Testaments to the Boom Times to Come (Posts tagged WORDS)

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fursasaida

English is weird

newstfionline

John McWhorter, The Week, December 20, 2015

English speakers know that their language is odd. So do nonspeakers saddled with learning it. The oddity that we all perceive most readily is its spelling, which is indeed a nightmare. In countries where English isn’t spoken, there is no such thing as a spelling bee. For a normal language, spelling at least pretends a basic correspondence to the way people pronounce the words. But English is not normal.

Even in its spoken form, English is weird. It’s weird in ways that are easy to miss, especially since Anglophones in the United States and Britain are not exactly rabid to learn other languages. Our monolingual tendency leaves us like the proverbial fish not knowing that it is wet. Our language feels “normal” only until you get a sense of what normal really is.

There is no other language, for example, that is close enough to English that we can get about half of what people are saying without training and the rest with only modest effort. German and Dutch are like that, as are Spanish and Portuguese, or Thai and Lao. The closest an Anglophone can get is with the obscure Northern European language called Frisian. If you know that tsiis is cheese and Frysk is Frisian, then it isn’t hard to figure out what this means: Brea, bûter, en griene tsiis is goed Ingelsk en goed Frysk. But that sentence is a cooked one, and overall, we tend to find Frisian more like German, which it is.

We think it’s a nuisance that so many European languages assign gender to nouns for no reason, with French having female moons and male boats and such. But actually, it’s we who are odd: Almost all European languages belong to one family–Indo-European–and of all of them, English is the only one that doesn’t assign genders.

More weirdness? OK. There is exactly one language on Earth whose present tense requires a special ending only in the third-person singular. I’m writing in it. I talk, you talk, he/she talks–why? The present-tense verbs of a normal language have either no endings or a bunch of different ones (Spanish: hablo, hablas, habla). And try naming another language where you have to slip do into sentences to negate or question something. Do you find that difficult?

Why is our language so eccentric? Just what is this thing we’re speaking, and what happened to make it this way?

English started out as, essentially, a kind of German. Old English is so unlike the modern version that it’s a stretch to think of them as the same language. Hwæt, we gardena in geardagum þeodcyninga þrym gefrunon–does that really mean “So, we Spear-Danes have heard of the tribe-kings’ glory in days of yore”? Icelanders can still read similar stories written in the Old Norse ancestor of their language 1,000 years ago, and yet, to the untrained English-speaker’s eye, Beowulf might as well be in Turkish.

The first thing that got us from there to here was the fact that when the Angles, Saxons, and Jutes (and also Frisians) brought Germanic speech to England, the island was already inhabited by people who spoke Celtic languages–today represented by Welsh and Irish, and Breton across the Channel in France. The Celts were subjugated but survived, and since there were only about 250,000 Germanic invaders, very quickly most of the people speaking Old English were Celts.

Crucially, their own Celtic was quite unlike English. For one thing, the verb came first (came first the verb). Also, they had an odd construction with the verb do: They used it to form a question, to make a sentence negative, and even just as a kind of seasoning before any verb. Do you walk? I do not walk. I do walk. That looks familiar now because the Celts started doing it in their rendition of English. But before that, such sentences would have seemed bizarre to an English speaker–as they would today in just about any language other than our own and the surviving Celtic ones.

At this date there is no documented language on Earth beyond Celtic and English that uses do in just this way. Thus English’s weirdness began with its transformation in the mouths of people more at home with vastly different tongues. We’re still talking like them, and in ways we’d never think of. When saying “eeny, meeny, miny, moe,” have you ever felt like you were kind of counting? Well, you are–in Celtic numbers, chewed up over time but recognizably descended from the ones rural Britishers used when counting animals and playing games. “Hickory, dickory, dock”–what in the world do those words mean? Well, here’s a clue: hovera, dovera, dick were eight, nine, and ten in that same Celtic counting list.

The second thing that happened was that yet more Germanic-speakers came across the sea meaning business. This wave began in the 9th century, and this time the invaders were speaking another Germanic offshoot, Old Norse. But they didn’t impose their language. Instead, they married local women and switched to English. However, they were adults and, as a rule, adults don’t pick up new languages easily, especially not in oral societies. There was no such thing as school, and no media. Learning a new language meant listening hard and trying your best.

As long as the invaders got their meaning across, that was fine. But you can do that with a highly approximate rendition of a language–the legibility of the Frisian sentence you just read proves as much. So the Scandinavians did more or less what we would expect: They spoke bad Old English. Their kids heard as much of that as they did real Old English. Life went on, and pretty soon their bad Old English was real English, and here we are today: The Norse made English easier.

