Feeds:
Posts
Comments

Posts Tagged ‘French’

Le Tour de Gaule d’Asterix, René Goscinny and Albert Uderzo (Hachette 1967)

When I picked up my second Asterix book as a child, I opened it and then put it down again. I thought I had read it before, because it had the same first page: a map of Gaul, transfixed by a Roman eagle but with a magnifying glass on one small unconquered corner in the north-west, the Gaulish village where the pint-sized warrior Asterix lives with his giant friend Obelix.

After I picked up another book in the series, I realized my mistake. The Asterix books all had that first page. Now I realize something more: that the map is important not just to set the scene but also to assuage the humiliation. The Asterix books are ostensibly about clever Gauls getting the better of clumsy Romans, with the Gauls standing in for children and the Romans for adults. But they’re also about the French and the Germans during the Second World War. In fantasy, the Gauls managed to keep one corner of their homeland their own, fighting off and humiliating the Romans every time they tried to conquer it. In reality, France was entirely conquered and the French were the humiliated ones.

The German occupation was no joke. The Roman occupation could be, though. After all, it took place many centuries before Le Tour de Gaule d’Asterix was first published in 1967, when the German occupation was still a vivid memory for millions of French. Asterix was a salve for the psychic wounds of a nation, but its pharmacological recipe works outside l’Hexagone.* The bright colours, constant action, chaotic plots, and visual and linguistic puns of Asterix will make you feel cheerful whether or not you’re French. And whether or not you read them in French. But reading in French is best, of course. As I’ve said before, if you’re learning a language you should do two things: use a monolingual dictionary and read comics.

With comics, you see language illustrated by action and objects, so you absorb meaning without your mother-tongue getting in the way. That happens all through Le Tour de Gaule, which is about a bet Asterix has with a Roman prefect called Lucius Fleurdelotus, who has been sent by Jules César to stop Asterix and the other villagers disturbing the “paix Romaine” of Gaul. Lucius has had the village surrounded by a palisade of stout wood and tells Asterix from a watch-tower that he and the other villagers will have to stay on their own small piece of land and be forgotten. Asterix defiantly disagrees: “ROMAIN! NOUS SOMMES CHEZ NOUS EN GAULE ET NOUS IRONS OÙ BON NOUS SEMBLERA…” – “Roman! Gaul is our home and we’ll go wherever we please…” He bets Lucius that the palisade will prove useless and that he, Asterix, can go on a tour of Gaul, gathering the culinary specialities of every region for a banquet to which Lucius is formally invited.

Lucius accepts the bet, promising to lift the blockade if he loses it. So Asterix and his best friend Obelix set off on their Tour de Gaule. First of all, Asterix needs a new flask of magic strength-potion from “le druide vénérable du village”, Panoramix. Obelix doesn’t need potion, because he fell in the druid’s cauldron when he was a baby. Unlike Asterix, he can knock Romans down like nine-pins without a draught from the flask. There’s always a lot of Roman-bashing in the Asterix books, but there are always good new jokes too. One of the best here is the visit made by Asterix and Obelix to a “Chars d’Occasion”, or “Second-Hand Chariot” dealership, where the beaming owner, dressed in a camel-hair coat, sells them a gleaming chariot and glossy black horse. “VOUS NE LE REGRETTEREZ PAS,” he assures them: “You won’t regret it.”

They set off, but the horse begins to tire very quickly. Then it begins raining. “NOTRE CHEVAL A DÉTEINT!” gasps Asterix: “Our horse has changed colour!” And one of the chariot’s wheels falls off. They’ve been sold a ringer: the horse was painted black and the chariot unfit for the road. But it doesn’t stop the Tour. They simply commandeer the Roman char de dépannage, or “pick-up chariot”, that arrives to tow away their wreck. There are lots more new jokes before the end of the book, plus the running gag that sees them meet a long-suffering pirate ship in the Mediterranean. And Obelix, as usual, reacts badly to the suggestion that he’s fat.

