Quotes about idiom

A collection of quotes on the topic of idiom, language, time, likeness.

Quotes about idiom

“I can respect the artistic aim of a composer if he arrives at the so-called modern idiom after an intense period of preparation…Such composers know what they are doing when they break a law; they know what to react against, because they have had experience in the classical forms and style. Having mastered the rules, they know which can be violated and which should be obeyed. But, I am sorry to say, I have found too often that young composers plunge into the writing of experimental music with their school lessons only half learned. Too much radical music is sheer sham, for this very reason: its composer sets about revolutionizing the laws of music before he learned them himself.”

Sergei Rachmaninoff (1873–1943) Russian composer, pianist, and conductor

Interviewed by David Ewen in The Etude, 1941; cited from Josiah Fisk and Jeff Nichols (eds.) Composers on Music (Boston, MA: Northeastern Universities Press, 1997) pp. 235-6

School, Law, Music, Learning

George Orwell book Politics and the English Language

Source: Politics and the English Language (1946)

“My chief virtue (or if you like, defect) has been a tireless lifelong search for an original, individual musical idiom. I detest imitation, I detest hackneyed devices.”

Sergei Prokofiev (1891–1953) Ukrainian & Russian Soviet pianist and composer

Page 7.
Sergei Prokofiev: Autobiography, Articles, Reminiscences (1960)

Music, Search

“The great enemy of clear language is insincerity. When there is a gap between one's real and one's declared aims, one turns as it were instinctively to long words and exhausted idioms, like a cuttlefish spurting out ink. In our age there is no such thing as ‘keeping out of politics.’ All issues are political issues, and politics itself is a mass of lies, evasions, folly, hatred, and schizophrenia. When the general atmosphere is bad, language must suffer. I should expect to find — this is a guess which I have not sufficient knowledge to verify — that the German, Russian and Italian languages have all deteriorated in the last ten or fifteen years, as a result of dictatorship.
But if thought corrupts language, language can also corrupt thought. A bad usage can spread by tradition and imitation even among people who should and do know better.”

George Orwell book Politics and the English Language

Politics and the English Language (1946)

Bad luck, People, Age, Knowledge

“A proposition is completely logically analyzed if its grammar is made completely clear: no matter what idiom it may be written or expressed in…”

Ludwig Wittgenstein (1889–1951) Austrian-British philosopher

Philosophical Remarks (1930), Part I (1)
1930s-1951

“What is love? For the rabble love is a kind of variety, a transient vulgarity; the rabble's conception of love is best found in their obscene ditties, in prostitution and in the foul idioms they use when they are halfway sober, such as "shoving the donkey's foreleg in mud," or "putting dust on the head." My love for her, however, was of a totally different kind. I knew her from ancient times— strange slanted eyes, a narrow, half-open mouth, a subdued quiet voice. She was the embodiment of all my distant, painful memories among which I sought what I was deprived of, what belonged to me but somehow I was denied. Was I deprived forever?”

Sadegh Hedayat book The Blind Owl

The Blind Owl

Love, Pain, Distant, Memory

“Yiddish has not yet said its last word. It contains treasures that have not been revealed to the eyes of the world. It was the tongue of martyrs and saints, of dreamers and Cabalists — rich in humor and in memories that mankind may never forget. In a figurative way, Yiddish is the wise and humble language of us all, the idiom of frightened and hopeful Humanity.”

Isaac Bashevis Singer (1902–1991) Polish-born Jewish-American author

Nobel lecture (1978)

World, Hope, Way, Memory

“A lovely evening of new idioms and fresh mozzarella.”

Elizabeth Gilbert book Eat, Pray, Love

Source: Eat, Pray, Love

Love

“French is not a language that lends itself naturally to the opaque and ponderous idiom of nature-philosophy, and Teilhard has according resorted to the use of that tipsy, euphoristic prose-poetry which is one of the more tiresome manifestations of the French spirit.”

Peter Medawar (1915–1987) scientist

1960s, Review of Teilhard de Chardin's "The Phenomenon of Man", 1961

Nature

“The whole prospect of Gaelic appals me, the more I think of the difficulties and the likelihood of its extinction in a generation or two. A … language with … no modern prose of any account, no philosophical or technical vocabulary to speak of, no correct usage except among old people and a few university students, colloquially full of gross English idiom lately taken over, exact shades of meanings of most words not to be found in any of its dictionaries and dialectally varying enormously (what chance of the appreciation of the overtones of poetry, except amongst a handful?) Above all, all economic, social and political factors working against it, and, with that, the notorious, moral cowardice of the Highlanders themselves.”

