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Agent of Chaos

@cawareyoudoin

Caw. Adult. My art blog is @cawarart . The icon is a piece by @pauladoodles.The background image was originally posted by @zandraart .
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Vincent Price at the opening of The Tingler (1959)

I assume people are aware of what the gimmick was with "the Tingler" and I don't need to explain it

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vltima

Please educate me on what "the Tingler" did. I am very curious

The Tingler is a B grade horror film made by William Castle. Now what you need to know about William Castle is the dude liked to put on a SHOW. (If the first sentence in his bio on Wikipedia doesn't make you interested in him nothing will.) He made around 15 movies but the one's he's most remembered for had some or other "gimmick" when you went to go see them in theaters during the 50s and 60s.

A famous one was for "The House at Haunted Hill" (also starring Vincent Price). At a pivotal scene in the movie, a skeleton with red glowing eyes would swoop out over the movie theater audience on a wire.

Now the Tingler had a much more unique concept.

The story of the Tingler is already insane. In the movie, Scientists discover that all human beings are born with a parasite in their spines called a "Tingler" that feed off of human fear. Called "The Tingler" for how you feel a rush run down your spine during extreme fear, which turns out to be the feeling of the parasite growing. Tinglers grow and will slowly curl in on themselves and will eventually crush the human spine it's wrapped around. Humans have evolved a natural defense mechanism, which is screaming when they get scared. Screaming weakens the growth of the Tingler, and prevents it from reaching a lethal size.

A scientist discovers this creature after a movie theater owner's wife, who was deaf and mute, died because she could not scream when frightened. Turns out he had murdered his wife by purposefully terrifying her, allowing the Tingler to grow to a lethal size.

So here's the gimmick. It's simply but ingeniously effective, as the entire movie was basically written to "sell" the gimmick.

William Castle had buzzers installed under the theater seats. This caused the seats to, at specific points in the movie, vibrate against the movie audience's backs.

There was also some live action sequences I'm just gonna copy paste from the wiki

During the climax of the film, The Tingler was unleashed in the movie theater, while the audience watched a climactic fight scene in Tol'able David (1921). The film stops and, in some real-life theaters, the house lights came on, a woman screamed and pretended to faint and was then taken away in a stretcher; all part of the show arranged by Castle.[12][8] From the screen, the voice of Price mentioned the fainted lady and asked the rest of the audience to remain seated. The film-within-a-film resumed and was interrupted again. The projected film appeared to break as the silhouette of the tingler moved across the projection beam. The image of the film went dark, all lights in the auditorium (except fire exit signs) went off, and Price's voice warned the audience, "Ladies and gentlemen, please do not panic. But scream! Scream for your lives! The tingler is loose in this theater!"[15] This cued the theater projectionist to activate the Percepto! buzzers, giving some audience members an unexpected jolt, followed by a highly visible physical reaction. The voices of scared patrons were heard from the screen, replaced by the voice of Price, who explained that the tingler was paralyzed and the danger was over. At this point, the film resumed its normal format, which was used for its epilogue.

There were also nurses stationed at the theater doors and planted "Screamers and fainters" who would be gurneyd out of the theater and "whisked off to hospital" past the audience, who would then come back and repeat the process for the next showing.

And that's the story of the movie "The Tingler".

I recommend looking up Willaim Castle and his movies further.

Also this is what a Tingler supposedly looks like

Edit: oh it was also the first movie to ever show someone take LSD. Since LSD was legal at the time.

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'TIL a papyrus scroll indicates that, during the building of the tomb of Pharaoh Ramses III, the workers were upset about their treatment and, rather than discussing it with them, management served them a large meal.

'The workers didn't think that was enough so occupied the Valley of the Kings refusing entry to anyone until they were given a raise and "cosmetics" (research shows it was a form of sunscreen).

'So not only does workers organizing a strike and forming a picket line for better wages and workplace safety conditions date back TO THE FRIGGIN' BRONZE AGE, but also management has been trying to placate discontented workers with a pizza party.'

And then that went viral on Twitter and I got hammered with people trying to "Well ackshually" about my three-tweet-long thread on a thing I'd learned just that morning I turned into a joke about corporate pizza parties. So I decided to research and here's the entire story.