I should make a qualification here. In linguistics circles it’s risky to call one language easier than another one. But some languages plainly jangle with more bells and whistles than others. If someone were told he had a year to get as good at either Russian or Hebrew as possible, and would lose a fingernail for every mistake he made during a three-minute test of his competence, only the masochist would choose Russian–unless he already happened to speak a language related to it. In that sense, English is “easier” than other Germanic languages, and it’s because of those Vikings.

Old English had the crazy genders we would expect of a good European language–but the Scandinavians didn’t bother with those, and so now we have none. What’s more, the Vikings mastered only that one shred of a once lovely conjugation system: Hence the lonely third-person singular -s, hanging on like a dead bug on a windshield. Here and in other ways, they smoothed out the hard stuff.

They also left their mark on English grammar. Blissfully, it is becoming rare to be taught that it is wrong to say Which town do you come from?–ending with the preposition instead of laboriously squeezing it before the wh-word to make From which town do you come? In English, sentences with “dangling prepositions” are perfectly natural and clear and harm no one. Yet there is a wet-fish issue with them, too: Normal languages don’t dangle prepositions in this way. Every now and then a language allows it: an indigenous one in Mexico, another in Liberia. But that’s it. Overall, it’s an oddity. Yet, wouldn’t you know, it’s a construction that Old Norse also happened to permit (and that modern Danish retains).

We can display all these bizarre Norse influences in a single sentence. Say That’s the man you walk in with, and it’s odd because (1) the has no specifically masculine form to match man, (2) there’s no ending on walk, and (3) you don’t say in with whom you walk. All that strangeness is because of what Scandinavian Vikings did to good old English back in the day.

Finally, as if all this weren’t enough, English got hit by a fire-hose spray of words from yet more languages. After the Norse came the French. The Normans–descended from the same Vikings, as it happens–conquered England and ruled for several centuries, and before long, English had picked up 10,000 new words. Then, starting in the 16th century, educated Anglophones began to develop English as a vehicle for sophisticated writing, and it became fashionable to cherry-pick words from Latin to lend the language a more elevated tone.

It was thanks to this influx from French and Latin (it’s often hard to tell which was the original source of a given word) that English acquired the likes of crucified, fundamental, definition, and conclusion. These words feel sufficiently English to us today, but when they were new, many persons of letters in the 1500s (and beyond) considered them irritatingly pretentious and intrusive, as indeed they would have found the phrase “irritatingly pretentious and intrusive.” There were even writerly sorts who proposed native English replacements for those lofty Latinates, and it’s hard not to yearn for some of these: In place of crucified, fundamental, definition, and conclusion, how about crossed, groundwrought, saywhat, and endsay?

But language tends not to do what we want it to. The die was cast: English had thousands of new words competing with native English words for the same things. One result was triplets allowing us to express ideas with varying degrees of formality. Help is English, aid is French, assist is Latin. Or, kingly is English, royal is French, regal is Latin–note how one imagines posture improving with each level: Kingly sounds almost mocking, regal is straight-backed like a throne, royal is somewhere in the middle, a worthy but fallible monarch.

Then there are doublets, less dramatic than triplets but fun nevertheless, such as the English/French pairs begin/commence and want/desire. Especially noteworthy here are the culinary transformations: We kill a cow or a pig (English) to yield beef or pork (French). Why? Well, generally in Norman England, English-speaking laborers did the slaughtering for moneyed French speakers at the table. The different ways of referring to meat depended on one’s place in the scheme of things, and those class distinctions have carried down to us in discreet form today.

The multiple influxes of foreign vocabulary partly explain the striking fact that English words can trace to so many different sources–often several within the same sentence. The very idea of etymology being a polyglot smorgasbord, each word a fascinating story of migration and exchange, seems everyday to us. But the roots of a great many languages are much duller. The typical word comes from, well, an earlier version of that same word and there it is. The study of etymology holds little interest for, say, Arabic speakers.

To be fair, mongrel vocabularies are hardly uncommon worldwide, but English’s hybridity is high on the scale compared with most European languages. The previous sentence, for example, is a riot of words from Old English, Old Norse, French, and Latin. Greek is another element: In an alternate universe, we would call photographs “lightwriting.”

Because of this fire-hose spray, we English speakers also have to contend with two different ways of accenting words. Clip on a suffix to the word wonder, and you get wonderful. But–clip an ending to the word modern and the ending pulls the accent along with it: MO-dern, but mo-DERN-ity, not MO-dern-ity. That doesn’t happen with WON-der and WON-der-ful, or CHEER-y and CHEER-i-ly. But it does happen with PER-sonal, person-AL-ity.

