For me the problem of induction is a problem about the world: a problem of how we, as we are now (by our present scientific lights), in a world we never made, should stand better than random, or coin-tossing chances changes of coming out right when we predict by inductions. . . .

Uncritical semantics is the myth of a museum in which the exhibits are meanings and the words are labels. To switch languages is to change the labels.

The lore of our fathers is a fabric of sentences. A pale gray lore, black with fact and white with convention.

Meaning is what essence becomes when it is divorced from the object of reference and wedded to the word.

The mastery of one's phonemes may be compared to the violinist's mastery of fingering. The violin string lends itself to a continuous gradation of tones, but the musician learns the discrete intervals at which to stop the string in order to play the conventional notes. We sound our phonemes like poor violinists, approximating each time to a fancied norm, and we receive our neighbor's renderings indulgently, mentally rectifying the more glaring inaccuracies.

... two men could be just alike in all their dispositions to verbal behavior under all possible sensory stimulations, and yet themeanings or ideas expressed in their identically triggered and identically sounding utterances could diverge radically, for the two men, in a wide range of cases.

One man's observation is another man's closed book or flight of fancy.