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The Story of Aubergine

The Story of Aubergine

As the University of Surrey’s foremost (and indeed only) blog about languages and how they change, MORPH is enjoyed by literally dozens of avid readers from all over the world. But so far these multitudes have not received an answer to the one big linguistic question besetting modern society. Namely, what on earth is going on with the name of the plant that British English calls the aubergine, but that in other times and places has been called eggplant, melongene, brown-jolly, mad-apple, and so much more? Where do all these weird names come from?

I think the time has finally come to put everyone’s mind at rest. Aubergines may not seem particularly eggy, melonish, jolly or mad, but lots of the apparently diverse and whimsical terms for them used in English and other languages are actually connected – and in trying to understand how, we can get some insight about how vocabulary spreads and develops over time. It turns out that one powerful impulse behind language change is the fact that speakers like to ‘make sense’ of things that do not inherently make sense. What do I mean by that? Stay tuned to find out.

Long purple aubergine

To get one not-so-linguistic point out of the way first, there is no real mystery about eggplant (the word generally used in the US and some other English-speaking countries, dating back to the 18th century), which is not linked to anything else I am talking about here. It is hard to imagine mistaking the large, purple fruit in the photo above for any kind of egg, but that is not the only kind of aubergine in existence. There are cultivars with a much more oval shape, and even ones with white rather than purple skin: pictures like this, showing an imposter alongside some real eggs, make it obvious how the word eggplant was able to catch on.

Small white eggshaped aubergine in an eggbox between two real eggs

Meanwhile, aubergine, which is borrowed from French as you might expect, has a much more complex history, and can be traced back over many centuries, hopping from language to language with minor adjustments along the way. The plant is not native to the US, Britain or France, but to southern or eastern Asia, and investigating the history of the word will eventually take us back in the right geographical direction. Aubergine got into French from the Catalan albergínia, whose first syllable gives us a clue as to where we should look next: as in many al- words in the Iberian peninsula (e.g. Spanish algodón ‘cotton’), it reflects the Arabic definite article. So, along with medieval Spanish alberengena, the Catalan item is from Arabic al-bādhinjān ‘the aubergine’, where only the bādhinjān bit will be relevant from here on. This connection makes sense, because the Arab conquest had such an impact on the history of Iberia. And more generally, we have the Arabs to thank for the spread of aubergine cultivation into the West, and also – indirectly – for this charming illustration in a 14th-century Latin translation of an Arabic health manual:

Illustration featuring three people in front of a stand of aubergine plants
Page from the 14th c. Tacuinum Sanitatis (Vienna), SN2644

But bādhinjān is not Arabic in origin either: it was borrowed into Arabic from its neighbour, Persian. In turn, Persian bādenjān is a borrowing from Sanskrit vātiṅgaṇa… and Sanskrit itself got this from some other language of India, probably belonging to the unrelated Dravidian family. The word for aubergine in Tamil, vaṟutuṇai, is an example of how the word developed inside Dravidian itself.

That is as far back as we are able to trace the word. But the journey has already been quite convoluted. To recap, a Dravidian item was borrowed into Sanskrit, from there into Persian, from there into Arabic, from there into Catalan, from there into French, and from there into English – and in the course of that process, it managed to go from something along the lines of vaṟutuṇai to the very different aubergine, although the individual changes were not drastic at any stage. The whole thing illustrates how developments in language can go with cultural change, in that words sometimes spread together with the things they refer to. In the same way, tea reached Europe via two routes originating in different Chinese dialect zones, and that is what gave rise to the split between ‘tea’-type and ‘chai’-type words in European languages:

[Map created by Wikimedia user Poulpy, licensed CC BY-SA 3.0, cropped for use here]
This still leaves a lot of aubergine words unaccounted for. But now that we have played the tape backwards all the way from aubergine back to something-like-vaṟutuṇai, we can run it forwards again, and see what different historical paths we could follow instead. For example, Arabic had an influence all over the Mediterranean, and so it is no surprise to see that about a thousand years ago, versions of bādhinjān start appearing in Greece as well as Iberia. Greek words could not begin with b- at the time, so what we see instead are things like matizanion and melintzana, and melitzana is the Greek for aubergine to this day. There is no good pronunciation-based reason for the Greek word to have ended up beginning with mel-, but what must have happened is that faced with this foreign string of sounds, speakers thought it would be sensible for it to sound more like melanos ‘dark, black’, to match its appearance. That is, they injected a bit of meaning into what was originally just an arbitrary label.

Meanwhile the word turns up in medieval Latin as melongena (giving the antiquated English melongene) and in Italian as melanzana, and a similar thing happened: here mel- has nothing to do with the dark colour of the fruit, but it did remind speakers of the word for ‘apple’, mela. We know this because melanzana was subsequently reinterpreted as the expression mela insana, ‘insane apple’. To produce this interpretation, it must have helped that the aubergine (like the equally suspicious tomato) belongs to the ‘deadly’ nightshade family, whose traditional European representatives are famously toxic. So, again, something that was originally just a word, with no deeper meaning inside, was reimagined so that it ‘made sense’. As a direct translation, English started calling the aubergine a mad-apple in the 1500s.

Parody of the "Keep Calm and Carry On" posters, reading "You don't have to be mad to work here but it helps"
Poster from a 16th c. aubergine factory

There are many more developments we could trace. For example, I have not talked at all about the branch of this aubergine ‘tree’ that entered the Ottoman Empire and from there spread widely across Europe and Asia. But instead I will return now to the Arab conquest of Iberia. This brought bādhinjān into Portuguese in the form beringela, and then when the Portuguese started making conquests of their own, versions of beringela appeared around the world. Notably, briñjal was borrowed into Gujarati and brinjal into Indian English, meaning that something-like-vaṟutuṇai ultimately came full circle, returning in this heavy disguise to its ancestral home of India. And to end on a particularly happy note, when the same form brinjal reached the Caribbean, English speakers there saw their own opportunity to ‘make sense’ of it – this time by adapting it into brown-jolly.

Brown-jolly is pretty close to the mark in terms of colour, and it is much better marketing than mela insana. But from the linguist’s point of view, they both reinforce a point which has often been made: speakers are always alive to the possibility that the expressions they use are not just arbitrary, but can be analysed, even if that means coming up with new meanings which were not originally there. To illustrate the power of ‘folk etymology’ of this kind, linguists traditionally turn to the word asparagus, reinterpreted in some varieties of English as sparrow-grass. But perhaps it is time for us to give the brown-jolly its moment in the sun.

