Talky Tuesday: Sibling, can you loan a word?

English has borrowed its share of words from other languages, but do you know which words these five languages have borrowed form English?

It’s no secret that English has borrowed a lot of words from other languages, as any list online will tell you. But, just as often, other languages take on words from English as well.

These are technically known as loanwords and are quite often altered in spelling to be pronounceable to speakers of the borrowing language.

It only makes sense that English would take on so many loanwords from other languages as well as leave so many loanwords behind in its wake as it spreads across the globe via popular culture. But what, exactly, are these loan words?

Well, here’s a brief survey of some of the most common ones, by language.

Spanish

Keep in mind that it’s far more common for these words to be borrowed into Spanish in Spain via Britain rather than into Latin American Spanish via America, but that’s most likely because there are so many different Spanish speaking countries in the Americas that they all kind of do their own thing, whereas Spain and its resorts are infected by British tourists on holiday every spring like crabs in a courtesan’s panties.

Here are just a few:

Bistec: This is just a phonetic rendering of the words “beef steak.”

Panfleto: Pamphlet, which cleans up the weird spelling that would not even be pronounceable in Spanish.

Mitin: Meeting, although in the sense of a public hearing or a political conference, and reunión is still far more common in the Americas.

Drenaje: This is a great example of a double borrow. Spanish adapted the word “drainage” from English, but English took it from French without changing a letter.

Esmoquin: If you had to guess what this word meant, you probably never would in a million years, but it’s kind of borrowed from English and means “tuxedo.” How this happened is that Spanish actually picked up the word for “smoking jacket,” which was a heavily quilted garment meant to be worn over the good clothes while the men stepped into the smoking room to fire up their pipes, cigars, and cigarettes. The heavy material was meant to protect the good clothes from ash, cinders, and pinhole burns. How Spanish made the leap of logic from one to the other is a little unclear, but smoking jackets would have definitely been de rigueur at any formal, black tie event that ended with brandy and cigars.

Esnob: This simply means “snob” in Spanish, and comes from the difficulty that Spanish speakers have in saying words that start with an “s” followed by a pronounced consonant. You can see it even in their native words, for example “español.” Note that another loan word, from the English for sandwich, does not do this, so it’s just “sándwich.” That’s because it starts with “s” followed by a vowel, and that’s totally normal in the Spanish words for saint or holy, San and Santa.

Fútbol: Which means football in most of the world, but is soccer in America. Again, only the spelling was changed.

Cóctel: Probably very popular at every tapas bar happy hour, this word is clearly “cocktail,” although it’s pronounced with a long O in the first syllable and a short e in the second. Close enough, I guess, if you’re on your third.

Japanese

Japanese is infamous for taking English words, spelling them phonetically in katakana, and then sending those new terms right back to English. One of the more famous ones is cosplay, which was created in Japanese from a shortening of the English words “costume” and “role play,” but then shot right back into our vernacular, except once more in English.

Japanese for “cosplay” is pronounced “kosupure.”

Afu-reko: Derived from the words “after” and “recording,” this refers to the process of dubbing new sound or dialogue tracks in post-production. Obviously, this would be very important when making English language dubs of Japanese anime.

Aidoru: Referring to teen idol or pop star, and it’s pronounced pretty close to the word it came from, idol.

Aisu kurīmu: Again, remembering that the “ai” is pronounced as a long I, it should be pretty clear that these words mean “ice cream.”

Amefuto: American football, pure and simple, and meant to distinguish it from real fútbol.

Amerikan doggu: Pretty clearly “American dog,” but not the animal. Nope. This is a corn dog.

Bebī kā: Literally from “baby car,” a stroller or pram.

Datchi-waifu: From “Dutch wife.” This is a blow-up doll. Why the Japanese blame this on the Dutch but borrow the term from English is a mystery.

Furaido poteto: Quite clearly “fried potato,” as in French fry.

Hotto kēki: Another probably obvious food item: hot cake.

Janpā: Jumper, as in sweater or jacket. Not to be confused with Juanpa.

Manshon: Mansion.

Nōto-pasokon: A super mash-up of note, personal, and computer that means laptop. Without nōto in front, it just means personal computer.

Sekkusu: Sex. Boning. Doing it. Bumping uglies. Fucking. You get the picture.

Tenkī: Ten-key, as in that numerical keypad that may or may not be at the far right on your computer or laptop keyboard.

Dutch

Since they’re both Germanic languages, you wouldn’t think that Dutch would borrow that many words from English, but it happens, largely due to people who speak “Dunglish.” This is what happens when native English speakers are learning Dutch, but apply English word order and grammar. The two are not the same, so it can get weird.

But there are English loanwords in Dutch that have nothing to do with Dunglish.

Whatsappen: The verb form of “to Whatsapp,” as in to send a message via that platform.

Downloaden: Again, pretty obvious. The infinitive verb form of “to download.”

Airconditioner: Three guesses.

Laptop: Just what it says on the tin.

Helpdesk: Although they probably actually won’t.

Junkfood: It’s food. It’s junk. It’s one word.

Okay, a longer list shortened, but it’s pretty obvious that the Dutch aren’t all that creative when they borrow words from English. If it’s two words, just stick them together, and don’t even change the spelling. And yet, they make fun of Dunglish.

French

Now you might think that it would be difficult for French to borrow anything from English, since we’ve already borrowed so damn much from them. Also, thanks to the French Revolution, they were the first country to come up with a Royal Language Academy whose sole purpose was to define each and every word specifically, and with only one definition.

Top that off with the disdain in France (multiplied by ten in Québec) for borrowing words from English, and it’s a miracle that any of these exist — but they do. All of the following nouns take the article “le” in the singular:

Pull: Pullover, sweater, or jersey.

Shampooing: Shampoo.

Scoop: Breaking a big news story; same meaning as in English.

Sandwich: So Spanish wasn’t the only language to borrow this one!

Hashtag: Sorry, France!

Lifting: A facelift or plastic surgery.

Parking: A car park in general, and not the verb referring to what you do to your car.

Zapping: Channel surfing on a TV, although who does that anymore?

Baskets: Plural, so “les baskets,” any kind of sporting shoes, probably derived from basketball.

Smoking: See the Spanish word “esmoquin,” above; also a tuxedo or formal dinner attire, for all the same reasons.

Relooking: A makeover.

Tagalog

This is one of the languages of the Philippines, and since America has stomped all over that place since winning the Spanish-American war, it should be no surprise that English linguistic footprints are all over it. Here are a few.

Aborsyon: Abortion, which replaced the original word “pagpapalaglag.”

Adik: As in drug addict, with the traditional word having been more or less a Spanish loan word, durugista.

Badyet: Budget, originally Laang-gugulin.

Basketbol and Besbol: Basketball and baseball, because American sports manage to infect everything they touch.

Bistek: Beefsteak, just like in Spanish although, ironically, I don’t think anybody in America refers to any cut of meat as a beefsteak anymore. I mean, it’s a steak. Of course it’s made of beef — unless one of those beyond or impossible companies tells you that it’s not.

Drayber: Driver, although the earlier word was “tsuper,” itself borrowed from the Spanish chofer, from the word chauffeur, although via English instead of the French from which English stole it. Damn. Complicated enough yet? Yeah, that’s what happens when you colonize people.

Iskul: School. Another example of a language adding a vowel sound before an “s” and hard consonant. The native word was “paaralan.”

Madyik: Magic. Originally Salamangka,

Sandwits: Sandwich, yet another variation on that most British of creations, thanks to an Earl with a gambling habit who liked to eat at the table.

