Quotes About English

He would not mind hearing Petrus's story one day. But preferably not reduced to English. More and more he is convinced that English is an unfit medium for the truth of South Africa. Stretches of English code whole sentences long have thickened, lost their articulations, their articulateness, their articulatedness. Like a dinosaur expiring and settling in the mud, the language has stiffened. Pressed into the mold of English, Petrus's story would come out arthritic, bygone"(117).

The revival of Hebrew, as a spoken language, is a fascinating story, which I'm afraid I cannot squeeze into a few sentences. But, let me give you a clue. Think about Elizabethan English, where the entire English language behaved pretty much like molten lava, like a volcano in mid-eruption. Modern Hebrew has some things in common with Elizabethan English. It is being reshaped and it's expanding very rapidly in various directions. This is not to say that every one of us Israeli writers is a William Shakespeare, but there is a certain similarity to Elizabethan English.

At every point I wished that I was born English. They need to make it colder in here. You could hang meat in this room. But, yeah...I grew up in a very English household. My folks were from Liverpool. I've said this before, but there is nothing more English than an Englishman that no longer lives in England.

There is no other Parliament like the English. For the ordinary man, elected to any senate, from Perisa to Peru, they may be a certain satisfaction in being elected... but the man who steps into the English Parliament takes his place in a pageant that has ever been filing by since the birth of English history... York or Lancaster, Protestant or Catholic, Court or Country, Roundhead or Cavalier, Whig or Tory, Liberal or Conservative, Labour or Unionist, they all fit into that long pageant that no other country in the world can show.

English is not the primary language for universities in China, Korea, and Japan, but they are being evaluated on the basis of publications in English and courses taught in English.

I think the French agonise more about being French, I don't think English think about being English that much. I think the Scottish think about being Scottish and the Welsh think about being Welsh, but the English don't really care. But the French think about it all the time, it's an absolute preoccupation.

I changed my major to English literature, which was on the advice of my father. I finally said, "You know, Dad, to heck with it: I'm just going to be an actor. But I'm going to go to school." And he said, "Well, if you're going to go to school, then major in English literature. Those are the tools you are going to be working with as a man who's going to be acting in English, one would assume."

There was - there still is - a big shortage of good Chinese-English literary translators. So for two years in London, I was stuck waiting, not writing, with several Chinese books I couldn't get translated. That's when I decided to write in English, since I had been living here and had decided to reconstruct my life here. Even if I wrote in broken English, it was better than getting bored and weary and bitter on the long queue of authors waiting to be translated by a stranger.

I have a funny story to tell about English and how I came to fall in love with the language. I was desperate to fit in and spoke English all the time. Trouble was, in my household it was a no-no to speak English because somehow it is disrespectful to call parents and grandparents "you" - impersonal pronouns are offensive in Vietnamese.

You will hear people say the C-word. Except, it's a regional language: in British English, c - t has much less of an inflammatory sense than it does in North American English. You can hear someone on British TV called "a c - ting monkey" or a man being called a c - t. The particular fascination of profanity is how culturally specific it is and how it evolves.

The sign was spray-painted in Arabic and English, probably from some attempt by the farmer to sell his wares in the market. The English read: Dates-best price. Cold Bebsi. "Bebsi?" I asked. "Pepsi," Walt said. "I read about it on the Internet. There's no 'p' in Arabic. Everyone here calls the soda Bebsi." "So you have to have Bebsi with your bizza?" "Brobably.

I'd studied English literature and American history, but the English literature, which I thought was going to be helpful to me in an immediate way, was the opposite. So I had to un-think a lot of things and move out of my own head, and I learned a lot. It was like graduate school, but an un-graduate school or an un-school.

I think I am less self-assured when I write English than I would be if I were writing in my first language. I have to test each sentence over and over to be sure that it's right, that I haven't introduced some element that isn't English.

This book is intended for use in English courses in which the practice of composition is combined with the study of literature. It aims to give in a brief space the principal requirements of plain English style. It aims to lighten the task of instructor and student by concentrating attention (in Chapters II and III) on a few essentials, the rules of usage and principles of composition most commonly violated. The numbers of the sections may be used as references in correcting manuscript.