TL;DR: I was pretty much right except it'd be closer to say "donuts/cupcakes in the breakroom" rather than "pizza party".

I know I'm stumbling across this mostly out of context, and I'm not arguing the reality of it being a strike, but I feel like we have had very different experiences regarding the purpose and process of pizza parties and break room cupcakes. Because I cannot view those as comparable to the Egyptian situation in the slightest. My boss doesn't pay for my labor with pizza or donuts.

Nor were the Egyptian workers paid in pastries.

To address this directly, Egyptian workers were paid in food, yes (though like I said above, it's a bit more complicated), but these workers were paid specifically in GRAIN. As in a shelf-stable food that could be used to feed themselves and their families over the course of the entire month.

The ministers attempted to give them "s'b-cakes" (which some gastroegyptologists on Twitter were nice enough to help me nail down more precisely what those are, which is a type of refined or delicate pastry, possibly a sweet pastry piped into a spiral shape before being baked...also, "gastroegyptology" is a thing and that's pretty cool). Those cakes would only feed the workers alone and only for a day or maybe two.

So instead of the grain they were owed to feed their families for a month, they were given sweet pastries to feed just them for a day. Or, in modern terms, "We can't pay you your salary to let you buy groceries, but here are some donuts".

If the context lacking is the "pizza party"/"donuts in the breakroom", a common tactic by managers in America (and based on comments from Twitter isn't unheard of in Europe and Australia at least) to attempt to "raise employee morale" by ordering several pizzas or boxes of donuts or cupcakes instead of doing anything to improve working conditions like pay raises, increased benefits, or other substantive actions. It is actually taught in courses teaching management and human resources in America that this "works better" than actually providing positive changes for employees. It's also far cheaper as ordering pizza or donuts for an office only costs the company a few dollars per employee and not all employees will partake due to dietary restrictions of one form or another.

As far as the Exodus stuff, a lot of people were conflating the strike with Exodus or making references to Moses and/or Passover, which isn't the case as the estimated dates for the events of Exodus were 70-100 years earlier. Also, I have a bit of a thing about people attempting to conflate documented historical events with events from the Bible or other religious texts. But if I'm being entirely honest, people on Twitter kept replying with screenshots from Prince of Egypt saying "Let my pizza go!" and it was grating on me.

I see that some people on this site (thatlittleegyptologist and friends) believe so absolutely that Pharaonism was fundamentally a benevolent autocracy that they are very anxious to exonerate Ramses III's regime from any responsibility for the food shortages which led to the strikes of the workers of the necropolis of Thebes described in the Turin Strike Papyrus. But the truth is that very often such shortages and famines in history are the results of combination of natural causes with socio-political reasons, especially mismanagement or predatory policies from governments and ruling classes. 

What I understand from what I have found after some research is that, although Egypt was by that time seriously weakened after the encounter with the Sea Peoples and the destructions caused by them in the broader region of Egyptian influence, Ramses III was obsessed with the celebration of his Jubilee, which had become absolute priority for the Egyptian state and its policy of allocation of resources. It seems also that corruption of officials was becoming a major problem in the Egypt of that period. I think that these factors, combined with negligence and incompetence of the authorities, must have played a role in the food shortages which caused the strikes of the workers of Deir el-Medina. I think also that the fact that the officials of Thebes were each time finally forced under the serious pressure of the strikes and of the other actions of the hungry workers of the necropolis to find and distribute to the latter their overdue rations of food shows that the problem was not just lack of food from natural causes. 

Moreover, I cannot understand why the same people deny that the strikes of workers under Ramses III were a form of class conflict. I think that it is obvious that, although modern social categories do not apply absolutely to ancient Egypt and the Egyptian understanding of the world and of the self was very different from ours, ancient Egypt was not a classless harmonious society, but a hierarchical and stratified class society, in which ruling elites, priests and members of the huge bureaucratic apparatus extracted economic surplus from the mass of the population, often in nasty ways. The burden of the support of the higher strata of the social pyramid became of course much heavier for the common people when there was scarcity of food from natural causes.