Yesterday, Today and Tomorrow

Yesterday, Today and Tomorrow

How do we talk about time? This may seem a simple question with a simple answer; we are all human, surely we all experience time the same way? That may be true, but that doesn’t mean that all languages organise the time in the same way. This is arguably most apparent when it comes to talking about the days either side of the present day. We all live on earth and so therefore all experience a day-night cycle; all can understand how one day follows after another. However, the words we use to locate events in this cycle can vary wildly in their construction.

Let’s take a look at two languages, Scottish Gaelic and Sylheti, and see how their systems compare with that of English. All three of these languages belong to the same family, Indo-European, so it might be assumed that they show many similarities. And yet each still exhibits significant variation in how they talk about time.

Firstly, Scottish Gaelic. Like English, it distinguishes between ‘yesterday’, ‘today’ and ‘tomorrow’. The terms each show a consistent structure with a frozen prefix a(n)- with three morphologically opaque roots; an-dè, an-diugh and a-màireach respectively. Furthermore none of the Gaelic terms has any connection with the normal word for ‘day’, latha/là. Compare English, where yester-day and to-day both feature the word ‘day’, while to-day and to-morrow both feature a frozen prefix to- (historically a demonstrative). Additionally, there are also single terms for ‘last night’ as well as ‘tonight’ with a-raoir and a-nochd respectively, again with no immediately apparent connection with the normal term for ‘night’ oidhche. On the other hand, there is no single term for ‘tomorrow night’ so the compound expression oidhche a-màireach is used instead. There are also additional terms for ‘the day after tomorrow’ and ‘the day before yesterday’, an-earar and a bhòn-dè respectively, while the latter has a counterpart in a bhòn-raoir for ‘the night before last’. English is also reported to have had similar terms in the form of ereyesterday and overmorrow, though these have fallen out of usage in the modern day.

Gaelic is also in another respect slightly more regular than English in how it refers to parts of the day. While in English we have a split between ‘this morning’ and ‘yesterday morning’, Gaelic instead uses madainn an-diugh and madainn an-dè, where the former literally translates to ‘today morning’.

But all this is not really that surprising. All that really distinguishes Scottish Gaelic from English in this respect is which time categories are given single indivisible terms rather than compositional expressions; the fundamental organisation of the system is still broadly similar to English. To see a far more radically different system of organising time words, we will now turn to Sylheti, an Indo-Aryan language spoken in north-eastern Bangladesh by around 9-10 million and by perhaps a further 1 million in diaspora, including by most of the British Bangladeshi community.

Here, instead of distinguishing between ‘yesterday’ and ‘tomorrow’, we instead find a single term xail(ku), contrasting with aiz(ku) meaning ‘today’ (the -ku is a suffix which can optionally appear on a lot of ‘time’ words, such as onku ‘now’ or bianku ‘(this) morning’). The two senses of ‘tomorrow’ and ‘yesterday’ can be distinguished by combining them with goto ‘past’ and agami ‘future’, but just as commonly instead the distinction is solely marked by whether the verb is in the past or future tense, e.g. xailku ami amar bondu dexsi ‘I saw my friend yesterday’ vs. xailku ami amar bondu dexmu ‘I will see my friend tomorrow’.

This is not an isolated instance in the language, either, but in fact represents a consistent trend. So in the same manner foru can be either ‘the day before yesterday’ or ‘the day after tomorrow’ depending on context and toʃu the same but at one day further removed.

Table of day and night terms in english, Gaelic and Sylheti respectively
Visualising the systems

Nor is Sylheti unique in using this kind of system; it is also found in many parts of New Guinea, for example. Yimas, a language of northern New Guinea, also uses the same term ŋarŋ for both ‘yesterday’ and ‘tomorrow’, urakrŋ for ‘two days removed’ and so on, all the way up to manmaɲcŋ for ‘five days removed’. Once again whether the reference is to the past or future is carried by the choice of tense on the verb, though Yimas has a far more complex system than that seen in Sylheti, for instance distinguishing a near past -na(n) from a more remote past -ntuk~ntut.

Sylheti also has more fine grained distinctions for parts of the day than either English or Scottish Gaelic. For example, if one wishes to say ‘in the morning’ one must decide whether one is talking about the early morning (ʃoxal) or the mid to late morning (bian). Additionally, while forms such as ‘yesterday/tomorrow afternoon’, ‘the night before last/after next’ and ‘yesteray/tomorrow morning’ use compound expressions (xail madan, foru rait and xail bian/ʃoxal respextively), to express ‘this morning/this afternoon/tonight’ the word for the part of the day (perhaps with the oblique suffix -e or a time suffix -ku) is sufficient by itself, for example amra ʃoxale Sylheʈ aisi ‘We arrived in Sylhet this morning’ or ami raitku dua xotram ‘I am praying tonight’ (with rait ‘night’).

This is just one small part of the temporal vocabulary, and only looking at representatives from a single family, and yet already we see great variation in how time is organised and discussed. It is not so much that these groups have fundamentally different conceptions of time, as these languages share a common ancestor and are only separated by a few thousand years. Instead, it is a testament to the fluidity of time itself, resulting in the words used to refer to it easily shifting in meaning and being reorganised over generations.

Word games

Word games

You have very certainly heard about Wordle, the viral word game by powerlanguage, recently bought by the NYT. In the original game, a 5-letter English word is secretly chosen every day, which players attempt to guess in 6 tries. Each guess is answered by colored cues: green for “correct letter in the correct place”, orange for “correct letter in the wrong place”, gray for “incorrect letter”. The concept of wordle is not new, and resembles games such as Jotto, Lingo, and mastermind.

 A sample game of Mastermind.
A sample game of Mastermind.

While some may have been annoyed by the endless stream of three-color square emojis reporting players’ success and inundating social media I have been delighted by the productivity displayed by the many variants: in hello wordl, play an endless number of games; in dordle, quordle, octodle guess several words at once; in squardle, play in two dimensions; in nerdle, guess a mathematical formula; in absurdle, the games does its best to get away from your guesses, etc.

