Language Log

Tonight we're rewatching The Good, The Bad and The Ugly in honor of Ennio Morricone, the composer of its iconic score, who died today. Deediedeedledee nwah nwah nwaaaaahhh

And I've just had a thought about the title that turns on the quite different interpretations of the-Adj constructions in English and Italian, which I mainly know about from this paper by Hagit Borer and Isabelle Roy .

In English, "the Adj" generally only allows a generic reading, and often refers to the class of humans characterized by the adjective, as in the poor, the rich, etc. In Italian (and French, Spanish, etc.) this isn't the case; the construction, although based on the same syntax, can also receive a particular referential singular interpretation. Borer and Roy ascribe this to the presence of identifying number and gender features on the determiner in those languages.

In the original Italian title of the movie, Il buono, il brutto, il cattivo ('The good.masc.sg, The ugly.masc.sg, the bad.masc.sg.) these 'The-Adj' sequences are referential; they refer to the three main characters Blondie, Angel Eyes and Tuco. The Italian title is more or less equivalent to English "The good guy, the bad guy and the ugly guy". 

In English, though, the grammatical structure of the title can only get the generic reading. The use of these forms in the film to refer to three protagonists, then, bestows an archetypal quality on those characters; they're metonymically interpreted as instantiating the whole classes of good people, bad people and ugly people respectively. And the kind of mythic force it imparts somehow fits so perfectly with the grandiose yet tongue-in-cheek quality of the whole film, to me it's really a fundamental part of its impact, humor and appeal.

My question is, do you think Leone and the scriptwriters understood this property of the English translation? Or did they read their English calque of the Italian grammatical structure just as they would have read the Italian? The Italian title, in fact, with its masculine singular marking, cannot be understood in the same way as the English is. To represent the English interpretation in Italian, apparently, the plural would be needed: i belli, i brutti, i cattivi. My guess is that neither the writers nor the director realized that the title read so differently in English. 

 According to Wikipedia, the Italian title was a last-minute suggestion of screenwriter Luciano Vincenzoni, and the title for the English version was determined by the studio after some alternatives were bandied about and rejected. I wonder if someone at United Artists recognized the different reading, and the epic quality it imparted, when they were discussing the choice!

Thanks to Roberta d'Alessandro and other Facebook linguists for Italian judgments and discussion!

Since 1979, being in a department that proudly called itself "Oriental Studies", a distinguished component of which was Arabic Studies, I had often heard of "maqama" and was quite aware that it was a virtuoso literary form:

Maqāmah (مقامة, pl. maqāmāt, مقامات, literally "assemblies") are an (originally) Arabic prosimetric literary genre which alternates the Arabic rhymed prose known as Saj‘ with intervals of poetry in which rhetorical extravagance is conspicuous.

Source

Now, a new rendering of al-Ḥarīrī's masterpiece of the genre by Michael Cooperson, titled simply Impostures, attempts to convey in English the wild exuberance of the language of the original:

"Fiction: Fifty Approaches to an Antic Arabic Masterpiece:  The Maqāmāt shows off all that Arabic can do. This translation shows off English in the same flattering light."  By Sam Sacks, Wall Street Journal (June 26, 2020)

[This is a guest post by Mark Metcalf]

Recently read a short story by Chinese sci-fi author Ma Boyong (translated by Ken Liu) entitled "City of Silence" (Jìjìng zhī chéng 寂静之城) — a tale about a highly dystopian future in ("not") China. The story was referenced in an article in Wired.

Haven't been able to find an English translation online, so I got the Kindle version in a compilation – Invisible Planets. A thought-provoking story that describes a State in which the government controls people's thoughts by monitoring all of their communications in order to detect the "misuse" of language. The following excerpts from the book explain how the process evolved. Very disturbing, with echoes from recent history that are even more disturbing.

Article in The Irish Times (6/3/20):

"Church of England rules Irish inscription on grave stone must have translation:  Family of Irishwoman wanted phrase ‘In ár gcroíthe go deo’ at grave in Coventry"

Here are the first few paragraphs of the article:

The Church of England has ruled that an Irish-language inscription on a Coventry gravestone must have a translation with it to ensure the phrase is not mistaken as being a political statement.