I think I succeeded as a writer because I did not come out of an English department. I used to write in the chemistry department. And I wrote some good stuff. If I had been in the English department, the prof would have looked at my short stories, congratulated me on my talent, and then showed me how Joyce or Hemingway handled the same elements of the short story. The prof would have placed me in competition with the greatest writers of all time, and that would have ended my writing career.

A passage is not plain English - still less is it good English - if we are obliged to read it twice to find out what it means.

The English Language Amendment says above all, 'Let's see to it that our children, our young people, learn English. Let us not deny them the opportunity to participate in American life, so that they can go as far as their dreams and talents can take them.

I think that if you are sticking to the text, essentially, you're not trying to write your own version of it. I mean, of course, it is your own version of it. And every translator would probably have a different version. But I think that that's what keeps the writers from being individual in English. They may be my English, but I don't think that Ferrante sounds like Levi.

Everything depends on whether we have for opponents those French tricksters or those daring rascals, the English. I prefer the English. Frequently their daring can only be described as stupidity. In their eyes it may be pluck and daring.

Maybe you could be a great writer - maybe even good enough to write a book or articles in a newspaper - but you might not know it until you write that English paper - that English class paper that's assigned to you.

English is, from my point of view as an Americanist, an ethnicity. And English literature should be studied in Comparative Literature. And American literature should be a discipline, certainly growing from England and France, Germany, Spain, Denmark, and the Native traditions, particularly because those helped form the American canon. Those are our backgrounds. And then we'd be doing it the way it ought to be done. And someday I hope that it will be.

He seems to have declared war on the King’s English as well as on the English king.

I am, as far as I can tell, about a month behind Lord Byron. In every town we stop at we discover innkeepers, postillions, officials, burghers, potboys, and all kinds and sorts of ladies whose brains still seem somewhat deranged from their brief exposure to his lordship. And though my companions are careful to tell people that I am that dreadful being, an English magician, I am clearly nothing in comparison to an English poet and everywhere I go I enjoy the reputation- quite new to me, I assure you- of the quiet, good Englishman, who makes no noise and is no trouble to any one.

Part of what makes a language 'alive' is its constant evolution. I would hate to think Britain would ever emulate France, where they actually have a learned faculty whose job it is to attempt to prevent the incursion of foreign words into the language. I love editing Harry with Arthur Levine, my American editor-the differences between 'British English' (of which there must be at least 200 versions) and 'American English' (ditto!) are a source of constant interest and amusement to me.

I could wish there were a treaty made between the French and the English theatres, in which both parties should make considerableconcessions. The English ought to give up their notorious violations of the unities, and all their massacres, racks, dead bodies, and mangled carcasses, which they so frequently exhibit upon their stage. The French should engage to have more action, and less declamation, and not to cram and to crowd things together to almost a degree of impossibility from a too scrupulous adherence to the unities.

In Bulgarian I am much more flowery, the sentences are wilder. In English out of necessity I try to be clear and disciplined. I realized by writing in English there is so much more to writing a good story than the style.

England and Greece are friends. English blood was shed on Greek soil in the war against fascism, and Greeks gave their lives to protect English pilots.

Much of the academy on the humanities side, English departments in particular, no longer write what can pass for normal English.

When I was quite young I fondly imagined that all foreign languages were codes for English. I thought that "hat," say, was the real and actual name of the thing, but that people in other countries, who obstinately persisted in speaking the code of their forefathers, might use the word "ibu," say, to designate not merely the concept hat, but the English word "hat." I knew only one foreign word, "oui," and since it had three letters as did the word for which it was a code, it seemed, touchingly enough, to confirm my theory.

I've done many, many French movies and many, many English movies. I think it frees something when you don't talk in your mother language, but I also think you withdraw something as well. I'm a French actress, and sometimes I speak in English-speaking roles. For me, being an actress was always being a traveler. It goes together.

