Yearly Archives: 2009

can’t

The siren song of negativity, the leaning of lassitude, the jargon of just say no, the argot of no got: this word sounds like cant, cant, cant, or cant, but says can it – not can it do something? but just can it! But can it be a word? It’s can plus not, right, so two words, not one, right? No, that’s the point of contractions: two words come together and the contraction gives birth to a new word – the amoeba in reverse. Some may proclaim that can’t isn’t in their dictionaries (the ones in their minds, or else they’ve done a razor job on Oxford), but it’s a word no less (just like ain’t, millions of schoolteachers notwithstanding – ain’t may be a very informal word, a word you can’t – or, more accurately, shouldn’t – say in certain contexts, but it’s a word).

The word seems straightforward enough in sound – voiceless stops at front and back (the latter of which is often reduced to a glottal stop or even nothing, so you often can’t hear it but still know it’s there, partly due to the emphasis this word gets that can may not), the nasal (often reduced to a nasalization of the preceding vowel, with the tongue not touching until the t), and a vowel – but people can’t even get together on that vowel. Canadians and most Americans say the same a as in that (Hall and Oates: “I can’t go for that!”) – whatever vowel that is, relatively open in some dialects and more like “eeyuh” in some – while many other speakers move it farther back to rhyme with want. A characteristic of Boston-area dialects (of the “towny” class) is to use the more front vowel for can but the more back one for can’t, as if it just can’t make it any farther forward. There are a few other words this word sounds like, most of them spelled cant, but also, for instance, Kent, as in Clark or State.

But you can see which word you’re dealing with here thanks to the apostrophe, that little marker that many people can’t quite get a grip on in many places – because you can’t hear it in speech, and because some of the places it’s used have no historical justification (I’m thinking specifically of the possessives, which were not formed from a word plus has, as the misguided sorts who inserted the apostrophe a few centuries ago thought; they’re an inflectional ending that happens to have converged in form with the plural ending and by coincidence sounds like a contraction of has). Me, I’d like to get rid of apostrophes almost everywhere; George Bernard Shaw demonstrated how easily it can be done without harming clarity, and, for that matter, so do all speakers who don’t hook their fingers in the air every time they say a word with one. But language operates by common agreement, and if you make a change like that it might become too distracting from your message, so I probably can’t get away with it…

But you never know. Which, come to think of it, is where can’t comes from: can is formed from the past tense of cunnan, “know”, the source of modern (uncommon) ken. It’s originally a “preterite present” verb, meaning that it took a past tense and made it a present tense: I have known or have learned, so I am able. Now it’s an auxiliary and can’t (in standard English) work with an other auxiliary – we have to say you won’t be able to do that rather than you won’t can do that, even though be able to is just a paraphrase, not another form of the same verb. Not, for its part, comes from nought (and who says nought will come of nought?), which in turn is ne plus aught; ne is the original negator in English, and could often be seen in negative concord – where if one thing in a phrase was negated, the others were as well (he ne shall never do it). But then it was decided by some people in the 18th century that that was a double negative and illogical, and so now you can’t do it. Can you think of a reason to insist that, in spite of all of English’s illogics, one must not violate some mathematical conception of logic in one place, even though it used to work fine and still does in many other languages? I don’t know any. But I still can’t.

But then, when faced with all my whines of “I can’t,” sometimes I find it best to open some wine, decant, and recant.

aegis

Here’s a word from the ages. Its opening ae – originally (and often still) a digraph (æ) – bespeaks a Latin origin, but if you go for that, the Greek will get your goat: it originally comes from Greek aigis, referring to a shield or breastplate of Zeus or Athena, with a gorgon’s head in the middle, and it’s thought that aigis comes from aix, “goat,” because of a type of shield made of goatskin. But just as we no longer make shields of goatskin, we no longer make aegis sound similar to I guess; now, thanks to vowel shifting and a palatalization of the velar, it’s more akin acoustically to the Irish English eejits (which is idiots pronounced as though it were written in Irish Gaelic). Ah, geez! And the watchful eye, fortunately, is now not that of Zeus, Athena, or a gorgon; it might be that of an elder, if that’s not ageist, but it can be the auspices of any organization or authority, be it sage, aggie, or even Regis. If you know this word, you probably know the two words that usually come before it and the one that usually comes after it: under the aegis of… If you’re a weaponry buff, you may also know that it’s the name of an integrated weapon system used by the US Navy on some destroyers and cruisers. Which seems rather a return to the gorgonizing eye. But not, I hope, to the goat.

thaumaturge

How many different things can be made simply by rearranging ordinary parts, and how much change can be made with the aid of a selfless partner! English spelling in general, and this word in particular, is a parable of this. The t alone makes one sound, but joined with an h they make another; the u helps the a make a different sound from the one it makes alone, and then it helps the r be the core of a syllable; and the e helps the g make the sound of a j. They make little wonders with ordinary parts through non-self-asserting cooperation. And such is the way of the thaumaturge. We may think miracles and wonders are the flash-and-bang province of great showmen-magicians, but those are really mainly masterpieces of misidrection and illusion. The real changes, the real miracles, are the small acts of creation and transformation that make up all of life.