Because images accompany the action, I understood most of the French easily, but there were puns and regional jokes that went over my head. I didn’t understand the end of the book either, when Asterix gives Lucius the village’s own speciality: “LA CHÂTAIGNE!” – “The chestnut!” As he says it, he knocks Lucius – TCHAC! – right out of his sandals and high into the air. That couldn’t be translated literally into English and a lot must be lost when you read Asterix in another language. But the images remain and sometimes the translation works better than the original. The village druid Panoramix is called Getafix in English, the rotund village chief Abraracourcix is Vitalstatistix, and the caterwauling village bard Assurancetourix is Cacophonix.

Cacophonix would work in French too, but those names are a rare example of an outsider improving on the original. In their way, the Asterix books are one of the great products of French civilization, full of charm, cleverness and joie de vivre. I don’t think anything could make them more enjoyable, but that subtext about the German occupation makes them more interesting.


*“The Hexagon”, as France is known because of its roughly six-sided shape on the map.

Read Full Post »

Larousse de PocheLarousse de Poche (Librarie Larousse 1954)

Here are two good tips for anyone learning a foreign language. First, read comics. Second, get a monolingual dictionary. Both are methods of getting your mother-tongue out of the way. If you read comics, you’ll see words illustrated by actions. If you get a monolingual dictionary, you see words illustrated by words. In both cases, you’ll stay inside the world of the language you’re learning, rather than stepping backwards and forwards across a linguistic frontier.

For example, here are some definitions from this Larousse de Poche, or Pocket Larousse:

albâtre n. m. Marbre transparent et tendre. Fig. Blancheur extrême.
béchamel adj et n. f. Sauce blanche faite avec de la crème.
colibri n. m. Oiseau exotique de très petite taille; oiseau-mouche.
fou ou fol, folle n. et adj. Qui a perdu la raison : Charles VI mourut fou.
foudre n. f. Décharge électrique aérienne, accompagnée de tonnerre et d’éclairs. Fig. Coup soudain, rigoureux, irrésistible. Coup de foudre, événement soudain. Amour subit et violent.
glouton, onne adj. et n. Qui mange avec avidité. N. m. Mammifère carnivore des pays froids.
métallurgie n. f. Art d’extraire, de purifier et de traivailler les métaux.
ramoner v. tr. Nettoyer l’intérieur d’une cheminée.
vinagrier n. m. Qui fait et vend du vinaigre. Burette à vinaigre.

If the definitions work right, you’ll understand without an English word intruding. That’s the ideal when you’re learning another language. C.S. Lewis explained it well in his autobiography Surprised by Joy (1955):

The great gain was that I very soon became able to understand a great deal without (even mentally) translating it; I was beginning to think in Greek. That is the great Rubicon to cross in learning any language. Those in whom the Greek word lives only while they are hunting for it in the lexicon, and who then substitute the English word for it, are not reading the Greek at all; they are only solving a puzzle. The very formula, “Naus means a ship,” is wrong. Naus and ship both mean a thing, they do not mean one another. Behind Naus, as behind navis or naca, we want to have a picture of a dark, slender mass with sail or oars, climbing the ridges, with no officious English word intruding. (ch. ix, “The Great Knock”)

If the English word intrudes, you don’t build up your mental muscles in the second language. Or you see the second language in a distorting mirror, rather than looking at it directly. That’s why comics and monolingual dictionaries are good for muscles and eyes.

Even a small dictionary is good. The French lexicon isn’t very big, so this Larousse de Poche usually helps even with the exotic vocabulary of a novel like À Rebours, let alone a straightforward text like Les Hommes Volants. And dictionaries have a literary appeal of their own. A good definition is like a good stroke in cricket, making minimum effort for maximum effect. This definition flies off the bat and skims away for four:

crâne n. m. Boîte osseuse contenant le cerveau.

And if understanding a language is like using a knife to cut into the world, then a bilingual dictionary is like using two knives at once. They get in each other’s way. It’s bad for the weaker knife: it gets blunt and chipped. Using a monolingual dictionary, by contrast, sharpens and shines the weaker knife. My French has never been very good, but I think it’s improved since I’ve started using this dictionary. The Ramones sang about a “Rocket to Russia”, so you could say that this book is a “Pocket to Laroussia” – the world of French in which that famous publisher has worked for so long.

