Among the many dazzling quotes that have been circulating since Tom Stoppard’s death, this one caught my eye. It’s from his 1982 play The Real Thing, spoken by the character Henry, a playwright, who may or may not represent some of Stoppard’s own attitudes (I don’t know the play). Criticising another character, Henry says:
He’s a lout with language. I can’t help somebody who thinks, or thinks he thinks, that editing a newspaper is censorship, or that throwing bricks is a demonstration while building tower blocks is social violence, or that unpalatable statement is provocation while disrupting the speaker is the exercise of free speech … Words don’t deserve that kind of malarkey. They’re innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they’re no good any more, and Brodie knocks their corners off. I don’t think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little or make a poem which children will speak for you when you’re dead.
Damn, the man could write. But beauty doesn’t make a bad argument good.
Henry starts with a fair complaint about politically motivated twisting of language. But then he generalises to express a much harsher view about how the meanings of words need to be protected from usage. Usage, though, is the ground on which meaning stands.
Words are not innocent or neutral: they become complicit in the communicative acts we use them to commit, whether villainous, heroic or mundane. Every time you pick a word up to offer it to someone, you leave your fingerprints on it, rubbing off the tiniest fraction of one of its corners, shifting its centre of gravity a micron. Yes, you can build bridges with them, bridges from your mind to another, but these bridges can bear weight only if you see clearly what shape the words are currently in, and only if you take into account the terrain on the far bank.
What words mean is what we as a community understand them and use them to mean. Their lack of neutrality and innocence doesn’t mean they can’t be precise, though – but the difficulty is that we don’t always understand them in precisely the same way.
In fact, Henry’s view of words here is demolished by something he says just a few lines earlier:
There is, I suppose, a world of objects which have a certain form, like this coffee mug. I turn it, and it has no handle. I tilt it, and it has no cavity. But there is something real here which is always a mug with a handle. I suppose. But politics, justice, patriotism – they aren’t even like coffee mugs. There’s nothing real there separate from our perception of them. So if you try to change them as though there were something there to change, you’ll get frustrated, and frustration will finally make you violent. If you know this and proceed with humility, you may perhaps alter people’s perceptions so that they behave a little differently at that axis of behaviour where we locate politics or justice; but if you don’t know this, then you’re acting on a mistake.
Words are also not like coffee mugs. There’s nothing real there separate from our perception of them. So yes, if you try to change a word’s meaning other than by altering people’s perceptions of it, you’ll get frustrated. Likewise if you try to deny change that millions of others have already set in motion around you.
It’s disconcerting to think that the only foundation for the meanings of words is our collective body of habits concerning their use. How can order come from such chaos? Happily, we are creatures of habit, and we are herd animals; so, on the whole, we like to share the same meanings, and we change the words our parents gave us only slowly.
We children will keep speaking Stoppard’s words for him now he’s dead, and they will keep nudging the world a little.
Damn, the man could write.





