The one overall structure in my plays is language.
You have to learn the language of Hamlet.
When it comes to atoms, language can be used only as in poetry. The poet, too, is not nearly so concerned with describing facts as with creating images.
My suggestion is that at each state the proper order of operation of the mind requires an overall grasp of what is generally known, not only in formal logical, mathematical terms, but also intuitively, in images, feelings, poetic usage of language, etc.
Because language is the carrier of ideas, it is easy to believe that it should be very little else than such a carrier.
Now, mark it. This may be strong language, but heed it. The people mean it, and, my friends of the Eastern Democracy, we bid farewell when you do that thing.
Given Pounds and five years, and an ordinary man can in the ordinary course, without any undue haste or putting any pressure upon his taste, surround himself with books, all in his own language, and thence forward have at least one place in the world.
In my world, history comes down to language and art. No one cares much about what battles were fought, who won them and who lost them - unless there is a painting, a play, a song or a poem that speaks of the event.
No heirloom of humankind captures the past as do art and language.
Having come to live in this age is as though one were to have entered another country. Learn its language or risk being left out.
I am determined to give the Yiddish language a fighting chance to survive.
Writers let themselves be enticed by the language.
There is nothing in philosophy which could not be said in everyday language.
One can say of language that it is potentially the only human home, the only dwelling place that cannot be hostile to man.
Ours is the age of substitutes: instead of language, we have jargon: instead of principles, slogans: and, instead of genuine ideas, bright ideas.