Tin-edyer: Teenager, originally lalabintaunin.

Traysikel: Tricycle, because who doesn’t enjoy a three-wheeled vehicle?

So there you go. Wherever English has gone, it’s left its words behind, whether they’ve been sucked in unchanged Dutch-style, altered slightly for other markets, or rendered phonetically as closely as possible, as in Japan.

Here’s my question for my readers who come from all over the planet: What is your native language, and what words has your language borrowed from English? Hey, don’t be afraid. Click and comment below!

Talky Tuesday: Assuming gender

Since English has no grammatical genders, learning a language with them can be daunting, but fear not. Here are some quick tips on the concept.

One concept in other languages that just boggles the mind of native English speakers is the idea of grammatical gender. It has nothing to do with the actual gender or sex of the person being spoken about and, naturally, inanimate objects tender to be neuter, or have no gender.

Well, at least in English.

Most commonly, languages will either have no gender distinctions, two distinctions (masculine and feminine), or three (masculine, feminine, and neuter.)

Some languages go a little nuts with it, though. Polish technically has five genders — three variations on masculine, plus feminine and neuter. The masculine genders indicate whether something is a human being, a living creature but not human, or an inanimate object, although those last two are not really used anymore.

Bantu languages tend to go the most extreme, with Ganda having ten classes and Shona having twenty — singular and plural are considered distinct genders. Meanwhile, Ganda genders follow characteristics of objects, so pertain to things like people, long objects, animals, large objects, small objects, liquids, and so on.

So if you’re trying to learn a romance language with only two grammatical genders, consider yourself lucky.

Oh — also, do not confuse a language without grammatical genders and gender-neutral language. The latter tries to eliminate sexist terminology.

English still has some gendered nouns that are slowly being eliminated, like the pair waiter and waitress, which are being replaced by server. But note that the two nouns are otherwise not distinguished by articles or adjectives, although they may take different pronouns.

So, for example, “the happy waiter” and “the happy waitress” are both grammatically correct. So are the phrases “He is a server” and “she is a server,” with the pronoun being the only gender distinction.

English used to have a lot more gender-specific work roles and job titles, but these are going away as well. For example, any terms that used to end in -man, like Chairman of the Board, Fireman, Alderman, etc., is being replaced with terms like Chair or Chairperson, and Fire Fighter.

For some reason, probably having to do with Chicago politics, “alderman” is proving to be a holdout, despite efforts to change it.

There are also other gender terms like actor and actress that are changing so that “actor” is now used as the gender-neutral term for either, and a number of gendered terms fell out of use years ago, like baker and baxter, aviator and aviatrix, and seamster and seamstress — although the last one is a little odd, because seamstress stayed, while the former was replaced by tailor.

You also now know where the surname Baxter came from — the same place that Baker did. And yes, there’s a reason that occupational last names are so common in all languages. That’s because a town might have only one baker or miller or blacksmith, so someone would become known as John Baker or Tom Miller or Joe Smith.

This is really amusing when you realize that Giuseppe Ferrari and Joe Smith are exactly the same name.

But back to the gender thing and why it can be so daunting to native English speakers. In some languages, like Spanish, it’s well marked, so that masculine and feminine nouns will generally end in -o for the former and -a for the latter… but not always, and more on that in a moment.

In others, like German, there are broad rule for what words are masculine and feminine, but a lot of the time it’s a total crapshoot, and you can’t get any clues from the spelling. Neuter complicates it further and, on top of that, things don’t always line up, especially when it comes to animate objects and people.

In German, horses and girls are both neuter, for example.

But getting back to Spanish, genders are generally a lot clearer because of the o/a endings, and nouns, adjectives, pronouns, and articles all match:

La mesera alta.

El mesero alto.

These refer, in order, to the tall waitress and the tall waiter, although use camarera and camarero outside of Latin America.

This all makes sense for student learners until the day that the teacher writes, “El agua está fria” on the board, and people freak out.

They will either focus on the “el” and ask why agua is masculine, or they will insist that agua is feminine and ask why the article is wrong.

Welcome to your first grammatical exception — although this one isn’t quite what it seems. If you were talking about “the waters,” “las aguas” would be perfectly fine because the word is feminine. So what’s going on?

This one exists strictly for ease of pronunciation, and it’s the same thing that we do in English when we replace “a” with “an” before certain vowels, like “an elephant,” or “an opera,” but “a universe” or “a unicorn.”

The emphasis in “agua” is on the first a, so it’s very hard to say “la agua” with those two stressed a’s banging into each other. On the other hand, the “l” en el bleeds in very nicely to that stressed a, so that’s why it’s done.

This is true for any word in Spanish that starts with a stressed a, including el águila (but las Águilas), and so on.

This eventually starts to make sense, and then we get the next gender-bomb with something like “el problema.”

Again, the words ends in -a, so it should be feminine, right? Except that this word comes from Greek, where it is masculine, so the gender came over directly into Spanish, and now we have a whole class of words from Greek, generally ending in -ma or -ta and sometimes -pa, that are masculine: el problema, el programma, el planeta, el cometa, el mapa, etc.

Unfortunately, you really just have to memorize them, because a word like etapa (meaning a period of time or a stage in some process) is feminine — la tercera etapa del cohete, the rocket’s third stage.

Once you’ve had fun with those, we get to the word for the hand: la mano. And yes, mano is feminine, for the same reason those Greek words are masculine, except that in this case, “mano” came from Latin, and the form of the word that got adapted into Spanish was feminine.

“Necesitará una mano lista para enfrentar un problema duro.” You will need a ready hand in order to tackle a hard problem. Note how the articles and adjectives appear to not match their nouns at all. Get used to it.

Don’t worry. It gets worse!

Further into occupations, you might learn the word dentista — ella es una dentista. Now, you could assume that the corresponding sentence would be “él es un dentisto,” but you’d be wrong. The correct phrase is also “él es un dentista.”

This is another class of words, generally ending in -ista, that are invariant, and frequently refer to occupations or ideologies. “Socialista” is another one that does not change, regardless of the actual gender of the socialist.

The same applies to nacionalista, capitalista, comunista, marxista, machista, and so on.

Finally, there are words that take on a particular gender because of what is missing. For example, “radio” can be either masculine or feminine, but there’s a good reason for that. When you’re referring to an actual physical device designed to receive and play radio broadcasts, then it’s masculine: el radio. However, when you refer to the broadcast that’s played en el radio, then that is la radio.

The reason for this is that when referring to a medium the word radio is short for “radio difusión,” or transmission by radio, and since difusión is feminine, so is the shortened form.

You can see this in words like la foto and la moto, which are short for fotographía and motocicleta. This is also why days of the week are all masculine — the word for day, el día, is masculine — and why the hours of the day are feminine — because they pick up the gender of the word for hour, la hora.

Month is masculine, so I’ll let you figure out which gender applies to the names of the months.

So it’s not a system that is as hard as it seems, and while there are some exceptions, those exceptions actually follow their own rules. You can’t always assume the gender of a noun, but once you know what it is, remembering it will gradually become second nature.

Good luck! ¡Buena suerte! — because, in Spanish, luck be a lady.

Talky Tuesday: Words you might be using incorrectly

If you want to communicate effectively, and especially if you want to have credibility whether you’re speaking or writing, it’s important to use words correctly. Yet I hear certain words misused all the time, even by otherwise well-educated people.

Note that I’m not talking about often mangled phrases, like “for all intensive purposes” instead of the proper “for all intents and purposes,” or mixing up words like “affect” and “effect.” These are single words that are frequently used improperly.

