Levels

Two months ago I was telling my C1 students how every CEFR level has a beginning and an end. And even if the line that separates the C1 and C2 levels can, at times, be rather blurry (is realm a C1 or a C2 word?) the end of each level is, for the most part, quite clear. Idiomatic expression belong to the C1 level. A deep understanding of implicit subtext, for example, falls within the purview of the C2 level (as does the expression fall within the purview). And engaging in wordplay, coming up with original turns of phrase, being able to adopt different accents, referencing pop culture, using a recognizable idiosyncratic style, improvising an effective joke or writing quality poetry are skills that obviously exceed the standards of the C2 level.

A highly competent learner is supposed to have mastered the conventions of the target language ("conventions" being the operative term), not to be an artist or a stand up comedian. In other words, if a degree of language proficiency deserves the label "unconventional" it is, by definition, not C2. That said, an obvious problematic area revolves around the actual conventions that a foreigner is expected to learn. Does a competent language user need to know a slang term like "4 20" or the acronym "NGL"? I think they should... but, then again, those expressions will never be part of an exam, even if they can be found in most dictionaries and are commonly used by a sizable part of the English-speaking community.

Anyway, what I centered on two months ago was the idea that creativity is never a prerequisite for those seeking C2 certification. A good candidate is supposed to follow the rules, understand complex information, be accurate and adopt the right tone in a particular set of circumstances. That seems like quite a tall order. It is also a rather dry definition, which is why I've decided to present that same thought in several degrees of complexity. Here you have the results of my endeavors:

• A2: When you get to the highest level you can be creative
• B1: After you reach the top level, you can start being more creative with your words
• B2: There is a limit to the C2 level, and after that, you enter a new area of creative language
• C1: Once you pass the C2 level, you enter a realm of creativity that most people never explore
• C2: The C2 level has clear-cut boundaries beyond which extends the, to most language users, uncharted territory of creativity.
• D1 Beyond the bounds of C2 lies the bailiwick of the raconteur whose gamut of skills definitionally runs athwart the modes of predictable expression.
• D2: Sippan þu þone hiechstan had geræst, þu meaht onginan þine word cræftiglicor nittian

Okay, the last one is a bit of a joke. Still... the ability to express an idea in Old English does exist and clearly goes waaaaaay beyond the skills of even professional writers.

All joking aside, let's take a look at the "D1 sentence". As you can see, it is lexically dense (its vocabulary sits in the high register) and displays a self-referential structure (it claims to be more complex than the highest standard of English fluency). It is undoubtedly sophisticated, but it taxes the brain to the point of exhaustion, which means that it is far from natural. I think we can all agree that a full page written in that style would be quite unbearable. Still, I believe that sentence exemplifies the possibilities of English and, more importantly, establishes the confines of an area that is NOT C2. Therefore the C2 level does have an end. QED.

I could have gone in a different direction and come up with an alternative type of post-C2 sentence, something along the lines of this:

                       Tenuous is Thalia´s whisper to hearts of flint who pour their words

                       through hackneyed sieves of ancient lore.

It is a ridiculous example of so-called purple prose, which obviously tries too hard to be flowery and gratuitously complex, but that is exactly my point. Check out the structure, the reference to Greek mythology, the cadence of the sentence... All that goes way beyond the descriptions of the C2 level. Wouldn't you say?

The exams are nigh. This is a great opportunity to remind yourselves of what the essence of every level feels like so you can successfully clear the bar. Make sure that you have identified the defining characteristics of your level and get to work on them.

The weird origin of "O.K."

Languages are messy. We want them to be logical. We all do, but more often than not they are anything but. A technical term can become an insult, a derogatory word can become acceptable and local jokes can turn into a global phenomenon. That is precisely what happened to the expression "O.K.".

Its origin can be found in a silly fad that was popular amongst Boston intellectuals in the 19th century. It may sound weird now, but back then it was all the rage. For some inexplicable reason, a group of fun-loving speakers came up with the idea of using initials based on deliberate misspellings of common phrases. Thus, "K. C." stood for Knuff Ced, which was a fanciful spelling of "(e)nough said". Similarly, "K. Y." was supposed to represent Know Yuse, which sounds like "no use" and the letters "O. W." became shorthand for Ole Wright, which, again, was an intentional misspelling of "all right". That is the context in which the expression "O. K." originated. If you want to know what it stood for, you're going to have to watch the video below:

So, the expression "O.K." is, basically, the result of a joke that got out of hand. What does that tell us? A very important lesson: languages are messy. Sometimes they don't make any sense (you can be overwhelmed and underwhelmed, but never whelmed). They are often asymmetrical (uncouth exists, but couth doesn't). They can be shockingly inconsistent (flammable means the exact same thing as inflammable) and meanings change dramatically (in the 13th century the word nice meant stupid). In the 1930s people who wanted to listen to a radio broadcast would turn on the wireless. These days wireless makes you think of a different device, right? And, of course, we are now in the process of enduring a painful irony. The adverb literally is now used figuratively even though its entire job was once to precisely prevent figurative interpretation. Let that sink in.