On the other hand, it is true that the Pharaonic state drew some legitimacy from its function of organizing relief in times of difficulties for the population, through its system of storage and redistribution of resources. But it was exactly in this task that the regime of Ramses III failed miserably and in fact it compounded, as it seems, the difficulties for the people, for the reasons indicated above.

BTW this is how Toby Wilkinson, an eminent British Egyptologist, describes in his work “The Rise and Fall of Ancient Egypt” (p. 359) the distibution of s’b-cakes with which the officials of Thebes tried initially to placate the hungry workers: “Their [my note: the workers’] protest had lasted the whole day. The only gesture by the state was a derisory delivery of pastries: if they had no bred, let them eat cake.” 

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crungulus

every time I find a pill on the ground I take it home with me and draw a picture of it with crayons. here's the collection so far.

^ the very first pill I found & drew. couldn't identify it (markings rubbed off) but it looked very beautiful to me.

^pill no. 2: fluoxetine. my greatest find and finest crayon drawing. sorry to whoever lost their fluoxetine. I'll save it for a special occasion. I used a sharpie pen to clean up some lines on this one I think.

^ pill no. 3: ibuprofen. accidentally closed my laptop on this one, destroying it. and getting goop on my laptop. I found another one though. People drop a lot of painkillers. The first 2 used only colors from the classic 24 pack of crayons, but I had to break out extras from my childhood crayon collection for this one.

^pill no. 4: benadryl. this pill was crumbling inside its plastic when I found it, but it was intact enough to take home and draw! Hooray.

^pill no. 5: midol. this one was real scuffed up. I actually found an entire bottle of midol on another occasion, and someone's last 2 weeks of birth control yet another time, but those are the kind of things I leave behind because someone's likely to miss their entire bottle of midol or sealed birth control and come back for it.

^pill no. 6: unfinished advil/ibuprofen. I find a lot of painkillers, as mentioned, so I guess I got bored. I also have a drawing of acetaminophen that I am not posting because I don't like it.

^pill no. 7: severe tylenol. I didn't know such a thing existed until I found it on the ground. "severe tylenol" makes it sound like the tylenol is mean. this was among the more challenging ones and it's kinda rushed, but drawing the plastic was fun. just did this one an hour ago.

in case you're wondering, I do keep the pills when possible. I like to hold onto my reference material. they live in a separate box from my vintage ibuprofen collection.

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0dde11eth

Okay, as a nurse with an advanced cardiac life support certification for adults and a neonatal resuscitation certification, I feel like this is a question I can answer.

First, understand that the blood moved by cpr is much less than that moved by a normal heartbeat. Our goal with cpr is to maintain brain and critical organ perfusion until ROSC (return of spontaneous circulation) is achieved. The number of beats per minute recommended is based on what we know about about basically the maximum speed of cpr that can a) be achieved by an average person, b) be sustained by an average person, and c) (this is the most important) allow full chest recoil. Chest recoil is the chest getting back to full thickness after you release pressure on it. This is extremely important because that allows the heart to fill back up with blood so you can push it out with your next compression. Faster cpr doesn't move blood efficiently because there's not enough blood returning into the heart to push back out. We also compress in adults to a depth of 2-2.4 inches (5-6 cm) in an adult to ensure that we're emptying the heart sufficiently. This depth is smaller in children because they have a proportionately smaller chest cavity. The key is we want to compress to a depth around 1/3 the total depth of the chest.

Second thing to understand is that the movement of oxygen is via a gas gradient. Oxygen wants to move from where there's the most oxygen to the last oxygen until all fluids present have the exact same amount of oxygen. So we need to get oxygen into the blood. In one rescuer cpr this is achieved via compressions only because when you compress the chest you compress the lungs as well, which means that chest recoil also moves air into the lungs and this air allows for gas exchange which removes some CO2 and adds some oxygen. Chest recoil isn't as good at this as ventilation, which is why if there are two rescuers we prefer to have one ventilate and one compress (ideally you'll have more than 2 rescuers because best practice is to change compressors every 2 minutes). This will move more oxygen into the lungs.