Cliché

We probably all know that “cliché” means something that has been used in art or literature so often that it has become bland and predictable, and so should be avoided. Movies are full of them — the horror movie villain who isn’t really dead after they seem to have been killed, the henchmen who are terrible shots, the witty comment as the hero dispatches a goon.

We also get these in live theater, though. The so-called “11 o’clock number” comes from the world of Broadway musicals, when the shows used to start at 8:30. This was the “knock ‘em dead before the finale” show-stopper of a song that usually highlighted the vocal talents of the lead, manipulated emotions, and was catchy as hell. Think Memory from Cats, the titular Cabaret, or Rose’s Turn from Gypsy. Also note that nowadays, it’s more likely to be the 10 o’clock number.

Of course, in the latter case, the cliché isn’t so much a specific thing as it is a stylistic conceit.

In literature, clichés can refer to either hackneyed turns of phrase — “I need that like a hole in the head” — or plot elements that have been pounded to death. Young adult literature in particular, from Harry Potter to The Hunger Games via Twilight and Maze Runner abound with them, although, to be fair, they’re more forgivable in YA only because their audience may not have met them yet.

All that said, then, how does the word “cliché” itself get misused? Simple. It’s a noun, and never an adjective. So you’re safe if you say “that’s a cliché.” Not so much if you try to describe something as “that’s so cliché.” In that case, you want the word “clichéd.”

Comprise

This is a word that tends to get used backwards. Hint: If you follow it with a preposition and a list, then you’re using it wrong. Nothing is ever “comprised of” anything else. In that case, you’d be looking for “composed of.”

The “mp” combination in English is interesting because it is one of the ways in which the language has a lot in common with Spanish, and it comes from compound words that would otherwise create the consonant combination “np.” Hell, it even shows up in “compound!” A good Spanish example of this is the word “compartir,” which is very common in social media, because it means “to share.” The constituent words are “con” and “partir.” The former is a preposition that means “with.” The latter is a verb that means “to split.” So, when you share, you split something with someone else: con + partir, but that “np” isn’t liked, so we get “compartir.”

Now to get to the meaning of “comprise,” we have to go back to Middle English via Middle French, where the word “prise” meant to hold or grasp, so the combo basically means “to hold with.” Your preposition is in the phrase, so all you need to add are the nouns.

So… The U.S. comprises fifty states or the U.S. is composed of fifty states.

Further

This word is often confused and misused with “farther.” The two are very similar, but I’ll give you a simple way to remember the difference, making this a very short entry. “Further” is metaphorical, while “farther” is literal. The latter refers only to physical distance, while the former refers to abstract difference.

“Dallas is farther from Boston than Chicago.”

“He managed to walk farther than his brothers that day.”

“She ran farther in the competition than any other runner.”

Those are the literal versions. As for the abstract or figurative:

“He could extend the metaphor no further.”

“They wouldn’t accept any further questions.”

“Their research proved they had no further to go.”

The simple mnemonic to remember it by is this: To create physical distance, you have to go away, and farther has an “a” in it. Yeah, simple and cheesy, but it works.

Ironic

Sorry, but Alanis Morissette is just plain wrong no matter how popular her song was. Irony is not some weird coincidence that happens. For example, slamming the keyboard lid on your hand and breaking it right before your big piano recital is not ironic. Neither is someone saying something during that whole “speak now or forever hold your piece” moment at the wedding.

There are three forms of Irony. First is when what you say is the opposite of what you mean. For example, someone gives you rollerblades for your birthday but you have no legs. That part isn’t ironic, but if you open the gift and announce, “Oh boy, just what I wanted,” then you’re being ironic.

Situational irony is when the intended results of something turn out to be the opposite of what was expected. For example, a husband surprises his wife with an anniversary trip to Paris because she’s always talking about the city, but the real reason she’s seemed so obsessed is because she’s always hated the place, so he’s given her the worst gift ever.

The third form is dramatic irony, and if you’ve ever heard of O. Henry, particularly his short story The Gift of The Magi, then you know this one. A man sells his expensive watch to buy some combs for his wife’s hair. Meanwhile, she cuts off her hair and sells it to buy a fob for his watch. Bang! Double irony. This can also happen when the viewers or readers know something that the characters do not.

Less

If you’re a grammar nerd like me, then every time you see that “15 items or less” sign in the store, your butt probably clenches and you have to resist the urge to tell the blameless clerk why it’s wrong. The difference between “less” and “fewer” is really simple.

“Fewer” refers only to countable nouns, while “less” refers to uncountable nouns. And if that seems all super-grammar unintelligible, it’s not, because the words mean what they say. Countable nouns are objects that can actually be counted: one apple, two oranges, three ducks, etc. Uncountable nouns are those that can’t be counted: sugar, coffee, tea, etc.

Note, though, that uncountables can become countable when they are quantized: a cup of coffee, a tablespoon of sugar, a glass of tea, and so on.

But here’s the rule. If you can count them, then you want to say “fewer.” If you can’t, then it’s “less.” “I want fewer apples.” “I want less sugar.” But also note: “I need fewer pounds of sugar,” since pounds are countable.

I don’t have a great mnemonic for this one, although maybe remembering that the “F” in fewer is in “First,” a counting number, might do the trick. And the great compounder to this one is that the term “more” refers to both countable and uncountable nouns: More apples, more tea.

Yeah, I never said that English made any sense.

Whom

This one is not as hard as it might seem, and in order to get it right all you have to do is rephrase the sentence in your head. For example: “To ??? should I send the gift?” Make it not a question, and it becomes “I send the gift to him/her/them.” And the clue comes in the masculine and plural pronouns. They end in “m” and so does “whom,” so if the rephrase would use him or them, then the other way around would use “whom.”

Most of the time, you’ll use “whom” after a preposition, although not always. For example, a question involving verbs without prepositions gets tricky. If someone asked you which person you believed, would it be “who” or “whom?”

Turn it around and you get, “I believe them,” ergo, “Whom do you believe?” (The implied but omitted preposition is “in.”)

Of course, this also puts the lie to the lyrics of several songs. But no one ever said that lyricists have to be grammarians. Poets do get to slide a bit, after all, no matter the language they write in.

 

Talky Tuesday: Gone and went

Every language has its very irregular verbs, and three of the ones that seem to be irregular in a ton of languages are also three that are very, very common: to be, to make/do, and to go.

Aside from the bit after the colon in the above paragraph, for example, I used three forms of one of them in only 30 words: “to be” once, and “are” twice.

And when irregular verbs go irregular, they go all out. The Spanish verbs for the same thing: ser and estar (that’s two to bes), hacer, and ir are also very irregular.

For example, we’ll look at the Spanish verb “ser” and the English verb to be, and the first person conjugations are these:

Yo soy (I am), tú eres (you are), él/ella/lo es (he/she/it is), nosotros somos (we are), Ustedes son (all y’all are) and ellos/ellas son (they are). All right, if you insist, vosotros soís, but only in Spain, which uses Ustedes as the formal form.

In the Spanish version, parts of the conjugations sort of follow the overall pattern, which is basically that verbs in the present, in the same order as above, will end in –o, -s, no ending except the vowel before the r in the infinitive, -mos, -n, and –n.

What makes a verb irregular are the parts that come before. If “ser” were conjugated like a regular very, then it would be the very weird-sounding (to a speaker) seo, ses, se, semos, sen, sen.

Notice that beyond the first-person conjugations in English, though, the irregularity vanishes — sort of. Am, are, and is are all very different than the infinitive, but when you get to second person, every one of them uses the second person singular form: are.