Sorley MacLean (1911–1996) Scottish poet

Sorley MacLean, June 1943, quoted in Krause, Corinna. "Translating Gaelic Scotland" https://pdfs.semanticscholar.org/beae/ab4c968782c1c0eeb7ee0f9459d009fab52d.pdf and "Gaelic Scotland – A Postcolonial Site?" https://www.gla.ac.uk/media/media_41178_en.pdf <br class="br">Letters and interviews

People, Thinking, Universe, Chance

“The "sayings" of a community, its proverbs, are its characteristic comment upon life; they imply its history, suggest its attitude toward the world and its way of accepting life. Such an idiom makes the finest language any writer can have; and he can never get it with a notebook. He himself must be able to think and feel in that speech — it is a gift from heart to heart.”

Willa Cather (1873–1947) American writer and novelist

"Miss Jewett"
Not Under Forty (1936)

Life, World, Way, Feeling

“I don't have counsel, I have more idioms as: Don't come to monkey mother with green bananas.”

Patricia Conde (1979) Spanish actress

No soy de consejos, soy más de frases hechas como: A mamá mono no le vengas con bananas verdes.
blog oficial Patricia Conde

“The Sanscrit language, whatever be its antiquity, is of a wonderful structure; more perfect than the Greek, more copious than the Latin, and more exquisitely refined than either, yet bearing to both of them a stronger affinity, both in the roots of verbs and the forms of grammar, than could possibly have been produced by accident; so strong indeed, that no philologer could examine them all three, without believing them to have sprung from some common source, which, perhaps, no longer exists; there is a similar reason, though not quite so forcible, for supposing that both the Gothic and the Celtic, though blended with a very different idiom, had the same origin with the Sanscrit; and the old Persian might be added to the same family.”

William Jones (1746–1794) Anglo-Welsh philologist and scholar of ancient India

Jones' third annual discourse before the Asiatic Society on the history and culture of the Hindus (delivered on 2 February 1786 and published in 1788)

Family, Strong, Perfection

“There is much else in the literary idiom of nature-philosophy: nothing-buttery, for example, always part of the minor symptomatology of the bogus.”

Peter Medawar (1915–1987) scientist

1960s, Review of Teilhard de Chardin's "The Phenomenon of Man", 1961

Nature, Parting

“The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from Schubert’s more intimate and deeply soul-searching idiom. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle. In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Schubert’s broad melodic lyricism has often been contrasted with Schumann’s terse, often quickly repeated motifs, and by comparison Schumann is often erroneously seen as short-winded. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His actual melodies rarely have an arioso form; his harmonic system combines subtle chromatic progressions, suspensions, a rapid alternation of minor and major, and point d’orgue. The shape of Schumann’s scores is characterized by contrapuntal lines, and can at first seem opaque or confused. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures. He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly inde-pendent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Love, Beauty, Music, Color

“Prior to the rebellion the great mass of the people were satisfied to remain near the scenes of their birth. In fact an immense majority of the whole people did not feel secure against coming to want should they move among entire strangers. So much was the country divided into small communities that localized idioms had grown up, so that you could almost tell what section a person was from by hearing him speak… This is all changed now. The war begot a spirit of independence and enterprise. The feeling now is, that a youth must cut loose from his old surroundings to enable him to get up in the world. There is now such a commingling of the people that particular idioms and pronunciation are no longer localized to any great extent; the country has filled up "from the centre all around to the sea"; railroads connect the two oceans and all parts of the interior; maps, nearly perfect, of every part of the country are now furnished the student of geography.”

