#linguistic anachronisms

[ahb-writes]

Me reading: I have no idea how to pronounce this character's name. What in the world was this author thinking?

Me writing: Well, obviously, in this particular case, the medial-a is preferable to the long-a, because the common language derives from... Oh, whoops.

[allthingslinguistic]

There are several particularly good examples of this in books by Frances Hodgson Burnett, who lived in both the UK and the US and several times depicts characters from those two places encountering each other. For example, The Shuttle was published in 1907 and has this delightful passage of two British characters encountering an American:

“Upon my word,” Mr. Penzance commented, and his amiable fervour quite glowed, “I like that queer young fellow—I like him. He does not wish to 'butt in too much.' Now, there is rudimentary delicacy in that. And what a humorous, forceful figure of speech! Some butting animal—a goat, I seem to see, preferably—forcing its way into a group or closed circle of persons.” His gleeful analysis of the phrase had such evident charm for him that Mount Dunstan broke into a shout of laughter, even as G. Selden had done at the adroit mention of Weber & Fields. “Shall we ride over together to see him this morning? An hour with G. Selden, surrounded by the atmosphere of Reuben S. Vanderpoel, would be a cheering thing,” he said. “It would,” Mr. Penzance answered. “Let us go by all means. We should not, I suppose,” with keen delight, “be 'butting in' upon Lady Anstruthers too early?” He was quite enraptured with his own aptness. “Like G. Selden, I should not like to 'butt in,'” he added.

And the more I see historical examples of people encountering novel expressions that are utterly unremarkable to us now, the more I think, you know what, I might as well approach language change with gleeful delight rather than a fussbudgety sniff.

But there was a period of friction, when “hello” was spreading beyond its summoning origins to become a general-purpose greeting, and not everyone was a fan. I was reminded of this when watching a scene in the BBC television series Call the Midwife, set in the late 1950s and early 1960s, where a younger midwife greets an older one with a cheerful “Hello!” “When I was in training,” sniffs the older character, “we were always taught to say ‘good morning,’ ‘good afternoon,’ or ‘good evening.’ ‘Hello’ would not have been permitted.” To the younger character, “hello” has firmly crossed the line into a phatic greeting. But to the older character, or perhaps more accurately to her instructors as a young nurse, “hello” still retains an impertinent whiff of summoning. Etiquette books as late as the 1940s were still advising against “hello,” but in the mouth of a character from the 1960s, being anti-hello is intended to make her look like a fussbudget, especially playing for an audience of the future who’s forgotten that anyone ever objected to “hello.”

Because Internet, Gretchen McCulloch

[fuckyeahdindjarin]

Prima Nocta

Marcus Acacius x Virgin!F!Reader oneshot

{ Main Masterlist }

Rating: E (18+ only)

Summary: Tomorrow, you will marry your husband-to-be. But tonight - it belongs to his father.

Word count: 6k

Warnings: DUB CON only due to nature of prima nocta, both parties enthusiastically consent, twist on prima nocta, unspecified age gap, loss of virginity, dirty talk, oral sex (F receiving), fingering, dry humping, unprotected sex, unrealistic descriptions of first sexual experience, all manners of historical inaccuracies and linguistic anachronisms sorry not sorry, ignores the events of the movie so you can consider this an AU, Marcus is widowed and has a son, shall we call this bfd: Ancient Rome version lmao

Notes: I'm a bit rusty for sure, but I had the absolute best time writing this oneshot. It's a departure from my usual themes to say the least, but once this idea took hold of me it never let go. I know prima nocta is meant to be invoked on the wedding night, but I like the idea of it being the night before so I made it so 🤷🏻‍♀️ Gorgeous dividers by @firefly-graphics as always.

He thought he had gotten away with it. Having lived more than fifty winters in the capital and outlasting eight emperors, he regrets to confess that he is still none the wiser. 

It would have been such a clever manoeuvre. Palming off a generous but very much unwanted gift from the emperors, and marrying off his son in one fell swoop. 

He should have been suspicious of their swift assent to his proposal. In his eagerness to bow out of their audience, it had been convenient to dismiss the flash of malice in their eyes.

And in the snake pits of Roman court, no misstep goes unexploited.

He is not proud that he is caught off guard by the emperor’s closest advisor who intercepts his walk home from the armoury, even less so of his ineloquent response to the missive handed to him.

‘What is this?’

‘Urgent word from the emperors, sir.’

Cold sweat prickles the back of his neck as he stares unseeingly at what is scrawled on the parchment.

‘I cannot,’ he blurts out, indignance rising fast and hot in his chest. ‘I will not.’

‘You think it wise to twice refuse the emperors’ generosity, general?’

General. To him, the culmination of a lifetime of service and sacrifice. To them, an instrument of bloodshed in war, a plaything in peacetime.

Desperate, he tries a different tact. ‘The right of the first night belongs to the emperors. I dare not commit sacrilege.’

‘It is not sacrilege if it is freely bequeathed upon you, general.’

There is no mistaking the warning lilt in the last word, and he has no answer.

‘The hour grows late. You had better not keep the bride waiting,’ says the advisor with an air of finality before retreating into the shadows.

Marcus shudders at the cold that settles into the empty space, fingers stained with ink from the now crumpled dispatch. 

He remembers nothing of the remainder of his short journey to his quarters. As the front door swings open, he realises there is something in the night air that is out of place.

Sea salt.

You are here. 

Would you be demure? Frightened? You are of royal lineage, a lady of the small but proud coastal kingdom strong-armed by Rome into an unequal treaty for its profitable trading posts, in return for the mercy of not being razed to its fertile grounds.

And now, you are lowered to marry a general’s son. 

Worse, lowered to have your virginity taken by his father.

Candlelight spills from the crack underneath the door to his bedchamber. Marcus takes a deep breath, and pushes it open.

You hear him. The swish of fabric, the slide of leather soles on marble.

The general is here.

Your hand in marriage is part of the terms of the treaty, and the missive that sent for you announced your match as the widowed hero general. You had him cast on the wretched journey from your home as one of the domineering, brutish soldiers now garrisoned at your family’s kingdom - only to be told on your arrival that you will be marrying his son instead.

Relief at the news that your future husband would not be decades older than you is instantly snatched away by furtive whispers of prima nocta.

Your future father-in-law will take you first.

The humiliation is bitter on your tongue. You are Rome’s to marry off, hers to give to whomever she pleases -

But she won’t break you.

The door creaks. You stand tall and hold your ground.

He sweeps into the room with an air of well-worn authority, the cloak on his back dark as the shadows that nip at his heels.

The candles flicker when he sheds the heavy robes with a smooth sweep of his arm.

You stare, in a manner that would have had your lady-in-waiting tutting. But you are alone, very much so, with this man not ten paces from you.

General Marcus Acacius. 

He is older, certainly old enough to have a son your age. But you had not imagined him so - strong, for the lack of a more imaginative word. His shoulders are broad under his wine red tunic, and you can see the muscles in his arms flex as he clenches and unclenches his fists at his sides. From where you stand, you can hardly see any silver in his dark curls.

Marcus unflinchingly assesses you right back. 

No, you are decidedly not demure. Or frightened. Far from it. 

You are defiant, even as you observe him with evident curiosity. Your head held high, a telltale sign of your noble breeding, mouth set in a stern line while your eyes burn bright with a proud fire. 

Judging the silence has gone on long enough, he breaks it with a formal, ‘My lady.’

‘General,’ you answer steadily.

The door slams shut belatedly behind him, and you flinch - the first glimpse of weakness you concede. 

Marcus breathes in, delivering his next sentence with as much composure as he can muster. ‘I expect you have been informed of the - formalities that we are to perform tonight.’

You grind your teeth so hard you are astonished that your jaw doesn’t crack.

Your virtue is just a formality.

Refusing to dignify his question with an answer, you nod once. 

He watches you wordlessly, and you meet his gaze. You thought you would find something else there, not the regret that you see.

Turning away from you, he reaches for the amphora on the table. 

‘Wine?’

‘Yes, please.’

The wine is drunk in silence and moderation. Him at his desk, you perched on the end of the bed.

As you sip, pacing yourself, you observe the general discreetly from across the small distance between you. 

To say that you are disconcerted by his behaviour would be an understatement.

You assumed that he asked for this - for the perverse pursuit of deflowering his son’s bride-to-be while eschewing the unwanted responsibility of a wife. 

Yet, watching him stare pensively into his goblet, lips pursed in a pout that is almost sullen, you are not so certain anymore. 

When you bring your drink to your mouth to find it empty, you clear your throat. ‘I have to wake up early tomorrow morning - for the wedding.’

The general starts before collecting himself, drawing himself up to his full height as he sets down his cup with a heavy clunk. ‘Understandably, my lady.’

Then he moves, charting a course across the room, licking his thumb and index finger to douse the candles dotted around the space.

The thought comes to you unbidden - he has thick fingers. And big hands. 

Your cheeks tingle with heat.

Soon the chamber is cloaked in darkness, save for the candles next to the bed, the warm light pooling in the most inviting manner on the soft surface despite your trepidation. You long to rest your aching feet. 

He comes to a standstill on the other side of the bed, as if waiting for you to take the lead. You cannot decide whether you are thankful for him not imposing on you, or frustrated at him for not taking the lead in what is very much unfamiliar territory.

In the end, the desire to get off your feet wins out, and you gesture at the bed. ‘Shall we…?’

‘Certainly.’ He bends down, you assume to take off his sandals. You do the same, toeing off the soft leather slides the maids had you change into when they dressed you.

Once barefoot, you climb in with as much grace as you can summon, acutely aware that you have an audience. Your knees sink into the mattress, and you’re relieved that it is stuffed with feathers, luxuriously giving under your weight. Shifting primly, you find your back against the headboard, cushioned by equally soft pillows.