If you were to conjugate “to be” regularly, then you’d get I be, you be, he/she/it bes, we be, all y’all be, they be. And there are valid versions of English that use exactly this construction, with the exception of third person singular also being be instead of bes.

You’ve probably heard someone say something like, “Dude, you be trippin’,” and while it isn’t standard, it isn’t wrong in the context of the vernacular it comes from.

Go beyond present tense, and irregular verbs get even weirder. Here are ser and to be in the preterite:

Yo fuí, tú fuiste, él/ella/lo fue, nosotros fuimos, Ustedes fueron, ellos/ellas fueron. And all right, dammit, vosotros fuisteis. English: I was, you were, he/she/it was, we were, they were.

In both cases, this form of the verb bears no resemblance to the infinitive. At least English only makes people learn two words instead of five. And Spanish further complicates it in that the preterite conjugation of ser is identical to the same conjugation of the verb to go, ir.

No, that never made any sense to me, either.

An example of a regular verb in English is “to want.” In the present, every person uses want except for third person singular (he/she/it), which gets wants. In the preterite, it’s wanted all around.

Complex tenses use either want or wanted with auxiliary verbs, and the gerund form can either be used as a noun/adjective (the wanting is the hardest part; that wanting feeling), or as a verb, again with helpers, “he’s wanting to go,” “I’ve been wanting to move,” etc.

Nice, simple and easy. But irregular verbs don’t play that, and one in English that I hear tripping up a lot of people is “to go.” In the present, it pretends to be a regular verb: I/you/we/they/y’all go; he/she/it goes. The only irregularity there is adding the e before adding the s, but that’s a pretty standard feature of English, too.

Any other tense, though, and “to go” decides to go batshit crazy.

For one thing, the preterite conjugation of the word bears absolutely no apparent relationship to the infinitive or present. It becomes “went.” Sure, it’s went for every person, but it’s still completely different than its root.

Now, this is where it trips people up. With a regular verb in English, you just use the preterite with the helping verb “to have” to complete the past perfect — an action that you had been wanting to do in the past, but stopped wanting to in the past.

Here’s a regular example: “I had wanted to talk to Bill about it.” Present perfect is the same: “I have wanted to talk to Bill about it,” the difference being that it’s an action you started in the past but are still doing now. And yes, wanting is an action.

And to make it even simpler, the form of “to have” has only one change. Regardless of number or person, it’s have or had all the way down, except for the present perfect third person singular, which would be he/she/it has wanted…

But throw in an irregular verb like “to go,” and that messes with the whole thing, and yet I hear the wrong version all the time.

If we followed the rules above, then past perfect would be something like “I had went with Bill,” and present perfect would be “I have went with Bill.” And, in fact, I know otherwise well-educated adults who do this all the time — and it makes me cringe every damn time I hear it.

See, irregulars like this have an extra layer of dark magic in them: Two past participles. One can be used with auxiliary verbs, and one cannot.

In this case, “went” can only stand alone. If any other verb comes before it, then the word is “gone.” “I had gone with Bill.” “I have gone with Bill.” Contrast “he went away” and “he is gone.” Same idea, but that extra verb makes all the difference. Although I don’t think I’ve ever heard anyone say something as heinous as “he is went.”

Some other sneaky verbs that do this: “to run,” which gives you either “he ran in the marathon” or “he has run in marathons”; “she gave it her all” or “she had given it her all”; “we already ate,” or “we have eaten already”  — and note the change in position of the adverb there. Since it modifies the verb, it comes before a simple one and after a complex one.

Okay, technically, you could say “we ate already” and it would be fine, but “we already have eaten” would sound a little weird.

Then there’s a classic that I hear Brits use all the time — and we’re talking professional presenters on the BBC even, and that is “to sit.” The preterite tense of that is sat — I sat, you sat, etc. In complex tenses, well, it gets complex because it depends on the verb.

Properly, you would say I was seated, you have been seated, etc., but I had sat, you have sat, etc. What I hear, particularly in British English, is the abominable “he was sat,” and similar violence done to the language.

Never, never, never, never, never, to quote Shakespeare.

The trigger on this one is “to be.” Stick it in front of “to sit,” and the verb must be seated. It has only sat when being seated cannot be.

One other really weird irregular one in English happened because… who knows? But the verb “to hang” has a different preterite depending on the circumstances.

In every normal usage, the past tense of “to hang” is hung — “I hung out at the mall last week,” although “I used to hang out at the mall” would also be correct.

The exception is if someone was executed by hanging, in which case the preterite is hanged. And in that weird confluence of slang and proper English, if you’re referring to an executed criminal and you say, “He was hanged this morning,” you’re reporting on the execution.

But if you say, “He was hung,” then you’re just bragging about the size of his genitalia. And that’s why proper word usage is so important.

Talky Tuesday: False friends and other stuff

As I wrote about previously, learning at least one other language is something that’s good for your brain, and not necessarily as hard to do as you might think, especially depending on how your native and second languages are related. For an English speaker, Germanic and Romance languages are probably easier to learn than Semitic or Japonic languages. Not necessarily the case — I know plenty of Americans who’ve learned Hebrew as pre-teens or learned Japanese because of a love of Anime and Manga — but sticking to other languages with common roots will help.

And if you learn one language from a family, while you may not be able to fluently speak related languages, you may at least be able to understand them. From learning Spanish, I can often understand spoken Italian, as well as frequently be able to read French and Portuguese. No such luck with Romanian, though. And yes, although it might be a surprise to some people, Romanian is a Romance Language, too. In fact, it’s the one that gave the family its name. Because I’d studied German, Dutch made sense to me when I dabbled in it. And so on.

But… a funny thing can happen as languages diverge from their origins and change. All of the Romance languages came from Latin. They are the remnants of the Roman Empire, after all. But all of them evolved and changed until they went from being street dialects of the imperial tongue to their own very separate things.

The same thing happened with English. It started out as a language spoken by a tribe on an island off of the west coast of Europe with influences from a different language from other tribes on an island off of that island’s west coast. This got a heavy early dose of Latin thanks to Roman invaders. Then, a few centuries later, it was infused with Nordic Languages via the Vikings and, for a while, the kings there were Danish.

That all ended when ol’ William the Conqueror came roaring in in 1066, bringing French with him. In fact, for a long time, the nobility spoke French while the peasants spoke English and everybody went to church in Latin.

We can still see remnants of the Norman Conquest today. It’s so often cited that it’s not really news, but that’s why we have different words for the animals: cow, pig, chicken, sheep; and for the meat from them, beef, pork, poultry, mutton. The former are all old Anglo-Saxon terms and the latter are French. The peasants grew the stuff. The nobility ate it.

The French roots are still really obvious in the latter: boeuf, porc, poulet, mouton. Meanwhile, the Germanic roots are really clear in the Anglo-Saxon words: Kuh, Schwein, Huhn, Schaf. The one odd one might seem to be chicken, Huhn or Hähnchen, until you remember that we call a female chicken a… hen.

Side note, looking at poulet and mouton: The reason that a lot of English words in British spelling have –ou where the American versions have just –o is that Samuel Johnson had a jones for preserving etymology, so words derived from French kept the French spelling — colour, behaviour, etc. Johnson was kind of a pedant — which is just a fancy Latin-based word for “douche.” But I do digress.

The real point here is this: One of the big bugbears that language learners do face is what are called “False Friends.” That is, words in two different languages that look like each other, but actually have very different meanings. At their most harmless, they can lead to silly misunderstandings. At their most harmful, well… that’s self-explanatory.