Ulysses S. Grant (1822–1885) 18th President of the United States

1880s, Personal Memoirs of General U. S. Grant (1885)

War, People, Youth, World

“Bourgeois triumph thus imbued the French Revolution with the agnostic or secular-moral ideology of the eighteenth century enlightenment, and since the idiom of that revolution became the general language of all subsequent social revolutionary movements, it transmitted this secularism…”

Eric Hobsbawm (1917–2012) British academic historian and Marxist historiographer

Source: The Age of Revolution (1962), Chapter 12, Ideology: Religion

“A thought that has found a plastic expression must continue to expand in keeping with its own plastic idiom. A plastic idea must be expressed with plastic means just as a musical idea is expressed with musical means, or a literary idea with verbal means. Neither music nor literature are wholly translatable into other art forms; and so a plastic art cannot be created through a superimposed literary meaning. The artist who attempts to do so produces nothing more than a show-booth. He contents himself with visual story-telling. He subjects himself to a mechanistic kind of thinking which disintegrates into fragments.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 40-46
Search for the Real and Other Essays (1948)

Art, Music, Literature, Idea

“The general misunderstanding of a work of art is often due to the fact that the key to its spiritual content and technical means is missed. Unless the observer is trained to a certain degree in the artistic idiom, he is apt to search for things which have little to do with the aesthetic content of a picture. He is likely to look for pure representational values when the emphasis is really upon music-like relationships.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 56
Search for the Real and Other Essays (1948)

Art, Music, Search, Training

“There was a Hindu named Arjan in Gobindwal on the banks of the Beas River. Pretending to be a spiritual guide, he had won over as devotees many simple-minded Indians and even some ignorant, stupid Muslims by broadcasting his claims to be a saint. They called him guru. Many fools from all around had recourse to him and believed in him implicitly. For three or four generations they had been peddling this same stuff. For a long time I had been thinking that either this false trade should be eliminated or that he should be brought into the embrace of Islam. At length, when Khusraw passed by there, this inconsequential little fellow wished to pay homage to Khusraw. When Khusraw stopped at his residence, [Arjan] came out and had an interview with [Khusraw]. Giving him some elementary spiritual precepts picked up here and there, he made a mark with saffron on his forehead, which is called qashqa in the idiom of the Hindus and which they consider lucky. When this was reported to me, I realized how perfectly false he was and ordered him brought to me. I awarded his houses and dwellings and those of his children to Murtaza Khan, and I ordered his possessions and goods confiscated and him executed.”

Guru Arjan (1563–1606) The fifth Guru of Sikhism

– Emperor Jahangir's Memoirs, Jahangirnama 27b-28a, (Translator: Wheeler M. Thackston) [Jahangir, Emperor of Hindustan, 1999, The Jahangirnama: Memoirs of Jahangir, Emperor of India, Thackston, Wheeler M., Wheeler Thackston, Oxford University Press, 59, 978-0-19-512718-8]

Children, Stupidity, Fools, Thinking

“Now my humble fear is that this double training, in language as well as in thought, imposes somewhat too heavy a burden upon the young, especially when, at the age of three years old, they are taken from the maternal care and taught to unlearn the old language — except for the purpose of repeating it in the presence of their Mothers and Nurses — and to learn the vocabulary and idiom of science. Already methinks I discern a weakness in the grasp of mathematical truth at the present time as compared with the more robust intellect of our ancestors three hundred years ago.”

Edwin Abbott Abbott book Flatland

Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 12. Of the Doctrine of our Priests

Truth, Age, Fear, Mathematics

“Thank you, Donald, for that well-meant but rather pedestrian introduction. Regarding yourself, I quote from the third part of Shakespeare's Henry VI, Act Two, Scene One. Richard speaks, "Were thy heart as hard as steel/ As thou hast shown it flinty by thy deeds/ I come to pierce it, or to give thee mine." To translate into your own idiom, Donald; you're a yo-yo. Now I direct my remarks to Dean Martin, who is being honored here tonight… for reasons that completely elude me. No, I'm not being fair to Dean because - this is true - in his way Dean, and I know him very well, has the soul of a poet. I'm told that in his most famous song Dean authored a lyric which is so romantic, so touching that it will be enjoyed by generations of lovers until the end of time. Let's share it together. [Opens a songsheet for Dean's "That's Amore" and reads in a monotone] "When the moon hits your eye/ Like a big pizza-pie/ That's amore" Now, that's what I call 'touching', Dean. It has all the romanticism of a Ty-D-Bol commercial. "When the world seems to shine/ Like you've had too much wine/ That's amore" What a profound thought. It could be inscribed forever on a cocktail napkin. Hey, there's more. "Tippy-tippy-tay/ Like a gay tarantella" Like a gay tarantella? Apparently, Dean has a 'side Dean' we know nothing about. "When the stars make you drool/ Just like a pasta fazool…. Scuzza me, but you see/ Back in old Napoli/ That's amore" No, Dean; that's infermo, Italian for "sickened". Now, lyrics like that - lyrics like that ought to be issued with a warning: a song like that is hazardous to your health. Ladies and gentlemen… [motions to Dean] you are looking at the end result!”

