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    <title>Peter Harvey, linguist</title>
    
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    <id>tag:typepad.com,2003:weblog-246096</id>
    <updated>2013-05-23T15:00:08+02:00</updated>
    <subtitle>About language and languages with the occasional mention of Lavengro Books, written by an English-language teacher for learners and teachers of English</subtitle>
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        <title>Spanish possessive adjectives and menus</title>
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        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef01901c7c285c970b</id>
        <published>2013-05-23T15:00:08+02:00</published>
        <updated>2013-05-23T15:02:05+02:00</updated>
        <summary>On the Language Log Mark Liberman has found a Spanish menu. Such things are notorious, as I have described (here and here), but this has a new twist with squids in his (her, your) ink. As Mark points out, this is ‘the delightful consequences of someone's earnest reliance on a bilingual dictionary’, but how has it happened? While English has separate possessive adjectives (his, her, its) for the three genders of the third person, Spanish has only one: su. On the other hand, unlike their English counterparts Spanish possessive adjectives change according to the number, and in some cases the...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Funny &amp; curious" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Grammar" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Other languages" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Translation" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font size="2" face="Calibri"><img style="float: none; margin-left: auto; display: block; margin-right: auto" alt="" src="http://languagelog.ldc.upenn.edu/myl/English1a.jpg" /></font></p>  <p><font size="2" face="Calibri">On the </font><a href="http://languagelog.ldc.upenn.edu/nll/?p=4645" target="_blank"><font size="2" face="Calibri">Language Log</font></a><font size="2" face="Calibri"> Mark Liberman has found a Spanish menu. Such things are notorious, as I have described (</font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2010/09/why-you-shouldnt-use-google-to-translate-menus.html" target="_blank"><font size="2" face="Calibri">here</font></a><font size="2" face="Calibri"> and </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2009/01/machines-and-menus.html" target="_blank"><font size="2" face="Calibri">here</font></a><font size="2" face="Calibri">), but this has a new twist with <i>squids in his (her, your) ink. </i>As Mark points out, this is ‘the delightful consequences of someone's earnest reliance on a bilingual dictionary’, but how has it happened?</font></p>  <p><font face="Calibri"><font size="2">While English has separate possessive adjectives <i>(his, her, its)</i> for the three genders of the third person, Spanish has only one: <i>su</i>. On the other hand, unlike their English counterparts Spanish possessive adjectives change according to the number, and in some cases the gender, of the thing that is possessed: <i>mi libro</i> is <i>my book</i> but <i>mis libros</i> is <i>my books</i>, and <i>nuestro/s libro/s</i> is <i>our book(s)</i>, but <i>nuestra/s casa/s</i> is <i>our house(s).</i></font></font></p>  <p><font size="2" face="Calibri">The problem is that <i>su</i> corresponds to the three English third-person forms, but where does the <i>your</i> come from? In Spanish the polite form of address is <i>usted,</i> which takes a third-person verb because it is a contraction of <i>vuestra merced</i>, which is like <i>Your Worship</i>. Thus <i>su/s</i> is <i>your</i> (singular or plural <i>you</i>) as well as <i>his, her </i>and<i> its</i>. As well as that, it is also the possessive adjective for the third-person plural corresponding to <i>their</i> so in this menu <i>Calamares en su tinta</i> should be <i>Squids in their ink</i>. It follows that Spanish <i>su/s</i> has five English equivalents: <i>his, her, its, your</i> (polite) and <i>their.</i> Not surprisingly, this causes difficulty for Spanish-speaking learners of English.</font></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/68zDzge-fvo" height="1" width="1" /></div></content>



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    <entry>
        <title>Corpulence and false friends</title>
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        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef0191026fb2f5970c</id>
        <published>2013-05-23T09:00:28+02:00</published>
        <updated>2013-05-23T09:00:28+02:00</updated>
        <summary>Once, my Spanish doctor described me as corpulento. Fortunately, as I discovered, this means according to the Gran Diccionario Oxford: hefty, burly, heavily built; not as the COED defines corpulent in English: fat That was many years ago but today in reporting on the Woolwich attack, El País describes this man as un hombre negro y corpulento It’s one of those tricky false friends. Some of them are obvious; it’s easy to know that Spanish carpeta (file, folder) has nothing to do with English carpet but some false friends are so similar in meaning that confusion can easily arise.</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Other languages" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Vocabulary &amp; etymology" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font size="2" face="Calibri">Once, my Spanish doctor described me as <em>corpulento</em>. Fortunately, as I discovered, this means according to the Gran Diccionario Oxford:</font></p>  <blockquote>   <p><font size="2" face="Calibri">hefty, burly, heavily built;</font></p> </blockquote>  <p><font size="2" face="Calibri">not as the COED defines <em>corpulent</em> in English:</font></p>  <blockquote>   <p><font size="2" face="Calibri">fat</font></p> </blockquote>  <p><font size="2" face="Calibri">That was many years ago but today in reporting on the Woolwich attack, </font><a href="http://internacional.elpais.com/internacional/2013/05/22/actualidad/1369252260_163392.html" target="_blank"><font size="2" face="Calibri">El País</font></a><font size="2" face="Calibri"> describes this man as</font></p>  <blockquote>   <p><font size="2" face="Calibri">un hombre negro y corpulento</font></p> </blockquote>  <p><font size="2" face="Calibri"><img style="float: none; margin-left: auto; display: block; margin-right: auto" src="http://news.bbcimg.co.uk/media/images/67763000/jpg/_67763671_machete2.jpg" width="249" height="140" /></font></p>  <p><font size="2" face="Calibri" /></p>  <p><font size="2" face="Calibri" /></p>  <p><font size="2" face="Calibri" /></p>  <p><font size="2" face="Calibri" /></p>  <p><font size="2" face="Calibri" /></p>  <p><font size="2" face="Calibri" /></p>  <p><font size="2" face="Calibri">It’s one of those tricky false friends. Some of them are obvious; it’s easy to know that Spanish <em>carpeta (file, folder) </em>has nothing to do with English <em>carpet</em> but some false friends are so similar in meaning that confusion can easily arise.</font></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/9qWZ6mlx13A" height="1" width="1" /></div></content>



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    <entry>
        <title>The Ballad of the Amateur Grammarian</title>
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        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef0192aa327b86970d</id>
        <published>2013-05-22T17:18:16+02:00</published>
        <updated>2013-05-22T17:18:16+02:00</updated>
        <summary>After what we’ve been through lately it’s surely time to revisit the Ballad of the Amateur Grammarian: I am the very model of an amateur grammarian I have a little knowledge and I am authoritarian But I make no apology for being doctrinarian We must not plummet to the verbal depths of the barbarian The Stroppy Grammarian has the rest of this splendid poem here but as a tribute to Nevile Gwynne I will also quote these two lines: When you crusade for good English, it’s not all doom and gloom you sow The secret of success is: it’s not...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Funny &amp; curious" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Grammar" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Pedantry" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font size="2" face="Calibri"><img style="float: none; margin-left: auto; display: block; margin-right: auto" alt="File:MajGeneraldrawing.jpg" src="http://upload.wikimedia.org/wikipedia/en/thumb/2/26/MajGeneraldrawing.jpg/451px-MajGeneraldrawing.jpg" width="161" height="214" /></font></p>  <p><font size="2" face="Calibri">After what we’ve been through lately it’s surely time to revisit the Ballad of the Amateur Grammarian:</font></p>  <blockquote>   <p><font size="2" face="Calibri">I am the very model of an amateur grammarian       <br />I have a little knowledge and I am authoritarian        <br />But I make no apology for being doctrinarian        <br />We must not plummet to the verbal depths of the barbarian</font></p> </blockquote>  <p><font size="2" face="Calibri">The Stroppy Grammarian has the rest of this splendid poem </font><a href="http://stroppyeditor.wordpress.com/2012/09/04/the-very-model-of-an-amateur-grammarian/" target="_blank"><font size="2" face="Calibri">here</font></a><font size="2" face="Calibri"> but </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/pedantry-the-telegraph-and-relative-clauses.html" target="_blank"><font size="2" face="Calibri">as a tribute to Nevile Gwynne</font></a><font size="2" face="Calibri"> I will also quote these two lines:</font></p>  <blockquote>   <p><font size="2" face="Calibri">When you crusade for good English, it’s not all doom and gloom you sow       <br />The secret of success is: it’s not who you know; it’s whom you know</font></p> </blockquote>  <p align="center"><em><font size="2" face="Calibri">(Image – Wikimedia Commons)</font></em></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/_gmLZGioNFY" height="1" width="1" /></div></content>



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    <entry>
        <title>Theatres for surgery</title>
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        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef0192aa2e75bf970d</id>
        <published>2013-05-22T06:56:52+02:00</published>
        <updated>2013-05-22T07:03:21+02:00</updated>
        <summary>Old operating theatre in London In countries that follow the conventions of British English, the place in a hospital where operations are performed is called an operating theatre. In American English this is known as an operating room. The British usage comes as a surprise to people not familiar with it but the reason is clear. In the early days of anatomy and surgery operations were infrequent and were seen as educational events, open to other surgeons and students and they were performed in a place where a good number of people could watch what was being done. Of course,...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Vocabulary &amp; etymology" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p align="center"><font size="2" face="Calibri"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/7/74/Old_Operating_Theatre.jpg/330px-Old_Operating_Theatre.jpg" width="220" height="147" /></font></p>  <p align="center"><font size="2" face="Calibri">Old operating theatre in London</font></p>  <p><font size="2" face="Calibri" /></p>  <p><font size="2" face="Calibri">In countries that follow the conventions of British English, the place in a hospital where operations are performed is called an operating theatre. In American English this is known as an operating room.</font></p>  <p><font size="2" face="Calibri">The British usage comes as a surprise to people not familiar with it but the reason is clear. In the early days of anatomy and surgery operations were infrequent and were seen as educational events, open to other surgeons and students and they were performed in a place where a good number of people could watch what was being done. Of course, in those days there was no concern for sterility, surgeons worked in their street clothes, and a prosperous surgeon could be identified by the blood stains on his clothing.</font></p>  <p><font size="2" face="Calibri" /></p>  <p align="center"><font size="2" face="Calibri"><img alt="http://upload.wikimedia.org/wikipedia/commons/8/8c/The_Anatomy_Lesson.jpg" src="http://upload.wikimedia.org/wikipedia/commons/8/8c/The_Anatomy_Lesson.jpg" width="220" height="165" /></font></p>  <p align="center"><font size="2" face="Calibri">The Anatomy Lesson of Dr Tulp, Rembrandt</font></p>  <p align="center"><font size="2" face="Calibri"><em>(Images – Wikimedia commons)</em></font></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/1Y9lTXXGves" height="1" width="1" /></div></content>



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    <entry>
        <title>British media and the English language</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/_3oVkf5h-vk/british-media-and-the-english-language.html" />
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        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef0191025fc102970c</id>
        <published>2013-05-21T14:58:00+02:00</published>
        <updated>2013-05-23T12:29:09+02:00</updated>
        <summary>In recent days I have written about the dreadful treatment of the English language in the British media (Telegraph, Guardian, Guardian, BBC). I dealt with the Times in 2008. Now Geoff Pullum takes on the Times again. Articles about English grammar in UK newspapers tend to exhibit an almost incredible degree of stupidity. In no other subject could such self-contradictory idiocy be accepted, or subjected to so little fact-checking.</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Grammar" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Media" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font face="Calibri" size="2">In recent days I have written about the dreadful treatment of the English language in the British media (</font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/pedantry-the-telegraph-and-relative-clauses.html" target="_blank"><font face="Calibri" size="2">Telegraph</font></a><font face="Calibri" size="2">, </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/02/the-guardian-and-how-not-to-test-english-language-competence.html" target="_blank"><font face="Calibri" size="2">Guardian</font></a><font face="Calibri" size="2">, </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/english-and-the-guardian.html" target="_blank"><font face="Calibri" size="2">Guardian</font></a><font face="Calibri" size="2">, </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/up-with-which-we-should-no-longer-be-required-to-put.html" target="_blank"><font face="Calibri" size="2">BBC</font></a><font face="Calibri" size="2">). I dealt with </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2008/01/english-in-the.html" target="_blank"><font face="Calibri" size="2">the Times</font></a><font face="Calibri" size="2"> in 2008. Now Geoff Pullum takes on </font><a href="http://languagelog.ldc.upenn.edu/nll/?p=4638" target="_blank"><font face="Calibri" size="2">the Times</font></a><font face="Calibri" size="2"> again.</font></p>  <blockquote>   <p><font face="Calibri" size="2">Articles about English grammar in UK newspapers tend to exhibit an almost incredible degree of stupidity. In no other subject could such self-contradictory idiocy be accepted, or subjected to so little fact-checking.</font></p> </blockquote>  <p><font face="Calibri" size="2" /></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/_3oVkf5h-vk" height="1" width="1" /></div></content>



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    <entry>
        <title>Unaspirated h</title>
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        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/unaspirated-h.html" thr:count="6" thr:updated="2013-05-20T22:09:58+02:00" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef0192aa1fe8d6970d</id>
        <published>2013-05-20T16:25:13+02:00</published>
        <updated>2013-05-20T16:26:37+02:00</updated>
        <summary>There is – or was – a sort of rule that h was not aspirated (pronounced) in words where the stress was not on the first syllable, with the article an being used before words such as historical. Google Ngram Viewer suggests that this is not done now and that we can safely say that the well-known trio of heir, honour and hour (plus their derivative forms) are the only words with silent initial h. historical Nevertheless, on 6 May 2005 the BBC reported: Tony Blair is heading for an historic third term in government but with a greatly reduced...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Pronunciation" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font size="2" face="Calibri">There is – or was – a sort of rule that <em>h</em> was not aspirated (pronounced) in words where the stress was not on the first syllable, with the article <em>an</em> being used before words such as <em>historical. Google Ngram Viewer</em> suggests that this is not done now and that we can safely say that the well-known trio of <em>heir, honour</em> and <em>hour</em> (plus their derivative forms) are the only words with silent initial <em>h</em>.</font></p>  <p><font size="2" face="Calibri"><strong>historical</strong></font></p>  <p><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef019102578b99970c-pi"><font size="2" face="Calibri"><img title="image" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; padding-top: 0px; padding-left: 0px; margin: 0px; display: inline; padding-right: 0px; border-top-width: 0px" border="0" alt="image" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef0192aa1fe854970d-pi" width="244" height="67" /></font></a></p>  <p><font size="2" face="Calibri">Nevertheless, on 6 May 2005 </font><a href="http://news.bbc.co.uk/2/hi/uk_news/politics/vote_2005/frontpage/4513605.stm" target="_blank"><font size="2" face="Calibri">the BBC reported</font></a><font size="2" face="Calibri">:</font></p>  <blockquote>   <p><font size="2" face="Calibri">Tony Blair is heading for an historic third term in government but with a greatly reduced majority.</font></p> </blockquote>  <p><font size="2" face="Calibri" /></p>  <p><font size="2" face="Calibri"><strong>hysterical</strong></font></p>  <p><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef0192aa1fe864970d-pi"><font size="2" face="Calibri"><img title="image" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; padding-top: 0px; padding-left: 0px; margin: 0px; display: inline; padding-right: 0px; border-top-width: 0px" border="0" alt="image" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef0192aa1fe873970d-pi" width="244" height="65" /></font></a></p>  <p><font size="2" face="Calibri" /></p>  <p><font size="2" face="Calibri"><strong>habitual</strong></font></p>  <p><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef01901c6186ac970b-pi"><font size="2" face="Calibri"><img title="image" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; padding-top: 0px; padding-left: 0px; margin: 0px; display: inline; padding-right: 0px; border-top-width: 0px" border="0" alt="image" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef0192aa1fe898970d-pi" width="244" height="66" /></font></a></p>  <p><font size="2" face="Calibri" /></p>  <p><font size="2" face="Calibri">I have a special interest in <em>hotel</em>. My father (born 1920) always spoke of <em>an hotel</em>, justifying this because it was a French loan word. Here I can see how unusual this was.</font></p>  <p><font size="2" face="Calibri"><strong>hotel</strong></font></p>  <p><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef0192aa1fe8b6970d-pi"><font size="2" face="Calibri"><img title="image" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; padding-top: 0px; padding-left: 0px; margin: 0px; display: inline; padding-right: 0px; border-top-width: 0px" border="0" alt="image" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef019102578bf6970c-pi" width="244" height="67" /></font></a></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/8XHUQJDPD5k" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/unaspirated-h.html</feedburner:origLink></entry>