The general follows suit, the frame creaking as he eases onto the suddenly too small bed, strong shoulders brushing yours as he settles next to you.

You stare hard at the back of your hands, the only way to stop your gaze from wandering to the span of his fingers splayed wide on sturdy thighs, or lower to the bony ridge of his knees - gods, you must be unwell, since when have you been drawn to knees?

You are still questioning the state of your sanity when the general, who has been nothing but unperturbed and composed since he stepped into the room, stumbles over his words in a manner that is neither, as if he had held the question behind his teeth for too long.

‘Are you - are you absolutely certain - in no doubt - that you are… untouched?’

His question stings like salt in a festering wound. Indignant doesn’t even begin to describe the retort you spit at him. ‘Yes, I am. Are you?’

Peering at you sideways, his eyes widen at your outburst, and fear briefly flits across your heart that you have overstepped.

 But then, he surprises you with a smile. ‘You bite, don’t you?’ 

You let your shoulders sag, too far gone to hold onto your facade. 

‘It’s been a long day, sir,’ you admit. ‘To be frank, I just want to get this over with and forget it ever happened.’

He pauses at your confession, as if weighing his options. Then he shifts, and says, ‘The reason I ask if you were untouched is because, if you were not - we could have just pretended we did this.’

You frown. ‘What do you mean?’

‘I did not invoke prima nocta, it was imposed upon me. The emperors are displeased that I turned down the betrothal, this is their way of punishing me for my ungratefulness.’ 

Oh.

As much as you didn’t want this either, your pride suffers to hear him describe it as a punishment.

‘I know…’ you stumble, halting to steel yourself. ‘I know I am nothing like the women here in Rome. I spend too much time in the sun, and my hands are rough from working with horses -’

‘Why do you say that?’ he interrupts you.

You look away. ‘That is why you do not wish to marry me, is it not? And why you do not want this - why you do not want me.’

The general sits up, palms on the mattress to support his weight, the lines on his forehead deepening with a frown. ‘No, that is not the reason. You are young, you deserve a husband who can build a life with you in the years to come. Not a washed-up widower.’

The bitterness in his voice turns your head. 

‘You’re not washed up, from what I hear.’ Somehow, you find the courage to add boldly, ‘Or from what I see.’

Letting your eyes trail unabashedly over his broad frame, a thrill chases through your blood when you notice his Adam’s apple bob with a tight swallow. He’s so close that you know you’re not imagining the heat seeping into your bones.

Silence stretches between you, charged with a consciousness that creeps in and spreads. Two souls from different worlds and stations put in a situation in which neither of you had a hand. This may not be how you imagined giving away your virtue - far from it - yet your stomach twists in anticipation.

You glance upwards, only to find him already watching you.

Something has shifted when you so bravely reached out and tipped the balance with your words. He can tell that you are not one for flippant flattery, and it takes him a moment to collect himself, harder said than done with the blood roaring in his ears.

When he speaks, it comes out in a much lower register than he intends, so much so it sounds like a secret. 

‘You say you just want to get this over with. But I can - I can make it good for you. It doesn’t have to be something you want to forget.’

Your eyes widen and your lips part, and heat blooms almost uncomfortably in his chest. ‘You would do that for me?’

‘I will serve you in whatever way you ask of me tonight, my lady.’

Never have mere words, albeit delivered in such a delicious baritone, moved you so. You came in expecting to have your virtue stripped from you, the same way Rome callously stole you away. Where you thought humiliation and dishonour awaited, this man is offering deliverance and devotion - if only for one night.

Your throat tight with emotion, you nod in lieu of a spoken answer.

Marcus is deliberately slow in his movements, wanting you to feel safe in his presence. ‘How much do you know? So I know what I need to teach you.’

Despite yourself, shyness rears its head and you mumble, ‘I’ve - I’ve heard stories. I know what… happens�� between a man and a woman in the bed chamber.’

He nods reassuringly, making you feel less of a fool for the juvenile answer you gave. ‘And has anyone touched you before?’

There’s no mistaking the lurch in your stomach as your heart hammers violently. ‘No. No one. Never.’

The protector in him stirs, summoned to duty, warring with the desire that seethes under his skin like the unholy flames of Vesuvius. He fears it is a quickly losing battle. 

Reading the desire in your endearingly open face, Marcus reaches over you to settle one hand on your hip as he leans close, his breath warm on your cheek.

‘Have you ever kissed a man?’ he rasps. 

You shake your head, eyes fixated on his mouth, framed by a tidy moustache. He is so close that you can see his beard is flecked with silver.

You swear the general is leaning into you, and every inch of you is on tenterhooks, enraptured by his proximity -

‘You should save it for your husband.’

You barely forestall the whine of protest that teeters on the tip of your tongue, pinching your lips together, but his lopsided smile tells you that he knows. 

‘I can kiss you elsewhere though.’

‘Oh,’ you inhale shakily when he dips to mouth at the side of your neck, landing on your pulse point in a suckle. Your whole body arches off the bed, hands gripping the sheets, head spinning at all the sensations that are new to you - the burn of his stubble, the cool trail his lips leave behind -

Then the palm on your hip pulls you into him, sprawling you against the wide cage of his body, your breasts pressed against his broad chest. The dress they put you in is thin, and the fabric rubs against your pebbling nipples as his kisses travel daringly low.

‘Am I going too fast?’ he pauses, voice strained.

Breathlessly, you shake your head.

‘If you want me to stop, or wait, you say the word. Understood?’

‘Yes, general.’

Two words he hears daily from his men, and yet from your lips, they unleash a dangerously feral side of him.

More. Is the only coherent thought that remains. 

Impatient hands reposition you so that you are astride him, and he groans when you slot flush in his lap. He watches your eyes widen at what you feel between your legs. Your dress rides up, and his blood rushes south at the bare expanse of your inner thighs on his skin. 

‘I want to see you,’ he speaks plainly, palms squeezing the dip of your waist. ‘May I undress you? Please?’

All decorum flees you, and you might have chanted yes, yes, yes to his question.

Dropping your chin, you watch his thick fingers nimbly undo the knot holding the front of your dress together. The silk capitulates like water, tumbling down in delicate drapes around your waist, baring you to his heated gaze.

‘You are beautiful,’ he declares with a solemnity that steals your breath.

And it is easy to believe him, the way his dazed eyes trail over your breasts, before his hands follow. Calloused palms, which you are sure have held many a sword in triumph, now cup your tender flesh in reverence. 

Your head lolls to the side as he teases you, but when he rolls his hips upwards, your eyes snap to the pained expression on his face. You’ve heard ladies in court whispering over wine about length and girth, but nothing could prepare you for the thrill of feeling a man’s undeniable desire for you.

Instinct guides you, moving your hips so that you are grinding against his length, seeking relief from what is building deep within you.

‘Do what feels good,’ the general murmurs encouragingly, palms on the small of your back to let you take control.

And just like that, you are thrown back to one summer’s day in your youth. You were bathing in a rock pool, under the spray of a waterfall in perfect solitude when you accidentally slipped forwards on the smooth stone surface. The unexpected sensation between your legs ripped through you like lightning on a clear day. And you chased that feeling, hips undulating until you shuddered and cried out. Knees trembling in the aftermath, you never dared to seek it out again, but neither did you forget.

And now, years later, you finally know what had transpired. Pleasure. And this time, under the general’s hooded gaze, you pursue it with single-minded determination.

Marcus wishes you knew how beautiful you are in this very moment. Breasts swaying in tandem while you rock back and forth on his clothed length, eyes glazed, every whimper from your swollen lips making him throb harder for you.

‘Good girl,’ he rasps, throat tight. ‘Take your pleasure. Take what you need.’

And when he sucks your nipple into his mouth, you wail, tipping forward at an angle that unexpectedly takes you apart.

The waves that wash over you are more intense than you remember, and you are sure that has to do with the man holding your hips to his as you buck, and the warm swirl of his tongue against your breasts, sucking and nipping as you come down from your high.

‘That was not your first time,’ he states as a matter of fact when the white noise in your ears finally fades.

‘It happened once, a long time ago, and I didn’t understand then -’

‘And now you do.’

‘Yes, general.’

This time, he lets loose a moan at your words. ‘I can feel your wetness through your dress.’

Confused, you look down, and your cheeks burn when you spot the dark patch on the delicate fabric. ‘Oh, I -’

‘It’s natural,’ he assures you. ‘The wetness makes it easier for -’

It dawns on you when you feel his hardness twitch under you. Oh. 

‘It - you feel -’ you stutter, struggling to comprehend how the girth of what you are sitting on could possibly fit inside you.

Taking your hand, Marcus presses a chaste kiss to your palm, eyes warm and open. 

‘We will take it slow. I will use my fingers first, to prepare you for me,’ he explains patiently. ‘I promised I would make it good for you, did I not?’

‘You did.’ 

And you have complete faith in him.

Your knees knock into each other hopelessly when he slides you off his lap, and he has to bodily prop you up against the pillows. Sinking into the soft feathers, you watch him kneel between your parted legs, and you feel so safe even as he towers over you. 

‘May I disrobe you?’

You bite your bottom lip, and nod. 

Except it’s not a disrobing, it’s nothing near as civil as that. The general rips the rest of your dress clean down the middle, rendering you completely bare beneath him.

Marcus knows should be ashamed of his brash behaviour. But how could he when you react so viscerally, jaw slack as your chest heaves in unmitigated desire? 

His gaze shamelessly trail over every curve and dimple, from the breasts he has tasted to where your knees are demurely closed, and knowing that he is the first - the only - to have laid eyes on you makes him impossibly hard. 

It matters not that you are not his to keep. This will always be his. 

‘You are exquisite,’ he professes, voice tight. 