Orson Welles (1915–1985) American actor, director, writer and producer

Speech given at a Dean Martin Celebrity Roast. Viewable here http://www.youtube.com/watch?v=VlKR0i-51S4.

Health, World, Way, Quotes

“It is not easy to write a familiar style. Many people mistake a familiar for a vulgar style, and suppose that to write without affectation is to write at random. On the contrary, there is nothing that requires more precision, and, if I may so say, purity of expression, than the style I am speaking of. It utterly rejects not only all unmeaning pomp, but all low, cant phrases, and loose, unconnected, slipshod allusions. It is not to take the first word that offers, but the best word in common use; it is not to throw words together in any combinations we please, but to follow and avail ourselves of the true idiom of the language. To write a genuine familiar or truly English style, is to write as anyone would speak in common conversation who had a thorough command and choice of words, or who could discourse with ease, force, and perspicuity, setting aside all pedantic and oratorical flourishes… It is easy to affect a pompous style, to use a word twice as big as the thing you want to express: it is not so easy to pitch upon the very word that exactly fits it, out of eight or ten words equally common, equally intelligible, with nearly equal pretensions, it is a matter of some nicety and discrimination to pick out the very one the preferableness of which is scarcely perceptible, but decisive.”

William Hazlitt (1778–1830) English writer

"On Familiar Style" (1821) <br class="br"> Table Talk: Essays On Men And Manners http://www.blupete.com/Literature/Essays/TableHazIV.htm (1821-1822)

People, Intelligence, Decision

“The charge that Luther adapted the translation to his theological opinions has become traditional in the Roman Church, and is repeated again and again by her controversialists and historians.
In both cases, the charge has some foundation, but no more than the counter-charge which may be brought against Roman Catholic Versions.
The most important example of dogmatic influence in Luther's version is the famous interpolation of the word alone in Rom. 3:28 (allein durch den Glauben), by which he intended to emphasize his solifidian doctrine of justification, on the plea that the German idiom required the insertion for the sake of clearness. But he thereby brought Paul into direct verbal conflict with James, who says (James 2:24), "by works a man is justified, and not only by faith" ("nicht durch den Glauben allein"). It is well known that Luther deemed it impossible to harmonize the two apostles in this article, and characterized the Epistle of James as an "epistle of straw," because it had no evangelical character ("keine evangelische Art").
He therefore insisted on this insertion in spite of all outcry against it. His defense is very characteristic. "If your papist," he says,
The Protestant and anti-Romish character of Luther's New Testament is undeniable in his prefaces, his discrimination between chief books and less important books, his change of the traditional order, and his unfavorable judgments on James, Hebrews, and Revelation. It is still more apparent in his marginal notes, especially on the Pauline Epistles, where he emphasizes throughout the difference between the law and the gospel, and the doctrine of justification by faith alone; and on the Apocalypse, where he finds the papacy in the beast from the abyss (Rev. 13), and in the Babylonian harlot (Rev. 17). The anti-papal explanation of the Apocalypse became for a long time almost traditional in Protestant commentaries.
There is, however, a gradual progress in translation, which goes hand in hand with the progress of the understanding of the Bible. Jerome's Vulgate is an advance upon the Itala, both in accuracy and Latinity; the Protestant Versions of the sixteenth century are an advance upon the Vulgate, in spirit and in idiomatic reproduction; the revisions of the nineteenth century are an advance upon the versions of the sixteenth, in philological and historical accuracy and consistency. A future generation will make a still nearer approach to the original text in its purity and integrity. If the Holy Spirit of God shall raise the Church to a higher plane of faith and love, and melt the antagonisms of human creeds into the one creed of Christ, then, and not before then, may we expect perfect versions of the oracles of God.”

