While perusing again A Week on the Concord and Merrimack Rivers by Thoreau, I came across a passage I rather like on the value of silence:
As the truest society approaches always nearer to solitude, so the most excellent speech finally falls into Silence. Silence is audible to all men, at all times, and in all places. She is when we hear inwardly, sound when we hear outwardly. Creation has not displaced her, but is her visible framework and foil. All sounds are her servants, and purveyors, proclaiming not only that their mistress is, but is a rare mistress, and earnestly to be sought after. They are so far akin to Silence, that they are but bubbles on her surface, which straightway burst, an evidence of the strength and prolificness of the under-current; a faint utterance of Silence, and then only agreeable to our auditory nerves when they contrast themselves with and relieve the former. In proportion as they do this, and are heighteners and intensifiers of the Silence, they are harmony and purest melody.
Silence is the universal refuge, the sequel to all dull discourses and all foolish acts, a balm to our every chagrin, as welcome after satiety as after disappointment; that background which the painter may not daub, be he master or bungler, and which, however awkward a figure we may have made in the foreground, remains ever our inviolable asylum, where no indignity can assail, no personality disturb us.
The orator puts off his individuality, and is then most eloquent when most silent. He listens while he speaks, and is a hearer along with his audience. Who has not hearkened to Her infinite din? She is Truth's speaking-trumpet, the sole oracle, the true Delphi and Dodona, which kings and courtiers would do well to consult, nor will they be balked by an ambiguous answer. For through Her all revelations have been made, and just in proportion as men have consulted her oracle within, they have obtained a clear insight, and their age has been marked as an enlightened one. But as often as they have gone gadding abroad to a strange Delphi and her mad priestess, their age has been dark and leaden. Such were garrulous and noisy eras, which no longer yield any sound, but the Grecian or silent and melodious era is ever sounding and resounding in the ears of men.
A good book is the plectrum with which our else silent lyres are struck. We not unfrequently refer the interest which belongs to our own unwritten sequel, to the written and comparatively lifeless body of the work. Of all books this sequel is the most indispensable part. It should be the author's aim to say once and emphatically, "He said," ἔφη. This is the most the book-maker can attain to. If he make his volume a mole whereon the waves of Silence may break, it is well.
It were vain for me to endeavor to interrupt the Silence. She cannot be done into English. For six thousand years men have translated her with what fidelity belonged to each, and still she is little better than a sealed book. A man may run on confidently for a time, thinking he has her under his thumb, and shall one day exhaust her, but he too must at last be silent, and men remark only how brave a beginning he made; for when he at length dives into her, so vast is the disproportion of the told to the untold, that the former will seem but the bubble on the surface where he disappeared. Nevertheless, we will go on, like those Chinese cliff swallows, feathering our nests with the froth, which may one day be bread of life to such as dwell by the sea-shore.
Peter Saint-Andre > Journal