Franzen’s “hacelo”

Jonathan Franzen writes long novels. At least some of their length is due to his deep delving into the minutiae of his characters’ occupations, be they business, politics, sports, music, cooking or whatever. This depth seems to be a result of meticulous ad hoc research, since in his appearances on Jeopardy! Franzen did not impress as a man with a breadth of knowledge at his fingertips. But the writing, as technical as it may get, is never didactic, it flows smoothly and is a pleasure to read.

When it comes to things German, as displayed in Purity, Franzen’s knowledge appears to be echt, since he studied German as an undergraduate and spent several years in Germany. What little German is actually quoted is impeccable, though the dialogue that is supposedly in German but written in English does not read as if it were translated from German. (In my novels in which dialogue written in English is meant to be spoken in another language, I made a point of thinking it first in Spanish, Hebrew or German before writing it down, but then I am not a professional writer.) There is, moreover, a tour de force in the form of a bilingual English-German poem, with the English part carrying a scandalous German acrostic that lands its author, a German named Andreas Wolf, in trouble. Franzen leaves it up to the reader to figure out that the acrostic reads something like “To your socialism I dedicate a splendid ejaculation.”

I have, in the last few years, developed a hobby (described here) of reviewing English-language novelists for their language lapses, especially relating to Spanish. Spanish appears only sporadically in Franzen’s writing, but I am pleased to report that when it does, it is invariably flawlessly idiomatic. (I have seen nothing in his biography indicating any profound exposure to Spanish.) One instance deserves special attention.

In Purity,  when a character is told (in Spanish) that someone is there to see him, he replies, “Hacelo pasar,” meaning ‘let him in’ or, literally, ‘make him pass.’ Hacelo does, in fact, mean ‘make him,’ but not in standard Spanish; there it would be hazlo (with tú) or hágalo (with usted) (or, in Spain, possibly hazle or hágale). The setting here, though, is eastern Bolivia, which happens to belong to that portion of Hispanic America where vos is used instead of tú, and hacelo is the form consistent with vos. Franzen’s familiarity with this form — which is almost never taught to Spanish-learners — is impressive.

But there is a problem. The person making the utterance is the aforementioned German, Andreas Wolf. We are not told how or where he learned Spanish. In Bolivia he lives at Los Volcanes, an isolated compound where English, not Spanish, is the prevailing language. In my case, I learned the vos forms when I lived in Costa Rica, because my friends and colleagues there used them with me. At Los Volcanes, the only local is the driver Pedro, and it’s in response to his announcement of a caller that Wolf says Hacelo pasar. Now, what Pedro says is, “Hay un señor en la puerta que dice que es su amigo”  (‘There is a man at the door who says he’s your friend.’)   Su amigo, not tu amigo, indicating that Pedro addresses Wolf with usted. It’s a double mystery, then, that Wolf comes to use vos in return: first, it isn’t clear how he learned it; and, second, it seems out of character for him to be in a master-servant kind of asymmetric address relationship.

Perhaps Franzen’s meticulous research — this time into language use — carried him a bit too far.

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More on respelling

This is a continuation of a previous post, in which I discussed how writers of English respelled the Latin word for ‘black’ (niger) by adding a second g so that the word would be pronounced with a “short i” as in Latin, and how Italians modified (1) their word for ‘foundry’ (getto) by adding an h so as to give it the German pronunciation with which the Jews of Venice called their district, and (2) their word for ‘brothel’ (casino) by putting a grave accent on the o in order to give it the French pronunciation designating a gambling establishment. I also cited one example of a proper name, Picasso, being an Italian respelling of the Spanish Picazo.

Another such example is Borgia, an Italian respelling of the Spanish Borja (as it would have been pronounced in 15th-century Spanish and still is in Catalan). But unlike Picasso, the Borgias (sons of Pope Alexander VI, and their offspring) who moved “back” to Spain used the Spanish spelling there. Thus the Catholic saint known in English as Francis Borgia is known as Francisco de Borja in Spanish and Francesc de Borja in Catalan.

The converse — a Spanish respelling of an Italian surname — is rare. The only one that comes to mind is that of the Marquis of Squillace, who became Esquilache in Spain.

In fact, Italian surnames are usually kept intact wherever their bearers may move to. As I recently pointed out, the Italian alphabet is writer-friendly, so that even almost illiterate people  would know how their names are written. What this means is that, outside Italy, such names are liable to mispronunciation, especially with respect to syllabic accent, and with such letter combination as sci, ggi, chi and so on. A prominent news story in the US featured someone surnamed Schiavo, which was not pronounced /’skjavo/ as in Italian but /’ʃajvoʊ/. And the name Podestà is usually written Podesta and pronounced /poʊ’dɛstɐ/, while Lepore is pronounced /lə’poʊr/, not /’lepore/.

