банки из-под варенья

Что остаётся от сказки потом,
После того, как её рассказали?
What remains of the tale
After the tale was told?

Tamara asked, “Is there a way of saying «банка из-под варенья» in English? Or Spanish?”

No, there isn’t. (Yes, I checked with Spanish speakers.)

In Russian, «банка варенья» (without any preposition) means “a jar of jam” while «банка из-под варенья» means “an empty jar which formerly contained jam”. Here, из-под points to the former use of the jar as a container. (Yes, in Russian it is also possible to say «банка для варенья», that is, jam jar).

Of course, this is not only about jam jars. In English, an (empty) beer bottle (“a bottle designed as a container for beer”) is clearly different from a (full) bottle of beer; a wine glass (“a type of glass that is used to drink and taste wine”) is not the same as a glass of wine. The same story with their Russian equivalents: «пивная бутылка» vs «бутылка пива», «винный бокал» vs «бокал вина». In Russian, we use adjectives (пивная, винный) to indicate the purpose of a container. Likewise, in English, we use words beer and wine as adjectives by placing them before the nouns. This still doesn’t provide an elegant way to translate, say, the lines by Bulat Okudzhava:

В склянке тёмного стекла из-под импортного пива…
In a dark glass bottle of for which previously contained imported beer…
In a dark-glass imported-beer bottle…

Nah.

Why did we talk about that in the first place? Because of a Russian meme: «Банки из-под варенья никогда не бывают пустыми». It could be roughly translated as “jam jars are never empty”.

Google it. In many cases, it is attributed to Lewis Carroll. In fact, it comes from Алиса в стране чудес, the Soviet-era musical adaptation of Alice in Wonderland, released in 1976 as a double LP. It was created by Oleg Gerasimov (1929—1997), actor and director of Moscow Art Theatre (МХАТ), and contained songs by Vladimir Vysotsky (1938—1980). Both Gerasimov and Vysotsky were among the voice actors in the play. I was introduced to it in 1977 by my cousin and, after a few listenings, knew it by heart (as, I’m sure, did millions of Soviet citizens). For me, it was also the first encounter with Carroll’s story.

Back to our meme: What did Carroll actually say about the jar?

She took down a jar from one of the shelves as she passed; it was labelled “ORANGE MARMALADE,” but to her great disappointment it was empty: she did not like to drop the jar for fear of killing somebody underneath, so managed to put it into one of the cupboards as she fell past it.

To my great disappointment, jars are never mentioned again. OK, I thought, maybe the theme of jars was further developed by Russian translators. The play was based on work by Nina Demurova. Here:

Пролетая мимо одной из полок, она прихватила с неё банку с вареньем. На банке было написано «АПЕЛЬСИНОВОЕ», но увы! она оказалась пустой. Алиса побоялась бросить банку вниз — как бы не убить кого-нибудь! На лету она умудрилась засунуть её в какой-то шкаф.

Well, this is quite faithful to the original. Just in case, I had a look at another Russian translation of Alice that was widely available in the USSR at the time, viz. that of Boris Zakhoder:

С одной из полок Алиса сумела на лету снять банку, на которой красовалась этикетка: «АПЕЛЬСИНОВОЕ ВАРЕНЬЕ». Банка, увы, была пуста, но, хотя Алиса и была сильно разочарована, она, опасаясь ушибить кого-нибудь, не бросила её, а ухитрилась опять поставить банку на какую-то полку.

Finally, I checked out the version by Vladimir Nabokov:

Она падала вниз так плавно, что успела мимоходом достать с одной из полок банку, на которой значилось: «Клубничное варенье». Но, к великому её сожалению, банка оказалась пустой. Ей не хотелось бросать её, из боязни убить кого-нибудь внизу, и потому она ухитрилась поставить её в один из открытых шкафчиков, мимо которых она падала.

