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THE LADDER DOES (NOT) LEAD TO THE ATTIC!

Pieter Brueghel the Elder – The Tower of Babel, 1563 Oil on wood, 114 X 154cm Vienna, Kunsthistorisches Museum.
Communication is a fine word that has got everyone in trouble ever since
What is so difficult in communication? The thing should be simple: ‘A’ wants to communicate with ‘B’. ‘A’ knows what it is to communicate – it’s in A’s head – the message ‘M’. Fine message! ‘A’ doesn’t have much choice in how to give a form to ‘M’, and language comes in. ‘A’ puts the message into words, most of the times without thinking too much because ‘A’ knows what the message is, so why bother?! ‘M’ comes to life and ‘A’ anxiously gives it a voice. ‘B’, no less anxious to receive it, listens to the message (for about half a second), is sure of the best understanding (mostly because of some expectations that already ‘cooked’ an answer), and without delay, ‘B’ formulates a response message – ‘RM’. Of course, ‘B’ also knows what ‘RM’ means and is sure the form given is quite fine. Only, the probability of being so is somewhere... next to never! We almost never say what we want to say, almost never understand what is really said to us, and, definitely, we never believe such confusions can happen to us, educated people. Yet, it does happen, actually irrespective of education. And because of this ‘talking round-about the meaning’, or ‘BAB’ (Beating About the Bush!!! Please do not imply meanings here!), people have been quarrelling ever since the apple business on this interminable issue: A: “I told you this”. B: “No, you never told me this. Rather, you told me that.” A: “Who, me?! I never told you that – you’re nuts, you never listen!” B: “I did listen well, and I answered you with this.” A: “You’re not in your right mind! You never told me this, but rather that!”. B: “You’re crazy! How could I ever say that – I never thought of that, you only want to drive me crazy:” And so on until the ones involved reach one or all of the following (as the BAB’s recent experience also shows (... the flag!) in some country rich in petrol): quarrel, breaking-up, separating, divorce, fight, hate, enmity, war, with all human manifestations marching in. No wander we live in such a messy world.
Why is it that the simple dialogue above can create such confusions? Do we not know what we want to say? Of course, we do – clearly, unless we are helplessly confused ourselves. Then, who could ever help that?! But knowing what we want to say and actually saying the same exact thing are two very different processes. Language is not a simple gathering of words, nor is it a bunch of grammar rules which, if obeyed, we get the thing we want to say. In other words, it is not enough to possess the means and the ways to reach someplace – one also needs to walk the walk up there using some (hidden!) talent of combination of the two. And that ‘walk’ is the trouble of communication: the material stuff is there, the ways to use it are there, the knowledge on both is there, yet... all these do not lead us to the meaning we have in mind. I once faced this perplexing note attached to a ladder propped up against a wall: “The ladder does not lead to the attic”. Strangely enough, when I looked up to see where else the ladder could lead, there it was: a locked door in the ceiling, but no attic could be guessed from outside! Our words, grammar, even messages in all may be correct, yet they may not lead us into the meaning intended. Our language may be irreproachable, yet it may not lead to logic. Moreover, when facing translation, grammar books and dictionaries are not enough to actually make us good translators. Much as all these are meant to lead, they may not lead to the right attic! Grammatical abilities may fail to reach logical meaning. We are provided with many keys and ways into language and translation, as if propped up against the wall of solid grammatical skills. From here, in whatever way we may choose to combine them when speaking and/or translating, let us not forget that the goal is … ‘the attic’! A translator’s work may be called ‘Babel redivivus’ – only in reverse – as ever since the troublesome globalization came into being, translators have been undoing God’s linguistic punishment. In addition to common difficulties, they often face the ambiguity or inappropriateness of the text to be translated. In this event, they should be able to ‘unfold’ the message, so at least the target language should have the message the speaker intended. When the author of the doubtful message cannot be consulted, the translator is in real trouble. That is partly because a linguist is normally able to understand exactly what is said or written. If this is not what it was intended, but however, it makes some sense, it is difficult to know which of the meanings the author really had in mind.