    <entry>
        <title>Of adders, oranges and doilies</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/5Fu_Yj5L26A/of-adders-oranges-and-doilies.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/of-adders-oranges-and-doilies.html" thr:count="2" thr:updated="2013-05-20T17:55:26+02:00" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef0192aa1fa326970d</id>
        <published>2013-05-20T15:45:26+02:00</published>
        <updated>2013-05-21T14:54:00+02:00</updated>
        <summary>Language can be a messy business, to the exasperation of those who wish to impose rules on it. English has a convention that the indefinite article is a before consonant sounds and an before vowel sounds. I say sounds because this is a matter of phonetics. It has nothing to do with the spelling of the word. We say a European country, a useful idea; a one‑legged man because the first sound of these words is a consonant, and an honourable man and an FBI investigation because they start with vowel sounds. Some words, however, have become confused. The only...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Grammar" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Vocabulary &amp; etymology" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font size="2" face="Calibri">Language can be a messy business, to the exasperation of those who wish to impose rules on it. English has a convention that the indefinite article is <i>a</i> before consonant sounds and <i>an</i> before vowel sounds. I say sounds because this is a matter of phonetics. It has nothing to do with the spelling of the word. We say <i>a European country, a useful idea; a one‑legged man </i>because the first sound of these words is a consonant, and <i>an honourable man </i>and <i>an FBI investigation</i> because they start with vowel sounds.</font></p>  <p><img style="float: none; margin-left: auto; display: block; margin-right: auto" alt="File:Loch Shin adder.JPG" src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/28/Loch_Shin_adder.JPG/800px-Loch_Shin_adder.JPG" width="152" height="114" /></p>  <p><font size="2" face="Calibri">Some words, however, have become confused. The only poisonous snake in Britain is the adder. It was originally called the <i>nadder </i>but the <i>n</i> moved from the noun to the article; <i>a nadder</i> turned into <i>an adder</i> in the Middle English period (1300 – 1500).</font></p>  <p><img style="float: none; margin-left: auto; display: block; margin-right: auto" alt="File:OrangeBloss wb.jpg" src="http://upload.wikimedia.org/wikipedia/commons/b/b0/OrangeBloss_wb.jpg" width="154" height="136" /></p>  <p><font size="2" face="Calibri">An orange was originally Italian <i>narancia</i> according to the OED:</font></p>  <blockquote>   <p><font size="2" face="Calibri">It. narancia (Florio), now arancia (Venet. naranza, Milan. naranz), Sp. naranja, Pg. laranja, also med.Gr. νεράντζιον. The Sp. and Gr. are ad. Arabic nāranj, in Pers. nārang, nāring: cf. late Skr. nāraṅga, Hindī nārangī; also Pers. nār pomegranate.</font></p> </blockquote>  <p><font size="2" face="Calibri">In addition to the Portuguese <i>laranja</i> there is the Catalan <i>taronja,</i> showing that the first letter is subject to considerable variation.</font></p>  <p><img style="float: none; margin-left: auto; display: block; margin-right: auto" alt="File:Wheat 2641t.jpg" src="http://upload.wikimedia.org/wikipedia/commons/0/0c/Wheat_2641t.jpg" width="132" height="128" /></p>  <p><font face="Calibri"><font size="2">Similarly, an apron was once a <i>naperon</i>, the same as modern French <i>napperon</i> for the English doily, and <i>umpire</i> comes from Middle English <i>noumpere</i> from Old French <i>nonper</i> (not equal).<i /></font></font></p>  <p><font face="Calibri"><font size="2">The phenomenon worked in both directions. A newt was <i>an ewt</i>, with <i>ewt</i> being the same word as <i>eft</i> the word for a young newt. A nickname was an <i>eke-name</i>, where <i>eke </i>means<i> addition</i>. It is an archaic word for also and is presumably cognate with German <i>auch</i>. And finally, a ninny is a simpleton or fool, it being, in the cautious wording of the OED, perhaps an abbreviation of <i>innocent.</i></font></font></p>  <p align="center"><em><font size="2" face="Calibri">(Images from Wikimedia Commons.)</font></em></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/5Fu_Yj5L26A" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/of-adders-oranges-and-doilies.html</feedburner:origLink></entry>
    <entry>
        <title>Four once more: 20 May 2013</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/5CnnAdR2ak8/four-once-more-20-may-2013.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/four-once-more-20-may-2013.html" thr:count="3" thr:updated="2013-05-20T16:01:58+02:00" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef0191023d965d970c</id>
        <published>2013-05-20T06:00:00+02:00</published>
        <updated>2013-05-20T14:41:44+02:00</updated>
        <summary>Breathing life new into old posts. This blog started in 2005. As readership has grown since then I am reposting some of the older posts in batches of four at 06.00 CET every Monday. Royalties and the language of Shakespeare Does a language generate royalties? Ofsted (v. tr.) Stress patterns affect the doubling of consonants. Frankfurt to Frankfurt Travelling from Frankfurt to Frankfurt. Handle with passion An unfortunate mistranslation.</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Four once more" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p style="text-align: center"><span style="font-size: 10pt"><font face="Calibri">Breathing life new into old posts. This blog started in 2005. As readership has grown since then I am reposting some of the older posts in batches of four at 06.00 CET every Monday. </font></span></p>  <p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2007/02/royalties_and_t.html" target="_blank"><font face="Calibri" size="2">Royalties and the language of Shakespeare</font></a><font face="Calibri" size="2"> Does a language generate royalties? </font></p>  <p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2007/01/ofsted_v_tr.html" target="_blank"><font face="Calibri" size="2">Ofsted (v. tr.)</font></a><font face="Calibri" size="2"> Stress patterns affect the doubling of consonants. </font></p>  <p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2012/05/frankfurt-to-frankfurt.html" target="_blank"><font face="Calibri" size="2">Frankfurt to Frankfurt</font></a><font face="Calibri" size="2"> Travelling from Frankfurt to Frankfurt. </font></p>  <p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2012/04/handle-with-passion.html" target="_blank"><font face="Calibri" size="2">Handle with passion</font></a><font face="Calibri" size="2"> An unfortunate mistranslation.</font></p>  <p><font face="Calibri" size="2" /></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/5CnnAdR2ak8" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/four-once-more-20-may-2013.html</feedburner:origLink></entry>
    <entry>
        <title>I would in the past</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/v68b2OXt_QA/i-would-in-the-past.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/i-would-in-the-past.html" thr:count="9" thr:updated="2013-05-18T17:07:52+02:00" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef01901c3dcd0e970b</id>
        <published>2013-05-16T12:56:47+02:00</published>
        <updated>2013-05-16T12:56:47+02:00</updated>
        <summary>Brian Barder recently sent me a mail he had received quoting the magazine of a British school: It is quite surprising to remember that in the 1940s and 1950s, in each year two or three of the College’s 900 boys would die in the Sanatorium from such eminently curable diseases as pneumonia and appendicitis. The figures turn out to be exaggerated but that is not the point here. The question is about the use of would die. What does would die signify/imply in this context that is different from died? I can’t see that it implies any uncertainty but would...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Grammar" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><a href="http://www.barder.com/ephems"><font size="2" face="Calibri">Brian Barder</font></a><font size="2" face="Calibri"> recently sent me a mail he had received quoting the magazine of a British school:</font></p>  <blockquote>   <p><font size="2" face="Calibri">It is quite surprising to remember that in the 1940s and 1950s, in each year two or three of the College’s 900 boys would die in the Sanatorium from such eminently curable diseases as pneumonia and appendicitis.</font></p> </blockquote>  <p><font size="2" face="Calibri">The figures turn out to be exaggerated but that is not the point here. The question is about the use of <i>would die</i>.</font></p>  <blockquote>   <p><font size="2" face="Calibri">What does <i>would die</i> signify/imply in this context that is different from <i>died</i>? I can’t see that it implies any uncertainty but <i>would die</i> does have, does it not, a meaning other than <i>died</i>? But – in this context anyway –what? I have looked to see if Burchfield is any help, but I don’t find that he is. Can you help?</font></p> </blockquote>  <p><font size="2" face="Calibri">Brian considers but rejects the idea that there’s an implied conditional lurking there </font></p>  <blockquote>   <p><font face="Calibri"><font size="2"><b><i>If</i></b> <i>statistical evidence of the average number of teenage boys in the whole population shows x per thousand dying annually of pneumonia and appendicitis, then</i> in each year two or three of the College’s 900 boys would [be expected to] die in the Sanatorium from such eminently curable diseases as pneumonia and appendicitis’ – nimbly skipping from “would die on that basis” to “did actually die”. But I don’t have enormous confidence in that explanation. Perhaps more likely <i>would</i> can express a tendency to do something repetitively at a specific time:</font></font></p> </blockquote>  <blockquote>   <p><font size="2" face="Calibri"><em>Every summer we would travel to Margate for our summer holidays.</em></font></p>    <p><font size="2" face="Calibri">which seems to describe it accurately if not entirely to explain it.</font></p> </blockquote>  <p><font size="2" face="Calibri">In this case <i>would</i> is indeed used to express something that is repeated and is usually described as being a habit. Dying of course is obviously not a habit but it is not hard to see how the idea of a repeated personal habit came to refer to a number of people all doing the same thing once. Wikipedia’s article on marriage has these examples:</font></p>  <blockquote>   <p><font size="2" face="Calibri">Early nomadic communities practised a form of marriage … in which a wife would own a tent of her own.</font></p>    <p><font size="2" face="Calibri">If freely given and … made in the future tense (“I will marry you”), [a verbal promise] would constitute a betrothal.</font></p> </blockquote>  <p><font size="2" face="Calibri">As I say in <i>A Guide to English Language Usage</i>:</font></p>  <blockquote>   <h6><font size="2" face="Calibri"><em>Would</em></font><font size="2" face="Calibri"> can also mean that an action was habitual. It is rather more formal than <i>used to</i>, it must be associated with time reference, and it is only used with dynamic verbs: <i>When I was young I would play football every Saturday</i> but not<em> <s>I would live in Frankfurt in the 1970s</s></em>.</font></h6> </blockquote>  <p><font size="2" face="Calibri">There is an explanation. <i>Would</i> is a modal auxiliary verb in English. It is the past tense of <i>will, </i>though that is of interest only from the point of view of grammatical structure; it is not past in any chronological sense. On the contrary, its use in conditional sentences refers to future time. Grammatical tense and chronological time are concepts that must be kept clearly separate. </font></p>  <p><font size="2" face="Calibri">However, the use of <i>will</i> as an auxiliary for the future is not accidental. It originates in the meaning of the word as an expression of volition, as is seen in a will being an expression of what is to happen to one’s property after death, or in the phrase <i>against my will</i>. It is also clear through a comparison with modern German <i>wollen</i>, the normal (non-modal) verb for <i>want.</i> <i>Ich will</i> is <i>I want </i>and <i>ich wollte</i> is <i>I wanted</i>. That is the explanation of the phenomenon; it is the sense of volition that has led to these words being used modally to express future and conditional meaning. What you will is what will happen, as in the use of first-person <i>will</i> in the traditional <i>shall/will </i>distinction. It also explains why <i>won’t</i> can be used as an emphatic refusal: <i>He simply won’t do what I tell him</i> is not future; it is <i>will not</i> expressing a negation of will, i.e. a refusal. What is perhaps surprising, given the origin of the usage, is that in English it can be extended to inanimate objects. If you say <i>My car won’t/wouldn’t start</i> you are, in literal meaning at least, attributing free will to an inanimate object.</font></p>  <p><font size="2" face="Calibri">A similar pattern of present and past is to be found in <i>shall</i> and <i>should</i>. These correspond to German <i>soll</i> and <i>sollte</i>, a modal verb expressing obligation. It is also found with <i>may</i> and <i>might</i>, which correspond to German <i>mag</i> and <i>mochte</i>.</font></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/v68b2OXt_QA" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/i-would-in-the-past.html</feedburner:origLink></entry>
    <entry>
        <title>Muckle Hell, Poverty and Grimness</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/QvlwkMGTlZw/muckle-hell-poverty-and-grimness.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/muckle-hell-poverty-and-grimness.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef0191021d58b3970c</id>
        <published>2013-05-14T09:40:56+02:00</published>
        <updated>2013-05-14T09:40:56+02:00</updated>
        <summary>Dull Flag,Tongue of Gangsta, Whirly, Muckle Hell, Poverty, Grimness, Rumblings, Gutterpool, Rotten Gutter, Grotsetter, Gorehouse, Doomy, Hyndgreenie, Insabysetter and many more place names from the Orkney and Shetland Islands can be found on the ever-fascinating Strange Maps blog.</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Funny &amp; curious" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><h3><font size="2" face="Calibri"><img style="float: none; margin-left: auto; display: block; margin-right: auto" alt="Shet1" src="http://assets4.bigthink.com/system/idea_thumbnails/50631/headline/shet1.jpg?1368490205" width="510" /></font></h3>  <h3><font face="Calibri"><font size="2">Dull Flag,Tongue of Gangsta, Whirly, Muckle Hell, Poverty, Grimness, Rumblings, Gutterpool, Rotten Gutter, Grotsetter, Gorehouse, Doomy, Hyndgreenie, Insabysetter and many more place names from the Orkney and Shetland Islands can be found on the ever-fascinating <a href="http://bigthink.com/strange-maps/608-dull-flag-and-tongue-of-gangsta-the-laugh-out-loud-place-names-of-shetland-and-orkney" target="_blank">Strange Maps blog</a>.</font></font></h3><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/QvlwkMGTlZw" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/muckle-hell-poverty-and-grimness.html</feedburner:origLink></entry>
    <entry>
        <title>Collective tunnels</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/MaMMWfvMbo0/collective-tunnels.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/collective-tunnels.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef01901c266c3b970b</id>
        <published>2013-05-14T07:23:16+02:00</published>
        <updated>2013-05-18T19:15:38+02:00</updated>
        <summary>The search terms that people use can be rather odd, as Stan Carey has pointed out on Sentence First. My stats have just informed me that someone in Australia has done a search for the string * and that my post about the Guardian’s language quiz had come up as the No. 8 hit. I followed the link to google.com.au and found that in fact my post appears higher than the Guardian’s own article. It is true that the Guardian’s article is three days older and does not contain the precise string &lt; collective noun...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Funny &amp; curious" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Vocabulary &amp; etymology" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font size="2" face="Calibri">The search terms that people use can be rather odd, <a href="http://stancarey.wordpress.com/2011/03/29/search-engine-terms-1-do-ghosts-make-puddles/" target="_blank">as Stan Carey has pointed out on Sentence First</a>.</font></p>  <p><font size="2" face="Calibri">My stats have just informed me that someone in Australia has done a search for the string &lt; collective noun for tunnels &gt;* and that <a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/02/the-guardian-and-how-not-to-test-english-language-competence.html" target="_blank">my post about the Guardian’s language quiz</a> had come up as the No. 8 hit. I followed the link to google.com.au and found that in fact my post appears higher than the Guardian’s own article. It is true that the Guardian’s article is three days older and does not contain the precise string &lt; collective noun &gt; but even so I feel very happy with that result.</font></p>  <p><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef0191021c671d970c-pi"><font size="2" face="Calibri"><img title="image" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; float: none; padding-top: 0px; padding-left: 0px; margin-left: auto; display: block; padding-right: 0px; border-top-width: 0px; margin-right: auto" border="0" alt="image" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef017eeb23cf25970d-pi" width="244" height="162" /></font></a></p>  <p align="center"><font size="2" face="Calibri">(Click to enlarge)</font></p>  <p><font size="2" face="Calibri">*If there really is a need for such a collective noun, I would suggest: <em>A Switzerland of tunnels</em>.</font></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/MaMMWfvMbo0" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/collective-tunnels.html</feedburner:origLink></entry>