At the age of 12 I won the school prize for Best English Essay. The prize was a copy of Somerset Maugham's 'Introduction To Modern English And American Literature.' To this day I keep it on the shelf between my collection of Forester's works and the little urn that contains my mother's ashes.

Never let the estate decrease in your hands. It is only by such resolutions as that that English noblemen and English gentlemen can preserve their country. I cannot bear to see property changing hands.

I grew up speaking Spanish and English. My mother can speak Spanish, English, French and Italian, and she's pretty good at faking Portuguese. I wish that I spoke more languages than I do.

And in spite of everything, Ireland remains the brain of the Kingdom. The English, judiciously practical and ponderous, furnish the over-stuffed stomach of humanity with a perfect gadget--the water closet. The Irish, condemned to express themselves in a language not their own, have stamped on it the mark of their own genius and compete for glory with the civilized nations. This is then called English literature.

Read a lot. But read as a writer, to see how other writers are doing it. And make your knowledge of literature in English as deep and broad as you can. In workshops, writers are often told to read what is being written now, but if that is all you read, you are limiting yourself. You need to get a good overall sense of English literary history, so you can write out of that knowledge.

I don't speak cockney and I don't pretend to come from that part of the world. For the longest time the English, like the Beatles and so on sounded American. "She loves you yeah yeah yeah!" All of the sudden you sound American. It doesn't work that way with Americans who try to sing English. It's not convincing. If I say "Footy" and "tele" and "Brissy" and "Sydney" and "Simmo" it's not convincing.

The English Patient' is about the coming together of a French-Canadian nurse, an English patient, a Sikh in a turban and me, Caravaggio, and each of us is seeking a resolution to our own problems.

In England everything is liberalised. Within certain boundaries and rules everybody can do what he likes. Maybe London's society has a different tempo, a different dynamic. London is fast, productive, creative but it is not England. If you want to transfer that to football, you could say: in the four big English clubs and maybe in the one or two behind them there is a top level. Everything that comes after that rather mirrors English society. It's honest, fair and hard, sometimes also fast, but not always so perfect.

English is much drier. You can get away with a lot less. Pathos, lyricism, these are things you have to tone down if you want the English version of the book to work.

It (Arsenal) is an English club but not an English success. It's probably a greater reflection of youngsters from France and elsewhere in Europe.

I feel more Irish than English. I feel freer than British, more visceral, with a love of language. Shot through with fire in some way. That's why I resist being appropriated as the current repository of Shakespeare on the planet. That would mean I'm part of the English cultural elite, and I am utterly ill-fitted to be.

I try to find a style that matches the book. In the Baroque Cycle, I got infected with the prose style of the late 17th and early 18th centuries, which is my favorite era. It's recent enough that it is easy to read - easier than Elizabethan English - but it's pre-Victorian and so doesn't have the pomposity that is often a problem with 19th-century English prose. It is earthy and direct and frequently hilarious.

There is no English equivalent for the French word flâneur. Cassell's dictionary defines flâneur as a stroller, saunterer, drifter but none of these terms seems quite accurate. There is no English equivalent for the term, just as there is no Anglo-Saxon counterpart of that essentially Gallic individual, the deliberately aimless pedestrian, unencumbered by any obligation or sense of urgency, who, being French and therefore frugal, wastes nothing, including his time which he spends with the leisurely discrimination of a gourmet, savoring the multiple flavors of his city.

English music is white - it evades everything.

My heritage is English, so I'm proud to be back here.

I was well warned about English food, so it did not surprise me, but I do wonder sometimes, how they ever manage to prise it up long enough to get a plate under it.

Propose to an Englishman any principle, or any instrument, however admirable, and you will observe that the whole effort of the English mind is directed to find a difficulty, a defect, or an impossibility in it. If you speak to him of a machine for peeling a potato, he will pronounce it impossible: if you peel a potato with it before his eyes, he will declare it useless, because it will not slice a pineapple.

Let America add Mexico to Texas, and pile Cuba upon Canada; let the English overswarm all India, and hang out their blazing banner from the sun; two thirds of this terraqueous globe are the Nantucketer's. For the sea is his; he owns it.