Category Archives: Quotes

As every second post on this site is a quote. You’ll find a deep and broad variety of quotes under this category, which overlap with several other tags and categories. Many of the quotes are larded with links for deeper reading on the subject of the quote, or connections between the subject of the quotes and other people, things, or ideas. See the Taxonomies page for more about this category.

Term of Art: Homonymy

“homonymy: The relation between words whose forms are the same but whose meanings are different and cannot be connected: e.g. between pen ‘writing instrument’ and pen ‘enclosure.’ Homonyms are words related in this way.

Distinguished from polysemy in that the meaning of one homonym is not seen as deriving from that of the other: in that light, the words are different lexical units. Homonymy can also be distinguished from cases of conversion: e.g. that of either of the nouns ‘pen’ into a corresponding verb. Also from syncretism, which is between inflections of the same lexical unit. The term may be restricted further to homonymy, as in this example, both in the sounds of words and in their spelling: hence the more specific homograph, homophone.”

Excerpted from: Matthews, P.H., ed. The Oxford Concise Dictionary of Linguistics. New York: Oxford University Press, 2014.

Thorstein Veblen on Law Schools

“The law school belongs in the modern university no more than a school of fencing or dancing.”

Thorstein Veblen

The Higher Learning in America ch. 7 (1918)

Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

Term of Art: Transitive Verb

“Transitive Verb: A verb that requires a direct object to complete its meaning: They washed their new car. An intransitive verb does not require an object to complete its meaning: The audience laughed. Many verbs can be both: The wind blew furiously. My car blew a gasket.”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

Rotten Reviews: What We Talk About When We Talk About Love by Raymond Carver

[I confess that in more than thirty years of trying to appreciate his work, the appeal of Raymond Carver is completely lost on me.]

“There is nothing here to appease a reader’s basic literary needs.” 

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.    

The Algonquin Wits: Robert Benchley on Easy Credit

“Better than anyone else, Benchley recognized his own irresponsibility in matters of finance. He once applied for a loan at his local bank and, to his shock, was granted the money with no questions asked. The next day he reportedly withdrew all his savings from the bank, explaining, ‘I don’t trust a bank that would lend money to such a poor risk.’”

Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.

Term of Art: Bond

bond: Binding agreement, used as a means of compulsion as well as security; for example, to enforce a commercial contract or to ensure good behavior. Bonds generally have two sections: the bond proper and the condition which, if ignored, cause a sum of money, specified in the bond proper, to be paid as forfeit.”

Excerpted from: Cook, Chris. Dictionary of Historical Terms. New York: Gramercy, 1998.

Write It Right: Banquet

“Banquet. A good enough word in its place, but its place is the dictionary. Say, dinner.”

Excerpted from: Bierce, Ambrose. Write it Right: A Little Blacklist of Literary Faults. Mineola, NY: Dover, 2010.

Term of Art: Transition

“Transition: A word or group of words that aids coherence by showing the connections between ideas. William Carlos Williams was influenced by the poetry or Walt Whitman. Moreover, Williams’s emphasis on the present and the and the immediacy of the ordinary represented a rejection of the poetic stance of his contemporary T.S. Eliot. In addition, Williams’s poetry….”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

Art for Art’s Sake

“Art for Art’s Sake: English equivalent of the French l’art pour l’art, which is embodied in The Poetic Principle by Edgar Allan Poe:

There neither exists nor can exist any work more thoroughly dignified…than the poem which is a poem and nothing more—the poem written solely for the poem’s sake.

 The doctrine which this represents, that the aim of art should be creation and the perfection of technical expression rather than the service of a moral, political, or didactic end, has been evolving ever since the romantic period. It was adumbrated by Coleridge and given early expression by Poe in the above treatise, flowered among the French symbolist poets and their English associate Walter Pater, and reached its culmination in the aesthetic theory of I.A. Richards. It was the dominant theory of art and especially of poetry until the 1930s, when the proletarian and Marxist movements in literature threatened for a time to revive the 18th-century didactic theories. After the beginning of World War II in 1939, the latter movements began to lose much of their influence.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

The Devil’s Dictionary: Corrupt

“Corrupt, adj. In politics, holding an office of trust or profit.”

Excerpted from: Bierce, Ambrose. David E. Schultz and S.J. Joshi, eds. The Unabridged Devil’s Dictionary. Athens: The University of Georgia Press, 2000.