    <entry>
        <title>up with which we should no longer be required to put</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/dvOdP2b8rG8/up-with-which-we-should-no-longer-be-required-to-put.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/up-with-which-we-should-no-longer-be-required-to-put.html" thr:count="8" thr:updated="2013-05-20T14:38:31+02:00" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef01901c258d9a970b</id>
        <published>2013-05-14T05:07:08+02:00</published>
        <updated>2013-05-18T19:13:55+02:00</updated>
        <summary>The BBC has got in on the act and has published a grammar quiz of its own. Read this sentence carefully. “I’d like to introduce you to my sister Clara, who lives in Madrid, to Benedict, my brother who doesn’t, and to my only other sibling, Hilary.” Which of the following is correct? 1) Hilary is male. 2) Hilary is female. 3) It’s impossible to know from the context. The correct answer is 1), though what purpose is served by such a question is anybody’s guess – as is the likelihood of anybody ever uttering such a dreadful sentence naturally....</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Grammar" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Language teaching &amp; ability" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Media" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Pedantry" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Punctuation &amp; spelling" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font size="2" face="Calibri">The BBC has got in on the act and has published </font><a href="http://www.bbc.co.uk/news/magazine-22512744" target="_blank"><font size="2" face="Calibri">a grammar quiz</font></a><font size="2" face="Calibri"> of its own.</font></p>  <blockquote>   <p><font size="2" face="Calibri">Read this sentence carefully. “I’d like to introduce you to my sister Clara, who lives in Madrid, to Benedict, my brother who doesn’t, and to my only other sibling, Hilary.” Which of the following is correct?</font></p>    <p><font size="2" face="Calibri">1) Hilary is male.</font></p>    <p><font size="2" face="Calibri">2) Hilary is female.</font></p>    <p><font size="2" face="Calibri">3) It’s impossible to know from the context.</font></p> </blockquote>  <p><font size="2" face="Calibri">The correct answer is 1), though what purpose is served by such a question is anybody’s guess – as is the likelihood of anybody ever uttering such a dreadful sentence naturally.</font></p>  <p><font size="2" face="Calibri">Though the BBC doesn’t say so, this is an adapted version of the notorious one published by Nevile Gwynne in the Telegraph:</font></p>  <blockquote>   <p><font size="2" face="Calibri">“I should like to introduce you to my sister Amanda, who lives in New York, to my brother Mark who doesn’t, and to my only other sibling, Evelyn.”</font></p> </blockquote>  <p><font size="2" face="Calibri"><a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/pedantry-the-telegraph-and-relative-clauses.html" target="_blank">I have explained</a></font><font size="2" face="Calibri"> why the answer <i>male</i> is wrong for this version.</font></p>  <blockquote>   <p><font size="2" face="Calibri">Question 5</font></p>    <p><font size="2" face="Calibri">“This is the kind of tedious nonsense up with which I will not put!” Which grammar rule was Winston Churchill supposed to have objected to?</font></p> </blockquote>  <p><font size="2" face="Calibri">seems to imply that the rule about not ending a sentence with a preposition is valid. It is not!</font></p>  <blockquote>   <p><font size="2" face="Calibri">Question 6</font></p>    <p><font size="2" face="Calibri">Sometimes you should use “that” and sometimes “which”.</font></p>    <p><font size="2" face="Calibri">Which sentence here is wrong?</font></p>    <p><font size="2" face="Calibri">1) The car which ran me over was speeding</font></p>    <p><font size="2" face="Calibri">2) The car that ran me over was speeding</font></p>    <p><font size="2" face="Calibri">3) The car, which ran me over, was speeding</font></p> </blockquote>  <p><font size="2" face="Calibri">brings us back to the that/which fallacy, which </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/english-and-the-guardian.html" target="_blank"><font size="2" face="Calibri">I dealt with here</font></a><font size="2" face="Calibri"> just the other day. Briefly, the notion that 1) is incorrect is quite mistaken. The explanation that is given:</font></p>  <blockquote>   <p><font size="2" face="Calibri">“That” defines something, whereas “which” adds new information in a separate clause, often needing commas.</font></p> </blockquote>  <p><font size="2" face="Calibri">misses the point. A non-restrictive relative clause, which 3) is, adds new information; it must have <i>which</i>, it cannot have <i>that</i>, and it must be set off in commas. <i>That</i> does define something in a restrictive or defining relative clause but <i>which</i> can also be used correctly in such clauses. Sentences 1) and 2) are both correct. Sentence 3) is grammatically correct as an example of a non-restrictive relative clause, but precisely because it adds new information it presupposes that we know which car we are talking about. Without a context to define the car it is not a logically valid sentence.</font></p>  <blockquote>   <p><font size="2" face="Calibri">Question 8</font></p>    <p><font size="2" face="Calibri">Which of the following is not correct?</font></p>    <p><font size="2" face="Calibri">1) I was sitting in the chair.</font></p>    <p><font size="2" face="Calibri">2) I sat in the chair.</font></p>    <p><font size="2" face="Calibri">3) I was sat in the chair.</font></p> </blockquote>  <p><font size="2" face="Calibri">Of course, the answer that they require is 3), its incorrectness being explained thus:</font></p>  <blockquote>   <p><font size="2" face="Calibri">To use “was” requires the participle “sitting” after it.</font></p> </blockquote>  <p><font size="2" face="Calibri">Well, it does if we are talking about verbs used in the continuous aspect but in fact there is nothing objectionable about this sentence. <i>Sit</i> can be transitive as well as intransitive and as such can be used quite correctly in the passive voice. As the COED says (my emphasis):</font></p>  <blockquote>   <p><b><font size="2" face="Calibri">sit</font></b></p>    <p><font face="Calibri"><font size="2"><b>v.</b> (<b>sitting</b>; <b>past</b> and <b>past part.</b><b> </b><b>sat</b> /sat/)</font></font></p>    <p><font face="Calibri"><font size="2"><b>1</b> be <b>or cause to be</b> in a position in which one’s weight is supported by one’s buttocks rather than one’s feet and one’s back is upright.</font></font></p> </blockquote>  <p><strong><font size="2" face="Calibri">This discussion is developed with reference to the BBC’s other questions in the comments below.</font></strong></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/dvOdP2b8rG8" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/up-with-which-we-should-no-longer-be-required-to-put.html</feedburner:origLink></entry>
    <entry>
        <title>Four once more: 13 May 2013</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/Oivb8G4v8SM/four-once-more-13-may-2013.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/four-once-more-13-may-2013.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef0191020dcd35970c</id>
        <published>2013-05-13T06:00:00+02:00</published>
        <updated>2013-05-12T17:04:08+02:00</updated>
        <summary>Posh What is, and is not, the origin of this word? First Impressions, by A Lady Would Jane Austen have found a publisher nowadays? Where hast tha been? An article by the late Miles Kington prompts a discussion of polite and familiar forms of pronouns. Hôtel St Claire (sic) How brand naming can override linguistic correctness.</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Four once more" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2009/01/posh.html" target="_blank"><span style="font-size: 10pt;">Posh</span></a><span style="font-size: 10pt;">
		</span></p>
<p><span style="font-size: 10pt;">What is, and is not, the origin of this word?
</span></p>
<p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2007/07/first-impressio.html" target="_blank"><span style="font-size: 10pt;">First Impressions, by A Lady</span></a><span style="font-size: 10pt;">
		</span></p>
<p><span style="font-size: 10pt;">Would Jane Austen have found a publisher nowadays?
</span></p>
<p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2007/05/where_hast_tha_.html" target="_blank"><span style="font-size: 10pt;">Where hast tha been?</span></a><span style="font-size: 10pt;">
		</span></p>
<p><span style="font-size: 10pt;">An article by the late Miles Kington prompts a discussion of polite and familiar forms of pronouns.
</span></p>
<p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2011/09/htel-st-claire-sic.html" target="_blank"><span style="font-size: 10pt;">Hôtel St Claire (sic)</span></a><span style="font-size: 10pt;">
		</span></p>
<p><span style="font-size: 10pt;">How brand naming can override linguistic correctness.</span></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/Oivb8G4v8SM" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/four-once-more-13-may-2013.html</feedburner:origLink></entry>
    <entry>
        <title>English and the Guardian</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/9kJ-H427WXs/english-and-the-guardian.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/english-and-the-guardian.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017eeb13ceaa970d</id>
        <published>2013-05-12T13:09:11+02:00</published>
        <updated>2013-05-12T13:20:31+02:00</updated>
        <summary>Once again the Guardian writes about the English language. What we have here is some great distance from its disastrous test of English competence and a world away from that of the egregious Nevile Gwynne. Indeed, as an editor at the London Review of Books Thomas Jones is a man after my own heart when he says: … it’s still the case that some ways of writing are clearer and more elegant than others, and some of the shibboleths are worth following for the sake of clarity, elegance and consistency. They’re conventions not rules, however, and different conventions apply to...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Grammar" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Media" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Style &amp; register" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font size="2" face="Calibri">Once again </font><a href="http://www.guardian.co.uk/books/2013/may/09/grammar-rules-everyone-know" target="_blank"><font size="2" face="Calibri">the Guardian writes about the English language</font></a><font size="2" face="Calibri">. What we have here is some great distance from </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/02/the-guardian-and-how-not-to-test-english-language-competence.html" target="_blank"><font size="2" face="Calibri">its disastrous test of English competence</font></a><font size="2" face="Calibri"> and a world away from that of </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/pedantry-the-telegraph-and-relative-clauses.html" target="_blank"><font size="2" face="Calibri">the egregious Nevile Gwynne</font></a><font size="2" face="Calibri">. Indeed, as an editor at the London Review of Books Thomas Jones is a man after my own heart when he says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">… it’s still the case that some ways of writing are clearer and more elegant than others, and some of the shibboleths are worth following for the sake of clarity, elegance and consistency. They’re conventions not rules, however, and different conventions apply to different kinds of discourse: constructions that are unacceptable in so-called Standard English and wouldn’t find their way into the LRB or the Guardian – a reinforcing double negative, say – are more than fine in other registers (e.g. “I ain’t gonna work on Maggie’s farm no more”).</font></p> </blockquote>  <p><font size="2" face="Calibri">Nevertheless, there are some points in his article that need expanding and some where he seems to have half-remembered things that he has been told but has not explored in depth.</font></p>  <p><strong><font size="2" face="Calibri">1. Dangling (or unattached) participle </font></strong></p>  <p><font size="2" face="Calibri">Jones says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">Dangling participles are best avoided because they can change the meaning of a sentence. And while it’s true that most readers will be able to understand what you’re getting at, it’s still worth saying what you mean.</font></p> </blockquote>  <p><font size="2" face="Calibri">I fully agree. Surely there can be no argument at all in favour of unattached participles.</font></p>  <p><font size="2"><font face="Calibri"><strong>2.</strong> <strong>That/which</strong></font></font></p>  <p><font size="2" face="Calibri">Jones says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">“Which is appropriate to non-defining and that to defining clauses,” HW Fowler wrote in his <em>Dictionary of Modern English Usage</em> (1926) [using <i>defining</i> where we now say <i>restrictive.</i> PH]. “The dog that ran in front of my bike had floppy ears.” “The dog, which had floppy ears, ran in front of my bike.” It’s often a fine distinction, and was very possibly invented by Fowler, but it can nonetheless be useful. </font></p> </blockquote>  <p><font size="2" face="Calibri">Up to a point Lord Copper. The precise quotation from Fowler in <b>which)(that)(who, 2 </b>[Fowler’s own eccentric use of brackets] is</font></p>  <blockquote>   <p><font size="2" face="Calibri">Let it be stated broadly, before coming to particular dangers that: (A) of <i>which</i> and <i>that</i>, <i>which</i> is appropriate to non-defining and <i>that</i> to defining clauses.</font></p> </blockquote>  <p><font size="2" face="Calibri">The “particular danger” that he goes on to warn against is illustrated immediately after this by the use of a nonrestrictive clause with <i>which</i> where a defining clause with <i>that</i> is intended.</font></p>  <p><font size="2" face="Calibri">Fowler’s view is that the distinction that he makes is ideal. Under <b>that, rel.</b>, however, he states his usual more tolerant view.</font></p>  <blockquote>   <p><font size="2" face="Calibri">What grammarians may say should be has perhaps less influence on what shall be than even the more modest of them realize; usage evolves itself little disturbed by their likes and dislikes. And yet the temptation to show how better use might have been made of the material to hand is sometimes irresistible. The English relatives, more particularly as used by English rather than American writers, offers such a temptation. The relations between <i>that, who</i> and <i>which</i>, have come to us from our forefathers as an odd jumble, and plainly show that the language has not been neatly constructed by a master-builder who could create each part of it to do the exact work required of it, neither overlapped or overlapping; far from that, its parts have had to grow as they could.</font></p> </blockquote>  <p><font size="2" face="Calibri">He then goes on to discuss the use of <i>who</i> and <i>that</i> for people and things and the problems with the genitive forms of these defective pronouns, commenting that </font></p>  <blockquote>   <p><font size="2" face="Calibri">Such peculiarities are explicable, but not now curable; they are inherent in the relative apparatus that we have received and are bound to work with. It does not follow that the use we are now making of it is the best it is capable of; and perhaps the line of improvement lies in clearer differentiation between <i>that</i> and <i>which</i>, and restoration of that to the place from which, in print, it tends to be ousted.</font></p> </blockquote>  <p><font size="2" face="Calibri">There follows a paragraph on the “supposed and misleading distinction … that <i>that</i> is the colloquial and <i>which</i> the literary relative.” Only with that out of the way does he turn to the point at issue here.</font></p>  <blockquote>   <p><font size="2" face="Calibri">The two kinds of relative clause, to one of which <i>that</i> and to the other of which <i>which</i> is appropriate, are the defining and the non-defining; and if writers would agree to regard <i>that</i> as the defining relative pronoun, and <i>which</i> as the non-defining, there would be much gain both in lucidity and in ease. Some there are who follow this principle now; but it would be idle to pretend that it is the best practice of most or of the best writers.</font></p> </blockquote>  <p><font face="Calibri"><font size="2"><b>To summarise</b>: Fowler recognises that usage goes its own way whatever grammarians may say. On the general issue of relative pronouns he is strongly tempted “to show how better use might have been made of the material to hand” but accepts that the “peculiarities are explicable, but not now curable; they are inherent in the relative apparatus that we have received and are bound to work with”. On the issue of <i>that</i> and <i>which</i> as relative pronouns he again sets out his ideal and again shows that usage militates against its universal adoption.</font></font></p>  <p><font size="2" face="Calibri">Inevitably however, the internet has <a href="http://illinois.edu/blog/view/25/3662?displayType=month&amp;displayMonth=200803" target="_blank">this</a> from March 2008:</font></p>  <blockquote>   <p><font size="2" face="Calibri">Happy Birthday, Henry Fowler: inventor of that/which rule is 150 today.</font></p> </blockquote>  <p><font size="2" face="Calibri">I have made plain <a href="http://lavengro.typepad.com/peter_harvey_linguist/2012/11/commas-and-relative-clauses.html" target="_blank">my own view of this so-called rule</a>.</font></p>  <p><font size="2" face="Calibri">But having said all that, we still have the question of why Thomas Jones chose the 1926 first edition of Fowler. Gowers's revision for the second edition leaves Fowler's words intact but Burchfield's much deeper revision for the 1996 third edition quotes Anita Brookner's <em>A Family Romance</em> (1993); <em>with the ball-point pen which my father had bought for me …</em> and comments that this</font></p>  <blockquote>   <p><font size="2" face="Calibri">contains a restrictive clause led by <em>which</em>. It could have been replaced by that without change of meaning and without giving offence to any rule of syntax … the <em>which</em> clause defines and particularizes; and <em>that</em> would have done the work just as well.</font></p> </blockquote>  <p><font size="2" face="Calibri">This is put in the context of a second example of which used in a nonrestrictive (Fowler's non-defining) clause, showing that Burchfield rejects the that/which rule, accepting both for restrictive clauses.</font></p>  <p><font size="2" face="Calibri">To return to the Guardian article, while no-one would doubt that</font></p>  <blockquote>   <p><font size="2" face="Calibri">The dog that ran in front of my bike had floppy ears.