Philip Schaff (1819–1893) American Calvinist theologian

How Luther's theology may have influenced his translating

Love, God, Books, Faith

“No, the most powerful influence was exerted neither by individual speeches nor by articles or flyers, posters or flags; it was not achieved by things which one had to absorb by conscious thought or conscious emotions. Instead Nazism permeated the flesh and blood of the people through single words, idioms and sentence structures which were imposed on them in a million repetitions and taken on board mechanically and unconsciously. … Language does not simply write and think for me, it also increasingly dictates my feelings and governs my entire spiritual being the more unquestioningly and unconsciously I abandon myself to it. And what happens if the cultivated language is made up of poisonous elements or has been made the bearer of poisons? Words can be like tiny doses of arsenic: they are swallowed unnoticed, appear to have no effect, and then after a little time the toxic reaction sets in after all.”

Victor Klemperer book LTI – Lingua Tertii Imperii

Source: LTI – Lingua Tertii Imperii (The Language of the Third Reich) (1947), p. 15.

People, Feeling, Thinking, Appearance

“[On the question: 'What was your main stylistic influence up to this time']: The Renaissance chiefly - Piero, Mantegna, Uccello - but I was attracted also by the modern idioms - Léger, Picasso - and was close to the abstract painters on the project such as Stuart Davis, Burgoyne Diller, Arshile Gorky, Balcomb Greene, etc. At the time I did the Queens project, there was already a marked change in my work - it was becoming more concerned with cubist concepts of treating space.”

Phillip Guston (1913–1980) American artist

n.p.
1961 - 1980, Oral history interview with Philip Guston, 1965 January 29

Question, Change, Time

“I was made an example of—by that woman from the Threepenny Review as the sort of writer, the callow, who parades his education. I use literary allusion as a way of showing off, proof that I have mastered a white idiom, but do not have the confidence of it.”

Richard Rodríguez (1944) American journalist and essayist

Brown : The Last Discovery of America (2003)

Education, Way, Confidence

“The subject matter of linguistics comprises all manifestations of human speech, whether that of savages or civilized nations, or of archaic, classical or decadent periods. In each period the linguist must consider not only correct speech and flowery language, but all other forms of expression as well. And that is not all: since he is often unable to observe speech directly, he must consider written texts, for only through them can he reach idioms that are remote in time or space.”

Ferdinand de Saussure book Course in General Linguistics

Source: Cours de linguistique générale (1916), p. 6

Time

“I think of Abstract Art in the same way I think of all Art, Past and Present. I see it as divided into two Major categories, Objective and Subjective. Objective Art is Absolute Art. Subjective Art is Illustration, or communication by Symbols, Replicas, and Oblique Emotional Passes. They are both Art, but their Content has no Identity. Their difference cannot be defined as a difference of Idiom, because all Paintings have the Laws of Design as a common denominator. Design exists as an Idiom of Color-Space Logic, and it also exists in an Idiom of Representational Likenesses. Objective Art and Subjective Art exist in both Idioms. Their difference can only be defined in terms of what the Artist thinks his Purpose means-its Content as a Design Image.”

Stuart Davis (1892–1964) American painter

Source: George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis. " What Abstract Art Means to Me http://www.jstor.org/stable/4058250," in: The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15

Law, Art, Color, Way

“The instinctive Indian sense that nothing begins and nothing ends. We are all living in an eternal present in which what was and what will be is contained in what is, or to put it in a more contemporary idiom, that life is a series of sequel to history.”

Shashi Tharoor book The Great Indian Novel

The Great Indian Novel (1989)

Life, History, Sense

“The disquieting thing about newscaster-babble or editorial-speak is its ready availability as a serf idiom, a vernacular of deference. "Mr. Secretary, are we any nearer to bringing about a dialogue in this process?"”

Christopher Hitchens (1949–2011) British American author and journalist

"Politically Correct" (1991).
1990s, For the Sake of Argument: Essays and Minority Reports (1993)

“The mechanical philosophy was ever blind to this fact. Intelligent design, on the other hand, readily embraces the sacramental nature of physical reality. Indeed, intelligent design is just the Logos theology of John's Gospel restated in the idiom of information theory.”

