Category Archives: Poems, prose & song

In the news (April 25)

electionslogan

Words, language and usage have been all over the news this week. Read about a nifty word-changing browser extension, India’s election slogans, vocab in the new SAT, a swearing ban in Russia, the demise of cursive script, and more …

The weird word of the week is jobation. See below for its definition.

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“If you’re a cool-headed, fair-minded, forward-thinking descriptivist like my colleague David Haglund, it doesn’t bother you one bit that people often use the word “literally” when describing things figuratively. If, on the other hand, you’re a cranky language bully like me, it figuratively bugs the crap out of you every time.” That’s Will Oremus on Slate’s “Future Tense” blog, in his piece describing the new Chrome browser extension that replaces the word “literally” with “figuratively”on sites and articles across the web, “with deeply gratifying results.”

[This reminds me of one of my favorite Tweeters — Stealth Mountain — who sends a tweet to everyone on the web who types the words “sneak peak”, telling them, literally, “I think you mean ‘sneak peek'” … ]

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The revised SAT won’t include obscure vocabulary words any more, the New York Times reports. “One big change is in the vocabulary questions, which will no longer include obscure words. Instead, the focus will be on what the College Board calls ‘high utility’ words that appear in many contexts, in many disciplines—often with shifting meanings—and they will be tested in context.”

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Is cursive handwriting slowly dying out in America? PBS Newshour looks at the history of “joined-up writing” and asks about the future of this art form. “With young thumbs furiously pounding out abbreviated words and internet slang while texting and with fingers flying across keyboards writing emails, reports and, yes, even news articles, the act of taking a pen and carefully crafting notes and letters is occurring less frequently in the modern world.”

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The BBC looks at India’s colorful election slogans. Yes, they can too.

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The Russian parliament’s lower house has passed a ban on swearing (or what the Americans call cursing) in films, music and other works of art. The BBC reports.

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Ever wondered where the expression “bite the bullet” came from? Or “cold feet” or “go with the flow”? Buzzfeed gives us 36 unexpected origins of everyday British phrases.

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Urszula Clark on the British Council blog asks “which variety of English language should you speak?”. The results of Clark’s research show “how dynamic, fragmented and mobile the English language has become. At the same time, the influence of traditional gatekeepers of ‘standard’ English, such as the BBC, is weakening.”

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Weird word of the week: jobation. Noun: (chiefly British): a scolding; a long tedious rebuke or reproof. “It is difficult for me to justify to myself the violent jobation which my Father gave me in consequence of my scream, except by attributing to him something of the human weakness of vanity. — from Father and Son by Edmund Gosse, 1907.

 

Celebrating the rule of three on Glosso’s 3rd birthday

Birthday Cupcake

Today is Glossophilia’s third birthday, and to celebrate, we’re taking a gander at the “rule of three” and its important place in the worlds of writing and storytelling. (Here’s a funny little fact: this is Glossophilia’s 333rd post. And thank you to those who come here often and who keep me supplied with tips and ideas: keep ’em coming!)

The rule of three principle states that anything offered in a package of three is inherently funnier, more satisfying, more memorable, more intuitive, or more effective than something that comes in twos, fours or some other number. There’s a Latin phrase, “omne trium perfectum”, that means, literally, “everything that comes in threes is perfect.” And so it often is when it comes to creative writing and prose: we see it in storytelling, comedy, speech-writing and advertising slogans.

What is the magic of three? Continue reading

The language of death and dying

dying

I’ve recently marked an anniversary of my beloved partner’s untimely death, and a new musical work addressing the subject of dying is preoccupying my professional mind. We find it hard to talk about death. Even in our commonly unfiltered world in which our every thought and observation is broadcast widely and uncensored, the subject of death and dying is one of our last lingering taboos — or at the very least an area of verbal discomfort. There are worldwide historical taboos banning the utterance of a deceased person’s name; Freud argued that such taboos stem from the fear of the presence or of the return of the dead person’s ghost. Many of us find it hard to express our condolences to the recently bereaved, or even simply to report on a person’s death: we struggle emotionally, empathically and linguistically to find the right words. And so the verb “to die” — so stark in its definitive and final form, and yet so direct and honest in its simplicity — is often and increasingly replaced by words and sayings that soften the idea of this fearful human fate that befalls us all. Apparently more pronounced among American rather than British English speakers is a growing tendency to reach for expressions such as “passed away”, “passed on”, or simply “passed” to articulate the fact that their loved ones have made their final journeys; for many, the verb “to die” is either too harsh or fails to embrace the notion of life enduring, religiously or spiritually, beyond the grave. But there are also many who prefer to address the ultimate human act of submission using the three-letter word that best describes it, honestly and unambiguously.  Continue reading

Music When Soft Voices Die

Music When Soft Voices Die (To –)

Music, when soft voices die,
Vibrates in the memory—
Odours, when sweet violets sicken,
Live within the sense they quicken.

