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Novels have a knack for speaking and casting doubt simultaneously, for being clearly stated and yet hard to pin down, possessing meanings that slip away or evaporate when you try to express them in the language of exposition or argument.
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This development seems to have resulted from the substitution of Hebrew for Arabic as the language of philosophical exposition.
Taking comic language seriously, Sturges was a master of exposition, using what he called "hooks" in dialogue to give his character, "like a trapeze artist, something to swing from on his way to another point of view".
Nevertheless, it is worth noting that the evolution of the two components, over the time of exposition to the language, contrast one another.
When these mechanisms are engaged, the electrophysiological marker associated with rule-learning appears very quickly, during the earliest phases of exposition to a new language.
The effort to translate a literary work from one language to another, to render the original work in a language not its own, involves a complex mixture of exposition and adaptation.
That is, of course, if you can swallow an entree of exposition with a heaping scoop of cumbersome language (even for a fantasy work) for dessert.
The languages and their literatures gained strength as mediums of self-expression as well as of exposition.
Even at the level of exposition, the book is breathless.
Can that chunk of exposition be diversified by dialogue?
Some very bland sexuality and near-lethal levels of exposition.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com