Thirdly, we're trying to maintain a minimum blood pressure (we probably won't measure this during cpr until ROSC is achieved). In order to maintain brain, heart tissue, and kidney perfusion, we need enough blood pressure to move oxygenated red blood cells into the tissues and remove spent ones. Because we don't measure this, I can't remember the exact values, but I think in nursing school they said we needed a minimum of 80/40 to prevent kidney failure in sepsis, so I assume it's somewhere around there.

Fourth, every time you pause compressions to change compressors, a gap in compressions of more than roughly one second plummets that blood pressure we're trying to maintain down to zero. Your next 3 or so compressions won't move oxygen. They'll just be working to 'pump up' blood pressure to where we're properly moving oxygen again.

So now that we know what cpr does, let's talk Witcher physiology versus human physiology a little bit.

Now, in the shows, fan films, and games, witchers have roughly the same chest circumference as a human. This implies that the organs in the chest are roughly the same size as those of a human. So that means we should be keeping that compression depth of 2-2.4 inches or 1/3 the total chest depth to move blood.

We should also compare human pulse rate to Witcher, right? Well, a normal pulse rate for a human is 60-100 bpm. 1/4 that is 15-25. CPR is done at an ideal rate of around 120 bpm, meaning it's clinically tachycardic for a normal human. We also need to know that normal pulse range doesn't mean every human's resting pulse lays in that range. For very fit people, like say marathon runners and cross country skiers with excellent cardiovascular health, they often have a much lower resting pulse. I once looked after a marathon runner whose resting pulse rate was 30. What's the resting rate for a Witcher again? Up to 25? Pretty close, right?

We do not taper the rate of our cpr for marathon runners. A couch surfer like me with a resting pulse of 80 gets the same 120 bpm cpr as a marathon runner who is well oxygenated at 30 bpm.

Given this, I believe that the Witcher should receive standard human cpr.

But here's where it gets weird. Marathon runners and witchers live at a lower heartrate and (probably got witchers, definitely for marathon runners) blood pressure than your average human. Their body uses perfusion or efficiently. Which means that with good quality cpr, in marathon runners we sometimes achieve consciousness before ROSC. Which is great because it tells us we're achieving perfusion of the brain. We do not want to slow down just because they became conscious. We want that perfusion.

But most people who wake up disoriented with someone bouncing on their chest and cracking their ribs become combative. So fun fact, you're going to do cpr on your Witcher at normal human speed and then convince him to fucking stop fighting you until ROSC.

Now, we also use drugs and electricity to help restart the heart in ACLS and achieve ROSC. We probably don't have electricity, so let's consider drugs and run a 'chemical code'. Two big ones are atropine and adrenaline. If we want to be really nerdy, based on the ingredients and effects in the Witcher video games, Cat should have a decent amount of atropine. Maribor forest and Blizzard both generate adrenaline points so let's assume those are artificial adrenaline at least in part.

So depending on what you think caused your Witcher to go down, when he wakes up from your excellent human speed cpr, have him drink Blizzard, Maribor forest, or Cat and hopefully you'll achieve ROSC!

Tldr: it should be human speed.

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amuseoffyre
Well, mythical creature. Anything to say for yourself? Fuuuuuuuuuck yooooooou.

Bear with me because this may get rambly, but I find it fascinating that Izzy chooses to pick a fight with the figurehead on the ship. Given the history of figureheads as both identifying markers on a vessel and talismans to keep their crews' safe, I got thinking about the fact that for Izzy, Blackbeard is a figurehead.

Literally and figuratively, Blackbeard's identity looms large. Ed said it himself: he doesn't even need to be on the ship. People recognise the flag and the vessel and that's enough.

When the crew 'kill' Ed, Izzy is the one to keep his body on the ship. Which means that Izzy is the one to cover his head, leaving only his body visible. Only then, after Ed turns out to be alive again, Izzy goes and hides with the figurehead and - significantly - picks a fight with it.

Did Ed ever tell Izzy "I'm the kraken" (ie. a mythical creature)? Who knows. But even if he didn't tell him, Izzy said way back in 1x04, "I was honoured to work for the legendary Blackbeard". Blackbeard who is a legend and a ghost and a mad demon pyrate. A mythical creature, if you will.

For Izzy, he really seems to be redirecting all the rage he didn't/couldn't direct at Ed towards the unicorn. The subtext in the first scene between him and Stede at the bow is... uh. Quite telling.

