun by the French Revolution, and liberty and equality, the slogans of the revolution, meant far more to them than to any Frenchman. That was why in the hour of danger Toussaint, uninstructed as he was, could find the language and accent of Diderot, Rousseau, and Raynal, of Mirabeau, Robespierre and Danton. And in one respect he excelled them all. For even these masters of the spoken and written word, owing to the class complications of their society, too often had to pause, to hesitate, to qualify. Toussaint could defend the freedom of the blacks without reservation, and this gave to his declaration a strength and a single-mindedness rare in the great documents of the time. The French bourgeoisie could not understand it. Rivers of blood were to flow before they understood that elevated as was his tone Toussaint had written neither bombast nor rhetoric but the simple and sober truth.
”
”
C.L.R. James (The Black Jacobins: Toussaint L'Ouverture and the San Domingo Revolution)
“
Nothing could be further from the truth. All identities, without exception, have been socially constructed: the Han, the Burman, the American, the Danish, all of them. Quite often such identities, particularly minority identities, are at first imagined by powerful states, as the Han imagined the Miao, the British colonists imagined the Karen and the Shan, the French the Jarai. Whether invented or imposed, such identities select, more or less arbitrarily, one or another trait, however vague-religion, language, skin color, diet, means of subsistence-as the desideratum. Such categories, institutionalized in territories, land tenure, courts, customary law, appointed chiefs, schools, and paperwork, may become passionately lived identities. To the degree that the identity is stigmatized by the larger state or society, it is likely to become for many a resistant and defiant identity. Here invented identities combine with self-making of a heroic kind, in which such identifications become a badge of honor
”
”
James C. Scott (The Art of Not Being Governed: An Anarchist History of Upland Southeast Asia (Yale Agrarian Studies Series))
“
Jubal shrugged. "Abstract design is all right-for wall paper or linoleum. But art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation. . . whereas creative art is more like intercourse, in which the artist must seduce- render emotional-his audience, each time. These ladies who won't deign to do that- and perhaps can't- of course lost the public. If they hadn't lobbied for endless subsidies, they would have starved or been forced to go to work long ago. Because the ordinary bloke will not voluntarily pay for 'art' that leaves him unmoved- if he does pay for it, the money has to be conned out of him, by taxes or such."
"You know, Jubal, I've always wondered why i didn't give a hoot for paintings or statues- but I thought it was something missing in me, like color blindness."
"Mmm, one does have to learn to look at art, just as you must know French to read a story printed in French. But in general terms it's up to the artist to use language that can be understood, not hide it in some private code like Pepys and his diary. Most of these jokers don't even want to use language you and I know or can learn. . . they would rather sneer at us and be smug, because we 'fail' to see what they are driving at. If indeed they are driving at anything- obscurity is usually the refuge of incompetence. Ben, would you call me an artists?”
“Huh? Well, I’ve never thought about it. You write a pretty good stick.”
“Thank you. ‘Artist’ is a word I avoid for the same reasons I hate to be called ‘Doctor.’ But I am an artist, albeit a minor one. Admittedly most of my stuff is fit to read only once… and not even once for a busy person who already knows the little I have to say. But I am an honest artist, because what I write is consciously intended to reach the customer… reach him and affect him, if possible with pity and terror… or, if not, at least to divert the tedium of his hours with a chuckle or an odd idea. But I am never trying to hide it from him in a private language, nor am I seeking the praise of other writers for ‘technique’ or other balderdash. I want the praise of the cash customer, given in cash because I’ve reached him- or I don’t want anything. Support for the arts- merde! A government-supported artist is an incompetent whore! Damn it, you punched one of my buttons. Let me fill your glass and you tell me what is on your mind.
”
”
Robert A. Heinlein (Stranger in a Strange Land)
“
When World War II erupted, colonialism was at its apogee. The courde of the war, however, its symbolic undertones, would sow the seeds of the system's defeat and demise. [...] The central subject, the essence, the core relations between Europeans and Africans during the colonial era, was the difference of race, of skin color. Everything-each eaxchange, connection, conflict-was translated into the language of black and white. [...] Into the African was inculcated the notion that the white man was untouchable, unconquerable, that whites constitute a homogenous, cohesive force. [...] Then, suddenly, Africans recruited into the British and French armies in Europe observed that the white men were fighting one another, shooting one another, destroying one another's cities. It was revelation, a surprise, a shock.