What’s the difference? It’s that -ful and -ly are Germanic endings, while -ity came in with French. French and Latin endings pull the accent closer–TEM-pest, tem-PEST-uous–while Germanic ones leave the accent alone. One never notices such a thing, but it’s one way this “simple” language is actually not so.

Thus English is indeed an odd language, and its spelling is only the beginning of it. What English does have on other tongues is that it is deeply peculiar in the structural sense. And it became peculiar because of the slings and arrows–as well as caprices–of outrageous history.

withsugarandlime

I’m going to be late for work because I sat here and read this word-for-word like a juicy piece of fanfic.

never gets old never gets old! words history
liesdamnedliesandmeta
cuzosu-blog:
“ artekka:
“ whetstonefires:
“ the-real-seebs:
“ arjan-de-lumens:
“ titaniumelemental:
“ bookavid:
“ arkthepieking:
“ exomoon:
“ isashi-nigami:
“ ice-light-red:
“ windycityteacher:
“ burntcopper:
“ things english speakers know, but don’t...
burntcopper

things english speakers know, but don’t know we know.

windycityteacher

WOAH WHAT?

ice-light-red

That is profound. I noticed this by accident when asked about adjectives by a Japanese student. She translated something from Japanese like “Brown big cat” and I corrected her. When she asked me why, I bluescreened.

isashi-nigami

What the fuck, English isn’t even my first language and yet I picked up on that. How the fuck. What the fuck.

exomoon

Reasoning: It Just Sounds Right

arkthepieking

Oooh, don’t like that. Nope, I do not even like that a little bit.  That’s parting the veil and looking at some forbidden fucking knowledge there.

bookavid

How did I even learn this language wtf

titaniumelemental

I had to read “brown big cat” like three times before my brain stopped interpreting it as “big brown cat”

arjan-de-lumens

I’m kinda reading “brown big cat” as “brown (big cat)”, that is, a “big cat” - like a tiger or lion or other felid of similar size - that happens to be brown. “Big brown cat”, on the other hand, sounds more like a brown cat that’s just a bit bigger than a regular housecat - like a bobcat or a maine coon cat or something like that.

the-real-seebs

yeah, a brown big cat is almost certainly a puma. a big brown cat is probably a maine coon.

whetstonefires

yeah, if you put the adjectives out of order you wind up implying a compound noun, which is presumably why we have this rule; we stripped out so much inflection over the centuries word order now dictates a huge amount of our grammar

artekka

Just looked up why we do this and one of the first lines in this article is, “Adjectives are where the elves of language both cheat and illumine reality.” so I know it’s a good article.

Things this article has taught me:

  • This same order of adjectives more or less applies to languages around the world “It’s possible that these elements of universal grammar clarify our thought in some way,” says Barbara Partee, a professor emeritus of linguistics and philosophy at the University of Massachusetts-Amherst. Yet when the human race tacitly decided that shape words go before color words go before origin words, it left no record of its rationale.
  • One theory is that the more specific term always falls closer to the noun. But that doesn’t explain everything in adjective order.
  • Another theory is that as you get closer to the noun, you encounter adjectives that denote more innate properties. In general, nouns pick out the type of thing we’re talking about, and adjectives describe it,” Partee told me. She observes that the modifiers most likely to sit right next to nouns are the ones most inclined to serve as nouns in different contexts: Rubber duck. Stone wall.
  • Rules are made to be broken. Switching up the order of adjectives allows you to redistribute emphasis. (If you wish to buy the black small purse, not the gray one, for instance, you can communicate your priorities by placing color before size).  Scrambling the order of adjectives also helps authors achieve a sense of spontaneity, of improvising as they go. Wolfe discovers such a rhythm, a feeling-his-way quality, when he discusses his childhood recollection of “brown tired autumn earth” and a “flat moist plug of apple tobacco.”
  • Brain scans have discovered that your brain has to work harder to read adjectives in the “wrong” order.

TL;DR: No one knows why we do this adjective thing but it’s pretty hardwired in.

cuzosu-blog

@deadcatwithaflamethrower Linguistics tidbit.