You duck your head, more shy of his compliments than being nude before him. ‘You don’t have to.’

Sliding a finger under your chin and tilting your head until you meet his gaze, he assures you, ‘I mean every word.’

Then he moves down the bed until he can rest his weight on his elbows, and you startle when rough palms glide over the outside of your thighs, stopping at your knees. 

He pauses to give you time. ‘Are you certain you wish to continue?’

Your answer is a confident yes.

Then, as if opening the shell of Venus, he delicately pries your knees apart, and his breath hitches as you are revealed to him.

He is aware that he’s staring like an imbecile, words failing him. As the silence stretches on, you become self-conscious.

‘General,’ you demur, moving to cover yourself.

Shaking his head, he finally says, ‘Forgive me, but you are perfect.’

Then he looks up at you with such intensity that has you struggling to catch your breath, and without breaking eye contact, he bows his head - 

And closes his lips over you there. 

You are wholly unprepared - no one has ever gossiped about this in court. Your hips buck violently off the bed, but Marcus holds you down with reassuring hands, suckling on the pearl between your thighs with gentle laps of his tongue.

‘Oh, oh, oh,’ you stuttter, torn between watching the man wreak the most devastating pleasure on you and averting your gaze.

You’ve only ever known worship to be pious, and yet, this most vulgar adulation is the closest you’ve been to the gods.

His beautiful curls brush the sensitive skin of your inner thighs, catching the candle light as he moves, and the crook of his nose - so proud even with the scar on its bridge - draws patterns on your skin as he stakes his claim where no one has ever touched you. 

You quickly realise that what you felt just now in the general’s lap was insignificant and thin in comparison. This pleasure is all-consuming, something divine that has you weak and trembling all over. All you hear are slick, wet sounds of tongues and lips, and your own whimpers between garbled groans.

Marcus feasts on you, unapologetically. Flattening his tongue, he tastes you in broad sweeps, moaning into your sweet cunt as you writhe above him, your needy mewls driving him to the edge of madness. You taste like fig - the earthiness of the purple peel, ripe sweetness of the pink flesh.

Then your hands wind into his hair, pulling him closer, ankles hooking over his shoulders. He groans harder, the sound rattling in his ribs as you soak his beard. Surrendering any last vestiges of shyness, you rock against his tongue, nails scratching his scalp as you whine louder into the night air. 

Moans that will echo long after you’re gone.

The thought alone hardens his resolve to mark you unequivocally. You’re close, your pliant body quivering and breaths coming in shallow gasps now. He peers up at you, but your eyes are sealed shut and upturned at the gods, your breasts heaving.

Gently, he eases one finger inside you, and he grunts at how easily he slides in. You barely react, and so he pushes back in with two, coaxing a cry from you. Your cunt clenches as he gently thrusts his digits in and out, stretching your tight walls. 

‘Oh gods. Oh gods,’ you pant violently.

You’re close, so close. He wants to warn you of what is to come, but it feels like sacrilege to tarnish the moment with words. When he feels you begin to quiver, he laves at your clit harder, burying his fingers inside you to the knuckle, until he feels you crest and break. 

‘Gods, oh gods - Marcus!’

The cry of his name catches him off guard. He nearly loses control right there and then, as you ride out your high on his fingers, but by some miracle he holds out through gritted teeth. He devotes his attention to kissing his way up your body, from the slick inside of your thighs, to the side of your hip, making you jump when he sucks on your sensitive breasts.

You stare at his mouth with wild, dark eyes, and him at yours, but he vowed to leave your first kiss to your husband. Girding his self-restraint, he asks, ‘Are you alright?’

‘Yes, Marcus.’

His cock twitches at the sound of his name on your lips. He wants to hear you say it in all manners of ways - whisper it, gasp it, scream it. And by the cheekiness in your smile, it’s clear that you know what he’s thinking.

Your eyes drop to where his hardness is pressed against you. ‘Will you teach me how to please you, general?’

He swallows a groan, the animal in him rattling the bars of its cage. He replies diplomatically, ‘I will teach you how to teach your husband.’

In one smooth tug, he shucks off his tunic, then his loincloth, and he tries not to be self-conscious under your watchful gaze. Pulling you against him, skin on naked skin, he smears kisses along the side of your neck, smiling at your answering shudder. In return, you run your lips and scrape your teeth over his collarbone. 

Taking your hand and pressing a kiss to your palm, he slides it all the way down his chest and wraps your fingers firmly around his throbbing cock, his pained moan in your ear.

Eyes wide, you marvel at the size of him in your grip. ‘You are so big.’

Marcus curses through clenched teeth. ‘You are an insolent girl.’

With a wicked glint in your eyes, you correct yourself, ‘You are so big, general.’

If he wasn’t so aroused, he would have chuckled at your cheek. Instead, he growls, ‘Such insubordination.’

Tilting your head to one side, you grin. ‘And how would you discipline me, sir?’

He lets the silence linger for a beat, allowing anticipation to build as one big hand splays over your ass, hot lips brushing the shell of your ear. ‘I would deny you my cock, my lady. Let your sweet cunt weep for me, empty, not knowing how good it would feel to have me deep inside you.’

You are unsure if you are more shocked at the explicitness of his words, or at the gush of wetness that has you pressing your thighs together. If you had to wager a guess, he is just as affected as you by the way his length pulses in your grasp.

Marcus smiles as he takes in the way your body reacts to him. ‘But how can I deny such a lovely, desperate creature such as yourself?’

A sob escapes you. ‘Please, Marcus - I’m yours to take.’

With that, all self-restraint abandons him, and his lips crash into yours. At the back of his mind, he knows you deserve a better first kiss, something gentle and sweet. But to your credit, you seem to take it in stride, winding your arms around his neck with a deep groan as he deepens the kiss. Opening up your mouth, he sweeps his tongue against yours, making sure you taste yourself and the pleasure that he had wrung from you.

When he reluctantly pulls back for air, you hum, ‘I thought you said I should save that for my husband.’

He all but snarls, ‘Damn your husband.’

The possessiveness in his tone sends you reeling, and his resolve wears even thinner when your cunt brushes against him, so wet and soft, begging for him. 

‘I cannot wait any longer,’ he declares.

You bite your lip beseechingly. ‘Please, Marcus, I cannot either.’

He braces himself above you on strong arms, until all you can see is him, backlit by the soft candlelight. Beholding his beauty - the wisps of gray at his temples, the scar lining his cheekbone - your breath catches at the tenderness in his eyes as he stares down at you.

Holding the base of his cock, Marcus notches himself at the entrance of your cunt, trembling as he holds himself back. 

‘I will go slow,’ he assures you. ‘If it hurts, you tell me to stop. Understood?’

Your mouth dry, you can only nod. 

Holding your gaze, Marcus rolls his hips ever so slowly, jaw slack when he breaches you, inch by tortuous inch.

He is barely inside you and you already feel so unfathomably full.

‘Marcus,’ you gasp when it gets impossibly tight, nails digging into his broad shoulders.

He stops, and whispers encouragingly, ‘You are doing so well for me, taking me so beautifully. Just breathe.’

In between his patient, languid kisses, you unfurl, and Marcus gently pulls back, before pushing into you, deeper this time.

When you cry out, he shushes you, brushing the wet corners of your eyes with his lips. ‘Does it hurt?’

You shake your head. ‘No, it’s just - so much.’ 

‘I know, I can feel how tight you are gripping me,’ he mumbles into your neck, throbbing inside you while he holds himself still as you adjust. ‘Brave, sweet girl.’

When you find your voice again, you give him cheek. ‘I am a woman now, general.’

He smiles at you - a warm curl that crinkles the corners of his eyes endearingly - and claims your lips again. Feeling the tension seep out of your body, he thrusts shallowly so you can learn the movement of his hips. When he hits a spot that makes your jaw drop and your hips buck, he pulls all the way back, and drives himself to the hilt in one smooth motion.

And with that, you become a part of his soul, and his yours. His chest swells with the fiercest possessiveness and the greatest honour all at once, despite knowing that the circumstances that brought you together will inevitably tear you asunder at the break of dawn.

‘Marcus!’ you choke on a sob, throwing your head back, your walls clutching his cock in a merciless grip.

‘There she is,’ he grunts, mouth scraping the shell of your ear. ‘Say my name like that.’

And you do, over and over again, as he fucks into you. His pants land harshly in the crook of your neck with every thrust, hands greedily squeezing all the skin he can find - the curve of your ass, the dimple in your waist, your thigh to hitch it over his hip.

Looking down at you, eyes drunk and unfocused as you stare back at him, each squeeze of your wet cunt around him, every breath from your lips feels sacred.

He is seized by a sudden need to know. ‘How does it feel?’

Your eyes soften, and he shudders when you cup the side of his face to bring his nose to yours. ‘Divine.’

Marcus loses himself in you, in the wet squelch of your cunt around his length, the way your tightness takes every thrust. Words of praise that he doesn’t even hear tumble from his lips and onto every inch of skin he can reach as you cling to him, scraping your nails down his back and digging into the meat of his ass.

Pitching forward to press a hard kiss to you, he says, ‘I want you to fall apart for me again.’

‘Please, Marcus, please.’

Pushing himself up to his knees, still buried deep inside you, he spreads your thighs obscenely wide over his hips, and he moans at the sight of your cunt so full of him. With hooded eyes, he sucks on two of his thick fingers and brings them between your legs, carefully drawing circles on your clit, knowing that you are already sensitive from cumming twice for him before.

Your face twists in agony as he builds you towards another climax, patiently weaving the web of pleasure that wounds you tighter and tighter until your spine feels like it will snap in two. ‘Marcus, oh - don’t stop, don’t stop, oh gods -’

He bares his teeth as he feels you start to clench around him. ‘That’s it, that’s it. Cum on my cock, let me feel you, give it to me.’ 