Read Full Post »

Les Hommes Volants, Valerie Moolman, trans. Madeleine Astorkia (Time-Life Books 1981)

This is one of the best books I’ve ever owned. And also one of the most enjoyable to read. But if it had been the original edition in English, I’m not sure I would have bothered reading it. It might not have seemed worth the effort, because the effort would have been so slight.

It would have been like walking downhill. Reading French, on the other hand, is like walking uphill on difficult ground. It’s much better mental exercise and much more interesting. The scenery is stranger, the flora and fauna more exotic. And the appeal of reading in a foreign language is summed up in this book:

« Toutes furent unanimes, écrivit Chanute, « à affirmer que voler dans les airs procurait un monde de sensations extraordinaires. » (« L’apprentissage du vol », p. 92)

“Everyone was united,” Chanute wrote, “in agreeing that flying through the air produced a world of extraordinary sensations.”

The extraordinary nature of language isn’t apparent when you’re in your mother-tongue. You have to enter another language, because each language is a world of its own. That quote is by Octave Chanute (1932-1910), one of the pioneers of aviation, but he didn’t make it in French or in France. Although he was born in Paris, he emigrated with his parents to America and grew up to become a civil engineer.

He then got interested in aviation and was one of the inspirations for the Wright Brothers. But this book goes back well before Chanute and the Wrights. Men have been dreaming of flight, and dying in the attempt, for millennia. It looks so easy for birds, but it took a long time to master. Like mountaineering, it was a Faustian quest and white European men proved to have the necessary combination of intelligence and daring. Those who challenged the air, like the German Otto Lilienthal (1848-96), often paid with their lives.

Lilienthal was another inspiration for the Wrights, but they had to correct some of his aerodynamic findings before they could finally achieve powered flight. Their success ends the book, which begins with the experiments of Persian kings and medieval monks, and the story of aviation presumably continues in La Conquête du Ciel, or Conquest of the Sky, which is listed with other Time-Life editions at the beginning.

The Time-Life books are well-designed and full of interesting pictures and photographs. Seeing is good for saying: as I point out in my review of a monolingual French dictionary, if you’re learning another language, it’s good to see words and images combined, because each reinforces the other. And translations into the second language are a good place to start too, because you’re often already familiar with the story and translations are usually simpler than texts composed directly in the second language.

The flood of the original has to be channelled and controlled to irrigate the minds of new readers, because French can’t do everything that English can, and vice versa. But Les Hommes Volants seems to be a good, idiomatic translation: it’s rarely obvious what the original English would have been, though I think the book must have been well-written and interesting in English too. And the font goes perfectly with French: it’s an elegant yet precise serif.

The intricacy and complexity of French also go well with the intricacy and complexity of the mechanical task that the pioneers of aviation were confronted with. English is intricate and complex too, of course, but I wouldn’t have noticed if I’d read this book in English. The translation into German would have been too difficult: French is in a kind of linguistic sweet spot for me. Difficult enough to be challenging, not so difficult as to be exhausting or frustrating. I glide effortlessly in English; I have to flap my wings hard to stay up in French; I can barely get off the ground in German or Georgian. The second kind of flight is often the most satisfying.

Read Full Post »

Rok 1984 by George OrwellRok 1984, George Orwell (MUZA SA, Warszawa 2001)

It’s an odd experience to pick up a famous book in an unfamiliar language. I’ve read Nineteen Eighty-Four many times in English and also tried it in French, Spanish and Italian. Reading it in English is like picking up a perfectly ripe apple and biting into it. I don’t have to think, I just have to experience.

It isn’t like that in French, Spanish and Italian. The book isn’t a ripe apple any more: it’s an exotic fruit with a tough skin that has to be peeled and cooked. I have to think about what I’m doing and it takes much longer to eat much less.

In Polish, Nineteen Eighty-Four becomes a coconut with an exceptionally tough and hairy shell. And I don’t have any way of getting inside. All I can do is pick it up and shake it, hearing the swish of the milk inside and feeling its solidity. I know there’s good eating in there, but I can’t get at it.

