Wetware Hallucinations
Prose products extruded from a biological analog thinking machine.
Sunday, December 14, 2025
Macbeth and Lord of the Rings
Sunday, December 7, 2025
Study of Etymology in the Secondary English Classroom
for The Teaching of Writing class, 2020
Why, I might begin, is English so riddled with
contradictions? Why do similar words not have the same structures – “mouse” and
“louse” pluralize to “mice” and “lice”, so why does “house” pluralize to “houses”
while “dice” is the plural of “die” (and “douse” is an unrelated verb, not even
a noun)? Why do so many words just not follow the rules? We call such maverick words
“irregular”, but they’re so common that irregularity is practically the norm.
In the video game Katamari Damacy, I might illustrate, there is a ball, the eponymous katamari, which accretes objects to itself. As you roll the katamari over objects, they stick to it, and it grows, until you have grown it from accumulating pins and bugs to accumulating whales and skyscrapers. Why, then, is English such a linguistic katamari, accreting vocabulary to itself until it grows bloated and pendulous with exception upon irregular exception, in a way that other languages are not?
CONQUEST, I might declare, jabbing a finger in the air.
Conquest of the rest of the world by English invaders, obviously; we are all
well aware of this centuries-long history, whence we get words like “juggernaut”
(from Hindi “Jagannath”, “lord of the world”) and “barbeque” (from Arawakan
“barbacoa", “framework of sticks”) and “safari” (from Swahili and Arabic,
meaning “journey”).
However, I might amend, before its history of
conquering everyone else, England has an even longer history of being conquered
by other Europeans. The Romans; the Germanic tribes of Angles, Saxons, and
Jutes; the Vikings; and, central to my point, the Norman French under William
the Conquerer. William, Duke of Normandy, conquered England, installed his
Norman cronies at all levels of the government, and instituted Norman French as
the language of law and governance. Meanwhile, the Anglo-Saxon peasantry
continued on as they always had, speaking Anglo-Saxon. Over the centuries, the
two languages merged into one creole, which became modern English. The
grammatical structure and about a quarter of our vocabulary remains Germanic
from the Anglo-Saxon, but much of the rest of our vocabulary is from Latin via
the French (and via later importation by scholars directly from Latin).[1]
English, I might exemplify, has, unusually among the
world’s languages, different words for many meats than the animals whose flesh those
meats are made from. “Pork” comes from Old French “porc”, while “pig” comes
from Anglo-Saxon “picga”. “Beef” comes from Old French “boef”, while “cow”
comes from Anglo-Saxon “cu”. Why? Because only the French-speaking Norman
nobility could afford to eat meat, while the Anglo-Saxon serfs raised the
animals for them! Picga in the Anglo-Saxon farmyard, porc on the Norman dinner table.[2]
Many of the baffling inconsistencies in English, I
might conclude, come from this imposition of Norman French upon Anglo-Saxon.
Most of the words that conjugate or decline in the middle, like “goose” → “geese”
and “throw” → “threw”, come from Anglo-Saxon, while the words that do so at the
end, like “duck” → “ducks” and “toss” → “tossed”, come from Norman French.
Anglo-Saxon has its own rules, separate from those of French vocabulary.
Germanic/Anglo-Saxon words, I might elaborate, have
long been considered by many English thinkers to be stronger, more emphatic,
and more earthy than namby-pamby, formal, and distant Norman French/Latin. Many
efforts or exemplifications have been made, some more serious than others, to
de-Latinize the language.[3] The linguist and novelist JRR Tolkien, for example,
wrote The Lord of the Rings with heavy reliance on the Anglo-Saxon words, in
part to read as stronger, but also because he was trying to simulate a native
English mythology, free of Continental influence.
It is this history, I might bring the lesson home, that
informs the choice that somebody made, at some point, based either on either a
scholarly or an instinctive understanding of this distinction, the decision
that the past tense of the new-fangled slang verb “yeet”[4] is not weak and formal Norman “yeeted” but strong and burly
Anglo-Saxon “yote”.
So, more
or less, would go the lesson, one I’ve been crafting in my head (and with my
friends and my partner, and on Twitter, and in a few different contexts in a
few different classes, and so on) since around the time I decided to become an
English teacher. Not in those specifics, necessarily – Katamari Damacy
and Lord of the Rings may be dated references already, let alone by the
time I get into teaching young people, and who knows how long “yeet” will last
in the lexicon – but in that general gist, for sure.
But this
is an etymology lesson, and halfway a history lesson – does this have a place
in the English classroom? Just how multidisciplinary is the modern high school
classroom?
Of less
direct relevance to me, an English Education 7-12 student, but still an
intriguing question: what of the English as a Second/Next/Foreign Language
classroom – would just knowing that there really is some logic to the
inconsistencies help English language learners?
Is there a
most appropriate time to introduce this lesson – conspire with the social
studies teachers to teach this when they are covering medieval Europe, perhaps?
– though that was fifth grade when I was going through the system, a bit
earlier than I’m going to wind up qualified to teach.
Most
centrally of all, the question I shall focus most of my efforts upon: how
can teaching etymology and the history of English be best incorporated usefully
into teaching modern English grammar (syntax, spelling, vocabulary, etc.)?
I preliminarily begin
my quest with searches on
Buffalo State’s library system for “etymology teaching”, “etymology pedagogy”,
and their ilk.
