«It's important to understand that trauma is a word we use to
describe indescribable things, but it doesn't have to be that way,» she explains.
Ereignies, a word to
describe the indescribable.
But I do believe, perhaps naively, that our theologies and philosophies developed as attempts to
describe the indescribable and mysterious.
C. F. Evans comments, «He comes as near as he can to
describing the indescribable, the divine act of Resurrection itself.»
Not exact matches
And the other example is the startlingly brilliant and heartbreaking passage in which Tolstoy
describes the thoughts and internal apprehensions of Anna's child Seryozha in the long days since his mother went away — a scene that is more or less
indescribable and that one must read to appreciate.
But one clue is the recognition that the prophet attempts to
describe what he himself knows to be
indescribable.
(It could be argued that Shakespeare also linked synesthesia, in a broader form, to meaning: Bottom, in A Midsummer Night's Dream,
describes his dream as being
indescribable because «The eye of man hath not heard, the ear of man hath not seen... what my dream was.»)
The words that we use to
describe tapping that fricative synergy (archetype, the sublime, the ineffable) are also the words that we use, to borrow a phrase from Frank Zappa, to dance about architecture — to
describe what's
indescribable about the collective experience, the existential electricity that ranks music above painting above poetry above literature (and film the twentieth century stepchild that falls somehow north and south of each).
I'd pointed to the things people love to call
indescribable, and said, «
Describe that.
As
described, the views were
indescribable.
«This color so
indescribable isn't just or even a color, it's a conclusion, a condition and a combined existence of matted meaning and mushed matter,» Mutu
describes.