Rose leaves, when the rose is dead,
Are heaped for the belovèd’s bed;
And so thy thoughts, when thou art gone,
Love itself shall slumber on.

— Percy Bysshe Shelley

For David.

Olympic poetry

olympicpoetry

Throughout the Winter Olympic Games in Sochi, poet Kwame Dawes is writing verses that capture the spirit of the day’s action. The Wall Street Journal is publishing his poems: here are those he has composed so far.

Bob Costas’s Pink Eye and Sochi’s Brown Water 

The Fashion of Ice Skating Pairs 

Poems for the Jamaican Bobsled Team 

Michael Christian Martinez: The Wounded Dancer 

The Gay Olympian’s Dilemma at Sochi 

A Poem for Shaun White 

 

Some poems of love for Valentine’s Day

valentine

 

They Flee From Me

They flee from me that sometime did me seek
With naked foot, stalking in my chamber.
I have seen them gentle, tame, and meek,
That now are wild and do not remember
That sometime they put themself in danger
To take bread at my hand; and now they range,
Busily seeking with a continual change.

Thanked be fortune it hath been otherwise
Twenty times better; but once in special,
In thin array after a pleasant guise,
When her loose gown from her shoulders did fall,
And she me caught in her arms long and small;
Therewithall sweetly did me kiss
And softly said, “Dear heart, how like you this?”

It was no dream: I lay broad waking.
But all is turned thorough my gentleness
Into a strange fashion of forsaking;
And I have leave to go of her goodness,
And she also, to use newfangleness.
But since that I so kindly am served
I would fain know what she hath deserved.

— Sir Thomas Wyatt

 

Untitled

Western wind, when wilt thou blow,
The small rain down can rain.
Christ, if my love were in my arms,
And I in my bed again.

— Anon, 16th century

 

The Silent Lover 

Passions are likened best to floods and streams:
The shallow murmur, but the deep are dumb;
So, when affections yield discourse, it seems
The bottom is but shallow whence they come.
They that are rich in words, in words discover
That they are poor in that which makes a lover.

Wrong not, sweet empress of my heart,
The merit of true passion,
With thinking that he feels no smart,
That sues for no compassion;

Since, if my plaints serve not to approve
The conquest of thy beauty,
It comes not from defect of love,
But from excess of duty.

For, knowing that I sue to serve
A saint of such perfection,
As all desire, but none deserve,
A place in her affection,

I rather choose to want relief
Than venture the revealing;
Where glory recommends the grief,
Despair distrusts the healing.

Thus those desires that aim too high
For any mortal lover,
When reason cannot make them die,
Discretion doth them cover.

Yet, when discretion doth bereave
The plaints that they should utter,
Then thy discretion may perceive
That silence is a suitor.

Silence in love bewrays more woe
Than words, though ne’er so witty:
A beggar that is dumb, you know,
May challenge double pity.

Then wrong not, dearest to my heart,
My true, though secret, passion:
He smarteth most that hides his smart,
And sues for no compassion.

— Walter Raleigh

 

Corinnae Concubitus

In summer’s heat, and mid-time of the day,
To rest my limbs upon a bed I lay;
One window shut, the other open stood,
Which gave such light as twinkles in a wood,
Like twilight glimpse at setting of the sun,
Or night being past, and yet not day begun;
Such light to shamefaced maidens must be shown,
Where they may sport, and seem to be unknown:
Then came Corinna in a long loose gown,
Her white neck hid with tresses hanging down,
Resembling fair Semiramis going to bed,
Or Lais of a thousand wooers sped.
I snatched her gown; being thin, the harm was small,
Yet strived she to be covered therewithal;
And striving thus, as one that would be cast,
Betrayed herself, and yielded at the last.
Stark naked as she stood before mine eye,
Not one wen in her body could I spy.
What arms and shoulders did I touch and see,
How apt her breasts were to be pressed by me!
How smooth a belly under her waist saw I,
How large a leg, and what a lusty thigh!
To leave the rest, all liked me passing well;
I clinged her naked body, down she fell:
Judge you the rest: being tired she bade me kiss;
Jove send me more such afternoons as this.