Of course, the different sounds of English are not created by the written letters, really; the sounds come first, and the letters merely attempt to represent them. But the phonological transformations – be they synchronic, like [n] velarizing whenever it’s before [k] or [g], or diachronic, like [g] over time becoming a palatoalveolar affricate before a high front vowel (or that high front vowel simply no longer being pronounced) – are little wonders, produced physically by the constraints of our mouth and tongues and our inclination to exert less energy, but understood mentally by our flexible minds. The speaker of any language will have some sets of sounds that will sound like the same sound even though they are clearly perceptible as entirely different sounds to speakers of another language.

We cut up our sounds in different ways, just as we cut up our worlds in different ways. We have the ability to manipulate reality by artifically dividing it, and simply by rearranging it or changing our preceptions we create for ourselves new reality. And all with the same ordinary parts. The tongue touches the teeth and lets some air through; it touches slightly farther back and stops the air until displaced by a puff; it touches slightly farther back and stops the air but then lets some through; the larynx is still, vibrates, is still, vibrates; through several little series of such gestures we make a flow of sound that lets another mind understand that we want to communicate something, and, we hope, have some idea of what we want to communicate.

In language as in other behaviour, every person is a thaumaturge. And such creation follows each utterance, such joining: not just the feeling of the word or the shape of the sounds, but the echoes – dramaturge? theme? math? trauma? urge? – that add flavour, and where and how you can use the word: the tone, what it says about the speaker and the situation… This very word (formed from Greek words for “wonder” and “working”) seems more mystical and arcane than miracle-worker. And why, and how? That’s just how we’ve made it signify, through common understandings and patterns of use.

smooch

A word that shapes the moue you use to mooch a smack on the bouche. Its middle may seem to be moo but more the mood and the moon than any cow sound. Better to see the tandem o‘s as the heart of it: two puckered sets of lips ready to juxtapose. The s lets you hear it coming; the ch gives the release, but not like the end of smack: this alveolar affricate pushes the lower jaw forward a bit so its set is as during impassioned chest-heaving. Truly, this is a better oral gesture for kissing than kiss gives us with its velar start and unpuckered vowel. This word came to us from earlier smouch, rhymes with ouch, but clearly this version is softer sounding (with no echo of pain) and cuts straight to the action. The Oxford English Dictionary notes that this word refers to kissing and petting not just in general but especially while dancing to a lazy, romantic melody. Let all those who collocate it with pooch take note and reconsider: this is a buss at the ball, not a snog with a dog.

gongoozler

You’ve probably heard of trainspotters, people who occupy much of their free time watching trains go by and noting which locomotives and cars they’ve spotted. They may even take pictures. The apparent vacuity of this avocation has led to trainspotting becoming also one of the less vulgar terms for wasting time. Well, trainspotter has a kin, one that in its extended sense carries perhaps an even greater sense of slack jaws and vacant eyes. The very origin of this word is thought to be two terms for blank staring: Lincolnshire dialect gawn and gooze. You easily get the sense of gawping and gaping, jaws yawning, ga-ga, as though bamboozled (or just sozzled on booze), a goon, a loser, gone from the world, with an empty head that would ring like a gong if banged. Yet there are those who happily claim the name: those great, intrepid souls who choose freely to while their hours watching locks and yachts and cargo barges, the viewing gallery of a canal. Wave at them as you wend on the water, these riparian kibitzers, these bywater bystanders, the idlers on the towpath.