Your peak crashes into you relentlessly, and as you are swept away, you can only wail and thrash, while Marcus curses and stutters unintelligibly above you as he spins out of control.

He had every intention to pull out, but it is as if some higher power is determined to foil his plans. With a guttural roar, his hips snap flush against yours, big palms grasp you so hard by the waist that you squeal, and he spills into you in hot gushes, once - twice - and again until he is spent.

Mine. Mine. Mine.

He doesn’t know if he said that aloud or if it was a trick of the mind. All he knows is that he eventually collapses bonelessly onto you, skin fused together with sweat and cum as your breaths become one in the crisp night air.

It is him who breaks the stillness, his old bones creaking when he stirs to relieve an ache in his back. His softened cock slides out of you, prompting you to whine in protest. He grunts when he looks down to see his cum dribble out of your cunt, leaving a pearly trail on the inside of your thighs.

When he meets your eyes, there is no awkwardness in the silence. ‘Forgive me, I didn’t mean to spill my seed inside you. That was reckless.’

Your heart skips a beat at his admission, and you can’t hide the pride in your voice. ‘Do I make you reckless, general?’

He tries and fails to be stern in his answer, the tenderness with which he brushes his nose on your cheek giving him away. ‘I know better than to encourage your insolence with an answer.’

You are far from discouraged though, quite the opposite. Knowing you have this man - who commands armies of thousands - at your mercy is a siren’s call.

Peering at him from under your eyelashes, you curl one leg around his waist. ‘Do you want to be reckless again?’

He huffs, but a smile breaks through. ‘Have you ever been told that you are a cocktease?’

You hum teasingly. ‘I have never heard that word before, but I like it.’

‘You do?’ he breathes against your lips. ‘You like being my cocktease?’

‘Yours, general.’

Marcus is astounded when he feels himself harden again, and he moans as you press open-mouthed kisses down his neck. ‘What spell have you cast on this old man, my little cocktease?’

You grin, letting him ease you onto your back so he can settle between your thighs again. ‘The kind that lasts until dawn.’

Eventually, morning must break, sure as the moon turns and the sun rises. In the golden rays of day, you will wed his son in ironic, virginal white, showered in rose petals. He will look on from the side in his finest ceremonial robes of red, as you walk away from him and into your new life as someone else’s wife.

But in the velvety folds of this night and many more to come, safely ensconced in the deepest corners of his memories, in lands far away, in war and in peace, there he keeps you - where you are not.

More notes: Thank you for reading! As usual, comments/reblogs/asks would be very much appreciated 🥰 I hope you enjoyed this fic as much as I loved writing it!

[literaryvein-reblogs]

Some Worldbuilding Vocabulary

Abeyance:  When the audience temporarily suspends their questions about made-up words or worldbuilding details with the implicit understanding that they will be answered later in the story.

Absorption:  The two-way street wherein the audience is immersed in the created world and is picking up the author’s metaphoric building blocks to recreate the concept in their head.

Acculturation:  When an adult assimilates into another culture.

Additive:  When something has been added to a secondary world, usually in the form of magic or fantasy species.

Affinity:  A kinship pattern wherein the familial bond is based upon marriage.

Aggregate Inconsistencies:  When audiences pick up internal inconsistencies not within the same story but from multiple sources within the shared universe.

Anachronism:  Details that do not conform to their time period or culture.

Analogue Culture: Real-life cultures that the creator emulates in their work and then applies their fantasy conceits to.

Ancestor Worship:  The belief that deceased ancestors still exist, are still a part of the family, and can intervene within the living world on their descendants’ behalf.

Animism:  The belief that all objects, creatures, and places are imbued with a spiritual essence.

Apex Predator:  The predator at the top of a food web that no other creature naturally feeds upon. Two apex predators cannot exist in the same niche.

Apologetics:  In worldbuilding, the attempt to explain inconsistencies in terms of existing canon.

Appropriated Culture:  Using a culture as a whole that the creator is not a member of. Different from an analogue culture in that the analogue is changed by the creator and used respectfully.

Artifacts:  In worldbuilding, the observable ways a culture behaves due to their cultural worldview. This can include politics, economics, religion, education, arts, humanities, and linguistics, along with many other cultural norms.

Ascendant:  In worldbuilding, a world that the magic is increasing in power and influence.

Assimilation:  When an individual rejects their original culture and adopts the cultural norms and beliefs of the dominant culture.

Author Authority:  When an author demonstrates expert-level knowledge in a field to their audience.

Author Worldview:  What Mark J. P. Wolf calls “not only the ideas and ideologies of the world’s inhabitants, but also those which the author is expressing through the world’s structure of events.”

Autocracy:  A government in which supreme power concentrates in the hands of one individual or polity.

Avatar:  The embodiment of a deity in another form, usually humanoid.

B-C

Bible:  In the field of television writing, a series guidebook that usually includes the pitch, character descriptions, a synopsis, as well as worldbuilding details.

Biome:  The vegetation and animals that exists within a region. Terrestrial biomes include: forest (tropical, temperate, or boreal), grassland, desert, and tundra.

Black Box:  In information processing, when a system is viewed in terms of its inputs and outputs without any understanding as to its internal workings.

Bottom-Up:  In design, where the granular, base elements of the system are created first, then grouping them together into larger constructs over and over until a pattern forms. Also known as “pantsing” in writing and worldbuilding because the creator is building by the seat of their pants.

Callback:  From standup comedy where the punchline in a joke used earlier in the set is alluded to again, eliciting another laugh from the reframing of what was already familiar.

Canon:  The core doctrine for the world when conflicting information arises. Usually what the original creator made takes canonical precedence over subsequent additions. 

Capitalism:  The economic system wherein individuals own the means of production.

Chekhov's Gun:  Often understood to mean that something must be introduced previously if it will have significance later in a narrative, but meant by the playwright that nothing should be included in the story that is not completely necessary. 

Climate:  The temperature and rainfall in regions over approximately 30 years. Classified as tropical (high temperature and high precipitation), dry (high temperature and low precipitation), temperate (mid temperature and mid precipitation), continental (in the center of large continents with warm summers and cold winters), and polar (low temperatures and low precipitation).

Commercial Fiction:  The style of fiction that includes all genre fiction, the aim of which is entertainment. Often fast-paced and plot-driven.

Compelling:  One of the four Cs of worldbuilding, which deals with how well the core concept and subsequent details maintain audience interest.

Complete:  One of the four Cs of worldbuilding, which deals with the sense that the world is lived in, has a sense of history, and continues on even when the story ends.

Complexity Creep:  When material gradually grows in complexity over its lifetime, raising the bar of entry for new people experiencing the material for the first time.

Conceits:  Where a story deviates from reality. Usually the focus of the fiction by being what the author intends on exploring in their works.

Conlanguage:  A constructed language created specifically for a story world.

Consanguinity:  A kinship pattern wherein the familial bond is based upon a shared genetic lineage.

Consistent:  One of the four Cs of worldbuilding, which deals with how well the material maintains its own internal logic as established by the fantasy conceits.

Constructed World:  A fictional world that does not exist but was created by someone.

Continuity:  A gestalt term for perception where the mind fills in obvious blanks to make a unified whole.

Convergent Evolution:  When two or more species develop analogous features to deal with their environment.

Co-Residency:  A kinship pattern wherein the familial bond is based upon shared space.

Cosmology:  The study of mapping the universe and our place in it.

Cost:  In worldbuilding, when a character must risk or sacrifice something for magic to take effect.

Creative:  One of the four Cs of worldbuilding, which deals with how and to what extent the constructed world deviates from the real world.

Credibility Threshold:  Where worldbuilding details must only appear plausible to a general audience rather than demonstrating expert-level knowledge.

Cultural Identity:  An individual’s self-concept as distinct from others based upon nationality, ethnicity, social class, generation, and locality.

Cultural Universals:  Traits, patterns, and institutions prevalent throughout humankind.

Customs:  Informal rules of behavior that people take part in without thinking about it.

D-F

Deity:  The most powerful of metaphysical entities, deities often exist in pantheons, have thematic powers based upon their roles, and few weaknesses or limitations.

Descendent:  In terms of magic, the idea that the most powerful magics are from ages past and that magic is on the decline in terms of power and influence.

Despotism:  An economic system wherein an individual or institution controls the laws and resources of an area.

Deus Ex Machina:  A plot device in which an unexpected power, event, or deity intervenes to save a hopeless situation. 

Differentiation:  When one culture forms part of their identity by contrasting themselves with another nearby culture.

Divergent:  When the creator alters something in the development of the world but it remains very similar to the real world in every detail but this fantasy conceit. For instance, a world that resembles our own but made up of anthropomorphic animals instead of humans.

Divine:  The belief that something is of, from, or like a god.

Democracy:  A government in which the people elect a governing body in some fashion.

Early Adoption:  When an inventor or culture creates a technology long before their analogue culture did in the real world.

Easter Egg:  A hidden message, image, or feature that is meant to be hunted for within the material.

Economics:  The study of production, distribution, and consumption of goods and services.

Education:  A form of socialization in which we teach the youth what they need to know to become functioning members of society.

Effective Worldbuilding:  When (a) the immersive state is never disrupted for the audience, or when (b) the immersive state is disrupted with a positive result.

Element X:  N. K. Jemisin’s concept of when fantasy elements diverge from the real world. Similar to fantasy conceits.

Emic:  An account of a cultural idea, concept, behavior, or belief documented as if from within the culture.

Empires:  Multinational states with political hegemony over other ethnicities, cultures, or nations.

Encyclopedic Impulse:  The consumer’s desire to know everything about the world or the author’s desire to expound upon all the worldbuilding details.

Ephemera:  Transitionary materials that are not meant to exist for long term, such as advertisements, diary entries, letters, posters, and the like.

