Edward Sapir

“ Language is but a garment! But what if language is not so much a garment as a prepared road or groove? It is, indeed, in the highest degree likely that language is an instrument originally put to uses lower than the conceptual plane and that thought arises as a refined interpretation of its content. The product grows, in other words, with the instrument, and thought may be no more conceivable, in its genesis and daily practice, without speech than is mathematical reasoning practicable without the lever of an appropriate mathematical symbolism. ”

“ Whatever be the sounds, accents, and forms of a language, however these lay hands on the shape of its literature, there is a subtle law of compensations that gives the artist space. If he is squeezed a bit here, he can swing a free arm there. And generally he has rope enough to hang himself with, if he must. It is not strange that this should be so. Language is itself the collective art of expression, a summary of thousands upon thousands of individual intuitions. ”

“ When we realize that an educated Japanese can hardly frame a single literary sentence without the use of Chinese resources, that to this day Siamese and Burmese and Cambodgian bear the unmistakable imprint of the Sanskrit and Pali that came in with Hindu Buddhism centuries ago, or that whether we argue for or against the teaching of Latin and Greek our argument is sure to be studded with words that have come to us from Rome and Athens, we get some inkling of what early Chinese culture and Buddhism and classical Mediterranean civilization have meant in the world’s history. ”

“ Every language is itself a collective art of expression. There is concealed in it a particular set of esthetic factors—phonetic, rhythmic, symbolic, morphological—which it does not completely share with any other language. These factors may either merge their potencies with those of that unknown, absolute language to which I have referred—this is the method of Shakespeare and Heine—or they may weave a private, technical art fabric of their own, the innate art of the language intensified or sublimated. ”

“ If the historical changes that take place in a language, if the vast accumulation of minute modifications which in time results in the complete remodeling of the language, are not in essence identical with the individual variations that we note on every hand about us, if these variations are born only to die without a trace, while the equally minute, or even minuter, changes that make up the drift are forever imprinted on the history of the language, are we not imputing to this history a certain mystical quality? ”

“ The drift of culture, another way of saying history, is a complex series of changes in society’s selected inventory—additions, losses, changes of emphasis and relation. The drift of language is not properly concerned with changes of content at all, merely with changes in formal expression. It is possible, in thought, to change every sound, word, and concrete concept of a language without changing its inner actuality in the least, just as one can pour into a fixed mold water or plaster or molten gold. ”

“ The ease with which speech symbolism can be transferred from one sense to another, from technique to technique, itself indicates that the mere sounds of speech are not the essential fact of language, which lies rather in the classification, in the formal patterning, and in the relating of concepts. Once more, language, as a structure, is on its inner face the mold of thought. It is this abstracted language, rather more than the physical facts of speech, that is to concern us in our inquiry.
There is no more striking general fact about language than its universality. ”

“ But we must not envy Chinese its terseness unduly. Our more sprawling mode of expression is capable of its own beauties, and the more compact luxuriance of Latin style has its loveliness too. There are almost as many natural ideals of literary style as there are languages. Most of these are merely potential, awaiting the hand of artists who will never come. And yet in the recorded texts of primitive tradition and song there are many passages of unique vigor and beauty. The structure of the language often forces an assemblage of concepts that impresses us as a stylistic discovery. ”

“ But language is not merely something that is spread out in space, as it were—a series of reflections in individual minds of one and the same timeless picture. Language moves down time in a current of its own making. It has a drift. If there were no breaking up of a language into dialects, if each language continued as a firm, self-contained unity, it would still be constantly moving away from any assignable norm, developing new features unceasingly and gradually transforming itself into a language so different from its starting point as to be in effect a new language. ”

“ The simplest of these is the failure to distinguish between imagery and thought. As a matter of fact, no sooner do we try to put an image into conscious relation with another than we find ourselves slipping into a silent flow of words. Thought may be a natural domain apart from the artificial one of speech, but speech would seem to be the only road we know of that leads to it. A still more fruitful source of the illusive feeling that language may be dispensed with in thought is the common failure to realize that language is not identical with its auditory symbolism. ”

“ If we can once thoroughly convince ourselves that race, in its only intelligible, that is biological, sense, is supremely indifferent to the history of languages and cultures, that these are no more directly explainable on the score of race than on that of the laws of physics and chemistry, we shall have gained a viewpoint that allows a certain interest to such mystic slogans as Slavophilism, Anglo-Saxondom, Teutonism, and the Latin genius but that quite refuses to be taken in by any of them. ”

“ A cathedral on the lowlands is higher than a stick on Mont Blanc. In other words, we must not commit the folly of admiring a French sonnet because the vowels are more sonorous than our own or of condemning Nietzsche’s prose because it harbors in its texture combinations of consonants that would affright on English soil. To so judge literature would be tantamount to loving “Tristan und Isolde” because one is fond of the timbre of horns. There are certain things that one language can do supremely well which it would be almost vain for another to attempt. ”