Quordle lets you play 4 games at once
Quordle lets you play 4 games at once

Some derived games transform the game mechanics, but the simplest variation is to switch the vocabulary (have you tried queerdle or lordle of the rings?) or the language. Indeed, wikipedia already references more than 40 wordle language variants. If I believe my social feeds, many linguists have found that they were able to play in languages that they didn’t speak, provided that they had some intuitions of the phonotactics and orthographic sequences. I was however quite disappointed to see that many versions retained the English-centric 1-letter:1-unicode-character, and avoided diacritics altogether, leading to strange impoverished typography — this is the case for example of the French wordle, “le mot”.

 

The French wordle accepts "meler", but not "melez"
The French wordle accepts “meler”, but not “melez”

 

While playing variants, I realized that a wordle is only as good as its word list: some games rely on lexicons which contain only citation forms (infinitives for French verbs) and exclude the many others inflected forms, leading to a frustrating game experience. For example, in Le Mot, one can play mêler (or more exactly, meler) “to mix”, but not meles “(you) mix”. It happens that well curated words lists including inflected variant is a Surrey Morphology Group specialty: lexicons and dictionnaries are a common product of language documentation, and as its names indicates, researchers at the SMG have a particular focus on morphology. We have been maintaining open inflectional databases since the 90s. After discussion, we agreed collectively to start by producing two wordle-like games, corresponding to the two main lexicons in the SMG databases, respectively the Dictionary of Archi and the Nuer Lexicon.

Nuerdle interface
SMG wordle in Nuer: Nuerdle

The Nuer language, or Thok Nath, is a West Nilotic language spoken by approximately 900,000 to two million people in South Sudan and Ethiopia, as well as in diaspora communities throughout the world. The SMG has created an interactive online dictionary for it. From this lexicon, I have extracted 6218 words, mostly verbs and nouns, with a few other part of speech represented. All targets are taken from this set of words. However, using only the lexicon would risk rejecting a lot of words the speakers might know, even though they are not documented in the lexicon. Thus, I also extracted all of the words from the Nuer translation of the Bible1. This led to a total lexicon of 13476 words2.

Archidle interface
SMG wordle in Archi: Archidle

Archi is a Daghestanian language of the Lezgic group spoken by about 1200 people in Daghestan. At the SMG, we created a dictionary of Archi, with entries in Russian, English, and Nuer (both orthographic and phonetic forms), from which I extracted 3626 words for our wordle puzzle. For now, we do not have any more words for Archi, but we are working on it. In the game, we have ignored the stress diacritics, which might not be intuitive enough for speakers.

Two Nuer Keyboards. On the left, from a mobile app. On the right, our keyboard.
Nuer keyboards: from a mobile app (left), or from our wordle game (right).

In order to create the SMG wordles, I started from the open source code of the replayable version, hello wordle. In order to keep the game closer to its original, I removed the replayable function. However, I did keep the option to play a range of word length from 4 to 7 letters. Each day, you can thus play 4 games in each language.  A main challenge was that the Nuer orthography comprises diacritics, which required rewriting large parts of the game, as it previously assumed that each letter could be written with a single character. Another difficulty came from the fact that neither language has a unique, widely used, keyboard layout. For Nuer, we created one based on a mobile keyboard, which we extended to include more diacritics.

Two Cyrillic Keyboards. On the left, standard Russian layout. On the right, our keyboard for Archi.
Cyrillic keyboards: Russian keyboard from a mobile app (left), or Archi keyboard from our wordle game (right).

In both cases, we strove to make the game playable by learners, linguists, and curious people who do not speak Archi or Nuer. For this reason, we made the default word length 4 letters rather than 5, to make the game easier. Moreover, we added short English definitions for all words in our lexicons, with links to their full definitions in our resources. Words in Nuer from the bible are not always present in our Nuer lexicon, and hence, some words in Nuer can appear without translations. Finally, in order to help beginners get started, we provide a few example words of the correct length each day, hidden by default, which can be used to start playing.

Ri̱et: "word" in Nuer
A word played in Nuerdle, with translation in the margin

Besides learning the languages, scouring the dictionary, or using the words given as hints daily, how can you get better at the Nuer or Archi wordle ? It helps to pay attention to the frequency of each letters, and try to play words with frequent letters, in order to reduce the pool of potential words quickly. For the English wordle, some have calculated the optimal starting word. Rather than risk spoiling the game, I provide below the relative frequencies of each of the 5 most frequent letters, for each position (1 to 7) in Nuerdle and Archidle words. This should give an idea of frequent letters at each position. The colors are assigned according to overall frequency in the lexicon, with light greens more frequent than dark blues. Each bar represents the frequencies of the five most frequent letters in a word position (from 1 to 7), ignoring the other, less frequent letters. Each stacked colored bar’s height, between two white lines, represents the letter’s frequency: eg in Nuer, a word in our lexicon starts with k around 10% of the time, and with around 12% of the time. If there is some interest, a future blog post could explore further the frequent sequences and letter patterns in either languages.

Frequency of each character in Nuer words in our lexicon, per positon
Frequency of each character in Archi words in our lexicon, per positon

Finally, since this is a morphology blog, I would like to draw your attention to the interesting way in which English acquired a new -dle suffix. The original game is called wordle, a combination of the creator’s last name Wardle, and of word. As the game became viral, the apparent suffix has come to mean “game in the wordle family” (or maybe “online guessing game”). Interestingly, even though the most obvious decomposition of wordle seems to be word+le, the productive suffix is -dle, not -le. Could this be because the family resemblance in the new words is more obvious by keeping more common material ? Isn’t analogy mysterious? In any cases, after hesitating with ri̱etle (from ri̱et “word”+le, in Nuer) and č’atle (from č’at, “word” in Archi), we settled instead on calling our games Archidle and Nuerdle.

 

  1. excluding words starting with a capital, in order to avoid proper names. []
  2. If you want to suggest missing Nuer words, the Nuer lexicon has a module for suggestions ! []
Siôn Corn: The bloke who comes down the chimney

Siôn Corn: The bloke who comes down the chimney

It’s December, which means you’ve probably been bombarded with ‘Christmas cheer’ since the beginning of November. Bah humbug I say! And if you’re from down under, I feel really sorry for you having to celebrate twice a year – once in July and then again in December! You may think of me as a bit of a Scrooge spoiling all your fun but…

Speaking of Scrooge, that’s a great instance of personification, how a characteristic of a person gets attached to their name. The name is then used to refer to that characteristic. It happens a lot, just look at the recent phenomenon concerning poor Karen. Something similar happens when common and frequent names get hijacked into standing for the average Joe.

