What’s in a missing word?

HoraceThere’s a line in one of Horace’s epistles that really caught my eye. In Latin it reads:

Utque sacerdotis fugitiuus liba recuso,
pane egeo iam mellitis potiore placentis
Horace: Epistles, Book I, X

No, I can’t translate it.* However, I was reading David Ferry’s 2001 translation and he renders it like this:

I’m like that slave who ran away because
They fed him honey cakes and he longed for bread.

That appealled to me both for my recent passion for making bread, but also for its philosophic – almost Buddhist – intent.

Ferry gives us both the Latin and English, and I struggle to match the original with the English version. And in doing so, something about his translation bothered me. Something missing.

Wikipedia tells us that Horace’s (Quintus Horatius Flaccus) epistle X is about:

The Advantages of Country Life – (Addressed to Aristius Fuscus, to whom Ode I.22 is also addressed). This epistle begins with Horace contrasting his own love of the country with his friend’s fondness for the town; then follows the praise of Nature; and finally the poet dwells on the superior happiness that moderate means and contentment afford, compared with riches and ambition.

Fine. I understand: Horace is saying he prefers the plain life of the country, not the honey-cake life of the city. He doesn’t need the luxuries and the excesses to be content.

Ferry isn’t a literal translator: more of a poetic one. He’s been acclaimed for that, and criticized for it, too, but I like his work. Many English renditions of Latin poetry come across as stilted and forced, while I find Ferry’s work much smoother and reads more naturally (some call it “approachable”). (Read here how other English-speaking poets have variously tackled Horace)

Still, one Latin word in the original stuck out as missing in translation: sacerdotis.

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Amo, Amas, Amat…. and what?

Wheelock's LatinMy well-thumbed copy of Eugene Ehrlich’s book, Amo, Amas, Amat and More, is dated 1985. It’s amusingly subtitled “How to Use Latin to Your Own Advantage and to the Astonishment of Others.”

It’s still in print, it seems, or was as recently as 2006. I’ve read my copy on and off for the past 25-plus years, but have not been able to effectively astonish anyone with my grasp of Latin.

Possibly the reason for this is that my grasp of Latin is small. Very small. I had a single year of Latin classes in high school; lessons mostly relegated to the dustbin of my mind along with solving quadratic equations. The rest I’ve scrounged from other books and sources. It’s less a grasp than a smattering of random bits.

I’d like it to be better. As in to actually be able to read and understand at least elementary Latin, not merely recognize that the words on the page are in Latin. Which is, at present, Greek to me (if you’ll pardon the inexecrable joke…). And certainly better able to write it than cutting-and-pasting the inevitable Lorem ipsum placeholder into a draft design project.

So last week I took the plunge and ordered a copy of Wheelock’s Latin, 7th Edition, from Amazon with the intention of teaching myself. And hope not get too distracted by other books, baking, computer games, politics, pets and Friday housework… ooh, a new ukulele….

My learning accomplishments in Latin to date include reading the first 40 or so pages (mostly introduction and pronunciation basics) and memorizing the present tense verb conjugations of two -are and -ere verbs in Lesson One. Which means I’m about a hundred years of effort from having enough Latin in my grey matter to astonish anyone other than my dogs.

Laudo, laudas, laudat, laudamus, laudatis, laudant… plus the imperative: lauda and laudate. Impressed yet? Yeah, so were my dogs. But it’s one small step further along this path than last week. A journey of a thousand li starts beneath one’s feet, as Lao Tzu wrote. This is my early footing, then.

I dug my Ehrlich off the shelf this morning, along with a couple of aged Latin dictionaries and every book about Latin I could find in my collection. It’s a fairly thin lot. But I need some extra help as struggle through Wheelock’s Latin on my own – a lot more than I currently have on the shelves.

I need at least one collection of Latin verbs nicely conjugated for my enjoyment, plus grammar guides, workbooks, and some better dictionaries. And maybe some source material (interlinear translations would be nice), like the one I have for the Canterbury Tales).

Ka-ching, the Amazon.ca cash register is singing (hinc illae lacrimae…) (okay, I had to dig that one out of a file of Latin phrases…)

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Saving Fubsy from Lexicographical Caliginosity

Old DictionaryCousin Stephen, you will never be a saint. Isle of saints. You were awfully holy, weren’t you? You prayed to the Blessed Virgin that you might not have a red nose. You prayed to the devil in Serpentine avenue that the fubsy widow in front might lift her clothes still more from the wet street. O si, certo! Sell your soul for that, do, dyed rags pinned round a squaw. More tell me, more still!! On the top of the Howth tram alone crying to the rain: Naked women! naked women! What about that, eh?

A fubsy window? A short and stocky window.