— Christopher Marlowe

 

 

Air and Angels

Twice or thrice had I lov’d thee,
Before I knew thy face or name;
So in a voice, so in a shapeless flame
Angels affect us oft, and worshipp’d be;
Still when, to where thou wert, I came,
Some lovely glorious nothing I did see.
But since my soul, whose child love is,
Takes limbs of flesh, and else could nothing do,
More subtle than the parent is
Love must not be, but take a body too;
And therefore what thou wert, and who,
I bid Love ask, and now
That it assume thy body, I allow,
And fix itself in thy lip, eye, and brow.

Whilst thus to ballast love I thought,
And so more steadily to have gone,
With wares which would sink admiration,
I saw I had love’s pinnace overfraught;
Ev’ry thy hair for love to work upon
Is much too much, some fitter must be sought;
For, nor in nothing, nor in things
Extreme, and scatt’ring bright, can love inhere;
Then, as an angel, face, and wings
Of air, not pure as it, yet pure, doth wear,
So thy love may be my love’s sphere;
Just such disparity
As is ‘twixt air and angels’ purity,
‘Twixt women’s love, and men’s, will ever be.

— John Donne

 

A Valentine

For her this rhyme is penned, whose luminous eyes,
Brightly expressive as the twins of Leda,
Shall find her own sweet name, that nestling lies
Upon the page, enwrapped from every reader.
Search narrowly the lines!- they hold a treasure
Divine- a talisman- an amulet
That must be worn at heart. Search well the measure-
The words- the syllables! Do not forget
The trivialest point, or you may lose your labor
And yet there is in this no Gordian knot
Which one might not undo without a sabre,
If one could merely comprehend the plot.
Enwritten upon the leaf where now are peering
Eyes scintillating soul, there lie perdus
Three eloquent words oft uttered in the hearing
Of poets, by poets- as the name is a poet’s, too,
Its letters, although naturally lying
Like the knight Pinto- Mendez Ferdinando-
Still form a synonym for Truth- Cease trying!
You will not read the riddle, though you do the best you can do.

— Edgar Allan Poe

 

To His Mistress Going to Bed

Come, Madam, come, all rest my powers defy,
Until I labour, I in labour lie.
The foe oft-times having the foe in sight,
Is tir’d with standing though he never fight.
Off with that girdle, like heaven’s Zone glistering,
But a far fairer world encompassing.
Unpin that spangled breastplate which you wear,
That th’eyes of busy fools may be stopped there.
Unlace yourself, for that harmonious chime,
Tells me from you, that now it is bed time.
Off with that happy busk, which I envy,
That still can be, and still can stand so nigh.
Your gown going off, such beauteous state reveals,
As when from flowery meads th’hill’s shadow steals.
Off with that wiry Coronet and shew
The hairy Diadem which on you doth grow:
Now off with those shoes, and then safely tread
In this love’s hallow’d temple, this soft bed.
In such white robes, heaven’s Angels used to be
Received by men; Thou Angel bringst with thee
A heaven like Mahomet’s Paradise; and though
Ill spirits walk in white, we easily know,
By this these Angels from an evil sprite,
Those set our hairs, but these our flesh upright.
Licence my roving hands, and let them go,
Before, behind, between, above, below.
O my America! my new-found-land,
My kingdom, safeliest when with one man mann’d,
My Mine of precious stones, My Empirie,
How blest am I in this discovering thee!
To enter in these bonds, is to be free;
Then where my hand is set, my seal shall be.
Full nakedness! All joys are due to thee,
As souls unbodied, bodies uncloth’d must be,
To taste whole joys. Gems which you women use
Are like Atlanta’s balls, cast in men’s views,
That when a fool’s eye lighteth on a Gem,
His earthly soul may covet theirs, not them.
Like pictures, or like books’ gay coverings made
For lay-men, are all women thus array’d;
Themselves are mystic books, which only we
(Whom their imputed grace will dignify)
Must see reveal’d. Then since that I may know;
As liberally, as to a Midwife, shew
Thy self: cast all, yea, this white linen hence,
There is no penance due to innocence.
To teach thee, I am naked first; why then
What needst thou have more covering than a man.

— John Donne

 

To My Dear and Loving Husband

If ever two were one, then surely we.
If ever man were lov’d by wife, then thee;
If ever wife was happy in a man,
Compare with me ye women if you can.
I prize thy love more then whole Mines of gold,
Or all the riches that the East doth hold.
My love is such that Rivers cannot quench,
Nor ought but love from thee, give recompence.
Thy love is such I can no way repay,
The heavens reward thee manifold I pray.
Then while we live, in love let’s so persever,
That when we live no more, we may live ever.