I think about this all the time words
memory-for-trifles
gffa

The Mandalorian | Chapter 5 - The Gunslinger | TATOOINE + THE TUSKEN RAIDERS

“Tusken Raiders.  I heard the locals talking about this filth.”
“Tuskens think they’re the locals.  Everyone else is trespassing.”
“Well, whatever they call themselves, they’d best keep their distance.”
“Yeah?  Why don’t you tell them yourself?”
“What are you doing?”
“Negotiating.  We need passage across their land.”

romanticamnesia

Fun fact: according to the episode’s end credits, the actor playing “Tuskan [sic] Raider Scout #1” is Troy Kotsur.

image

Troy Kotsur is a Deaf American actor who uses American Sign Language:

https://en.wikipedia.org/wiki/Troy_Kotsur

https://www.imdb.com/name/nm1319274/

I don’t know if the Mandalorian and the Tusken were using ASL when signing, but it’s pretty cool that the series cast a character who signs with an actor who signs, rather than “person waving hands around randomly” that’s used for a lot of fictional SFF sign languages.

heroineimages

Huh. This is really cool… 

theyoungestwhateleydaughter

Second fun fact! It was not, in fact, ASL, but Plains Indian Sign Language.

dollsahoy

(and the Space Port Operator credit up there is the VA of Zeb in Rebels)

neat! words Star Wars

Rabelais’s frozen words in a polar sea

Excerpted courtesy of Lapham’s Quarterly Volume VI, Number 3, ‘The Sea’

“Aristotle maintains Homer’s words to be bounding, flying, and moving, and consequently alive. Antiphanes, also, said that Plato’s teaching was like words that congeal and freeze on the air, when uttered in depths of winter in some distant country. That is why they are not heard. He said as well that Plato’s lessons to young children were hardly understood by them until they were old. Now, it would be worth arguing and investigating whether this might not be the very place were such words thaw out. Shouldn’t we be greatly startled if it proved to be the head and the lyre of Orpheus? After the Thracian women had torn him to pieces, they threw his head and lyre into the river Hebrus, down which they floated to the Black Sea, and from there to the island of Lesbos, still riding together on the waters. And all that time there issued from the head a melancholy song, as if in mourning for Orpheus’ death, while the lyre, as the moving winds strumming it, played a harmonious accompaniment to this lament. Let’s look if we can see them hereabouts.”

It was the captain that answered. “My lord, don’t be afraid. This is the edge of the frozen sea, and at the beginning of last winter there was a great and bloody battle here between the Arimaspians and the Cloud Riders. The shouts of the men, the cries of the women, the slashing of the battle-axes, the clashing of the armor and harnesses, the neighing of the horses and all the other frightful noises of battle became frozen on the air. But just now, the rigors of winter being over and the good season coming on with its calm and mild weather, these noises are melting, and so you can hear them.”

“By God,” cried Panurge. “I believe you. But could we see just one of them? I remember reading that as they stood around the edges of the mountain on which Moses received the Laws of the Jews, the people palpably saw the voices.”

“Here, here,” exclaimed Pantagruel, “here are some that are not yet thawed.”

Then he three on the deck before us whole handfuls of frozen words, which looked like crystallized sweets of different colors. We saw some words gules, or gay quips, some vert, some azure, some sable, and some gold. When we warmed them a little between our hands, they melted like snow, and we actually heard them, though we did not understand them, for they were in a barbarous language. There was one exception, however, a fairly big one. This, when Friar John picked it up, made a noise like a chestnut that has been thrown on embers without being pricked. It was an explosion and made us all start with fear. “That,” said Friar John, “was a cannon shot in its day.”

Panagurge asked Pantagruel to give him some more. But Pantagruel answered that only lovers give their words.

“Sell me some, then,” said Panurge.

“That’s a lawyer’s business,” replied Pantagruel, “selling words. I’d rather sell you silence, though I should ask a higher price for it, as Demosthenes did once, when bribed to have a quinsy.”

Nevertheless he threw three or four handfuls on the deck, and I saw some very sharp words among them; bloody words that, as the captain told us, sometimes return to the place from which they come—but with their throats cut; some terrifying words, and other rather unpleasant to look at. When they had all melted together, we heard, “Hin, hin, hin, hin, his, tick, tock, crack, brededin, brededac, frr, frrr, frrrr, bou, bou, bou, bou, bou, bou, bou, bou, tracc, tracc, trr, trrr, trrrr, trrrrr, trrrrrr, on, on, on, on, on, ououououon, Gog, Magog,” and goodness knows what other barbarous sounds. The captain said that these were the battle cries and the neighing of the chargers as they clashed together. Then we heard other great noises going off as they melted, some like drums and fifes, others like clarions and trumpets. Believe me, we were greatly amused. I wanted to preserve a few of the gay quips in oil, the way you keep snow and ice, and then to wrap them up in clean straw. But Pantagruel refused, saying that it was folly to store up things that one is never short of, and that are always plentiful, as gay quips are among good and jovial Pantagruelists.

From Gargantua and Pantagruel, by François Rabelais, 1552

I'm now just revisiting all my favorite polar things Francois Rabelais Gargantua and Pantagruel books polar words