“ The truth of the matter is that sing is a kind of twilight word, trembling between the status of a true radical element and that of a modified word of the type of singing. Though it has no outward sign to indicate that it conveys more than a generalized idea, we do feel that there hangs about it a variable mist of added value. ”

“ Were the symbol “house”—whether an auditory, motor, or visual experience or image—attached but to the single image of a particular house once seen, it might perhaps, by an indulgent criticism, be termed an element of speech, yet it is obvious at the outset that speech so constituted would have little or no value for purposes of communication. The world of our experiences must be enormously simplified and generalized before it is possible to make a symbolic inventory of all our experiences of things and relations ”

“ We understand more clearly now that what is effective and beautiful in one language is a vice in another. Latin and Eskimo, with their highly inflected forms, lend themselves to an elaborately periodic structure that would be boring in English. English allows, even demands, a looseness that would be insipid in Chinese. And Chinese, with its unmodified words and rigid sequences, has a compactness of phrase, a terse parallelism, and a silent suggestiveness that would be too tart, too mathematical, for the English genius. ”

“ But the embarrassing question immediately arises, If all the individual variations within a dialect are being constantly leveled out to the dialectic norm, if there is no appreciable tendency for the individual’s peculiarities to initiate a dialectic schism, why should we have dialectic variations at all? Ought not the norm, wherever and whenever threatened, automatically to reassert itself? Ought not the individual variations of each locality, even in the absence of intercourse between them, to cancel out to the same accepted speech average? ”

“ The fundamental groundwork of language—the development of a clear-cut phonetic system, the specific association of speech elements with concepts, and the delicate provision for the formal expression of all manner of relations—all this meets us rigidly perfected and systematized in every language known to us. Many primitive languages have a formal richness, a latent luxuriance of expression, that eclipses anything known to the languages of modern civilization. Even in the mere matter of the inventory of speech the layman must be prepared for strange surprises. ”

“ For the time being, he, and we with him, move in the artistic medium as a fish moves in the water, oblivious of the existence of an alien atmosphere. No sooner, however, does the artist transgress the law of his medium than we realize with a start that there is a medium to obey.
Language is the medium of literature as marble or bronze or clay are the materials of the sculptor. ”

“ Since every language has its distinctive peculiarities, the innate formal limitations—and possibilities—of one literature are never quite the same as those of another. The literature fashioned out of the form and substance of a language has the color and the texture of its matrix. The literary artist may never be conscious of just how he is hindered or helped or otherwise guided by the matrix, but when it is a question of translating his work into another language, the nature of the original matrix manifests itself at once. ”

“ The upshot of such an examination would be to feel convinced that the “part of speech” reflects not so much our intuitive analysis of reality as our ability to compose that reality into a variety of formal patterns. A part of speech outside of the limitations of syntactic form is but a will o’ the wisp. For this reason no logical scheme of the parts of speech—their number, nature, and necessary confines—is of the slightest interest to the linguist. Each language has its own scheme. Everything depends on the formal demarcations which it recognizes. ”

“ On the whole, therefore, we shall ascribe the major concordances and divergences in linguistic form—phonetic pattern and morphology—to the autonomous drift of language, not to the complicating effect of single, diffused features that cluster now this way, now that. Language is probably the most self-contained, the most massively resistant of all social phenomena. It is easier to kill it off than to disintegrate its individual form. ”

“ It is of less importance to put each language in a neat pigeon-hole than to have evolved a flexible method which enables us to place it, from two or three independent standpoints, relatively to another language. All this is not to deny that certain linguistic types are more stable and frequently represented than others that are just as possible from a theoretical standpoint. But we are too ill-informed as yet of the structural spirit of great numbers of languages to have the right to frame a classification that is other than flexible and experimental. ”

“ The man in the street does not stop to analyze his position in the general scheme of humanity. He feels that he is the representative of some strongly integrated portion of humanity—now thought of as a “nationality,” now as a “race”—and that everything that pertains to him as a typical representative of this large group somehow belongs together. If he is an Englishman, he feels himself to be a member of the “Anglo-Saxon” race, the “genius” of which race has fashioned the English language and the “Anglo-Saxon” culture of which the language is the expression. Science is colder. ”

“ XI Language and Literature
Languages are more to us than systems of thought-transference. They are invisible garments that drape themselves about our spirit and give a predetermined form to all its symbolic expression. When the expression is of unusual significance, we call it literature. [194] Art is so personal an expression that we do not like to feel that it is bound to predetermined form of any sort. The possibilities of individual expression are infinite, language in particular is the most fluid of mediums. ”

“ On the whole, it must be admitted that ideation reigns supreme in language, that volition and emotion come in as distinctly secondary factors. This, after all, is perfectly intelligible. The world of image and concept, the endless and ever-shifting picture of objective reality, is the unavoidable subject-matter of human communication, for it is only, or mainly, in terms of this world that effective action is possible. Desire, purpose, emotion are the personal color of the objective world ”