CH 2 SHORT HISTORY OF THE ENGLISH LANGUAGE

By Richard K. Munro

Chapter two “With God Came Letters and Numbers”

Anglo-Saxon and barbarian invasions of Britain (England)

Christianity came relatively late to the pagan Anglo-Saxons of whom it was said, “Neither numbers, nor letters, nor God.” Missionaries from Roman Britain spread Christianity to the Scotti (Gaels) of Ireland and the Picts of Scotland (St. Patrick c 432, St. Columba  c. 563 and St. Mungo c 560. for example) thus preserving the ancient faith and knowledge of schooling, books and the Roman alphabet. [1]

In turn, these Celtic missionaries reintroduced Christianity to southern Britain –now known as England- and the Latin alphabet to the Anglo-Saxons.   The Irish Gaels were instrumental in this time period in fomenting education and Christianity not only in England but on the continent as well planting an early missionary base on Lindisfarne Island as well as schools in Charlemagne’s empire (present day France, Germany and Switzerland). [2]

Figure 9 THE ROMAN ALPHABET The Latin alphabet originally had 20 letters; the Romans themselves added K plus Y and Z for loan words transcribed from Greek.

Figure 10 Book of Kells

Another force in Christianizing the Saxons came from Rome beginning with the mission of St.Augustine to Aethelbert, King of Kent, in AD 597. Aethelbert was chosen because he was married to a Frankish Christian princess[3] who encouraged the new religion. The story goes that Aethelbert, afraid of the powers of the Christian “sorcerers”, chose to meet with them in the open air to ensure that they wouldn’t cast a wicked spell over him!  In any case, St. Augustine, “the Apostle of the English” laid a solid cultural foundation for English Christianity and the English language.

St. Augustine

Augustine’s original intent was to establish an archbishopric in London, but at that time the London English were hard-core pagans, slavers and polygamists and so were very hostile to Christians.  Therefore, Canterbury, the capital of the Kentish kingdom of Aethelbert, became the seat of the pre-eminent archbishop in England. The Church was a very important force in medieval English society.  It was the only truly national entity –international really- tying together the various warring Anglo-Saxon kingdoms.  It is significant to report that no written records of the Anglo-Saxon language survive from before the seventh century AD.  The earliest substantial literature of the Anglo-Saxons is Beowulf[4]:

O flower of warriors, beware of that trap.
Choose, dear Béowulf, the better part,
eternal rewards. Do not give way to pride.
For a brief while your strength is in bloom
but it fades quickly; and soon there will follow
illness or the sword to lay you low,
or a sudden fire or a surge of water
or jabbing blade or javelin from the air
or repellent age. Your piercing eye
will dim and darken; and death will arrive,
dear warrior, to sweep you away.” 
(translation Seamus Heaney)

If the Anglo-Saxons had remained pagan it is possible that their language may never have been widely written and so may not have survived its many travails.  

Figure 11 Lindisarne Gospels

Anglo-Saxon England’s most famous historian and Doctor of the Church , the monk Bede, known as the Venerable Bede, lived most of his life at the monastery of Jarrow, in Northumbria (died 735). Nearby, the monastery of Lindisfarne  is famous for its’ celebrated hand-colored  illuminated  Bible, an 8th century masterpiece of Celtic- inspired art, which is now in the British Library.[5] Lindisfarne Gospels, is a Latin Vulgate text with interlined Old English paraphrase.  So it is very important in the history of the English language.

This is evidence that the Masses were given in Latin but the sermons were given (usually) in English.  King Alfred’s circle of (Old) English-speaking teachers (Plegmund, Waerferth, Aethelstan, and Werwulf) led to a late 9th century revival of learning in Latin as well as the growth of Anglo-Saxon literature. The Anglo Saxon Chronicle, for example, was written in Old English not Latin). Alfred the Great’s unique importance in the history of English letters came from his conviction that a life without knowledge or reflection was unworthy.  Alfred’s enthusiasm to spread learning to the people in English may have been a turning point for the survival of English. Under the auspices of Alfred the Great church schools were encouraged for common people, and many Latin works were translated into English.  English was becoming a literary language and a language of local commerce.  French was still important for the nobility and Latin for higher education but English soldiers, sailors and merchants continued to speak, to sing and to pray in English among themselves.  And, increasingly, keep records and write in English.     English became strong enough even to survive the catastrophic subjugation of the English which came after 1066.