</font></p> </blockquote>  <p><font size="2" face="Calibri">is correct as a restrictive relative clause. But those of us who reject the rule about not using <i>which</i> in such clauses would also accept:</font></p>  <blockquote>   <p><font size="2" face="Calibri">The dog which ran in front of my bike had floppy ears.</font></p> </blockquote>  <p><font size="2" face="Calibri">This example</font></p>  <blockquote>   <p><font size="2" face="Calibri">The dog, which had floppy ears, ran in front of my bike.</font></p> </blockquote>  <p><font size="2" face="Calibri">is clearly a nonrestrictive clause, both from the punctuation with commas marking the parenthesis and from the intonation doing so in speech. But no-one doubts that restrictive clauses <b>can</b> have <i>that</i> and that nonrestrictive clauses <b>must</b> have <i>which</i>; Jones is dealing with an issue which is not a problem. I think that it is also worth mentioning that this sentence cannot stand independently; precisely because it is a nonrestrictive or <b>non-defining</b> clause (which does not “define and particularize”) the definition must be sought elsewhere. We must assume that the dog has already been defined and that we know from context which dog we are talking about. </font></p>  <p><font size="2" face="Calibri">In <i>A Guide to English Language Usage</i> I say that <i>who </i>and <i>which</i> are always correct (i.e. <i>which</i> is correct in defining clauses) but that <i>that </i>or zero pronoun may not be. While I accept that there may be certain stylistic objections to such usage in some cases, it is a helpful rule of thumb for non-native speakers, which will always avoid error.</font></p>  <p><strong><font size="2" face="Calibri">3. Split infinitive</font></strong></p>  <p><font size="2" face="Calibri">Jones says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">Split infinitives are worth avoiding to keep pedants at bay, but there’s nothing actually wrong with them, and a split infinitive is preferable to an inelegant alternative. “To boldly go” is resoundingly iambic, the alternatives – “boldly to go” or “to go boldly” – either flighty or leaden.</font></p> </blockquote>  <p><font face="Calibri"><font size="2">I agree. Indeed I make both points myself in <i>A Guide to English Language Usage</i></font></font></p>  <blockquote>   <p><font size="2" face="Calibri">… it must be said that there is still, rightly or wrongly, a considerable feeling among English speakers that a split infinitive is wrong. Sometimes it seems natural to do so but a decision to split an infinitive deliberately should never be taken lightly.</font></p> </blockquote>  <p><font size="2" face="Calibri">The reviewer in Modern English Teacher described this as “a sensible conclusion.”</font></p>  <p><font size="2" face="Calibri">I also make the point about the poetic rhythm of <i>To boldly go</i>.</font></p>  <p><strong><font size="2" face="Calibri">4. Who/whom</font></strong></p>  <p><font size="2" face="Calibri">Jones says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">Whom is on the way out, and won’t be much missed.</font></p> </blockquote>  <p><font size="2" face="Calibri">Agreed on both points.</font></p>  <p><strong><font size="2" face="Calibri">5. Ending a sentence with a preposition</font></strong></p>  <p><font size="2" face="Calibri">Jones says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">Like beginning a sentence with a conjunction, this is always completely fine. As Winston Churchill never actually said, it’s the kind of pedantry “up with which I will not put”.</font></p> </blockquote>  <p><font size="2" face="Calibri">The Churchill attribution is mentioned by Gowers in <i>The Complete Plain Words</i> with the introduction: “It is said that Sir Winston Churchill …” Whether this attribution had been made in print before that I do not know. The matter has been discussed and explained </font><a href="http://itre.cis.upenn.edu/~myl/languagelog/archives/002670.html" target="_blank"><font size="2" face="Calibri">here</font></a><font size="2" face="Calibri">.</font></p>  <p><strong><font size="2" face="Calibri">6. Due to</font></strong></p>  <p><font size="2" face="Calibri">Jones says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">The idea that “due to” is wrong, but “‘owing to” is OK is bogus. They’re both wrong if used to mean “because of” and both OK if used to mean “the result of”. “Due to unplanned engineering works, the train to Basingstoke has been cancelled” is a mistake. “The train to Basingstoke has been cancelled; this is due to unplanned engineering works” is fine. Still, “due to” is best avoided because it leads to formulations such as “due to the fact that”, which is a really clumsy way of saying “because”.</font></p> </blockquote>  <p><font size="2" face="Calibri">This is broadly in line with Burchfield’s Fowler though not with the 1926 edition, which says that <i>due to</i> is “often used by the illiterate as though it had passed, like <i>owing to</i> into a mere compound preposition.” The argument against using <i>due to</i> as a compound preposition is that <i>due</i> is a predicative adjective: </font></p>  <blockquote>   <p><font size="2" face="Calibri">Then pay to Caesar what is due to Caesar, and pay God what is due to God. Matt 22:21 (<i>NEB</i>, 1961)</font></p>    <p><font size="2" face="Calibri">The train is due (to arrive) at 10.56.</font></p> </blockquote>  <p><font size="2" face="Calibri">and as such cannot stand alone to introduce a clause:</font></p>  <blockquote>   <p><font size="2" face="Calibri">The cancellation of the barbecue was due to rain.</font></p> </blockquote>  <p><font size="2" face="Calibri">is acceptable but </font></p>  <blockquote>   <p><font size="2" face="Calibri">Due to rain the barbecue was cancelled.</font></p> </blockquote>  <p><font size="2" face="Calibri">should be </font></p>  <blockquote>   <p><font size="2" face="Calibri">Owing to rain the barbecue was cancelled.</font></p> </blockquote>  <p><font size="2" face="Calibri">Yes, well. Does it matter? As Burchfield says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">Hostility to the construction (<i>due to </i>used as a prepositional phrase in verbless clauses) is an entirely 20<sup>th</sup>-century phenomenon. Opinion remains sharply divided but it begins to look as if this use of <i>due to</i> will form part of the natural language of the 21<sup>st</sup> century.</font></p> </blockquote>  <p><font size="2" face="Calibri">As with relative clauses (above), my view as an EFL teacher is that the language is quite complicated enough and that any smoothing of its rough edges that does no harm to its capacity for fluent, stylish, subtle communication is to be welcomed rather than dismissed.</font></p>  <p><font size="2" face="Calibri">It goes without saying, I hope, that <i>due to the fact that</i> is a cumbersome circumlocution for <i>because</i> just as <i>despite</i> (or even <i>in spite of</i>) <i>the fact that</i> can and should be reduced to <em>although</em> or <em>even though</em>.</font></p>  <p><font face="Calibri"><font size="2"><strong>7.</strong> <strong>Greengrocer’s apostrophe</strong></font></font></p>  <p><font size="2" face="Calibri">Jones says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">“Carrot’s” and “apple’s” are not so common, but almost everyone occasionally writes “who’s”, “it’s” and ”you’re” for whose, its and your. That’s the problem with following rules – such as the rule that possessives are distinguished from plurals by an apostrophe – sometimes they don’t apply.</font></p> </blockquote>  <p><font size="2" face="Calibri">Almost everyone? Well perhaps but <i>who’s, it’s</i> and <i>you’re</i> are not plurals. They are contractions where the apostrophe represents a missing letter. What he may be thinking of is that while nouns use an apostrophe to make the possessive form, pronouns don’t. The possessive pronouns are respectively: <i>whose, its</i> and <i>your</i>.</font></p>  <p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2008/11/apostrophes.html" target="_blank"><font size="2" face="Calibri">I have said</font></a><font size="2" face="Calibri"> that apostrophes in English are a menace and should be abolished. Little is heard now of the 18<sup>th</sup>-century firm of </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2010/03/johnson-pope-greengrocers.html" target="_blank"><font size="2" face="Calibri">greengrocers called Johnson &amp; Pope</font></a><font size="2" face="Calibri">, yet a well-known and highly respected dictionary published at that time has this quotation from a famous author:</font></p>  <blockquote>   <p><font size="2" face="Calibri">Comma’s and points they set exactly right.</font></p> </blockquote>  <p><font face="Calibri"><font size="2"><strong>8. Different from,</strong> <strong>not</strong> <strong>to</strong> <strong>or</strong> <strong>than</strong></font></font></p>  <p><font size="2" face="Calibri">Jones says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">There’s no very good reason for following this rule, but then there’s no reason not to, either.</font></p> </blockquote>  <p><font size="2" face="Calibri">Indeed. Consistency, as an editor would surely agree, is important. My own style is to use <i>different from</i> but I don’t get excited about the matter. Some people point to the similar <i>opposite to</i>, which has no alternative preposition, and ask why <i>different to</i> should not be acceptable by analogy. The origin for preferring <i>different from</i> is presumably that the Latin <i>differens</i> implies movement away from something. While I find that interesting, I do not allow it to determine the use of modern English.</font></p>  <p><font size="2" face="Calibri">As for <i>different than</i>, I say in <i>A Guide to English Language Usage</i>:</font></p>  <blockquote>   <p><font size="2" face="Calibri">It is sometimes used with a clause, probably because of the similarity to a comparative adjective as in <i>The city is different than (it was) fifteen years ago; The city is bigger than (it was) fifteen years ago. </i>It seems unnecessary to rewrite the sentence as <i>The city is different from what it was fifteen years ago</i>.</font></p> </blockquote>  <p><font size="2" face="Calibri">The </font><a href="http://oxforddictionaries.com/words/different-from-than-or-to" target="_blank"><font size="2" face="Calibri">Oxford Dictionaries website</font></a><font size="2" face="Calibri"> says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">There’s little difference in sense between the three expressions, and all of them are used by respected writers.</font></p> </blockquote>  <p><font size="2" face="Calibri">That’s good enough for me.</font></p>  <p><strong><font size="2" face="Calibri">9. Using the subjunctive in conditional clauses</font></strong></p>  <p><font size="2" face="Calibri">Jones says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">And finally, another one that’s worth paying attention to, because altering the mood alters the sense. The subjunctive is used to describe a state of affairs that isn’t the case. “If the dog were hungry, it would run to the bone shop.” This means the dog isn’t hungry, as we can tell because it isn’t running to the bone shop. “If the dog is hungry, it will run to the bone shop.” This means the dog may be hungry, we’ll have to wait and see.</font></p> </blockquote>  <p><font size="2" face="Calibri">He appears to be confused. <i>If the dog is hungry …</i> is a first conditional and does indeed relate to present time. <i>If the dog were hungry …</i> is a second conditional, implying that the dog is not hungry. While it is true that <i>were</i> is subjunctive, the point about the use of the subjunctive is that many people would say <i>If the dog was hungry …</i> <i>Was</i> is the past indicative and it is the use of this mood in second conditional sentences that leads to discussion, with some people arguing that the subjunctive should be used. It has nothing to do with the first conditional, where the indicative is the only from that is acceptable today. Shakespeare wrote “If music be the food of love, play on” (Twelfth Night 1:1) but things have changed since his day.</font></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/9kJ-H427WXs" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/english-and-the-guardian.html</feedburner:origLink></entry>
    <entry>
        <title>Ultraconserved words.</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/a3UTaL9jyoU/ultraconserved-words.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/ultraconserved-words.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017eeaf9346b970d</id>
        <published>2013-05-09T13:22:28+02:00</published>
        <updated>2013-05-09T18:20:01+02:00</updated>
        <summary>There has been a certain amount of comment lately about the theory of ultraconserved words. It is certainly plausible that the Indo-European languages share a common ancestor with other language groups, and it is not for me to question the methodology of this work but Sally Thomason on the Language Log is sceptical (“I think they have a serious garbage in, garbage out problem”.) I would be interested to see it compared with historical DNA sampling but this is all so theoretical, and relates to such a small number of words (23), that I wonder how much this really advances...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Vocabulary &amp; etymology" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font size="2" face="Calibri">There has been a certain amount of comment lately about the theory of ultraconserved words. It is certainly plausible that the Indo-European languages share a common ancestor with other language groups, and it is not for me to question the methodology of </font><a href="http://www.pnas.org/content/early/2013/05/01/1218726110.full.pdf" target="_blank"><font size="2" face="Calibri">this work</font></a><font size="2" face="Calibri"> but </font><a href="http://languagelog.ldc.upenn.edu/nll/?p=4612" target="_blank"><font size="2" face="Calibri">Sally Thomason on the Language Log</font></a><font size="2" face="Calibri"> is sceptical (“I think they have a serious garbage in, garbage out problem”.) I would be interested to see it compared with historical DNA sampling but this is all so theoretical, and relates to such a small number of words (23), that I wonder how much this really advances our knowledge of language history. The reconstruction of proto-Indo-European is already theoretical though the relatedness of the IE languages is beyond doubt.</font></p>  <p align="center"><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef01901bfba1dc970b-pi"><font size="2" face="Calibri"><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: block; float: none; border-top-width: 0px; border-bottom-width: 0px; margin-left: auto; border-left-width: 0px; margin-right: auto; padding-top: 0px" title="image" border="0" alt="image" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef01901bfba1f6970b-pi" width="172" height="244" /></font></a></p>  <p><font size="2" face="Calibri">As often happens, people are confused. </font><a href="http://theweek.com/article/index/243814/the-15000-year-old-ancestral-language-that-birthed-english-and-russian" target="_blank"><font size="2" face="Calibri">One report</font></a><font size="2" face="Calibri"> has this:</font></p>  <blockquote>   <p><b><font size="2" face="Calibri">The 15,000-year-old ancestral language that birthed English and Russian</font></b></p>    <p><font size="2" face="Calibri">In this study, a team of linguists from the University of Reading found clues that many modern languages — including but not limited to English, Russian, Portuguese, and more — descended from a single ancestral tongue some 15,000 years ago.</font></p> </blockquote>  <p><font size="2" face="Calibri">I don’t know whether the reference to Siberian languages has led the journalist to think of Russian, but Russian, like Portuguese, is an Indo-European language that has a striking similarity to other IE languages for those who know what to look for. The case declension of nouns and adjectives is immediately apparent but there are deeper similarities and surprising cognate forms. </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2005/11/surprising_etym.html"><font size="2" face="Calibri">I have described</font></a><font size="2" face="Calibri"> how Russian <i>cmo</i> (pronounced <i>sto</i>) and English <i>hundred</i> are etymologically related.</font></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/a3UTaL9jyoU" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/ultraconserved-words.html</feedburner:origLink></entry>
    <entry>
        <title>Accents and tildes</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/xXjSTOfiTWE/accents-and-tildes.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/accents-and-tildes.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017eeaeb2e68970d</id>
        <published>2013-05-08T11:57:24+02:00</published>
        <updated>2013-05-08T11:57:24+02:00</updated>
