English speakers: Grappling with the Grammar

 by Brian Bamford

SOME time ago my co-editor, partly-what jokingly, questioned my spelling and grammatical abilities, and I was reminded of this when more recently a commentator and meticulous Marxist complained in a P.S. 'You can at least take the trouble to spell my name correctly.'
 

The name, Charles Charalambous, had a French ring to it and, to be honest, I had some trouble getting it right.

 'FORGET GRAMMAR' & start 'acquiring a vocabulary'

As it happens I'm just reviewing a book entitled 'The Conspiracy of GOOD TASTE', and I was researching what the art critic Wyndham Lewis had had to say about vulgarity, slang and what he calls slum city English, as well as his thoughts on art and architecture.  On this very subject of the English language Lewis in his essay 'MEN WITHOUT ART' commenting on H.L. Mencken's treatise, The American Language, had cause to write:

'English is of all languages the simplest grammatically and the easiest to make into a Beach-la-mar* or pigin tongue.  Whether this fact, combined with its "extraordinary tendency to degenerate into slang of every kind," is against it, is of some importance for the future - for it will have less and less grammar, obviously, and more and cosmopolitan slang. - Mr Mencken is of the opinion that a language cannot be too simple - he is all for Beach-la-mar.  The path towards analysis and  the elimination of inflection, has been trod by English so thoroughly that, in its American form, it should today win the race for a universal volapuk.  Indeed, as Mr Mencken says, "the foreigner essaying it, indeed, finds his chief  difficulty, not in mastering its forms, but in grasping its lack of form.  He doesn't have to learn a new and complex grammar; what he has to do is forget grammar.  Once he has done so, the rest is a mere matter of acquiring a vocabulary".'

I suppose that I became more aware of the limited forms of English grammar, my mother tongue, not at school but while living in Spain and trying to get my head around Castillian Spanish using a book entitle 'Colloquial Spanish', while at the same time working among people speaking Valenciano [a form of Catalan] in the 1960s, yet I hadn't realised that English has this special quality through its limited grammatical form which lends it a vitality and richness that adds to its universality.  Wyndham Lewis warns 'There is, it is true, the difficulty of the vowel sounds'  It seems that according to him 'Standard English possesses nineteen distinct vowel sounds: no other living European tongue except Portuguese', so Mr Mencken says, 'possesses so many'.  Modern Greek, it seems, 'can boast only five'.  The answer, according to Lewis, is the neutralised vowel, which he says 'supported by the slip-shod speech-habits of the native proletariat, makes steady progress' in America.  

Perhaps, it occurs to me, this formless grammar of English may explain why the Brexit lobby triumphed in the referendum.  Wyndham Lewis writes that:  'Watch your vowels should be our next national slogan!'  And he adds, 'The fatal grammatical easiness of English is responsible, however, for such problems as these, as much as the growing impressionability of the English nation, and the proletarianization, rather than the reverse of the American.'

Hitherto, while England was a powerful empire, run by an aristocratic caste, its influence on speech and even the psychology of the American ex-colonies was paramount.  Yet today, the tables have been turned and cultural domination has for long been coming from Hollywood and elsewhere across the pond.  Lewis foresaw this in 1934 saying:  'the cinema brought the American scene and the American dialect nightly into the heart of England, and the "Americanising" process is far advanced, "done gones," "good guys" and 'buddies' spout upon the ips of cockney children as readily as those to the manner born of New York or Chicago: and no politically-powerful literate class any longer now, in our British 'Banker's Olympus,' to confer prestige upon an exact and intelligent selective speech.'

BREXIT, 'Airstrip One' & '1984'

Wyndham Lewis well understood the proletarianision of the anglo-saxon people in which he grasped, in the 1930s, that '...if America has come to England, there has been no reciprocal movement of England into the United States: indeed, with the new American nationalism, England is deliberately kept out: and all the great influence that England exerted formall - merely by being there and speaking the same tongue and sharing the same fundamental political principles - that is today a thing of the past.' 

It would seem that this process is now well developed and should progress further as we associate  ourselves more closely with the United States and Trump and his cultivation of American Nationalism.

Later than this in the 1940's George Orwell he portrayed England as 'airstrip one'.  Air  part of Oceania covers the entire continents of America and Oceania and the British Isles, the main location for the novel, in which they are referred to as ‘Airstrip One’.   Within the novel, London is the capitol of the province called Airstrip One, which is itself part of the nation of Oceania. Oceania is one of three world powers, and is composed of the Americas, the Atlantic islands including the British Isles, Australasia, and the southern portion of Africa.  In this novel unofficial language of Oceania is English (officially called Oldspeak), and the official language is Newspeak.

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*   C19: quasi-French, from bêche-de-mer (trepang, this being a major trading commodity in the SW Pacific; hence the name was applied to the trading language)

**  commenting on 'Air Strip One' one commentator writes:  'I'm pretty sure it's a satirical jab at the perceived takeover of Britain by the United States.  Just as in real life the US has filled Britain with its airbases, in the world of 1984 the entire country is seen as just a minor offshoot of US military power, a mere "airstrip" for the USAF to launch their warplanes from. We already know that the United States has taken over Britain; this is stated explicitly at the very start of Chapter III (War is Peace) of Emmanuel Goldstein's magnum opus:'

The Art of Stanley Spencer.

ONE of the better things to have been shown on TV recently, was the BBC Four programme, 'British Masters' introduced by the art historian James Fox.

Just before and after the First World War, a radical generation of painters determined to eject Victorian sentimentality and nostalgia from their art and pioneered a new style of painting that would capture and make sense of the modern experience.

Drawing upon the work of Paul Nash, Graham Sutherland, Francis Bacon, Stanley Spencer, Walter Sickert, Wyndham Lewis and others, Fox explores why, during the 20th century, British painters were often dismissed for being old-fashioned. He reveals how these artists carefully reconciled tradition and modernity, providing a unique creative tension that now makes the period seem so exciting.

Fox argues that British painting from 1910 to 1975 was an extraordinary flowering of genius that ranked alongside the Golden Ages of Renaissance Italy and Impressionist France.

"Walter Sickert shocked the public by making the low-lives of Camden Town and a brutal murder the subject of his gaze. Wyndham Lewis and David Bomberg broke with centuries of realist tradition, reducing humanity to cold geometric forms. But as the country descended into war, three painters - Christopher Nevinson, Paul Nash and Stanley Spencer - reconciled what was best of the avant-garde with Britain's rich painterly tradition to create powerful images of war that would speak to us all."

For me, what was of great interest, was the art of Stanley Spencer and in particular, his murals at Sandham Memorial Chapel. Watch the video and see for yourself.