You will likely have recognized the quote from James Joyce’s novel, Ulysses. Joyce coined a few words – monomyth and quark for example – but fubsy wasn’t among them. Oxford Dictionary tells us it comes from the:

…late 18th century: from dialect fubs ‘small fat person’, perhaps a blend of fat and chub

Which sounds a bit like a Johnsonian guess for its etymology rather than a precise statement.

Merriam Webster says the first recorded use is 1780, and that it means, “chubby and somewhat squat.” Collins Dictionary tells us it comes from “obsolete fubs plump person.”

Or, as the Concise Oxford Dictionary, 12th (printed) edition, defines it, “fat and squat.”

Fub shows up in Samuel Johnson’s dictionary of 1755 as “a plump, chubby boy.” Somewhere between that and 1597, the definition changed. In 1 Henry IV, Shakespeare had Falstaff using fub in a line to Prince Hal, meaning “fob off, cheat, rob”. And in 2 Henry IV, “fub off” is to used to mean “fob off, put off.” (according to Shakespeare’s Words by David & Ben Crystal) English poet John Marston (1576 –  1634) first used “fubbery” to mean cheating.

Somehow fub seems to have evolved from cheat to fat. Maybe they were just homonyms. Or maybe Shakespeare was just playing his usual word games.

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Dictionaries: Concise, Compact, and dacoit

Compact Oxford DictionaryDacoit: noun; one of a class of criminals in India and Burma who rob and murder in roving gangs. A member of a band of armed robbers in India or Burma. A bandit. Origin: Hindi and Urdu.

I love dictionaries. I like opening them up to a random page and just reading, discovering words and uses that I didn’t know. I love finding origins of words and phrases; linguistic connections between past and present. I will happily spend hours reading through Samuel Johnson’s dictionary, or a glossary of Shakespeare’s or Chaucer’s words.

I’ll open any dictionary at random and read a page or two. I’m almost always assured I will find something new. Some, like Samuel Johnson’s dictionary, are delights to read; others are dry and dull.

“Do you read the dictionary?” French author Théophile Gautier once asked a young poet. “It is the most fruitful and interesting of books.”

Last week I bought a used copy of the Oxford Compact English Dictionary, 2005 edition, at the local used bookstore, Cover to Cover (used, but is superb condition, I should add). And when I opened it at random to page 247, I read the definition of dacoit – a word I can’t ever recall encountering before last week. Sandwiched between dachshund and dactyl. Now I know a lot more about it, thanks to a bit of research in print and online sources.

It’s still in use today, albeit not in any media I regularly read. Every reference I’ve found comes from India or Pakistan. In 2004, The Telegraph of Calcutta wrote about the violent evolution of dacoits:

Sten guns, cellphones and agents on the job ‘ the image of the Chambal dacoit has changed over the years. What hasn’t is the centuries-old cycle of violence in the region.

The International News of Pakistan had a headline as recently as Dec. 19, 2013, saying:

Most-wanted dacoit carrying Rs1m bounty arrested

Dacoit, according to the two-volume Oxford Compact Dictionary, has many 19th century references for use in English, dating as far back as 1820. It’s also referred to as dacoity and dacoitery in some sources.

Wikipedia tells us the East India Company established “the Thuggee and Dacoity Department” in 1830. The ruling British enacted legislation called the “Thuggee and Dacoity Suppression Acts” in India between 1836 and 1848. Thuggee has survived in English, reduced to the shorter “thug.”

Not that I’d have much reason to use dacoit in any form. It’s one of those imperialist-period words that wouldn’t find a place in a contemporary vocabulary. George Orwell would have known it; maybe my father uttered it sometime before he left England. I have to wonder what force is keeping it intact in a dictionary that is constantly pressured by new entries: neologisms and borrowed words from other languages that keep popping into our increasingly international, technological language.

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The Weird World of Plotto

PlottoI came across Plotto a few years back – references to it in other works, rather than the actual book. it sounded strange, complex and wildly over-reaching. I couldn’t find one – it was long out of print. It wasn’t until I got my own copy that I realized how really odd, clumsy – and delightful – it is.

Plotto was first published in 1928, and not reprinted until recently as far as I can tell, which is why it’s not been readily available to read and comment on. But it has been lurking in the background, a collector’s item. The young Alfred Hitchcock was one of the early adopters of the work. So was Earle Stanley Gardner, author of the Perry Mason books. It’s been  referred to, with a combination of reverence, humour and skepticism, by many other writers about writing.

In 2011, it was reprinted by Tin House Books, and finally made available to the general public again. My recently-received copy is the 2012 second printing (another edition was released in 2011 by Norton Creek Press). And I’m gobsmacked by it.

What’s all the fuss?