Over the years I've collected more than eleven different explanations of the origin of  "O.K.". They range from the hypothesis that okay comes from the Choctaw language (in which okeh means "very good"), to a misspelling of on quay, to the initials of Old Knickerbocker (the name of a New York club) or Otto Krause, a Ford employee who, legend has it, was in charge of signing off on roadworthy cars... and so on and so forth.

It is only human to try and establish order in what is seemingly utter chaos. That search for logic through folk etymologies actually explains a part of the metalinguistic function, namely, the ability to classify reality. But let's also accept that our desire to see order where there is none should not interfere with our ability to embrace reality. Okay?

Chunks again... Naturally

Check out this phrase: I'm in way over my head. In Spanish it means "esto me queda muy grande". As you can see, the direct word-for-word translation doesn't make much sense, which is an obvious symptom that the expression in question is an idiom. So far so good, right? After all, mastering idioms is a hallmark of advanced fluency. Nevertheless, many learners tend to skip what I regard as a critical phase in the process of integrating a new expression: the prep work.

Yes. Using an idiom effectively requires a bit of behind-the-scenes rehearsal before it's ever spoken in live conversation. What is it that you should do to prepare for the big moment? Well, here is a simple breakdown:

• Identify the function that the expression performs. In this case, the idiom I've chosen (I'm in way over my head) describes a scenario in which someone is not capable of handling a complex situation.

• Master the transitions from one word to the next. Speakers who find a particular expression difficult to articulate tend to play it safe and (subconsciously) opt for a simpler phrase. So... they never use the longer idioms.

• Repeat the expression till you are blue in the face. That way you gain the kind of self-confidence that you need.

When the circumstances arise you'll recognize the pattern, reach into your bag of tricks, pull the idiom and say it as a chunk. I can't stress this enough. As a chunk. Get it? As a chunk. Imagine it is not a phrase but a very long word:  Iminwayovermyhead. 

When I say "till you are blue in the face" I mean, "till you nail it". Obviously that takes a lot of practice. How much practice? Well... A lot. Amongst us, language nerds, there is a great example of the kind of commitment I'm talking about. Just listen to this weather man confidently pronounce the longest place name in Europe.

Do you think you can say that name without some extremely serious practice? I don't think so.

In order to pronounce long sequences effectively it is necessary to practice consonant clusters and transitions. It applies to place both names and idioms. First you practice an expression with a specific subject: I'm in way over my head. Eventually, you'll be able to use different subjects and say she's in way over her head or they're in way over their heads, etc. Then you may even consider similar phrases and jump to a synonymous expression. In our particular case, a very similar idiom is I'm out of my depth. It has a similar ring to it, doesn't it? When you say that the situation you find yourself in is "difficult and dangerous", rather than "hard to handle", you can say that: I'm out of my depth here. Again, before you try it out, you should ensure that you can deliver that line without a hitch. Out of your depth. Practice it over and over again. Out of your depth. Out of your depth...

That is, my dear students, the surefire way to incorporate idioms: one at a time. Identify the circumstances that call for a particular expression and then articulate it as if it were a word. Remember to say them without thinking about the actual words that are involved. And forget about the grammar too. You're not supposed to be a mechanic here. You only want to drive the car. Okay? Leave grammar and syntax for us, teachers, or else you might find yourself in a situation in which you'll definitely feel the need to say: I'm in way over my head.

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N.B. Pronouncing Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogch is something of a point of pride for many Welsh people. This funny video shows two famous Welsh actors (Taron Egerton and Luke Evans) pronounce that place name flawlessly.

The art of (mis)quoting

We know that, contrary to popular belief, Bogart never said Play it again, Sam and, of course, Conan Doyle didn't give Sherlock Holmes the famous line Elementary, my dear Watson. Rather surprisingly, though, those two misquotes have proved to have true staying power, probably because they respectively encapsulate the essence of an iconic scene and the relationship between two beloved characters.

I suppose that trying to pass for a verbatim quote what is only an approximation to what someone else said is a habit we all know too well, which is why we should always let a listener know if we are repeating someone else's words or improvising a version of what they said. So, here are your options.

When you are absolutely positive that the words you are about to utter are the exact same words somebody else said you can use these two expressions:

• And he said, quote unquote, "I shall never eat chickpeas again"
• And he said, and I'm quoting, "I shall never eat chickpeas again"

However, if you are unsure as to the accuracy of the quote you should acknowledge your uncertainty. Here are three expressions you can use:

• And he said "I shall never eat chickpeas again", or words to that effect
• And he said, I'm paraphrasing, "I shall never eat chickpeas again"
• And, if memory serves, he said: "I won't eat chickpeas ever again"

Christopher Hitchens (1949-2011), an absolute master orator, was able to effortlessly retrieve correct quotes from memory. Most of us, mere mortals, do not possess that dazzling ability. So... unless your memory is perfect you may want to use some of the above expressions every once in a while lest a passing reporter take you at face value and quote you saying the wrong thing. By the way, if you are unsure as to what language mastery looks like you should probably take a look at the clip below. I find it quite impressive. Do you?