Language Log

During the first twenty years of my academic career, if anybody asked me what my specialty was, I would have told them something like "medieval popular Buddhist vernacular Chinese literature".  In that usage of "vernacular", which I thought was the standard meaning of the term, I simply considered it a register of language and writing that is distinct from and contrasted with "classical" or "literary", and — to my mind — it was parallel to "popular" or "folk" in a cultural spectrum that ran to "elite" at the other end (I was going to say "at the top", but — being a partisan of "popular" and "folk" — I caught myself).

In college, as an English major, being a specialist on the vernacular meant that I was enamored of Chaucer, and in graduate school and as a young Sinologist, it signified that I concentrated on the first sizable body of non-classical / literary texts archeologically recovered from the far western Chinese site of Dunhuang, concerning which we have often touched here on Language Log, especially in recent weeks.

Competition among various AI services will spur them to further heights.

ChatGPT, Bing, Bard and DeepL: Which one offers the best Japanese-to-English translation?

by Karin Kaneko, Japan Times (7/18/23)

Kaneko, working with her editors at Japan Times, devised an ingenious test for comparing the quality of several translation tools in different categories of writing.  Since this experiment is so innately interesting and inherently revelatory, I will provide extensive quotations, adding romanization of the Japanese passages from GT (not an easy task for me!).  To be fair to GT, and simply out of curiosity to see how it compares with the newer type of AI translation services, I will also invite GT to translate all three of the chosen passages.  N.B.:  All three of the GT English translations have been added by me.

This is part of a long series of Language Log posts in which we pondered the phenomenal memorization skills of persons of Indian heritage (see "Selected readings" below).

So you know what's happening in the following astonishing video, let me begin by giving a basic definition, etymology, and explication of what happens in this intricate word game:

Antakshari, also known as Antyakshari (अंताक्षरी transl. The game of the ending letter) is a spoken parlor game played in India. Each contestant sings the first verse of a song (often Classical Hindustani or Bollywood songs) that begins with the consonant of Hindi alphabet on which the previous contestant's song ended.

The word is derived from two Sanskrit words: antya (अन्त्य) meaning end + akshara (अक्षर) meaning letter of the alphabet. When these words are combined and an '-i' suffixed, the term means "The game of the ending letter". Due to schwa syncope in Hindi and other Indo-Aryan languages, Antyakshari is pronounced antakshri. A dialectical variation of the word is इन्ताक्षरी or intakshri.

Get ready to go a-wanderin'.  I'll take you down to the rivers and lakes, and we shall lose ourselves in them, get lost from the hurlyburly hustlebustle of the mundane world.  That's what jiānghú 江湖 ("rivers and lakes") is all about.  It's where you go to xiāoyáo yóu 逍遙遊 ("wander freely / carefreely / leisurely").

The first occurrence of jiānghú 江湖 in traditional Chinese literature is to be found in the Zhuāng Zǐ 莊子 ("Master Zhuang") (late 4th-early 3rd BC), which happens to be my favorite work of ancient Chinese literature:

Quán hé, yú xiāngyǔ chǔ yú lù, xiāng xǔ yǐ shī, xiāng rú yǐ mò, bùrú xiāngwàng yú jiānghú.

泉涸，魚相與處於陸，相呴以溼，相濡以沫，不如相忘於江湖。

"When springs dry up, fish huddle together on the land. They blow moisture on each other and keep each other wet with their slime.  But it would be better if they could forget themselves in the rivers and lakes."

VHM, tr., Wandering on the Way:  Early Taoist Tales and Parables of Chuang Tzu (New York:  Bantam, 1994), p. 53.

Cantonese — its nature, its status, its past, present, and future, its place in the realm of Sinitic languages and in the world — has been one of the chief foci of Language Log.  Consequently, it is my great pleasure to announce the publication of the three-hundred-and-thirty-fourth issue of Sino-Platonic Papers:

“The Concept of the Cantophone: Memorandum for a Stateless Literary History,” by Wayne C. F. Yeung.

https://sino-platonic.org/complete/spp334_cantophone.pdf

This is a landmark work of scholarship that penetratingly probes the position of Cantonese — and thereby all "Chinese" topolects — in the complex mix of language, literature, nation, politics, and culture.  

From Scott D. Seligman via Facebook:

  ChatGPT is really creeping me out. I asked it for a recipe for Pad Thai in the form of an Emily Dickinson poem. I'm no poetry maven, but the damned thing seems to have the ability to turn a phrase, at least some of the time.

I was stunned when I read the following article in the South China Morning Post, both because it was published in Hong Kong, which is now completely under the censorial control of the People's Republic of China (PRC) / Chinese Communist Party (CCP), and because it raises some disturbing political issues and troubling linguistic problems.

"Why the rewriting of China’s history 3,000 years ago still matters today"

Confucius uncovered the truth of the Shang dynasty but agreed with King Wen and the Duke of Zhou to cover up disturbing facts
Beijing’s claimed triumph over Covid-19, for instance, may not echo with all who endured the draconian quarantines.

Zhou Xin, SCMP (4/25/23)

In my trilogy of books and dozens of articles about medieval picture storytelling in South, Central, East, and Southeast Asia, I stressed the alternation of sung and spoken passages as performed by the narrator:

Tun-huang Popular Narratives (Cambridge University Press, 1983)

Painting and Performance:  Chinese Picture Recitation and Its Indian Genesis (University of Hawai'i Press, 1989)

T'ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China (Harvard University Asia Center, 1989)

Because of the close association with illustrative pictures to complement the narrative (or perhaps it would be more accurate to say that the pictorial narratives were being explicated by the accompanying texts), I stressed the alternation between spoken and sung portions, where the former told the story and the latter highlighted certain aspects of the tale.  This type of narrative has been well studied in various literatures around the world.  See Joseph Harris and Karl Reichl, eds., Prosimetrum:  Crosscultural Perspectives on Narrative in Prose and Verse (Martlesham, Suffolk, England:  Boydell & Brewer, 1997).