Of course, to a literate Pole Rok 1984 is a ripe apple, ready to be experienced without conscious effort. Languages aren’t like ordinary phenomena. A knife is a knife. A bird is a bird. A cloud is a cloud. Billions of human beings for thousands of years have perceived those things in more or less the same way. But human beings haven’t named them or talked about them in more or less the same way. Language both defines humans and divides us. No-one can be familiar with all languages, so everyone can have the experience of picking up something familiar that is suddenly encased in something impenetrable.

Here’s the opening line of Nineteen Eighty-Four in English:

It was a bright, cold day in April and the clocks were striking thirteen.

And here it is in some other languages:

• Era un día luminoso y frío de abril y los relojes daban las trece.
• C’était une journée d’avril froide et claire. Les horloges sonnaient treize heures.
• Era una luminosa e fredda giornata d’aprile, e gli orologi battevano tredici colpi.
• Był jasny, zimny dzień kwietniowy i zegary biły trzynastą.
• Был холодный ясный апрельский день, и часы пробили тринадцать.

English suddenly looks anomalous: “and” in all the other languages is represented by a simple vowel and “thirteen” starts with “tr-”. You see English differently when you look at other languages and you realize that English doesn’t have a fixed form. It changes when you look at from the perspective of another language.

So does every other language. To a speaker of Russian, Polish is partly familiar. To a speaker of English, Polish seems almost wholly unfamiliar, although English and Polish have a fairly recent common ancestor and have a lot of words in common, beneath the disguise of orthography and historic change.

One of those shared words is readily apparent in the opening chapter of Rok 1984 (which I assume means “Year 1984”):

Była tak namalowana, że oczy mężczyzny zdawały się śledzić każdy ruch przechodzącego. WIELKI BRAT PRATZY, głosił napis u dołu plakatu.

Most readers of the English version will remember that Winston sees a poster and a slogan at the beginning, so the meaning of WIELKI BRAT PRATZY isn’t hard to guess. Wielki Brat must mean “Big Brother” and pratzy must be “is watching” or some equivalent. Brat is closer to “brother” than French frère, from Latin frater.

But brat behaves like the Latin word. A little further into the book, you’ll see this:

PRECZ Z WIELKIM BRATEM
PRECZ Z WIELKIM BRATEM
PRECZ Z WIELKIM BRATEM
PRECZ Z WIELKIM BRATEM
PRECZ Z WIELKIM BRATEM
PRECZ Z WIELKIM BRATEM

Which must the part where Winston repeatedly writes “Down with Big Brother” in his new diary. Wielki Brat has become Wielkim Bratem. So Polish inflects like Latin. And the last line of the book (before the “Aneks”, or Appendix) is: Kochał Wielkiego Brata – He loved Big Brother.

Then there are phrases like Policja Myśli, Dwóch Minut Nienawiści and Ministerstwie Miłości, where Winston is asked what he thinks of Wielki Brat and replies “Nienawidzę go” – “I hate him.” “Nienawidzisz go,” O’Brien says. “You hate him.”

So you could gradually work out a lot of Polish vocabulary and grammar using simply your memories of Nineteen Eighty-Four in English. With an actual copy of the English version, you could compare and contrast line by line, paragraph by paragraph, chapter by chapter. In short, you could learn Polish from Rok 1984.

There’s a much simpler way to do that, of course, but I can imagine a story about a copy of Nineteen Eighty-Four in an unknown language falling into this universe from a parallel one. Then linguists would have to use the Rosetta stone technique.

But what if the book from a parallel universe were in a wholly unfamiliar script too and didn’t have any images? This Polish copy of Nineteen Eighty-Four is instantly recognizable as such. It’s called Rok 1984, names the author as “George Orwell”, and one edition has the face of Stalin on it. In Russian, “George Orwell” becomes Джордж Оруэлл. It’s stepped away from English. What if it stepped a lot further? What if an unknown version of Nineteen Eighty-Four didn’t use an alphabet but an ideography like Chinese or Japanese?