Figure 12 Manuscript of Beowulf (Anglo-Saxon)

During this time the influence of Church Latin and St. Jerome’s Latin version of the Bible (known also as the “Vulgate” was colossal.  Churches were almost the only forum for higher education[6] during the middle Ages. The higher church officials also played important secular roles; advising the king, witnessing charters, and administering estates of the church, which were extensive. The Magna Charta (1215) was written in Latin and so was the Scottish Arbroath Declaration of 1320. Previously Anglo-Saxon had a few Latin words most of them products or indicating spheres in which the Romans excelled such as road-building, commerce, travel and communication. These early Anglo-Saxon borrowings from Latin or Greco-Latin include, anchor, butter, candle, chalk, cheap[7], cheese, kettle, kitchen, to cook, dish mile, mint, crisp, pepper, port,  pound, sack, school (originally Greek) ,shrine, street (paved road), tile and wall.   Now with the introduction of a literate Latin Christian culture we have many new words (many originally Greek like the word Bible meaning in Greek “books”)[8] Hundreds of words come into English at this time from Latin and here are just a few: altar, apostle, circle, crystal, monastery, martyr, monk, nun, priest, clerk[9], commandment, devil, demon,  relic, cat, fork, creed, mass, camel, psalm, paper, chapter, verse, lily, temple, and trout.

Viking-landing[1]The early monasteries of Northumberland were vital centers of learning and the arts until they were wiped out by savage Viking raids of the 9th century.[10] Much of England, Ireland and Scotland were conquered by the Vikings (c.800-1263) but the Vikings dominated the off shore islands, the sea and the coasts not the hinterland.

raid[1]

Figure 13 Viking attack on Christian monastery

The northern dialects of English were very influenced by Old Norse (an ancestor of Norwegian and Swedish but Germanic like Anglo-Saxon).  Some examples of Old Norse (Viking) words  are fellow, hit, sly, take, skirt, scrub, gill, kindle, kick, get, give, window, skipper, sister, thrall (slave),earl(warrior/noble),  want and dream (it meant ‘joy’ in Anglo-Saxon.). [11] Yet despite these sporadic attacks both English and Christianity set deep roots.  I cannot but help think that the Vikings were vanquished not only by the sword but by the faith and virtue of young Christian maidens with whom the Norseman cohabited and later married.  In time language and religion assimilated and transformed the invader.


[1]  After its adoption by the English, this 23-letter Roman alphabet developed W as a doubling of U and later J and V as consonantal variants of I and U. The resultant alphabet of 26 letters has both uppercase, or capital, and lowercase, or small, letters. 

English spelling is essentially based on 15th century orthography, but pronunciation has changed considerably since then, especially that of long vowels and diphthongs.

[2] See Thomas Cahill’s charming small book How the Irish Saved Civilization

[3] Named Bertha

[4] Beowulf, Seamus Heaney, trans. ( New York. Farrar, Straus and Giroux 2000)

[5] Older than this are the Book of Kells, its inspiration which was probably created in Iona generations before.

[6] Almost entirely in Latin.

[7] Cheap comes from the Latin caupo meaning “wine-seller”; a Chapman was original a merchant.

[8] Of course, the Anglo-Saxons called the Bible the Gospels, or the Good Book or the Old Book; these are expressions still used in modern English today.

[9] In Britain “clerk” is pronounced like “Clark” as in Clark Kent (Superman); it almost sounds like “clock”.

[10] There was an ancient prayer known round the Isles that went like this: A furore normannorum libera nos domine (“From the fury of the Norsemen deliver us, O Lord!”).

[11] Thomas Pyles and John Algeo The Origins and Development of the English Language Harcourt Brace, 1982 p299-300.

The Monroe Doctrine ~ The Imaginative Conservative

From the perspective of John Quincy Adams, the United States had no right to claim or annex any part of Latin America. It also, however, had no right to deny any part of Latin America from joining its cause with that of the United States.
— Read on theimaginativeconservative.org/2020/05/monroe-doctrine-bradley-birzer.html

Give me not the hard man

Richard K. Munro's avatarSpirit of Cecilia

I dislike and distrust RUTHLESSNESS, CRUELTY TO THE YOUNG OR WEAK, COLDNESS to our neighbors and loved ones, INDIFFERENCE to the old, sick or poor, HARD-HEARTEDNESS and INSENSITIVITY.