Plotto was the brainchild of a wildly prolific, early 20th century pulp writer, William Cook (he also wrote screenplays for silent films). Cook was a writing machine: he pumped out the paperbacks, sometimes more than one a week. But he was also passionate about the process of writing itself. He made it his goal to catalogue all types of plot and create a mechanism for writers to be able to create their own novels by selecting from a menu of plots, activities and characters.

And we was obsessive about it, drilling down deep into levels of minute detail. On its own site, Tin House says:

In the first stage, Cook demonstrates that “a character with particular traits . . . finds himself in a situation . . . and this is how it turns out.” Following this, each Master Plot leads the reader to a list of circumstances, distributed among twenty different Conflict Groups (these range from “Love’s Beginning,” to “Personal Limitations,” to “Transgression”). Finally, in Character Combinations, Cook offers an extensive index of protagonists for what serves as an inexhaustible reservoir of suggestions and inspiration.

Once you have the skeletal structure chosen, all you need to do is fill in the blanks – the verbs, the adjectives, the dialogue, and voila: your own novel. Sort of. It’s not that easy, of course, but Cook wanted to take the guesswork out of the cogitation part of the formative process that often led to writer’s block. So he catalogued and indexed and outlined like crazy. And ended up with a combination encyclopedia and rebus puzzle.

The result is stunning – and confusing. As Brainpickings tells us:

In 1894, French critic Georges Polti recognized thirty-six possible plots, which included conflicts such as Supplication, Pursuit, Self-sacrifice, Adultery, Revolt, the Enigma, Abduction, and Disaster. In 1928, dime novelist William Wallace Cook, author of Plotto: The Master Book of All Plots, did him one better, cataloging every narrative he could think of through a method that bordered on madness. His final plot count? 1,462.

That’s a lot more than the three or four I learned about in school! And more than the 36 basic plot situations the French writer, Georges Polti, described.*

Here’s a sample (see here for some follow-up numbers):

Plotto sample

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These Poolish Things…

52 LoavesPoolish. Levain. Banneton. Autolyse. Retardation. Lactobaccilli. Bassinage. Windowpane test. Crumb. Batard. Barm. A new vocabulary is building in me, one that brings the lore of breadmaking, the etymology of the loaf to my conversation.*

It’s a necessary vocabulary, if one wants to fully understand the techniques and technology of baking bread. Knowing the names of things gives one power. It’s also a bit like being welcomed into a secret society where members whisper to one another in their codified language. Is there a secret handshake?

It also helps broach that disconnect between our modern selves and what we eat. Knowing the process, knowing the steps and the names, is like pulling aside the curtain to see the man who is the reality of Oz.

I don’t know the secret language of, say, asparagus, or broccoli, pasta or tea – although I consume them all in quantity. I don’t know the processes that turn peanuts into peanut butter, ginger into marmalade or milk into yogurt. (I may venture into pastas, once I get a pasta maker… and I am pulled by the gravity of tea to learn more…)

They, in my state of ignorant bliss, simply are. Like most foodstuffs, they appear on supermarket shelves, cut, cleaned, packaged and ready to be purchased. There is no hint of earth about them, no stench of manure, no crunch of dry hay beneath my feet as I stalk the aisles. No field workers, not tractors, no sprayers, plows and hoes impede my supermarket visits.

How they get to that status is magical, at least to my understanding.** It’s like religion: it involves the intervention of some supernatural entity to get them to readiness. And like religion, when you gain the gnosis of how it all works, you don’t always become an unbeliever. You may, as with breads, become a more fervent adherent, a true believer.

But I’m learning the lingo.

I had thought, after my previous bread post, to create a separate blog about my as-yet amateurish breadmaking efforts (loaves 10 and 11 are in the process of being devoured), and the quest for the perfect loaf.

That was until William Alexander’s book, 52 Loaves, fell into my hands last week. Then I realized someone had done it before, and better than I could hope to. It’s subtitled: One Man’s Relentless Pursuit of Truth, Meaning, and a Perfect Crust. Now my intent seems presumptuous. Doesn’t mean I won’t still do it, just that I’ve been humbled in my intentions by a better writer’s effort.

I really like his book. I can relate to many of his issues and concerns. I read the first ten chapters in one bedtime sitting.

Along his journey, Alexander throws in some science, some philosophy, some travel notes and insights into his personal and family life while he obsesses on replicating a bread he tasted once in France:

“The bread clinging to the crust was every bit as good. It wasn’t white, wasn’t whole wheat; it was something in between, and had a rustic quality to it — a coarse texture that, while managing to be light and airy with plenty of holes, also had real substance and a satisfying resistance to the bite. This bread didn’t ball up in your mouth like white bread and, like the crust, it was yeasty, just slightly sweet, and exhaled (yes, the bread exhaled) an incredible perfume that, cartoon-like, wafted up from the table, did a curl, and, it seemed, levitated me from the table. I was seduced, body and soul, my senses overloaded.”