”
”
Ryszard Kapuściński (The Shadow of the Sun)
“
My father never put a book into my hands and never forbade a book. Instead, he let me roam and graze, making my own more or less appropriate selections. I read gory tales of historic heroism that nine-teenth century parents were suitable for children, and gothic ghost stories that were surely not; I read accounts of arduous travel through treacherous lands undertaken by spinsters in crinolines, and I read handbooks on decorum and etiquette intended for young ladies of good family; I read books with pictures and books without; books in English, books in French, books in languages I didn't understand where I could make up stories in my head on the basis of a handful of guessed-at words. Books. Books. And books.
”
”
Diane Setterfield (The Thirteenth Tale)
“
The kingdoms of kings are confined, either by mountains or rivers, or by a change in customs or by a difference of language; but my kingdom is as great as the world, because I am neither Italian, nor French, nor Hindu, nor American, nor a Spaniard; I am a cosmopolitan. No country can claim to be my birthplace, God alone knows in which region I shall die. I adopt every custom, I speak every tongue [... ] In this way, you see, being of no country, asking for the protection of no goverment and acknowledging no man as my brother, I am not restrained or hampered by a single one of the scruples that tie the hands of the powerful or the obstacles that block the path of the weak.
”
”
Alexandre Dumas (The Count of Monte Cristo)
“
For me that's the only way of understanding a particular term that everyone here bandies about quite happily, but which clearly can't be quite that straight forward because it doesn't exist in many languages, only in Italian and Spanish, as far as I know, but then again, I don't know that many languages. Perhaps in German too, although I can't be sure: el enamoramiento--the state of falling or being in love, or perhaps infatuation. I'm referring to the noun, the concept; the adjective, the condition, are admittedly more familiar, at least in French, although not in English, but there are words that approximate that meaning ... We find a lot of people funny, people who amuse and charm us and inspire affection and even tenderness, or who please us, captivate us, and can even make us momentarily mad, we enjoy their body and their company or both those things, as is the case for me with you and as I've experienced before with other women, on other occasions, although only a few. Some become essential to us, the force of habit is very strong and ends up replacing or even supplanting almost everything else. It can supplant love, for example, but not that state of being in love, it's important to distinguish between the two things, they're easily confused, but they're not the same ... It's very rare to have a weakness, a genuine weakness for someone, and for that someone to provoke in us that feeling of weakness.
”
”
Javier Marías (Los enamoramientos)
“
What captivated me about you was that you opened the door to another world for me. The values that dominated my childhood had no place there. That world enchanted me. I could leave the real world behind and be someone else, without any ties or obligations. With you, I was elsewhere, in a foreign place, foreign to myself. You gave me access to another dimension when I'd always rejected any fixed identity and just worn different identities on top of each other, though none of them were mine.
By speaking to you in English, I made your language mine. I've continued to talk to you in English right up to this day, even when you answered me in French. For me, English, which I knew mainly through you and through books, was from the start like a private language that preserved our intimacy against the intrusion of the real world, and its prevailing social normals. I felt like I was building a protected and protective world with you.
”
”
André Gorz (Letter to D: A Love Story)
“
Worship, then, needs to be characterized by hospitality; it needs to be inviting. But at the same time, it should be inviting seekers into the church and its unique story and language. Worship should be an occasion of cross-cultural hospitality. Consider an analogy: when I travel to France, I hope to be made to feel welcome. However, I don't expect my French hosts to become Americans in order to make me feel at home. I don't expect them to start speaking English, ordering pizza, talking about the New York Yankees, and so on. Indeed, if I wanted that, I would have just stayed home! Instead, what I'm hoping for is to be welcomed into their unique French culture; that's why I've come to France in the first place. And I know that this will take some work on my part. I'm expecting things to be different; indeed, I'm looking for just this difference. So also, I think, with hospitable worship: seekers are looking for something our culture can't provide. Many don't want a religious version of what they can already get at the mall. And this is especially true of postmodern or Gen X seekers: they are looking for elements of transcendence and challenge that MTV could never give them. Rather than an MTVized version of the gospel, they are searching for the mysterious practices of the ancient gospel.
”
”
James K.A. Smith (Who's Afraid of Postmodernism?: Taking Derrida, Lyotard, and Foucault to Church (The Church and Postmodern Culture))
“
What was after the universe? Nothing. But was there anything round the universe to show where it stopped before the nothing place began? It could not be a wall; but there could be a thin thin line there all round everything. It was very big to think about everything and everywhere. Only God could do that. He tried to think what a big thought that must be; but he could only think of God. God was God's name just as his name was Stephen. Dieu was the French for God and that was God's name too; and when anyone prayed to God and said Dieu then God knew at once that it was a French person that was praying. But, though there were different names for God in all the different languages in the world and God understood what all the people who prayed said in their different languages, still God remained always the same God and God's real name was God.
