Last time (http://richardabbott.authorsxpress.com/2014/10/09/historical-dialogue-and-social-position/) I wrote about the use of formality in dialogue, and some of the ways that modern English could and could not reflect that.

Today I am thinking about an easier area to capture – the use of personal names. In the UK (and I believe also in other countries such as the US), once you have said “hello Richard” as we start to talk, it would be rare to use it again in the same conversation unless you wanted to emphasise something. “Don’t be ridiculous, Richard“, perhaps, or maybe “were you listening, Richard“, or even “Richard! You won’t forget this time, will you?“.

But this is not the case globally. Even when English is used as a common language, some cultures use personal names very much more. Several years ago, when I first came across this, I found it a bit disconcerting; now I really like it, and enjoy the way it reestablishes the person-to-person link periodically in the conversation.

There is, I think, something satisfyingly engaging about using a personal name. It might signal intimacy in some situations, but does not have to, and can easily be blended with formal terms of address in those many languages that use them. It’s not just a way to identify who you are speaking to in a group, which could easily happen in English too. There is something affirmatory about the use of a name which, now I am used to it, is very satisfying.

Now, we have very limited access into casual speech in the ancient world, since most of the written records are necessarily formal. Where speech is included, it is probably representative of the occasion rather than a realistic attempt to capture it. So, in the kind of situation which I deal with a lot, where people are meeting casually and often cross-culturally, the field is open.

Varying the use of personal names between groups, and perhaps showing different reactions to this, helps these different groups to have their own identity. Not all groups have to use language – or personal names – the same way that we do in contemporary Europe or the USA!

I thought I’d go back today to the subject of handling conversation in historical fiction. In my own books, and many others I read, several different groups intersect, each with different culture or ethnicity. They have to communicate in a shared language: how should one write about this? Some months ago I wrote a post called Historical dialogue and translation which looked at this from one angle: here is a different angle.

Some writers make effective use of dialect – rural English vs London in the 19th century, for example, which I came across in Sue Millard’s Coachman. So long as the author can handle the differences confidently, and the end result is comprehensible, this can work. However, I have met some readers who just don’t like this in principle. In any case, for me (and many others) the original languages my characters speak are nothing to do with English. Sure, I could imagine someone from Gedjet (Gaza) speaking in a West Country accent, or someone from Hatsor sounding like a Yorkshireman, but those ideas would be pretty much unconnected to reality.

So today I am thinking about less obvious patterns. Take, for example, how we signal relative rank. Modern English is quite sparing in this. If we want to indicate hierarchy in speech, we have to include special words to do so – “Your Majesty“, “my lady“, “sir“, “boss” and so on. But many languages have this built in at a much deeper level. Across most of Asia, it is not possible to address somebody without making a deliberate choice about using formal or informal terms of address.

English lost most of these language signals in the years after the Norman Conquest, as Norman French and Saxon English wore each other down into a single thing. The last remnants were probably variations of the old pronoun “thou“, which through lack of use dwindled into an archaic sounding, formal way to address deity. It is a rather sad decline for a word which once indicated intimacy. Its living parallels such as French tu and Hindi tum still convey closeness and familiarity today.

In some places, however, using proper modes of address is not just a sign of respect, but an acknowledgement of absolute place in a social hierarchy. Get it wrong, and you don’t just make a grammatical slip, but potentially destroy a relationship before it ever starts. It is essentially impossible to mirror this in written English, and the most that can be done is, positively, by including specific terms of respect, or negatively, by showing the reaction of the hearers.

That’s it for today. Next time I will be talking about something we can control more easily in writing – the use of personal names in conversation.

Well, a post on repetition simply had to have a follow-up… Actually though some really interesting ideas have come out of conversations around this blog post, so a second one seemed called for. And maybe a third?

Some of the connections which emerged were:

• Links to Mesopotamian writing, especially in the areas of magic and medicine
• The fact that much ancient writing was intended to be read aloud rather than silently
• The Egyptian Tale of the Eloquent Peasant
• A human tendency to use repetition as a calming influence over disturbance: “there, there”
• Mantras which are specifically intended to be repeated many times

A couple of things before going back to another ancient source. Firstly, the William Wordsworth link can be found in later editions of Lyrical Ballads in his notes to The Thorn. Among many other things, he says:

There is a numerous class of readers who imagine that the same words cannot be repeated without tautology: this is a great error: virtual tautology is much oftener produced by using different words when the meaning is exactly the same… There are also various other reasons why repetition and apparent tautology are frequently beauties of the highest kind. Among the chief of these reasons is the interest which the mind attaches to words, not only as symbols of the passion, but as things, active and efficient, which are of themselves part of the passion. And further, from a spirit of fondness, exultation, and gratitude, the mind luxuriates in the repetition of words which appear successfully to communicate its feelings…

(See http://ebooks.adelaide.edu.au/w/wordsworth/william/lyrical/poem9.html)

Secondly, I have been reading a book set in the Punjab area of what was then north-west India, now Pakistan, in which the author deliberately mirrors the Hindi/Urdu pattern of repeating words for emphasis, for example “good-good, nice-nice” or similar. Many languages in the Semitic family do the same. This is a level of reflecting a source language which I have not attempted in my own writing.