Nabokov took the liberty to replace orange marmalade with strawberry jam, probably because he doubted that a seven-year-old girl (or any Russian reader) would fancy orange marmalade. Nevertheless, once again, this passage is the first and last time we hear about jars. We only can conclude that the maxim of never-empty jars was created by the play authors. Russian Wikipedia lists a number of other discrepancies with Demurova’s translation attribited to Gerasimov and Vysotsky.

What’s it all about? According to CliffsNotes (CliffsComplete Alice’s Adventures in Wonderland),

The jar in and of itself is only a jar. Placing a label on it that reads “ORANGE MARMALADE” might indicate that the object we call a jar contains a substance called marmalade. However, this jar contains nothing, rendering the label deceptive. The label would more accurately read “Empty.”

Yes, that would be more accurate but not 100% accurate. Now it is technically possible to clean and evacuate a jar (which formerly contained marmalade, jam etc. etc.), say using a vacuum pump. But it still won’t be completely empty, completely free of its past content, of its past story.

«Так что же остаётся, когда съедена банка варенья? Что останется, когда спета песня?»

So what remains when a jar of jam is eaten? What will remain when the song is sung?

Alice, you may recall, asks a lot of questions.

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between our acting and our thinking

Think of the thousand nameless actions that fill the crevices of your day: modulating your voice to convey interest or disdain; tying your shoelaces; whipping up an omelette or flipping an accurate throw. These are the moves your body knows but would stumble over were you to try describing them. Yet it isn’t until these maneuvers make their way, however shyly, into speech that we can abstract from them and so bring them into the theater of thought.

Language falls between our acting and our thinking; but language itself has two layers, the spoken and the written. The permanence of writing has always made it the more valuable of the two for us, even at the cost of trading in slang for solemnity. Yet not quite always: the Greeks of that golden age had peculiar views, some of them based on the remarkable ability of their singers to know vast epics like the Iliad and the Odyssey by heart. Memory was often equated with knowledge, knowledge with wisdom — so that the external memory of texts (that repository of our culture, binding us to generations gone) must have been for them something like musical scores: you feel a bit let down when a concert pianist has to perform with one in front of him. Perhaps this was why Plato wrote dialogues: they were and were not to be taken at their word. Certainly he deliberately undermines his enterprise in one of them, for in the Phaedrus he has Socrates argue that writing will cause forgetfulness and give only the semblance of truth. This may also be why that earlier philosopher, Heraclitus, made his aphorisms short and perplexing, and why in fact the Greeks invented irony, where you mean only some of what you say but don’t say most of what you mean.

New words are always frisking about us like puppies — one month people go ‘ballistic’ and the next ‘postal’ — but few settle in companionably over the years and fewer still reach that venerable state where we can’t imagine never having been able to whistle them up, there at our bidding. And ideas, large and small: where was flower power fifty years ago — and where is it now? With what fear, fascination and loathing Freudian doctrine slowly took hold and became the canon — and how quickly it all fell apart: who now have complexes, or cathect their libidos onto father-figures?

Robert Kaplan, The Nothing That Is: A Natural History of Zero

some peculiarities of Russian

This post is based on a presentation prepared by Tamara for her Spanish class.

Many people believe that Russian is a difficult language to learn. While it isn’t difficult for me, and shouldn’t be that difficult for speakers of any Indo-European language anyway, there are several important differences the Spanish (as well as English) speakers should be aware of. She also used some examples from Finnish, just to put things into perspective.

а. Alphabet

Modern Russian uses a variant of Cyrillic alphabet with thirty-three letters. These include ten vowels, twenty one consonants, hard sign ъ and soft sign ь. It looks like this:

Even though it may appear a bit frightening, I recommend to learn the Cyrillic alphabet as soon as you start learning Russian. Reading Russian in transliteration will only confuse you. For example, the character y is often used instead of two rather different letters (and sounds): the vowel ы and the consonant й. It is also used to indicate the “softening” of consonants (see below). As a result, the words you pronounce won’t sound anything like Russian.

б. Sounds

Some sounds in Russian present a difficulty for Spanish and/or English speakers.