Stede: He's seen better days, hasn't he? Izzy: At least he's still got both legs. Stede: Yes! Oh, he can't hear you. He's got no head. You've got a head, though, which you should look after.

Given that "losing your head" was another euphemism for insanity and Ed said himself "they think I'm a bit crazy" and Izzy described him as "going mad", Izzy really does seem to be projecting everything on to the figurehead who lost its head.

And then, in a drunken rage, he hacks the legs off the unicorn, dragging them along and throwing them down in front of the crew, declaring "There! It's done! Maybe next time he'll think twice about doing his fucking job".

We know that this is a triggering sentence for him. We saw it in episode 1 when he tries to bring the crew to order, and the memory of hearing it from Blackbeard - knowing he's expendable and not as valued or trusted or safe as he believed himself to be - led to him having his breakdown in front of the crew.

For him to bring this back up again, this open wound that led to the meeting with Blackbeard that then led to the confrontation and the shooting that cost him his leg, all ties in together with the unicorn.

Initially, I didn't twig why he was doing it beyond grief and misery and being drunk off his tits, but then in episode 5, it clicked. Specifically because of this exchange:

Izzy: Flipping the tables on Blackbeard didn't quite numb the pain? Lucius: Maybe we try what he did to you next. Izzy: What who did to me? Lucius: Blackbeard. Because he... chopped off your leg.

Which is what Izzy was doing in episode 4: trying what Blackbeard did to him by hacking the legs of the unicorn. Only it didn't help... until it did when the crew took a piece of the damage he had done and made something new from it to support him. (Hello, I am rolling around in the symbolism 🥰)

What I also find especially compelling is that he recognises that Lucius is trying to process his trauma the same way as he did: by doing unto others what was done unto him. Only Lucius does it by pushing actual Blackbeard overboard while Izzy takes his frustrations out on a myffic wooden pony.

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Honestly the biggest disappointment I had researching ABC was that medieval authors did not, in fact, see the creatures they were describing and were trying their best to describe them with their limited knowledge while going “what the fuck… what the fuck…”

Instead all those creatures you know came about from transcription and translation errors from copying Greco-Roman sources (who themselves got them from travelers’ tales from Persia and India - rhino -> unicorn, tiger -> manticore, python -> dragon, and so on).

So unicorns are real

behold… a unicorn

I always thought animals in medieval manuscripts looked like the result of having to draw say. A Tree Kangaroo, but your only source for what it looked like was your friend who heard it from a fellow who knows a man who swears he saw one once, whilst very drunk and lost, and I am SO PLEASED  to find out this is, in fact, the case.

Questing Beast

- Neck of a snake

- body of a leopard

- haunches of a lion

- feet off a hart (deer)

So is it

Or….

don’t forget that some of the legendary creatures they were describing were from other people’s mythos which were passed down in the oral tradition for gods know how long. You know what existed in Eurasia right around the time we were domesticating wolves into dogs?

these beasties. For a long time, science had them down as going extinct 200 thousand years ago, but then we found some bones from 36 thousand years ago. Which, y’know, is quite a difference. Since you can bet that any skeleton we find is not literally the last one of its kind to live, many creatures have date ranges unknowably far outside the evidence.

In South Asia there were cultures that described a man-beast/troll forrest giant  who’s knuckles dragged the ground, and everybody from the west was sure it was superstitious mumbo jumbo, but you know what used to live there?

And did you know that some of the earliest white colonizers of the Americas heard accounts that there were natives still alive who had seen and hunted and eaten a great hairy beast, shaggy like the buffalo but much bigger, with a long thin nose like a snake and two giant fangs… so, like, mammoths, you know? but they were totally discounted because europeans of the time were like, elephants live in Africa and aren’t hairy, you can’t fool us, pranksters!

Anyway, the point is between the early writing game of telephone description thing talked about by OP, and the discounting of native cultural accuracy, I’m pretty sure most legendary creatures are in fact real animals one way or another 

It can’t explain every single legendary creature, but yes, this is super important. Because History relies on written sources, it tends to sweep oral tradition under the rug, even if there’s a lot of interesting informations in it.