My eyeball is immediately
seized by an article from 1693 by one Joseph Aickin, “M.A. and Lately one of
the Masters of the Free-School of London-Derry”. How does the English teacher
of the past feel about the present study of the English of the past?
It turns out, even
in his day, students of English were complaining of how ridiculous the language
is – “that Englishmen as well as strangers should account the English Tongue
intricat and difficile; and that they should think that it cannot be reduced to
Grammatical Rules”.[5]
And his response
was similar to mine: He thinks it makes sense, actually:
Besides it is the easiest tongue to be taught and learned in the world; for the Grammatical part of it, may be reduced to a very small volume: and it may be improv’d far beyond the Latine, Greek, or French: it being very fertile and fit for compositions. There is no difficulty at all in the parts of speech, for Nouns have for the most part but two endings, to distinguish their Numbers. There are but two genders. Verbs have but two endings, and but few irregular; all the moods are express’d by eight particles, the tenses by fourteen signs: the formation of the passive voice is made by the auxiliary verb, am; so that the whole Etymological part of the Grammar, is a very short and compendious business.[6]
…Except for the parts where it doesn’t:
for indeed the Orthographical part of the English Tongue is the most difficile; There are many defects in the Orthographical part of the Tongue: for the number of Characters, are not sufficient to express the several articulat sounds, we have, as may appear by the several sounds of the vowel a as in can, cane, call, man, &c. o likewise hath several different sounds, as in god, roll, come, &c. g hath two different sounds as in get and generation: t hath two as in time and nation, c hath two, as in censure and came. Besides custom hath obtained so far upon us, that we are forced to spell words according to the idiom of the Tongue, from whence they are borrowed: nay and most commonly we are forc’t to pronounce these words contrary to the genious of our Tongue; Besides as our Alphabet is defective, so likewise it is Superfluous, for either c or k are needed. Ph sounds the same with f. q might as well be expressed by cw since w e are forced to add u after q to asist it. Cs might found x. ts z. g and j are two letters of the same sound, whereas the one viz. g. might always expresse the sound of g in get: and the other viz. j the sound of g in generation and j in Jesus its natural sound: w indeed is a neat connexion of two single uu’s: but the sound might aswell be expressed by two single uu’s. Y might aswell be express’d by i vowel: when it is taken for a vowel. It would be a great ease to Children, if all the Letters were named from their proper force and sound. But a sudden remedy thereof, is not to be expected.[7]
Aickin is right:
English orthography is the most difficile (at least, I think, outside of
those languages which have hundreds of characters to keep track of). And he’s
right about the source of the problem: English is a linguistic katamari[8],
and we are forced to spell words according to the idiom of the tongue from
whence they are borrowed. We can’t blame just Anglo-Saxon and Norman French for
this one.
Perhaps my case
in the hypothetical lesson was overstated: the Norman Invasion only explains a
substantial chunk of English’s irregularity and is only a subset of what I now
hypothesize to be the ultimate twin causes of everything that’s weird or
interesting about English: conquest and trade (including the transfer of
scholarly ideas under “trade”). Still, the gist of the Norman Invasion more or
less fits into one lesson (so long as you omit irrelevant specifics like
individual battles); good luck covering all English conquests and trades in
less than at least a full year.
Whether or not
I’m inclined to overemphasize the Norman Invasion, the broader question remains
at issue. Aickin is of little help on the specific issue of teaching etymology
and the history of the language, except as an example – he offers only English
in his English class, and he even holds somewhat the opposite position from
what I’m trying to ascertain the efficacy of: he takes specific issue with the
standard schooling practice of his time, the teaching of Latin to the exclusion
of English (he does include in his text the teaching of “etymology”, but he
doesn’t seem to mean by that what we mean today)[9].
In the 17th
century, learned discourse was still conducted in Latin – René “Renatus
Cartesius” Descartes published in Latin from the 1620s through ‘40s; Galileo
Galilei’s Dialogue Concerning the Two Chief World Systems was translated
into Latin in 1635, 3 years after its initial publication in Italian[10];
Baruch “Benedictus” de Spinoza’s magnum opus, Ethics, Demonstrated in
Geometrical Order, was published in Latin in 1677; Sir Isaac Newton
published his Principia Mathematica in Latin in 1687. Although one might
notice that those esteemed gentlemen were each of a differing nationality from
all the others (only one of them English), giving them good cause to use a
common lingua franca; why not Latin?
On the other
hand, Aickin’s position, that English should be taught on its own merits, makes
sense in history – by the late 17th century, the turn-of-the-century
English works of William Shakespeare and the King James Version of the Bible (not
exactly the first English Bible ever, but the first major officially
Church-sanctioned English Bible) would have had time to grow established in the
canon of literature. Aickin would have been well-positioned to argue his case
that English is at least as good for literature, scholarship, and religion as Latin
or any other vernacular[11].
And, to be sure, history has demonstrated him correct, at least insofar as English
has taken over from Latin as the language of science[12].
Aickin is a
fascinating diversion, and the above digression could easily germinate another
example lesson in the history of the language, but he doesn’t exactly answer: How
can teaching etymology and the history of English be best incorporated usefully
into teaching modern English?
“Every standardized test that the student
takes from high school through college contains a section on word meanings. I
have found that a one-semester etymology course can raise the class vocabulary
average a full grade level”[13].