William A. Dembski (1960) American intelligent design advocate

with A., Kushiner, James M., (editors),[2001, Signs of intelligence: understanding intelligent design, Brazos Press, Grand Rapids, Mich., 1587430045, [BL263.S54, 2001], 00067612]
2000s

Intelligence, Nature, Reality

“According to … the French counterrevolutionaries and German Romantics, … the corpus of prejudices was a country’s cultural treasure, its ancient and tested intelligence, present as the consciousness and guardian of its thought. Prejudices were the “we” of every “I”, the past in the present, the revered vessels of the nation’s memory, its judgements carried from age to age. Pretending to spread enlightenment, the philosophes had set out to extirpate these precious residua. … The result was that they had uprooted men from their culture at the very moment when they bragged of how they would cultivate them. … Convinced that they were emancipating souls, they succeeded only in deracinating them. These calumniators of the commonplace had not freed understanding from its chains, but cut it off from its sources. The individual who, thanks to them, must now cast off childish things, had really abandoned his own nature. … The promises of the cogito were illusory: free from prejudice, cut off from the influence of national idiom, the subject was not free but shrivelled and devitalised. … Everyday opinion should therefore be regarded as the soil where thought was nourished, its hearth and sanctuary, … and not, as the philosophes would have it, as some alien authority which overwhelmed and crushed it. … The cogito needed to be steeped in the profundities of the collective mind; the broken links with the past needed repairing; the quest for independence should yield to that for authenticity. Men should abandon their scepticism and give themselves over to the comforting warmth of majoritarian ideas, bowing down before their infallible authority.”

Alain Finkielkraut (1949) French essayist, born 1949

Source: The Undoing of Thought (1988), pp. 25-26.

Men, Age, Soul, Intelligence

“Nine times out of 10 when people do a tribute album or tribute songs for somebody, it's what I call 'white boys playing reggae'. They know they can't, we know they can't, so they sing like they can't and play like they can't. They gently make fun of the idiom or sing in a false accent.”

David Lee Roth (1954) Rock vocalist; lead singer with Van Halen

John Gerome (June 5, 2006) "Roth still 'Runnin' with the Devil' on bluegrass tribute", Associated Press.

People, Boy, Singing, Time

“It will be a sad day for the world when the Oriental gent realizes that Western bumbling is only Eastern guile in a different idiom. Well, a lot of it, anyway.”

Kyril Bonfiglioli (1928–1985) British art dealer

Source: The Mortdecai Trilogy, After You With The Pistol (1979), Ch. 17.

World, Sadness

“A myth is, of course, not a fairy story. It is the presentation of facts belonging to one category in the idioms appropriate to another. To explode a myth is accordingly not to deny the facts but to re-allocate them.”

Gilbert Ryle book The Concept of Mind

Introduction
The Concept of Mind (1949)

“From the time of the North Briton of the unprincipled Wilkes, a notion has been entertained that the moral spine in Scotland is more flexible than in England. The truth however is, that an elementary difference exists in the public feelings of the two nations quite as great as in the idioms of their respective dialects. The English are a justice-loving people, according to charter and statute; the Scotch are a wrong-resenting race, according to right and feeling: and the character of liberty among them takes its aspect from that peculiarity.”

John Galt (novelist) (1779–1839) British writer

Ringan Gilhaize (Edinburgh: Oliver & Boyd, 1823) vol. 3, p. 313.

Love, People, Truth, Justice

“On the other hand, Hindu saints used to assuage the outraged feelings of Hindus and encourage them reconvert to Hinduism. For instance Harihar and Bukka, sons of the Raja of Kampil, converted to Islam by Muhammad bin Tughlaq, fled his court. At the instance of sage Vidyaranya they reverted to Hinduism and founded the Vijayanagar kingdom to resist the expansion of Muslim power in the South. Like Vidyaranya, there were scores of Bhakta saints who were helping people to resist injustice and retain their original religion. In Maharashtra, Namdeva in the fourteenth century declared that people were blind in insisting upon worshipping in temples and mosques, while His worship needed neither temple nor mosque.69 Such courageous denunciations were infectious and these spread in Gujarat, Bengal, Punjab and Uttar Pradesh. Ramananda, Kabir, Nanak, Chaitanya, Raidas, Dhanna, Sain, Garibdas and Dadu Dayal and a host of others spoke out in the same idiom openly and repeatedly. They came from all classes of society - Raidas was a chamar, Sain was a barber while Pipa was a Raja, Raja of Gauranggarh - but they were all respected and listened to. Of these the three most important saints who turned Bhakti into a movement were Kabir, Nanak and Chaitanya.”

