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[maniculum]

Do you have any books or sources for learning Olde English? I want to write a medieval-based story but I don't know how to write the characters speak the language.

That depends -- when you say "Olde English" do you mean Old English, like pre-1066 English? That's pretty far from modern English and it's unlikely that readers will be able to understand it easily. If that's what you're looking for, the texts I was taught with are:

Bright's Anglo-Saxon Reader

Quirk's Old English Grammar

Sweet's Anglo-Saxon Reader

They're all from a while back -- and, as you can see, some use the now-deprecated term "Anglo-Saxon" -- so you can find older editions free in the public domain. More recent revised editions can generally be found in cheap paperback form. I believe there are some more modern textbooks that are quite good, but I haven't looked at them, and I don't know how affordable they are.

I have also consulted with Zoe (@meanderingmedievalist) on this, and she recommends Baker's Introduction to Old English, as well as the related resource Old English Aerobics:

The reason there are textbooks for this, though, is because you genuinely have to treat it as a foreign language. It's very different from modern English. As a sample, here's the beginning of Beowulf:

Hwæt! We Gardena in geardagum þeodcyninga þrym gefrunon hu ða æþelingas      ellen fremedon. Oft Scyld Scefing      sceaþena þreatum monegum maegþum      meodosetla ofteah egsode eorle syððan aerest wearð feasceaft funden he þæs frofre gebad weox under wolcnum weorðmyndum þah oð þæt him aeghwylc þara ymbsittendra ofer hronrade      hyran scolde, gomban gyldan      þæt wæs god cyning.

So if you put a lot of it into a story for a modern audience, most of them will be a bit lost.

If when you say "Olde English" you mean "English that sounds archaic and medieval, but is comprehensible to a modern audience", you're probably looking for Middle English.

I don't have any direct references for learning the language there, as I was mostly taught through immersion (i.e., here's a Middle English text, read and translate it, now do another until you get a feel for it), but Zoe recommends Fulk's Introduction to Middle English, so that's a good bet if you don't want to go through that process.

However, I do think the "just read the texts" method also works fine -- especially since, if you're writing a medieval story, you'll want to read some of the literature anyway for inspiration. Here's what you can do to use that method outside of a classroom setting:

Step One: Get a Middle English text with a facing-page translation. Armitage's edition of Sir Gawain and the Green Knight is good for this. Read the Middle English text, referring to the Modern English translation on the facing page whenever you don't understand it. Do this with a pencil in hand, so you can annotate the text with definitions, translations, and notes about how the sentences work.

Step Two: Get a Middle English text for which modern translations exist. Don't get the modern translation. The Canterbury Tales works for this: it's a classic and you should be able to pick up a copy anywhere. The version on my shelves is Baugh's Chaucer's Major Poetry -- which is heavily footnoted with definitions, potentially saving some time with the dictionary -- but it doesn't really matter as long as it's in the original. Read it. Every time you don't know a word, look it up in the Middle English Dictionary (available free online, in searchable form, here) and write it down. Again, best to annotate directly on the page with a pencil. Trust me, it helps to do it that way. Once you're done, get a modern translation and check your work.

At this point, you'll probably have picked up enough of the language that you should be able to write in it to some degree, though you'll want to continue making reference to the Middle English Dictionary to make sure you're employing period-appropriate usage and spelling. If you have access to the Oxford English Dictionary (if you're at a university, you almost certainly do, otherwise check with your local library), use that to check when the words you're using originated -- the OED has that listed, and that'll keep you from accidentally dropping an 18th-century term into medieval dialogue. You can also use their Historical Thesaurus to find period-appropriate equivalents for terminology.

Optional Step Three: Keep reading more Middle English literature with the dictionary open, annotating as you go, to get additional practice. If you can get through Le Morte Darthur in the original (get the P.J.C. Field edition), I think you'll be set in terms of "writing convincing medieval prose". Not because it's particularly difficult -- it's late medieval, so the language is actually more modern than either of the texts mentioned in steps one and two -- but just because it's long, so you'll get a lot of practice working through it. As a bonus, reading Malory will familiarize you with lots of good knightly vocabulary in case that's the kind of story you want to write.

Optional Step Four: Read scholarly articles on Middle English language and literature to get a more in-depth understanding. Again, check with your local library, or if you're at a university, a university library will have a vast amount of resources on this subject you can browse through.

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[witnesstruesorcery]

Hwæt! We Gardena...

Hwæt! We Gardena in geardagum, þeodcyninga, þrym gefrunon, hu ða æþelingas ellen fremedon. Oft Scyld Scefing sceaþena þreatum, monegum mægþum, meodosetla ofteah, egsode eorlas. Syððan ærest wearð feasceaft funden, he þæs frofre gebad, weox under wolcnum, weorðmyndum þah, oðþæt him æghwylc þara ymbsittendra ofer hronrade hyran scolde, gomban gyldan. þæt wæs god cyning!

- Beowulf

© Borislav Vakinov

[peashooter85]

A friend of mine is a retired English teacher and he absolutely hates most modern slang and especially internet and texting language. He thinks texting is the worst thing to ever happen to the English language. I can’t overstress how passionate he is about this. He says it’s forever altering English and he somehow feels that he and other English teachers are guardians of the English language. IDK if that’s true it seems to me that they’ve had a pretty lousy track record the past 1500 years.

