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There are ways of expressing feeling in the Old English kennings that do not exist in the formal English of today. Even if I were to dream up some delicious new portmanteau here — some melding of “history,” “poignant” and “solitude,” say — I still would not be creating a true kenning. That’s because, in our tongue, words get their meaning from the order we put them in: “Poignant” would end up modifying “solitude,” instead of the words just hovering next to each other in figurative space. We who speak contemporary English are so reliant on word order that we are no longer as able as our forebears to create lyrical, associative, figurative meaning in poetry. We just can’t do the same things with our vocabulary. Old English speakers can treat metaphor as an occasion to innovate; Modern English simply tries to describe. Their poetry can turn skeletons into exploding nation-states; we have to focus on keeping our adjectives in the right places. But to our immense good fortune, Old English poetry has survived, and we know how to read it. The kennings are out there waiting for you — so beautiful, so different and so very, very old.
(Josephine Livingstone, “Letter of Recommendation: Old English,” NYTimes, 1-4-19)
(c) 2019 JMN.








Language and Music
(Carlo Rotella, “Otis Rush,” NYTimes Magazine, 12-2018)
I’m persuaded that painting enters our senses visually, and music enters them audibly, and that language is not involved in conveying what each medium conveys. I’m also convinced that the viewer or listener benefits from repeated encounters with a great work via the pertinent sensory faculty — eye or ear — scrubbed of the intrusion of narrative or doctrine. However, I confess that, be it a crutch or an illusion, I feel that sometimes a piece of good descriptive writing seems to enhance my apprehension of a work, especially with music. Afterwards, I can listen to it with greater esthetic rapture. In a sense, I can be taught to hear a work slightly better with the assistance of language.
(c) 2019 JMN.