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Introduction

Bilingual Bliss, Bilingual Blues

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Tongue Ties

Part of the book series: New Directions in Latino American Cultures ((NDLAC))

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Abstract

In a letter written toward the end of his life, the Russian novelist Ivan Turgenev remarked that a writer who did not write only in his mother tongue was a thief and a pig.1 Although Turgenev did not explain the epithets, it is not difficult to figure out what he meant. Since a language is a form of cultural property, a writer who uses words that do not belong to him is a thief; since his theft of the words of others entails the neglect of his own, he is a pig. As it happens, Turgenev wrote this letter in German. Even though his letters are often every bit as literary as his novels, the use of other languages in correspondence apparently did not count as an infraction against his mother tongue. Indeed, it is revealing that Turgenev, in spite of his mastery of several European languages and his many years of residence outside Russia, never seized the opportunity, or succumbed to the temptation, of writing fiction in a language other than Russian. Once, when a reviewer incorrectly stated that one of Turgenev’s novellas had been written originally in French, an offended Turgenev pointed out in flawless French—that he would never stoop to something so base.

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Notes

  1. Ivan Turgenev and Ludwig Pietsch, Briefe aus den jahren 1864–1883, ed. Alfred Doren (Berlin: Im Propyläen Verlag, 1923), 147.

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  2. Uriel Weinreich, Languages in Contact (New York: Publications of the Linguistic Circle of New York, Number 1, 1953)

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  3. see also Joshua A. Fishman, Language Loyalty in the United States (The Hague: Mouton, 1966).

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  4. On the connection between language and nationalism, see Leonard Forster, The Poet’s Tongues: Multilingualism in Literature (London: Cambridge University Press, 1970)

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  17. The phrase, transcribed as “Mod hed god hep,” appears in the Cancionero de Baena, a collection of several hundred poems by diverse authors compiled by Juan Alfonso de Baena around 1445. In the poem, which commemorates the birth of John II of Castile, his mother (Catherine of Lancaster) calls out for divine help in her native tongue while in the throes of childbirth. Also containing phrases in Latin and Arabic, the stanza in which Catherine’s plea appears is notable for its multilingualism: En boses mas baxas le oy decir: “¡Salue, Regina! ¡Saluadme, Señora!” e a las de vezes me paresçie oyr: Mod hedgod hep, alumbradm’agora.” E a guisa de dueña que deuota ora: “¡Quam bonus Deus!,” le oy rezar, e oyle a manera de apiadar: “Çayha bical habin al cabila mora.” See Cancionero de Juan Alfonso de Baena, ed. José María Azaceta (Madrid: Consejo Superior de Investigaciones Científicas, 1966), 413; also Emilio Lorenzo, Anglicismos hispánicos (Madrid: Gredos, 1996), 9.

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  30. Popularized by John Ferguson in the 1950s, the term “diglossia” originally referred to two dialects of the same language. Joshua Fishman extended the notion to apply to different languages rather than to varieties of the same language. The bibliography on diglossia is extensive; see Mauro Fernández, Diglossia: A Comprehensive Bibliography, 1960–1990 (Amsterdam: J. Benjamins, 1993).

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  41. Rubén Darío, Los raros (1896; Mexico City: Universidad Autónoma Metropolitana, 1985), 21. Darío goes on to say that New Yorkers do not speak but “scream, moo, below, howl” (23).

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  42. See Roberto Ignacio Díaz, Unhomely Rooms: Foreign Tongues and Spanish American Literature (Lewisburg: Bucknell University Press, 2002), 73–74.

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© 2003 Gustavo Pérez Firmat

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Firmat, G.P. (2003). Introduction. In: Tongue Ties. New Directions in Latino American Cultures. Palgrave Macmillan, New York. https://doi.org/10.1057/9781403980922_1

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