Moving on to Joe, that’s one of the many names in English used for the everyman, as in Joe Bloggs, or Joe Public. Similarly, John or Jane as in John Doe or Jane Doe, a term for an unknown person, especially used in the USA for unidentified cadavers. And in the UK, John Bull is the personification of the nation.

John Bull: the personification of the UK

And let’s not forget Jack, itself a nickname for John. Jack is found in many phrases relating to the everyman, especially in reference to someone of historically low status (hence Jack in a pack of cards being lower than the King or Queen) or in phrases about working in a rural employment, as in lumberjack, or the Australian Jackaroo (or Jillaroo!) for someone learning to work on a sheep or cattle farm. Jack has also been extended to objects that are generally handy and helpful – such as carjack and jackhammer.

This brings us to the title of our post, Siôn Corn, which is the name of Santa Clause in Wales and can be translated as ‘John Stack’ (as in corn simnee ‘chimney stack’) or ‘Chimney Pot John’. Siôn is the Welsh equivalent of the everyman, and is used to mean, the guy, the bloke etc.

Siôn Corn and his Welsh dragon.

The name Siôn is used in many different phrases and is the personification of many personal characteristics.

  • Siôn Barrug ‘Jack Frost’
  • Siôn yr offis ‘personification of laziness’
  • Siôn Chwarae Teg ‘personification of fair play’
  • Siôn o’r wlad ‘itinerant worker’
  • Siôn Cwsg ‘sleepiness, or the sandman’
  • Siôn Ben Tarw ‘John Bull’
  • Look up Siôn at the dictionary of the Welsh language for many more interesting examples
  •  
    As for the use of Siôn Corn denoting the personification of yuletide, the earliest reference comes from the Welsh scholar, poet and songwriter, J. G. Davies in his 1923 Children’s songbook Cerddi Huw Puw:

    The history of Sion Corn is unknown to me any further back than my father’s dialogues with him in the seventies. He was a benevolent spook, living up the chimney in comfortable apartments. He had some mysterious interest in getting children off to bed early, and a more rational habit of making presents at Christmas, as a Welsh Santa Claus. I do not know whether my father found him in Edern, his mother’s home, or invented him. Anyhow, Sion Corn has done untruthful and amiable service for two generations.

    So it seems, before Siôn Corn took on the persona of Father Christmas, he had another job, helping to get children to bed, much like a Siôn Cwsgsandman’. Though, of all the meanings that Siôn connotes, I like Siôn llygad y geiniog ‘miser’ the best. Basically, Siôn can be both Father Christmas and Scrooge at the same time – Siôn really is a Siôn pob crefft ‘a Jack of all trades’.

    What slips of the tongue can tell us about language

    What slips of the tongue can tell us about language

    “The grouchy knight cuddled the rowdy seer’s adorable puppy while devouring lasagne”

    This is probably a sentence you’ve never heard – or produced – before. Yet this experience is not novel – everyday, you make utterances you’ve never heard, and understand new ones.

    Producing such utterances is not a trivial matter. To do this we have to generate them – that is, decide on the concept to be expressed, encode that into words and structures, then into the sounds that make up our words before sending instructions to our articulatory apparatus to produce the utterance. All within fractions of a second.

    Yet, sometimes we make mistakes, and produce things we didn’t intend to do:

    Error (The Mistake we Make) Target (What we had intended to say)
    heft lemisphere left hemisphere
    squoor squeaky floor
    a leading list a reading list
    gave the goy gave the boy
    stough competition stiff/tough competition
    she sliced the knife with a salami she sliced the salami with a knife
    a hole full of floors a floor full of holes

     

    We usually notice these errors when we make them and correct ourselves. But rather than being merely slips of tongue, they are a goldmine of information as they demonstrate breakdowns at various parts in the speech production process.

    Some of these errors are lexical selection errors – we select the wrong lexical concept or lemma for the message we’re trying to say. That is, we select the wrong word stored in our brains, we pick the wrong word from our mental dictionary. This can be simply the wrong concept, as in: ‘he’s carrying a bag of cherries’ instead of ‘grapes’. Sometimes, we can combine words together in blends: ‘the competition is getting a little stough’ instead of stiff or tough. Other times, we can exchange words within a sentence, as in ‘she sliced the knife with a salami’, rather than ‘she sliced the salami with a knife’.

    We can also make phonological errors, that is, errors in the sound structure of our words:

    Exchanges
    heft lemisphere left hemisphere
    fleaky squoor squeaky floor
    cheek and ch[ɔː]se Chalk and cheese
    Additions
    enjoyding it enjoying it
    Deletions
    cumsily Clumsily
    Anticipations
    leading list reading list
    Perseverations
    gave the goy gave the boy

     

    We can look at large data sets, or corpora, to see what kinds of errors are commonly made. We find that these errors are still well-formed in terms of their sound structure, or phonology. 60-90% of errors (depending on the corpus you look at) involve errors with a single sound or segment, and these errors are sensitive to syllable structure. That is, we might swap segments from the same part of the syllable as in exchanges:

    face spood < space food

    Or we might combine the beginning of one syllable and the end of another:

    grool < great + cool

    We also like to swap sounds that are similar to each other, so

    paid mossible < made possible

    is more likely than

    two sen pet < two pen set

    There are exceptions to these generalisations of course – but they are rare.

    Speech errors give us an insight into normal speech production processes. The fact that sound errors occur at all tells us that speech production is a generative process – it is not that we just reproduce fully formed stored sentences, but rather we create each utterance afresh each time. In order to mix or swap two elements, both must be activated at the same point of the production process.

    Furthermore, the range of speech across which errors can occur implies that the span of processing is greater than a single word. You might be familiar with spoonerisms, popularised by Dr William Archibald Spooner:

  • You were caught fighting a liar in the quad < You were caught lighting a fire in the quad
  • You have hissed my mystery lectures < You have missed my history lectures
  • You have tasted the whole worm < You have wasted the whole term
  •  
    We must plan more than a word ahead for errors like these to happen.

    There is a much wider array of questions we can ask about speech production than can be answered by speech errors, but certainly they are an entertaining place to start.

    Vanuatu: an archipelago full of languages and their names

    Vanuatu: an archipelago full of languages and their names

    The Republic of Vanuatu, an archipelago with over 130 indigenous languages, has a myriad of ways of naming them. With so many islands and languages I won’t be able to tell you the history of all those names in such a short space but hope to highlight some of the more interesting naming techniques.