Enter William Shakespeare.

The Bard was fond of Italian names. A good many of his plays take place in various places in Italy, and while not all the characters in them have Italian names (Tybalt, Shylock, Katherine), you can find such names in non-Italian settings (Angelo, Claudio, Lucio and Vincentio in Vienna; Malvolio and Orsino in Illyria).

I don’t know if Shakespeare knew Italian. (There is, of course, the theory that he was actually Italian; and he may have been friends with John Florio.) But we do know (1) that before the 18th century writers of English didn’t care much about “correct” spelling, and (2) that Shakespeare wrote his plays to be read by English actors, so that he would write foreign names so as to be English-reader-friendly. He wrote the name of the actual artist Giulio Romano, in Winter’s Tale, as Julio; and in The Taming of the Shrew he wrote the Italian name Petruccio (-uccio is a common diminutive suffix) as Petruchio — in both cases, obviously, so as not to confuse English readers with funny Italian letter combinations like gi or cci.

But now enter sophisticated Shakespeareans who, showing off their knowledge of Italian, insist on pronouncing Petruchio as though it were an actual Italian name, and say ‘Petrukio’!

 

 

Phonetic alphabets

In my post the other day, I wrote that “the Macedonian alphabet is the closest that I know of to a perfectly phonetic one, being both reader-friendly and writer-friendly.” I’d like to elaborate.

By “phonetic alphabet” people usually mean one that represents the sounds of the language faithfully, not like the unruly alphabets of English or French. On Wikipedia, a search for “phonetic alphabet” leads to a disambiguation page that includes a reference to the International Phonetic Alphabet (IPA), which is not really an alphabet in the usual sense (there is no alphabetic order in it, for one thing) but an open-ended collection of symbols that should actually be called the International Phonetic Code (IPC); this abbreviation would also be helpful in distinguishing the code from the organization responsible for it, also called IPA. The usual meaning of “phonetic alphabet” is discussed on the page titled Phonemic orthography, but that is an unfortunately all-too typical Wikipedia page, representing the often contradictory work of many hands. For example, the Greek digraphs γκ and μπ , representing single sounds (/g/ and /b/ respectively), are included as examples in the paragraph discussing the opposite — cases where a single letter may represent a sequence of more than one phoneme. And such important matters as syllabic stress or vowel reduction are not mentioned at all.

Among learners of English, complaints about the non-phoneticity of the English alphabet are often heard from those whose primary language is Italian or Spanish. And indeed, the alphabets that they learned as children can be called phonetic, but only halfway. Specifically, the Italian alphabet is writer-friendly but not reader-friendly, while the Spanish one is the opposite.

What I mean by “writer-friendly” is that someone familiar with the rules can, on hearing Italian speech, write it down correctly. The only exception I can think of is the presence of h in the strong forms (all persons singular and third person plural) of the verb avere, distingushing ho, hai, ha and hanno from o, ai, a and anno.

On the other hand, when reading written Italian one doesn’t know, first of all, which syllable the stress falls on, unless it’s the last (in which case the vowel carries an accent mark). Nor does one know whether e or o is to be pronounced as open or closed, or whether s, z or zz is to be read as voiced or unvoiced. Consequently, the Italian alphabet is not reader-friendly.

Spanish is the opposite. Someone trying to write down spoken Spanish but not thoroughly versed in the language will not know when to write a silent h; whether the phoneme /x/ before e or i is to be written g or j; whether (outside northern and central Spain) /s/ is written s, z or (before e or i) c; or whether to write b or v. Many Spanish surnames have changed their spelling on crossing the ocean: Chaves, Cortés and Valdés, for example, became Chávez, Cortez and Valdez, respectively.

But reading Spanish correctly, according to any one regional standard, presents no problem. Syllabic accent follows strict rules, and no letter represents more than one sound, except x in proper names of non-Spanish origin (such as México or Xola or Xàtiva ), which one needs to learn.

So let me get back to Macedonian cyrillic. Macedonian, unlike other South Slavic languages, has fixed syllabic stress — on the penultimate in two-syllable words and the antepenultimate in longer words. It has, unlike Serbocroat, no long and short vowels. Unlike Bulgarian, vowels sound the same whether stressed  or not. It has neither digraphs nor the opposite (that is, single letters representing two sounds, like Bulgarian [or Russian] щ,  ю and я). It seems perfect to me.