”
”
James Joyce (A Portrait of the Artist as a Young Man)
“
Occasionally people make the mistake of asking me where a word comes from. They never make this mistake twice. I am naturally a stern and silent fellow; even forbidding. But there’s something about etymology and where words come from that overcomes my inbuilt taciturnity. A chap once asked me where the word biscuit came from. He was eating one at the time and had been struck by curiosity. I explained to him that a biscuit is cooked twice, or in French bi-cuit, and he thanked me for that. So I added that the bi in biscuit is the same bi that you get in bicycle and bisexual, to which he nodded. And then, just because it occurred to me, I told him that the word bisexual wasn’t invented until the 1890s and that it was coined by a psychiatrist called Richard von Krafft-Ebing and did he know that Ebing also invented the word masochism? He told me firmly that he didn’t. Did he know about Mr. Masoch, after whom masochism was named? He was a novelist and… The fellow told me that he didn’t know about Mr. Masoch, that he didn’t want to know about Mr. Masoch, and that his one ambition in life was to eat his biscuit in peace.
”
”
Mark Forsyth (The Etymologicon: A Circular Stroll Through the Hidden Connections of the English Language)
“
The Student"
“In America,” began
the lecturer, “everyone must have a
degree. The French do not think that
all can have it, they don’t say everyone
must go to college.” We
incline to feel, here,
that although it may be unnecessary
to know fifteen languages.
one degree is not too much. With us, a
school—like the singing tree of which
the leaves were mouths that sang in concert—
is both a tree of knowledge
and of liberty—
seen in the unanimity of college
mottoes, lux et veritas,
Christo et ecclesiae, sapiet
felici. It may be that we
have not knowledge, just opinions, that we
are undergraduates,
not students; we know
we have been told with smiles, by expatriates
of whom we had asked, “When will
your experiment be finished?” “Science
is never finished.” Secluded
from domestic strife, Jack Bookworm led a
college life, says Goldsmith;
and here also as
in France or Oxford, study is beset with
dangers—with bookworms, mildews,
and complaisancies. But someone in New
England has known enough to say
that the student is patience personified,
a variety
of hero, “patient
of neglect and of reproach,"—who can "hold by
himself.” You can’t beat hens to
make them lay. Wolf’s wool is the best of wool,
but it cannot be sheared, because
the wolf will not comply. With knowledge as
with wolves’ surliness,
the student studies
voluntarily, refusing to be less
than individual. He
“gives him opinion and then rests upon it”;
he renders service when there is
no reward, and is too reclusive for
some things to seem to touch
him; not because he
has no feeling but because he has so much.
”
”
Marianne Moore
“
All languages that derive fromLatin form the word 'compassion' by combining the prefix meaning 'with' (com-) and the root meaning 'suffering' (Late Latin, passio). In other languages- Czech, Polish, German, and Swedish, for instance- this word is translated by a noun formed of an equivalent prefixcombined with the word that means 'feeling' (Czech, sou-cit; Polish, wsspół-czucie; German, Mit-gefühl; Swedish, medkänsla).
In languages that derive from Latin, 'compassion' means: we cannot look on coolly as others suffer; or, we sympathize with those who suffer. Another word with approximately the same meaning, 'pity' (French, pitié; Italian, pietà; etc.), connotes a certain condescension towards the sufferer. 'To take pity on a woman' means that we are better off than she, that we stoop to her level, lower ourselves.
That is why the word 'compassion' generally inspires suspicion; it designates what is considered an inferior, second-rate sentiment that has little to do with love. To love someone out of compassion means not really to love.
In languages that form the word 'compassion' not from the root 'suffering' but from the root 'feeling', the word is used in approximately the same way, but to contend that it designates a bad or inferior sentiment is difficult. The secret strength of its etymology floods the word with another light and gives it a broader meaning: to have compassion (co-feeling) means not only to be able to live with the other's misfortune but also to feel with him any emotion- joy, anxiety, happiness, pain. This kind of compassion (in the sense of soucit, współczucie, Mitgefühl, medkänsla) therefore signifies the maximal capacity of affective imagination, the art of emotional telepathy. In the hierarchy of sentiments, then, it is supreme.