    There are two main ways that languages can be named – either by the people who speak them – endonymic, or a name given by outsiders – exonymic. In the case of Vanuatu, this has led to a confusing array of multiple names for the same language.

    What?

    Several of the languages of Pentecost Island are named after indigenous words meaning ‘what’ – Sa, Ske, Apma and Hano are all named this way. Did these names arise due to brief exchanges between the different language communities? Was the question, ‘What is your language called?’ met with a rather confused reply of ‘What?’. However amusing this is, it is probably not how these names came about. The terms for ‘what’ are actually linguisitc identifiers, words in the different languages that set them apart from each other and were highlighted by the different language communities – ‘we say sa here, but they say ske there’.

    The Hano language was originally known to Europeans as either Lamalanga or Loltong, after two of the larger villages where the Christian Mission were located.1 Nowadays, speakers of Hano prefer to call their language Raga. This is the endonymic term used not only for the language, but also for the northern part of Pentecost, where the language is spoken, and for the island as a whole.2 Of course, to make things more complicated there are other exonymic names for Raga, such as Kihip, given to it by the speakers of Apma.

    Surprise!

    Two of the languages of Malekula Island, Naman and Sang, are both endonymic expressions of surprise.3 Naman, apart from being a palindromic language with a palindromic ISO code, also has a surprising history as it was previously known as Litzlitz, the name of a village where some of the speakers still live. Litzlitz is itself a colonial twisting of the true endonymic name of the village – Lenslens – named after the pieces of dead coral which are washed ashore from the reefs and make up many of the beaches in the archipelago.

    Where?

    Many languages are simply named after the location where they are spoken, such as the place names used by missionaries on Pentecost Island above. One language, North Ambrym, is named after the part of the island it is spoken on – Ambrym. The island is believed to have been named when Captain Cook explored the archipelago and came ashore near the village of Fonah in the northern part of Ambrym Island. He is said to have exchanged oranges with the local chiefs, who gave him yams in return, who said in the local language, North Ambrym, am rrem ‘your yams’.

    Captain Cook receiving yams from the chiefs of Fonah – from a North Ambrym story book told by Benjamin Toforr and illustrated by Zakary Bong.

    So, the name for the language spoken in the northern part of the island is a concoction of a cardinal direction and an exonymic mangling of an indigenous phrase. As the North Ambrymese say, Captain Cook had a heavy tongue and misspoke our words. Interestingly, a very similar story for the naming of Epi Island is told by the Bierebo language speakers there too – that when Cook came ashore he was given yams and enquired about their names – and mispronouncing their reply, yupi, as epi.4

    There is a small problem to these wonderful stories – Captain Cook never actually set foot on Ambrym or Epi and merely sailed past. Of course, this does not mean that similar exchange of yams and oranges did not happen, but that maybe it was a different European navigator or missionary.5

    So, if not named after an exchange of yams, where does the name Ambrym come from? Captain Cook sailed past Ambrym and onto Malekula Island where he went ashore at Port Sandwich (named by Cook after the Earl of Sandwich). There, the indigenous group who speak Port Sandwich, or Lamap as it is known endonymically after the place it is spoken, told Cook the names of the surrounding islands, Ambrym being one of them. So Ambrym is actually an exonymic language name. I believe the name Ambrym itself derives in part from the word meaning fire in the Port Sandwich language, gamb [ɣaᵐb], and in many other Malekula languages, simply amb. Though unfortunately I haven’t been able to figure out what the second part of name – rim – means.

    What has Ambrym and fire got to do with anything? In the traditional mythology of several of the culture groups of eastern Malekula, especially on the small islands of Atchin, Vao and Wala off the eastern coast, the souls of the dead would be ferried across to Ambrym and then climb the volcano, the land of the dead, to spend their afterlife.6

    The twin volcanoes of Ambrym are highly visible in the night sky, giving a rather other-wordly sight. As seen from the Maskelyne islands, off the southern coast of Malekula.

    Word, Speech & Language

    Nowadays, the languages of Ambrym are shedding their exonymic names and reclaiming their endonymic names. The endonymic language names of Ambrym Island nearly all are related to the meaning ‘word, speech, language’ along with a demonstrative such as ‘here’ or ‘of this place’: Rral (North Ambrym), Daakie, Daakaka, Dalkalaen, Raljako, Raljaja and Vatlongos. But one smaller language also spoken in Ambrym– Fanbak is still a place name, meaning ‘under the banyan tree’.

    This is itǃ

    Finally, the two languages of northern Ambrym – North Ambrym, which has two dialects, and Fanbak are often referred by speakers using an expression meaning ‘this is it’ or ‘here it is’. The two dialects of North Ambrym are referred to as Ngeli and Ngeye, whereas Fanbak is called Ngelē. Again, these are linguistic identifiers, similar to the words for ‘what’ in the Pentecost languages, or the terms of suprise used for the languages in Malekula.

    There may be over 130 languages in Vanuatu, but there are certainly even more names for them!

    1. Lynch. John, Malcolm Ross & Terry Crowley. 2002. The Oceanic Languages. Curzon, Richmond Surrey. p21 []
    2. Vari-Bogiri, Hannah. 2011. Phonology and morpho-syntax of Raga, Vanuatu. PhD Thesis, University of the South Pacific. p2. []
    3. Crowley, Terry. 2006. Naman: A Vanishing Language of Malakula (Vanuatu). Canberra, Pacific Linguistics. p13 []
    4. Budd, Peter. 2009. Topics in the grammar of Bierebo, Central Vanuatu, with a focus on the realis/irrealis categories. PhD Thesis, SOAS, University of London. p26 []
    5. Patterson, Mary. 2010. Moving Histories: An Analysis of the Dynamics of Place in North Ambrym, Vanuatu. The Australian Journal of Anthropology. p206 []
    6. Layard, John. 1942. Stone Men of Malekula. London, Chatto & Windus. p79. []
    The linguistic archaeology of feet

    The linguistic archaeology of feet

    There’s been excitement recently about evidence that humans had set foot in the Americas as much as 22,500 years ago, pushing back the previous best estimate by almost ten thousand years. And by ‘set foot’, I mean literally. The tell-tale new evidence comes to us in the form of imprints left by human feet in a particularly well-preserved mudflat in New Mexico. So far, the humans themselves have not been uncovered by archaeologists, but their characteristic mark upon the mud has endured.

