Daily Archives: March 21, 2012

pell-mell

“Riot in London” has taken on a bit of a different air of late. Time was when it might have led me to imagine a multiplicity of pale males (pommies all) going pell-mell in Pall Mall with pall-mall balls and mallets to pelt and maul opponents – publicans, perhaps? – before pulling back to mill about and drink Pimm’s.

Last year, of course, the reality of rioting left London (though perhaps not Pall Mall per se) in an appalling mess, and both punks and police were running pell-mell. But now, in the land of peameal and tall maples, we have had a riot in that other London, the one west of Toronto that people are impressed to hear you’re going to until they realize it’s not London London. Some students of Fanshawe College got drunk on St. Pat’s and had a riotous time involving burning furniture and cars and throwing things at police (I believe this is what in Australia is called a party). It became quite the melee. Some of them were dumb enough to tape themselves doing it and to talk about having done it. But most of the rest were caught on video anyway.

And Dianne Fowlie tells me that this morning she heard someone from Fanshawe College on CBC use the term pell-mell in regard to the happening. That might seem a low-frequency word, perhaps a touch on the erudite or British side, but, then, we should remember that this is a college with a very British name – Fanshawe derives originally from Featherstonehaugh, a name which some people still bear in that spelling, though they pronounce it the same as Fanshawe – and it has a student newspaper called the Interrobang, a typographical reference usually known only to geeks (it’s a combination question mark and exclamation mark).

Well, those students who sent off St. Pat’s with a bang will soon be interrogated, and they will have some explaining and appealing to do to with their parts in it. But all I need do now is explain this appealing term pell-mell.

And first: has it to do with Pall Mall? In fact, etymologically, no. The cigarette brand is named after the street in London (home to an assortment of gentlemen’s clubs), and the street – which runs west of Trafalgar Square and is pronounced “pal mal” – is so called because people used to play pall-mall on it, a game that is played with balls and mallets (indeed, pall is cognate with ball and mall is cognate with mallet), and the name of which is pronounced variously as “pel mel,” “pal mal,” and “pol mol.” Pell-mell, on the other hand, is cognate with melee. It comes to us from French; its Old French source was pesle-mesle, and that seems to have been a modified version of mesle-mesle, which was a reduplication of a word meaning “mix” or “mingle”, used in a military reference to a battle free-for-all.

So pell-mell retains its origin meaning, of a mad mixing of manic militants (adverb first, but also adjective and noun), but it also has a longstanding slightly shifted sense of “rushing headlong” – that is, one person going like a bat out of hell can also be said to be going pell-mell.

And hell’s bells, what a thrill – with risk of spill. Pedal to the metal, pell-mell – why, I declare, pell-mell seems to pedal to the metal about as Fanshawe to Featherstonehaugh, phonologically at least. But what is it about these ll words that gives them motion lines on the end? And would pill-mill seem even faster, if less out of control, than pell-mell?

Either way, our word of the day pops out of the mouth with the opening /p/ and cycles between embouchure and tongue tip like a four-stroke piston engine. That might seem orderly, but do this for me: get a few friends together and stand somewhere and each say pell-mell over and over again. I dare say it will make quite the hurly-burly. And probably someone will peer in and say “What the hell is going on here?”

euphuism

There appear betimes in printed books, in many magazines, on several sites of the world-wide web, passages of prose that bear a mark of calculated lucubration: not the wanton wit and spontaneous sparks of perverse paronomasia that flourish as flowers in the window-box of webby blogs, but lapidary parallelpipeds, nay, casques of Croesus, that, opened, produce pandiculations of Pandoran prose. As dogs must dig, starlings must swirl, seagulls must soar, and maniacs must murder, so too the wanton wordsmith willfully writes sesquipedalian sentences that stretch similitude and cloy close readers: Brummagem’s florins, Barmecide’s feasts, Tantalus’s nibbles, and ’t Audrey’s needlework – mental efforts meretricious in form and illusory in sense. None but the author believe them of value; the remainder wade through, as a treasure-hunter in a barnyard like as Hercules in the Augean stables, hoping that by perseverance they may find some diadem mired in the muck.

But no such luck. In the end, wipe you your lips and say you “Phooey.” One person’s idea of a well-built piece of prose is another’s complete waste of time. There was, it is true, a brief vogue in the Elizabethan court for euphuism, but the rest of the time we have only referred to it by euphemism – if we wish to be polite.

For, yes, euphuism is the word we use to refer to self-consciously erudite and overly flowery prose. And some people do write it. I won’t be so mean as to link to a recent example I’ve read, but it’s entertaining in its sick way to see a bloke in his twenties try through euphuism to sound pompous and established – while, in the next article on the same site, a bloke in his seventies who is well-established writes with the liveliness of a young man.

And where does this word come from, euphuism? It certainly has an air of emphatic enthusiasm about it, replacing as it seems to the demure phem of euphemism with a spouting phu. You can hear through it the author thinking “Yoo-hoo! Look over here!” But you know that it comes from Greek – the eu is a prefix meaning “good” or “pleasant” (as in euthanasia and eulogy, the first of which should happen to euphuisms and the second of which would be a good send-off for them only if brief), and the ph in European words is a reliable flag of Greek via Latin (you may also see it, standing for /p/ plus aspiration, in loans from Sanskrit, Thai, and a few other tongues).

Specifically, though, euphuism is an eponym. It is named after the main character of a couple of works written by John Lyly in 1578 and 1580: Euphues. His prose style was not simply florid willy-nilly but according to some specific principles – as the OED elucidates, “the continual recurrence of antithetic clauses in which the antithesis is emphasized by means of alliteration; the frequent introduction of a long string of similes all relating to the same subject, often drawn from the fabulous qualities ascribed to plants, minerals, and animals; and the constant endeavour after subtle refinement of expression.” But any kind of excessively affected prose may earn the monicker now.

Euphues in turn got his name from Greek εὐϕυής euphués “well-endowed by nature”. And indeed we see that the writers of euphuism, wanting to show themselves and their prose well endowed, resort to artificial expanders. Their goal is to show themselves, as it were, damn well hung; I rather think they should be damn well hanged.