Pub Talk and the King's English(高级英语第三版下第一课) 及其笔记

看完这篇就能够了解寒暄语言的一个实际用法，也对雷厉风行的有话说话式形式风格有了全新的看法。

精采选段：

The enemy of good conversation is the person who has "something to say." Conversation is not for making a point. Argument may often be a part of it, but the purpose of the argument is not to convince. There is no winning in conversation. In fact, the best conversationalists are those who are prepared to lose. Suddenly they see the moment for one of their best anecdotes, but in a flash the conversation has moved on and the opportunity is lost. They are ready to let it go.

愉快聊天的敌人，就是有“正经事情要说”的人。聊天并不是为了表明自己的观点。争论可能经常是他的一部分，但争论的目的并不是要说服他人，聊天中没有输赢之分，事实上，善于聊天的是那些准备退让的人，他们会突然发现自己有讲述自己所知道的最好的奇闻异事的机会，但转眼之间，话题已经转移到背的事情上，插话的机会不复存在，他们也就听之任之了。

as the conversation moved desultorily here and there, from the most commonplace to thoughts of Jupiter, without any focus and with no need for one,

大家正在漫无目的的聊着，从日常的琐碎事情谈到对木星的看法，没有任何话题中心，也不需要话题中心

The Saxon peasants who tilled the land and reared the animals could not afford the meat, which went to Norman tables. The peasants were allowed to eat the rabbits that scampered over their fields and, since that meat was cheap, the Norman lords of course turned up their noses at it. So rabbit is still rabbit on our tables, and not changed into some rendering of lapin.

尽管是撒克逊农民们耕种了土地，饲养了家畜，可他们吃是不起肉的。肉都上了诺曼底人的餐桌。但是整个田地都蹿满了兔子，因此兔子肉很便宜，农民就只能吃兔子肉，并且毫无疑问，诺曼地主们看不起这种食物。所以我们仍旧将餐桌上的兔子叫rabbit，而不是称呼做法语借词lapin或者lapin的化用形式。

The new ruling class had built a cultural barrier against his own language.

新的统治阶级建造了一个文化壁垒来保护他自己的语言

If the King's Engish is "English as it should be spoken," the claim is often mocked by the underlings, when they say with a jeer, "English as it should be spoke." The rebellion against a cultural dominance is still there.

as Carlyle put it, that "words will harden into things for us." Words are not themselves a reality, but only representations of it, and the King's English, like the Anglo-French of the Normans, is a class representation of reality. Perhaps it is worth trying to speak it, but it should not be laid down as an edict, and made immune to change from below.

carlyle说：词语本身不是现实物体，他仅仅是现实的一个符号。正如诺曼人的盎格鲁式法语一样，标准英语不过是现实中阶级属性的代表。或许标准英语是有价值的，可以让我们试着去学习讲他，但是他不应该像个法令一样被制定出来（让人如同遵守法令一样去用），也不该使之排除来自下层社会的改变。

When E.M. Forster writes of "the sinister corridor of our age," we sit up at the vividness of the phrase, the force and even terror in the image. But if E.M. Forster sat in our living room and said, "We are all following each other down the sinister corridor of our age," we would be justified in asking him to leave.

the King's English slips and slides in conversation. There is no worse conversationalist than the one who puncutates his words as he speaks as if he were writing, or even who tries to use words as if he were composing a piece of prose for print.

标准英语在日常交流中（口语里）也会出错。如果有谁在说话时候标点分明，就如同在写一篇作文一样，或者说就跟要创作一篇散文去发表的口气，来说话。那么他绝对是最不会讲话的人。

Great authors are constantly being asked by foolish people to talk as they write.

总是有愚蠢的人要求大作家们在说话的时候，要和写作时候一样（采取一样的措辞）

The one place not to have dictionaries is in a sitting room or at a dining table. Look the thing up the next morning, but not in the middle of the conversation.

我们在客厅和餐桌上是不需要词典的，如果想要查一个东西，那就留到明天早上再说吧，千万不能在聊天的时候去查。

原文：

By Henry Fairlie April 8, 1979 FROM WASHINGTON POST

CONVERSATION is the most sociable of all human activities. And it is an activity only of humans. However intricate the ways in which animals communicate with each other, they do not indulge in anything that deserves the name of conversation.

The charm of conversation is that it does not really start from anywhere, and no one has any idea where it will go as it meanders or leaps and sparkles or just glows. The enemy of good conversation is the person who has "something to say." Conversation is not for making a point. Argument may often be a part of it, but the purpose of the argument is not to convince. There is no winning in conversation. In fact, the best conversationalists are those who are prepared to lose. Suddenly they see the moment for one of their best anecdotes, but in a flash the conversation has moved on and the opportunity is lost. They are ready to let it go.

Perhaps it is because of my upbringing in English pubs that I think bar conversation has a charm of its own. Bar friends are not deeply involved in each others' lives. They are companions, not intimates. The fact that their marriages may be on the rocks or that their love affairs have been broken or even that they got out of bed on the wrong side is simply not a concern. They are like thre musketeers of Dumas who, although they lived side by side with each other, did not delve into each others' lives or the recesses of their thoughts and feelings.

It was on such an occasion the other evening, as the conversation moved desultorily here and there, from the most commonplace to thoughts of Jupiter, without any focus and with no need for one, that suddenly the alchemy of conversation took place, and all at once there was a focus. I do not remember what made one of our companions say it-she clearly had not come into the bar to say it, it was not something that was pressing on her mind - but her remark fell quite naturally into the talk.