By revealing to Tomas her dream about jabbing needles under her fingernails, Tereza unwittingly revealed that she had gone through his desk. If Tereza had been any other woman, Tomas would never have spoken to her again. Aware of that, Tereza said to him, 'Throw me out!' But instead of throwing her out, he seized her and kissed the tips of her fingers, because at that moment he himself felt the pain under her fingernails as surely as if the nerves of her fingers led straight to his own brain.
Anyone who has failed to benefit from the the Devil's gift of compassion (co-feeling) will condemn Tereza coldly for her deed, because privacy is sacred and drawers containing intimate correspondence are not to be opened. But because compassion was Tomas's fate (or curse), he felt that he himself had knelt before the open desk drawer, unable to tear his eyes from Sabina's letter. He understood Tereza, and not only was he incapable of being angry with her, he loved her all the more.
”
”
Milan Kundera
“
When I first read The Rebel, this splendid line came leaping from the page like a dolphin from a wave. I memorized it instantly, and from then on Camus was my man. I wanted to write like that, in a prose that sang like poetry. I wanted to look like him. I wanted to wear a Bogart-style trench coat with the collar turned up, have an untipped Gauloise dangling from my lower lip, and die romantically in a car crash. At the time, the crash had only just happened. The wheels of the wrecked Facel Vega were practically still spinning, and at Sydney University I knew exiled French students, spiritually scarred by service in Indochina, who had met Camus in Paris: one of them claimed to have shared a girl with him. Later on, in London, I was able to arrange the trench coat and the Gauloise, although I decided to forgo the car crash until a more propitious moment. Much later, long after having realized that smoking French cigarettes was just an expensive way of inhaling nationalized industrial waste, I learned from Olivier Todd's excellent biography of Camus that the trench coat had been a gift from Arthur Koestler's wife and that the Bogart connection had been, as the academics say, no accident. Camus had wanted to look like Bogart, and Mrs. Koestler knew where to get the kit. Camus was a bit of an actor--he though, in fact, that he was a lot of an actor, although his histrionic talent was the weakest item of his theatrical equipment--and, being a bit of an actor, he was preoccupied by questions of authenticity, as truly authentic people seldom are. But under the posturing agonies about authenticity there was something better than authentic: there was something genuine. He was genuinely poetic. Being that, he could apply two tests simultaneously to his own language: the test of expressiveness, and the test of truth to life. To put it another way, he couldn't not apply them.
”
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Clive James (Cultural Amnesia: Necessary Memories from History and the Arts)
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No more peeping through keyholes! No more mas turbating in the dark! No more public confessions! Unscrew the doors from their jambs! I want a world where the vagina is represented by a crude, honest slit, a world that has feeling for bone and contour, for raw, primary colors, a world that has fear and respect for its animal origins. I’m sick of looking at cunts all tickled up, disguised, deformed, idealized. Cunts with nerve ends exposed. I don’t want to watch young
virgins masturbating in the privacy of their boudoirs or biting their nails or tearing their hair or lying on a bed full of bread crumbs for a whole chapter. I want Madagascan funeral poles, with animal upon animal and at the top Adam and Eve, and Eve with a crude, honest slit between the legs. I want hermaphrodites who are real hermaphrodites, and not make-believes walking around with an atrophied penis or a dried-up cunt. I want a classic purity, where dung is dung and angels are angels. The Bible a la King James, for example. Not the Bible of Wycliffe, not the Vulgate, not the Greek, not the Hebrew, but the glorious, death-dealing Bible that was created when the English
language was in flower, when a vocabulary of twenty thousand words sufficed to build a monument for all time. A Bible written in Svenska or Tegalic, a Bible for the Hottentots or the Chinese, a Bible that has to meander through the trickling sands of French is no Bible-it is a counterfeit and a fraud. The King James Version was created by a race of bone-crushers. It revives the primitive mysteries, revives rape, murder, incest, revives epilepsy, sadism,
megalomania, revives demons, angels, dragons, leviathans, revives magic, exorcism, contagion, incantation, revives fratricide, regicide, patricide, suicide, revives hypnotism, anarchism, somnambulism, revives the song, the dance, the act, revives the mantic, the chthonian, the arcane, the mysterious, revives the power, the evil, and the glory that is God. All brought into the
open on a colossal scale, and so salted and spiced that it will last until the next Ice Age.