And it’s not just living animals that were badly described, or which descriptions got exaggerated over the course of centuries or through translation errors. Sometimes, people finding fossil bones of extinct animals might have also influenced some myths!

By now this is pretty well-known but it has been theorised that the Greek myth of the cyclops was started when people found Deinotherium skulls. Now you might say, uh, how is it possible to think a cousin of the elephant is a huge human dude with one eye?

Well-

- the big nasal opening kinda looks like an eye if you have no idea what kind of animal had this kind of skull (you can read more about this theory in this old National Geographic article if you like).

Here’s a less well-known one; the griffin is a mythological hybrid with the body of a lion and the head and wings of an eagle. The earliest traces of this myth come from ancient Iranian and ancient Egyptian art, from more than 3000 BC. In Iranian mythology, it’s called شیردال‌ (shirdal, “lion eagle”). Now, it’s been the subject of some debate and it’s not confirmed, but there’s a theory that people might have seen some Protoceratops and Psittacosaurus fossils in Asia and might have interpreted it as “a lion with an eagle’s head”:

This is a pretty well accepted theory for why dragons (or animals we group as like dragons, eg wyverns and drakes) are seen in mythos almost worldwide - because people found dinosaur bones, looked at them, and went “oh fuck what’s that? some big…. lizardy thing?” and then created dragons.

Also many deagon legends are simply exaggerations of well-known living reptiles like snakes and crocodilians.a

It also explains why dragons can look so different in the myths of the various regions.

In asia, Dragons tend to look very long and snake like:

One of the most common dinosaurs that used to like in the asia region, so would have been the most common fossils found by people:

The Mamenchisaurus, this thing is just all neck and tail! You find just half a fossilised skeleton of this monster, you can easily end up thinking of a long snake-like beast.

South America also has legends snake-like dragons among some of its peoples:

What fossils from pre-historic south America could be found?

The Titanoboa, which can easily grow to be 40 feet long.

In North America there is the Piasa Bird

Which wikipedia tells me comes from “ the large Mississippian culture city of Cahokia,” it’s describes as

What fossils could have been found in that region:

Pterosaur, and Triceratops. Features of both sets of skeletons could have been merged into one legendary creature.

Then we get our European style dragon:

One of the most common fossils that could have been found was a Cetiosaurus 

which, despite being a herbivore, looked to have a mouth of sharp looking teeth, consistant with a dragons.

Dragons amongst the peoples of Africa are even more varied, but most revolve around some kind of giant snake-like creature. As a quick example, we’ll take Dan Ayido Hwedo commonly found in West African mythology.

Fossils in that area could have been included the Aegyptosaurus:

A quick google search tells me that most Sauropods: well known for being long necked and long tailed, are found in Africa.

If you found only a half complete skeleton of this thing; which is likely, because it’s rare to find a complete dinosaur skeleton, you could easily think of a giant snake monster.

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English is weird

John McWhorter, The Week, December 20, 2015

English speakers know that their language is odd. So do nonspeakers saddled with learning it. The oddity that we all perceive most readily is its spelling, which is indeed a nightmare. In countries where English isn’t spoken, there is no such thing as a spelling bee. For a normal language, spelling at least pretends a basic correspondence to the way people pronounce the words. But English is not normal.

Even in its spoken form, English is weird. It’s weird in ways that are easy to miss, especially since Anglophones in the United States and Britain are not exactly rabid to learn other languages. Our monolingual tendency leaves us like the proverbial fish not knowing that it is wet. Our language feels “normal” only until you get a sense of what normal really is.

There is no other language, for example, that is close enough to English that we can get about half of what people are saying without training and the rest with only modest effort. German and Dutch are like that, as are Spanish and Portuguese, or Thai and Lao. The closest an Anglophone can get is with the obscure Northern European language called Frisian. If you know that tsiis is cheese and Frysk is Frisian, then it isn’t hard to figure out what this means: Brea, bûter, en griene tsiis is goed Ingelsk en goed Frysk. But that sentence is a cooked one, and overall, we tend to find Frisian more like German, which it is.