"Someone told me the other day that the pharse, 'the King's English,' was a term of criticism, that it means language which one should no t properly use."

The glow of the conversation burst into flames. There were affirmations and protests and denials, and of course the promise, made in all such conversation, that we would look it up in the morning. That would settle it; but conversation does not need to be settled; it could still go ignorantly on.

It was an Australian who had given her such a definition of "the King's English," which produced some rather tart remarks about what one could expect from the descendants of convicts. We had traveled in five minutes to Australia. Of course, there would be resistance to the King's English in such a society. There is always resistance in the lower classes to any attempt by an upper classes to lay down rules for "English as it should be spoken."

Look at the language barrier between the Saxon churls and their Norman conquerors. The conversation had swung from the Australian convicts of the 19th century to the English peasants of the 12th century. Who was right, who was wrong, did not matter. The conversation was on wings.

Someone took one of the best-known of examples, which is still always worth the reconsidering. When we talk of meat on our tables we use French words; when we speak of the animals from whic the meat comes we use Anglo-Saxon words. It is a pig in its sty; it is pork (porc) on the table. There are cattle in the fields, but we sit down to beef (boeuf). Chickens become poultry (poulet), and a calf becomes veal (veau). Even if our menus were not written in French out of snobbery, the English we used in them would still be Norman English. What all of this tells us is of a deep class rift in the culture of England after the Norman conquest.

The Saxon peasants who tilled the land and reared the animals could not afford the meat, which went to Norman tables. The peasants were allowed to eat the rabbits that scampered over their fields and, since that meat was cheap, the Norman lords of course turned up their noses at it. So rabbit is still rabbit on our tables, and not changed into some rendering of lapin.

As we listen today to the arguments about bilingula education, we ought to think ourselves back into the shoes of the Saxon peasant. The new ruling class had built a cultural barrier against his own language. There must have been a great deal of cultural humiliation felt by the English when they revolted under Saxon leaders like Hereward the Wake. "The King's Engish" - if the term had existed then - had become French. And here in America now, 900 years later, we are still the heirs to it.

SO THE NEXT morning, the conversation over, one looked it up. The phrase came into use some time in the 16th century. "Queen's Engish" is found in Nash's "Strange Newes of the Intercepting Certaine Letters" in 1593, and in 1602, Dekker wrote of someone, "thou clipst the Kinge's English." Is the phrase in Shakespeare? That would be the confirmation that it was in general use. He uses it once, when Mistress Quickly in "The Merry Wives of Windsor" says of her master coming home in a rage, ". . .here will be an old abusing of God's patience and the King's English," and it rings true.

One could have expected that it would be about then that the phrase would be coined. After five cinturies of growth, of tussling with the French of the Normans and the Angevins and the Plantagenets, and at last absorbing it, the conquered in the end conquering the conqueror. English had come royally into its own.

There was King's (or Queen's) English to be proud of. The Elizabethans blew on it as on a dandelion clock, and its seeds mulitiplied, and floated to ends of the earth. "The King's English" was no longer a form of what would now be regarded as racial discrimination.

Yet there had been something in the remark of the Australian. The phrase has always been used a little pejoratively and even facetiously by the lower classes. One feels that even Mistress Quickly - a servant - is saying that Dr. Caius - her master - will lose his control and speak with vigor of ordinary folk. If the King's Engish is "English as it should be spoken," the claim is often mocked by the underlings, when they say with a jeer, "English as it should be spoke." The rebellion against a cultural dominance is still there.

There is always a great danger, as Carlyle put it, that "words will harden into things for us." Words are not themselves a reality, but only representations of it, and the King's English, like the Anglo-French of the Normans, is a class representation of reality. Perhaps it is worth trying to speak it, but it should not be laid down as an edict, and made immune to change from below.

I HAVE AN unending love affair with dictionaries - Auden once said that all a writer needs is a pen, plenty of paper and "the best dictionaries he can afford" - but I agree with the person who said that dictionaries are instruments of common sense. The King's English is a model - a rich and instructive one - but it ought not be an ultimatum.

So we may return to my beginning. Even with the most educated and the most literate, the King's English slips and slides in conversation. There is no worse conversationalist than the one who puncutates his words as he speaks as if he were writing, or even who tries to use words as if he were composing a piece of prose for print.

Great authors are constantly being asked by foolish people to talk as they write. When a mother once asked Charles Lamb how he liked babies, he replied with stammer, "B-b-boiled, madam, boiled." Other people may celebrate the lofty conversations in which the great minds are supposed to have indulged in the great salons of 18th century Paris, but one suspects that the great minds were gossiping and judging the quality of the food and the wine. Henault, then the great president of the First Chamber of the Paris Parlement, complained bitterly of the "terrible sauces" at the salons of Mme. Deffand, and wernt on to observe that the only difference between her cook and the supreme chef, Brinvilliers, lay in their intentions.

The one place not to have dictionaries is in a sitting room or at a dining table. Look the thing up the next morning, but not in the middle of the conversation. Otherwise one will bind the conversation, one will not let it flow freely here and there. There would have been no conversation the other evening if we had been able to settle at once the meaning of "the King's English." We would never have gone to Australia, or leaped back in time to the Norman Conquest.

And there would have been nothing to think about the next morning. Perhaps above all, one would not have been engaged by interest in the musketeer who raised the subject, wondering more about her. The bother about teaching chimpanzees how to talk is that they will probably try to talk sense and so ruin all conversation.

CAPTION: Picture 1, Charles Lamb Picture 2, William Shakespeare