    When linguists peer into the past, we also will occasionally use the imprints, left by something which has otherwise been lost, to infer its presence long ago — all of which brings us to the topic of feet, and not the kind that you’d use to walk across a mudflat, but the literal English word ‘feet’, which itself contains a wonderful imprint of a long-lost vowel.

    Our story begins with the fact that in English, the word ‘feet’ is a little odd. It’s a plural that doesn’t end in ‘s’. As any child will tell you, you can’t get away with saying ‘foots’ for the plural of ‘foot’ for very long before someone bigger than you corrects it to ‘feet’. However, given that most English nouns do use an ‘s’ plural, it’s entirely sensible to ask why ‘feet’ is different. (Of course, ‘feet’ isn’t absolutely unique: English contains a select club of other, similar plurals like ‘geese’ and ‘teeth’, to which we’ll return in a minute.)

    The tale of ‘feet’ begins around two millennia ago, when it was in fact a regular plural word. In proto-Germanic, the singular form would have been ‘fōt-s’ (pronounced approximately as fohts, where ‘ō’ is a long ‘o’ sound) and its corresponding plural ‘fōt-iz’, constructed with a simple plural suffix ‘-iz’. Over the following centuries, the sounds at the end of the plural form were worn away and eventually lost, as often happens during language change. However, before the suffix disappeared entirely, the ‘i’ vowel in it left its imprint on the ‘ō’ vowel, changing it to ‘ȫ’, which is to say ‘fōtiz’ became ‘fōti’ then ‘fȫti’ then ‘fȫt’ which by Old English had become ‘fēt’ and is now ‘feet’. In the meantime, the singular form ‘fōts’, which contained no ‘i’ vowel, changed very little indeed: it lost its suffix ‘-s’, becoming ‘fōt’ and then modern English ‘foot’. A similar story lies behind the plurals ‘geese’ and ‘teeth’: an original suffixal vowel ‘i’ changed ‘ō’ into ‘ȫ’, before disappearing, then ‘ȫ’ became ‘ē’.

    You might say that the ‘i’ vowel left its imprint upon original ‘ō’ in the form of the altered vowel ‘ȫ’. One tool which linguistic archaeologists put to good use, is our knowledge of the characteristic imprints that one sound can leave upon another. In the case of the long-lost ‘i’ vowel, the imprint even has a name, umlaut. Historical umlaut is also what lies behind plurals like ‘mice’ and ‘men’.

    Armed with the background knowledge that lost ‘i’ vowels changed ‘ō’ into ‘ȫ’, and in doing so gave rise to modern English alternations between ‘oo’ and ‘ee’, we can now go fossicking through the vocabulary for more lost ‘i’ vowels. Another suffix that was lost over the centuries was a causative suffix, which related nouns to verbs, such as ‘blood’ to ‘bleed’, or ‘food’ to ‘feed’: as you’ll have guessed, the verbs once contained a now-lost ‘i’. In some cases, pairs of sibling words such as these have grown apart over time. For instance, if you were to decide someone’s fate (or their ‘doom’) then you’d be judging them (or ‘deeming’ them), though as you can see, I had to produce a fairly contrived context to highlight the relatedness of ‘doom’ and ‘deem’.

    Umlaut caused by a now-lost ‘i’ also crops up in several nouns ending in ‘-th’: compare not only ‘strong’ with ‘strength’, ‘long’ with ‘length’, or ‘broad’ with ‘breadth’, but also ‘hale’ with ‘health’ and ‘foul’ with ‘filth’.

    feet made filthy by umlaut!

    Over decades of meticulous work, linguists have uncovered much about how languages around the world change over time, though much more still remains to be accounted for. One of the many lingering questions is what the conditions are, which favour the continued survival of idiosyncratic word forms like ‘feet’, long after they have lost their regularity. We know that many irregular words, such as the Old English plural ‘bēc’ for ‘books’ (corresponding to singular ‘bōc’), get removed over time, yet others persist for millennia. It’s an ongoing task for linguists to understand why some footprints remain while others get washed away.

    Isn’t it iconic? creating signs in sign languages

    Isn’t it iconic? creating signs in sign languages

    If I asked you what you think of when I say the word iconic, you most probably would name David Bowie, Big Ben, or fish and chips. That is if you are not a linguist. We use this word in a different sense. It refers to elements in a language that have some sort of resemblance to the thing they refer to in the real world. The form of a word is not completely random. If you think about it, the adjective iconic is related to the noun icon, which, in its original meaning, denotes a painting that resembles a holy figure. Out of all the languages in the world, sign languages are especially famous for having a lot of iconic elements. Let’s see how it works!

    Perhaps, the most often cited type of iconicity is word-level iconicity. Basically, it refers to signs that look like what they mean. Take a look at the Russian Sign Language sign CANDLE.

    The sign CANDLE in Russian Sign Language.

    Here, the signer ‘‘makes a picture’’ of a candle with his hands: his left hand, bent into a fist, stands for the body of a candle, and his right hand imitates flames by slightly shaking on top of it. At first glance, the idea is very simple. You might even wonder why linguists would spend time researching this phenomenon. Here is a candle, and here is an objective and logical way to depict this candle with the hands. But the process is more complex than it appears. First, note that not all candles look the same. Some of them have very thin bodies (like birthday candles), others are flat (like tealights), and don’t forget sophisticated arty candles like the ones below in the shape of Halloween characters.

    Halloween candles.

    This means that the Russian Sign Language sign CANDLE doesn’t depict some kind of objective candle. Instead, it portrays the picture of a candle it considers prototypical. This already can add quite a lot of variation: we can safely assume that there would be sign languages that choose a different candle to depict. Indeed, Italian Sign Language has a taller, more elegant looking candle in mind. Notice how the signer draws its tall body in the beginning.

    The sign CANDLE in Italian Sign Language.

    But even if two or more languages have the same picture in mind, there are still a lot of different ways to express it. For example, in German Sign Language, you are supposed to imitate lighting a match (that would in turn light the candle).

    The sign CANDLE in German Sign Language.

    Whereas in Greek Sign Language, you would show blowing out a candle instead.

    The sign CANDLE in Greek Sign Language.

    And even if you choose to express the same aspects of the same picture, you can still do it differently. For example, Brazilian Sign Language uses the same imagery as Russian Sign Language, but it shows the flames of the candle with all five fingers instead of just three.

    The sign CANDLE in Brazilian Sign Language.