That’s more like it. J.D. Sadler: “Etymology and Latin Teaching”, 1970. In this
paper, Sadler is trying to recruit students to Latin classes, by discussing the
Latin roots of many English words. He gives a plethora of examples – without covering
the actual history of why English has all this Latin vocabulary.
If you were a
student of Latin, you could be forgiven for assuming that our Latin words come
from Roman rule over England in the first four centuries (as my Latin
textbooks, the Cambridge Latin Course, implied). But it turns out that Roman
Latin only had limited influence on Anglo-Saxon (as the Anglo-Saxons later
invaded Britain and imposed their own Germanic language on the Celts, mostly overwriting
the earlier Roman influence on the Celts), and most of these words come through
the Normans and later scholars importing Latin words![14]
Sadler’s article
also touches on teaching English etymology to improve student understanding of
Latin. Which does recall how I did well in my Latin classes – most Latin words
have English descendants, so if you have a large enough English vocabulary,
most Latin words are easily rememberable (and a smattering of Spanish
vocabulary picked up the slack) – so I agree with him here.
Similarly,
Rasinski et al. summarize existing research since Sadler: “Studies have
demonstrated the promise of teaching Latin and Greek roots in the intermediate
grades”, and go on to propose that Latin and Greek roots be taught even at
elementary levels – though, again, without their historical contexts.[15]
Moreover,
Hosseini et al. studied etymology as a technique for teaching vocabulary to
learners of English as a Foreign Language and determined that it compares
favorably in results to memorizing the dictionary definitions. Latin and Greek
etymology of English words helps every English learner, but especially native
speakers of Romance languages.[16]
Thus the
literature appears to have a broad consensus: learning etymology, in the form
of common roots and affixes, especially Latin and Greek ones, is beneficial for
learning English vocabulary. The answer to this part of the question is a
straightforward “yes”, seeming to require not a tremendous amount of
elaboration.
But I see no
mention being made of teaching the history of the language as context for that
etymological study. Perhaps the academy wants us to just stay in our lane as
English teachers and leave history to the history teachers.
So, the
unanswered part of the question remains: How can teaching the history of
English be best incorporated usefully into teaching modern English?
A few initially
promising, but ultimately fruitless, articles ensue in further explorations.
Then:
Aha, a find! Kate
Parry: “A language in common: an approach to teaching the history of English”.
Sounds perfect!
Parry teaches a
course on English literature, which she structures into three parts, which she
calls European, Neo-European, and Non-European. European is the history of the English
language up until the Age of Exploration, before England started colonizing
everything (which, one might observe, covers the overwhelming bulk of recorded history,
not to mention all of human prehistory, though Parry consciously eschews
teaching any prehistory); Neo-European covers English settlers and colonists
and invaders elsewhere; and Non-European
covers everybody who’s been forced, more or less against their will, to speak
the language – primarily, those who dwelt upon land colonized by Europeans and
persons forced to migrate at the end of a whip, into servitude under English
speakers. [17]
Parry aims her
focus strongly at the side of history where Zinn’s People’s History
dwells, that which has often been neglected in mainstream education but has
come into vogue recently, the history of that informs the English(es) her City
University of New York students tend to speak. Even though the European
category forms the overwhelming bulk of time, not to mention of development of
the language, Parry focuses at least equal attention on the Non-European
category. She likes to use primary and literary sources, but, as she points out,
“literary sources […] have an inbuilt bias. Their authors must be literate,
which means that before the nineteenth century nearly all those who wrote in
English belonged to a minority that was at least relatively wealthy and
relatively close to the centers of power.”[18]
I say Zinn-style history has been neglected in mainstream education, but really, the lesson I outlined at the beginning of this paper was also neglected in my education – not once in all my history classes from kindergarten through secondary school, much less in any English classes, were the name “William the Conquerer” or the term “Norman Invasion” so much as mentioned in passing. I first encountered reference to this series of events through a video game, Crusader Kings II, which I first played as an adult, years after having acquired a bachelor’s degree. (Virtually all of what I know about history – indeed, everything outside of the Revolutionary War, which was all any of my history classes ever covered, with the exception of a vague overview of Medieval Europe in fifth grade and a barest surface-level survey of the entire history of the entire world, called “Global Studies”, in ninth grade – I have learned, from a variety of sources, since leaving school. My beef with the state of history pedagogy, at least as it was inflicted upon me in ‘90s and early ‘00s America, could stock a butcher’s shop for a year. But I am studying to be an English teacher, not a history teacher.)
Parry’s focus on
the development of the language from the perspective of the oppressed is one I
hadn’t considered, and which should probably inform future lessons... just not,
perhaps, William the Conquerer – except insofar as the native Anglo-Saxon dwellers
in England found themselves on the oppressed side of history under Norman boots,
at the points of Norman swords.
It does come to
mind that the Anglo-Saxons themselves had invaded the native Celts only half a
millennium prior, not to mention the Roman occupation of the first few
centuries. Is there a point to be made that even the English have a long
history of having been oppressed? Perhaps England is as the schoolyard bully
who only inflicts upon his peers what has been inflicted on him at home. Or
does that simply muddy the dominant “England has oppressed everyone forever”
narrative?