K. S. Lal book The Legacy of Muslim Rule in India

Source: The Legacy of Muslim Rule in India (1992), Chapter 6

People, Religion, Feeling, Courage

“To put it most simply, the oral traditional idiom persisted because—even in a written incarnation—it offered the only avenue to the immanent poetic tradition, the invisible but ever-present aesthetic context for all of the poems.”

John Miles Foley (1947–2012) American literary scholar

"Texts That Speak to Readers Who Hear: Old English Poetry and the Languages of Oral Tradition", in Speaking Two Languages: Traditional Disciplines and Contemporary Theory in Medieval Studies, ed. Allen J. Frantzen (1991), p. 155

“Like Karl Kraus, [Wittgenstein] was seldom pleased by what he saw of the institutions of men, and the idiom of the passerby mostly offended his ear—particularly when they happened to speak philosophically; and like Karl Kraus, he suspected that the institutions could not but be corrupt if the idiom of the race was confused, presumptuous, and vacuous, a fabric of nonsense, untruth, deception, and self-deception.”

Thomas Szasz (1920–2012) Hungarian psychiatrist

Source: Anti-Freud (1990), p. 67.

Men

“I have endowed everyone with a temperament of his own, given everyone an idiom of his own; so that what is praise for him is blame for thee, what is honey for him is poison for thee, what is light for him is fire for thee, what is rose for him is thorn for thee, what is good for him is evil for thee, what is beautiful for him is ugly for thee. In the people of Hindustan the idiom of Hindustan is praiseworthy; in the people of Sind, the idiom of Sind is praiseworthy. I do not see the outward and the speech; I see the inward and the state [of feeling]. For the heart is the substance and speech an accident. So, the accident is subservient, the substance is the [real] object. The religion of love stands apart from all religions. For lovers the [only] religion and creed is God.”

Rumi (1207–1273) Iranian poet

Rumi, quoted from Harsh Narain, Myths of Composite Culture and Equality of Religions (1990) p. 20-21 https://archive.org/details/MythOfCompositeCultureHarshNarain

Love, God, People, Religion

“At first we got along very well. Esipova even boasted outside the class that she had pupils who wrote sonatas (I completed Sonata, Op. 1, and played it to Esipova, who took it home and inserted pedaling). But before long trouble began. Esipova’s method of teaching was to try to fit everyone into a standard pattern. True, it was a very elaborate pattern, and if the pupil’s temperament coincided with her own, the results were admirable. But if the pupil happened to be of an independent cast of mind Esipova would do her best to suppress his individuality instead of helping to develop it. Moreover, I had great difficulty in ridding myself of careless playing, and the Mozart, Schubert and Chopin which she insisted on were somehow not in my line. At that period I was too preoccupied with the search for a new harmonic idiom to understand how anyone could care for the simple harmonies of Mozart.”

Anna Yesipova (1851–1914) Russian pianist

Sergei Prokofiev, Autobiography

Home, Search, Understanding, Help

“The romantic intoning, the declaimed clairvoyance
Are parts of apotheosis, appropriate
And of its nature, the idiom thereof.”

Wallace Stevens (1879–1955) American poet

Notes Toward a Supreme Fiction (1942), It Must Be Abstract

Nature, Parting

“The reviewers of fifty years ago knew that their primary loyalty must lie not with their fellow poets or publishers but with the reader. Consequently they reported their reactions with scrupulous honesty even when their opinions might lose them literary allies and writing assignments. In discussing new poetry they addressed a wide community of educated readers. Without talking down to their audience, they cultivated a public idiom. Prizing clarity and accessibility they avoided specialist jargon and pedantic displays of scholarship. They also tried, as serious intellectuals should but specialists often do not, to relate what was happening in poetry to social, political, and artistic trends. They charged modern poetry with cultural importance and made it the focal point of their intellectual discourse.”

Dana Gioia (1950) American writer

Essays, Can Poetry Matter? (1991)

Lie, Education, Communication, Loyalty

“On quantum theory I use up more brain grease (rough translation of German idiom) than on relativity.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

Quoted by Otto Stern, a colleague of Einstein in Zurich from 1912 to 1914, in a 1962 oral history interview http://www.aip.org/history/ohilist/4904.html with Thomas S. Kuhn <br class="br">Attributed in posthumous publications

“The rhetoric of hate is often most effective when couched in the idiom of love.”