Probably one of the most famous examples that any English speaker who takes Spanish 101 learns almost off the bat is this one: Embarazada. For those of you who haven’t studied Spanish, I’ll give you a moment to take a guess at what this word means. Hint: It’s an adjective.

While we’re waiting: One of the funniest (to me) Spanish errors someone can make is to leave the tilde off of the “n” in the word “años,” which means years. In Spanish, the phrase is not “He is X years old,” it is “He has X years.” So leaving the tilde off changes a statement like, “My grandfather (is) has seventy years (old)” to “My grandfather has seventy anuses.”

As for embarazada, what’s your guess? If you said embarrassed, then be embarrassed, because it actually means pregnant.

Speaking of actually… it’s generally easy to convert adverbs from English and Spanish and mostly be right. Adverbs that end with –ly in English end with –mente in Spanish. Probably, probablamente. So the word actualmente might look like it means actually… but it doesn’t. It means currently, as in “right now.” Actualmente escribo un artículo por mi blog. Right now, I’m writing an article for my blog.

Easey peasey. Or, in Spanish, pan comido, which literally means “eaten bread,” but I think you can see how that relates to another English saying: “piece of cake.”

Other fun false friends: Carpeta is not a carpet, which is alfombra, a word that Spanish borrowed from Arabic. Rather, carpeta is a folder, particularly a file folder. You’ll see this word all the time if you switch your devices to Spanish.

And there’s another one. Dispositivo might look like it has to do with disposing stuff, but it doesn’t. This is the word for devices, particularly phones and tablets.

If you work for a business or company, then you might feel like they’re getting all imperial on you. Easy mistake to make if you misinterpret the Spanish word therefore: Empresa.

Looking for a way out? Then you don’t want the éxito, which is actually a big hit — un gran éxito is a song or movie or TV show that earns a lot of money. If you really want to go, look for la salida.

If you want to introduce someone in Spanish, then don’t use introducir, because that means to insert something, and I don’t think you want to get that intimate with your… um… introductions. Instead, use presentar.

On the other hand, molestar in Spanish is a lot more innocuous than it is in English. If you molestas alguien en español, at most they’ll look at you funny and walk away. If you molest someone in English, you’ll probably wind up in jail and on a list. Molestar in Spanish simply means “to bother.” As Winnie the Pooh might say, “Ay, que molesta.”

Then, there’s this one: Fingir. I know what it looks like, but what it really means is “to pretend.” But if you go around fingering people in English… well, without their consent, don’t.

Finally, if you want to wash up, don’t reach for the sopa unless you want to bathe in soup. Otherwise, what you want is jabón… not to be confused with the Spanish word for ham, which is jamón. And this word may or may not have appeared in Michael Jackon’s “Bad.”

I haven’t done this in reverse, but let me know if you can. If you’re a non-native speaker learning English, what words in our language look like but aren’t words in your own? And if you’re an English speaker learning something other than Spanish, what false friends pop up in your target language?

Comment below!

Talky Tuesday: If you love it, you’ll learn it

When you’re learning a new language, there’s one excellent method to increase your vocabulary and improve your fluency, and here it is.

Different people have different learning styles. Some people learn visually. That is, if they see it, they won’t forget it. Others are auditory learners, who pick things up via hearing. And there are also people whose learning method is tactile, through touch or physical motion.

Now, some of those skills seem to apply obviously to certain disciplines. Painters are probably visual learners, musicians are auditory, and dancers are tactile. In the case of language, you might think that it’s an auditory skill, but that’s not necessarily the case. Fortunately, you can use different tricks to learn a new language via your own method.

For visual people, it’s all about words, so the obvious best natural ways for visual learners to pick up a new language are reading and watching.

For auditory people, it’s all about sound, so they’re going to want to listen, although videos won’t hurt if they do have sound as well.

For tactile people, it’s all about sensations, so they’re going to be doing a lot of writing things down by hand.

That part of the lesson may seem like a “Well, duh” moment, but the key is in what you’re reading, listening to, or writing. If you want to learn a new language, treat it like your first language.

That is, whether you’re reading, listening, watching, or writing, you’re going to want to do it with things on subjects that interest you. I can’t emphasize this enough. What you should be doing is seeking out online resources in your target languages — generally newspaper and magazine sites — and then focus on the sections that pertain to your interests.

Whether you’re a fan of movies, TV, sports, fashion, politics, or whatever, if the content in the target language you’re scooping into your brain via your preferred method happens to be about topics you already love, then your contextual understanding is going to go through the roof.

Why? Well, because specialized topics happen to use specialized words, and the quickest way to start to understand the heart of a language — which is how words are derived, how idioms are formed, and so on — is to pick up those words that were created to describe your favorite topic.

I’m a fan of film and theater, for example, so a word I see a lot is taquilla, which means box office. As in English, it’s both a literal and metaphorical meaning. It can refer to the physical place where tickets are sold or to the amount of money a film or play took in.

But where did taquilla come from? Well, like a lot of words in Spanish, it came from Arabic (La Conquista lasted for centuries), and taquilla is a diminutive for “taca.” That word, in turn, came from the Arabic taqah, which referred to a window with bars — a good physical description of a lot of actual box offices, actually.

Incidentally, pretty much any word in Spanish that begins with “al” came from Arabic, where the al- prefix just means “the,” similar to how Spanish combines the articles “a” (to) and “el” (the) into “al.” For example, algodón, which means cotton, and which is also the source of the English word; or alfombra, which means carpet, and this gets back to the focusing on what you love idea. Alfombra was permanently cemented in my brain after seeing it in a few articles about movie premieres always in this context: “en la alfombra roja.” On the red carpet.

The best part is that this is not just limited to Spanish, thanks to the internet (either la internet or la red), because you can probably pretty much find resources in any target language somewhere. If you want to read, you can find national newspapers in the native language and probably plenty of websites — and it will also be a big help to adjust Google’s language settings to include your target. If you want to watch or listen, then there are also tons of videos in other languages. And if you learn by writing, you’ll need source material, so transcribing audio or copying the written word will help as well.

But, again, the key to it is this one simple bit: engage with what you’re interested in in the first place, and it will make your target language come alive in a way that rote lessons or drills or routines never will.

Love it, live it, learn it!

Image © Syed Ikhwan. Used via Creative Commons license 2.0.

“Sit” by any other name

In what now seems like another lifetime, I used to write for Dog Whisperer Cesar Millan’s website. Here is an article originally published in two parts under the heading Dogs and Language, Part 1: ¿Se Habla Spaniel? And Part 2: Sprechen Sie Dachshund?

If you’re bilingual, have you trained your dog in more than one language? If you only speak one language, have you ever tried nonsense words on your dog? Either way, the purpose of this exercise is to separate the language you speak from what you’re communicating to your dog.

Whether you’re bilingual or monolingual, for this exercise you will need to come up with a list of words in a language you’ve never used with your dog before. Basically, you will substitute the words your dog knows with words your dog has never heard.

Go on. Dig up that high school Spanish. Go to an online translator, pick a random language, and make a list. Make up meaningless words. The important point is this: pick one word in the new language and match it to a something your dog knows.

For the next week, only use the replacement words whenever you would use the familiar ones — but think the familiar word while saying the new one. It also helps if the new words don’t sound like the old commands — choosing the German “sitz!” to replace the English “sit” wouldn’t really work, but using another word for sit that sounds nothing like it would be ideal.

If you’ve done this exercise right, very soon after you change the words, you should find your dog responding to them without hesitation, as if you’re still speaking the language they know.