Here's an
interesting lesson, from Parry:
My students do a substantial amount of work, however, on documented changes in English spelling, grammar, and vocabulary, through a series of assignments in which they examine in detail two biblical verses as translated by Ælfric in c. 1000, by the Wycliffites in 1375, by Tyndale in 1525, and by the King James translators in 1611 (Burnley 2000). They have first to transcribe their verses (I tell them that they must pretend to be medieval monks), then gloss each word of the two earlier versions (which requires using the Oxford English Dictionary extensively as well as the Anglo-Saxon Dictionary of Bosworth and Toller) and write about the changes that they have observed in the language through doing these exercises[19]
This recalls the
Aickin-based rudiments of a lesson, above. It doesn’t sound very fun – a
bit tedious, in fact – but it’s for sure interesting. (It would probably be
improper to pick any of the really fun verses, like the part where Jesus gets
hangry at an out-of-season fig tree and curses it to barrenness[20],
or the part where the prophet Elisha sics two she-bears to maul forty-two
youths who were calling him names[21],
or the randiest parts of Song of Solomon, or the most psychedelic parts of Revelation.)
Parry’s teachings
seem a solid basis for borrowing ideas from, but only as history of English qua
history of English. Would her work inform learners of the English language, its
grammar and vocabulary?
At this point, we
have now explored teaching the history of English, as pertaining to the earlier
question of teaching etymology, so the portion of the question that remains is:
How can the above be best combined and incorporated usefully into teaching
modern English?
As I’m running
into a bit of a wall, source-wise, let us take stock. What have we accomplished
so far? We have, among other things, determined that Latin and Greek etymology
is useful for teaching modern English; and we have explored how to teach
history of English. Perhaps our quest is now to simply construct a transitive
argument, connecting the teaching of history of English to the teaching of
etymology, and thereby determining: “We have determined that Latin and Greek
etymology is useful for teaching modern English, and we (will) have determined
that history of English is useful for teaching etymology, so therefore history
of English is useful for teaching modern English.” (The possibility remains open
that there is not much overlap between the portions of history of English that
are useful to teaching etymology and the portions of the teaching of etymology
that are useful to teaching modern English, but I’m content to leave that
possibility dangling.) What we need now, to complete the argument, is to
determine if history of English really is useful for teaching etymology. On the
one hand: obviously yes. On the other hand: let’s see if we can find some
support for this obvious thing.
Fred Robinson’s
article, “The History of English and Its Practical Uses”, covers both etymology
and history. I first found it to back up my existing understanding of
Anglo-Saxon and the Norman invasion[22],
but it’s good for other purposes, as well. It is not about teaching
etymology through teaching history, but it does teach etymology through
teaching history, so at least I have an example of this working well. (He also
draws a new-to-me distinction, which could be further explored in the lesson I
sketched out while writing about Aickin, between the Latinate words that come
to us via Norman French and the Latinate words that come to us through the
coinages of late-medieval, Renaissance, and Enlightenment scholars.) Robinson,
therefore, is an example of an apparently effective pedagogical technique, not
a study of the effectiveness of pedagogical techniques, so the answer to
question of “how”, then, has currently become “as Robinson does.[23]
Summing up,
then:
I have
determined that etymology and the history of English clearly have a place in
the English classroom, and the latter can inform the former; that etymology, at
least, has a place in the English as a Second/Next/Foreign Language classroom, though
I haven’t specifically answered whether simply knowing that there is a logic to
English can help English language learners; I have not addressed specifically
when this history of English should be taught, though for etymology it seems fine
to sprinkle it through every vocabulary lesson.
As for the centralmost question: How can teaching etymology and the history of English be best incorporated usefully into teaching modern English grammar (syntax, spelling, vocabulary, etc.)? I have dug up a few examples[24] that seem effective and interesting to me, through I have turned up little scientific study of the assessment-based results of this specific pedagogical technique. This, then, is the traditional point where one might say “Further study is warranted.”
Further
study is warranted.
Works Cited
Aickin, J. (1693). THE English Grammar: OR, The
ENGLISH TONGUE Reduced to Grammatical Rules: Containing The Four parts of
Grammar, [etc.]. London: M.B. Retrieved from
https://suny-bsc.primo.exlibrisgroup.com/permalink/01SUNY_BSC/vfepa5/alma999210693104813
Hosseini, E., Sarfallah, S.,
Bakhshipour, F., & Dolatabadi, H. R. (2012, September). The Impact of
Using Etymological Analysis on Teaching Vocabulary to EFL University Students.
Theory and Practice in Language Studies, 2(9), 1868-1876.
doi:10.4304/tpls.2.9.1868-1876
Parry, K. (2018). A language
in common: an approach to teaching the history of English. Word, 64(1),
1-8. doi:10.1080/00437956.2018.1425185
Rasinski, T. V., Padak, N.,
Newton, J., & Newton, E. (2011). The Latin-Greek Connection: Building
Vocabulary Through Morphological Study. The Reading Teacher, 65(2),
133-141. doi:DOI:10.1002/TRTR.01015
Robinson, F. C. (2004, July
1). The History of English and Its Practical Uses. The Sewanee Review, 112(3),
376-395. Retrieved October 26, 2020, from
https://suny-bsc.primo.exlibrisgroup.com/permalink/01SUNY_BSC/7q3gmc/cdi_proquest_journals_212014859
Sadler, J. (1970, December).