One of the books that explores this ‘metamorphosis’, especially in the field of science, medicine, advertising and letter writing is Into English written by Alan McConnel Duff. One of his conclusions is that translators must often sacrifice the form (text) in favour of message accuracy, as we do not translate words but meanings. Even before being revised, the texts in his book (as well as the ones in this study) did not lack quality, either in language or in grammar, but that particular multiple-meaning ‘quality’ of the language brings about the trouble – which of the meanings implied by such texts is the intended one?! They are examples of very ‘well-intended’ messages, which never reached their actual meaning, either because of some little slips, or because of a too complicated way of saying very simple things, ending up in heavy texts, often meaningless and/or bearing contradictions. The analysis of the texts in this study starts from the source language (English), at the level of communication – the message. But before trying an exact translation in a target language, we face this even more complex level: converting our thoughts into the words of our own language. The intimacy with our sweet ‘mother-tongue’ does not make things any easier – thoughts are psychological processes while words are material stuff. Transforming the former into the latter is very close to divine work: giving a form to the formless. Thus, the difficulty and the need for special care and loving attention to this first ‘metamorphosis’.
Although the material comes out of an English-Spanish translation, this study does not aim primarily to ways into translation, but to ways into meaningful and accurate communication. The linguists would not normally be such awful persons (always hunting mistakes!) if the speakers (in their mother-tongue) had and used a ‘ladder’ in such a way as to lead to the ‘attic’! Correct messages can easily be translated even by non-specialists. That is because a clear meaning in a logical message can hardly be missed. Even if the receptor does not know why the message is clear, fact is, he/she can understand it correctly, and may give a clear answer (or translation) in turn, if in possession of... the right ‘ladder’ propped up on the right wall in the right direction! That is: vocabulary, grammar, logical combination on appropriate levels of the first two. Thus, although each of the three components ‘talks the talk’ about communication, none of them alone can actually ‘walk the walk’. But the most important thing to remember is that our intention (what we want to communicate), however good, without any of the three skills mentioned above, is by far the least capable of giving meaning to our talk. As all good intentions, it will only pave the road to hell! Probably, that’s the place of all those who come out with the excuse ‘I didn’t mean that’. Sometimes, the explanations that follow the texts may be too long and tiresome – they only aim to a very clear understanding of why the message is doubtful, if not incorrect. An incorrect message normally needs short explanations plus correction to recover the intended meaning. It is a grammatically correct message lacking logic (here and there) that is difficult to ‘correct’! Therefore, the need for extended explanations often accompanied by examples. Some of the original messages are actually correct and clear as they are, but there are suggestions felt as preferable so as to obtain a shorter form or a different style and/or register. The form we choose to put our messages in is like a fine piece of jewelry: you wouldn’t wear a pearl necklace whose broken locker was hastily replaced by some indecent wire found on the pavement, would you?!
Finally, all original texts are very well-intended, and sometimes, even the strong desire to ‘KISS’ – that is (funny language!): Keep It Short and Simple! – led to one of the following: a wrong ‘meaning’, multiple ‘meanings’ – one being correct, again multiple meanings – none being correct, or no meaning at all. For all those who, at least once in a lifetime, have to write some text intended to many unknown others, or simply to release public speeches, remember that the receivers of your messages may or may not have the same education as yours, may or may not be accustomed to your particular uses of language, may or may not be specialists in the field, and may or may not want to understand (or guess) what you really want to communicate. They hear or see the words and these words – not your intentions – are their guide into some meaning.
Therefore, pay special attention to collocation, meaning, style and register. Avoid confusing words, poor expression, as well as ‘stuffed structures’ e.g. when in doubt, always go for simple and clear, build short and balanced sentences rather than long and heavy ones (do not take this text as example – being a linguist, I can afford it!), be clear in ‘who does what’. Follow George Orwell’s advice “let the meaning choose the word” rather than trying (the impossible!) to force words into meanings. Many times have I heard this meaningful saying: “Sweet words are better than sharp swords”. True, but not in Linguistics. Although the correct (and sometimes sternly and ‘sharply’ straight) words would not be followed by applauses and admiration, nor would they make you an expert in oratory and literature, they would surely bring neither more nor less than exactly what you have been looking for in communication, ever since the word was (hopefully) released to you too: clear understanding. Then, just as intended, meant, built and used for, grammar does lead to right meanings, and the ladder does lead to the attic!

Jan Steen - Rhetoricians at a Window, c. 1662-1666 Oil on canvas, 74 x 59cm Philadelphia, Philadelphia Museum of Art
EXAMPLES OF CORRECTIONS FROM THE COURSE:
ERRORS
EXPLANATIONS
CORRECTION
1. ‘Nothing is constant, except for the change and death.’