What’s going on here?

If you’ve kept your intent the same and used the new words in the same context as the old, then your dog isn’t listening to what you say at all; she’s paying attention to your energy and body language — and your expectations.

Dogs are all about expectations. Groups of dogs work as a unit, instinctively, and follow the leader by sensing and mimicking body language. If you still don’t believe this, then try the following exercise.

Silence is golden

The instructions for this week are simpler, but also more difficult. For one week, use all your usual commands on your dog, but… you cannot say a word. You can use gestures, posture, and facial expressions. You just cannot say words or make sounds. If it helps, you can pretend to say the words in your head, but that’s it.

In each case, make sure that you have your dog’s attention — they should be looking at you calmly, and making full eye contact. But, once that’s achieved, communicate away in silence. You will probably feel the need to move your hands and arms. Go ahead and do so. You will probably feel stupid and nothing will happen for the first few tries. Don’t give up.

If you remain calm and focused, it won’t be long before your dog understands and responds. It shouldn’t take more than a day or two before your dog follows is picking up on what you’re telling him without a word, and before this doesn’t feel so strange and awkward for you. But, by the end of the week, you should be able to speak to your dog from across the room with merely eye contact and facial expression.

What’s going on here?

Again, in nature, dogs do not communicate with words. When they communicate with growls or barks, they really aren’t speaking to each other. The tone of a bark or growl is produced by a dog’s energy and body language, so such sounds are really more a communication of “How I feel right now” as an indicator of pain, danger, excitement, etc.

When one dog wants another to sit, it doesn’t make any sound. It will merely walk toward that dog while presenting as large a posture as possible, and bump into it if the message is not received. If the message is still not received, then a couple of well-placed paws will probably put the errant dog in line.

In any case, the path to forming that deeper connection with your dog or dogs begins with learning how to communicate like a dog, rather than in working against that and forcing your dog to communicate like a human.

Leave the human words behind, and you will develop an even stronger bond with your beloved canine. In return, your dog will love you even more for understanding it, and using its own language.

Stupid human tricks for becoming better leaders

Anything that will put you in closer touch with your own body or improve your human communication skills will help you to become more in tune with your dog. Here are a few suggestions.

  1. Yoga: You don’t have to be as flexible as a gymnast to do yoga, and there are varying levels and classes. Instructors are usually willing to accommodate your abilities, and doing all these weird stretches will help you get in touch with your body, and your body language.
  2. Dance/Aerobics: Again, you don’t have to be Fred Astaire to dance. Look around, and find something fitting your experience. Tap and Ballet are probably only for people who’ve had some dance training, but things like ballroom, waltz, or country line are probably accessible to anyone. If you don’t want to do dance in quite so formal a way, then look for an aerobics class.
  3. Improv: Although an aspect of theatre which frequently involves words, improv classes are excellent for teaching you the skill of listening, as well as teaching you to be constantly in the moment. Since dogs are also constantly living in the moment, improv is a good way to learn to be more dog-like.
  4. Volunteer: As in volunteer at your local animal shelter, where you’ll get to interact with lots of dogs that are not your own. Practice using the silent command method on each of them. Practice calm, assertive energy while walking them. Also inquire with your local veterinarians to find out if they need volunteers; ask your own vet if they will trade volunteer time for medical care.
  5. Read to Kids: No, really. Contact your local libraries and elementary schools to find out whether they have reading programs. And, although the above dog advice leans toward the non-verbal, reading to a room full of five-year-olds and keeping their attention is good practice, since many studies indicate that adult dogs operate at the same intellectual level as a human five-year-old. It’s not just the words keeping them pinned to their seats… what non-verbal cues are doing the job?

If all of the above fail, then there’s this: Take your dog on a long walk, in silence — but don’t forget to bring plenty of water for both of you. Your dog will let you know when you’ve walked long enough and it’s time to go home. Before that, your dog will let you know what it’s like to be a dog. Listen to the silence and learn.

Postscript: I actually wrote this piece, and included #3 up there, long before I started doing improv. Weird. I was giving myself future advice, I see.

Photo: Author’s dog Sheeba, taken by Stephen M. Grossman.

Of wigs and words

I ran across a very useful and interesting phrase in Spanish today — interesting because there are actually various versions of it. It is: “ni calvo ni con dos pelucas,” which literally means “either bald or with two wigs,” although I’ve seen it with varying numbers of wigs, at least up to seven. (Another fun fact: Unlike English cats, which have nine lives, Spanish cats only have seven.)

But the meaning of the phrase is simply that neither extreme — having too little or having too much — is good, and you should aim for the middle. And now that you know the word for wig, peluca, you might be able to recognize another word you may see on businesses: peluquería, which is derived from it; the c to q change is very common in Spanish. And no, this word does not mean wig-maker. It means hairdresser or barber shop.

The word for bald, calvo, might remind you of another Spanish word you may have seen: calavera, which means skull, or calvario, which refers to Calvary, the Latin word for the hill Jesus was crucified on and which was known as Golgotha, or Gólgota in Spanish, from the Greek word Γολγοθᾶ. This gets really interesting, because that word came from Aramaic, Gûlgaltâ (obviously not in the original characters) and wound up also being translated into Greek as Κρανίου Τόπος.

Now if you transliterate that Greek into the Latin alphabet, it might be more obvious: Kraniou topos. “Cranium” is pretty clear in the first word, and topos means place — hence the word “topography,” or writing about places. All of the words above refer to “Place of the Skull” and, apparently, that hill sort of resembled one.

In case you’re wondering, yep. The name “Calvin” comes from the same roots and originally meant “Little Bald One.” Same goes for the author Italo Calvino, whose name rather unfortunately meant “Little Bald One from Italy.” Ironically, he never really went all that bald. But we can now see that using somewhat negative terms to refer to people losing their hair goes back quite a long time in human history.

Finally, here’s a nice twist on it showing how strong the influence of Latin has been on most Western European Languages. The German word for bald is kahl, and you’ll find similar-sounding words for it in a lot of other European languages. Interestingly, even a language as unrelated as Finnish has “kalju,” which is clearly related. The common thread seems to be the hard “K” and the “L” ending. Play around with that long enough, and “skull” just pours itself right out of the sounds.

This does make me wonder whether George R. R. Martin wasn’t playing around when he named a character Khal Drogo, although khal also means “vinegar,” hence “bitter,” in Arabic, as well as “canal” in Bengali, more on which below. Although it also evokes Genghis Khan, who could certainly be taken as a role model for the character in every way, and which may have been more what Martin was going for.

As for the Drogo surname, on the one hand, it invokes the Latin draco, dragon (and hence Draco Malfoy, whose last name means “bad faith” in French), on the other hand, Drogo is also the word for “expensive” in Polish.

And this is why languages fascinate me, because it’s just so damn fun to look at how they’re connected and how they influence each other, and how long-dead empires and cultures can still have an impact to this day because of the literature and influence they left behind. It’s also interesting to see how similar sounding words have no connections whatsoever. For example, Calgary, Alberta, Canada, was named after a city on the Scottish Isle of Mull, which came for the Norse words kald and gart, for “cold garden.” And Kolkata, in India, was either named for the goddess Kali or for its original location on a canal, or khal. Although they both sound like it, neither one has anything to do with Calvary. Or, for that matter, the cavalry, but let’s not horse around with that one right now.

And that’s enough PUNishment for the moment.