Etymology and Latin Teaching. The Classical World, 64(4), 117-120.
doi:10.2307/4347341
[1]
[2]
[3]
[4]
yeet, v. to throw from oneself with great force
[5]
[6]
[7]
[8]
Not his words.
[9]
[10]
I love the central conceit of Galileo’s Dialogue – he’s practically
like, “Here are two opposing worldviews, equal in weight, which I present
without bias or opinion, and also one of them is espoused by a character named
Imbecile.”
[11]
[12]
One could argue, accurately but perhaps sophomorically, that the current most
common language of science (and everything, and everyone) is, in fact, binary
code.
[13]
[14]
[15]
[16]
[17]
[18]
[19]
[20]
Matthew 21:18-22
[21]
2 Kings 2:23-24
[22]
I found Robinson at roughly this point in writing the paper, just before
beginning to piece together a final conclusion – my example lesson was
initially from my own recollections of previously-read sources, not new-to-me
sources, and I tucked the Robinson citations in well after the writing of that
section.
[23]
[24]
Sunday, November 30, 2025
Metaphors and Aliens
Abstract
In Metaphors We Live By, George Lakoff and
Mark Johnson argue that most concepts we talk about and most concepts we think
about are expressed metaphorically, i.e., in terms of other concepts. I argue
that the omnipresence of metaphor in English is something of which writers of
science fiction and fantasy should at least be aware, and which a skillful
writer can probably use to great effect. This paper will mostly consist of
examples of the kind of thing I mean – a skilled writer could probably pull off
much more subtle and effective metaphors than my undoubtedly relatively clumsy
examples.
Lakoff and Johnson
One of the more common kinds of metaphors in our language, according to Lakoff and Johnson, are orientational metaphors, where concepts are described in terms of spatial orientation. Consider a few examples of orientational metaphors and examples of an English expression derived from each, direct from the book[1]:
- · “happy is up”: “that boosted my spirits”
- · “sad is down”: “I'm depressed”
- · “conscious is up”: “wake up”
- · “unconscious is down”: “he fell asleep”
- · “health and life are up”: “Lazarus rose from the dead”
- · “sickness and death are down”: “he fell ill”
- · “having control or force is up”: “I am on top of the situation”
- · “being subject to force or control is down”: “he is low man on the totem pole”
- · “more is up”: “my income rose last year”
- · “less is down”: “If you're too hot, turn the heat down”
- · “[prestigious] status is up”: “he's at the peak of his career” (Lakoff and Johnson phrased this in terms of the words “high status”, which is itself an example of this metaphor.)
- · “[unprestigious] status is down”: “he's at the bottom of the social hierarchy” (or, again, “low status”.)
- · “good is up”: “things are looking up”
- · “bad is down”: “things are at an all-time low”
These
metaphors are rooted in physical and cultural experience, and so may vary from
culture to culture.
What is
less likely to vary is the coherence between these metaphors: for example, more is up, and up is good, so more is good. Sad
is down, down is bad, and sad
is bad. There exist subcultures that use inconsistent metaphors (for example,
members of an ascetic cult might think more
is up and up is good, but
more is bad), but such incoherencies are only ever relatively recent
inventions, adapted from existing language. Incoherence between metaphors is rare
in language that has arisen and grown naturally.
A large part of the point is that these
things aren't just in the language: they're in the way we think. Consider some
examples:
Where is Heaven? Where is Hell? If
they existed, they probably wouldn't literally be anywhere we can access; up
and down would be meaningless with respect to the afterlife. But we still think
of Heaven as being above us and Hell as being below us. Up is good, down is
bad.
The story is similar for the
denizens of Heaven and Hell: people refer to “God in the Highest”, calling for "gloria in excelsis Deo". And of course all the angels serve under God, in some cases literally (according
to legend, God sits on some angels; they're called Thrones). At the other end
of the spectrum, Satan is said to be the lowest
of the low – but more on demons later.
Consider also: people are always
trying to build the tallest skyscraper in the world. It's been nearly a
constant competition ever since skyscrapers were invented, because up is good. In mythology, too; the story
of the Tower of Babel is a point of overlap between skyscrapers and heaven. Up is good, up is important, skyscrapers are up, so skyscrapers are
considered good and important.
But how many people cared when the
Russians dug the deepest hole in the world at the time, just to see what would
happen? (I refer to the Kola Superdeep Borehole, dug in 1970.) Very few! (Excepting,
of course, the people who have, ever since, circulated fabrications about the
borehole breaking into hell, or hearing the screams of the damned at the
bottom.) The Kola Superdeep Borehole is still considered the deepest hole ever
drilled and the deepest artificial point on Earth; nobody has bothered to dig deeper,
because few people care about big holes, because nobody cares about down,
because down is bad. Down is bad, down is unimportant, the Kola Superdeep Borehole is down, so
the Kola Superdeep Borehole is widely considered bad or unimportant[2].
Applications In Fiction
One of my biggest complaints about
most science fiction and fantasy is that aliens (be they elves, Klingons,
lichs, Sebaceans, Goa'uld, garuda, anthropomorphic animals, or what-have-you)
very frequently wind up simply being humans in non-human bodies – usually
American humans, at that. (In this paper, by “alien”, I will mean, roughly,
“persons who are not American humans”.)
