"How strangely do we diminish a thing as soon as we try to express it in words"
About this Quote
Language is a clarifying tool that also, quietly, commits a small act of violence. Maeterlinck’s line lands because it treats expression not as revelation but as reduction: the moment you name a feeling, an experience, a spiritual hunch, you carve it into something portable and socially legible. That portability is the loss. Words don’t just “describe” a thing; they select its boundaries, assign it a category, and make it available for other people’s use, misunderstanding, or casual dismissal. In that sense, articulation is a kind of shrinking.
The phrasing matters. “How strangely” signals wonder rather than complaint, the bemused recognition of a pattern he can’t fully domesticate. “Diminish” is the key verb: not distort, not betray, but lessen. It’s a softer, more fatalistic diagnosis, closer to entropy than error. And “as soon as” makes the harm instantaneous. The damage isn’t caused by time, repetition, or bad listeners; it’s baked into the act of translation from inner life to speech.
As a Symbolist-era dramatist, Maeterlinck built art around what can’t be said directly: atmosphere, intuition, the pressure of unseen forces. His theatre often treats silence, pauses, and the unsaid as the real stage action. So the line functions as both aesthetic manifesto and ethical warning. It argues that some truths survive only in gesture, music, ritual, or shared quiet - and that the modern hunger to “put it into words” can be less intimacy than control.
The phrasing matters. “How strangely” signals wonder rather than complaint, the bemused recognition of a pattern he can’t fully domesticate. “Diminish” is the key verb: not distort, not betray, but lessen. It’s a softer, more fatalistic diagnosis, closer to entropy than error. And “as soon as” makes the harm instantaneous. The damage isn’t caused by time, repetition, or bad listeners; it’s baked into the act of translation from inner life to speech.
As a Symbolist-era dramatist, Maeterlinck built art around what can’t be said directly: atmosphere, intuition, the pressure of unseen forces. His theatre often treats silence, pauses, and the unsaid as the real stage action. So the line functions as both aesthetic manifesto and ethical warning. It argues that some truths survive only in gesture, music, ritual, or shared quiet - and that the modern hunger to “put it into words” can be less intimacy than control.
Quote Details
| Topic | Wisdom |
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