This is a classical example of perplexing messages! Let’s see what is the real meaning of the sentence above: we first eliminate the brackets – the exception, and obtain that ‘Nothing is constant.’ - correct but not true. Now let’s see what is constant, as the exception announces: death is constant, and is true. But also, the author says that ‘the change’ is constant, and that can be true too. Now for the meaning: we’ll have to understand the two categories implied here, so as to know what is constant. Death is everything after and before life. The change is actually... everything in between! That is... life itself. It comes out (logically) that death and life are constant but all the rest is not! Only... what would that ‘rest’ be?! Because life and death are... everything! The meaning that sprang out from the sentence is: ‘Nothing is constant, except for life and death.’ Life being a constant change, and death being a constant stillness. If rephrased, this sentence would be: Nothing is constant except for... everything!
We doubt the author wanted to say that. Rather, his intention was to say that nothing is constant stillness, except for death. That everything else (that’s life) is constant change. We have a common adjective here – constant. Eliminating it, we reach the message: nothing is stillness except for death – everything else is change. Which is both correct and true. Moreover, the word ‘constant’ implies a certain degree of monotony, which is not quite true for the changes we face in ‘everything else but death’. Some changes are slow, some quick, some partial, some radical, etc. They, however, are... permanent rather than constant. Although the dictionaries give one term as a synonym for the other, the synonymy is rarely perfect. There are ‘bits’ of meaning in one word that fit perfectly to ‘bits’ of meaning in the other. We can surely understand ‘constant’ as ‘continuous’ or ‘permanent’, but ‘constant’ also means ‘even’, ‘uniform’ among others. And that is not true for the changes the author must have thought of. Therefore: nothing is stillness except for death – everything else is (in) a permanent change.
Or, to keep it short: Everything is a permanent change, except for death.
ARTICLE WRITING:
ON THE SERIOUSNESS OF A WALL
What’s a wall for? Have you seriously wondered what it is good for? Some pages have been written about walls and countless stones have been settled vertically in between something and something else, ever since humanity started to build. Even plants are used in this 'vertical' purpose - I've seen wonderfully 'clean-cut' walls, as effective as any other wall, in different countries with a deep consciousness of the 'wall' culture.
However, when I see such a green wall of plants I always think that the owner feels kind of ashamed that he had to build a wall between him and everyone else, between his property and everything else, and he’s trying to do it as gentle as he can, and as aesthetically as such a job might allow - so he chooses plants instead of stones, as if… you know... it's not quite a wall, just some plants that I want to grow in my garden! They even have flowers! Some others, more or less imaginative, cover the actual wall with plants, as if explaining their deed: Look, I only built this wall for the plants to have something to grow on and climb up to! Actually, I think, deep down, people are ashamed of building walls, however protective and/or architectural they might be. Some argue that "good walls make good neighbors", some others want the walls down, and some others - build walls just for the sake of building great stuff (see the Chinese Wall). Why did the Chinese choose a wall for such an enterprise (that is the only ‘earthly’ building seen from the Moon)? Most probably, because any other buildings (including the mighty pyramids) are some finite buildings, therefore, somehow easy to finish in a rather short time. While a wall... well, a wall is infinite… You can build, and build, and build, and then start it all over again, round and round... until it can be seen from the Moon, and build further on! And even then, you can restart the building any time, from either end, whenever you chose!
Walls have been built by people between people. Same author quoted above (Robert Frost) in its poem The Wall, argued, on the other hand, that we should put down the walls so we could really be good neighbors. Yet, the Christian teaching says that the one who doesn't know oneself is like a ruined fortress without walls! Walls build privacy and protection, but also loneliness and alienation. They’ve created the sense of security, but also the curiosity and desire to peep over the parapets. While some engineers have developed techniques of building walls, others (no less skillful) have done the reverse job of destroying them.
Quite a funny world we live in! A 'wall philosophy' can and should be written - so much material is there on the topic. At some point, I think, people grew aware of the 'seriousness' stuffed in a wall. Probably, the first human being who realized how serious a wall looked, and how useful it proved to be, was actually a child (before that, it was probably a dog in desperate search of a tree!). As it happened in the story about the emperor's wonderful clothes, it was a child who - with his unspoiled eyes and mind - laughed at the emperor's fully and publicly exposed nakedness - thus might a child have been standing in front of a wall, trying to see its seriousness... saw it... didn't like it... couldn't fight against it... so he took the red piece of chalk he might have got from the biology class, looked right, then left (to be sure there's no other 'serious' figure around) and... on the virgin, stony seriousness of the wall, he wrote, in big capital letters, the commonly used word that stands for his genitals! There!!! It was much better now! The wall had a name! The child might have even stepped back to see it better – indeed… it looked much better! First, because he got rid of that troublesome seriousness of the wall that accompanied him every day on his way to school, then because he’d never had either the chance or the guts to speak that word out loud. That was his chance, his protest, his revolt and ultimately, his joy of mocking on the wall’s puritanical seriousness.