Some authors do better than others
at this: the alien-ness of aliens is a plot point in several of the sequels to Ender's Game, but even the formics and pequeninos
are just humans with one or two bizarre concepts ("there's no such thing
as an individual" and "one needs to be vivisected in order to advance
to the next stage of life", respectively) pasted on.[3]
The house elves of Harry Potter, for another example, take
utmost joy in slavery, something which is even more alien to us
liberty-obsessed American humans. With one exception, being freed is considered
by the house elves to be the worst thing that could possibly happen to them. But
aside from that, they still read as basically human-minded.[4]
But, and this is the important
part, these aliens still tend to use all the same metaphors we use in English.
The point is this: alien minds will
use alien metaphors. When writing dialogue for aliens, an author should be
careful about the non-literal language they use. If an alien doesn't have a
reason to use the same metaphorical constructions we do, then they shouldn't.
But even more, if the author doesn't want aliens to just read like humans in
alien bodies, they should use different metaphors for the sake of having
different metaphors.
C.S. Lewis did this fairly competently
at least once: in The Screwtape Letters, the demons use words like "lowerarchy", and speak proudly of
being demoted to a more prestigious, lower rank. For demons, having control or force is down, more is down, prestigious status is down, good
is down. (Or, put in a more C.S. Lewis-y way, bad is good, so just reverse everything we say about good
and call it a day.) Satan, the big boss, the one with force and power and
prestige, is at the bottom, and all his inferiors (I almost wrote "subordinates") are arrayed above him.[5]
China Miéville’s Perdido Street Station, a book whose
major themes include the incomprehensibility (to humans) of alien minds, does
this even better, at least in one instance. Consider the character of the Weaver,
a transdimensional spider-like creature, the epitome of alien-ness, which speaks
predominantly in metaphorical references to the fabric of reality. Consider a
typical Weaver monologue:
. . . over and up in the little passage it was
it was born the cringing thumb the twisted runt that freed its siblings it
cracked the seal on its swaddling and burst out I smell the remnants of its
breakfast still lolling oh I like this I enjoy this web the weft is intricate
and fine though torn who here can spin with such robust and naive expertise . .
.
. . . lovely lovely, the snipsnap of
supplication and yet though they smooth edges and rough fibres with cold noise
an explosion in reverse a funnelling in a focus I must turn make patterns here
with amateurs unknowing artists to unpick the catastrophic tearing there is
brute asymmetry in the blue visages that will not do it cannot be that the
ripped up web is darned without patterns and in the minds of these desperate
and guilty and bereft are exquisite tapestries of desire the dappled gang plait
yearnings for friends feathers science justice gold . . .[6]
It makes only marginally more sense
in context (the Weaver is doing something like explaining why it has chosen to
aid the main characters).
But notice that the Weaver still
uses common English container metaphors: “in reverse”, “in a focus”, “in the
minds” – reverse, focus, and minds are not actually containers, so the usage of
“in” is metaphorical in this context. (“in the little passage” is not a
container metaphor; a passage is, more or less literally, a container, though
the passage in question may itself be metaphorical.) So even in this style,
riddled with obvious metaphors, the subtler metaphors of English creep in. (I
wouldn’t be surprised if this turned out to have been deliberate on Miéville’s
part; he may have discovered that expunging all our natural metaphors impeded
understanding too much for his purposes.)
Lakoff and Johnson even provide a
guideline, in passing, for use of novel metaphors in this fashion: an author
should make sure the metaphors of their aliens are coherent with one another.
If demons think good is down and more prestigious is down and more power is down and more is good, it
won't do for it to suddenly turn out that they use more is up metaphors. It's inconsistent and, I suspect, is
likely to grate on many readers, even if they don't consciously notice it.
Exercise 1: Xenophobia
Let us now, as an exercise, construct a culture by constructing its metaphors. Let's imagine that this culture is profoundly xenophobic, insular, and isolationist. Which is to say: out is bad; in is good. Let's just take the examples I cited previously examples and plug "out" and "in" in place of "up" and "down". Many of these metaphors actually exist in English (container metaphors being another of the most common kinds of metaphors we use), and the main change will be that we're emphasizing them over vertical metaphors. Others will require all-new metaphors. The metaphors, and the kinds of things these cultural xenophobes would say:
- · happy is in: "I am in good spirits."
- · sad is out: "I am out of good spirits." (not "I am in bad spirits" – apparently good spirits are a substance)
- · conscious is in: "I am in my body."
- · unconscious is out: "I'm feeling out of it."
- · health and life are in: "I'm in good health."
- · sickness and death are out: "I am out of health." (This has some overlap with health is a limited substance, familiar to anyone who plays games with “hit points”.)
- · having control or force is in: "I have an in with the organization."
- · being subject to force or control is out: "I'm outside his power." (This could get confusing, as it means exactly the opposite of the usual English usage, where to be in someone's power is to be under their control. If a writer actually uses examples such as this in the text, they should be sure to add a clarifying note, to avoid confusion. Alternately, the characters themselves could become confused, and it could become a plot point.)
- · more is in: "I'm in great wealth."
- · less is out: "I'm out of money."
- · prestigious status is in: "The inner circle of the organization."
- · lack of status is out: "He's an outside man on the ring."
As you
can see, it is possible to create a sense of alien-ness simply by emphasizing
some existing English metaphors over others.