Large loaf, Nov 14Damn. It seemed like such a good idea (although given my own talent, it might be more like 101 loaves, or even 1,001 before I get to that level).

And that’s just what I’m after: to make bread, rustic bread, like that our friend Bill brings up to us from a Guelph baker when he visits. A combination of taste and texture that will haunt my every loaf until I get it right myself.

But let’s move on. Alexander is clearly better at baking, has more money and dedication than I, so I will learn at his metaphorical feet.***

I want to learn how to make breads with a starter.

That can be a biga, poolish, levain or sourdough. All related, but not the same. Poolish and biga are sponges: pre-ferments.  Usually made of simply water, flour and yeast. But it’s not quite that simple. Care and feeding is necessary. Am I baking bread or adopting a new pet? Given the personal attention some bakers pay to the fermenting starter, I wonder.

Wikipedia gives us a confused but entertaining etymology of the word poolish:

The common, but undocumented, origin given for the term poolish is that it was first used by Polish bakers around 1840, hence its name, and as a method was brought to France in the beginning of the 1920s. “Poolish” however is an old English version of “Polish”, whereas the term seems to be most used in France (where “polonais” is the word for “Polish”). Some nineteenth-century sources use the homophone “pouliche”, a French word that typically means a female foal. With either spelling, the term only appears in French sources towards the last part of the nineteenth century. There is not currently any credible explanation for the origin of the term.

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The Fretful Porpentine

Fretful porpentineLike quills upon the fretful porpentine. That phrase just makes the modern reader stop and wonder. What, you ask yourself, is a porpentine? And why is it fretful?

We never learn, although later interpreters would knowingly tell us a porpentine is a porcupine in today’s argot. Porcupine itself dervices from the Old or Middle French term, “porc espin” or spined pig. Which it isn’t – it’s a rodent*

It’s an old word, encountered earlier as “purpentine” in 1589, but hardly a common word in any spelling after that, at least not in drama.**

Shakespeare wrote it as porpentine in 1602. One seldom encounters the word between his Hamlet and the middle of the 20th century, when it reappears in The Amazing Vacation, a children’s fantasy novel written in 1956 by Dan Wickenden. It also appears in P. G. Wodehouse’s 1960 novel about Bertie Wooster, Jeeves in the Offing.***

Today, of course, the word porpentine is frequently paired with the adjective fretful on may online sites and blogs. In more common use is the phrase “hair stand on end,” penned in the same verse of Hamlet. Phrases.org.uk tells us of that:

The allusion of makes your hair stand on end is to the actual sensation of hairs, especially those on the neck, standing upright when the skin contracts due to cold or to fear. This is otherwise known as ‘goose-flesh’ and the condition is, or rather was, known by the entirely splendid word horripilation. This was defined by Thomas Blount in his equally splendidly named book Glossographia, or a dictionary interpreting such hard words as are now used, 1656.

Horripilation. Love that word. We owe a lot to Shakespeare and the number of phrases of his we still write and speak today is truly astounding.

The Australian News commented on the longevity of Shakespearean phrases more than 400 years later:

Then there is the English language. The debt it owes to Shakespeare (and the slightly later King James Version of the Bible) is incalculable. No English speaker with any pretensions to culture (above that of phone texting or advertising brochures) can avoid using words or expressions that originated with the Bard of Avon. Not bad going for the son of a draper.

Porpentine isn’t one of Shakespeare’s many neologisms, but rather a nonce word: “a linguistic form which a speaker consciously invents or accidentally does on a single occasion.” Or in this situation, a word used rarely (but not singly). Perhaps it’s simply his unique spelling of purpentine.

Shakespeare was, regardless, an unprecedented source of neologisms and nonce words. According to the Oxford Dictionary, some 2,200 words first appear in writing in Shakespeare’s works, and linguist David Crystal says he invented about 1,700 of them. These are aside from the phrases mentioned above.

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The Circuitous Path from Bulge to Budget

If tinkers may have leave to live,
And bear the sow-skin budget,
Then my account I well may, give,
And in the stocks avouch it.
Autolycus in The Winter’s Tale,  Act IV, Sc. III, Shakespeare

These lines got me thinking about the town’s finances. Sow-skin budget? What does that mean? And how does that relate to the financial plan for the coming year staff is preparing for council’s review? I did some reading (of course…).

In Shakespeare’s time, the online etymological dictionary tells us the word budget meant something quite different:*

“leather pouch,” from Middle French bougette, diminutive of Old French bouge “leather bag, wallet, pouch,” from Latin bulga “leather bag,” of Gaulish origin (cf. Old Irish bolg “bag,” Breton bolc’h “flax pod”), from PIE *bhelgh- (see belly (n.)). Modern financial meaning (1733) is from notion of treasury minister keeping his fiscal plans in a wallet. Another 18c. transferred sense was “bundle of news,” hence the use of the word as the title of some newspapers.