Hwæt. We Gardena in geardagum, þeodcyninga, þrym gefrunon, hu ða æþelingas ellen fremedon. Oft Scyld Scefing sceaþena þreatum, monegum mægþum, meodosetla ofteah, egsode eorlas. Syððan ærest wearð feasceaft funden, he þæs frofre gebad, weox under wolcnum, weorðmyndum þah, oðþæt him æghwylc þara ymbsittendra ofer hronrade hyran scolde, gomban gyldan. þæt wæs god cyning.

[h3llthing]

btw im starting a literature/writing/book blog type thing over at @weox-under-wolcnum !!! its not set up yet but if anyone has any good bookworm/literature news/etc type blogs they can suggest to me i’d love to follow them!!

[irregularwebcomic]

[Irregular Webcomic! #1740 Rerun](https://ift.tt/2JLL7Ba)

I originally wrote this strip with the following punchline:

3 Haken: Why should we trust you? You keep switching sides! 4 Ginny: Would you rather trust a turncoat who doesn't switch sides?

I liked the idea of the puzzle posed by the question: How do you trust a turncoat or double agent?

If you're working with such a person, you know, by the very definition of what they're doing, that they are prone to disloyalty, treachery, and deception as to where their true loyalty (if any) lies. Naturally, this makes it difficult to fully trust such a person.

But the other side of the dilemma is that neither can you trust a turncoat who doesn't really switch sides, since that would imply that they are still loyal to the other side, while only pretending to turn traitor and assist you.

On top of all this is the simple head-exploding semantic parsing of the very concept of a turncoat who doesn't switch sides.

In all, I was quite pleased with this line, as it was thought-provoking on multiple levels. The only problem was that when I re-read it as I was constructing the strip, I didn't think it was quite funny enough.

I mentioned this to someone, and they suggested the alternative you see in the comic, which made me laugh as soon as I saw it. So I sacrificed clever for funny, and put the clever down here in the annotation.

As for the traditional "woman's prerogative"...

Boy, this one is a potential minefield. For anyone who may not be aware of this piece of cultural baggage from what I presume must be the Victorian or Regency era or thereabouts, the tradition states that it is "a woman's prerogative to change her mind". The issue comes up in the somewhat arcane civil tort of breach of promise, but was also applied across other contexts. The basic idea is that a gentleman should abide by his word, and keep all promises he makes, whereas a woman retains the privilege of changing her mind and breaking a promise without loss of honour or status.

I was going to comment here simply that I always thought this custom to be patently ridiculous. The standard of personal honour and integrity that a person should be expected to live up to should be uniform, not differentiated by one's sex*. If a person has a good cause to break a promise, then that cause should suffice for anyone, man or woman, in the same situation.

However, a quick Google brought up several hits on modern science journals, containing research papers on neurophysiological distinctions between male and female humans caused by their anatomical differences. Some of these papers conclude that it is indeed more likely for female humans to change their minds on things than males, because of differences in hormonal activity between the sexes.

Many of you can no doubt see the minefield rapidly approaching. It's not my intention to start any arguments or offend anyone's sensibilities, so I simply hope you will take the information imparted here on board and integrate it into your own knowledge. Whether or not any of those research papers have reached a valid conclusion, and what any ramifications beyond the realm of physiology and into the sphere of social custom might be, is not for me to say.

At any rate, the usage of this line in the strip is intended solely for comic value, and not to present or encourage any particular value judgement on the concept's validity or invalidity. I hereby disclaim any responsibility whatsoever for any inference or conclusion you may draw from it.

I really don't want any hate mail over this. Okay?

* Yes, sex. "Gender" is a bowdleristic euphemism for what already has a perfectly good noun to describe it. Gender refers to linguistic properties of words, not anatomical properties of people**. The modern co-optive usage of "gender" to refer to "social sex-role identification" as opposed to anatomical sex is a recent development that does not enter into this discussion, as I am referring solely to anatomy.

** And yes, I realise the irony*** in this statement, given my past comments about the evolution of language, and the primacy of description over prescription.

*** Oh god****, let's just not go into that one again.

**** I'm using "god" here as a genericised pseudo-expletive, not a reference to a supreme being or deity*****, hence the lack of capitalisation.

***** Don't I have enough disclaimers here already??

2018-06-18 Rerun commentary: ****** Although I stand by my intended meanings in what I wrote here, I probably would have phrased things slightly differently today. In particular, even putting aside gender identity, the apparent dichotomy of strictly anatomical sex isn't really as clear cut as two completely separate classes either. I trust that people understand my writings in the context of someone willing to make mistakes and learn. Of course Haken doesn't understand Latin, because he speaks a Germanic language, rather than a Romance language descended from Latin. Having said that, the Internet seems to generally agree that even a modern day Italian speaker would seriously struggle to understand any Latin. Unlike Spanish and Italian, where knowing one language means you can understand a fair bit of the other, an Italian speaker confronted with Latin would be a bit like a modern English speaker confronted with this:

Hwæt! We Gar-Dena in gear-dagum þeod-cyninga, þrym gefrunon, hu ða æþelingas ellen fremedon! Oft Scyld Scefing sceaþena þreatum monegum mægþum meodo-setla ofteah; egsode eorl[as] syððan ærest wearð feasceaft funden; he þæs frofre gebad, weox under wolcnum, weorð-myndum þah, oðæt him æghwylc þara ymb-sittendra ofer hron-rade hyran scolde, gomban gyldan. Þæt wæs god cyning!

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