Now
consider what one might expect to follow, given the above metaphors:
These
people probably think that heaven is within oneself, and hell is outside (be it
outside the self, outside the home, outside the city, outside the civilization,
outside the world, or what have you). Obviously, they'll practice meditation,
focusing on the self, spending time inside oneself rather than thinking about
the outside world. Perhaps they believe that good people, when they die, remain
inside the body – perhaps this culture, in a fantasy setting, approves of necrourgy[7],
as it allows people to, in some way, remain inside their bodies. Or perhaps
they believe that the soul simply remains inside the heaven of the body for as
long as the body remains intact, so they practice mummification to preserve the
heaven of the body for as long as possible.
These people are, of course, likely
to believe that the world is the center of the universe. But they don’t
necessarily believe it to be spherical; instead, the metaphor inclines one to
suppose that the world is flat. The city is the center of the country, the
country is the center of the world, and the world is the center of the
universe. If you go too far out, horizontally, you'll reach Hell. (The sky and
the ground are probably conceptually less important to this culture than they
are to us.)
Demons literally live outside the
world (but one must be sure not to say demons live in Hell, because in is good,
and any proximity to Hell cannot be good; you might say instead that demons
live at Hell, a more neutral, less metaphorical
term); the people who live outside the country are actively demonic; the people
who live outside the city are bad; the people who live outside the home are
merely distasteful. Which is to say: this culture of xenophobes is also likely
to be a culture of introverts. This is unlikely to be a very large country;
more likely it is to be many city-states, each of which comes into belligerent
conflict with one another despite (indeed, because of) their shared culture.
Notice how I have taken a
one-concept description ("xenophobic/insular/isolationist"), derived from
that the sort of metaphors they’re likely to use, and then derived additional
details of their culture and religious beliefs which simply follow from the
metaphors. An author who has trouble with world-building might consider this as
a world-building technique.
Exercise 2: Color
And yet "in is good, out is bad" is still a pretty human metaphor, by dint
of its many points of overlap with our English container metaphors. We can
easily see the culture of xenophobes being a human culture.
What if we want to describe truly
alien minds? Let's consider creatures which are not subject to the force of
gravity at all. Perhaps they're celestial beings, or they live in space, or
they're jellyfish-people who live in a gas giant (with an atmosphere so thick
it would take a lifetime to float from bottom to top or vice versa) and are
neutrally buoyant.
Spatial metaphors may not be
completely absent from the vocabulary of these creatures, but they're likely to
be much less important. Being radially symmetric, jellyfish aliens will
themselves not have a front or back or sides, so they're unlikely to have many
metaphors that hinge on front or back or sides, if they even have words for
“front” or “back” or “sides” at all.
They might have concepts of up and
down, or at least top and bottom, unless they are perfectly spherical
jellyfish. But, in this situation we’ve constructed, there's effectively no
difference between travelling up and travelling down, so vertical spatial
metaphors will probably be mostly absent from their vocabulary.
But if we're trying to make truly
alien-minded aliens, let's just expunge all spatial metaphors entirely. Yes,
container metaphors, too. No in/inside/out/outside.
So what metaphors remain for them to use, then? Let's suppose, for the sake of simplicity, that they see colors roughly like we do. (This is probably implausible, if they're gas-giant-dwellers; it's probably somewhat dark inside a gas giant, and it’s hard to imagine their diet consisting largely of fruit, which seems to be the reason color is so important to humans. But for the sake of exercise, we shall imagine it to be plausible.) Perhaps, then, as examples:
- · happy is red: "I am red with joy."
- · sad is violet: "I'm feeling blue."
- · conscious is red: "I was orange and alert."
- · unconscious is violet: "I'm going to go see purple [i.e., sleep] for awhile."
- · health and life are red: "The redness flows in me."
- · sickness and death are violet: "My breathing organs are tinged with violet."
- · having control or force is red: "I oranged and he gave me all his money." (Exactly what sort of activity "oranging" is might need to be explained.)
- · being subject to force or control is violet: "He is the violet man in the painting." (The “painting” in question being the same sort of metaphor as the “totem pole” on which a person can be the “low man” in English.)
- · more is red: "My boss reddened my pay today."
- · less is violet: "My savings are so blue I can hardly feed my family."
- · prestigious status is red: "He wears the red." (Note that, in this culture, red, not purple, is associated with royalty, because prestigious status is red and royalty is prestigious.)
- · lack of status is violet: "He was purple with envy." (Not green, as one might expect an English-speaker to say.
"Infrared" and "ultraviolet" are likely
to be roughly equivalent to our "110%" and "less than
nothing", respectively.
One advantage of color metaphors: they
allow for somewhat more of a spectrum than spatial metaphors. If one is rooted
to up/down metaphors, one can speak of up and down, further up and further
down, but using color in this way makes it easier and more natural to pinpoint
a specific point on the spectrum.
This implies that these aliens are
more likely to think in terms of continua where we think in terms of black or
white. Perhaps it’s impossible to get a straight yes-or-no answer out of one of
these guys; they'll always give you some shade of “maybe-leaning-towards-yes”
or “almost-but-not-quite-no” – which they have words for, probably the same
words as they use for the colors. “Strong yes” is red, “strong no” is violet, “maybe/no
opinion” is green or greenish-yellow. They may well identify more specific points
on the color spectrum than the six or seven colors we choose to pick out as the
most important ones.