The use of budget as a verb comes from much later – 1884. But for the Bard, a budget was a leather purse (or pouch or wallet). The annual budget is also a fairly new invention, as the Telegraph tells us:

It was not until the early 18th century that a version of the annual Budget emerged. The origins of the word Budget lie in the term “bougette” – a wallet in which documents or money could be kept. While at first referring only to the Chancellor’s annual speech on the country’s finances, the word quickly became used for any financial statement or plan…
Budget Day has historically been held during Spring because the collection of the Land Tax took place in April, and much of the country’s wealth derived from agriculture.

There’s a great description on World Wide Words of the convoluted path the word took to get to today’s usage:

Its first meaning in English indeed was “pouch, wallet, bag”, and followed its French original in usually implying something made of leather…
By the end of the sixteenth century, the word could refer to the contents of one’s budget as well as to the container itself. People frequently used this in the figurative sense of a bundle of news, or of a long letter full of news, and the word formed part of the name of several defunct British newspapers, such as the Pall Mall Budget…
The connection with finance appeared first only in 1733, as the result of a scurrilous pamphlet entitled The Budget Opened, an attack directed at Sir Robert Walpole… It probably also echoed the idiom to open one’s budget, “to speak one’s mind”, which was current then and continued to be so down into Victorian times…

Marina Orlova, the entertaining and pulchritudinous word lady at Hot for Words.com, gives us a more amusing etymology in the Youtube video at the top of this post. Who says learning has to be dull?

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Words, words, words

Elements of StyleWriting before the arrival of the internet*, Bob Blackburn commented on the nature of exchange on then-prevalent BBS (Bulletin Board Systems), words that could as easily be written today about the internet:

“…the BBS medium reveals not only a widespread inability to use English as a means of communication but also a widespread ignorance of that inability, and, in consequence, a lack of interest in doing anything about it.”

Words that were prescient. As if he could foresee Facebook. Blackburn also wrote that most people thought they spoke and wrote well…

“The majority of English-speaking people I’ve come across…think they already know it. After all, it’s their native tongue, and they’ve been to school.”

Which is, for most of us, a fallacy. Language, like any skill, needs training, practice, experience and reminders. Yes, we have an innate  sense of grammar from an early age, encoded in our genes, but it is rudimentary and needs refinement.

A new study from the University of Pennsylvania has shown that children as young as 2 understand basic grammar rules when they first learn to speak and are not simply imitating adults.

Like our muscles, our ability to speak and write develops with use. But it does not develop with haphazard, unfocused usage. Just visit some of the many sites that illustrate the grammatical nightmares found on social media sites like Facebook. While these are good for a chuckle, they reflect a greater problem with education and learning.

Anyone who attempts to correct the written wrongdoings online is labelled a “grammar Nazi” (or more often, a “grammer nazi”). As if writing poorly is some protected, constitutional right. The term has been adopted by some of the practitioners themselves. I sometimes count myself among their company, although I do not belong to any of their organizations.

Still, like Lynn Truss, I bridle at the egregious mistakes in grammar, punctuation and spelling I find online (not everyone likes her, by the way, but her book is great fun to read). And yes, sometimes I am prone to comment thereon. That may be an automatic response, according to a recent study:

Your brain often works on autopilot when it comes to grammar. That theory has been around for years, but University of Oregon neuroscientists have captured elusive hard evidence that people indeed detect and process grammatical errors with no awareness of doing so.

This week, I began again what used to be an annual activity for me – back when I was working in the media or in publishing – rereading the classic work, The Elements of Style. I felt my metaphorical red pencil was in need of a sharpening.

It’s a small book – the fourth edition is just over 100 pages, including the afterword, glossary, and index. At a chapter a day, it can be easily read in less than a week, even by people who don’t read quickly. It encapsulates a mere 22 basic rules of style. Rule 19, for example, states: “Omit needless words.” It follows with this:

Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all sentences short, or avoid all detail and treat subjects only in outline, but that every word tell.

Who can argue with that? Ron Sudol, Professor of Rhetoric at Oakland University, comments on this:

Strunk’s attitude toward style is that English is more beautiful the more direct and spare it is. As White notes in the introduction, “for sheer pith I think it probably sets a record that is not likely to be broken.” The students at Cornell in 1919 were probably more wordy and pretentious than students today, whose writing is more often underdeveloped and oversimple. Nevertheless, the lessons — and that’s exactly the right word for the direct orders issued by Strunk and White — are eternally valuable to anyone who wants to take writing seriously. A participial phrase at the beginning of a sentence must refer to the grammatical subject. Put statements in positive form. Use the active voice. Omit needless words. Place the emphatic words of a sentence at the end.