So, back to the ancient world, and in particular the mythic poetry from the city of Ugarit (on the coast of modern Syria). There is a very common pattern used here where a series of lines is repeated several times over – for example they might appear first in a dream, then in the morning when the dreamer recounts the dream to another, then a days later when the action itself occurs. For example, in the Tale of King Keret we have this pattern:

1. The chief god El appears in a dream to Keret and after a brief series of questions gives him a series of instructions for obtaining a wife
2. Keret wakes up and carries out the first stages of the required actions
3. He goes to the required city and issues demands which recapitulate the dream again and gets the ride he wants (Hurriy)

But… in the second stage there is a crucial change where Keret goes beyond the requirements El set up, and while en route to the city makes a rash vow to the goddess Athirat if the quest turns out well – rash firstly because the scale of the vow would probably have bankrupted a real king of Ugarit, and secondly because it shows a certain lack of faith in El’s declarations!

By the time Keret comes back successfully from the final stage with Hurriy, either he has forgotten the vow, or else he decides that since things turned out well it was not necessary to fulfil it. Either way, the departure from strict repetition is noted by the gods and things start to go wrong.

This sort of pattern, where departures from exact repetition signal looming disaster for the party concerned, can be found in a wide variety of ancient literature. One can easily imagine an eager audience listening out for the crucial action left out or put in, and being alerted to expect some serious consequences. The basic principle can be found in a number of fairy tales and folk stories, often where the third time of asking brings about the change.

So let’s see what comes out of this particular repeat – nothing disastrous, I hope…

There is a very interesting shift which has happened in writing in recent years. At many times in the past, word repetition has been recognised as a deliberate rhetorical device. Repeated words, or word roots, have been used to signal something important to the reader or listener. Nowadays, in contrast, editors or reviewers often fasten on repetition as a sign of poor vocabulary, or poor proofreading. About the only sphere we regularly encounter repetition now is in political speeches. Winston Churchill’s wartime speeches were full of repetition – “we shall fight on the beaches, we shall fight… we shall fight…“. But even the vastly less nationally stirring backwash from the UK’s recent council and euro elections has had its share, contributed by several of the major speakers, such as “too big, too bossy, too interfering” or “little pearls, little announcements, but the pearls weren’t connected“.

Back in the world of ancient literature, such repetition was used a great deal, in many different contexts. Several of the New Kingdom Egyptian love poems are constructed around repeated word roots. For example the first poem in the papyrus Chester Beatty song cycle 1 is built around various forms of nefer, which has the basic meaning of “beautiful” but in English could also mean “splendid“, “brave“, “outstanding“, and a whole mix of other similar ascriptions of quality. In my own translation of this I have tried to reflect this by using the cluster of words “resplendent“, “splendid“, “splendour“.

Biblical Hebrew has similar examples. When King David’s former enemy Abner comes to him to sue for peace, David is minded to grant it to him (2 Samuel ch.3). There is a friendly encounter in which the phrase “and he went in peace” is repeated verbatim three times within a few verses. Then David’s sidekick Joab returns – a rather vicious man driven by a thirst for revenge. He is outraged that his king has done this, and demands “why did you send him off, and he went?“. The absence of “in peace” stands in stark contrast to all of the previous repetitions. Sure enough, Joab goes in pursuit and murders Abner. The repetition of the phrase, and the textual signal provided by its omission, are both crucial parts of the story. David never forgives this act, and on his deathbed commissions his son Solomon to ensure the death of Joab himself.

What do modern translations do? The Message has “sent off with David’s blessing… dismissed with David’s blessing… sent off with David’s blessing… walk away scot-free“, which at least preserves some sense of repetition. The Living Bible has “return in safety… sent away in peace… [one instance omitted]… letting him get away” which leaves almost nothing of the rhetorical delicacy of the original (though of course the basic story is the same). Most recent translations keep the repetition of “in peace” but vary the verb in different ways; again this preserves some of the sense but not all.

But examples are not limited to the ancient world. There was keen interest in and acceptance of repetition as a device through until the 19th century at least. I am reliably informed that William Wordsworth explored its use in connection with Deborah’s Song (Judges ch.5), which is indeed one of the most striking examples to be found in the Hebrew Bible. He is just one of a long line of writers – for example D.H. Lawrence used repetition a great deal.

So, what should modern writers of historical fiction do? Should they avoid repetition or stick with it? The first choice is apparently favoured by editors and reviewers, but the second might be a more authentic mirror of an older style. And, moreover, careful use of repetition places the writing much more in the centre of the broader literary stream. The problem, of course, is that repetition is also easy to do accidentally, by overlooking options and failing to clean up after edits. That kind of repetition is well worth rooting out, but the deliberate kind, in my view at least, has a great future still.