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Showing posts with label words. Show all posts
Showing posts with label words. Show all posts

Thursday, 10 November 2022

TIE ME UP, TIE ME DOWN

 




 

Words have tones, and words have overtones. The tones are the meanings such as they are researched, ordered and listed in authoritative dictionaries. The overtones are not heard by all, and not heard in the same way by all; the overtones (also called connotations) are determined by the culture of speakers/writers and hearers/readers. If there is a strong mutuality between, say, a speaker and his/her audience; a mutuality that may occur, let us say, at a political campaign rally; the speaker can utter outrageous remarks in such a way that any verbal record would not show anything remarkable; in such a case, the speaker relies entirely on a shared harmony of overtones. In journalism, this is now called a “dog-whistle”.

            In large parts of the American demographic, the word “government” has strongly negative overtones (perhaps because American English also has the word “administration” for more neutral use). In France, no one minds the word “government”; but the word “shareholders” (actionnaires) makes large sections of the French electorate foam at the mouth. 

            And overtones depend, not only on geography but also on historical period. A word that in one age is perfectly neutral or positive may in another age be strongly disliked. I am old enough to remember that in any publicly available printed text the (sexual) “F-word” could not be printed in full; on the other hand, in modern America, the (racial) “N-word” cannot be printed or even, in some cases, referred to. And a particularly intriguing case, one that goes as far as what one might call lexical dissonance, is the French word con, which in one meaning (the original one), that of the female pudenda, is taboo; but which in its other meaning of “a stupid and disagreeable person” is colloquially common to the point of ubiquity. 

            All this leads me to the word “religion”. In the space of my (now not inconsiderable) lifetime, this word’s overtones have gone from neutral and sometimes positive to almost universally negative. When I was young we sang what were then still called Negro Spirituals, among which were stirring songs like “Give me that old-time religion, it’s good enough for me.” Some people’s religion was Christian, others’ Jewish, still others’ Muslim or Hindu; and within the Christian, some people’s religion was Catholic and others’ Protestant. Now, however, to have faith is good, to be spiritual is good, but to be religious? Noooo. 

            It is a pity. The word comes from a Latin verb, re-ligare: to bind together again. The idea behind it is that somehow, Heaven and earth got separated, and that this is tragic. I’ve often wondered that so many people find the idea of Original Sin hard to comprehend. Looking around one (and inside one), it seems so obvious: our human mind is capable of imagining something flawless, perfect; but we are incapable of realising it. Something always comes along and buggers it up. This being the case, any idea, person, or institution dedicated to binding-together-again Heaven and earth, perfection and BHF (basic human fuckup); to restoring the link between the despairing human soul and hope, between the woundedly resentful and the charity of love, between the helplessly angry and peaceable friendship, should surely be welcomed and cherished. Alas, this is too often not the case, and the media, social and otherwise, who delight in the excitement of conflict, eagerly exacerbate the tensions.

            I should like us to restore re-ligio to its ancient and merited glory. Let us be re-ligious in every part of our life. Let us try, wherever we can, to re-tie the broken strings and cables, to bridge the gaps, to mend the bridges; and most especially those broken ties between simple, hurting humans and a loving God who cannot force them to love him back, and who weeps among angels.    

Sunday, 17 May 2015

SURPRISED BY GIDE


André Gide, portrait by Matzneff


I was surprised to hear the marvellous voice of the bilingual actor Michael Lonsdale murmuring, on my car's stereo, a touching passage of faith by the austere and sometimes caustic Andre Gide. It comes from a notebook of diary-like jottings, Le Cahier vert (1916), and I offer it here in my own translation:

Lord, it is not because they tell me that you are the Son of God that I listen to your word; but your word is beautiful beyond all human words, and that is how I recognise that you are the Son of God. 

Through what absurd modesty, through what humility, what shame,  have I put off until today to write that which for so many years has yearned in me…

I always waited for more wisdom, reading, knowledge, as if the wisdom of men were not folly before God. 


Lord, I come to you as a child; as the child that  you want me to become, as the child that whoever abandons himself to you becomes. I resign all that was my pride and which near you would be my shame. I listen, and my heart is yours. 

Saturday, 2 February 2013

VERBAL DELICACIES


I gratefully reprint this wonderful quotation from Michael Gilleland's Laudator temporis acti blog (see link on right). It is too good not to be read as widely as possible by those of us who like poetry.


Oliver Wendell Holmes (1809-1894), The Poet at the Breakfast-Table, II:

I am afraid I am becoming an epicure in words, which is a bad thing to be, unless it is dominated by something infinitely better than itself. But there is a fascination in the mere sound of articulated breath; of consonants that resist with the firmness of a maid of honor, or half or wholly yield to the wooing lips; of vowels that flow and murmur, each after its kind; the peremptory b and p, the brittle k, the vibrating r, the insinuating s, the feathery f, the velvety v, the bell-voiced m, the tranquil broad a, the penetrating e, the cooing u, the emotional o, and the beautiful combinations of alternate rock and stream, as it were, that they give to the rippling flow of speech,—there is a fascination in the skilful handling of these, which the great poets and even prose-writers have not disdained to acknowledge and use to recommend their thought. What do you say to this line of Homer as a piece of poetical full-band music? I know you read the Greek characters with perfect ease, but permit me, just for my own satisfaction, to put it into English letters:—

Aiglē pamphanöosa di' aitheros ouranon ike!

as if he should have spoken in our poorer phrase of

Splendor far shining through ether to heaven ascending.

That Greek line, which I do not remember having heard mention of as remarkable, has nearly every consonantal and vowel sound in the language. Try it by the Greek and by the English alphabet; it is a curiosity. Tell me that old Homer did not roll his sightless eyeballs about with delight, as he thundered out these ringing syllables! It seems hard to think of his going round like a hand-organ man, with such music and such thought as his to earn his bread with.

In Greek characters, from Iliad 2.458:
αἴγλη παμφανόωσα δι᾽ αἰθέρος οὐρανὸν ἷκε.