“Every speech is at once a language serving the purposes of will, expressing intimate desires and commands, and at same time expressing thoughts by a sequence of concepts.”

Source: Cours de linguistique générale (1916), p. 112
Context: The characteristic role of language with respect to thought is not to create a material phonic means for expressing ideas but to serve as a link between thought and sound, under conditions that of necessity bring about the reciprocal delimitations of units. Thought, chaotic by nature, has to become ordered in the process of its decomposition. Neither are thoughts given material form nor are sounds transformed into mental entities; the somewhat mysterious fact is rather that "thought-sound" implies division, and that language works out its units while taking shape between two shapeless masses. Visualize the air in contact with a sheet of water; if the atmospheric pressure changes, the surface of the water will be broken up into a series of divisions, waves; the waves resemble the union or coupling of thought with phonic substance.

The Usurpation Of Language (1910)

Benedetto Croce, quoted in: Geza Revesz, The Origins and Prehistory of Language, London 1956. p. 126

Footnote at pp. 126-127; As cited in: Adam Schaff (1962). Introduction to semantics, p. 313-314
The Origins and Prehistory of Language, 1956

Source: The Life of Poetry (1949), p. 181
Context: The creation of a poem, or mathematical creation, involves so much sense of arrival, so much selection, so much of the desire that makes choice — even though one or more of these may operate in the unconscious or partly conscious work-periods before the actual work is achieved — that the questions raised are very pertinent.... The poet chooses and selects and has that sense of arrival as the poem ends; he is expressing what it feels like to arrive at his meanings. If he has expressed that well, his reader will arrive at his meanings. The degree of appropriateness of expression depends on the preparing. By preparing I mean allowing the reader to feel the interdependences, the relations, within the poem.
These inter-dependences may be proved, if you will allow the term, in one or more ways: the music by which the syllables resolve may lead to a new theme, as in a verbal music, or to a climax, a key-relationship which makes — for the moment — an equilibrium; the images may have established their own progression in such a way that they serve to mark the poem’s development; the tensions and attractions between the poem’s meanings may mark its growth, as they must if the poem is to achieve its form.
A poem is an imaginary work, living in time, indicated in language. It is and it expresses; it allows us to express.

Source: Meditations in Wall Street (1940), p. 100

As the Swiss inscription says: Sprechen ist silbern, Schweigen ist golden
Bk. III, ch. 3.
1830s, Sartor Resartus (1833–1834)