A classic purity, then-and to hell with the Post Office authorities! For what is it enables the classics to live at all, if indeed they be living on and not dying as we and all about us are dying? What preserves them against the ravages of time if it be not the salt that is in them? When I read Petronius or Apuleius or Rabelais, how close they seem! That salty tang! That odor of the menagerie! The smell of horse piss and lion’s dung, of tiger’s breath and elephant’s hide. Obscenity, lust, cruelty, boredom, wit. Real eunuchs. Real hermaphrodites. Real pricks. Real cunts. Real banquets! Rabelais rebuilds the walls of Paris with human cunts. Trimalchio tickles his own throat, pukes up his own guts, wallows in his own swill. In the amphitheater, where a big, sleepy pervert of a Caesar lolls dejectedly, the lions and the jackals, the hyenas, the tigers, the spotted leopards are crunching real human boneswhilst the coming men, the martyrs and imbeciles, are walking up the golden stairs shouting Hallelujah!
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Henry Miller (Black Spring)
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Everyone's here except for St. Clair." Meredith cranes her neck around the cafeteria. "He's usually running late."
"Always," Josh corrects. "Always running late."
I clear my throat. "I think I met him last night. In the hallway."
"Good hair and an English accent?" Meredith asks.
"Um.Yeah.I guess." I try to keep my voice casual.
Josh smirks. "Everyone's in luuurve with St. Clair."
"Oh,shut up," Meredith says.
"I'm not." Rashmi looks at me for the first time, calculating whether or not I might fall in love with her own boyfriend.
He lets go of her hand and gives an exaggerated sigh. "Well,I am. I'm asking him to prom. This is our year, I just know it."
"This school has a prom?" I ask.
"God no," Rashmi says. "Yeah,Josh. You and St. Clair would look really cute in matching tuxes."
"Tails." The English accent makes Meredith and me jump in our seats. Hallway boy. Beautiful boy. His hair is damp from the rain. "I insist the tuxes have tails, or I'm giving your corsage to Steve Carver instead."
"St. Clair!" Josh springs from his seat, and they give each other the classic two-thumps-on-the-back guy hug.
"No kiss? I'm crushed,mate."
"Thought it might miff the ol' ball and chain. She doesn't know about us yet."
"Whatever," Rashi says,but she's smiling now. It's a good look for her. She should utilize the corners of her mouth more often.
Beautiful Hallway Boy (Am I supposed to call him Etienne or St. Clair?) drops his bag and slides into the remaining seat between Rashmi and me. "Anna." He's surprised to see me,and I'm startled,too. He remembers me.
"Nice umbrella.Could've used that this morning." He shakes a hand through his hair, and a drop lands on my bare arm. Words fail me. Unfortunately, my stomach speaks for itself. His eyes pop at the rumble,and I'm alarmed by how big and brown they are. As if he needed any further weapons against the female race.
Josh must be right. Every girl in school must be in love with him.
"Sounds terrible.You ought to feed that thing. Unless..." He pretends to examine me, then comes in close with a whisper. "Unless you're one of those girls who never eats. Can't tolerate that, I'm afraid. Have to give you a lifetime table ban."
I'm determined to speak rationally in his presence. "I'm not sure how to order."
"Easy," Josh says. "Stand in line. Tell them what you want.Accept delicious goodies. And then give them your meal card and two pints of blood."
"I heard they raised it to three pints this year," Rashmi says.
"Bone marrow," Beautiful Hallway Boy says. "Or your left earlobe."
"I meant the menu,thank you very much." I gesture to the chalkboard above one of the chefs. An exquisite cursive hand has written out the morning's menu in pink and yellow and white.In French. "Not exactly my first language."
"You don't speak French?" Meredith asks.
"I've taken Spanish for three years. It's not like I ever thought I'd be moving to Paris."
"It's okay," Meredith says quickly. "A lot of people here don't speak French."
"But most of them do," Josh adds.
"But most of them not very well." Rashmi looks pointedly at him.
"You'll learn the lanaguage of food first. The language of love." Josh rubs his belly like a shiny Buddha. "Oeuf. Egg. Pomme. Apple. Lapin. Rabbit."
"Not funny." Rashmi punches him in the arm. "No wonder Isis bites you. Jerk."
I glance at the chalkboard again. It's still in French. "And, um, until then?"
"Right." Beautiful Hallway Boy pushes back his chair. "Come along, then. I haven't eaten either." I can't help but notice several girls gaping at him as we wind our way through the crowd.
”
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Stephanie Perkins (Anna and the French Kiss (Anna and the French Kiss, #1))