Give me a person who is of a softer heart and open ear. Nil am fear crua gan croí báúil nó cluaise (not the hard man without a sympathetic heart or ear).

What is sympathy? It is an emotional participation in the feelings of others and let us not forget there is a pleasure to be found and a appeal as a result of those feelings.

Compassion is the opposite of cruelty which rejoices in the suffering and humiliation of others and egoism which is indifferent to the suffering and humiliation of others. Hasta los pobres tiene derecho al honor y dignidad as the Spanish say; even the poor have the right to honor and dignity.

I believe men and women who…

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Give me not the hard man

I dislike and distrust RUTHLESSNESS, CRUELTY TO THE YOUNG OR WEAK, COLDNESS to our neighbors and loved ones, INDIFFERENCE to the old, sick or poor, HARD-HEARTEDNESS and INSENSITIVITY.

Give me a person who is of a softer heart and open ear. Nil am fear crua gan croí báúil nó cluaise (not the hard man without a sympathetic heart or ear).

What is sympathy? It is an emotional participation in the feelings of others and let us not forget there is a pleasure to be found and a appeal as a result of those feelings.

Compassion is the opposite of cruelty which rejoices in the suffering and humiliation of others and egoism which is indifferent to the suffering and humiliation of others. Hasta los pobres tiene derecho al honor y dignidad as the Spanish say; even the poor have the right to honor and dignity.

I believe men and women who do not know mercy miss much of the joy and happiness to be found in life.

There is sadness in pity -commiseration- but there is happiness mingled together with compassion whose example generates generosity and love from others.

Sadness devoid of hatred for anything but injustice and unhappiness and suffering is a good thing, a humane thing.

RICHARD K. MUNRO

Russell Kirk on Equality, 1963

Really, men are equal in two ways only: before the judgment-seat of God (who, remember, doesn’t assign them all to the same place), and in the eyes of the law. But human beings are not equal otherwise; and because they are unequal, they are not entitled to identical things. Every man is entitled to what is his own; but he has no right to take away from another who has more by his talents or inheritance.

For the slothful man is not equal to the diligent man. The brute is not equal to the saint. The fool is not equal to the sage. The traitor is not equal to the loyal man. The selfish is not equal to the loving. The coward is not equal to the hero. The rogue is not equal to the just judge. And nothing could be more unjust than to treat all these, under the lunatic pretext of natural equality, as if they ought to live one life and enjoy the same rewards.

—Russell Kirk, CONFESSIONS OF A BOHEMIAN TORY, 1963, pg. 280.

Upon losing a beloved father

Thomas Munro Jr.

Richard K. Munro's avatarSpirit of Cecilia

By RIchard K. Munro

My father and me at our wedding on St. Columba’s Day June 9, 1982. I am wearing Auld Pop’s Munro tartan tie. I still have it and the tie my father was wearing that day.
The ladies to my father’s left are my mother, Ruth L. Munro and in the back Juanita Donado Perez my beloved mother in law. A grand lady and like my grandmother lost her husband when very young (at age 26). My wife was like my mother “the widow’s curly haired daughter who was the loveliest of the throng.”

I know what it is to love a father and to lose a father.

“Death leaves a heartache no one can heal, love leaves a memory no one can steal.” is an old Irish saying.

NE OBLIVISCARIS..DO NOT FORGET.

People you love never die entirely. They live in your mind in, the way…

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An Ontario Tempest

The next Shakespeare@Stratford film to hit YouTube is the Festival’s 2018 production of The Tempest, premiering on Thursday, May 14 and running for three weeks.  Here’s my review from when my wife and I saw the play live in October of that year.

This is the third production of The Tempest we’ve seen at Stratford, Ontario; since we started attending in 2004, the Festival has usually marketed the play as a chance to catch an actor of high skill and reputation (and often getting on in years) in the role of Prospero. 2005’s Tempest served as a grand farewell for William Hutt, the most accomplished classical actor in Canada’s theatrical history; the 2010 production was built on Christopher Plummer returning to the scene of his earliest triumphs. This time around, the hook was seeing Martha Henry (since Hutt’s passing, the current Greatest Living Canadian Actor) playing the exiled magician — part of a season with multiple productions (a gender-swapped Julius Caesar and a gender-fluid Comedy of Errors, along with the drag-rock musical The Rocky Horror Show) trendily exploring postmodern conceptions of freedom.

