Wolfe's argument that Gil's DUE vowel may have been /iu/ is utterly incoherent.
First, because had he used a pronunciation /iu/ this would be easy to represent with <iu>, parallel to the <eu> that he uses in "beauty" <beuti>. But he manifestly does not do this and criticizes Hart for so doing. This cannot be an objection of the same type as <wið> for <with>
"Objecting to use of the vowel sign for what he considered a consonant" makes no sense wrt "use" in which there was no word-initial consonant. Wolfe is conflating the word's modern pronunciation with its early 17th century pronunciation.
"Absence of contemporary evidence for retention of [y]?" Are you kidding me? Wallis describes [y] as his DUE vowel not fifty years later and Wolfe knows it.
Gah. People who write about this period of English frustrate the bejeezus out of me.
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Neither Dante nor anybody else in the Late Middle Ages seems to have had any idea that the Romance languages were the descendants of Latin.
One of those things that just seems so obvious in retrospect, but they really had no idea.
During the 9th-11th centuries, people gradually came to think of Romance and Latin as separate languages, rather than simply different registers of the same language (as they had been thought of before).
At that point, the idea that they were (or had been) in some sense the same thing vanished. By the late 12th and early 13th centuries, when the sense emerged that Romance varieties were themselves distinct languages from each other, their similarity to was regularly remarked upon
This may or may not be a very old text. Scholarly opinion is much divided as to what exactly it is
Like, is it a taunt-song celebrating an Israelite victory over Sihon, an ancient Amorite victory-song celebrating Sihon's victory over Moab, an Israelite victory song celebrating the conquest of Moab, or a taunt-song referring to the defeat of Moab by some non-Israelite enemy?
Short thread with my thoughts on medieval Chinese tones
In any language that has lexically contrastive tones, if it has any kind of rising tone, it will also have a falling tone.
In both pitch-accent languages and full tonal languages, it’s possible for falling tones to exist without rising tones but there is AFAIK no tonal language (and only a handful of pitch-accent languages) that has ever been discovered where a rising tone existed w/o a falling tone.
This makes me suspicious of the common reconstruction of "Middle Chinese" as having a level tone and two different rising tones (one low-to-mid and the other mid-to-high) per Mei Tsulin, or two levels (one mid and one high) and one rising (one mid-to-high) per Ed Pulleyblank.
Fun fact: We can reconstruct the proto-Germanic word for "Caesar". It's *Kaisaraz. It's one of the most securely datable loanwords you could possibly ask for in an ancient language. Thread...
First, it can be no earlier than the 50s BC at the absolute earliest (when before then would the Germanic peoples have had reason to care about an obscure Roman cognomen?).
It's PROBABLY no earlier than 27 BC. After all, surely Octavian/Augustus is the dude more likely to have made a lasting impression as Caesar among Germanic speakers.
Ah yes the story of the priestess whom Apollo cursed never to have her prophecies believed, as retribution for refusing to have sex with him. What's the moral of the story? Is it that when a god gives you superpowers and expects sex in return, you better put out?
Obey the gods or you'll end up like that wayward prophetess who got raped by Ajax in Athena’s temple and then forced into Agamemnon’s sexual service before being murdered by the latter’s wife, and deeply regretting her mistake of not having spread for Apollo.
I for one can't imagine why I wouldn't tell my kids that story at bedtime.