I am tempted by phrases such as the silence of ignorance, and the silence of hatred, but ignorance is so very rarely silent, and hatred even less so.
I am also tempted—let’s get these all out at the start—by the definite article, that “the” that would suggest these silences are the silences, the only ones or almost. A little thing, but a grand temptation, I admire its nuance and power, as when you hold open your palm with two pencils and say, take the pencil. Not the only, not quite, because obviously there are two. Just the.
I admit to an impish curiosity at what a Russian or a Japanese translator might make of this distinction, those languages having no articles at all, let alone any definite ones. Take pencil. Take pencils. Take one pencil. Take one pencil we’ve been talking about. Take one I want you to take. One I’m looking at more intently. One I have in my mind. One we both know is right to take. Take either pencil. Take any pencil.
I am reminded of the sound of water at the end of Matsuo Basho’s famous poem about the frog leaping into an old pond, which is just water in Japanese, mizu, but this is obviously the mizu here, not just mizu, because mizu does not make a sound unless it moves—the silence of land and the silence of water are land and water—and this particular mizu moves because a frog just jumped in. (I also thought the country of my birth was mostly brown until, at the age of twenty-eight, I drove from Los Angeles to Virginia one June, and discovered it mostly green, and far noisier than I had thought, what with all the buzzing and humming.)