The family of Irish-born Margaret Keene want the words “In ár gcroíthe go deo” on the stone above her grave at St Giles burial ground at Exhall, Coventry. Translated the words mean “in our hearts for ever.” She died in July 2018 at the age of 73.

Stephen Eyre QC in his role as a judge of the Church of England’s Consistory Court (an ecclestiastical court) ruled that without a translation the inscription would not be understood by many visiting the church yard.

“Given the passions and feelings connected with the use of Irish Gaelic there is a sad risk that the phrase would be regarded as some form of slogan or that its inclusion without translation would of itself be seen as a political statement.

“That is not appropriate and it follows that the phrase “In ár gcroíthe go deo” must be accompanied by a translation.”

Last week at the Chinese National People's Congress (NPC; the annual two-week meeting just ended), a delegate submitted a proposal to end foreign-language translations at press conferences and major events in order to "safeguard the dignity of the Chinese language".

"Chinese legislator proposes banning foreign translation at government press conferences"

Sarah Zheng, SCMP 5/27/20

From Diana Shuheng Zhang:

This English translation is modified based on pages 26-28 of the article — Adams, Douglas Q: "More thoughts on Tocharian B prosody," Tocharian and Indo-European Studies 14 (2013), 3-30.

A fragmentary manuscript in Tocharian B, ca. 600 AD, excavated in Kucha (Qizil Miŋ-Öy), Berlin Turfan Collection. Now stored at Frankfurt. No. THT 496, B 496.

In my Middle Vernacular Sinitic (MVS) seminar yesterday evening, Diana Shuheng Zhang submitted this translation:

gèng yǒu fēngliú shè núzi
néng jiāng pánpà lái qī ěr
báimǎ qīngpáo huō yǎn míng
xǔ tā zhēnshi chá láng suǐ

更有風流歙奴子
能將盤帕來欺爾
白馬青袍豁眼明
許他真是查郎髓

Li She 李涉 (fl. 806-835)《Què guī Bālíng túzhōng zǒubǐ jì Táng Zhī yán 卻歸巴陵途中走筆寄唐知言》 “Returning Once Again to Baling, Written Hastily [lit., Running My Brush] En Route to Confide in Words to Tang Zhi”

The entire poem in 44 lines may be found here.

[This is a guest post by Nathan Hopson, who sent along the two screen shots with which it begins.]

Another splendid example of why punctuation matters and why machine translation is dumb…

Joe Farrell wrote in to ask:

Do you know whether the word "handbook" (Gk encheiridion, Lat (liber) manualis) can be found in any other ancient or medieval languages? And, if so, whether it is clearly a loan word or it simply arises spontaneously in different languages from a similar conceptual and material relationship between books and hands.

From Jeff DeMarco:

I hit the translation button for this Facebook post and this is what I got!

As part of our research on the dictionary of Middle Vernacular Sinitic (MVS) that Zhu Qingzhi and I have been working on for more than two decades, I was tickled by this quaint poem (below on the second page) by the medieval Buddhist poet, Wáng Fànzhì 王梵志 (Brahmacārin ब्रह्मचारिन् Wang; fl. first half of 7th c.).

I have been an avid fan of Wáng Fànzhì's unique poetry for nearly half a century.  Quaint, indeed, and also quirky.  Wang Fanzhi is self-demeaning in a funny, adorable way.  The poem I'm about to introduce you to is a good example of his trademark self-abnegation.

What attracted me particularly to this poem for the purposes of our research on MVS is the first word in line 2, chǎngtóu 長頭 ("for a long time"), which does not exist with this meaning in Literary Sinitic (LS) / Classical Chinese (CC).  Finding chǎngtóu 長頭 ("for a long time") in Wang Fanzhi's poem was already enough of a treat, but when I got to the last word of the couplet, I was even more delighted.  As you will momentarily see, what Wang says about his wife's tummy is funny by itself, but the word he uses to describe what the wife does to her tummy made me even more excited.

But let's read the poem first, then I'll talk about the word in question, namely, méisuō 沒娑 ("massage").

This is an old Soviet joke, recycled and updated, that is making the rounds in Russia now.

Вопрос на всенародное голосование –

Вы не против изменения Конституции РФ, чтобы Владимир Владимирович Путин остался правителем России на всегда?

Варианты ответов:

1. Нет, не против
2. Да, не против