We think it’s a nuisance that so many European languages assign gender to nouns for no reason, with French having female moons and male boats and such. But actually, it’s we who are odd: Almost all European languages belong to one family–Indo-European–and of all of them, English is the only one that doesn’t assign genders.

More weirdness? OK. There is exactly one language on Earth whose present tense requires a special ending only in the third-person singular. I’m writing in it. I talk, you talk, he/she talks–why? The present-tense verbs of a normal language have either no endings or a bunch of different ones (Spanish: hablo, hablas, habla). And try naming another language where you have to slip do into sentences to negate or question something. Do you find that difficult?

Why is our language so eccentric? Just what is this thing we’re speaking, and what happened to make it this way?

English started out as, essentially, a kind of German. Old English is so unlike the modern version that it’s a stretch to think of them as the same language. Hwæt, we gardena in geardagum þeodcyninga þrym gefrunon–does that really mean “So, we Spear-Danes have heard of the tribe-kings’ glory in days of yore”? Icelanders can still read similar stories written in the Old Norse ancestor of their language 1,000 years ago, and yet, to the untrained English-speaker’s eye, Beowulf might as well be in Turkish.

The first thing that got us from there to here was the fact that when the Angles, Saxons, and Jutes (and also Frisians) brought Germanic speech to England, the island was already inhabited by people who spoke Celtic languages–today represented by Welsh and Irish, and Breton across the Channel in France. The Celts were subjugated but survived, and since there were only about 250,000 Germanic invaders, very quickly most of the people speaking Old English were Celts.

Crucially, their own Celtic was quite unlike English. For one thing, the verb came first (came first the verb). Also, they had an odd construction with the verb do: They used it to form a question, to make a sentence negative, and even just as a kind of seasoning before any verb. Do you walk? I do not walk. I do walk. That looks familiar now because the Celts started doing it in their rendition of English. But before that, such sentences would have seemed bizarre to an English speaker–as they would today in just about any language other than our own and the surviving Celtic ones.

At this date there is no documented language on Earth beyond Celtic and English that uses do in just this way. Thus English’s weirdness began with its transformation in the mouths of people more at home with vastly different tongues. We’re still talking like them, and in ways we’d never think of. When saying “eeny, meeny, miny, moe,” have you ever felt like you were kind of counting? Well, you are–in Celtic numbers, chewed up over time but recognizably descended from the ones rural Britishers used when counting animals and playing games. “Hickory, dickory, dock”–what in the world do those words mean? Well, here’s a clue: hovera, dovera, dick were eight, nine, and ten in that same Celtic counting list.

The second thing that happened was that yet more Germanic-speakers came across the sea meaning business. This wave began in the 9th century, and this time the invaders were speaking another Germanic offshoot, Old Norse. But they didn’t impose their language. Instead, they married local women and switched to English. However, they were adults and, as a rule, adults don’t pick up new languages easily, especially not in oral societies. There was no such thing as school, and no media. Learning a new language meant listening hard and trying your best.

As long as the invaders got their meaning across, that was fine. But you can do that with a highly approximate rendition of a language–the legibility of the Frisian sentence you just read proves as much. So the Scandinavians did more or less what we would expect: They spoke bad Old English. Their kids heard as much of that as they did real Old English. Life went on, and pretty soon their bad Old English was real English, and here we are today: The Norse made English easier.

I should make a qualification here. In linguistics circles it’s risky to call one language easier than another one. But some languages plainly jangle with more bells and whistles than others. If someone were told he had a year to get as good at either Russian or Hebrew as possible, and would lose a fingernail for every mistake he made during a three-minute test of his competence, only the masochist would choose Russian–unless he already happened to speak a language related to it. In that sense, English is “easier” than other Germanic languages, and it’s because of those Vikings.

Old English had the crazy genders we would expect of a good European language–but the Scandinavians didn’t bother with those, and so now we have none. What’s more, the Vikings mastered only that one shred of a once lovely conjugation system: Hence the lonely third-person singular -s, hanging on like a dead bug on a windshield. Here and in other ways, they smoothed out the hard stuff.