Ethnicity:  A group that identifies with each other based on presumed similarities such as a shared language, ancestry, history, society, or social treatment within an area. Ethnicities are not dependent upon, but are often associated with, certain taxonomic traits or physiological similarities within those groups.

Etic:  When cultural ideas, concepts, behaviors, or beliefs are documented from outside the cultural milieu as a passive observer with an eye for similarities between all cultures

Exsecting:  When the creator removes something that exists in the real world from the created world.

Extrapolation:  In worldbuilding, the belief that any fantasy conceit should be followed to its natural conclusion.

Face Validity:  When worldbuilding detail appears believable upon immediate examination. See Credibility Threshold.

Fan Service:  Material included in a story that serves no narrative purpose other than to please fans.

Fantasy Conceit:  What the creator intends to explore in the world, it is where the constructed world deviates from the real world, usually in the form of geography, biology, physics, metaphysics, technology, or culture.

Fantasy Function:  When analogue cultures are filtered through fantasy conceits to populate the created world with its output details.

Fetishes:  Items imbued with cultural significance and power.

First Principles:  Core belief and value systems within a culture that are often unconscious until confronted.

Flavor Text:  Texts within stories, video games, role-playing games, and action figures that add depth by providing a sense of history but do not alter the game mechanics or story in a substantial way.

Feudalism:  An economic system wherein there is a division between the lords that protect the vassals that work the land in exchange for protection.

Four Cs of Worldbuilding:  See Creative, Complete, Consistent, and Compelling.

G-L

Gender:  A social construct of how cultures differentiate the sexes.

Generalist:  When every individual in a society has the same basic job, which is providing their daily caloric intake. A staple of hunter and gatherers and in contrast to specialists.

Generation:  A social cohort group based around the period in which children grow up, become adults, and bear children of their own. Because of this shared timeframe and significant events in their lives, generations often share a similar worldview within the general culture.

Genre Expectation:  The qualities audiences expect of their genres to be considered successful, i.e. is the thriller thrilling or the romance romantic. For fantasy and science fiction, the genre expectation is worldbuilding.

Goldilocks Zone:  The habitable zone around a star where the temperature is right for water to exist in liquid form. 

Group:  Two or more individuals who share a collective sense of unity via interacting with each other because of shared similar characteristics.

Habitat:  The ecosystem or ecological community creatures exist in.

Handwave:  A writing term for explaining crucial events dismissively with minimal details.

Handwavium:  As opposed to the handwave, when everything else in the imagined world fits logically together with the exception of the fantasy conceit, which the audience must then accept to continue on with the story.

Hard Deduction:  When there is no narrator and no character bringing the worldbuilding details to the audience’s attention, who must then piece together the world rules based upon the provided details alone.

Hard Impart:  When information is imparted to the audience through narrative text, usually through the narrator or the internal thoughts of characters.

Hero Props:  Items that are necessary for a scene to take place, making them integral to the story.

Heroic Theory of Invention:  When inventors and discoverers of scientific developments are treated as solitary geniuses rather than products of good luck or a part of a team.

High-Concept:  A term from the film industry meaning an idea needs lots of background details, usually compiled from the worldbuilding, to be explained for the core concept to be compelling.

Hybrid:  (a) In biology, a living thing bred together from two different species, which is not able to produce its own viable offspring. (b) A method the author can employ to get details across to the audience in which it appears they are using a hard or soft impart, but the audience deduces are not correct, which then casts provided information into doubt and adds new nuance.

Iceberg Theory:  The theory proffered by Hemingway that so long as the author is aware of the underlying ideas, they can cut away anything from the story and it will still make sense. Usually interpreted to mean one only needs to reveal 10% of worldbuilding details or backstory.

Illusion of Completeness:  The sense that the world is complete and that all questions can be answered within it rather than the creator explicitly spelling out all the details.

Immersion:  The altered state in which the audience feels they are physically present in a non-physical world.

Ineffective Worldbuilding:  When worldbuilding details become obvious to the consumer, thus breaking the sense of immersion and reminding them of the real world. This can be caused by internal inconsistencies or from reality incursions.

Info Dump:  A sudden overwhelming quantity of backstory or background information supplied in a short timeframe.

Info Dump Equity:  The idea that an author should not reveal worldbuilding information until the audience craves it, thus being able to deliver an info dump without anyone complaining.

In-Group:  The other people an individual identifies with. While they may not share the exact worldview, they share the same first principles in understanding the world around them.

Innovation:  The drive for change, usually technological, but also socially.

Inside-Out:  How audiences process worldbuilding details, in that they pertain to the immediate understanding of the scene, which are then pieced together into an understanding of the world.

Inspired Worldbuilding:  The top form of worldbuilding, which invites additional audience interaction via their imagination after the story has concluded.

Institutions:  Stable organizations of individuals formed for a shared purpose, usually by performing specific, reoccurring patterns of behavior.

Integration:  When an individual adopts the cultural norms and beliefs of the dominant culture while still retaining their original culture.

Interconnection:  When the threads of worldbuilding are tied together cohesively. Part of Sanderson’s third law of magic systems.

Interquel:  Stories set in an existing world but that do not connect with the original story.

Intraquel:  Stories set in an existing world that fill in gaps in the existing story.

Kinship:  How social relationships organize into groups, roles, and families. Usually consisting of consanguinity, affinity, or co-residency.

Limitations:  Checks put upon magical powers, usually in the form of weaknesses and costs. Sanderson maintains in his second law that limitations are more dramatically important than powers.

Linguistics:  The study of languages.

Literary Fiction:  The style of fiction that aims for awards, considers itself art, focuses on the prose, and is usually slowly paced.

Locality:  The small-scale community in which the individuals in a group grew up, usually comprising of a town, neighborhood, or block, which differentiates them from others in the surrounding area.

M-O

Macroworldbuilding:  The first of the stages N. K. Jemisin breaks her worldbuilding process into, which consists of planet, continents, climate, and ecology.

Magic:  Change wrought through unnatural means.

Magic Point Systems:  Magic systems where the casters have a set amount of energy, usually referred to as mana, to spend on their effects.

Magical Thinking:  The belief people can affect change the world around them through thoughts and behaviors.

Mana:  A frequent generalized term for the finite resource magic users spend on their magical effects.

Marginalization:  When an individual rejects both their original culture and the dominant culture.

Mary Sue/ Marty Sue:  Originally a created character for fanfic who has no flaws and is inserted into interactions with the canonical characters. Now an insult leveled at characters consumers don’t like, usually claiming they are overly capable and without flaws.

Masquerade:  A term taking from the World of Darkness RPG wherein the existence of magic is hidden from the general populous.

Metaphysics:  In worldbuilding, dealing with deities, spirits, cosmology, and the afterlife. In essence, creatures and locations that do not abide by understandings of biology or physics.

Microworldbuilding:  The second of the stages N. K. Jemisin breaks her worldbuilding process into, which consists of species, morphology, raciation, acculturation, power, and role.

Monotheism:  The belief in a single deity only.

Mystery Box:  The theory proffered by JJ Abrams that mystery drives audience interest, which will keep them invested in a story so long as they are promised elucidation later.

Mythopeia:  Constructed mythologies, lores, and histories within created worlds.

Nationality:  How an individual relates to their state. A component of cultural identity.

Nominal Change:  A superficial change in the secondary world that contributes nothing to the worldbuilding.

Norms:  What is considered acceptable group behavior and what people should and should not do in their social surroundings.

Oligarchy:  A government in which power rests in a small group of people like the nobility, wealthy, or religious leaders.

One-Off:  An intentional inconsistency meant to highlight the aberration as separate from the established worldbuilding.

Out-Group:  Those that do not share the same collective worldview, which are often mistrusted or viewed with outright hostility.

Overlaid Worlds:  Constructed worlds with real-world locations but with the addition of fantasy elements.

P-R

Pantheon:  A categorization of collected deities based upon the culture that worships them

Pantsers:  Creators who build or write without a clear outcome in mind. See Bottom-Up.

Pidgin Language:  A grammatically simplified language used for trade that comprises vocabularies drawn from numerous languages.

Planet of Hats:  The trope of treating a species or world as monolithic and with one defining trait.

Planners:  Worldbuilders or writers who have a clear plan once they start creating. See Top-Down.

Politics:  The decision-making process within groups and individuals involving power structures.

Polytheism:  The belief of multiple gods, usually inhabiting a pantheon.

Porcelain Argument:  In worldbuilding, the belief that technology stagnates at the level at which magic or a fantasy conceit is introduced.

Portal Fantasy:  A subgenre in which the characters from the real world travel to a secondary world.

Prequel:  Stories set in an existing world that precede the original story. They do not need to connect to the original story but often do.

Primary Sexual Characteristics:  The sex organs used in reproduction.

Primary World:  The real world in which we all reside and draw our experience from.

Prime Mover:  A conceit that cannot be removed without the story world falling apart.

Profane:  Something that is religiously blasphemous or obscene.

Prologue:  An opening sequence in a narrative that establishes background details to create context, clarification, and miscellaneous information for the audience

Promise of the Premise:  The term coined by Blake Snyder for the point in the story when the setup is complete and it examines its core conceits. An author breaks the promise of the premise when the story is not about the promised core concepts.

Pull Factors:  Factors that draw immigrants to an area.

Purple Prose:  Descriptions that becomes overly ornate and extravagant, to the point they break the sense of immersion by drawing attention to themselves.

Push Factors:  Factors that drive immigrants out of an area.

Race:  (a) In biology, a grouping of populations below the level of subspecies, and is rather imprecise in distinguishing the differences between them. (b) In the fantasy genre, usually understood to mean “species.”

Racial Attributes:  The assumption that any one fantasy race shares not only certain abilities like flight or the capacity to speak with animals, but certain demeanors, temperaments, and biases.