        <summary>I am proofreading a series of biomedical research papers by Spanish investigators for publication in English. I found the names Hernandez and Garcia, which should be Hernández and García. While it is by no means unknown for such people to get the names of their research institutions wrong, it seemed strange that anyone should make an orthographic error in their own name. On enquiry it seems that some Spanish academics choose to omit the accents from their names in work for international publication because they confuse people from other countries and English-language keyboards do not have them. In my correction...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Other languages" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Punctuation &amp; spelling" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font size="2" face="Calibri">I am proofreading a series of biomedical research papers by Spanish investigators for publication in English. I found the names Hernandez and Garcia, which should be Hernández and García. While it is by no means unknown for such people to get the names of their research institutions wrong, it seemed strange that anyone should make an orthographic error in their own name.</font></p>  <p><font size="2" face="Calibri">On enquiry it seems that some Spanish academics choose to omit the accents from their names in work for international publication because they confuse people from other countries and English-language keyboards do not have them. In my correction I have also expanded the common Spanish Mª to Maria since the abbreviation will be incomprehensible to any non-Spanish speaker.</font></p>  <p><font size="2" face="Calibri">While I am on the subject of Spanish accents I might mention that in Spanish a <i>tilde</i> is any accent, the one on García for example, not just the mark on the letter <i>ñ</i>, which is a separate letter in the Spanish alphabet. The COED defines <i>tilde</i> as </font></p>  <blockquote>   <p><font size="2" face="Calibri">· <b>n.</b> an accent (˜) placed over Spanish <i>n</i> when pronounced <i>ny</i> (as in <i>señor</i>) or Portuguese <i>a</i> or <i>o</i> when nasalized (as in <i>São Paulo</i>), or over a vowel in phonetic transcription, indicating nasalization. Ø a similar symbol used in mathematics and logic to indicate negation, inversion, etc.</font></p> </blockquote>  <blockquote>   <p><font size="2" face="Calibri">– ORIGIN C19: from Sp., based on L. <i>titulus</i> (see <b>title</b>).</font></p> </blockquote>  <p><font size="2" face="Calibri">thus limiting it to the <i>ñ</i>. The bilingual Gran Diccionario Oxford has</font></p>  <blockquote>   <p><font face="Calibri"><font size="2"><b>tilde</b> <b>femenino</b></font></font></p>    <p><font face="Calibri"><font size="2"><b>1 </b>(acento) accent </font></font></p>    <p><font face="Calibri"><font size="2"><b>2 </b>(sobre la ñ) tilde, swung dash</font></font></p> </blockquote>  <p><font size="2" face="Calibri">while the Spanish Royal Academy’s Dictionary has</font></p>  <blockquote>   <p><font face="Calibri"><font size="2">Virgulilla o rasgo que se pone sobre algunas abreviaturas, el que lleva la <i>ñ,</i> y cualquier otro signo que sirva para distinguir una letra de otra o denotar su acentuación. <i>(Diacritic mark or stroke placed above some abbreviations, the one on the ñ, and any other sign that is used to distinguish one letter from another or to indicate its accentuation.)</i></font></font></p> </blockquote>  <p><font size="2" face="Calibri">In Spanish <i>o</i> (<i>or</i>) has an accent when it is used between numbers: <i>6 ó 7</i> (<i>6 or 7</i>) to distinguish if from a zero in handwriting.</font></p>  <p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2005/11/el_pais_sin_til.html"><font size="2" face="Calibri">I have written</font></a><font size="2" face="Calibri"> (in Spanish) about the former lack of an accent in the masthead of El País, though this was changed when the paper moved to electronic typesetting.</font></p>  <div align="center">   <table border="0" cellspacing="0" cellpadding="2" width="400" align="center"><tbody>       <tr>         <td valign="top" width="200">           <p align="center"><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef017eeaeb2e55970d-pi"><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="image" border="0" alt="image" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef017eeaeb2e5b970d-pi" width="244" height="49" /></a></p>         </td>          <td valign="top" width="200">           <p align="center"><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef01901bed8ee4970b-pi"><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="image" border="0" alt="image" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef019101e399b7970c-pi" width="244" height="44" /></a></p>         </td>       </tr>     </tbody></table> </div><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/xXjSTOfiTWE" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/accents-and-tildes.html</feedburner:origLink></entry>
    <entry>
        <title>The biter bit</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/0-648IarsKk/the-biter-bit.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/the-biter-bit.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017eeadcddb1970d</id>
        <published>2013-05-06T15:45:00+02:00</published>
        <updated>2013-05-06T15:46:06+02:00</updated>
        <summary>Between them Caxton, David Crystal and Mark Liberman have said almost all that needs to be said about the letter sent to Michael Gove (British education minister) about English teaching. I would just comment on what Nevile Gwynne (whom I have mentioned before) says on his own website: Interestingly, the only people in the room who had been completely “unphased” by how I had treated the children were the children themselves! It should indeed be unfazed not unfazed as Caxton points out, but more than that he uses a sentence adverb (interestingly), something that is usually a taboo for such...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Grammar" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Language teaching &amp; ability" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Pedantry" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font size="2" face="Calibri">Between them </font><a href="http://caxton1485.wordpress.com/2013/05/06/too-much-too-wrong/" target="_blank"><font size="2" face="Calibri">Caxton</font></a><font size="2" face="Calibri">, </font><a href="http://david-crystal.blogspot.co.uk/2013/05/on-testing-time.html" target="_blank"><font size="2" face="Calibri">David Crystal</font></a><font size="2" face="Calibri"> and </font><a href="http://languagelog.ldc.upenn.edu/nll/?p=4606" target="_blank"><font size="2" face="Calibri">Mark Liberman</font></a><font size="2" face="Calibri"> have said almost all that needs to be said about the letter sent to Michael Gove (British education minister) about English teaching. I would just comment on what Nevile Gwynne (</font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/pedantry-the-telegraph-and-relative-clauses.html" target="_blank"><font size="2" face="Calibri">whom I have mentioned before</font></a><font size="2" face="Calibri">) says on his own website:</font></p>  <blockquote>   <p><font size="2" face="Calibri">Interestingly, the only people in the room who had been completely “unphased” by how I had treated the children were the children themselves!</font></p> </blockquote>  <p><font size="2" face="Calibri">It should indeed be <em>unfazed</em> not <em>unfazed </em>as Caxton points out, but more than that he uses a sentence adverb (<em>interestingly</em>), something that is usually a taboo for such pedants. The controversy about <em>hopefully</em> typifies this attitude. Fortunately, when such pedants let themselves loose (they are never let loose) on the language it is simple enough for knowledgeable people to find their own blunders and hoist them with their own petards.</font></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/0-648IarsKk" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/the-biter-bit.html</feedburner:origLink></entry>
    <entry>
        <title>Four once more</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/plR6oCVIxSg/four-once-more.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/05/four-once-more.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef019101c12e13970c</id>
        <published>2013-05-06T06:00:00+02:00</published>
        <updated>2013-05-06T15:50:48+02:00</updated>
        <summary>Breathing life new into old posts. I am reposting some of the older posts in batches of four at 06.00 CET every Monday. Brits &amp; languages. The problems arising from the British unwillingness to learn other languages. Mechanical translation strikes again. How an Institute of Protein turned into the Squirrel Institute. Eyjafjallajökull Blew Today. The Icelandic volcano with the impossible name inspired a sea shanty. BBC English is not all it might be.</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Four once more" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Funny &amp; curious" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Language teaching &amp; ability" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Media" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p style="text-align: center;"><span style="font-size: 10pt;">Breathing life new into old posts. I am reposting some of the older posts in batches of four at 06.00 CET every Monday.
</span></p>
<p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2006/03/brits_languages.html" target="_blank"><span style="font-size: 10pt;">Brits &amp; languages</span></a><span style="font-size: 10pt;">. The problems arising from the British unwillingness to learn other languages.
</span></p>
<p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2010/09/mechanical-translation-strikes-again.html" target="_blank"><span style="font-size: 10pt;">Mechanical translation strikes again</span></a><span style="font-size: 10pt;">. How an Institute of Protein turned into the Squirrel Institute.
</span></p>
<p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2010/04/eyjafjallajkull-blew-today.html" target="_blank"><span style="font-size: 10pt;">Eyjafjallajökull Blew Today</span></a><span style="font-size: 10pt;">. The Icelandic volcano with the impossible name inspired a sea shanty.
</span></p>
<p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2007/01/bbc_english.html"><span style="font-size: 10pt;">BBC English </span></a><span style="font-size: 10pt;">is not all it might be.</span></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/plR6oCVIxSg" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/05/four-once-more.html</feedburner:origLink></entry>
    <entry>
        <title>Are you swarve?</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/eITZ8gdIBH8/are-you-swarve.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/are-you-swarve.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017eeab1addc970d</id>
        <published>2013-04-30T08:50:14+02:00</published>
        <updated>2013-04-30T21:00:54+02:00</updated>
        <summary>A letter published in the Independent on 8 April says: As for [British education minister] Mr Gove’s call for action on spelling, you rather prove his point for him on the next page, when you describe Clive Reader as “swarve”. Can we really ignore these things? I’m a frayed knot. It refers to this, which was published on 1 April and has now been corrected. It is up to you whether you see this as a blunder, as teachers and copy editors will say (and I ask for the umpteenth time why the written media don’t use spell-checkers), or as...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Punctuation &amp; spelling" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Vocabulary &amp; etymology" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><a href="http://www.independent.co.uk/voices/letters/letters-this-immoral-and-idiotic-bedroom-tax-penalises-a-carer-couple-8563298.html"><font size="2" face="Calibri">A letter published in the Independent</font></a><font size="2" face="Calibri"> on 8 April says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">As for [British education minister] Mr Gove’s call for action on spelling, you rather prove his point for him on the next page, when you describe Clive Reader as “swarve”. Can we really ignore these things? I’m a frayed knot.</font></p> </blockquote>  <p><font size="2" face="Calibri">It refers to this, which was published on 1 April and has now been corrected.</font></p>  <p><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef017eeab1add2970d-pi"><font size="2" face="Calibri"><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: block; float: none; border-top-width: 0px; border-bottom-width: 0px; margin-left: auto; border-left-width: 0px; margin-right: auto; padding-top: 0px" title="image" border="0" alt="image" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef01901bb437a8970b-pi" width="244" height="45" /></font></a></p>  <p><font size="2" face="Calibri">It is up to you whether you see this as a blunder, as teachers and copy editors will say (and I ask for the umpteenth time why the written media don’t use spell-checkers), or as a non-standard form, in linguistic terminology. It is clear, however, that it is not the first French word to have had its spelling and pronunciation adapted on acceptance as an English word. Among many examples <i>damsel </i>is an adaptation of Old French <i>damiesele</i> being first recorded in its English form (as <i>damsell</i>) in 1400; <i>apron</i> comes from <i>naperon</i> with the <i>n</i> moving to the article by a process known as juncture loss. But that’s not all; the OED tells us that <i>suave</i> itself is a ‘learned’ formation which took the place of the ‘popular’ O[ld] F[rench]. <i>soef, suef (suaif)</i> and is cognate with <i>sweet</i>.</font></p>  <p><font size="2" face="Calibri">More startling perhaps is the realisation that Spanish <i>cucaracha</i> has turned into <i>cockroach</i>, adapted as the names of two other animals, neither of which it resembles in the slightest.</font></p>  <div align="center">   <table border="0" cellspacing="0" cellpadding="2" width="400" align="center"><tbody>       <tr>         <td valign="top" width="200">           <p align="center"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/a/a0/Cockerel.JPG/110px-Cockerel.JPG" width="110" height="120" /></p>         </td>          <td valign="top" width="200">           <p align="center"><img alt="File:Common Roach.JPG" src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/da/Common_Roach.JPG/800px-Common_Roach.JPG" width="326" height="133" /></p>         </td>       </tr>     </tbody></table> </div>  <p align="center"><font size="2" face="Calibri">A cock and a roach make a cockroach (images Wikimedia Commons).</font></p>  <p align="center"><img alt="File:Nauphoeta cinerea raised in captivity.jpg" src="http://upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Nauphoeta_cinerea_raised_in_captivity.jpg/674px-Nauphoeta_cinerea_raised_in_captivity.jpg" width="205" height="183" /></p>  <p><font size="2" face="Calibri">At one time no doubt this sort of adaptation made perfect sense but times have changed and the introduction of printing has led to greater standardisation, a process reinforced by internet searching. Nevertheless, I find that <a href="http://www.urbandictionary.com/define.php?term=swarve" target="_blank">The Urban Dictionary has it</a>:</font></p>  <blockquote>   <p><font size="2" face="Calibri">1 (3 July 2003)</font></p>    <p><font size="2" face="Calibri">Posh        <br />One who is stylish.         <br />One who carries themself [sic] in a pimpish manner.         <br />Also refers to inanimate objects.         <br />Represents approval         <br />IE:cool         <br />Swarvellous refers to same meaning.         <br />also see “stush” </font></p>    <p><font size="2" face="Calibri">Your jacket is swarve.        <br />Mr. Rogers is swarvellous.</font></p>    <p><font size="2" face="Calibri">2 (31 December 2012)</font></p>    <p><font size="2" face="Calibri">a misspelling of the word ‘suave’, with the more colloquial definition, i.e., posh, swanky, classy, etc.</font></p>    <p><font size="2" face="Calibri">Leandra: “Yo Celine’s high tops look swarve”        <br />Jake: “Yo Leandra you spelled ‘suave’ wrong but you said it right”         <br />Leandra: “That’s quite swarve of you”</font></p> </blockquote>  <p><font size="2" face="Calibri">Maybe <i>swarve </i>is here to stay as a slang expression.<i> </i>This sort of thing is not new. I have mentioned <i><a href="http://lavengro.typepad.com/peter_harvey_linguist/2010/03/i-suppose-it-had-to-happen.html">sheek</a></i> before on this blog.</font></p>  <p><font size="2" face="Calibri">The OED, unsurprisingly, does not admit <i>swarve</i> for <i>suave</i> but it does have three entries for <i>swarve</i>: two verbs, one meaning <i>to be choked up with sediment, to be silted up</i> and a variant of <i>swarm</i> as in swarm up a pole or rope. There is also a noun meaning <i>to faint or swoon</i>, itself a variant of <i>swerve</i>.</font></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/eITZ8gdIBH8" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/04/are-you-swarve.html</feedburner:origLink></entry>
    <entry>
        <title>Four once more: 29-4-2013</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/oMfDLg9P5Xw/four-once-more-29-4-2013.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/four-once-more-29-4-2013.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017d43314421970c</id>
        <published>2013-04-29T06:00:00+02:00</published>
        <updated>2013-04-30T21:02:46+02:00</updated>
        <summary>Breathing life new into old posts. This blog started in 2005. As readership has grown since then I am reposting some of the older posts in batches of four at 06.00 CET every Monday. BBC English is one thing but should it be used at a press conference in Germany? A good writer is confused about beer and commits a beery eggcorn … of that ilk. What does it mean, what doesn't it mean, and how should it be used? Sherlock Holmes said 'It is a capital mistake to theorize before you have all the evidence. It biases the judgment.'...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Four once more" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p style="text-align: center"><span style="font-size: 10pt"><font face="Calibri">Breathing life new into old posts. This blog started in 2005. As readership has grown since then I am reposting some of the older posts in batches of four at 06.00 CET every Monday. </font></span></p>  <ul>   <li><a href="http://lavengro.typepad.com/peter_harvey_linguist/2009/10/bbc-english.html" target="_blank"><span style="font-size: 10pt"><font face="Calibri">BBC English</font></span></a><span style="font-size: 10pt"><font face="Calibri"> is one thing but should it be used at a press conference in Germany? </font></span></li>    <li><span style="font-size: 10pt"><font face="Calibri">A good writer is confused about beer and commits </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2012/09/a-beery-eggcorn.html" target="_blank"><font face="Calibri">a beery eggcorn</font></a><font face="Calibri"> </font></span></li>    <li><a href="http://lavengro.typepad.com/peter_harvey_linguist/2010/05/of-that-ilk.html" target="_blank"><span style="font-size: 10pt"><font face="Calibri">… of that ilk</font></span></a><span style="font-size: 10pt"><font face="Calibri">. What does it mean, what doesn't it mean, and how should it be used? </font></span></li>    <li><font face="Calibri"><span style="font-size: 10pt">Sherlock Holmes said 'It is a capital mistake to theorize before you have all the evidence. It biases the judgment.'</span><font size="2"> <span style="font-size: 10pt">But when I write about <a href="http://lavengro.typepad.com/peter_harvey_linguist/2012/11/a-capital-mistake.html" target="_blank">a capital mistake</a> I have capitalisation of words in mind. </span></font></font></li>    <li><a href="http://lavengro.typepad.com/peter_harvey_linguist/2010/05/of-that-ilk.html"><span style="font-size: 10pt"><font face="Calibri">Of that ilk</font></span></a><span style="font-size: 10pt"><font face="Calibri"> is one of those expressions that has gained a new life meaning something different from what it meant originally. </font></span></li> </ul><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/oMfDLg9P5Xw" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/04/four-once-more-29-4-2013.html</feedburner:origLink></entry>
    <entry>
        <title>I couldn't give a sausage</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/OhsZHxVqq_k/i-couldnt-give-a-sausage.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/i-couldnt-give-a-sausage.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef0168eb394c66970c</id>
        <published>2013-04-25T17:06:10+02:00</published>
        <updated>2013-04-30T21:02:02+02:00</updated>