Vovels

  • Е: after a consonant, pronounced as /e/ or /ɛ/; in all other cases (at the beginning of a word, after a vowel, after the hard and soft signs) pronounced as /je/ or // in Spanish yerba /ˈjeɾ.βa/ or English yes /jɛs/.
  • Ё: after a consonant, pronounced as /ö/, like in German mögen; in all other cases pronounced as /jo/, as in Spanish cuyo /ˈku.jo/ or English yolk /joʊk/.
  • Ы /ɨ/. There’s nothing like this sound in either Spanish or English. Just listen: 🔊. A commonly suggested trick to reproduce the sound of ы is to bite a (clean) pencil or pen so to spread the corners of your mouth while saying //, as in cheese /tʃiːz/.
  • Э: /ɛ/ like in English pen /pɛn/.
  • Ю: after a consonant, pronounced /ü/; in all other cases pronounced /ju/ as in Spanish yuca /ˈju.ka/ or in English yoo-hoo /ˈjuːˌhuː/.
  • Я: after a consonant, pronounced /æ/; in all other cases pronounced /ja/, as in Spanish cuya /ˈku.ja/ or English yard /jɑːd/.
  • Spanish has only five vowels, /a/, /e/, /i/, /o/ and /u/, which always sound the same, stressed or not. There are more vowels in Finnish but they also always pronounced the same way, irrespectively of stress. As for English, they do not even know how many vowels there are, let alone which ones to use. The only thing everybody seems to agree is that most unstressed vowels in English are reduced to schwa /ə/. Vowel-wise, Russian is somewhere in between these two extremes. The stressed vowels always sound as expected. Unstressed а and о are usually pronounced as something between /a/ and /o/; unstressed е, и, э and я, between /e/ and /i/; unstressed у and ю, between /o/ and /u/. The good news is that even if you pronounce all vowels Spanish (or Finnish) way, you still will be understood.

Consonants

  • Б and В: /b/ and /v/, respectively. Unlike Spanish, there is always a clear distinction between these two sounds.
  • Г: normal /ɡ/ as in Spanish guerra or /ˈɡera/ or in English get /ɡɛt/; in Southern Russian dialects, often pronounced /ɣ/ as in Spanish lago /ˈla.ɣo/.
  • Ж /ʐ/, similar to /ʒ/ in Portuguese janeiro /ʒaˈnejru/, French jour /ʒuʀ/ or English measure /ˈmɛʒə(r)/.
  • З /z/, same as /z/ in English zoo /zuː/ but not Spanish zurdo.
  • Р /r/ (rolled r), same as /r/ in Spanish perro /ˈpero/.
  • Х /x/, same as /x/ in Spanish ojo /ˈoxo/ or in Scottish loch /lɔx/.
  • Ц /t͡s/, as /ts/ in English nuts /nʌts/ or in Italian pizza /ˈpit.tsa/. This sound is not normally found in Spanish.
  • Ш /ʂ/, similar to /ʃ/ in Portuguese caixa /ˈkajʃa/, French chic /ʃik/ or English sheep /ʃiːp/.
  • Щ /ɕɕ/, which is not a combination of š and č in spite of being often transcribed as shch. It is similar to /ʃˈʃ/ in Italian uscita /uʃˈʃita/.

з shouldn’t be a problem for English speakers, ditto р and х for Spanish speakers.

  • Most Russian consonants come in two variants, “hard” and “soft”. The “softening” of Russian consonants before vowels е, ё, ю, я is often transliterated in English with letters y or i, which makes learners to pronounce, say, a phrase “Юля, я тебя люблю” (“Julia, I love you”) as /ˈjulja ja tiˈbja ljubˈlju/ instead of /ˈjulæ ja tiˈbæ lübˈlü/. The “softening” achieved with the soft sign ь alone is practically impossible to transliterate. You just have to listen and speak!
  • The consonants ж, ц and ш are always hard (even if followed by soft sign), й, ч and щ are always soft.