Reality Incursions:  When the outside world interjects itself into the created fantasy experience to remind the consumer that this is indeed a made-up world. They usually occur when the consumer has expert knowledge in a field that is not depicted correctly in the narrative.

Reciprocity:  When people respond to actions with similar actions. This can be positive, as in the exchanging of gifts, or negative, as with punitive eye-for-an-eye punishments for crimes.

Relativism:  The belief there is no real objective universal truth and that we base all understanding upon perception and consideration.

Religion:  The cultural system of behaviors, morals, ethics, and worldview in which humans deal with supernatural, metaphysical, and spiritual conceptions.

Retcon:  Short for “retroactive continuity,” the term comes from comic books when previous canon or facts are ignored or contradicted so as to assimilate new stories or understandings in current storylines.

Reverberations and Repercussions:  The understanding that any change within a world creates many expected and unexpected changes to the whole.

Rituals:  Formal customs often involving gestures, words, and objects performed in a traditional sequence.

Rule of Cool:  The understanding that the audience’s willing suspension of disbelief for a given element is directly proportional to its level of “coolness.”

Rule of Law:  The idea that laws extend to the lawmakers as well as the general populous.

Rule of Three:  In worldbuilding, the concept coined by Randy Ellefson in which an author should alter at least three components of a trope to make it their own.

S

Saturation:  Mark J. P. Wolf’s term for when there are simply too many details for the audience to fully absorb, which he maintains makes the world stronger since it invites the audience to reexperience the material again and again to glean something new each time.

Scarcity:  When people put higher value on rare things and assign lesser value to things in abundance.

Secondary Sexual Characteristics:  The distinguishing traits that distinguish the sexes, such as human males’ facial hair or females’ breasts.

Secondary World:  A created world that does not exist.

Selection:  In biology, the preferential survival and reproduction or elimination of individuals with certain traits. Can be either artificial, natural, positive, or negative.

Separation:  When an individual rejects the dominant culture in favor of preserving their original culture, which often leads to minority enclaves within the dominant culture

Sequel:  Stories set in an existing world that follow the original story. They do not need to connect to the original story but often do.

Set Piece:  An iconic scene that exemplifies the story even though it might not actually be necessary to the story itself.

Shamanism:  The belief that specific individuals have access to and influence over the spiritual realm, usually derived by ritual and entering altered states.

Show Don't Tell:  The understanding that the audience prefers to experience the worldbuilding details and storytelling events in action rather than having them explained.

Smeerp:  Unnecessarily renaming something to make it seem exotic. Derived from James Blish’s sarcastic use of the term when describing rabbits.

Smeerp Hole:  When one seemingly minor change contributes to a whole slew of other changes on the author’s part that add little to the audience experience as a whole.

Social Class:  The hierarchal social stratification of groups, usually manifesting as upper, middle, and lower classes.

Socialism:  The economic system in which the workers or government own and manage the means of production.

Socialization:  The process in which a group passes on the worldviews, norms, and customs to their children.

Soft Deduction:  When a character with knowledge of the worldbuilding takes action based upon specific information to get the worldbuilding rules across to the audience.

Soft Impart:  Information presented to the audience not through narrative text but through a trustworthy side character or source. Can often come about from an overheard conversation or explanation from another character.

Specialization:  The divisions of labor and creation of occupations when the population does not individually have to account for their daily caloric intake. As opposed to generalist.

Species:  A group of living creatures capable of exchanging genetic material and producing viable offspring.

Speculative Fiction:  An umbrella term for fiction that inject elements into the story that do not exist in the real world. Fantasy, science fiction, horror, historical fiction, alternative history, and dystopian and utopian fiction are just a few genres that qualify as speculative fiction.

Spotlighted/Lampshaded:  A potentially troublesome concept or idea that is intentionally brought to the audience’s attention before it becomes problematic to highlight that it is intended as a fantasy conceit rather than an accidental anachronism.

Stasis:  The drive to maintain the current order, be it social, political, or technological.

States:  Organized governments overseeing a specific territory that can interact with other states.

Streamlining:  Part of Sanderson’s third law of magic in which worldbuilding details should be accounted for by already existing fantasy conceits instead of creating whole new conceits.

Suspension of Disbelief:  When an audience makes a choice to suspend their critical faculties to allow for a patently unreal concept to be considered logical for the sake of entertainment.

T-W

Taming:  When an animal has been taught to tolerate human presence. As opposed to domestication.

Technobabble:  When a character spouts a number of details to establish their expert credentials in the field. Technobabble is not meant to be understood by either the audience or the other characters, only to establish the character’s authority on the subject.

Terra De Facto:  The implicit understanding that anything that is not accounted for by a fantasy conceit must therefore abide by the rules of the primary world.

Terrain:  The vertical and horizontal proportions of land masses, which includes how high it is above sea level and at what slope.

Theocracy:  A government where the religious leaders and practices control the laws in addition to the religious norms and rituals.

Toehold Details:  Descriptors that specifically trigger the assumption of an analogue culture and time period, and therefore help the audience to mentally populate the scene.

Top-Down:  In design, when the underlying idea or system is formed on a grand scale, then with all subsequent subsystems being added and refined until everything is mapped out. Also referred to as “planner” or “engineer” when it comes to writing or worldbuilding. 

Totems:  Imbued emblems representing a group of people tied to a specific spirit.

Transmedial:  When a story or world exists in multiple mediums.  

Tropes:  Reoccurring motifs, images, plots, and characterization that exist within a genre.

Unchanged:  When the creator does not use a particular fantasy conceit and leaves their created world the same as the real world in regards to this fantasy conceit. See Terra De Facto.

Unobtanium:  In engineering, the term used for materials or technologies that do not yet exist but will one day solve current problems. Frequently used in science fiction worldbuilding.

Upmarket Fiction:  The style of fiction that aims for creating discussion. It often blends literary and commercial fiction, deals with universal themes, has accessible language, and is character-driven.

Weakness:  Limiting factors that diminish the power or the person using it. Part of Sanderson’s second law of magic.

Worldbuilding Capital:  Time and mental energy sunk into a world, which is why authors frequently reuse the existing world instead of forming a new one for subsequent stories.

Worldbuilding Kudzu:  When too many worldbuilding choke out the pertinent information by sheer volume, thus disrupting immersion.

Worldview:   How a society or individual orients their knowledge and point of view towards the world. This includes philosophy, fundamentals, existential postulates, values and ethics, ideology, and attitude. It encompasses the concept of why the world works the way it does and the “correct” way to act within it.

Worship:  The act of religious devotion towards a deity or ideal.

Source ⚜ More: Word Lists

[eri-pl]

Those of you who are Polish or linguistically similar (Czech, idk what more) probably noticed, but Boromir would be a perfectly legit Medieval Polish (Slavic in general?) name, meaning more or less "peace in the forest". Faramir is a bit trickier and needs some anachronism, but "fara" is a type of a church, so "peace in the church", or to make it more setting-appropriate, "peace in the hall".

Let's translate those back to Sindarin using that one instruction for name-making. So, as the wise the dictionary says:

forest = taur hall = There's nothing I can find in sindarin, for etymological reasons let's go with gobel which is walled town / house, makes sense in the context peace = îdh

Surprisingly there's nothing to tweak according to the instruction, so Taurídh and his younger brother Gobelídh (both sound so dumb…)

…Now I need a fic where Boromir and Faramir go on a stealth mission using those as their fake names.

[1-lightofjustice]

Wow, that's amazing, I have no idea that the composition of 1 line in Gilgamesh made by 4 different fragments fused together like a puzzle. Made me realize how ancient and fragile the story actually is.

Also very amusing for me that even writer from thousands years ago combined very commonly used alphabets/words together for practicality, laziness is truly a concept beyond time XD

So I assumed that the "lu" on mayalu/majalu is the indication that the word is in plural? I think George, Sophus, and Kovacs all translated the word as "beds" in plural (In Kovacs' case she translated it as "couches")

Hello, I wonder do you still accept asks? Because me and my friends kinda self-taught myself on Akkadian recently and there's passage that kinda... sparked debates among my peers. I can't find the cuneiform but the Akkadian sounds like this :

ü-tu-lu-ma etlütu (gurus) [sa i] - [na ma] -a-a-al mu-si sal-lu 

Professional Assyriologist (Andrew George) translated that passage as :

The men were lying down, that were asleep on beds for the night

From the Akkadian dictionary we can identify some words

Utulu : [itulu] lay down

Etlutu (gurus) : Young men

Mu-si : at night

Sal-lu : sleep

Other words are too fragmentary for the admittedly amateur me to decipher, but I can't find any usual word for bed in that passage either "bitu" (bedroom), "erim", "gisnu", "huralbu", "i'lum", "marsu", or any other possible words for bed that you can find on the dictionary, let alone the proof that the word is plural. The closest I can find is, perhaps, that [na ma] there is a fragmentary word for "namallu" which in dictionary means "plank bed", double-sided bed. And also I can't find plural form on that line, so perhaps you can help me? Not necessary about the bed/beds, but more about how will you translate that line?

Hi! The fragment you mention is from the SB Epic of Gilgamesh, VI.180. Here is the score for that line (a comparison of various manuscripts):

Although the second line is a little different, we can use it in combination with the other versions to reassemble the likely original line: "ú-tu-lu-ma GURUŠ.MEŠ šá i-na ma-a-a-l mu-ši ṣal-lu." Whenever you see a double "-a-", as in "ma-a-a-l," it's generally transliterating a y/j sound, so it's listed in the dictionary as either "majālu" or "mayālu" (depending on how German your dictionary is!). "Majālu" is a relatively common Akkadian word for a bed or sleeping place. It's rendered in version 1 as "majāl" (no case ending) because "ina" will often occur with the bound (i.e. stripped-down) form of. noun.