— Anne Bradstreet

 

Epitaph

My dearest dust, could not thy hasty day
Afford thy drowsy patience leave to stay
One hour longer: so that we might either
Sit up, or gone to bed together?
But since thy finished labour hath possessed
Thy weary limbs with early rest,
Enjoy it sweetly; and thy widow bride
Shall soon repose her by thy slumbering side;
Whose business, now, is only to prepare
My nightly dress, and call to prayer:
Mine eyes wax heavy and the day grows old,
The dew falls thick, my blood grows cold.
Draw, draw the closed curtains: and make room:
My dear, my dearest dust; I come, I come.

— Lady Katherine Dyer

For David

Hayashi kotoba: musical cheerleading

hayashi

When the curtain rises on the Winter Olympics tomorrow, two weeks of cheering and chanting in the languages of the 88 competing nations will begin. But these rallying cries that are so inherent to the theater and experience of sporting events aren’t confined to the fields, courts and stadiums of athletic competition: there’s another kind of cheer-leading going on in the musical and arts arenas of Japan.

At Music From Japan‘s upcoming festival in New York and Washington DC, The Ryukyuans — a band from Okinawa — will be singing traditional and contemporary folk songs from their region, and what you might hear during the performance is a type of musical cheer-leading embedded in the songs themselves. Translator, artist and teacher Sharon Nakazato explains how these rallying and rhythmic “hayashi kotoba” often color and vitalize the folk songs of Japan:

“Sa-a! Ei-i sa sa! A-a-i ya!”  The lyrics to most Japanese folk songs are liberally spiced with so-called “hayashi kotoba”, spirited words and phrases that mostly have no literal meaning today but take a similar form to cheers at sports events.  They might have been actual words in early times: a few are traceable to ancient Japanese forms of address or felicitous invocations, and one recent theory has their roots in ancient Hebrew! But however they came to be, “hayashi kotoba” fulfill several important roles in present-day Japanese folksongs: they create a convivial and exciting atmosphere; they cradle and bring focus to the narrative; they fill in syllables where needed for the lyrics’ rhythm; and, through their familiar associations with festivals and with bounty and blessings, they bring an immediate sense of exhilarated celebration to the occasion. In all parts of Japan, where song serves as a vital community unifier, the “hayashi kotoba” being sung by the audience along with the performers often brings heightened fervor to an event. Nowhere is this truer than in the Ryukyus.

At the Awa Odori, Japan’s largest dance festival, the dancers engage in call-and-response rallies with the cheering crowds, chanting and exchanging hayashi kotoba to whip up the rhythm and temperature of the event. You’ll hear cries of “Yattosa, yattosa!”, “Hayaccha yaccha!”, “Erai yaccha, erai yaccha!”, and “Yoi, yoi, yoi, yoi!” (This reminds me of the rallying cry among opera singers — “toi, toi, toi” — which is covered in an earlier Glossophilia post on the superstitions of wishing luck in the theatrical and performing arts worlds.)

Different kinds of hayashi kotoba are explored by Jane Alaszewska in Analysing East Asian Music, edited by Simon Mills. She explains that “Hayashi kotoba are speech-like phrases. These serve a variety of functions in performance. The most common phrase, kinayare kinayarei, invites the audience to get into the spirit of performance. Others such as tabatabata and kitakitakitei do not have a textual meaning but add an extra rhythmic dimension to performance. Some hayashi kotoba, particularly those in Semon Kudoki, are nonsense rhymes with rude double meanings. In Kumao-ji-deiko the o-se tends to imitate the hayashi kotoba rhythm. In this older style, only the performers call out hayashi kotoba but in shin-deiko these are also called out by the audience as encouragement to the performers.”

The Beatles’ lyrics: lore and lowdown

doyouwanttoknowasecret

“It was 20 years ago today.” Well, it was actually 50, and it wasn’t today, but on February 9, 1964, The Beatles made their first live television appearance in the United States on the Ed Sullivan Show. That now legendary performance marked the start of the U.S.’s love affair with the four-man band from Liverpool — which before long would capture the minds and hearts of people all over the globe. The world’s fascination with the Fab Four had begun.

Papers, books, web sites — indeed whole careers — have been devoted to the study of The Beatles and everything the band’s members created, sang, uttered, argued about, wore, drank, inhaled, consumed, loved and hated — both collectively and individually — during and after the course of the band’s reign at the top of the charts. Analyses of its lyrics alone form the subject of several books; the words of The Beatles’ songs are seen as providing clues and insights into the minds and mysteries of this legendary quartet about which we can’t seem to know enough.