Theatre Thursday: So much for stage fright

The one thing I miss most of all during these strange days, other than hanging out with friends, is being able to go on stage and perform. I know that it’s something that a lot of people wouldn’t miss because they’d never do it in the first place, but I’m feeling the loss, and so are my many actor and improviser friends.
Studies seem to show that the one thing people fear the most, beyond death and spiders, is public speaking… and I just don’t get it. Then again, I’m a performer. Put me on a stage, give me an audience, and I am on. And it doesn’t matter whether I have pre-planned words to speak, like doing a play or giving a speech, or whether I’m totally winging it by doing improv.
To me, an audience is an invitation to entertain.
On top of that, to me, the more the merrier. I’ll take an audience of hundreds over an audience of dozens or fewer any day. The energy of a large house is infectious, and whenever I’m with a cast that’s in front of a big crowd, we all can feel it in each other’s performances. The intensity level and connections between us all go way up.
And it’s not an ego thing. It’s not about “Oh, look at ussssss!” It’s the people on stage thinking, “Look at them.”
We can see and hear you out there, and speaking for myself, if I’m doing comedy, there’s nothing I appreciate more than hearing a good laugh. If I’m doing drama, then there’s nothing more satisfying than the silent intensity of dozens or hundreds of captive eyes and minds.
Every time I go onstage, I have to wonder why anyone would fear doing it. Because here’s a simple truth that performers just know but which muggles might miss: The people watching you in the audience are a lot more afraid than you are.
Why is this? Two reasons. The first is that the audience gets to sit in the dark and be anonymous, while the performer doesn’t. You’d think that this would put the performer on the spot, but it’s quite the opposite. In fact, being in the spotlight gives the performers all of the power — and if you’ve ever been in the house of a large professional theater with a name actor onstage when someone’s cell phone rings audibly, or people are taking pictures, you’re seen this power being used with a vengeance.
This touches on the other reason for the fear: That an audience member is going to wind up being forced to participate somehow — that’s been a hazard of modern theatre ever since Bertolt Brecht broke the fourth wall, if not even earlier. Audiences can get spooked when the actors notice them and interact with them.
I’ve seen it as an audience member most obviously when I went to a production of Tony n’ Tina’s Wedding, which is a piece of environmental theatre first created in the 90s that casts the audience as the wedding guests. (A modern example of the form: escape rooms.) The audience starts out just sitting in the chairs under the outdoor tent for the ceremony, which is not without its family drama, although this part plays out a little bit more like a traditional play.
It’s when everyone moves inside to the banquet hall for the reception that things get interesting. Well, at least the cast tries to make them so. The audience is seated at various tables, with one or more actors planted at each. Now, I have to assume that each table had a similar set-up facilitated by a different family member. At ours, the Tina’s mother came over to tell us that Tina’s ex had come to the wedding uninvited, but that was okay. He was fine as long as he didn’t drink, so she was putting him at our table and asked us to make sure that he didn’t.
I wound up sitting next to the actor, and I sure played my part, making sure to vanish his champagne and wine glasses before he could get to them, but not only was no one else playing along, they weren’t even interacting with him. Now, I’m sure the inevitable arc for that actor is to figure out how to get “smashed” no matter what, and the character gets really inappropriate later on, but nobody at my table was trying, and I’m sure it was true at others.
I finally got to the point of abandoning my table and chatting with anyone who seemed to be a player, and damn was that fascinating — not to mention that they seemed grateful as hell that somebody was interacting with the character they’d bothered to create. I learned all kinds of things about what was going on, family dirt, some of the Italian wedding traditions, and so forth.
That’s what you have to do as an audience member when you go to environmental theatre. That’s the contract! So if you’re not into it, don’t go see those kinds of shows.
On the other hand, I’ve seen it from an actor’s POV more than a few times, and in shows that were not necessarily advertised as environmental theatre, or were not even announced as happening beforehand. In those cases, I can understand the audience discomfort. That doesn’t mean that it wasn’t fun to put them through it, at least in those situations.
Those situations have also been some of my favorite show memories, though. I was in a production of an Elaine May play, Adaptation, that posits life as a game show with a large ensemble cast. I think that only the host and star of the show-within-the-show played one character. The rest of us played a ton and our “offstage” was sitting in the audience, meaning that we had plenty of asides delivered directly to whomever we wound up sitting next to between scenes. Or, sometimes, we’d turn around and deliver the line to the people behind us or lean forward and deliver it to the people in front of us, which startled the hell out of them.
I also performed in a series of Flash Theatre performances done all over Los Angeles over the course of an entire year and staged by Playwrights Arena, and a lot of those involved interacting directly with our audience, which were a combination of people who knew about it beforehand and (mostly) whichever random folk were in the area when it happened. That is perhaps the most immediate and real fourth wall breaking because there was never a fourth wall in the first place. Or, rather, the audience is inside of it with the cast, even if everyone is outside, and a lot of the shows were. It’s the ultimate environmental theatre, staged with no warning and no invitation.
Even when the play wasn’t designed to break the fourth wall, a director’s staging can make it happen, and I had that experience in a production of Tennessee Williams‘s Camino Real, where I basically played Mexican Jesus.
It’s one hot mess of a show that only ran sixty performances originally in 1955, when Williams was at the height of his powers, and I can say for certain that while it’s really fun for the actors to do, I felt sorry for every single audience we did it for. And I am really curious to see what Ethan Hawke manages with his planned film version of it. Maybe that medium will save it, maybe not.
But… our big fourth wall break came when the actress playing my mother (aka “Thinly Veiled Virgin M”) held the “dead” hero in her lap, Pietà style (while I was secretly getting a workout using my right arm to hold up his unsupported shoulders under the cover of the American flag he was draped in), and during her monologue, which was a good three or four minutes, every actor onstage except Mom and “dead” hero (there were 26 of us, I think) started by locking eyes with somebody in the audience house left and then, over the course of the speech, very, very slowly turning our heads, making eye contact with a different audience member and then a still different one, until, by the end of the speech, we were all looking house right.
Ideally, the turning of our heads should have been imperceptible, but our eye contact should have become obvious as soon as the target noticed. I should also mention that since I was down center sitting on the edge of the stage, the nearest audience member to me was about four feet away — and I was wearing some pretty intense black and silver makeup around my eyes, which made them really stand out.
Good times!
I’m glad to say that what I’m doing now — improv with ComedySportz L.A.’s Rec League — is designed to never make the audience uncomfortable, so that no one is forced to participate in any way. And that’s just as fun for us on stage, really, because the participation we get via suggestions and audience volunteers is sincere and enthusiastic. And if our outside audience happens to be too quiet or reticent during a show, we always have the Rec League members who aren’t playing that night as convenient plants who will take up the slack after a decent pause to allow for legitimate suggestions.
Yeah, I won’t lie. I definitely enjoyed those times when I got to screw with audiences. But I enjoy it just as much when we go out of our way to bring the audience onto our side by making them feel safe. I never have anything to be afraid of when I step on stage. I’d love to make our audiences realize that they don’t either.
Image by Image by Mohamed Hassan via mohamed Hassan from Pixaby.

Talky Tuesday: Trying trilingualism

As I’ve mentioned here before, I took four levels of Spanish over five years in school middle and high school, so I ran out of classes at the end of my junior year. Being a total language nerd, I then took one year of high school German, followed by a semester of University German.

I swear that in the first week in Uni we learned more than I had in the first semester in high school.

I didn’t pursue either language in college because I focused on other areas, with a Major and double minors. Consequently, I forgot a lot of both.

Of course, it didn’t help that our Spanish 4 teacher pulled a fast one on us. She asked the class to vote on whether we wanted to study language (i.e., grammar, spelling, etc.) or literature. The vote was unanimous for language, but she taught literature anyway, figuring we’d learn the language that way.