So the word-for-word literal translation is "and-they-lay-down, the-young-men, in bed, at-night, sleeping."

Hope that helps, but let me know if you have further questions!

[room-surprise]

When does Dungeon Meshi take place?

This is an excerpt from Chapter 2 of my paper, "Real World Cultural and Linguistic Influences in Delicious in Dungeon." Dungeon Meshi takes place in the year 514, however we don’t know how that number relates to anything else in the Dungeon Meshi world, so it isn’t really useful for identifying what era Kui is trying to depict.

It can’t be that the Ancient Cataclysm happened 514 years ago (it was still referred to as ancient history by Thistle and Delgal a thousand years ago), and it can’t be when the current elf queen’s reign began (she’s only 372), so it’s either marking some other major event, like the beginning of the reign of a royal family or the end of a war, or they reset their calendar at regular intervals, such as every two-thousand years for record-keeping purposes.

In the real world, 514 CE would have been the early Medieval era, just after the collapse of the Western Roman Empire, which left Europe fractured into many small Germanic kingdoms competing with each other. It was also the beginning of the Asuka period in Japan, and the end of the Northern Wei Dynasty in China.

This has some similarities to the world we’re shown in Dungeon Meshi: the Western elves have abandoned most of their land in the Eastern hemisphere, leaving the local dwarven, gnomish and tall-man people (whose cultures are primarily Germanic) to fight amongst themselves for the land. A massive upheaval caused by a major imperial power collapsing.

However, based on character behavior, culture, clothing and technology, Dungeon Meshi appears to be set in a vaguely Renaissance (1450 CE-1650 CE) time period, with some elements from classical antiquity (800 BCE-500 CE), the Medieval era (476 CE-1300 CE), as well as some hyper-advanced steampunk/magic technology and modern day anachronisms. (Potential spoilers beyond the cut.)

The technological and artistic development of the different cultures is very different, with the long-lived races appearing to live a more modern lifestyle than the short-lived races. In the extra materials, Toshiro implies that Falin might find the Island of Wa “primitive” because they lack the social and technological advancements that come from contact with the long-lived races, and the Western elf Fleki calls the Eastern Continent a “primitive land” while complaining about the quality of life.

Based on this and additional evidence, we can reasonably conclude that the elven lands in the West are probably the most “modern”, followed by the lands in the Eastern hemisphere, with the Eastern Archipelago lagging the furthest behind.

Because of this difference between the races, it makes sense that we see a mix of different eras and styles of technology and clothing. For example, we see characters wearing Neolithic fur garments, Greco-Roman tunics, and Medieval garments as everyday clothes at the same time that other characters wear Renaissance and even 19th century-influenced garments.

Meanwhile, many things in the Dungeon Meshi world have also remained unusually stagnant for far longer than they did in the real world. Realistic oil painting seems to have remained unchanged for more than a thousand years, and Medieval-looking clothing that was worn a thousand years ago is still being worn in the “present” day, virtually unchanged.

There are also some things that are much more advanced than the Renaissance period, like steampunk elevators, and magical communication that works through birds/fairies/crystal balls/telephones and allows for instant contact across the globe… A huge advancement that should impact every element of life and society, thanks to the ability to easily exchange information.

In the real world, instant communication is the foundational element that makes things like precise time-keeping, time-zones, advanced banking, stock markets and news reporting possible… So one can assume that some of these things might possibly exist in some form in the Dungeon Meshi setting.

[amphibious-thing]

To clarify I’d say Jim using they/them pronouns is more historically plausible than historically accurate based on my research into 18th century queer linguistics. But I don’t think it’s a good example of anachronisms in OFMD especially when we have much better examples like Pinocchio, Olu’s crocs and everything Ed’s wearing.

[yamayuandadu]

Could you provide specific sources on the fact that there was no unified Sumerian "pantheon", and that each city had its own pantheon? I believe this also applies to the issue of trying to separate Mesopotamian mythology into "Sumerian mythology" and "Babylonian mythology," correct? I would also appreciate sources that critically analyze this issue.

I’m sorry to start with a bit of criticism but your question seems to confuse labels - Sumerian is first and foremost a linguistic label, Babylonian a territorial one (and if applied geographically, "Sumer" is also just lower Mesopotamia, esp. in the early periods when calling it Babylonia would be an anachronism). Also no, “each city had a different pantheon” is a completely different thing from an artificial separation of deities based on the linguistic origin of names (in which case it would be Sumerian and Akkadian anyway, not Sumerian and Babylonian).  A good recent study on the notion of cultural divide between "Sumerian" south and "Akkadian" north is Aage Westenholz's Was Kish the Center of a Territorial State in the Third Millennium?—and Other Thorny Questions. Regarding the main topic, Joan Goodnick Westenholz, Goddesses in Context, p. 39:

For more info see Walther Sallaberger’s Pantheon A. I. In Mesopotamien in the RlA,  especially §7 and §8 for the notion of local pantheons and “state pantheons” (starts on p. 300; table with some examples is included on p. 301), §4 (p. 296) for reasons behind variability despite religion being ultimately one of the most consistent things about Mesopotamian history and §10 (p. 303) for why it’s difficult to speak of distinct “Sumerian” and “Akkadian” pantheons. 

Overall speaking of pantheonS in the plural or specifying a localized pantheon is discussed (ex. Lagash, Uruk or Arbela) is quite common. One of the most detailed studies of the matter to date, Thomas Richter’s Untersuchungen zu den lokalen Panthea Süd- und Mittelbabyloniens in altbabylonischer Zeit, has pantheonS in the plural right in the title. 

Simply put, you can either speak of a singular Mesopotamian pantheon - a construct of literary texts as well as both ancient (god lists etc.) and modern scholarship which nonetheless does reflect the notion of different parts of Mesopotamia ultimately following broadly speaking the same religion - or of localized pantheons. But not really of two pantheons, one Sumerian and one Akkadian.

[jacobtheloofah]

on today's episode of "historical linguistic anachronisms that are in fact real" i was watching this new video by the townsends on historical 18th century replacements for wheat bread and this image was used in the video. turns out the word "ditto" as in "the same" is not a uniquely 80's and 90's slang, but dates all the way back to the like 1600's. shakespeare may very well have been alive to use the word "ditto." like "forsooth william i will write a play today" and shakespeare would go "aye, ditto, i shall too." i love linguistics so much cuz if i wrote a story set in the 1800's using "ditto" i'd get ripped to pieces for the anachronistic language, but in fact i would be correct.

[whencyclopedia]

Thucydides: The War of the Peloponnesians and the Athenians

Thucydides' "History of the Peloponnesian War" is a timeless classic that offers not just a historical account of a conflict between two ancient Greek city-states, Athens and Sparta during the 5th century BCE, but also profound insights into humanity, politics, and the nature of war itself. The narrative delves into the causes, campaigns, and consequences of the war with a depth of analysis, making it essential reading for scholars, students, and general readers alike.

Thucydides' History of the Peloponnesian War is a timeless masterpiece of ancient historiography, offering a detailed and profoundly insightful account of one of antiquity's defining conflicts. Written with a precision and analytical depth that transcends its era, Thucydides' narrative delves into the causes, conduct, and consequences of the war between Athens and Sparta with a keen eye for human nature. One of the remarkable aspects of Thucydides' work is his emphasis on the role of human agency in shaping historical events. He famously asserts that the Peloponnesian War was not just a clash of arms but a contest of competing interests, ideologies, and power dynamics. His examination of the motives and actions of key figures such as Pericles, Cleon, and Alcibiades offers valuable lessons in leadership, strategy, and the complexities of political decision-making.

History of the Peloponnesian War is not just a record of past events but a meditation on the cyclical nature of history. Thucydides believed that by studying the past, future generations could gain insight into the patterns of human behaviour and avoid repeating the mistakes of their predecessors. Beyond its immediate historical context, Thucydides' work offers broader lessons about the nature of power and the dynamics of international relations. His famous assertion that "the strong do what they can and the weak suffer what they must" encapsulates a realist understanding of politics that continues to resonate in contemporary discourse on statecraft and diplomacy.

Jeremy Mynott's translation presents Thucydides and the writing in their proper historical context. Mynott's work is particularly sensitive to the risks of anachronism, and the notes and extensive reference material provide students and scholars with all the necessary historical, cultural, and linguistic background they need to engage with the text on its own terms. Mynott's suitability as a translator for Thucydides' History of the Peloponnesian War is evident in his combination of scholarly expertise, linguistic acumen, and deep immersion in ancient Greece's historical and cultural context. As a distinguished classicist and translator, Mynott brings to the project a wealth of knowledge and experience that enriches his interpretation of Thucydides' text.

Thucydides' History of the Peloponnesian War undergoes a remarkable transformation in Mynott's hands, emerging as a magnum opus of historical and literary scholarship that transcends the boundaries of time and language. Mynott's translation represents a Herculean effort to bridge the gap between ancient Greece and the modern world, breathing new life into Thucydides' ancient text while preserving its essence and integrity. This translation is characterized by its sensitivity to Thucydides' rhetorical strategies employed by Thucydides to persuade and engage his audience. Mynott deftly reproduces Thucydides' rhetorical devices, such as repetition, parallelism, and irony, enhancing the rhetorical force of the text and illuminating its persuasive intent. Mynott's translation thus captures both the literal meaning of Thucydides' words and their rhetorical and stylistic significance, allowing readers to experience the full impact of his narrative artistry.

At the heart of Mynott's translation lies a profound understanding of the ancient Greek source material and the nuances of contemporary English. His mastery of language allows him to capture the subtle nuances and complexities of Thucydides' prose, from the poetic cadence of his narrative to the precision of his analytical insights. Mynott's translation is not merely a mechanical rendering of words but a creative act of interpretation, imbuing Thucydides' text with a vitality and immediacy that speak to readers across centuries.