On the other hand, Russian does not have /ð/ and /θ/ sounds so common in English and in Peninsular Spanish, as in Madrid /maˈðɾi(θ)/. And there is no /w/ sound, so when transliterating English names, one has to decide whether to use в or у. For example, “Watson” could be transliterated as either Ва́тсон or Уо́тсон.

в. Declension

  • Modern Russian has six grammatical cases: nominative, genitive, dative, accusative, instrumental, and prepositional. This sounds like a lot, as neither Spanish nor English have cases. But this is only two more cases compared with German (with which Russian shares four cases) and same number as Latin. Compare that with Finnish (15 cases), Hungarian (18) or Tsez (64) and stop complaining. Here’s how the word дом (house) will change in all six cases:

    case singular plural
    Nominative дом дома́
    Genitive до́ма домо́в
    Dative до́му дома́м
    Accusative дом дома́
    Instrumental до́мом дома́ми
    Prepositional до́ме дома́х

    And here’s what Finnish can do with their house (I didn’t bother with the case names):

    talo house
    talon of (a) house
    talona as a house
    taloa house (as an object)
    taloksi to a house
    talossa in (a) house
    talosta from (a) house
    taloon into (a) house
    talolla at (a) house
    talolta from (a) house
    talolle to (a) house
    talotta without (a) house
    taloineni with my house(s)
    taloin with (a) house
  • Russian has three grammatical genders: masculine, feminine, and neuter. Cf. Spanish (masculine and feminine), and English (traces of).
  • Russian nouns, pronouns, adjectives, present and past participles, and numerals are subject to declension: they change their endings to indicate number, gender and case.
  • In Russian, there are three noun declensions conveniently named “first”, “second” and “third”.
  • Adjectives, present and past participles, and ordinal numerals have to agree (in number, gender and case) with nouns and pronouns.
  • Russian cardinal numerals два (two), три (three) and четыре (four) make the count noun to change differently compared to plural, as if they were “not quite” plural:

    singular один дом one house
    “few” два до́ма two houses
    “few” три до́ма three houses
    “few” четы́ре до́ма four houses
    plural пять домо́в five houses

г. Verbs

  • In Russian, there are only three tenses: past, present and future. (Some linguists go even further and say that Russian has only two grammatical tenses: present-future and past).
  • In the present and future tenses (or present-future), there are two conjugations; like in Spanish, each has six different forms: 1st singular, 2nd singular, 3rd singular, 1st plural, 2nd plural, 3rd plural.
  • In the past tense, there is no difference between 1st, 2nd and 3rd, but the verbs are number- and gender-specific.
  • There are no such things as perfect, imperfect or pluperfect tense. Instead, most verbs come in two flavours, imperfective (несовершенный вид) and perfective (совершенный вид).
  • There is only one type of verb “to be”: быть (unlike Spanish ser and estar). This verb is hardly ever used in present tense, so some apparently complete sentences do not contain a verb, for example «Я — русский», “I (am) Russian”.

д. Articles

  • That’s easy: Russian does not use articles. (Nor does Finnish.)

