For example, when asked to describe a “key” — a word that is masculine in German and feminine in Spanish — the German speakers were more likely to use words like “hard,” “heavy,” “jagged,” “metal,” “serrated,” and “useful,” whereas Spanish speakers were more likely to say “golden,” “intricate,” “little,” “lovely,” “shiny,” and “tiny.” To describe a “bridge,” which is feminine in German and masculine in Spanish, the German speakers said “beautiful,” “elegant,” “fragile,” “peaceful,” “pretty,” and “slender,” and the Spanish speakers said “big,” “dangerous,” “long,” “strong,” “sturdy,” and “towering.”
In fact, you don’t even need to go into the lab to see these effects of language; you can see them with your own eyes in an art gallery. Look at some famous examples of personification in art — the ways in which abstract entities such as death, sin, victory, or time are given human form. How does an artist decide whether death, say, or time should be painted as a man or a woman? It turns out that in 85 percent of such personifications, whether a male or female figure is chosen is predicted by the grammatical gender of the word in the artist’s native language. So, for example, German painters are more likely to paint death as a man, whereas Russian painters are more likely to paint death as a woman."
nice friend person: hey, how've you been?
me: capitalism is crushing me. i am barely surviving. i am full of toxic resentment. i want revenge.