I like to imagine the beginnings of an art (if it is an art) in this story. Graffiti is a protest against walls (any wall: materially or mentally set upright), born on the walls standing - this time - materially before and between us. The opaque verticality meant to hide and divide turned into a vividly colored verticality meant to unfold and display. From under the aggressively colorful graffiti, the wall is hardly noticed. One might even ignore it, even if that would be as if one couldn't see the forest for the trees! All the shame, violence, threat, humiliation, helplessness that a wall carries and keeps reminding people how powerful it is, and how hopeless their dignity has become in front of its stern verticality - all this disappeared (at least they were out of sight) under the angry protest of the wild graffiti. Anger - that could be one defining feature of this writing-drawing spraying-painting scream-like manifestation. The embodiment of human consternation in front of the hostile stone. A feeling nothing like the one that the Greeks or any other sculptor must have felt in front of the stones they carved. Nothing like the one that painters must have felt in front of the white canvas they were to paint on. Graffiti is the art of all those repressed by walls.
Since the Chinese Wall was not meant to divide it bares no wild drawing on it! It was meant to walk on so as the people could see the greatness of their country - some have organized colorful shows on its parapets - that... instead of the colorful graffiti and the piece of chalk in a boy's pocket! Graffiti is as much a helpless scream as a wild, shameless laugh in the face of the implacable hostility of the wall. Its highest expression could have been seen in I don't quite care, scientifically, how it all started in the graffiti history, but when I now see pictures of that wall in Berlin, while still vertical, covered with graffiti, I just like to imagine a blonde little German coming from his weekly violin class, who nothing understood of that seriously ugly wall that suddenly sprang upward in his town, couldn't find any reasonable way to fight against it (so ugly and indecent was there the wall standing in its stony nakedness)… therefore... he always kept a piece of chalk in his pocket.
CREATIVE WRITING:
THE ICEMAN (FRAGMENT)
He was standing there motionless, looking over all that infinite whiteness – there was nothing left to do for now. Just waiting... or better not, as he well knew that waiting could kill. No, he wouldn’t do that. He was just to live, that was all. ‘What a luxury, he thought! I’ve never really had this time all just for living!!! Nobody has it – ever. So, let’s take the chance and live for once, all by myself, all for myself!’ A wave of warm feelings showered him – he could follow it streaming onto-into his body, head to toes and he let himself be filled, watching every drop of it on its way to his intimate being, seeing it through his doors as one sees a dear guest. ‘Welcome, he murmured, Welcome! I know you’ve been anxious to see me, I’m sorry it took me so long... you know, distances, spaces, hurdles... odds and ends... but now we’re here again. I’ve just passed through the looking glass and everything seems upside-down but I’ll soon come to see it right!’ He felt himself smiling at his childhood’s face – it always looked like
`"O Looking-Glass creatures," quothe
'Tis and honour to see me, a favour to hear:
'Tis a privilege high to have dinner and tea
Along with the Red Queen, the White Queen, and me!"' Oh, it was a magical winter that year! He just turned 11 that December `You are old, Father William,' the young man said, `And your hair has become very white;
And yet you incessantly stand on your head-- Do you think, at your age, it is right?'
`In my youth,' Father William replied to his son,
`I feared it might injure the brain;
But, now that I'm perfectly sure I have none, Why, I do it again and again.'
“Quite so, quite so, dear old Bill!”, he softly laughed to himself, and all that terrible struggle and somehow senseless effort to drive his mind and knowledge to perfection only to drop it all seemed kind of logical now – how could one drop something one doesn’t have?! ACADEMIC WRITING - THESIS CHAPTER I INTRODUCTION Despite the countless papers that have been written on Shakespeare’s work, I chose this topic in the hope that I could come closer to the great writer’s spirit while passing the bridge between two centuries, living in one of the most contradictory world ever. Moreover, “I’ve done the deed” in the belief that the humanism of both his work and his personality will and must be present in a place where new personalities are to be formed – our schools – and that both teachers and students will enjoy his touch while teaching and learning. As Shakespeare wrote for the stage, I pleaded for Shakespeare to be staged on school stages too, even if we are not professionals in the field, but if it is true that in learning a language one had better speak it badly than not at all, then, theater would deserve no less than this. Besides, Shakespeare cannot be staged badly unless intended, and a teacher-student-school team can intend no such thing.