        <summary>The word 'Frankfurt' as in Frankfurter sausage is very difficult for Spaniards to pronounce or write correctly. It appears in many different forms …(click image to enlarge)</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Funny &amp; curious" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Other languages" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><span style="font-family: verdana; font-size: x-small"><font face="Calibri" size="2">The word 'Frankfurt' as in Frankfurter sausage is very difficult for Spaniards to pronounce or write correctly. It appears in many different forms …(click image to enlarge)       <br /></font></span></p>  <p><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef016766372106970b-pi"><font face="Calibri" size="2"><img alt="image" border="0" height="163" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef016766372159970b-pi" style="background-image: none; border-right-width: 0px; margin: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="image" width="244" /></font></a></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/OhsZHxVqq_k" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/04/i-couldnt-give-a-sausage.html</feedburner:origLink></entry>
    <entry>
        <title>Dictionaries, academies and the Guardian</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/KmbY2LJWG48/dictionaries-academies-and-the-guardian.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/dictionaries-academies-and-the-guardian.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017d430c6f67970c</id>
        <published>2013-04-23T16:33:41+02:00</published>
        <updated>2013-04-23T16:33:41+02:00</updated>
        <summary>Yesterday’s Guardian has an editorial about how browsing old dictionaries shows the ways words change over time. English is exceptionally versatile in its ability to use words in different classes because its nouns and adjectives do not change (except for plural nouns) and the verbal infinitive is unmarked, the OED clearly lists all historical changes in usage. The Guardian has an example: The word homosexual doesn't exist in a 1925 English dictionary. By 1962 it's an adjective; and in 2002's Oxford English Dictionary it's a noun – you can officially be a homosexual. What is the word official doing there?...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Lavengro Books &amp; publishing" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Media" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Pedantry" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><img style="display: block; float: none; margin-left: auto; margin-right: auto" src="http://www.wired.com/images_blogs/business/2010/08/OED.jpg" width="296" height="188" /></p>  <p><font size="2" face="Calibri">Yesterday’s Guardian has </font><a href="http://www.guardian.co.uk/commentisfree/2013/apr/21/in-praise-old-dictionaries-editorial"><font size="2" face="Calibri">an editorial</font></a><font size="2" face="Calibri"> about how browsing old dictionaries shows the ways words change over time. English is exceptionally versatile in its ability to use words in different classes because its nouns and adjectives do not change (except for plural nouns) and the verbal infinitive is unmarked, the OED clearly lists all historical changes in usage.</font></p>  <p><font size="2" face="Calibri">The Guardian has an example:</font></p>  <blockquote>   <p><font size="2" face="Calibri">The word homosexual doesn't exist in a 1925 English dictionary. By 1962 it's an adjective; and in 2002's Oxford English Dictionary it's a noun – you can officially be a homosexual.</font></p> </blockquote>  <p><font size="2" face="Calibri">What is the word <i>official</i> doing there? English does not have a language academy and there is a widespread British belief that this lack represents British freedom versus continental tyranny, English-speakers can use the language the way they want while poor old French and Spanish people have to check the dictionary to see which words they are allowed to use. </font><a href="http://lavengro.typepad.com/peter_harvey_linguist/2009/09/two-letters.html"><font size="2" face="Calibri">As I have said before</font></a><font size="2" face="Calibri"> the situation is far from being that simple:</font></p>  <blockquote>   <p><font size="2" face="Calibri">It is easy for British people to criticise the Académie Française. I don’t know much about that institution, but I can say that the Spanish Royal Academy does a lot of good work. There are intrinsic differences between English and Romance languages that militate against complete standardisation of the English language; the formation of compound nouns and the associated use of hyphens is a case in point; so is the formation of phrasal verbs, which come, change, and go away as fashion demands. A Latin-based language is much simpler to standardise, and the Spanish Academy works with the academies in all Spanish-speaking countries (including the Philippines and the USA) to produce guidance that is valid worldwide. It is also worth mentioning that clear guidance from an academy could clarify some of the more egregiously stupid aspects of English spelling such as <i>dependant</i> (noun) and <i>dependent</i> (adjective), or <i>practice</i> (noun) and <i>practise</i> (verb), which survive because language snobs like to show off how clever they are. It might also allow us to do away with <i>whom</i>, which is quite useless but which hangs on.</font></p> </blockquote>  <p><font size="2" face="Calibri">The Spanish Academy, contrary to popular belief in other countries, is descriptive; it follows and reflects changes in usage. It can be, and is, criticised for some of its definitions and omissions, and for the slowness with which it works, but it has no official standing and no power at all to impose its standards for meaning usage any more than the OED and Fowler have in British English. It recognises alternatives; for example <i><a href="http://buscon.rae.es/drae/?type=3&amp;val=guion">guion and guión</a></i> are<b> </b>both acceptable as the word is pronounced in two ways, with a diphthong or with two syllables.</font></p>  <p><font size="2" face="Calibri">So, I ask the Guardian, which English dictionary do you consult in Britain before you know whether you can <i>officially</i> be a homosexual?</font></p>  <p><font size="2" face="Calibri">It is difficult to know what the Guardian means when it says:</font></p>  <blockquote>   <p><font size="2" face="Calibri">It will be a long time before homepages can rival dictionaries to provide histories of the evolution of language.</font></p> </blockquote>  <p><font size="2" face="Calibri">Home pages are not intended to rival dictionaries. However, anyone who wishes to see the history of the evolution of the English language will consult the OED. The second edition was published in 1989 and it has been said that the third edition will not be published on paper. Given the size of the work (20 volumes), and thus its cost (£750.00), it is hardly surprising that the sheer convenience of searching it in electronic format, in ways that are impossible on paper, has won out. </font></p>  <blockquote>   <p><font size="2" face="Calibri">And let's face it: a Kindle will never smell as good.</font></p> </blockquote>  <p><font size="2" face="Calibri">Why a newspaper that is boosting its own electronic version should be nostalgic about paper books over ebooks is somewhat of a mystery. As Stephen Fry said, “Books are no more threatened by Kindle than stairs by elevators.” </font></p>    <p><img style="display: block; float: none; margin-left: auto; margin-right: auto" 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" /></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/KmbY2LJWG48" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/04/dictionaries-academies-and-the-guardian.html</feedburner:origLink></entry>
    <entry>
        <title>Sant Jordi, books and roses</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/gAxpkdmqmvY/sant-jordi-books-and-roses.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/sant-jordi-books-and-roses.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017eea7f67bc970d</id>
        <published>2013-04-23T11:59:17+02:00</published>
        <updated>2013-04-23T15:27:41+02:00</updated>
        <summary>All bookshops in Catalonia have street stalls, offering a 10% discount on list prices. Today is St George’s Day. It is called Sant Jordi in Catalonia, where it is celebrated massively as the Day of the Book and the Rose. Sant Jordi accounts for 8% – 10% of annual book sales, 1.5 million books sold, and sales of €18.3m in 2012. It is also traditional for men to give women roses today. Although it is not a public holiday, it is widely regarded as the Catalan Day (St George is the patron saint of Catalonia) and is much more of...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Lavengro Books &amp; publishing" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef01901b820eac970b-pi"><img alt="Sant Jordi 2010" border="0" height="184" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef01901b820ec6970b-pi" style="background-image: none; padding-left: 0px; padding-right: 0px; display: block; float: none; margin-left: auto; margin-right: auto; padding-top: 0px; border: 0px;" title="Sant Jordi 2010" width="244" /></a></p>
<p><span style="font-family: Calibri; font-size: x-small;">All bookshops in Catalonia have street stalls, offering a 10% discount on list prices. </span></p>
<p><span style="font-family: Calibri; font-size: x-small;">Today is St George’s Day. It is called Sant Jordi in Catalonia, where it is celebrated massively as the Day of the Book and the Rose. Sant Jordi accounts for 8% – 10% of annual book sales, 1.5 million books sold, and sales of €18.3m in 2012. It is also traditional for men to give women roses today. Although it is not a public holiday, it is widely regarded as the Catalan Day (St Ge</span><span style="font-family: Calibri; font-size: x-small;">orge is the patron saint of Catalonia) and is much more of a popular festival than the official Day, 11 September, which is taken over by politicians making speeches. Town centres are packed with people buying books and also with groups of schoolchildren being led around the city by their teachers, as part of their school celebration of the day.</span></p>
<p><span style="font-family: Calibri; font-size: x-small;">This day is </span><a href="http://portal.unesco.org/en/ev.php-URL_ID=42278&amp;URL_DO=DO_TOPIC&amp;URL_SECTION=201.html"><span style="font-family: Calibri; font-size: x-small;">World Book and Copyright Day</span></a><span style="font-family: Calibri; font-size: x-small;">. It is the anniversary of 23 April 1616, the date on which the writers Miguel de Cervantes, William Shakespeare and Inca Garcilaso de la Vega died. They did not all die on the same day however, as England had not yet adopted the Gregorian calendar.</span></p>
<p><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef01901b81fff9970b-pi"><img alt="Sant Jordi 2010" border="0" height="164" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef017eea7f67b6970d-pi" style="background-image: none; padding-left: 0px; padding-right: 0px; display: block; float: none; margin-left: auto; margin-right: auto; padding-top: 0px; border-width: 0px;" title="Sant Jordi 2010" width="244" /></a></p>
<p>This woman is a regular street flower-seller but on Sant Jordi the streets are full of people selling roses, either commercially or on behalf of some association.</p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/gAxpkdmqmvY" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/04/sant-jordi-books-and-roses.html</feedburner:origLink></entry>
    <entry>
        <title>Pedantry, the Telegraph and relative clauses</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/ZI3A9a50KJg/pedantry-the-telegraph-and-relative-clauses.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/pedantry-the-telegraph-and-relative-clauses.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017d42d8adf3970c</id>
        <published>2013-04-16T18:02:05+02:00</published>
        <updated>2013-05-12T11:52:21+02:00</updated>
        <summary>The British Daily Telegraph, as I have mentioned before, is the natural home of the language pedant who knows what’s right because he remembers (or thinks he does) what he was taught at school about the English language; and knows too that as a freeborn, educated person he can lay down the law on the subject. As Anthony Burgess said almost half a century ago in Language Made Plain. In quarrels about words, people seem unwilling to see reason. Mercury, the rogue-god who presides over language, renders them blind to dictionaries and to experts. There is a general conviction that...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Grammar" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Language teaching &amp; ability" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Media" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Pedantry" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><span style="font-size: x-small; font-family: calibri"><font size="2">The British Daily Telegraph, </font></span><a href="http://lavengro.typepad.com/peter_harvey_linguist/2007/03/a_pernicketines.html"><span style="font-size: x-small; font-family: calibri"><font size="2">as I have mentioned before</font></span></a><span style="font-size: x-small; font-family: calibri"><font size="2">, is the natural home of the language pedant who knows what’s right because he remembers (or thinks he does) what he was taught at school about the English language; and knows too that as a freeborn, educated person he can lay down the law on the subject. As Anthony Burgess said almost half a century ago in <em>Language Made Plain</em><em>.</em> </font></span></p>  <blockquote>   <p><span style="font-size: x-small; font-family: calibri"><font size="2">In quarrels about words, people seem unwilling to see reason. Mercury, the rogue-god who presides over language, renders them blind to dictionaries and to experts. There is a general conviction that language is not a matter for experts. We all know about language because we all use language. No similar conclusion is drawn from the fact that we all use kidneys, nerves, and intestines. </font></span></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">Now, as </font></span><a href="http://stroppyeditor.wordpress.com/2013/04/15/the-telegraphs-incompetent-grammar-test/"><span style="font-size: x-small; font-family: calibri"><font size="2">the Stroppy Editor informs us</font></span></a><span style="font-size: x-small; font-family: calibri"><font size="2">, the Telegraph chooses to educate and amuse its readers with an English test compiled by ‘<strong><a href="http://www.telegraph.co.uk/education/9987974/The-glamour-ofgrammar-an-object-lesson.html">Nevile Gwynne</a></strong>, a self-taught teacher whose book on grammar and slot on Radio 5’s <em>Up All Night </em>have earned him a cult following which includes Prince Charles.’ It asks: </font></span></p>  <blockquote>   <p><span style="font-size: x-small; font-family: calibri"><font size="2">Which of these sentences is grammatically correct? </font></span></p>    <p><span style="font-size: x-small; font-family: calibri"><font size="2">A) “Do you see who I see?” </font></span></p>    <p><span style="font-size: x-small; font-family: calibri"><font size="2">B) “Do you see whom I see?”</font></span></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">While native speakers who do understand language goggle in astonishment, I have found that Google Ngram shows <strong>no records</strong> for “Do you see whom”. And for my readers who are not native speakers I can mention that while <em>whom</em> is indeed the object case of <em>who</em>, it is never used as the object of a question, being reserved essentially for use in relative clauses with prepositions – and even there its use is declining.</font></span></p>  <p><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef017eea4ce199970d-pi"><span style="font-size: x-small; font-family: calibri"><font size="2"><img alt="image" border="0" height="57" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef017eea4ce1a8970d-pi" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; float: none; padding-top: 0px; padding-left: 0px; margin-left: auto; display: block; padding-right: 0px; border-top-width: 0px; margin-right: auto" title="image" width="244" /></font></span></a><span style="font-size: x-small; font-family: calibri"><font size="2">This mention of relative clauses brings me on to the main point of this post. The test also asks this question. (I should point out again for the benefit of non-native readers that Evelyn is a name that can be used equally for men and women.):</font></span></p>  <blockquote>   <p><span style="font-size: x-small; font-family: calibri"><font size="2">“I should like to introduce you to my sister Amanda, who lives in New York, to my brother Mark who doesn’t, and to my only other sibling, Evelyn.”</font></span></p>    <p><span style="font-size: x-small; font-family: calibri"><font size="2">· Evelyn is male</font></span></p>    <p><span style="font-size: x-small; font-family: calibri"><font size="2">· Evelyn is female</font></span></p>    <p><span style="font-size: x-small; font-family: calibri"><font size="2">· Impossible to know from the wording of the sentence whether Evelyn is male or female.</font></span></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">According to Gwynne, the correct answer is <em>male</em>. This is purely and simply wrong. The rule, or convention if you prefer, is that a non-defining relative clause is marked off with commas to indicate the parenthesis that it actually is, whereas defining relative clauses have no commas. In this example the speaker has three siblings:</font></span></p>  <blockquote>   <p><span style="font-size: x-small; font-family: calibri"><font size="2">· A sister called Amanda. She lives in New York. </font></span></p>    <p><span style="font-size: x-small; font-family: calibri"><font size="2">· A brother called Mark. He doesn’t live in New York.</font></span></p>    <p><span style="font-family: calibri"><span style="font-size: x-small"><font size="2">· A third sibling called Evelyn. It is not stated whether Evelyn is a brother or sister, or where he or she does or does not live.<em /></font></span></span></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">The absence of commas in</font></span></p>  <blockquote>   <p><em><span style="font-size: x-small; font-family: calibri"><font size="2">my brother Mark who doesn’t [live in New York]</font></span></em></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">makes it a defining clause, implying the existence of at least one other brother. The case is slightly complicated because it could be written</font></span></p>  <blockquote>   <p><em><span style="font-size: x-small; font-family: calibri"><font size="2">my brother, Mark, who doesn’t [live in New York]</font></span></em></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">with commas to indicate the apposition of <em>Mark</em>;<em> </em>but even so the comma after Mark is not, or at least not necessarily, indicative of a non-defining clause. By omitting the name we read:</font></span></p>  <blockquote>   <p><em><span style="font-size: x-small; font-family: calibri"><font size="2">my brother who doesn’t [live in New York]</font></span></em></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">That is clearly defining. Mr Gwynne has tripped up over his own rule. Although the brother Mark doesn’t live in New York we have no information about whether Evelyn is a brother or sister. He might be a brother who does live in New York.