Due to the scope of this topic, my discussion on Language in Literature will be split up over two weeks. The first week will look at the use of multiple languages within a text, while the second will look at how we adapt language for effect (and affect) within the narrative.
NB - I will preface this discussion in saying that in addition to English, I have studied (or am studying) Latin, Ancient Greek, and German. As you would rightly deduce from that, I bring certain biases and assumptions to the table for this discussion.
The Authenticity of Language
Leaving academic writing aside for a moment, let us address the issue of authenticity. The question I ask is this:
'Should a language used away from its natural context be true to its bona fide self, with no adaptations or alterations?'
As always, I would argue that it depends. On what? Context, style, purpose, to name a few reasons. If one is writing an historical fiction novel, let's use the example of one set in Ancient Rome (c. 70 BC), I would make the case that the Latin used in this situation should be meticulous in its accuracy. It should be as precise as a chunk of Cicero's In Verrem, and read like true Latin that one might find written from that period. There is plenty of comparative source material for such writing, and as such a poor attempt will stick out like a sore thumb.
On the other hand, if you are writing a High Fantasy novel that features a Latin/Roman inspired culture, you as the writer have more freedom in the language. While you might draw heavily from Latin (and I don't blame you if you do!), you might also want to lend your own particular feel to it. Maybe you alter the vowels, giving it a more archaic tone, or start playing with the subjunctive in a brutal fashion. Ultimately, as in this situation you are writing in your own universe, you have plenty of freedom. I would still perhaps advise that some care is taken, as whatever language you are playing with still needs to feel like an authentic language at the end of the day.
As you may have deduced, the liberties taken with a given secondary language really are at the discretion of the writer. However, there are some guidelines I like to adhere to. For one, I always keep my intended audience in mind. Different readers will read and react differently to different uses of language. Some might find the use of a secondary language stimulating, others would like the flavour it adds to the narrative, whilst some might be alienated by it. My suggestion in this regard is to use the secondary language sparingly, employing it only where it has a meaningful impact upon the narrative:
"When
the last man passed, Lucian raised a ceremonial spear and launched it high into the
air, the pennant of his legion streaming from its haft. As it fell to earth,
embedding itself in the Field of Tellius, he cried out loudly enough for the
citizens who lined the edge of the field to hear, “Nec deficiemus nec revertemus antequam victoria!”"
Not only is the 'old tongue' phrase brief, it also clearly carries a symbolic and traditional meaning. Further, I do more to empower the use of the secondary language here. In the following scene two characters (Lucian and Fulvius) discuss the 'old tongue' phrase, explaining it, and translating it for the benefit of the reader.
"As
they road along the Western Way, Fulvius said, “An ancient and famous saying.”
Lucian glanced over,
snapped out of his reverie, and asked, “What was that?”
Fulvius chuckled and
said, “Until victory, we shall not cease, nor return.”
Lucian nodded, saying,
“Aye, as old as the legions themselves. What of it?”
“It
has been a long time since the Legate has cried that at the Field of Tellius
and truly wondered whether he would return. It has become more theatre than
reality. When the first legion marched out to that cry, every man there knew
that death and defeat was a real possibility.”"
Throughout my novel, from which both of these passages originate, I have deliberately used less common Latin vocabulary where possible. This is to give the 'old tongue' its own distinct characteristics and flavour. Even though I have spent an appreciable amount of time working on the 'old tongue' it is still readily identifiable as Latin and (mostly) obeys the rules of that language. I use it sparingly, and only where the narrative's context benefits from its presence.
Creating Your Own Language
I take my hat off to anyone who is willing to attempt this, and would give a bottle of wine to them if they pull it off. When I say 'Creating your own Language", I don't mean a small number of phrases said by one or two characters. I am talking about a fully fledged language. I do have a comment on invented terms and phrases that I will give later, but for now let us talk full languages. Full alphabets (even when derivative), with pronunciation rules, grammar, and in depth linguistic rules are no easy thing to create, hence why it is so rarely done. The name that will come up time and time again when talking about authors who have created their own language is, of course, J.R.R. Tolkien. As many of you would know, he devised the language of the Elves in his fictional universe of Middle Earth, the languages named Quenya and Sindarin. Quenya in particular drew on a number of 'real' languages, including Latin, Welsh, Greek, and Finnish. One must also note that Tolkien was a Professor of Anglo-Saxon, and thus no stranger to the complexities of Language. Most of his lifetime, it seems, was devoted to the creation of Languages.
The daunting level of dedication is clearly one of the deterrents to those considering writing their own language. Alongside this is the knowledge that if you do devise your own language, it will most likely be compared to the high standard set by Tolkien's languages. This said, if you think you can do it, I whole-heartedly encourage you to do so. The literary world can only be enhanced by such endeavours.
Pseudolingua
Something of a pet peeve of mine is when writers (of any discipline) use madey uppey language in their work. My most recent example is in a book that has a form of magic which the author has given a special name. Unfortunately, as a student of Latin, I recognised the word (I am not sure if the author is a Latinist or not), which translates into English as 'man', or more frequently, 'husband'. Now, think back to my remark about the 'intended audience'. Naturally, most author's don't expect their work to be interrogated by a vast number of pedantic classicists, and thus won't necessarily pander to such nitpicking. Most writers (inc. your's truly), will use a word that they would swear they made up, only to find that it is the name of some obscure British village, or what a Roman woman called her beloved. These things happen, I just recommend a bit of research if you intend to make a habit of using a particularly word or phrase with any frequency.
Academia
The use of secondary languages within academia is a little different, but I do want to briefly touch on it. As many would be aware, Ancient Greek and Latin words are frequently used within the sciences (especially biology), though in such a way that is not overly complex. Historians however, are a different kettle of fish. In all honesty, I think it may be that we like to show off our big brains, and rub them in people's collective intellectual faces. As a Classicist, I frequently work with works by historians who have lived in the last few hundred years and who, despite writing primarily in English, are happy to include large chunks of Greek, Latin, German, French, Italian, or Spanish. Partially (particularly when Latin was still widely taught in schools and tertiary institutions), this is due to these historians writing for their peers, rather than the ambiguous 'layman', and thus assuming that the reader can easily translate these slaps of other languages. Other reasons include, of course, showing off the author's proficiency with a given language (especially if they have written something of their own in said language, rather than just quoting an ancient author), or including something that might be considered 'inappropriate' for the masses to read. I hope to discuss the clever ways in which other languages are used in English Academia in greater depth at a later date, as it is a truly fascinating topic.
Once again, thank you for indulging me by reading my ramblings. I hope you have taken something positive away from today's post, and hope you are looking forward to the second instalment on Languages in Literature.
Until then,
Salue!
NNB CLARKE
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