Last but not least, I had in view the impact of drama and dramatic arts on the students who are about to have their graduation exams, some of which, including the language one, will take the form of an oral presentation in which students are supposed to express themselves freely, spontaneously, making use of discursive elements, eventually giving up the ‘writing-reading’ kind of presentation they are still used to when they have to speak in front of totally unknown teachers. The paper is organized in six chapters as follows: Chapter I – Introduction Chapter II – From Sonnets to Tragedy Chapter III – Shakespeare on His Way to the 21st Century Stages Chapter IV - Teaching Shakespeare and Being Taught by Shakespeare Chapter V – New Methods in Teaching Drama Chapter VI – Conclusion The first chapter runs on the question of Shakespeare being our companion and mainly takes into account Mihai Radulescu’s opinion on the topic.
The second chapter deals with Shakespeare’s evolution from sonnets to tragedy, both as a humanist and as a playwright. The evolution of the great writer was followed through the “seven ages of a man”, describing the characteristics and the impact of each on Shakespeare’s personality and work. The third chapter follows Shakespeare on his way to the 21st century stages and demonstrates his contemporary character throughout history. The chapter is divided into five subchapters going on from a general view on Shakespeare as a miracle alive, to his being played and about to be played on professional stages worldwide, then making particular notes on Shakespeare’s touch in Romania. The chapter ends by showing Shakespeare as a modern psychologist that will lead to an even more particular viewpoint, which is his being seen from students’ desks. The chapter attempts to bring Shakespeare from the heights of the highly professional stages on the simple but true and vivid stages in schools, from the highly intellectual minds of famous actors and directors into the playful but inquiring minds of the students.
The fourth chapter takes into view the two aspects we all enjoy when meeting Shakespeare, either teachers or students, either in schools or elsewhere: teaching Shakespeare and being taught by him. The chapter is organized in three subchapters: first, Shakespeare’s language, structures and style were described in order to stress the difficulties in reading Shakespeare but also the benefits one can have when one goes for a deep study of Shakespearean text, as before acting one must have a good understanding of the text in question. The second subchapter deals with the difficulties in both teaching and learning Shakespeare keeping in mind that the textbooks in use are different, both old and new, and the lack of materials, the contradictory programs in schools and the students’ interests in more like easy subjects make everything even more difficult. Continuing the problem of difficult texts, the chapter ends up by trying an argumentation on the question why so much literature in the textbooks, which make the chapter running from a particular to a general view on literary texts and their importance in language learning. /.../ A PRAYER TO WILL We are complicated and we are so proud Friendship, Love, have vanished or they have been sold Oh, my lord, your stages were so full of life! Somebody's dropped poison in our tired eyes, When Saint John's night's coming, there will be no dream Claudius grows in number, Hamlets are but few, This is "As You Like It", "All the world's a stage": Still I'll be there waiting for thy hand to hold And we are so lonely, groping through the dark, /.../
TEACHING SHAKESPEARE IN HIGHSCHOOL

Since you left us, Shakespeare, our world has changed
There've come new actors, new plays have been staged,
Everything is modern, everything is grand -
What is very simple we can't understand,
For we can move faster split up from the ground,
But in our hurry to reach the high sky
We've lost our laughter, we've lost our cry,
For a better weapon or a piece of gold,
Nobody reads sonnets, yet, nobody sings
And we've lost on dark ways all the wedding rings,
Ours keep just heaps of bloody blades of knife;
We are Cassius's brothers, and Richard's, of course -
Poor, homeless creatures crying for a horse;
That, what is quite foolish seems to us quite wise,
We've lost our Caesars and we're scared to death
For we have as leaders hundreds of Macbeths.
For we've lost our feelings in a muddy stream,
We've lost our Romeos, Juliets ran away
From a mad, wild planet where fools only stay,
Straw-crowned Lears are bent on taming of some shrew,
Dead are all Horatios, Jago still remains
And a dreadful Tempest our planet plays.
Empty, cold and dirty, looking like a cage
So - where is the actor who, while reading thee,
Will fight death while dying … and will play "to be"?
Hitting dirty merchants who have spoilt your world;
Don't let'em grow stronger, don't let'em be kings
For they've sold our feelings and we've lost our wings,
Helpless, hopeless madmen, looking for a spark -
Thy be our kingdom, come thy love and light
And don't let us, Master, sleep in the Twelfth Night!