TEOS sits, almost hidden, in a bookshelf packed with many books on grammar, style, writing, punctuation and communication. They range from the whimsical works of Richard Lederer to the dense, academic Chicago Manual of Style. Most of the rest I read sporadically and randomly. Some – like Safire and Lederer – I read more for entertainment and amusement. Others I read to keep my writing sharp, like the periodic honing of the knives in my kitchen drawers.

Strunk & White alone of all my style and grammar books I read cover to cover because, for me, it is the quintessential book, the source from which all the others derive. And its short little rules are like little jabs; pointed reminders to pay attention.

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1927: Ads, Layout and Typography

As promised, here are the first 20 scans of the ads from the 1927 North American Almanac I recently mentioned. If there is interest, I’ll do another set later this week. There are probably another 40 or 50 pages of ads in the book.

I think these ads give us a wonderful window into the daily, household life of the time, into cultural views and medical thinking. As well, they show the state of advertising, layout and typography. It’s fascinating to look at the mix of typefaces and their placement.

Click on the image to load a larger version and see the ads in greater detail.

1927 ad page

1927 ad page

1927 ad page

1927 ad page

1927 ad page
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Why Spelling Matters

Bad spellingSometimes I despair when I surf through the social media. Technology has empowered everyone to be able to comment, to post their stories, to share their opinion. Yet it has not enabled their ability to compose a sentence, or to spell the words correctly. It has not made us better grammarians, better spellers.

And in my despair, I’m not alone. Others take exception to the general dumbing down and its accelerating spread online.

It’s not just the easily-confused homophones like they’re, their and there, board and bored, your and you’re. What’s heartbreaking about those mistakes is that the differences are simple, easy to understand, and taught at at early age. How do people forget them so easily when they get older and more educated?

And not simply the rather common typos of dropped or accidental letters. You can’t always blame the results of a flaky keyboard on the writer, and few of us have been educated as touch typists or stenographers, so our skills may be lacking. And of course we have to be tolerant of the millions for whom English is not their native tongue, and laud rather than criticize their efforts.

Because I often stump about on the keyboard and hit errant keys while typing or don’t press a key hard enough to register, I can understand how too becomes to, care becomes car, waiter becomes water, quiote becomes quite (and sometimes vice versa).

But  tre for tree? Mony for money? Hosue for house?

We all have spellcheck in pretty much every app, which, if not perfect, at least identifies most common problems. They show up as little angry red underscores as I write this piece; hard to avoid. I must resist the temptation to obey them and correct my examples.

Are we not bright enough to use this ubiquitous technology? Is the problem that we are technologically illiterate? No.

I’ve read these examples from Facebook on one site:

“take it for granite” instead of granted, petafile for pedophine, raping for wrapping, prosentation for presentation, perthetic for pathetic, conceded for conceited, then for than (and vice versa – very common mistake), majic for magic, grammer for grammar, commen for common, loose for loose, forchen for fortune, mourning for morning, preasure for pressure, pea for pee, affense for offence, dose for does, rite for write, colladge for college, homosidal for homicidal, sense for cents, hungary for hungry, intelligense for intelligence, witch for which, waist for waste, wounder for wonder, sewing for suing, logged for lodged, speel for spell, boarders for borders, died for dyed, rite for right, past for passed, beet for beat, go’s for goes, Labia for Libya, colon for cologne…”

Many of which make for humorous reading, but poor communication. Plus…

retarted, inforcing, teecher, recponcibility, sementary, peppol, exhaugstion, decisons, tomarrow, gardian, unfare, unniversity, ludacris, litarecy, commet, tipe, cought, frusterated, driveing, rideing, teecher, blak, tares, beutiful, asain, spint, huunnies, gratest, huray … and then plurals written as possessives – truth’s for truths, musician’s for musicians, or misplaced apostrophes like your’s, and so on…

The list seems endless.

What’s most annoying is that so many of these errors are easily caught by spellcheckers – technology on every device and available for or integral to every browser – that the posters routinely ignore or refuse to acknowledge. But perhaps even if a word is identified by the spell-checker as incorrect, the poster doesn’t know the correct form, and rather than search for it, ignores the warning.

Stopping to proofread, stopping to correct takes too much time and thought in an era of snap judgments and immediate, off-the-cuff answers. It’s a self-inflicted wound.

Where is the pride we used to take in being able to spell, to write well? Have we lost our literary self respect?

Continue reading “Why Spelling Matters”

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Should Latin Return to Ontario Schools?

Teaching LatinWhen I was a young lad, all I ever wanted to be was a paleontologist. Dinosaurs were the most important thing in my life until around age 14 or 15. That’s when I barely scraped through my high-school Latin course. After that, my interests shifted to other, more attainable career goals.