Gore Vidal (1925–2012) American writer

Source: 1960s, Julian (1964), Chapter 6

Love, Hate

“I passed by a corner office in which an employee was typing up a document relating to brand performance. … Something about her brought to mind a painting by Edward Hopper which I had seen several years before at the Museum of Modern Art in Manhattan. In New York Movie (1939), an usherette stands by the stairwell of an ornate pre-war theatre. Whereas the audience is sunk in semidarkness, she is bathed in a rich pool of yellow light. As often in Hopper’s work, her expression suggests that her thoughts have carried her elsewhere. She is beautiful and young, with carefully curled blond hair, and there are a touching fragility and an anxiety about her which elicit both care and desire. Despite her lowly job, she is the painting’s guardian of integrity and intelligence, the Cinderella of the cinema. Hopper seems to be delivering a subtle commentary on, and indictment of, the medium itself, implying that a technological invention associated with communal excitement has paradoxically succeeded in curtailing our concern for others. The painting’s power hangs on the juxtaposition of two ideas: first, that the woman is more interesting that the film, and second, that she is being ignored because of the film. In their haste to take their seats, the members of the audience have omitted to notice that they have in their midst a heroine more sympathetic and compelling than any character Hollywood could offer up. It is left to the painter, working in a quieter, more observant idiom, to rescue what the film has encouraged its viewers not to see.”

Alain de Botton (1969) Swiss writer

Source: The Pleasures and Sorrows of Work (2009), pp. 83-84.

War, Beauty, Art, Intelligence

“Music is arguably the most affecting of the arts; intelligible to all people yet untranslatable into any other idiom. To Schopenhauer it was a direct expression of the ‘world will’… and was good when he had guests over.”

Derren Brown (1971) British illusionist

TV Series and Specials (Includes DVDs), Trick of the Mind (2004–2006)

People, World, Art, Music

“To understand how caste works concretely, one must, however, look beyond kinship organization and ritual idiom to the political economy of caste.”

Eric Wolf (1923–1999) American anthropologist

Source: Europe and the People Without History, 1982, Chapter 2, The World in 1400, p. 46.

Understanding

“Now it seems to me that we are in a universalising period... If we are to have world peace, we should have an understanding of all the idioms of beauty because the members of humanity who have created these idioms of beauty are going to be a part of us. And I would say that we are in a period when we are discovering and becoming acquainted with these idioms for the first time.”

Mark Tobey (1890–1976) American abstract expressionist painter

Modern Artists in America, R. Motherwell, A. Reinhardt and B. Karpel, First series, New York 1952, p. 28
1950's

World, Peace, Beauty, Understanding

“With Women, we speak of "love", "duty", "right", "wrong", "pity", "hope", and other irrational and emotional conceptions, which have no existence, and the fiction of which has no object except to control feminine exuberances; but among ourselves, and in our books, we have an entirely different vocabulary and I may almost say, idiom. "Love" then becomes "the anticipation of benefits"; "duty" becomes "necessity" or "fitness"; and other words are correspondingly transmuted.”

Edwin Abbott Abbott book Flatland

Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 12. Of the Doctrine of our Priests
Context: About three hundred years ago, it was decreed by the Chief Circle that, since women are deficient in Reason but abundant in Emotion, they ought no longer to be treated as rational, nor receive any mental education. The consequence was that they were no longer taught to read, nor even to master Arithmetic enough to enable them to count the angles of their husband or children; and hence they sensibly declined during each generation in intellectual power. And this system of female non-education or quietism still prevails.My fear is that, with the best intentions, this policy has been carried so far as to react injuriously on the Male Sex.For the consequence is that, as things now are, we Males have to lead a kind of bi-lingual, and I may almost say bi-mental, existence. With Women, we speak of "love", "duty", "right", "wrong", "pity", "hope", and other irrational and emotional conceptions, which have no existence, and the fiction of which has no object except to control feminine exuberances; but among ourselves, and in our books, we have an entirely different vocabulary and I may almost say, idiom. "Love" then becomes "the anticipation of benefits"; "duty" becomes "necessity" or "fitness"; and other words are correspondingly transmuted. Moreover, among Women, we use language implying the utmost deference for their Sex; and they fully believe that the Chief Circle Himself is not more devoutly adored by us than they are: but behind their backs they are both regarded and spoken of — by all except the very young — as being little better than "mindless organisms".

Love, Women, Books, Hope