Glossophilia takes a romp through this most famous garden of prose. Straight from the horses’ mouths, John’s and Paul’s own words (as well as those of George and Ringo) tell some of the stories behind the lyrics and what inspired and fed them. From bus rides to breakfast cereal ads, a cab driver’s photo ID to a beloved pet, acid trips to Disney movies, the stories are endlessly fascinating and sometimes myth-busting. The adventure begins with a look at the “Paul Is Dead” theory and the lyrics that helped fuel this outlandish idea; Glossophilia then journeys through some of the songs — in roughly the order they were written (recording dates are in parentheses) — with comments from the lyricists themselves. By no means an exhaustive survey, this is a selective collection of entertaining insights from the men who gave us some of our favorite songs. Most of the quotes are taken from a handful of publications: a substantial interview given to Playboy magazine in 1980 by John Lennon and Yoko Ono, excerpted in the magazine in January 1981 and later published in full as All We Are Saying by David Sheff in 2000; Paul McCartney: Many Years From Now, the 1998 biography by Barry Miles; and The Beatles Anthology, 2000.

“Paul Is Dead”?

Continue reading

Catching zeds, and the language of slumber

zzz

 

When and why did we start using zzz to refer to sleep? How long have we been catching zeds (or what Yanks call zees), and since when have we been getting our 40 winks?

The OED lists one definition of z (“usually repeated”) as “used to represent the sound of buzzing or snoring”, and it was indeed a case of onomatopoeia that first linked the letter z — or multiple zzzzzzs —  to sleeping by approximating the sound of snoring. The American Dialect Society’s Dialect Notes, published in 1918, lists “z-z-z” as “the sound of whispering or snoring, and 1919’s Boy’s Life, the Boy Scouts’ yearbook, gives “Z-z-z-z-z-z-z” as the title of a joke about that most supersonic of sleep sounds. This onomatopoeic use of z’s — which later came to signify, more generally, the state of slumber — was popularized by its use in early comic strips and comic books, for example in Schulz’s “Peanuts” cartoon series. In fact, a single Z in a speech bubble is enough nowadays to indicate that a character is asleep, and this is no longer confined to just the English language: as Wikipedia explains, “Originally, the resemblance between the ‘z’ sound and that of a snore seemed exclusive to the English language, but the spread of American comics has made it a frequent feature in other countries. An exception to this is in Japanese manga, where the usual symbol for sleep is a large bubble coming out of the character’s nose.”

And why “40 winks”, meaning a short sleep or nap? It’s not clear where or when the actual expression originated, but the number 40 is known to have been used historically to signify a great or indefinite number — hence the Biblical “40 days and 40 nights” and other numerous references; as argued in The International Standard Bible Encyclopedia,” edited by James Orr in 1915, “it may have originated, partly at any rate, in the idea that 40 years constituted a generation or the period at the end of which a man attains maturity, an idea common, it would seem, to the Greeks, the Israelites, and the Arabs.” Add the informal meaning of wink as a very short period of time, especially in the context of lack of sleep (as in, not being able to “sleep a wink”), and suddenly “40 winks” makes perfect sense. The Online Etymology Dictionary attests the expression “40 winks” from 1821, and speculates that its early use might have been associated with, and perhaps coined by, the eccentric English lifestyle reformer William Kitchiner M.D. (1775-1827).

Other colloquial words and expressions for slumber are cat nap (noun), to doze or doze off (verb), to nod off (v), shut-eye (n), snooze (v & n), and going bo-bos. Cockney Rhyming Slang gives us soot (Sooty and Sweep = sleep) and Bo Peep — the latter possibly giving rise to the suggestion, cooed persuasively and desperately to British babies, of “going bo-bos”…

“Goodnight, sleep tight, and don’t let the bed-bugs bite.” Tight in this context refers not, as some contend, to ropes tied tautly across early bedsteads, but instead to the adverb tightly, defined by the OED as “soundly, properly, well; effectively”; indeed, that dictionary’s first definition of tight itself is “soundly, roundly; = TIGHTLY 1. Now chiefly in colloq. phr. (good night) sleep tight, a conventional (rhyming) formula used when parting for the night or at bedtime.” The bed-bugs can probably speak for themselves.

To Sleep
O soft embalmer of the still midnight,
Shutting, with careful fingers and benign,
Our gloom-pleas’d eyes, embower’d from the light,
Enshaded in forgetfulness divine:
O soothest Sleep! if so it please thee, close
In midst of this thine hymn my willing eyes,
Or wait the “Amen,” ere thy poppy throws
Around my bed its lulling charities.
Then save me, or the passed day will shine
Upon my pillow, breeding many woes,
Save me from curious Conscience, that still lords
Its strength for darkness, burrowing like a mole;
Turn the key deftly in the oiled wards,
And seal the hushed Casket of my Soul.
— by John Keats