combinatorics

Just last weekend I was talking with some fellow linguists about where one would insert an expletive (as we do in abso-frickin’-lutely – this process is called tmesis) in a word with a dactyl followed by the main stress. At the time I couldn’t think of a good English example; place names such as Constantinople and Kalamazoo presented themselves. But, hey, I forgot about this word: dactyl plus trochee, five syllables. Now, how many different ways could you arrange the main and secondary stresses plus three off-beats? Viewed as a bare arrangement exercise, it’s trivial combinatorics, but once you involve English phonotactic constraints it may limit the options slightly… While the total imaginable arrangements of one primary stress, one secondary stress, three off-beats, and an insertion – after at least one syllable and before at least one syllable – number 80, the total you’ll ever hear in English is rather fewer: it turns out that the location of the tmesis is normally predictable for any stress pattern (but also subject to morphemic influence), and when we work in other details of English stress patterns, we find that there are really only a couple of ways you’re likely ever to get it. But, ah, this is so dry – unless, that is, you happen to like mucking around with the calculation of permutations and combinations, which is what combinatorics is all about. It sounds so nice and technical, too, doesn’t it? Those clicky [k] sounds, the final [ks] on a word that is treated as singular (like other academic field names – semiotics, mathematics, and so on – but not so adventuresome as, say, Vercingetorix, which anyway puts the dactyl after the trochee), the obvious combine connection and the resonances of laboratory, binary, imbricate, and frankly quite a few other sesquipedalian (a dactyl plus dactyl!) sawbuck words… Not to mention the fact that we adopted (and adapted) the word from German (which took its components from Latin). For some people, just knowing and using a word of this sort is enough to sound smart. But if that’s not enough, application of it to aspects of life in casual conversations ought to do the trick. And, for that cowboy tinge on the geekiness, add that expletive, that taboo tmesis… And where would you insert it?

swage

Here’s a word that showed up unexpectedly in one of those Nigerian scam emails (it was used improperly as a past tense for “swing”). You’re unlikely to encounter it anywhere else, though, unless you’re in a blacksmith’s shop, say. It brings echoes of swing and wages and perhaps sway and, to look at it, swag – and, alas, sewage – but in pronunciation may assuage these with, well, assuage. If you’re looking for some hint of the sense in the letter forms, you’re in a little luck: the semicircular indents in the s and, arguably, the concavities in the w could be seen to represent the grooves in mouldings, and the semicircular dents in anvils and dies, that the noun refers to; the verb refers to the application of the latter, though there is another sense (even less used now) which is an alteration of assuage. The word comes from Old French souage and is cognate with modern French suage. But the only way the Nigerian email is likely to swage you is that you will, on discovering you have been beaten, get bent.

slattern

Does this word have a misogynistic edge? Perhaps so, although it does at least embody the expectation that women are usually neat, clean, et cetera, in designating an exception to that. Men, it seems, are sloppy and dirty more as a matter of course, and so one is hard put to come up with an equivalent males-only word. To the word, anyway, if it’s not too distasteful: does it present a picture of a sleazy, sly or sullen slut peeping through spattered slats, with ladders in her hose and her slip in tatters, along with a smattering of other unflattering details? Phonaesthetics do aid the connotations. And if this word seems rather close to splatter, well it should: though they may or may not have arisen independently, splatter and this word’s source, the dialect verb slatter, are both imitative – onomatopoeic and generally phonaesthetic – words signifying much the same thing. From that comes slattern to refer to a woman of untidy habits (yes, indeed, why only a woman? but there you have an eye into British cultural history – this word has been applied to men, but only very rarely), and, as with the apparently unrelated (though again so similar!) slut, looseness of physical hygiene was extended quite readily to looseness of moral character, as of one whose mattress rattles in rentals as she natters… I leave further exploration of the unflattering patterns of sl words and the various effects available with att and ern to the reader as an exercise.

velleity

This word inspires in me a fleeting wish to seek out music sung by Elise Velle. Others my be more inclined to muse on acts of villainy or levity. But their lives lack vitality who linger at the level of velleity, which is veiled volition – a wisp of a will, a thought sans thelemite. The crossbow of desire is furnished, but velleity does not give the order to level it. That obscure object of desire, be it elle or it, notches in at v and takes root at y, but does the root lead to germination or does it wither on the vine? The e‘s are like heavy-lidded eyes, but is the ll a nose for business or simply a chimney through which impetus goes up in smoke? Thus the native hue of resolution is sicklied o’er with the pale cast of thought, and, as those condemned by Rousseau, we mistake velleity for resolve. This word has come to us little changed from Latin; its root is velle, verb: “will, wish.” Its euphony lives at the lips and alveolar ridge. It is pretty, perhaps, but rarely seen in action.

tentiginous

Aren’t you itching to know what this word means? Does it keep you on tenterhooks? Does it perhaps signify a genius in a tent? Someone who is an indigenous ten? Tense? Feeling an igneous twinge, at least a tinge? All gin and tentacles, tentatively touching us? The options may be a bit vertiginous. And pardon me if I seem a touch tendentious, but I want to cross the t‘s and dot the i‘s… and round the n‘s, I guess. This word seems to want two: it has two each of t, n, and i, and when you take those out you’re left with ego leading into us. So what does ego want of us? Well, like this word, it wants two. Boy, does it ever want to! It is seized with a fit of cupidity – of tentigo, an equally disused word, meaning “priapism” or simply whatever kind of “lust,” from the identical Latin word. And when you have tentigo, you tend to go… but isn’t it so much better than lentigo, even if it, too, means showing your true spots?