Quotes & Sayings About Argot

Cutting through the acronyms and argot that littered the hearing testimony, the Internet may fairly be regarded as a never-ending worldwide conversation. The government may not, through the CDA, interrupt that conversation. — Stewart Dalzell

Nothing can be more depressing than to expose, naked to the light of thought, the hideous growth of argot. Indeed it is like a sort of repellent animal intended to dwell in darkness which has been dragged out of its cloaca. One seems to see a horned and living creature viciously struggling to be restored to the place where it belongs. One word is like a claw, another like a sightless and bleeding eye; and there are phrases which clutch like the pincers of a crab. And all of it is alive with the hideous vitality of things that have organized themselves amid disorganization. — Victor Hugo

The French Revolution, which is nothing more nor less than the ideal armed with the sword, rose abruptly, and by that very movement, closed the door of evil and opened the door of good.
It released the question, promulgated truth, drove away miasma, purified the century, crowned the people.
We can say it created man a second time, in giving him a second soul, his rights. Page 997 Saint-Denis chapter 7 Argot part III — Victor Hugo

In front marched Egypt. The Duke of Egypt at their head, on horseback, with his counts on foot, holding his bridle and stirrups; behind them the Egyptians, men and women, in any order, with their young children yelling on their shoulders; all of them, duke, counts, common people, in rags and tinsel. Then came the kingdom of the argot, that is to say, every thief in France, graded in order of rank, the lowest going in front. Thus there filed past in column of four, in the various insignia of their grades in this strange academy, the majority crippled, some of them lame, others with only one arm, the upright men, the counterfeit cranks, the rufflers, the kinchincoves, the Abraham-men, the fraters, the dommerars, the trulls, the whipjacks, the prygges, the drawlatches, the robardesmen, the clapper-dogens; an enumeration to weary Homer. — Victor Hugo

Argot is both a literary and a social phenomenon. What is argot, properly speaking? Argot is the language of misery. — Victor Hugo

There were certain ways of referring to things in the gang Henry was a part of (and which Eddie, as his little brother, was also a part of); the argot of their miserable little ka-tet. In Henry's gang, you never beat anyone else up; you sent em home with a fuckin rupture. You never made out with a girl; you fucked that skag til she cried. You never got stoned; you went on a fuckin bombin-run. And you never brawled with another gang; you got in a fuckin pisser. — Anonymous

A truly enlightened attitude to language should simply be to let six thousand or more flowers bloom. Subcultures should be allowed to thrive, not just because it is wrong to squash them, because they enrich the wider culture. Just as Black English has left its mark on standard English Culture, South Africans take pride in the marks of Afrikaans and African languages on their vocabulary and syntax.
New Zealand's rugby team chants in Maori, dancing a traditional dance, before matches. French kids flirt with rebellion by using verlan, a slang that reverses words' sounds or syllables (so femmes becomes meuf). Argentines glory in lunfardo, an argot developed from the underworld a centyry ago that makes Argentine Spanish unique still today. The nonstandard greeting "Where y'at?" for "How are you?" is so common among certain whites in New Orleans that they bear their difference with pride, calling themselves Yats. And that's how it should be. — Robert Lane Greene

In the argot of the cycle world the Harley is a "hog," and the outlaw bike is a "chopped hog. — Hunter S. Thompson

Argot is nothing more nor less than a wardrobe in which language, having some bad deed to do, disguises itself. It puts on word-masks and metaphoric rags. — Victor Hugo

It is, as I say, easy enough to describe Holden's style of narration; but more difficult to explain how it holds our attention and gives us pleasure for the length of a whole novel. For, make no mistake, it's the style that makes the book interesting. The story it tells is episodic, inconclusive and largely made up of trivial events. Yet the language is, by normal literary criteria, very impoverished. Salinger, the invisible ventriloquist who speaks to us through Holden, must say everything he has to say about life and death and ultimate values within the limitations of a seventeen-year-old New Yorker's argot, eschewing poetic metaphors, periodic cadences, fine writing of any kind. — David Lodge