sun-that-will-not-shine, moon-that-cannot-rise

As he had expected, his best friend, Billy Hake, was at the soda fountain, sitting on a stool and drinking a mild hallucinogen known as an LSD frappé.
“How’s the morn, Sorn?” Hake asked, in the slang popular at that time.
“Soft and mazy, Esterhazy,” Marvin replied, giving the obligatory response.
“Du koomen ta de la klipje?” Billy asked. (Pidgin Spanish-Afrikaans dialect was the new laugh sensation that year.)
“Ja, Mijnheer,” Marvin answered, a little heavily. His heart simply was not in the clever repartee.
Billy caught the nuance of dissatisfaction. He raised a quizzical eyebrow, folded his copy of James Joyce Comics, popped a Keen-Smoke into his mouth, bit down to release the fragrant green vapor, and asked, “For-why you burrow?”
The question was wryly phrased but obviously well intended.
Marvin sat down beside Billy. Heavyhearted, yet unwilling to reveal his unhappiness to his lighthearted friend, he held up both hands and proceeded to speak in Plains Indian Sign Language. (Many intellectually inclined young men were still under the influence of last year’s sensational Projectoscope production of Dakota Dialogue, starring Bjorn Rakradish as Crazy Horse and Milovar Slavovivowitz as Red Cloud, and done entirely in gesture.)
Marvin made the gestures, mocking yet serious, for heart-that-breaks, horse-that-wanders, sun-that-will-not-shine, moon-that-cannot-rise.
He was interrupted by Mr Bigelow, proprietor of the Stanhope Pharmacy. Mr Bigelow was a middle-aged man of seventy-four, slightly balding, with a small but evident paunch. Yet he affected boys’ ways. Now he said to Marvin. “Eh, Mijnheer, querenzie tomar la klopje inmensa de la cabeza vefrouvens in forma de ein skoboldash sundae?”
It was typical of Mr Bigelow and others of his generation to overdo the youthful slang, thus losing any comic effect except the pathetically unintentional.
“Schnell,” Marvin said, putting him down with the thoughtless cruelty of youth.
“Well, I never,” said Mr Bigelow, and moved huffily away with the mincing step he had learned from the Imitation of Life show.

Robert Sheckley, Mindswap

deep and inscrutable singular name

The Naming of Cats is a difficult matter,
It isn’t just one of your holiday games;
You may think at first I’m as mad as a hatter
When I tell you, a cat must have THREE DIFFERENT NAMES.
First of all, there’s the name that the family use daily,
Such as Peter, Augustus, Alonzo or James,
Such as Victor or Jonathan, George or Bill Bailey —
All of them sensible everyday names.
There are fancier names if you think they sound sweeter,
Some for the gentlemen, some for the dames:
Such as Plato, Admetus, Electra, Demeter —
But all of them sensible everyday names.
But I tell you, a cat needs a name that’s particular,
A name that’s peculiar, and more dignified,
Else how can he keep up his tail perpendicular,
Or spread out his whiskers, or cherish his pride?
Of names of this kind, I can give you a quorum,
Such as Munkustrap, Quaxo, or Coricopat,
Such as Bombalurina, or else Jellylorum —
Names that never belong to more than one cat.
But above and beyond there’s still one name left over,
And that is the name that you never will guess;
The name that no human research can discover —
But THE CAT HIMSELF KNOWS, and will never confess.
When you notice a cat in profound meditation,
The reason, I tell you, is always the same:
His mind is engaged in a rapt contemplation
Of the thought, of the thought, of the thought of his name:
His ineffable effable
Effanineffable
Deep and inscrutable singular Name.

want harmony, go talk Sanskrit

Look at the English language. The words that express peaceful harmony are so few, so pale, so flaccid, while the words that express disgust, dismay, revulsion constitute a vast and delicious vocabulary. “You’ve got bubblegum for brains, you jackass, you douchenugget, you are so average, did you eat dumb flakes for breakfast? Go sit on your thumb, you feeb, you nincompoop, you fathead” — it goes on and on and on. Shakespeare is loaded with insult from our rich Anglo-Saxon heritage. It’s a language for people who don’t like each other. You want harmony, go talk Sanskrit.

Garrison Keillor, When it’s over, maybe Trump should move to Nebraska

rico eucalipto, más dormir

Tradicionalmente se había considerado que la evolución anatómica de algunas partes del aparato fonador humano (es decir, de los órganos que utilizamos para hablar) podían darnos pistas sobre cómo y cuando había surgido el lenguaje. El descenso de la laringe ha sido interpretado durante mucho tiempo como un hito que conllevaba la producción de habla. Si bien el famoso descenso de la laringe es necesario para poder articular determinados sonidos, se han encontrado laringes igualmente descendidas en otras especies sin habla, como los koalas. A pesar de compartir posición laringal con los humanos, por el momento no parece que los koalas puedan hablar, lo cual es una pena; ¿qué nos dirían si hablaran? ¡Rico eucalipto! ¡Más dormir!

Elena Álvarez Mellado, Anatomía de la lengua