    In order to account for this wide variability, Sarah Taub came up with a neat model of iconic signs. According to her, the creation of an iconic sign happens in three steps: (1) image selection: choosing an appropriate image; (2) schematization: choosing the important parts of the image to represent; and (3) encoding: creating the form of the sign. During the first step, one selects a prototypical image to represent; then, during the second step, one chooses what elements of this image will be expressed by the sign, and what elements will be left out. Finally, the last step is to decide how these elements will be expressed, i.e., what handshapes will be used and how they will be joined together. Sarah Taub explains this model on the example of the American Sign Language sign TREE.

    The sign TREE in American Sign Language.

    Here, one starts by choosing what tree species to represent and what kind of information to encode, such as tactile images of how bark and leaves feel, auditory images of leaves rustling, or visual images of a tree shape and/or colour. In case of American Sign Language, the choice fell on the shape of a tree with a tall trunk and a leafy treetop. Then one creates a mental representation of a tree to decide what pieces of it will be encoded. American Sign Language selected the trunk of a tree, the branching treetop, and the ground in which the tree grows. And finally, one needs to choose a physical form to represent each piece. In this example, a spread hand represents the branching structure, an upright forearm represents the trunk, and a horizontal forearm and palm represent a flat surface.

    Sarah Taub’s model of iconic signs.

    Try this yourself! Can you come up with a sign for, say, a flower? Think of the flowers you know and choose one! Will it be a dandelion, a сamomile, a rose, or maybe a funny (and slightly scary) monkey orchid?

    Monkey orchids.

    Then think of pieces you want to represent. Will it be just the flower itself? How many petals? How big are they? Do you want to encode the stem and the leaves as well? Or maybe your flower has thorns? And what about the soil? Finally, play with your hands or maybe even with your whole body and find a way to encode these pieces.

    When you have created your masterpiece, go ahead and check how different sign languages did it! The best place to go is the spread-the-sign website. You can just type the word ‘flower’ and click on the flag of a language you are interested in. Of course, the difference between your representation and a sign of a sign language will be that you are free to choose from whatever parts and positions of your body you can come up with, whereas sign languages are limited by handshapes and movements that exist in the language. However, you’ll still get a good taste of iconicity!

    SMG – I’d Arapaho, Roon, Sala, Tubar and Nara, but alas no Oroha paradigms

    SMG – I’d Arapaho, Roon, Sala, Tubar and Nara, but alas no Oroha paradigms

    A palindrome is a linguistic delight: it reads the same in both directions. For example: level. Or Anna, or indeed Hannah. This is a visual trick: if you record yourself saying one of these words and play the recording backwards, it won’t sound exactly the same.

    Palindromes hit the big time in the parrot sketch. They were also promoted by ABBA, with their top hit SOS!

    Here’s a nice one from North Ambrym (an Oceanic language spoken in Vanuatu): rrirrirr ‘sound a rat makes when you try and kill it but you miss it’. And a long one from Estonian: kuulilennuteetunneliluuk ‘bullet flying trajectory tunnel’s hatch’. I’m not sure that one is used much (except in blogs about palindromes).

    We can go up a level (!), as it were, to palindromic phrases. A famous one of these is:

    A man, a plan, a canal – Panama!

    This has been around at least since 1948. It has often been extended, as in this version due to Guy Jacobson:

    A man, a plan, a cat, a ham, a yak, a yam, a hat, a canal – Panama!

    And here’s a Russian sentence palindrome: Рислинг сгнил, сир. ‘the Riesling has gone off, sir’ More Russian palindromes at https://bit.ly/3AtxBID. For French sentence palindromes go to https://bit.ly/3kmC5LE. And there are even songs based on such palindromes:

    They have palindromes in American Sign Language:

    Not surprisingly, palindromes don’t translate. Though we can go up another level (!) of cleverness, to the bilingual palindrome: I love / e voli. This is half English, half Italian, and overall a palindrome. More of these at https://bit.ly/39ohoZy. It’s truly amazing what people can create, including whole poems as palindromes: https://bit.ly/3tTWtaa.

    Some time ago, I mentioned to linguist colleagues that Malayalam (a Dravidian language of southern India) is a palindromic language. One colleague’s eyes opened wide, and he asked whether it was palindromic at the word level or the sentence level. What a great idea! Of course, it’s just the name which is a palindrome (just as Anna is a palindrome but that doesn’t make Anna a palindromic person – there are deep issues here: what does a name refer to?).

    It turns out that there are over seventy “palindromic languages”, including some that are central to our research in SMG, notably Iaai (spoken in New Caledonia). Here are some more: Efe, Ewe, and Atta.

    What then of E (also called Wuse/Wusehua), a Tai-Chinese mixed language, of Guangxi, China? Yes, it’s a palindrome, just not a very impressive one. Just as the English pronoun I is a palindrome, though hardly one to get excited about (unless you’re called Anna or Hannah of course). But it gets much better. You may have noticed that linguists increasingly give three letter codes after language names. These are the ISO codes that we use to uniquely identify a language, to make sure that we’re talking about, say, the language Aja (a Nilo-Saharan language of Sudan), ISO code aja, and not Aja (a Niger-Congo language of Benin), ISO code ijg. So, what is the ISO code for the language E? It’s eee. The language name and the code are both palindromes! Similarly there’s U (an Austroasiatic language of the Yunnan Province of China), ISO code uuu.

    Here are the languages which are doubly palindromic (name and ISO code):

    Name ISO code
    E eee
    Efe efe
    Ewe ewe
    Iaai iai
    Kerek krk
    Naman lzl
    Mam mam
    Nen nqn
    Ofo ofo
    Ososo oso
    Utu utu
    U uuu
    Yoy yoy

    A real star is Naman, whose ISO code is quite different, lzl, but still palindromic. Where does that come from? Well, the language has an alternative name, Litzlitz, so when it’s not a palindrome it’s a reduplication!