</font></span></p>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">The </font></span><a href="http://www.telegraph.co.uk/education/9987974/The-glamour-ofgrammar-an-object-lesson.html"><span style="font-size: x-small; font-family: calibri"><font size="2">Telegraph writes</font></span></a><span style="font-size: x-small; font-family: calibri"><font size="2"> of Nevile Gwynne:</font></span></p>  <blockquote>   <p><span style="font-size: x-small; font-family: calibri"><font size="2">It is astonishing that an elderly former businessman who has never been to teacher training college, worn an academic gown or taught in a school should be creating such a commotion.</font></span></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">If only it were astonishing that such a person could become known and respected as a teacher and usage guru! It’s the sort of thing that gets professional teachers and usage guides a bad name.</font></span></p>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">It also demonstrates the absurdity of relying on punctuation to make a subtle difference in meaning, not least because punctuation is only noticeable in writing; in speech – and this example is obviously spoken and is presented as such with inverted commas – the intonation provides the necessary information for clear understanding. It is of a piece with the silly, invented examples of apostrophes and commas that allegedly change meaning; it is not the way in which anyone would ever express themselves naturally. A sentence that relies on punctuation to make its meaning clear is badly written, not because punctuation is too weak to carry that burden but because it is not designed to do so. Punctuation is a guide to ease the reader’s path through what should be a clearly designed and well-constructed sentence. It is no more responsible for structure and design than a guide book to a city can be expected to ensure that the buildings don’t fall down on top of you if you take a wrong turning</font></span></p>  <p><a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/02/the-guardian-and-how-not-to-test-english-language-competence.html"><span style="font-size: x-small; font-family: calibri"><font size="2">I have mentioned</font></span></a><span style="font-size: x-small; font-family: calibri"><font size="2"> the Guardian’s disastrous attempt to publish a language quiz.</font></span></p>  <p><span style="font-family: calibri"><span style="font-size: x-small"><font size="2"><strong>Footnotes</strong>.</font></span></span></p>  <p><span style="font-family: calibri"><span style="font-size: x-small"><font size="2">In 1928 the British author Evelyn Waugh married a woman called Evelyn Gardner. They were known to their friends as “He-Evelyn” and “She-Evelyn”.</font></span></span></p>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">The link above to Nevile Gwynne leads to a Telegraph article entitled ‘The glamour of grammar’. It is not widely known, and will come as a shock to many who have struggled at school, that these words are doublets – that is, they are variations on the same word, as the COED says of <em>glamour</em>:</font></span></p>  <blockquote>   <p><span style="font-size: x-small; font-family: calibri"><font size="2">glamour (US also glamor)          <br />· n.           <br />1 an attractive and exciting quality, especially sexual allure.           <br />2 archaic enchantment; magic.           <br />– DERIVATIVES glamorous adj. glamorously adv.           <br />– ORIGIN C18: alt. of grammar, with ref. to the occult practices assoc. with learning in medieval times.</font></span></p></blockquote><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/ZI3A9a50KJg" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/04/pedantry-the-telegraph-and-relative-clauses.html</feedburner:origLink></entry>
    <entry>
        <title>The Cambridge comma</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/T26VNWLc8gE/the-cambridge-comma.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/the-cambridge-comma.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017d427e8a4c970c</id>
        <published>2013-04-03T12:07:20+02:00</published>
        <updated>2013-05-15T12:30:39+02:00</updated>
        <summary>Louise at Glossophilia describes the Cambridge comma. It is an April Fool’s Day joke, 1 April being the day when people in Britain and some other countries play practical jokes, and newspapers and blogs join in. The joke is based on the Oxford comma, also known as the serial comma, which is a well-established aspect of English punctuation. It is the comma placed before the last item in a list; it takes its name from Oxford University Press, where it is the house style. It is also an extraordinarily controversial matter for reasons that I totally fail to understand. In...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Funny &amp; curious" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Pedantry" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Punctuation &amp; spelling" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><span style="font-size: x-small; font-family: calibri"><font size="2">Louise at Glossophilia describes </font></span><a href="http://www.glossophilia.org/?p=2618"><span style="font-size: x-small; font-family: calibri"><font size="2">the Cambridge comma</font></span></a><span style="font-size: x-small; font-family: calibri"><font size="2">. It is an April Fool’s Day joke, 1 April being the day when people in Britain and some other countries play practical jokes, and newspapers and blogs join in.</font></span></p>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">The joke is based on the Oxford comma, also known as the serial comma, which is a well-established aspect of English punctuation. It is the comma placed before the last item in a list; it takes its name from Oxford University Press, where it is the house style. It is also an extraordinarily controversial matter for reasons that I totally fail to understand. In my own style I use it if it seems appropriate. I would write that someone bought yoghurt, cereal, sausages, bacon, eggs and fruit, there being no need for a comma before fruit, but in a hotel brochure I would recommend writing that the breakfast menu includes yoghurt, cereal, bacon and eggs, and fruit. Pragmatic clarity seems to be the appropriate guide. I also tend to use it when dealing with phrases rather than one-word list items: </font></span></p>  <blockquote>   <p><span style="font-size: x-small; font-family: calibri"><font size="2">I spent the afternoon writing a complicated blog post, translating a publicity brochure for Megacomputers plc, and preparing material for tomorrow’s classes.</font></span></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">Sadly, however, nonsense like this pervades the internet.</font></span></p>  <p><span style="font-size: x-small; font-family: calibri"><font size="2"><img alt="" height="322" src="http://sheribomb.com/wp-content/uploads/2012/01/oxford_comma1.jpg" style="float: none; margin-left: auto; display: block; margin-right: auto" width="495" /></font></span></p>  <p><span style="font-size: x-small; font-family: calibri"><font size="2"> </font></span></p>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">It is an affront to common sense to suggest that there is any ambiguity in the sentences that omit the Oxford comma and, as is always the case, intonation makes the meaning perfectly clear (either way if you insist) in speech.</font></span></p>  <p><font size="2"><span style="font-size: x-small; font-family: calibri">It is worth noting too that the ‘without’ example on the right is false. The list now has only two items (eggs, toast and orange juice), which must clearly be joined by <em>and</em>. To state that idea clearly, the sentence should be:</span><font face="Calibri"> </font></font></p>  <blockquote>   <p><em><span style="font-size: x-small; font-family: calibri"><font size="2">I had eggs, and toast and orange juice</font></span></em></p> </blockquote>  <p><font size="2"><span style="font-size: x-small; font-family: calibri">or</span><font face="Calibri"> </font></font></p>  <blockquote>   <p><em><span style="font-size: x-small; font-family: calibri"><font size="2">I had toast and orange juice, and eggs.</font></span></em></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">Either way, however, the comma must be considered as an Oxford comma, coming as it does before the last list item.</font></span></p>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">I have already discussed the Oxford comma </font></span><a href="http://lavengro.typepad.com/peter_harvey_linguist/2013/03/commas-and-grammar.html"><span style="font-size: x-small; font-family: calibri"><font size="2">here</font></span></a><span style="font-size: x-small; font-family: calibri"><font size="2">. Unlike many people I am not dogmatic about it.</font></span></p>  <div>   <table align="center" border="0" cellpadding="2" cellspacing="0" width="400"><tbody>       <tr>         <td valign="top" width="200"><span style="font-size: x-small; font-family: calibri"><font size="2"><img alt="" height="135" src="http://theblacksheepagency.com/blog/images/uploads/oxford%20comma.jpg" width="271" /></font></span></td>          <td valign="top" width="200"><span style="font-size: x-small; font-family: calibri"><font size="2"><img alt="" height="160" src="http://25.media.tumblr.com/tumblr_m8gren17cw1qbhbdyo1_500.png" style="float: none; margin-left: auto; display: block; margin-right: auto" width="220" /></font></span></td>       </tr>     </tbody></table> </div>  <p><span style="font-size: x-small; font-family: calibri"><font size="2"> </font></span></p>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">The Cambridge comma is a different matter. To quote Louise:</font></span></p>  <blockquote>   <p><span style="font-size: x-small; font-family: calibri"><font size="2">the Cambridge comma introduces a punctuated pause AFTER the word “and” in lists — i.e. before the final list item … An example of the new Cambridge comma illustrates the unexpectedly belated verbal interruption that it offers: “He packed up his books, cigars, teddy bears and<strong>,</strong> slippers.” </font></span></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">As a Cambridge man myself I have an interest to declare, but it seems to me that this is a remarkably useful way of indicating in print both the emphasis that the <em>and</em> has when it is spoken as a way of introducing a surprising element at the end of a list and also the pause that follows it. Commas are used to guide a reader in understanding a text; they are rarely necessary or incorrect grammatically though they are conventionally used to mark parentheses, non-defining relative clauses for example, in conditional sentences when the <em>if</em> clause (protasis) precedes the consequence (apodosis), in other cases where a subordinate clause preceding the main clause, and in lists. The tendency in English seems to be to minimise punctuation; Spanish, on the other hand, is heavily punctuated in comparison. In particular, it is very common in Spanish to find a comma between subject and verb. Though this is not approved of, it follows the common Spanish system of using commas for rhetorical purposes, representing pauses in speech.</font></span></p>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">Long live the splendid Cambridge comma! I look forward eagerly to seeing the University Press adopt it formally as part of Cambridge University’s continuing quest for wisdom, intelligence, research and, novelty.</font></span></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/T26VNWLc8gE" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/04/the-cambridge-comma.html</feedburner:origLink></entry>
    <entry>
        <title>e for umlaut</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/gar9c3nwgog/e-for-umlaut.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/e-for-umlaut.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017ee9ed616f970d</id>
        <published>2013-04-02T18:46:41+02:00</published>
        <updated>2013-04-24T18:45:40+02:00</updated>
        <summary>In a post about German umlaut I explained that it is always correct to write an e after the letter that would take umlaut. I recently found an example in a Spanish online newspaper. The German finance minister is called Wolfgang Schäuble but here we see it written as Schaeuble. I am puzzled as to why this should be so. Spanish keyboards have an umlaut character.</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Other languages" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p>In a <a href="http://lavengro.typepad.com/peter_harvey_linguist/2007/01/umlaut.html">post about German umlaut</a> I explained that it is always correct to write an <em>e</em> after the letter that would take umlaut. I recently found an example in a Spanish online newspaper. The German finance minister is called Wolfgang Schäuble but here we see it written as Schaeuble. I am puzzled as to why this should be so. Spanish keyboards have an umlaut character.</p>
<p><a href="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef017d42794649970c-pi"><img alt="umlaut" border="0" height="184" src="http://lavengro.typepad.com/.a/6a00d8341ccd5b53ef017ee9ed6160970d-pi" style="background-image: none; padding-left: 0px; padding-right: 0px; display: block; float: none; margin-left: auto; margin-right: auto; padding-top: 0px; border: 0px;" title="umlaut" width="244" /></a></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/gar9c3nwgog" height="1" width="1" /></div></content>



    <feedburner:origLink>http://lavengro.typepad.com/peter_harvey_linguist/2013/04/e-for-umlaut.html</feedburner:origLink></entry>
    <entry>
        <title>London police learn languages</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/B96DJyxqs1E/london-police-learn-languages.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/04/london-police-learn-languages.html" thr:count="1" thr:updated="2013-04-02T18:17:13+02:00" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017c38499945970b</id>
        <published>2013-04-02T17:16:37+02:00</published>
        <updated>2013-04-02T17:44:03+02:00</updated>
        <summary>The Independent reports that London police are to be given language lessons to help them deal with members of the public who don’t speak English. This is a laudable idea but what about the practicalities? In the multi-cultural melting pot that is the nation’s capital, it is the sort of question that is bound to arise once in a while for London’s 31,000 police officers: how do you say “Which way did he go?” in Arabic? Or Polish. Or Spanish. Or Bulgarian. Or Vietnamese. Or Farsi. An increasing number of London’s beat bobbies will soon be able to answer such...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Language teaching &amp; ability" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Media" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><img style="display: block; float: none; margin-left: auto; margin-right: auto" alt="File:New scotland yard.jpg" src="http://upload.wikimedia.org/wikipedia/commons/2/23/New_scotland_yard.jpg" width="175" height="233" /></p>  <p><a href="http://www.independent.co.uk/news/uk/home-news/ello-hola-salve--london-police-officers-given-courses-in-dealing-with-public-in-spanish-polish-russian-arabic-8554814.html"><font size="2" face="Calibri">The Independent reports</font></a><font size="2" face="Calibri"> that London police are to be given language lessons to help them deal with members of the public who don’t speak English. This is a laudable idea but what about the practicalities?</font></p>  <blockquote>   <p><font size="2" face="Calibri">In the multi-cultural melting pot that is the nation’s capital, it is the sort of question that is bound to arise once in a while for London’s 31,000 police officers: how do you say “Which way did he go?” in Arabic? Or Polish. Or Spanish. Or Bulgarian. Or Vietnamese. Or Farsi. An increasing number of London’s beat bobbies will soon be able to answer such questions without reverting to a dictionary, or Google Translate. </font></p> </blockquote>  <p><font size="2" face="Calibri">Ignoring the erratic use of question marks and the improbability of a dictionary or Google Translate being available, let alone being of any use in pursuit of a fleeing villain, we are left with the fact that police are likely to be <b>asking</b> rather than <b>answering</b> such questions. And that means that they will face the classic phrasebook problem of being able to ask a question without understanding the answer.</font></p>  <blockquote>   <p><font size="2" face="Calibri">The courses, which offer 40 hours of learning over six weeks, aim to offer a level of knowledge comparable to a GCSE, with vocabulary tailored to the needs of policing.</font></p> </blockquote>  <p><font size="2" face="Calibri">If that is true, either they have found a revolutionary new teaching method or GCSE is a ridiculously low level. Or the two are comparable in the way that chalk is comparable to cheese. Forty hours of language teaching, especially in a difficult language such as Arabic, Polish, Bulgarian, Vietnamese or Farsi, is practically nothing. A normal language school course is about 120 hours a year with about five years for Spanish speakers starting from scratch to be ready for Cambridge First Certificate.</font></p>  <p><font size="2" face="Calibri">What will they be learning? According to the Independent:</font></p>  <blockquote>   <p><b><font size="2" face="Calibri">Spanish</font></b></p>    <p><font face="Calibri"><font size="2">How many drinks have you had today? <em>Cuántas bebidas alcoholicas tomaste hoy?</em><em /></font></font></p> </blockquote>  <p><font size="2" face="Calibri">Drunken Spaniards apparently being a common problem in London. Unlike Spain, where public drunkenness is practically unknown.</font></p>  <blockquote>   <p><font face="Calibri"><font size="2">Put your hands on your head. <em>Pon tus manos en tu cabeza</em></font></font></p>    <p><font face="Calibri"><font size="2">Stay back! <em>Quedense por atras!</em><em /></font></font></p> </blockquote>  <p><font face="Calibri"><font size="2">I am curious to know why the first two sentences are in the familiar <em>tú</em> form while the third is in the polite <em>usted</em> form. Also, Spanish does not use the possessive for parts of the body. It should be <em>Pon</em> (or <em>Ponga</em>) <em>las manos en la cabeza</em>. There should also be accents on <em>alcohólicas</em> and <em>Quédense</em> and inverted question and exclamation marks (<em>¿ </em>and <em>¡</em>) at the beginning of the first and third sentences respectively. These are small points in themselves but I assume that this is copied directly from the police teaching material.</font></font></p>  <blockquote>   <p><strong><font size="2" face="Calibri">Italian</font></strong></p>    <p><font face="Calibri"><font size="2">No, don’t worry, there is no mafia in London, we have very few drive-by shootings. <em>Non ti preoccupare; non esiste la Mafia a Londra. Ci sono pochi sparatorie da macchina in corsa</em></font></font></p> </blockquote>  <p><font size="2" face="Calibri">A Google search for &lt; drive-by shooting Italy &gt; produces no relevant results for Italy. There are lots for the USA and even </font><a href="http://www.independent.co.uk/news/uk/crime/motorist-killed-in-driveby-shooting-was-targeted-1993271.html"><font size="2" face="Calibri">one from my home town of Crosby, Merseyside</font></a><font size="2" face="Calibri">. But none for the Italian Mafia.</font></p>  <blockquote>   <p><font face="Calibri"><font size="2">’Ello, ’ello, ’ello. <em>Salve, salve, salve</em><em /></font></font></p> </blockquote>  <p><font face="Calibri"><font size="2">Do the British police really say this? (For non-British readers, this is a cliché representation of the way British police officers speak.) And do Italians really say <em>salve</em>?</font></font></p>  <blockquote>   <p><strong><font size="2" face="Calibri">Russian</font></strong></p>    <p><font face="Calibri"><font size="2">Yes, I agree, London in the snow doesn’t look that different from Moscow. <em>Da, soglasen, pod snegom london ne tak otlichaetsya ot moskvy</em></font></font></p>    <p><font face="Calibri"><font size="2">Come along quietly. <em>Tikho, tikho, poshli so mnoi</em></font></font></p>    <p><font face="Calibri"><font size="2">Put the handcuffs on. <em>Nadet' naruchniki</em><em /></font></font></p> </blockquote>  <p><font size="2" face="Calibri">Really?</font></p>  <blockquote>   <p><strong><font size="2" face="Calibri">Arabic</font></strong></p> </blockquote>  <blockquote>   <p><font face="Calibri"><font size="2">What did the suspect look like?<em> Kaif kana shakl al mouttahham?</em><em /></font></font></p> </blockquote>  <p><font size="2" face="Calibri">This is the point at which the police officer needs to understand the answer.</font></p>  <blockquote>   <p><font face="Calibri"><font size="2">We would advise you to keep your iPad out of sight. <em>Nansahuka biaan tatruk al ipad ba’idan a’an al-anzar</em></font></font></p> </blockquote>  <p><font size="2" face="Calibri">I am surprised to see <i>ipad</i> in the Arabic translation. While I cannot be sure about commercial names, I do know that Arabic has no <i>p</i> sound. When I lived in Saudi Arabia my name was transliterated into Arabic with the symbol corresponding to a voiced <i>b</i>, making my name rather like <i>beater</i>.</font></p>  <p><font size="2" face="Calibri">I repeat, it is excellent that the police should have language skills. However, something is going wrong with the way in which they are being taught. Or perhaps with the way in which the Independent has reported this process.</font></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/B96DJyxqs1E" height="1" width="1" /></div></content>



