In Dark Tongues, Daniel Heller-Roazen offers a sustainedexploration of a perplexing fact that has never received the attention it deserves. Wherever humanbeings share a language, they also strive to make from it something new: a cryptic idiom that willallow them to communicate in secrecy. Secret languages may be playful or serious, as apparentlyimpenetrable as a foreign tongue, or only slightly different from the languages from which theyspring.

The first recorded jargons date to the time of the Renaissance in Europe.A varied cast of characters -- lawyers, grammarians, and theologians -- denounced these new forms ofspeech, arguing that they served a single and illegitimate end: crime, plotted in tongues thathonest people could not understand. Before this, in epochs and regions as diverse as archaic Greeceand Rome, medieval Provence and Scandinavia, singers and scribes also invented opaque varieties ofspeech, not to defraud but to reveal and record a divine thing: the language of the gods, whichpoets and priests alone were said to know.

Dark Tongues movesamong these hermetic artificial tongues, exploring phenomena as diverse as criminal jargons anddivine speech, Saussure's and Tristan Tzara's work of anagrams, Jakobson's theory of subliminalpoetic patterning, and the secret writing systems of the Biblical copyists and Druids. In its elevensuccinct chapters, Dark Tongues advances a single thesis: that such willfully obscure languages allrest on poetic techniques, which work to play sound and sense against each other.

An ancient tradition holds that Pythagoras discovered the secrets of harmony within a forge when he came across five men hammering with five hammers, producing a wondrous sound. Four of the five hammers stood in a marvelous set of proportions, harmonizing; but there was also a fifth hammer. Pythagoras saw and heard it, but he could not measure it; nor could he understand its discordant sound. Pythagoras therefore discarded it. What was this hammer, such that Pythagoras chose so decidedly to reject it?Since antiquity, "harmony" has been a name for more than a theory of musical sounds; it has offered a paradigm for the scientific understanding of the natural world. Nature, through harmony, has been transcribed in the ideal signs of mathematics. But, time and again, the transcription has run up against one fundamental limit: something in nature resists being written down, transcribed in a stable set of ideal elements. A fifth hammer, obstinately, continues to sound. In eight chapters, linked together as are the tones of a single scale, The Fifth Hammer explores the sounds and echoes of that troubling percussion as they make themselves felt on the most varied of attempts to understand and represent the natural world. From music to metaphysics, aesthetics to astronomy, and from Plato and Boethius to Kepler, Leibniz, and Kant, this book explores the ways in which the ordering of the sensible world has continued to suggest a reality that no notes or letters can fully transcribe.

The Inner Touch presents the archaeology of a single sense: the sense of being sentient. Aristotle was perhaps the first to define this faculty when in his treatise On the Soul he identified a sensory power, irreducible to the five senses, by which animals perceive that they are perceiving: the simple "sense," as he wrote, "that we are seeing and hearing." After him, thinkers returned, time and again, to define and redefine this curious sensation. The classical Greek and Roman philosophers as well as the medieval Arabic, Hebrew, and Latin thinkers who followed them all investigated a power they called "the common sense," which one ancient author likened to "a kind of inner touch, by which we are able to grasp ourselves." Their many findings were not lost with the waning of the Middle Ages. From Montaigne and Francis Bacon to Locke, Leibniz, and Rousseau, from nineteenth-century psychiatry and neurology to Proust and Walter Benjamin, the writers and thinkers of the modern period have turned knowingly and unknowing to the terms of older traditions in exploring the perception that every sensitive being possesses of its life.The Inner Touch reconstructs and reconsiders the history of this perception. In twenty-five concise chapters that move freely among ancient, medieval, and modern cultures, Daniel Heller-Roazen investigates a set of exemplary phenomena that have played central roles in philosophical, literary, psychological, and medical accounts of the nature of animal existence. Here sensation and self-sensation, sleeping and waking, aesthetics and anesthetics, perception and apperception, animal nature and human nature, consciousness and unconsciousness, all acquire a new meaning.The Inner Touch proposes an original, elegant, and far-reaching philosophical inquiry into a problem that has never been more pressing: what it means to feel that one is alive.Winner of the Aldo and Jeanne Scaglione Prize for Comparative Literary Studies

Just as speech can be acquired, so can it be lost. Speakers can forget words, phrases, even entire languages they once knew; over the course of time peoples, too, let go of the tongues that were once theirs, as languages disappear and give way to the others that follow them. In Echolalias, Daniel Heller-Roazen reflects on the many forms of linguistic forgetfulness, offering a far-reaching philosophical investigation into the persistence and disappearance of speech. In twenty-one brief chapters, he moves among classical, medieval, and modern culture, exploring the interrelations of speech, writing, memory, and oblivion.Drawing his examples from literature, philosophy, linguistics, theology, and psychoanalysis, Heller-Roazen examines the points at which the transience of speech has become a question in the arts, disciplines, and sciences in which language plays a prominent role. Whether the subject is Ovid, Dante, or modern fiction, classical Arabic literature or the birth of the French language, structuralist linguistics or Freud's writings on aphasia, Heller-Roazen considers with clarity, precision, and insight the forms, the effects, and the ultimate consequences of the forgetting of language. In speech, he argues, destruction and construction often prove inseparable. Among peoples, the disappearance of one language can mark the emergence of another; among individuals, the experience of the passing of speech can lie at the origin of literary, philosophical, and artistic creation.From the infant's prattle to the legacy of Babel, from the holy tongues of Judaism and Islam to the concept of the dead language and the political significance of exiled and endangered languages today, Echolalias traces an elegant, erudite, and original philosophical itinerary, inviting us to reflect in a new way on the nature of the speaking animal who forgets.