    Back to the tricky use of “palindromic language”. Iaai is a palindromic name. As we’ve seen, its ISO code iai is also a palindrome. And the language does have some very nice palindromes:

    • aba ‘caress’
    • ee ‘locative – near the interlocuter’
    • ii ‘to suck’
    • iei ‘to hurt, cause pain’
    • ikiiki ‘repugnant’
    • iwi ‘rudder’
    • komok ‘sick’
    • maam ‘your manner’
    • mem ‘Napolean fish (Cheilinus undulatus)’
    • omoomo ‘women’
    • nokon ‘his/her infant’
    • oṇo ‘Barracuda (Sphyraena sp.)’
    • öö ‘spear’
    • ölö ‘mount, embark, disembark’
    • ölö ‘legume (Pueraria sp.)’
    • u ‘an old word for yam’
    • uu ‘fall from a height, chop down (of tree)’
    • ûû ‘a dispute, to dispute’
    • ûcû ‘similar, same’ (a nice meaning for a palindrome!)
    • ûcû ‘to exchange, buy, shop’

    It would be impressive if you could read this post backwards, and have it make sense. But that wouldn’t be a BLOG but a GLOB, the latter being is an instance of a Semordnilap, but that is another story. For now, we welcome your favourite palindromes, in any language, in the comments.

    For examples, thanks to Jenny Audring, Sacha Beniamine, Marina Chumakina, Mike Franjieh, Erich Round and Anna Thornton, and for the title (you’ve guessed what sort of title that is!), thanks to Steven Kaye.

    Sign language mythbusters

    Sign language mythbusters

    We have all heard of sign languages. Most of us have seen people talking to each other using their hands and body movements instead of the voice: on the street, at a train station, or in a noisy café. We probably even felt a slight jolt of envy, thinking about how much easier it must be for them to communicate, when they are surrounded by loud music, laughter, and chatter. Curiously, however, very few people know what sign languages actually are. Unless you are a sign language user and/or a linguist, you probably have a lot of misconceptions about their nature. For this reason, linguists who write about sign languages, often begin their books with a discussion of myths and misconceptions. For example, Robin Battinson wrote a section on misconceptions about ASL, Trevor Johnston and Adam Schembri covered the same topic on the data of Australian Sign Language, Vadim Kimmelman and Svetlana Burkova discussed common mistakes in light of Russian Sign Language. Let us follow their example and bust a few myths!

    Myth №1 There is only one sign language

    Perhaps, the most mind-blowing thing about sign languages is that there is more than one. Indeed, if we never encountered sign languages in action, we most probably have a default assumption that there is one sign language, and everyone is using it. Why would you need more? Surely, at some point, someone came up with a list of signs for different objects and actions, and now all deaf and hard-of-hearing people use them.

    “That Deaf Guy” comic by Matt & Kay Daigle

    This is not true. Nowadays, we know about not one, not even ten, but one hundred and seventy different sign languages spread around the world. And it is very possible that there are other sign languages we are not even yet aware of. Check out the map from Glottolog, that provides a catalogue of the world’s languages:

    Sign languages of the world

    Each dot in this map represents a language with its own vocabulary and grammatical structure. The yellow dots are sign languages that developed in urban settings. The blue dots are so-called ‘rural’ sign languages that appeared in small village communities with a high rate of hereditary deafness. Finally, the rare red dots are ‘secondary sign languages’. These languages developed in hearing societies as a substitute for spoken languages in certain situations.

    Yes, 170 sign languages is a much more modest amount than roughly 6500 spoken languages, but it is definitely more than one. Now, let’s reflect on what sign languages actually are.

    Myth №2 Sign languages are a kind of pantomime

    Who likes Charades? In this classic team game, you need to enact a title of a book or a movie without saying a single word. Some of these titles can be quite tricky. Have you ever tried to mime “Star Wars Episode V: The Empire Strikes Back”? So, we put forward our best improvisation techniques and we create quite complicated sequences of body movements in order to express the idea we need.

    Sign languages do the same thing, don’t they? They express different ideas with movements of the hands and other parts of the body. So, maybe sign languages and pantomime are in fact the same thing? Well, no, not really. You see, one very important feature of a pantomime is transparency. We are usually able to guess what is going on without anyone translating it for us. Sign languages are not so generous. Try to make sense of this short video in Russian Sign Language. I can even give you a hint: the title of this video is ‘Miracles of dog training’.

    A short story ‘Miracles of dog training’ in Russian Sign Language

    If you are not familiar with Russian Sign Language, you probably didn’t understand that an unlucky man, the main character of this tale, tried to teach his dog to bring him a stick. The dog didn’t quite grasp the concept and instead started bringing him umbrellas, which it would steal from unsuspecting passers-by.

    Why is it so hard to understand a sign language? Let me answer this with a counterquestion: why we would expect it to be easy? Well, this assumption stems from the phenomenon called ‘iconicity’. A lot of signs in sign languages look like what they describe. For example, if you watch the video about the dog training again, you will easily find a sign for ‘holding a stick in a mouth’. A tricky thing about iconicity, however, is that it is evident once you know what the sign means. But can you guess a meaning of an iconic sign? Let’s give it a go! Here is a sign in Russian Sign Language. Can you guess what it means?

    An iconic sign in Russian Sign Language

    If you are done guessing, here is the answer. This sign means ‘empty’. Once we know this, it seems obvious that a person in this video imitates looking for something in an empty bag. But it is really hard to guess it beforehand.

    Another reason for the non-transparency of sign languages is that, unlike pantomime improvised on the spot, sign languages have quite complex rules for forming sentences. Speaking of sentences, let’s bust another widespread myth that has to do with sign language structure.

    Myth №3 Sign languages are spoken languages articulated with hands

    Many people assume that sign languages are not independent languages, but instead are signed versions of spoken languages. For example, British, American and Australian Sign Languages are signed versions of English, French Sign Language is a version of French, Russian Sign Language is a version of Russian, and so on. From this point of view, if someone wanted to express a sentence in English with something other than their voice, they could write it down or sign in instead.

    However, this is not the case. Many aspects of sign languages are completely unrelated to spoken languages that surround them. Trevor Johnston and Adam Schembri provide a good illustration of this using Australian Sign Language as an example. The English word light has several meanings, such as ‘not heavy’ (as in a light bag), ‘pale’ (as in a light colour), or ‘energy from the sun or lamp that allows us to see things’ (as in turn on the light). Although in English all these meanings are expressed with the same word, they would be translated to Australian Sign Language with three different signs.

    Australian Sign Language translations for the English word “light”

    Of course, this is not the only kind of difference between sign and spoken languages. Grammars are different too. Sign languages do not have articles, such as a and the in English, or case marking, like Russian Genitive or Dative. They don’t mark plurality and past tense with special endings. Instead, they have their own ways to express time and quantity related information. Many of them revolve around iconicity. But this is a topic for a different post. Stay tuned!