Basic Latin was, at least back then, required for a career in paleontology. Greek, too*. My ability to learn languages was, as a young teenager, not up to the mark. I barely passed Latin, probably given a pass by a teacher who felt sorry for my linguistic disability (and didn’t want to suffer me through a remedial summer class).

Which is odd, given that today Latin fascinates me and I delight in reading about it and its etymological influence in our language.  I often spend time online looking for Latin phrases or translations. I happily struggled with some phrases from Livy when researching my book on Machiavelli.

But back in high school, it was more a drudgery than a delight.

According to a 2010 story in the Toronto Star, Latin was mandatory in Ontario high schools until 1968. It started falling off curricula after that.

For centuries, Latin and ancient Greek were staples of general education, and working knowledge of authors like Cicero and Virgil was required for university admission. Latin was mandatory in Ontario’s high schools until 1968.
But since 1994, the number of Ontario schools offering Latin has fallen to 60 from 159 — a 62 per cent drop. Classical educators face a battery of pressures: tight student timetables, teacher shortages, and underlying it all, the perennial accusations of irrelevance and Eurocentrism.

Irrelevance? Latin has a firm grip on the English language, a millennium-and-a-half after the Roman Empire collapsed. As Wikipedia notes:

…a significant portion of the English vocabulary comes from Romance and Latinate sources. Estimates of native words (derived from Old English) range from 20%–33%, with the rest made up of outside borrowings. A portion of these borrowings come directly from Latin, or through one of the Romance languages, particularly Anglo-Norman and French, but some also from Italian, Portuguese, and Spanish; or from other languages (such as Gothic, Frankish or Greek) into Latin and then into English. The influence of Latin in English, therefore, is primarily lexical in nature, being confined mainly to words derived from Latin roots.

Many neologoisms are based in Latin – especially the “classical compounds,” although the word neologism is actually from the Greek (neo-new, logos-word). But that’s just a reinforced argument for teaching at least rudimentary Greek as well.

The Star story goes on to say,

One American study showed that students who learn Latin in high school have average GPA scores of 2.89 in university compared to 2.38 for those who didn’t study any language and 2.80 for those who studied a modern language. Latin students also consistently out-perform on the SAT.

Because SAT scores are paramount for admission at American colleges, in the U.S. “they can’t get enough Latin teachers,” according to Margaret-Anne Gillis, a board member of the Ontario Classical Association and Latin teacher at Barrie Central Collegiate. Two teachers she helped train had their green cards expedited.

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Archy and Mehitabel

Archy and MehitabelI can’t recall exactly how old I was when I first cracked open Don Marquis’s book, archy and mehitabel, sitting there among the other books in the basement, black spined, stiff, yellowing pages.  That old book smell.

Perhaps I was 11 or 12, but not much older, because we moved from that house in the summer after my 12th birthday. But I still remember it well.*

The book was one of those oddities on our basement family bookshelf. I ignored it, at first, then looked at the pictures – cartoons by George Herriman, the creator of Krazy Kat . Long after I’d checked out the cartoons, I started reading the text. It was wildly absurd, deeply philosophical, whimsical, silly, obscure, cynical, yet compelling. Way outside my depth. Who was this guy and what was all this nonsense about a cockroach and a typewriter?

Krazy Kat I knew from other books and publications, reprinted strips, and old, faded and brittle  cartoon strips cut out from newspapers and placed in between pages of other books, long since forgotten. Herriman’s wild style of drawing always intrigued me, even as a child.

Perhaps there’s some astrological connection: two months after Herriman’s death, the last of his completed Krazy Kat strips, a full-page Sunday comic, was printed. The date was Sunday, June 25, 1944. That day the British were assaulting Caen, in France, to begin the bloody Operation Epsom. The Allies bombed Toulon. The 8th AF bombers and fighter bombers flew missions to attack bridges and airfields in France as the Allies pushed the Nazis back towards Germany. Ships of the United States Navy and Royal Navy attacked German fortifications at Cherbourg to support American troops taking the city and the entuire Normandy peninsula.

MehitabelI was also born on a Sunday, in June, too. Okay, that’s wild and silly synchronicity and many years later. Just foolin’ with you. Astrology is claptrap. And I digress. Just wanted to put some context around Herriman and throw some misdirection your way. Ignosce mihi, dear reader.

Marquis died years before that, in 1937, after his third or fourth stroke. He was 59. No astrological connection there, I’m afraid. And also long before my time.

The book I opened, back in the early 1960s, seemed impossibly old. Published in 1927. The age of flappers, ukuleles, gin joints. When my father was a boy, not much old than I was when I discovered it. Had he read it then, and kept it ever since? Brought it with him from England after the war, a beloved volume too treasured to part from? Or had he picked up a copy here? I never knew.

