Ancient and modern pronunciations — страница 3

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accent differs from RP, don't insist that students follow you rather than the standard. (Future teachers will need to teach the standard in textbooks.) Rather, point out the difference between your accent and the standard so that students are aware of it. Many of the pronunciation problems you encounter in students will have less to do with the fine tuning of a particular English accent than with simply getting them to pronounce words in a way that is more or less acceptable in any variety of English, so focus your efforts on the many areas where you can help students in their pronunciation. [1,52] Ancient and Modern Pronunciations We cannot be sure exactly how the ancient Romans pronounced their Latin, although the discipline of Historical Linguistics has given us a reasonably

good idea of their general spoken practice. The early borrowings from Latin into various languages give some idea of the Roman pronunciation, for example Gothic "wins" meaning 'wine' was borrowed from Latin "vinum"; this shows the -w- pronunciation of -v- in Latin clearly, at least at the time that the borrowing took place. In English speaking countries, two problems arise: First, are we to pronounce -v- as -w- is pronounced in English, or like English -v-? And then are we to say -ch- for Latin -c-, palatalizing the consonant before the fronted vowels, as in Italian, or pronounce it like English hard -k-? Teachers trained in the tradition of the Catholic Church will generally use the fricative -v- and the palatalized -ch-, others will use the other sounds,

which the majority of modern scholars feels to be more authentic. A great deal of heat, if not light, has been spent on the problem of the "correct pronunciation of Latin". Probably most students will go with the method that their teachers use., but whichever way you follow, remember that this is a matter of scholarship, not of religion or faith. If there is any overriding parameter of judgment, it should probably be on the side of convenience, but in the last analysis the student who is really concerned with the way Latin may have sounded, as a part of his esthetic appreciation of a poet like Vergil, must try to find out the best way, so far as he can determine it, and follow it. One person finds it ludicrous to read Vergil with an accent which appeared a thousand

years after the poet's death; but another reads Vergil the way Dante read him, thinking this is good enough for him. Here as elsewhere de gustibus non disputandum est. But if you are going to try to read Latin authentically, be sure you do not aspirate the stop-consonants, which is one of the oddities of English which makes the study of English so far for most others. It is virtually necessary to say "arpor" for 'tree" in order to avoid the Anglicized "arbhor". We know from grammarians that the Romans said "urps" for the city of Rome, and this is probably typical of their general pronunciation of the stop consonants. Furthermore, you should not use that nondescript English -r-, but roll your -r- broadly, as most of the Romanic language do.

Whether it is a tongue trill, or a throat rumble is not important, so long as it isn't an English vanishing- consonant with a tongue flap (like "berry" pronounced 'Betty') or an American hybrid. More important is the matter of the pronunciation of verse, for which see Section 14) of this supplement for a full discussion. The substitution of stressed accent in the place of genuinely LONG vowels is arbitrary and quite against the nature of both Greek and Latin poetry, which was length-conscious without any special attention to stress. If this process is justified by saying that it is a habit, understand that it is a bad habit, and please cut it out. Substituting STRESS for LENGTH is about as sensible as tapping your foot every time you hear a Chinese rising tone. [2,56]

Incidentally much the same misfortune has accrued to the sensitive and lovely Classical Greek language, where a perfectly attested pitch inflection of a musical fifth (marked by an acute accent in the Alexandrian period for the benefit of benighted foreigners like us) is regularly replaced by a heavy stress. This identical stress is also used for the circumflex, which loses its double-length and up-and-down musical inflection, so reminiscent of Swedish. And (believe it or not!) this same stress is used for the grave, which is nothing more than the replacement of an acute by a low (barytone) at base level, and is so marked in some extant papyri on every syllable for real dunderheads in the Alexandrian schools. But for the pig-headed, caution to the winds! If you did these