They also left their mark on English grammar. Blissfully, it is becoming rare to be taught that it is wrong to say Which town do you come from?–ending with the preposition instead of laboriously squeezing it before the wh-word to make From which town do you come? In English, sentences with “dangling prepositions” are perfectly natural and clear and harm no one. Yet there is a wet-fish issue with them, too: Normal languages don’t dangle prepositions in this way. Every now and then a language allows it: an indigenous one in Mexico, another in Liberia. But that’s it. Overall, it’s an oddity. Yet, wouldn’t you know, it’s a construction that Old Norse also happened to permit (and that modern Danish retains).

We can display all these bizarre Norse influences in a single sentence. Say That’s the man you walk in with, and it’s odd because (1) the has no specifically masculine form to match man, (2) there’s no ending on walk, and (3) you don’t say in with whom you walk. All that strangeness is because of what Scandinavian Vikings did to good old English back in the day.

Finally, as if all this weren’t enough, English got hit by a fire-hose spray of words from yet more languages. After the Norse came the French. The Normans–descended from the same Vikings, as it happens–conquered England and ruled for several centuries, and before long, English had picked up 10,000 new words. Then, starting in the 16th century, educated Anglophones began to develop English as a vehicle for sophisticated writing, and it became fashionable to cherry-pick words from Latin to lend the language a more elevated tone.

It was thanks to this influx from French and Latin (it’s often hard to tell which was the original source of a given word) that English acquired the likes of crucified, fundamental, definition, and conclusion. These words feel sufficiently English to us today, but when they were new, many persons of letters in the 1500s (and beyond) considered them irritatingly pretentious and intrusive, as indeed they would have found the phrase “irritatingly pretentious and intrusive.” There were even writerly sorts who proposed native English replacements for those lofty Latinates, and it’s hard not to yearn for some of these: In place of crucified, fundamental, definition, and conclusion, how about crossed, groundwrought, saywhat, and endsay?

But language tends not to do what we want it to. The die was cast: English had thousands of new words competing with native English words for the same things. One result was triplets allowing us to express ideas with varying degrees of formality. Help is English, aid is French, assist is Latin. Or, kingly is English, royal is French, regal is Latin–note how one imagines posture improving with each level: Kingly sounds almost mocking, regal is straight-backed like a throne, royal is somewhere in the middle, a worthy but fallible monarch.

Then there are doublets, less dramatic than triplets but fun nevertheless, such as the English/French pairs begin/commence and want/desire. Especially noteworthy here are the culinary transformations: We kill a cow or a pig (English) to yield beef or pork (French). Why? Well, generally in Norman England, English-speaking laborers did the slaughtering for moneyed French speakers at the table. The different ways of referring to meat depended on one’s place in the scheme of things, and those class distinctions have carried down to us in discreet form today.

The multiple influxes of foreign vocabulary partly explain the striking fact that English words can trace to so many different sources–often several within the same sentence. The very idea of etymology being a polyglot smorgasbord, each word a fascinating story of migration and exchange, seems everyday to us. But the roots of a great many languages are much duller. The typical word comes from, well, an earlier version of that same word and there it is. The study of etymology holds little interest for, say, Arabic speakers.

To be fair, mongrel vocabularies are hardly uncommon worldwide, but English’s hybridity is high on the scale compared with most European languages. The previous sentence, for example, is a riot of words from Old English, Old Norse, French, and Latin. Greek is another element: In an alternate universe, we would call photographs “lightwriting.”

Because of this fire-hose spray, we English speakers also have to contend with two different ways of accenting words. Clip on a suffix to the word wonder, and you get wonderful. But–clip an ending to the word modern and the ending pulls the accent along with it: MO-dern, but mo-DERN-ity, not MO-dern-ity. That doesn’t happen with WON-der and WON-der-ful, or CHEER-y and CHEER-i-ly. But it does happen with PER-sonal, person-AL-ity.

What’s the difference? It’s that -ful and -ly are Germanic endings, while -ity came in with French. French and Latin endings pull the accent closer–TEM-pest, tem-PEST-uous–while Germanic ones leave the accent alone. One never notices such a thing, but it’s one way this “simple” language is actually not so.

Thus English is indeed an odd language, and its spelling is only the beginning of it. What English does have on other tongues is that it is deeply peculiar in the structural sense. And it became peculiar because of the slings and arrows–as well as caprices–of outrageous history.

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