Similarly, what we call “middle
management”, these creatures would call “green management”; a “middleman” would
instead be a “green man”. A greenman is green between a purpleman and a redman –
which may imply that, in this color-oriented culture, all transactions are
considered inherently and explicitly unequal. One can be spatially in the
middle between two others, but spatial metaphors are irrelevant to these
jellyfish-people; color is the metaphor that matters, and it is difficult to be
“in the middle” between two colors without one being more red or more violet
than the other.
Other Examples
All of the above examples do
privilege happiness, consciousness, health and life, control and force, amount,
and status, which is itself an anthropocentric view. What if a culture doesn't
care about control or status, but does care about, say, delicious flavor? Delicious is up, disgusting is down!
A writer might use a particularly
violent people – orcs, for example – whose metaphors are all in terms of
violence – violence is good, peace is bad. Consider the situation: an
orcish elder explains the plan to pillage and massacre the village of Aardham.
A young upstart orc things they should pillage and massacre Beantown instead,
and shouts out, metaphorically, "the elder is advocating peace!" Meaning that the elder is saying bad
things, not that he's literally advocating peace, which he isn't. Or perhaps,
if an orc eats the most delicious pie he's ever eaten, he might opine that
"This pie really stabs me in the
face!"
Or consider the most alien of all:
cultures which communicate exclusively in metaphors, or cultures which use no
metaphors in communication at all.
The former idea was explored in the
Star Trek: The Next Generation
episode “Darmok”, wherein the Enterprise encounters the Tamarians, a species of
aliens who communicate exclusively in metaphors, or more specifically
references to stories, which the universal translator lacked the cultural
context to properly translate. The pronouncements of the Tamarians were statements
such as "Darmok and Jalad at Tanagra" (referring to fighting a common
enemy), "Shaka, when the walls fell" (failure), "Temba, his arms
wide" (giving and receiving), and "Sokath, his eyes uncovered"
(comprehension). By the end of the episode, “Picard and Dathon at El-Adrel”, a
reference to the events of the episode, had apparently become the Tamarian term
for “first successful communication between Tamarians and humans”.
“Darmok” wound up being among the
most critically-praised episodes of TNG, and I think it was certainly one of
the episodes that was most like traditional (e.g., Asimovian) science-fiction. It
was done quite well, if a bit awkwardly; I wouldn't necessarily expect anybody
to be able to use this concept without any awkwardness. But it is a very
interesting concept to explore, and I'd love to see it explored by more people.
A culture with no metaphors at all,
on the other hand, would be even more awkward to write. The author wouldn't be
able to use orientational or container metaphors. They would, for example,
never speak of being in an
organization or an emotion, they would never speak of being in love.
Indeed, a metaphor-free culture
would never reify at all. Emotions, colors, properties, actions, thoughts,
etc., are only metaphorically things at all. A metaphor-free culture would have
no concept of "concepts". They would probably become confused if you
used the word “love” or tried to describe it at all: love is itself not a
literal thing.
Metaphor-free language would be so
difficult to think with, let alone communicate with, that I doubt such a
culture would have anything like the focus on linguistic communication that we
do.
For comparison, years ago, I came
up with an idea of a culture which, early on in their development of
mathematics, discovered that you cannot divide by zero without entailing
terrible nonsensical things. It didn’t occur to them, for whatever reason, to
arbitrarily disallow dividing by zero as we do, so on that basis they concluded
that all of mathematics is just incoherent. This culture threw out the whole
discipline of mathematics, so all of science and engineering in this culture would
run purely on trial-and-error, so they never would have gotten beyond the Iron Age.
In a similar way, it seems like a culture which never invented/discovered metaphors may have long since discarded language as an almost entirely fruitless endeavour.
Conclusion
Being aware of
metaphors in the dialogue and thoughts of characters can be an important tool
in selling the idea that the characters are not simply human minds in non-human
bodies.
I have only given a few examples of
the kind of thing I mean. There are, of course, countless other ways a writer
could structure the metaphors of fictional aliens. As long as all the metaphors
are coherent with each other and with the culture the author is trying to
describe, I think almost any variation can work.
Works Cited
Card, Orson Scott. Speaker For The Dead. New York: Tor Books, 1986. Print.
"Darmok."
Star Trek: The Next Generation.
Season 5, episode 2. Paramount, 1991. Television.
Lakoff, George and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980. Print.
Lewis, C.S. The Screwtape Letters. London: Geoffrey Bles, 1942. Print.
Miéville, China. Perdido Street Station. New York: Random House Publishing Group, 2000. Print.
Rowling, J.K. Harry Potter. 7 vols. New York: Scholastic Press, 1997-2007. Print.
Wikipedia contributors. "Kola Superdeep Borehole." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 17 Apr. 2012. Web. 30 Apr. 2012.
[1]
Lakoff & Johnson (1980), pp. 14-17.
[2]
Wikipedia.
[3]
Card (1986).
[4] Rowling (1997-2007).
[6] Miéville
(2000), p. 344.
[7]
The usual word is “necromancy”, but the “–mancy” suffix refers to divination –
necromancy is specifically telling the future by talking to the dead. As I
strive for clarity, accuracy, and precision, the manipulation of the dead and
the creation of “undead” creatures call for a different suffix, in this case
“–urgy”, from the Greek for “work” – necrourgy thus being a more general
“working with death”.
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