Narrator’s voice: “We didn’t.”

We didn’t exactly start with the Spanish-language equivalent of Dr. Seuss, which didn’t help. Imagine taking a recent immigrant who’s only studied English for a couple of years and then tossing them Shakespeare, Tennessee Williams, George Orwell, Kurt Vonnegut, etc.

They’d do what we did, which was go to the local library at Cal State University Northridge (CSUN), which we had access to use because we were public school students in California, although we couldn’t check out any books.

What we could do, though, was make copies of them, so we would go down there, find the English translation of the latest work, and either read it there or copy it so we could sound like we knew what we were talking about.

It was really a total waste of a year.

But then I started learning Spanish again as an adult about seven or eight years ago, starting with Duolingo as a refresher, and then using immersion via radio, magazines, TV, and so on. Listening to Spanish language stations in the car on my commute actually turned out to be the breakthrough for me.

And so, on my own, in about the same time I’d studied in high school, I achieved the level of fluency that I never did back then. I also got hooked on the unbroken streak on Duolingo — mine is currently six years, seven months, and about three weeks, although I was on Duo for a while before I started the streak.

But the thing is, Duolingo is pretty basic, and I’ve pretty much shot past anything they can teach me now, including all of the stories. So, recently, I decided to try something different.

I’d use Duolingo to learn German, but I would do it from Spanish. In technical terms, this would be learning my L3 in my L2. It’s actually working, because it forces me to not think in English at all, but there are some interesting collisions that happen between all three languages, because they have some words that are close and some that aren’t, and some that mean completely different things on two or all three of the languages.

A big one that constantly screws me up is “es.” In Spanish, “es” is the third person singular form of one of the two verbs for “to be.” In German, it is the third person neutral pronoun “it,” while the third person singular of the verb “to be” is “ist.”

In Spanish, you don’t have to use the pronouns because the verb endings imply them. In German, you always have to use the pronouns, the same as in English. (Well, proper English. We can omit them slangily.)

So the sentence “It is good” in Spanish could just be “Es bueno.” In German, it would be “Es ist gut.”

I can’t tell you how many times in a lesson I’ve started with that es and my brain shifts to Spanish right there, so I’ll enter “es gut” and get it wrong.

The other big difference is that German has three genders, while Spanish only has two — well, technically, but I won’t get into that here. The thing is, just as with Spanish, German grammatical genders bear no relationship to human gender.

That’s why a young boy is masculine while a young girl is neuter, and animal genders seem to have been assigned more on psychology than anything else. Bears and dogs are masculine, while cats and ducks are feminine, and horses are neuter.

I know a lot of English speakers who struggle with learning Spanish articles, but they’re really a lot simpler than German. For definite articles (aka “the”), Spanish has masculine and feminine singular (el, la) and their plural counterparts (los, las).

The only sneaky one is the combination that adds “to” before the masculine pronoun. To avoid having an “a” sound before an “e,” a + el becomes al.

Fun fact: this is the Arabic word for “the,” and wound up in a lot of words borrowed into Spanish and also English. Whenever you see one, realize that the original word was “the (something),” q.v. algebra, Alhambra, alcohol, etc.

Anyway, that gives us just five options in Spanish: el, al, la, los, las.

German starts out with three definite articles, masculine, feminine, and neuter: der, die, das. But the plural versions are not as straight-forward. In order, they are die, die, die. (By the way, that’s pronounced “dee,” and not the way it looks like it would be in English.)

So that one is simple, but there’s a catch. Unlike Spanish, German articles change as grammatical case does. That is, it depends on whether a noun is the subject of a sentence, or whether it’s the direct or indirect object, or has a relationship to another noun in the sentence — usually possession, but it can be descriptive as well.

That gives sixteen possible definite articles and, while some of the words repeat — like “die” taking up to spots above — you have to remember which ones go where.

Of course, language isn’t all difficulty, and some of the fun comes in when a sentence in one language  sounds like something filthy in another when it’s not.

For example, “Die Mädchen haben Hüte.“  Knowing that Mädchen means girl or girls (das or die is the only clue), this could easily sound like a reference to the restaurant Hooters, but it’s not.

It simply means “The girls have hats.”

Another, which sounds even filthier, is “Der Junge isst Nudeln.” If you’re an English speaker, you can be forgiven for thinking this means “The young man is nude.” Nope. It’s just a boy eating pasta.

In German, “bald” is not hairless (“calvo” in Spanish) but “soon.” And at the party last night, you might have seen Brunhilde rockin’ her Rock, which is a reference neither to stones nor to music, but the German word for skirt. (Also, pronounced with a long O, so “roke,” not “raak.”)

No, I have no idea why a German skirt is a Rock. The Spanish word makes so much more sense, really: “falda.” It just sounds more comfortable.

How the structure of questions differs between the three languages is interesting, too. In English and German, generally speaking, questions are in “VSO” order, meaning verb, subject, object: “Is Walter from Indiana?” or “Ist Walter aus Indiana.”

In Spanish, you have the option to do either, but it’s far more common to leave it as SVO and let inflection do the rest: “¿Walter es de Indiana?”, although “¿Es Walter de Indiana?” would be just as valid.

The key, again, is the inflection, with the rising tone giving away that it’s a question and not a statement, and this is why Spanish alone among the three has the upside-down punctuation at the beginning of the phrase. That’s so a reader will know when they see subject-verb that they are not reading a statement.

Finally, being the mongrel that it is, English goes both ways. The most normal way is VSO, but we can also use SVO to express surprise and, again, it’s all a matter of inflection. “Walter is from Indiana?” (Roll eyes, clutch pearls.)

In German, that construction would only ever be a statement of fact.

One other interesting thing about German, although I’ve seen it kind of fade away. They capitalize their nouns. Er, sorry… The German People capitalize all the Nouns!

We used to do this in English, and you can see it if you go back and read documents written by the Founders around the time the U.S. was born, the phrase “We, the People” being one of the more famous examples.

But even then, it was fading out as a standard and the capitalization was mostly used to highlight Principles that were Important and Abstract… Life, Liberty, and the pursuit of Happiness and the like. And note that in that sentence, pursuit, although it is a noun, is not capitalized.

The funny thing is that this seemed to have developed in German in the opposite way from how it vanished from English. They started out by only capitalizing the nouns referring to important concepts or people (like König, or King), but then started doing it all of them. It started in the 16th century and became official in the 17th, about a hundred years before English moved in the opposite direction.

And Spanish took an even more opposite extreme: A lot of what are capitalized as proper nouns in English are not in Spanish, like days of the week or names of months. It’s the same with titles of movies, plays, and books. Only the first word and any proper nouns are capitalized. Otherwise, nope.

For example, La guerra de las galaxias aka Star Wars: A New Hope.

I suppose it’s time to leave you with a joke that my University German professor, the late, great Frau Schulz-Bischof, told us.

A Spaniard, an American, and a German are talking about language.

The American says, “English is the most beautiful language in the world. Just look. We have the word ‘butterfly.’”

“It’s nothing,” the Spaniard replies. “Spanish is the most beautiful. In my language, your butterfly is ‘una mariposa.’”

There’s a long pause, and then the two turn to look at the German, who finally just blurts out, “And what is wrong with ‘Schmetterling?’”

She was from Hamburg, by the way, so she gets to tell that joke. Or got to.

Image source: Dhammika Heenpella / Images of Sri Lanka, (CC) BY-SA 3.0, via Wikimedia Commons