In the quintessential Chinese genre of this type of picture storytelling, biànwén 變文 ("transformation texts"), there is a distinctive pre-verse formula which marks the transition from prose to verse.  The typical form of this formula is "qiě kàn XX chù ruòwèi chénshuō 且看XX處若為陳說" ("just look at the place [where XX occurs], how shall I present it?").

Source: China Media Project (12/7/2022)
THE CMP DICTIONARY: Socialite 媛
By XINYU DENG

Once signifying graceful women of a distinguished background, the term “socialite,” or yuan (媛), has in recent years become a misogynistic umbrella term used on digital platforms in China to disparage women who advertise fancy lifestyles. The term has also been used by state-run media to roundly criticize perceived materialistic excesses, reinforcing their unfair association with femininity.

The Chinese word yuàn (媛) has traditionally referred to the “virtuous and comely woman” as mentioned in the Shuowen Jiezi (说文解字), a Chinese dictionary compiled in the Han dynasty. Since 2020, however, the word has rapidly evolved — or perhaps devolved — into a catchall word used on the Chinese internet, and also in state media, to denigrate modern-day beauties as disgraceful and degenerate.

Sino-Platonic Papers is pleased to announce the publication of its three-hundred-and-thirty-second issue:

“The Sutradhar and the Ringgit: A Study of Terms Related to the Early Puppet Theatres,” by Keith Rawlings.

ABSTRACT

Certain words in Sanskrit, Old Javanese, and Ancient Greek that appear in centuries-old texts are thought by many scholars to be early references to puppetry, leading to certain theories about the history of that art. These particular words from antiquity and the Middle Ages and their interpretations and translations underpin currently received views about the antiquity of puppetry. This paper discusses the history of the related scholarship, examines varying interpretations of the words, and suggests other possible meanings, leading to questions about their interpretation. I hope to show that, because words in earlier eras of a language may have different interpretations from those accepted later, texts and the scholarship that relies on them should be re-examined in the light of current knowledge.

Something very funny happened to me earlier today, funny enough that I would like to share it with all Language Log readers who may be desirous of something more than a cup of coffee to perk them up on a gray, midweek morning.

I entered the following Mandarin expression into Google Translate and wanted to hear it pronounced by the machine:  衷心感謝 ("heartfelt thanks").  So I clicked on the speaker button, but, by mistake, I had it set to English rather than to Chinese.  What I heard was Mandarin with an English accent!

When set to Chinese, the machine pronounces 衷心感謝 properly and precisely:  zhōngxīn gǎnxiè.  When set erroneously to English, it sounds like an American reading out romanized Mandarin, with the "correct" suprasegmental intonation and all, but, of course, paying absolutely no attention to lexical tones.  Amazingly, it's still understandable, which replicates the experiments my wife used to make by going up to strangers on American streets and asking them to read pinyin Mandarin to native speakers.  She was always triumphant when the native speakers could understand most of what the English speakers were reading.

I had the machine read 衷心感謝 in French, Spanish, Italian, German, and other languages, and they all had their own special "flavor".

Our previous post was on "Hallucinations: In Xanadu did LLMs vainly fancify" (4/3/23).  If you were wondering where such an evocative, exotic name came from, it has a direct lineage back to the Mongol Yuan Dynasty (1271-1368) of China where it was called Shàngdū 上都 ("Upper Capital") in Mandarin, ultimately from early Mandarin ʂaŋ` tū.  The first Romanized form comes from Marco Polo's writings in Italian as Shan-Du. In 1617, Purchas his Pilgrimage […] by Samuel Purchas was published in London, containing the phrase “In Xamdu did Cublai Can build a stately Palace” on page 472. This was the inspiration for Coleridge's poem which uses the spelling Xanadu. (source)

Location and basic history

Shangdu (Chinese: 上都; lit. 'Upper Capital'; Mandarin pronunciation: [ʂɑ̂ŋ tú]; Mongolian: Šandu), also known as Xanadu (/ˈzænəduː/ ZAN-ə-doo), was the summer capital of the Yuan dynasty of China before Kublai decided to move his throne to the former Jin dynasty capital of Zhōngdū (Chinese: 中都; lit. 'Middle Capital') which was renamed Khanbaliq (present-day Beijing). Shangdu is located in the present-day Zhenglan Banner, Inner Mongolia.

(source)

It was 220 miles (350 kilometers) north of Beijing.

"Kong Yiji" is one of the most famous short stories by Lu Xun (1881-1936), the most celebrated Chinese author of the 20th century.

"Kong Yiji" (Chinese: 孔乙己; pinyin: Kǒng Yǐjǐ) is a short-story by Lu Xun, the founder of modern Chinese literature. The story was originally published in the journal New Youth (Chinese: 新青年) in April 1919 and was later included in Lu Xun's first collection of short stories, Call to Arms (Chinese: 吶喊). The story's narrator reminisces about Kong Yiji, a pedantic scholar who became the laughing-stock of the tavern where the narrator worked. In the end, Kong's legs were broken as punishment for stealing books. He is a ridiculous and pathetic character, a symbol for the indifference between people in the old days.