Beside it on the shelf was archy’s life of mehitabel, 1933. Both sitting on the bookcase of forgotten volumes, tucked away in the basement, beside bound copies of the Boys’ Own Annual, a first edition of Tarzan, some tattered Mickey Spillane paperbacks, old hardback novels, books on time management, others on handyman skills, a few Popular Mechanics and Popular Science magazines, and odd volumes of an outdated encyclopedia.

All treasures to an inquisitive youngster. But this book hooked me in other ways, a sparked jumped across some subconscious wiring that connected literature, poetry, and writing. And maybe politics, too, although I was too young to realize it then.

Imagine reading these lines from the literary cockroach Archy to his feline friend, Mehitabel, when you were that age:

i suppose the human race
is doing the best it can but hell’s bells that’s only an explanation
it’s not an excuse.

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The Thousand and One Nights

Arabian NightsI had no idea it was this sexy. The Thousand Nights and One Nights, aka The Arabian Nights, aka The Thousand and One Nights – it’s really wonderful, steamy stuff. Every tale is a cliffhanger and you keep wanting to read just one more to see how it turns out. Of course, that was the point of the collection.*

The backstory is rather complicated, but to simplify it: the Sultan beds a virgin one night, then kills her the next day. When  Scheherazade’s turn comes, she asks for her sister to be able to say good bye. Then she begins to tell her sister a story. It doesn’t end that night, so the Sultan keeps her alive another night to hear the ending. But that story leads to another, and another, and so on. So for three years she keeps up a series of interwoven, intricate tales. In the end, he lets her live.

It’s like the 10th-century version of the TV series, 24. Sex, violence, evil, cunning, violence, murder, betrayal, seduction, magic, demons… it’s all there. In written form, of course, not video.

Yeah, and it’s violent, misogynistic and full of superstition and the supernatural. But you have to give it some laxity: some of it dates back from the 8th century CE. And it’s from a culture that, even today, is remarkably, embarrassingly misogynist. But then, Shakespeare wrote in an age of similar misogyny – although he managed to soar above it, by creating strong, intelligent and witty female characters. The Arabian nights has a few of them, too, albeit not usually in the forefront (and not like Shakespeare’s women).

You probably think you know some of the stories because you’ve seen a Disney cartoon or some Hollywood movie: Ali Baba and the 40 Thieves, the Seven Voyages of Sinbad, Aladdin and His Lamp. Sorry, but they were added to the collection by later European translators. They’re good stories, mind you, just not part of the original collection.**

I know, that disappointed me at first, too. But after a few pages into Powys Mather’s four-volume translation, I was hooked. The tales are curious, intriguing and compelling. No wonder the Sultan wanted to hear the next part.

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Kill the Apostrophe? Rubbish! Keep it!

Kill the ApostropheA site has popped up with one of the stupidest ideas about English I’ve read in the past decade or two. It’s called Kill the Apostrophe. Subtle.

At first, I thought it was a joke, a spoof. After all, how can one realistically get rid of perhaps the most significant element of punctuation based on the rantings of a website lunatic? And some of the counterpoint sites like Humbleapostrophe seemed created in a sense of camaraderie humour.

But no, on further reading, it’s as real as any of the other wingnut sites, from chemtrails to “psychic” readings to UFOs. Most of which just add to the background noise online, rather than contributing to something useful or encouraging public engagement.

The site’s author writes,

This website is for those who want to remove the apostrophe from the English language, on the basis that it serves only to annoy those who know how it is supposed to be used and to confuse those who dont.

Well, it may confuse poorly-educated and illiterate people, or even ESL learners new to the task, but that’s really just a minority. Most of us understand that when Fats Waller wrote Ain’t Misbehavin’ he included the apostrophes for a reason (and didn’t mean to have his title changed to “Am Not Misbehaving’ by anti-apostrophe-ites).

We know Bob Dylan didn’t mean to sing, “It is not any use in turning on your lights, babe” or even “It aint no use in turning…” When you drop the apostrophe, you have to replace the missing letters the apostrophe represents, otherwise you’re just making spelling mistakes. Egregious ones at that.

Clearly the author of this website was stung by a rebuke from someone over misuse, and feels pouty.

Kill the Apostrophe claims the punctuation is redundant, wasteful, “one more tool of snobbery,” “timeconsuming” (sic – apparently hyphens are snobbery too),”impede communication and understanding” and “a distraction for otherwise reasonable and intelligent people.

What a load of codswallop. It’s like a four-year old having a tantrum because he doesn’t want to have a nap. He’s not sleepy. We’re being mean to him. He wants to play with his friends. He doesn’t like lima beans. Wah, wah, wah.

Stop whining and educate yourself. English is tough, sure. Suck it up.

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