J. L. Austin Quotes

The language itself, whether you speak it or not, whether you love it or hate it, is like some bewitchment or seduction from the past, drifting across the country down the centuries, subtly affecting the nations sensibilities even when its meaning is forgotten.

Our common stock of words embodies all the distinctions men have found worth drawing, and the connexions they have found worth marketing, in the lifetimes of many generation; these surely are likely to be more numerous, more sound, since they have stood up to the long test of thee survival of the fittest, and more subtle, at least in all ordinary and reasonably practical matters, than any that you or I are likely to think up in our arm-chairs of an afternoon-the most favoured alternative method.

We open our mouths and out flow words whose ancestries we do not even know. We are walking lexicons. In a single sentence of idle chatter we preserve Latin, Anglo-Saxon, Norse: we carry a museum inside our heads, each day we commemorate peoples of whom we have never heard.

Even the most inspired verse, which boasts not without a relative justification to be immortal, becomes in the course of ages a scarcely legible hieroglyphic; the language it was written in dies, a learned education and an imaginative effort are requisite to catch even a vestige of its original force. Nothing is so irrevocable as mind.

Reason" in language - oh, what an old deceptive female she is! I am afraid we are not rid of God because we still have faith in grammar.

It seems inconceivable that a species of human could possess fully modern language and not be fully modern in all other ways, too. For this reason, the evolution of language is widely judged to be the culminating event in the emergence of humanity as we know it today.

I want to make clear only that words are not the things spoken about, and that there is no such thing as an object in absolute isolation.

Speech is of time, silence is of eternity.

What I've learned about that word is context, where the world is coming from - in the era the film is set, it obviously is used derogatorily. In 'Selma,' it was the same sort of thing. Of course now, in music, it's used in many more ways, including ways that takes the sting out of it. It all depends on where and when it is used, and how you look at it. But again in 'Race,' it is intensely disrespectful.

Language, the machine of the poet, is best fitted for his purpose in its rudest state. Nations, like individuals, first perceive, and then abstract. They advance from particular images to general terms. Hence the vocabulary of an enlightened society is philosophical, that of a half-civilized people is poetical.

The past seems to infuse into the present, and in the brown, wringled faces of the old people one sees the presence of the past.

We cannot stem linguistic change, but we can drag our feet. If each of us were to defy Alexander Pope and be the last to lay the old aside, it might not be a better world, but it would be a lovelier language.

While language can surely be used for communication (as can much else), communication probably has no special role in its design or evolution.

I have enormous respect for Derek Parfit, although he seems to me bound within an unfortunate philosophical tradition - rather like the extraordinarily brilliant exponents of Ptolemaic astronomy in the Middle Ages.

After ages of bombast, the rhetoric of virtue has become ironic and shy.

Words and a book and a belief that the world is words.

Nothing seems to matter quite as much. I no longer think about death in the concentrated way I once did. I don't know? you get so old and you sort of give up in some way. You've had your period of angst, your period of religious desperation, and you've arrived at a philosophical position where you don't need, or you can't bear, to look at it.

I feel like I know a lot of music stuff that most people my age don't know, because people that were slightly older were into it.

The word is the most imprecise of signs. Only a science-obsessed age could fail to comprehend that this is its great virtue, not its defect.

Memetics provides a new approach to the evolution of language in which we apply Darwinian thinking to two replicators, not one. On this theory, memetic selection, as well as genetic selection, does the work of creating language.

I work in Hebrew. Hebrew is deeply inspired by other languages. Not now, for the last three thousand years, Hebrew has been penetrated and fertilized by ancient Semitic languages - by Aramaic, by Greek, by Latin, by Arabic, by Yiddish, by Latino, by German, by Russian, by English, I could go on and on. It's very much like English. The English language took in many many fertilizations, many many genes, from other languages, from foreign languages - Latin, French, Nordic languages, German, Scandinavian languages. Every language has influences and is an influence.

To lovers of the long and intricate history of language the disuse and final death of certain words is a matter of regret. Yet every age bears witness to the inevitableness of such loss.

The glory of a nation and an age is always the work of a few great persons, and it disappears with them.

Theories of genius are the peculiar constructions of our own philosophical times; ages of genius had passed away, and they left no other record than their works; no preconcerted theory described the workings of the imagination to be without imagination, nor did they venture to teach how to invent invention.

Words are where most change begins.