"Are not the richest and most significant experiences of man precisely those which are the least patient of verbal reproduction? A book, a treatise, a discourse, is the very thing that cannot contain them, that can contain at most their lower elements, their less significant aspects. Who shall transfer them to paper, write them in ink, utter them in words? And yet, though inexpressible thus, these things crave expression, for they are full of meaning and must be expressed. They have a language of their own. Art can utter some of them, and Nature, perhaps, can interpret them all. They borrow her tongues, speaking in the winds, singing in the voice of moving waters, looking down upon us in the cold shining of the stars. What they mean, we, too, can express; but we express it, not by speaking there and then, but by all that we become through their influence, by all that we are led to do, through their compelling, till life shall end."

“The Peacefulness of Being at War." by L. P. Jacks in The New Republic , p. 152”

“Of all the media of expression employed by man none are so unstable, none so quick to change their meaning, as words. Even sculpture, architecture, painting, in their noblest works, speak differently under different conditions; but these arts are relatively immortal compared with speech.”

“The poet takes us straight into the presence of things. Not by explanation, but by indication; not by exhausting its qualities, but by suggesting its value he gives us the object, raising it from the mire where it lies trodden by the concepts of the understanding, freeing it from the entanglements of all that “the intellect perceives as if constituting its essence.” Thus exhibited, the object itself becomes the meeting-ground of the ages, a centre where millions of minds can enter together into possession of the common secret. It is true that language is here the instrument with which the fetters of language are broken. Words are the shifting detritus of the ages; and as glass is made out of the sand, so the poet makes windows for the soul out of the very substance by which it has been blinded and oppressed. In all great poetry there is a kind of “kenosis” of the understanding, a self-emptying of the tongue. Here language points away from itself to something greater than itself.”

“Would not all we mean by “communication between mind and mind” be provided for if we suppose that common knowledge comes about, not from our explaining things to one another, but from things explaining themselves in the same terms to us all? Accepting the object as its own interpreter, as its own “medium of communication,” do we not begin to understand what is utterly dark on any other view, how it comes to pass that the resulting knowledge is a common possession?”

“A master in the art of living draws no sharp distinction between his work and his play; his labor and his leisure; his mind and his body; his education and his recreation. He hardly knows which is which. He simply pursues his vision of excellence through whatever he is doing, and leaves others to determine whether he is working or playing. To himself, he always appears to be doing both.”

“How can the Universe tell its own story save by making use of human speech; how convey its meanings to finite minds save by employing a thinker to declare them? So long as the story remains unspoken, unwritten, can we say it exists at all? Does not the significance of things become a story by the very process which ends in the movement of an intelligently guided pen over a sheet of paper, in the reading of printed types, in the utterance of recognised vocables; and until this process has been accomplished is not the “meaning” a mere promise or unrealized potency? Can we learn the history of the world, and of human life, otherwise than by reading, or hearing it spoken? How, then, can we receive it without the intermediation of a writer, a speaker?”