But any dreams or fears of a transgressive Tempest faded quickly; Henry forthrightly played Prospero as female — duchess of Milan, mother of Miranda, wizard ruler of an uncharted, enchanted island — with a few modest tweaks of the script not even scuffing the verse rhythms, and that was that. (After all, it’s a fairy tale; if you’re worried about the lines of descent for Renaissance Italian nobility being messed up, you’ve come to the wrong play.) Even better, this was an ensemble Tempest, with Henry clearly featured, but also clearly first among equals. Rather than chewing scenery a la Plummer or waxing grandiloquent like Hutt, she drove the plot without swallowing the stage, working to provide for her daughter, bring those who exiled her to book, reward virtue and punish wrong with formidable focus, aplomb and dry humor. And all the while, she genuinely wrestled with conflicting impulses: would she take vengeance on her adversaries, or show them mercy? It’s a tribute to Henry’s and director Antoni Cimolino’s conception that, even if you knew the play, the answer wasn’t telegraphed.

The strong cast also elevated this production, consistently playing off Henry’s indispensable work while fruitfully developing their own characters. Andre Morin’s Ariel did Prospero’s bidding with delight, while holding her to the promise of eventual freedom; Michael Blake’s Caliban chafed convincingly under her authoritarian rule. For once, the shipwrecked mariners were three-dimensional characters, not plot tokens — the King of Naples Alonso (David Collins) ripely autocratic, Prospero’s usurping brother Antonio (Graham Abbey) convincingly sociopathic, counselor Gonzalo (Rod Beattie) more of a sage and less of a fool than usual. Tom McCamus as butler Stephano and Stephen Ouimette as jester Trinculo clowned to perfection, nailing every laugh possible whether on their own, with Caliban or with the ensemble. The young lovers were the most pleasant surprise; Ferdinand and Miranda can feel like weak sauce in the wrong hands, but Sebastien Heins & Mamie Zwettler were spunky, passionate, intelligent, fully cognizant of their developing affections — strong & spot-on.

And yes, the special effects and pageantry (serious creature puppetry by the ensemble of Spirits & Monsters at key moments, Festival stalwarts Chick Reid and Lucy Peacock regally presiding over Act Four’s celebratory wedding masque) were impressive as always. But Stratford productions go deepest when they cut to the heart — and this Tempest showed us, beyond its numerous charms and delights, the depth of Prospero’s sacrifice. To become truly great as well as truly free, the exiled ruler must serve her enemies as well as her friends — forgiving wrongs, securing Naples and Milan’s future through Ferdinand and Miranda’s marriage, releasing the spirits of the island, and abjuring her “rough magic.” Martha Henry’s reading of Shakespeare’s Epilogue – bereft but relieved, slyly humorous in its appeal to the audience for final release through prayer and applause – communicated both the cost of Prospero’s renunciations, and their true worth. It was a lovely end to the best, most bracing production of The Tempest we’ve seen at the Festival.

Watch the premiere of The Tempest on the Stratford Festival’s YouTube channel tomorrow at 7 pm EDT; a pre-show chat with Martha Henry, Mamie Zwettler and Antoni Cimilono starts at 6:30 pm.

— Rick Krueger

THE TRUE LIFE OF A LANGUAGE

“I can skirt the boundary of Italian, but the interior of the language escapes me. I don’t see the secret pathways, the concealed layers. The hidden levels. The subterranean part. At Hadrian’s Villa, in Tivoli, there is a gigantic network of streets, an impressive and imposing system that is entirely underground. This complex of passages was dug to transport goods, servants, slaves. To separate the emperor from the people. To hide the real and unruly life of the villa, just as the skin hides the unsightly but essential functions of the body. At Tivoli I understand the nature of my Italian project. Like visitors to the villa today, like Hadrian almost two millennia ago, I walk on the surface, the accessible part. But I know, as a writer, that a language exists in the bones, in the marrow. That the true life of the language, the substance, is there.”

In Other Words, Jhumpa Lahiri