I still think it would be identifiable, given sufficient computing power. In fact, I wonder whether any sufficiently long text in any conceivable human language might be comprehensible to a sufficiently powerful computer, based simply on the relationship of the patterns within it. I don’t mean that the computer could identify it as related to a known text in a known language: I mean that any text at all might be comprehensible, because there are only a limited number of things one can say about the world, even if there are an infinite number of ways of saying those things.

Read Full Post »

Oxford Dictionary of British Place-Names by A.D. MillsA Dictionary of British Place-Names, A.D. Mills (Oxford University Press 1991)

A palimpsest is a manuscript that has been scraped clean and used to write something new. But the original manuscript can still be glimpsed under the new writing. British place-names are like that, except that they’re a palimpsest of a palimpsest and some of the oldest names are still there. Germanic languages like Anglo-Saxon and Norse replaced Celtic ones like Welsh and Gaelic, but those languages may have replaced something even earlier:

Some river-names, few in number but the most ancient of all, seem to belong to an unknown early Indo-European language which is neither Celtic nor Germanic. Such pre-Celtic names, sometimes termed ‘Old European’, may have been in use among the very early inhabitants of these languages in Neolithic times, and it is assumed they were passed on to Celtic settlers arriving from the Continent about the fourth century BC. Among the ancient names that possibly belong to this small but important group are Colne, Humber, Itchen, and Wey. (Introduction, “The Chronology and Languages of English Place-Names”, pg. XV)

I don’t see how they know that language was Indo-European. Perhaps it was a linguistic isolate or related to Basque or Etruscan. Or perhaps it was Indo-European but had preserved something even earlier. The names of rivers are usually the most ancient of all, because rivers are visually and psychologically powerful things. Whatever the truth about those river-names, there’s a strange power in the thought of an entire language reduced to a few syllables, like a sea shrinking to a few salty pools. I’m reminded of the doomed siren in Clark Ashton Smith’s “Sadastor”, confined to the pool that is all that remains of a world-ocean.

When we say “Humber” or “Wey”, we step into a pool of that ancient language and it lives again for an instant. If the theories are correct, that is. There is a lot of conjecture and uncertainty in toponymy, the science of place-names. This entry is like a fairy-tale in miniature:

Warnford Hants. Warnæford c. 1053, Warneford 1086 (DB). ‘Ford frequented by wrens or one used by stallions’. OE wærna or *wæærna + ford. Alternatively the first element may be an OE man’s name *Wæærna.

Wrens, stallions or man? The entry in the Domesday Book (DB) didn’t record the exact quality of the vowel, so the original meaning is lost. Something similar happens in the preceding entry, but this one is a fairy-story by the Brothers Grimm:

Warnborough, North & Warnborough, South Hants. Weargeburnan 973-4. Wergeborn 1086 (DB). Possibly ‘stream where criminals were drowned’, OE wearg + burna, though wearg may have an earlier sense ‘wolf’, hence perhaps ‘stream frequented by wolves’.

But far more onomastic fish were caught by the Domesday Book than slipped through. It was a net cast by the Normans over their new kingdom and historians have been feasting on the catch for centuries. Very few names were recorded much earlier. One of those that were hasn’t survived unaltered:

Hebrides (islands) Arg., Highland, W. Isles. Hæbudes 77, Hebudes 300. Meaning uncertain. The Roman name was Edudæ or Ebudes, and the present name resulted from a misreading of the latter, with ri for u.

I like fortuitous changes like that. Is it another pre-Celtic name? Perhaps. But mysteries can rise from clear meanings too:

Caithness (district) Highland. Kathenessia c. 970. ‘Promontory of the Cats’. OScand. nes. It is not known why the early Celtic tribe here were called ‘cats’; the cat may have been their token animal.

