Language is a social art.

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.

Treating 'water' as a name of a single scattered object is not intended to enable us to dispense with general terms and plurality of reference. Scatter is in fact an inconsequential detail.

To call a posit a posit is not to patronize it. A posit can be unavoidable except at the cost of other no less artificial expedients. Everything to which we concede existence is a posit from the standpoint of a description of the theory-building process, and simultaneously real from the standpoint of the theory that is being built.

English general and singular terms, identity, quantification, and the whole bag of ontological tricks may be correlated with elements of the native language in any of various mutually incompatible ways, each compatible with all possible linguistic data, and none preferable to another save as favored by a rationalization of the native language that is simple and natural to us.

... 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.

Language is a social art.