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    <entry>
        <title>Some Italian artist or other </title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/9H72NymuejE/some-italian-artist-or-other.html" />
        <link rel="replies" type="text/html" href="http://lavengro.typepad.com/peter_harvey_linguist/2013/03/some-italian-artist-or-other.html" thr:count="1" thr:updated="2013-03-25T11:54:39+01:00" />
        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017ee9ba2dfa970d</id>
        <published>2013-03-25T11:38:58+01:00</published>
        <updated>2013-03-25T12:06:59+01:00</updated>
        <summary>Michelangelo The other day I was checking a translation that had been done from English into Spanish for a company with a worldwide reputation for manufacturing products of the highest quality, the sort of company that is a byword for reliability and excellence, where everything can be expected to be perfect. My job was just to check that the original English text had been understood properly, especially some idiomatic expressions, and to answer a few specific queries – but I when I saw a reference to ‘Leonardo da Vinci's David’ I thought I would do the client a favour and...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Translation" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><font size="2" face="Calibri" /></p>  <p align="center"><img alt="David von Michelangelo" src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d5/David_von_Michelangelo.jpg/300px-David_von_Michelangelo.jpg" width="167" height="319" /></p>  <p align="center"><font size="2" face="Calibri">Michelangelo</font></p>  <p><font size="2" face="Calibri">The other day I was checking a translation that had been done from English into Spanish for a company with a worldwide reputation for manufacturing products of the highest quality, the sort of company that is a byword for reliability and excellence, where everything can be expected to be perfect. My job was just to check that the original English text had been understood properly, especially some idiomatic expressions, and to answer a few specific queries – but I when I saw a reference to ‘Leonardo da Vinci's David’ I thought I would do the client a favour and change it to Michelangelo. It seems that even in a company such as this, and it is based in Europe, general cultural knowledge is not what it might be. </font></p>  <p align="center"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/22/Da_Vinci_Vitruve_Luc_Viatour.jpg/450px-Da_Vinci_Vitruve_Luc_Viatour.jpg" width="191" height="260" /></p>  <p align="center">Leonardo da Vinci</p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/9H72NymuejE" height="1" width="1" /></div></content>



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    <entry>
        <title>On disappearing and being disappeared</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/T3FJPPshJn0/on-disappearing-and-being-disappeared.html" />
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        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017ee9ad576d970d</id>
        <published>2013-03-23T13:30:38+01:00</published>
        <updated>2013-05-23T08:18:17+02:00</updated>
        <summary>Over the years I have often explained to English-speakers that it is a mistake to say that people ‘were disappeared’ during the Argentinian dictatorship. This misconception, which sounds appropriately cynical in English, is based on a misunderstanding of how the Spanish language works. I have explained the linguistic aspects in detail here and do not wish to repeat them. Suffice it to say that in Spanish, unlike English, a past participle of an intransitive verb can have a passive meaning: el accidente ocurrido ayer is the accident that occurred yesterday; the inflections in Spanish avoid any doubt as to the...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Grammar" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Other languages" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><span style="font-size: x-small; font-family: calibri"><font size="2">Over the years I have often explained to English-speakers that it is a mistake to say that people ‘were disappeared’ during the Argentinian dictatorship. This misconception, which sounds appropriately cynical in English, is based on a misunderstanding of how the Spanish language works. I have explained the linguistic aspects in detail </font></span><a href="http://lavengro.typepad.com/peter_harvey_linguist/2010/03/disappearance.html"><span style="font-size: x-small; font-family: calibri"><font size="2">here</font></span></a><span style="font-size: x-small; font-family: calibri"><font size="2"> and do not wish to repeat them. Suffice it to say that in Spanish, unlike English, a past participle of an intransitive verb can have a passive meaning: <em>el accidente ocurrido ayer</em> is <em>the accident that occurred yesterday</em>; the inflections in Spanish avoid any doubt as to the meaning but because the forms of the English past tense and past participle are identical <em>the accident occurred yesterday</em> can have only one interpretation as an active verb voice. So, while the Spanish word <em>desaparecido(s)</em> is indeed the past participle of <em>desaparecer (disappear)</em>, it is the usual word for people missing in accidents and natural disasters and has no special forced meaning. The implication in Spanish is simply that those people were missing. Nevertheless, the idea has taken hold in English. The string “were disappeared” has 91,300 ghits including 171 in a News search.</font></span></p>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">On 16 March 2013 </font></span><a href="http://elpais.com/elpais/2013/03/15/opinion/1363374710_242574.html"><span style="font-size: x-small; font-family: calibri"><font size="2">Manuel Rivas wrote in El País</font></span></a><span style="font-size: x-small; font-family: calibri"><font size="2"> (my emphasis): </font></span></p>  <blockquote>   <p><span style="font-family: calibri"><span style="font-size: x-small"><font size="2">En Córdoba, Argentina, se está celebrando el juicio por crímenes de lesa humanidad contra 44 represores, acusados de secuestrar, torturar y <strong>hacer desaparecer</strong> a cientos de personas en el campo de concentración de La Perla. <em>(In Córdoba, Argentina, 44 oppressors are on trial for crimes against humanity: kidnapping and torturing hundreds of people, and <strong>making them disappear</strong>, in the La Perla concentration camp.)</em></font></span></span></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">The <em>Gran Diccionario Oxford</em> too shows the verb as intransitive with <em>hacer desaparecer</em> as the transitive use (my emphasis):</font></span></p>  <blockquote>   <p><span style="font-family: calibri"><span style="font-size: x-small"><font size="2"><strong>desaparecer</strong> [E3] <strong>verbo intransitivo</strong></font></span></span></p>    <p><span style="font-family: calibri"><span style="font-size: x-small"><font size="2"><strong>1 </strong>(de un lugar) to disappear; <strong>desapareció sin dejar huella</strong> he disappeared o vanished without trace, he did a vanishing trick o a disappearing act (humorístico); <span style="color: #ff0000"><strong>hizo desaparecer el sombrero ante sus ojos</strong> he made the hat disappear o <em>[sic]</em> vanish before their very eyes</span>; <strong>en esta oficina las cosas tienden a desaparecer</strong> things tend to disappear o go missing in this office; see at <strong><span style="text-decoration: underline">mapa</span></strong></font></span></span></p>    <p><span style="font-family: calibri"><span style="font-size: x-small"><font size="2"><strong>2 </strong>«dolor/síntoma» to disappear; «cicatriz» to disappear, go; «costumbre» to disappear, die out; <strong>lo dejé en remojo y la mancha desapareció</strong> I left it to soak and the stain came out; <span style="color: #ff0000"><strong>tenía que hacer desaparecer las pruebas</strong> he had to get rid of the evidence </span></font></span></span></p>    <p><span style="font-family: calibri"><span style="font-size: x-small"><font size="2"><strong>3 </strong>(de la vista) to disappear; <strong>el sol desapareció detrás de una nube</strong> the sun disappeared o went behind a cloud; <strong>el ladrón desapareció entre la muchedumbre</strong> the thief disappeared o vanished into the crowd; <strong>desaparece de mi vista antes de que te pegue</strong> (familiar) get out of my sight before I wallop you (familiar) </font></span></span></p>    <p><span style="font-size: x-small; font-family: calibri"><font size="2">n <strong>desaparecerse</strong> <strong>v pron</strong> (Andes) </font></span></p>    <p><span style="font-family: calibri"><span style="font-size: x-small"><font size="2"><strong>1 </strong>(de un lugar) to disappear; <strong>se desaparecieron mis gafas</strong> my glasses have disappeared </font></span></span></p>    <p><span style="font-family: calibri"><span style="font-size: x-small"><font size="2"><strong>2 </strong>(de la vista) to disappear</font></span></span></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">In view of all that it was with considerable surprise that I read this sentence in <em>El sueño del celta</em> <em>(The Dream of the Celt)</em> by Mario Vargas Llosa (my emphasis):</font></span></p>  <blockquote>   <p><span style="font-family: calibri"><span style="font-size: x-small"><font size="2">… como polaco, [Joseph Conrad] odia a Alemania tanto como a Rusia, que <strong>desaparecieron</strong> <strong>a su país</strong> por muchos siglos. <em>(… as a Pole, Joseph Conrad hates Germany as much as Russia because they <strong>wiped out his own country</strong> for many centuries.)</em></font></span></span></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">There it is: <em>desaparecer </em>used as an active transitive verb, not even the passive past participle, and if it is in a book that won the Nobel Prize it can’t just be dismissed out of hand. A look at the Spanish Royal Academy’s Dictionary is interesting. For <em>desparecer</em> it has:</font></span></p>  <blockquote>   <p><span style="font-family: calibri"><span style="font-size: x-small"><font size="2"><strong>1.</strong> tr. Ocultar, quitar de la vista con presteza. U. t. c. intr. y c. prnl. <em>[Usado también como intransitivo y como pronominal]</em><em /></font></span></span></p>    <p><a name="0_2" /><span style="font-family: calibri"><span style="font-size: x-small"><font size="2"><strong>2.</strong> intr. Dejar de existir.</font></span></span></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">That is to say, its first definition is of a transitive verb <em>(to hide or remove from sight swiftly) </em>that can also be used intransitively. It is not for me to argue with Vargas Llosa or the DRAE but I can say that I have never seen <em>desaparecer </em>used in this way before and a good writer in a good newspaper uses <em>hacer desaparecer</em> for a transitive meaning. Nor is this directly transitive usage of <em>desaparecer</em> mentioned in the GDO, presumably because it is so rare.</font></span></p><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/T3FJPPshJn0" height="1" width="1" /></div></content>



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    <entry>
        <title>Time flies like an arrow; fruit flies like a banana.</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/PeterHarveyLinguist/~3/kAb9IyzWV0Q/time-flies-like-an-arrow-fruit-flies-like-a-banana.html" />
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        <id>tag:typepad.com,2003:post-6a00d8341ccd5b53ef017ee99d4cb6970d</id>
        <published>2013-03-21T12:11:16+01:00</published>
        <updated>2013-05-23T08:18:51+02:00</updated>
        <summary>This morning I happened to come across the old chestnut Time flies like an arrow; fruit flies like a banana. I was surprised (well, no I suppose wasn’t surprised really) to find that this sentence has its own Wikipedia entry listing no fewer than 11 possible interpretations: (as an imperative) measure the speed of flying insects like you would measure that of an arrow - i.e. (You should) time flies as you would (time) an arrow (imperative) measure the speed of flying insects like an arrow would - i.e. (You should) time flies by the same method that an arrow...</summary>
        <author>
            <name>Peter Harvey</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Funny &amp; curious" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Grammar" />
        
        
<content type="xhtml" xml:lang="en-GB" xml:base="http://lavengro.typepad.com/peter_harvey_linguist/"><div xmlns="http://www.w3.org/1999/xhtml"><p><span style="font-size: x-small; font-family: calibri"><font size="2"><img alt="" height="300" src="http://memomemory.com/wp-content/uploads/time-flies.jpg" style="float: none; margin-left: auto; display: block; margin-right: auto" width="233" /></font></span></p>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">This morning I happened to come across the old chestnut</font></span></p>  <blockquote>   <p><span style="font-size: x-small; font-family: calibri"><font size="2">Time flies like an arrow; fruit flies like a banana.</font></span></p> </blockquote>  <p><span style="font-size: x-small; font-family: calibri"><font size="2">I was surprised (well, no I suppose wasn’t surprised really) to find that this sentence has its own </font></span><a href="http://en.wikipedia.org/wiki/Time_flies_like_an_arrow;_fruit_flies_like_a_banana"><span style="font-size: x-small; font-family: calibri"><font size="2">Wikipedia entry</font></span></a><span style="font-size: x-small; font-family: calibri"><font size="2"> listing no fewer than 11 possible interpretations:</font></span></p>  <ul>   <li><span style="font-size: x-small; font-family: calibri"><font size="2">(as an <em>imperative</em>) measure the speed of flying insects like you would measure that of an arrow - i.e. (You should) time flies as you would (time) an arrow </font></span></li>    <li><span style="font-size: x-small; font-family: calibri"><font size="2">(<em>imperative</em>) measure the speed of flying insects like an arrow would - i.e. (You should) time flies by the same method that an arrow would (time them) </font></span></li>    <li><span style="font-size: x-small; font-family: calibri"><font size="2">(<em>imperative</em>) very quickly measure the speed of flying insects - i.e. (You should) time flies as quickly as an arrow would (be or move) </font></span></li>    <li><span style="font-size: x-small; font-family: calibri"><font size="2">(<em>imperative</em>) measure the speed of flying insects that are like arrows - i.e. (You should) time (those) flies (that are) like an arrow </font></span></li>    <li><span style="font-size: x-small; font-family: calibri"><font size="2">(<em>declarative</em>, i.e. neutrally stating a proposition) all of a type of flying insect, “time-flies,” collectively enjoy a single arrow (compare Fruit flies like a banana) </font></span></li>    <li><span style="font-size: x-small; font-family: calibri"><font size="2">(<em>declarative</em>) each of a type of flying insect, “time-flies,” individually enjoys a different arrow (similar comparison applies) </font></span></li>    <li><span style="font-size: x-small; font-family: calibri"><font size="2">(<em>declarative</em>) each of a type of flying insect, “time-flies,” individually enjoys an occasional arrow when there is an opportunity (compare: “He prefers beer, but I <em>like a martini</em>”) </font></span></li>    <li><span style="font-size: x-small; font-family: calibri"><font size="2">(<em>declarative</em>) the common metaphor “time,” moves in a way an arrow would (which, depending on the context of the phrase may mean “moves in a straight line”, “moves by parabola”, “its move depends on the wind”, etc.) </font></span></li>    <li><span style="font-size: x-small; font-family: calibri"><font size="2">(<em>declarative</em>) a copy of the magazine <em>Time</em>, when thrown, moves in a similar manner to that of an arrow. </font></span></li>    <li><span style="font-size: x-small; font-family: calibri"><font size="2">(<em>declarative</em>) time flees (attempts to escape) in the same way that an arrow does. </font></span></li>    <li><span style="font-size: x-small; font-family: calibri"><font size="2">(<em>declarative</em>) The company <em>responsible</em> for publishing <em>Time</em> Magazine (via synecdoche) is fleeing like an arrow would. </font></span></li> </ul><xhtml:img xmlns:xhtml="http://www.w3.org/1999/xhtml" src="http://feeds.feedburner.com/~r/PeterHarveyLinguist/~4/kAb9IyzWV0Q" height="1" width="1" /></div></content>



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