We know what the name means, but not why it got that meaning. We’ve lost so much of the past and that’s one of the powerful things about this book. George Orwell summed up the feeling in another context:

When I think of antiquity, the detail that frightens me is that those hundreds of millions of slaves on whose backs civilization rested generation after generation have left behind them no record whatever. We do not even know their names. In the whole of Greek and Roman history, how many slaves’ names are known to you? I can think of two, or possibly three. One is Spartacus and the other is Epictetus. Also, in the Roman room at the British Museum there is a glass jar with the maker’s name inscribed on the bottom, ‘FELIX FECIT’. I have a mental picture of poor Felix (a Gaul with red hair and a metal collar round his neck), but in fact he may not have been a slave; so there are only two slaves whose names I definitely know, and probably few people can remember more. The rest have gone down into utter silence. (“Looking Back on the Spanish War”, 1942)

So have most of the people who lived on the British Isles. Kings have reigned here and been utterly forgotten. But here and there a name survives with no story attached to it:

Broomfleet E.R. Yorks. Brungareflet 1150-4. ‘Stretch of river belonging to a man called Brūngār’. OE pers. name + flēot.

Who was Brūngār? Was he important? Was the name a joke? If the name hadn’t been recorded so early, we might now think the name refers to a plant, like “Broomfield, ‘open land where broom grows’”. Misinterpretations must happen a lot in toponymy: Celtic words with one meaning look like Anglo-Saxon words with another, pre-Celtic names may have been folk-etymologized, and so on.

That raises another haunting question, which Orwell addresses here in another and more serious form:

If the Party could thrust its hand into the past and say of this or that event, it never happened – that, surely, was more terrifying than mere torture and death? The Party said that Oceania had never been in alliance with Eurasia. He, Winston Smith, knew that Oceania had been in alliance with Eurasia as short a time as four years ago. But where did that knowledge exist? Only in his own consciousness, which in any case must soon be annihilated. And if all others accepted the lie which the Party imposed – if all records told the same tale – then the lie passed into history and became truth. (Nineteen Eighty-Four (1949), Part 1, ch. 3)

Suppose that an apparently transparent place-name like Greenfield or Shepton is a re-working of an older name with an entirely different meaning in Celtic or pre-Celtic. Does the truth survive in any sense? Or does the meaning of the new name change the truth? This must have happened many times in Britain and elsewhere.

The reverse is rarer: some apparently mysterious names might be scribal slips or lost words in familiar languages. This village in Worcestershire has a strange name that may be thousands of years old:

Tardebigge Worcs. Tærdebicgan c. 1000, Terdeberie [sic] 1086 (DB). Possibly a Celtic name from Brittonic *tarth ‘spring’ + *pig ‘point, peak’.

Or does it go back even earlier, to that vanished pre-Celtic language? Perhaps. Or perhaps it’s really Anglo-Saxon, distorted or otherwise. Unless a chronoscope is invented, we may never know the truth and mysteries like that may remain.

But mysteries are rare. Viewed in the context of local topography or history, place-names usually have obvious meanings. And they tell us what we’ve lost. Britain used to be a place of glades:

Lanercost Cumbria. Lanrecost 1169. Celtic *lannerch ‘glade, clearing’, perhaps with the pers. name Aust (from Latin Augustus).

It used to be a place of wolves too:

Greywell Hants. Graiwella 1167. Probably ‘spring or stream frequented by wolves’, OE *grææg + wella.

And of witches:

Hascombe Surrey Hescumb 1232. Possibly ‘the witch’s valley’. OE hægtesse + cumb.

And of Woden:

Wednesbury Sandw. Wadnesberie 1086 [DB]. ‘Stronghold associated with the heathen god Wōden’. OE god-name + burh (dative byrig).

But the forests were cut down, the wolves were slaughtered, and the grey Galilean triumphed over Woden. So another layer of meaning washed over the landscape and new languages appeared in place-names, like Latin and French: Eccles means “church” and Beaulieu means “beautiful place”, for example. To survive, some of the old paganism had to be obscure:

Sawel (Samhail) (mountain) Tyrone. ‘Likeness’. Samhail Phite Meadhbha c. 1680. The full name is Samhail Phite Méabha, ‘likeness to Maeve’s vulva’, referring to a hollow on the side of the mountain.

Most of the etymologies in A Dictionary of British Place-Names are mundane, not Maevish, but age can lend glamour even to the mundane. Some place-names in Britain are very old and this book is a good way to feel the years.

Read Full Post »