One of the most remarkable aspects of Mynott's translation is his ability to navigate the linguistic and cultural differences between ancient Greece and our world today. Through careful attention to detail and a deep appreciation for the historical context of the Peloponnesian War, Mynott ensures that Thucydides' message resonates with contemporary readers. His translation captures the ethos of ancient Greece while also making the text accessible to a global audience, thus fulfilling Thucydides' timeless aspiration to speak to all humanity.

In addition to his skillful translation, Mynott enriches the reading experience with a wealth of supplementary material, including extensive notes, annotations, and a comprehensive bibliography. These resources serve as invaluable guides, providing readers with essential context, elucidating obscure references, and offering insights into Thucydides' historical and philosophical perspectives. Mynott's annotations are not mere footnotes but scholarly exegeses that deepen our understanding of the text and illuminate its relevance to contemporary concerns.

Mynott's edition reflects his deep engagement with Thucydides' world and his commitment to presenting the author and his text in their proper historical context. Through meticulous research and rigorous scholarship, Mynott situates Thucydides' work within the broader intellectual and political currents of ancient Greece, shedding light on the motivations and aspirations that shaped the course of history. His translation is thus not just a window into the past but a mirror that reflects our own world and its enduring dilemmas.

Ultimately, Mynott's translation of Thucydides' History of the Peloponnesian War stands as a towering achievement in the annals of literary and historical scholarship. Through his extraordinary skill as a translator, his profound understanding of the ancient text, and his unwavering commitment to scholarly excellence, Mynott invites readers to embark on a journey through one of the defining conflicts of antiquity, offering them a deeper understanding of the past and its enduring relevance to the present. This edition is not just a book but a testament to the enduring power of literature to transcend time and space, enriching our understanding of the human experience and our place in the grand tapestry of history, making it essential reading for scholars and students of ancient history, politics, and philosophy alike.

Continue reading...

[hurdygurdywizard]

Love it when the guy with all the linguistic anachronisms for a period piece... is a time traveller. Seriously, such a fun trope. I love it every time I think something is lazy writing or a plot hole turns out to be absolutely intentional.

[aces-to-apples]

I actually love blatant linguistic anachronisms in Stranger Things fics. Like normally I'm really picky about character voice and realism and believability in dialogue, but I actually love when Robin or Steve or Argyle say or think something ripped straight from a tumblr meme because it's literally always so fucking funny.

[am--f]

Structuralist compression

The structuralist impulse—to study culture by decomposing it into the fundamental units and structural relations that condition the diachronic unfolding of its particular instances—is frequently justified by basic technical problems: the finitude of processing power and storage capacity. Structuralism, at least since Saussure, regarded itself as the only way forward for social and human sciences that were overwhelmed by the vastness of the data of concrete utterances (parole) and still had no consistent paradigms with which to proceed. Roland Barthes recognizes that narrative analysis, like linguistics, cannot possibly proceed by addressing each and every narrative of the millions that exist; he will propose that narrative units, levels, and codes be established. A.J. Greimas refers to a semantic universe too vast to be grasped by man; he will propose that its constituents can be gathered in microuniverses defined by actantial relations. Claude Lévi-Strauss notes that there are far too many languages, representations, and characters to be treated by anthropologists; he will propose that myths be bundled in terms of elementary binaries. “A compilation of known tales and myths would fill an imposing number of volumes,” he writes. “But they can be reduced to a small number of simple types if we abstract from among the diversity of characters a few elementary functions” ([1958] 1963, 204). 

In sum, structuralist research appears to take shape as a series of data compression algorithms: coding procedures that reduce to a minimum the quantity of cultural source material that needs to be transmitted and stored, without, at the same time, significantly reducing the quantity of information. This is frequently done pseudo-statistically: by loosely optimizing the codes for the “messages” that are likely to be produced. These are also essentially digital procedures, seeking to apply, at ground level, a grid of bit-like, isometric, often explicitly binary units—phonemes, mythemes, sememes, narremes—which can then be used to reconstitute any cultural object. Structuralism, in this sense, seeks to make culture computable. And although it usually refers to Saussurean linguistics as its primary model, it undoubtedly also develops in dialogue with the information-theoretical source coding of Claude Shannon and Warren Weaver. 

In Barthes’s early narrative analysis, the primary constitutive unit is a function, defined simply as a segment of a story that can be selected as a meaningful message, or “seen as the term of a correlation”: “A narrative is never made up of anything other than functions: in differing degrees, everything in it signifies” (89).* It would then only be a matter of scanning a given text in order to discretize it into functions, and determining the values of each function as it acts upon others and is grouped and modulated by higher-level integrations. We are familiar with other tropes of structuralist compression (encoding and decoding): semiotic squares in Greimas, tables and musical staves in Lévi-Strauss, formulas and graphs in Jacques Lacan, and alphanumeric sequences in Gérard Genette. In Genette’s structural narratology, it becomes possible, for example, to scan Proust’s narration (of Swann’s account of the Prince de Guermantes’s conversion to Dreyfusism), picking out its anachronic lexia, and to recompose it as: “A4[B3][C5–D6(E3)F6(G3)(H1)(I7<J3><K8(L2<M9>)>)N6]O4,” where A–O and 1–9 mark the two time schemas of narration and story (the order of statements in the text and the order of events that they recount) (43).

This kind of compression often exhausts its own capacities, and it is at its limits (such as in Barthes’s S/Z) where structuralist projects become most interesting. These are not only limits of purpose—what are we supposed to do once all of the codes are broken?—but also, as mentioned, limits of technical capacity. Even as early as 1955, Lévi-Strauss has run up against the hardware specifications of his card index:

At this point it seems unfortunate that, with the limited means at the disposal of French anthropological research, no further advance can be made. It should be emphasized that the task of analyzing mythological literature, which is extremely bulky, and of breaking it down into its constituent units, requires team work and secretarial help. A variant of average length needs several hundred cards to be properly analyzed. To discover a suitable pattern of rows and columns for those cards, special devices are needed, consisting of vertical boards about two meters long and one and one-half meters high, where cards can be pigeon-holed and moved at will; in order to build up three-dimensional models enabling one to compare the variants, several such boards are necessary, and this in turn requires a spacious workshop, a kind of commodity particularly unavailable in Western Europe nowadays. Furthermore, as soon as the frame of reference becomes multi-dimensional […] the board-system has to be replaced by perforated cards which in turn require I.B.M. equipment, etc. Since there is little hope that such facilities will become available in France in the near future, it is much desired that some American group, better equipped than we are here in Paris, will be induced by this paper to start a project of its own in structural mythology. (443)

The organization of cultural data in three or more dimensions cannot be achieved with Lévi-Strauss’s Paris database. The anthropologist looks to the computational methods of the Americans, calling for a research project that might put something like the automatic indexing technologies of Vannevar Bush in the service of mythological analysis. Indeed, in the 1960s, structuralist theorists and critics would continue to engage with engineers and scientists involved in the burgeoning “universal languages” of cybernetics, communications research, and information theory. 

Bernard Dionysius Geoghegan, one of a handful of scholars working on this intellectual history, has meticulously tracked the exchanges between American military-industrial-informatics and French literary and cultural theorists in the immediate pre-WWII and post-WWII period. In Code, Geoghegan identifies Warren Weaver himself as a central node for this structuralism–cybernetics network; in his philanthropic role at the Rockefeller Foundation, he promoted the work of Roman Jakobson and Lévi-Strauss in particular. MIT’s Center of International Studies and the Ford Foundation (both of which, incidentally, received major funding and strategic direction from the CIA) provided additional support for Lévi-Strauss's 1953–1954 UNESCO seminar on cybernetics and information theory (“Utilization of Mathematics in the Social Sciences”), whose participants included psychologist Jean Piaget, structural psychoanalyst Jacques Lacan, semiotician Émile Benveniste, cybernetician Ross Ashby, and information theorist Benoît Mandelbrot. Several years later, Barthes presided at a Paris group called the Center for the Study of Mass Communications (Centre d’Études des Communications de Masses, or CECMAS), which was organized in 1960 to examine the feasibility of incorporating American-style communications research and cybernetics into French academia. CECMAS’s journal, Communications, definitively established structural narratology in its eighth issue (1966), featuring influential essays by Barthes, Greimas, Genette, Claude Bremond, Umberto Eco, Tzvetan Todorov, and Christian Metz. (CECMAS seminars were the basis for Barthes’s S/Z as well as Jean Baudrillard’s The System of Objects.)

It would be a mistake to simply identify structuralism with early digital computing, communications research, and information theory, but it would also be a mistake to ignore the profound and indelible influence of these fields on the “structuralist activity” (Barthes). The prototypical digital humanities that structuralism represents has not been adequately understood in its Cold War context, especially in its reception in American humanities departments. Today’s digital humanities, I would argue, are not as new as they seem; there is a conceptual continuity between formalism, structuralism, and the digital humanities. It is a highly contested continuity, but a continuity nonetheless. Geoghegan does not say much about the implications of this history for contemporary theory and practice, but it is clear that there are parallels as well as divergences in how today’s humanities are negotiating the morass of contemporary data sciences and artificial intelligence. It is worth further exploring this history, which is not only one of conceptual resemblance but also of intellectual, financial, and political materialization.

*Barthes, it must be noted, seems to pose a challenge for those who would apply the entirety of the Shannon–Weaver model to literary texts when he insists that “art is without noise (as that term is employed in information theory)” ([1966] 1977, 89). Later, he will call literature an “intentional cacography” or noise-writing ([1973] 1974, 9). This may not be a reversal of positions; after all, if everything is noise, it follows that nothing is.

References

Barthes, Roland. (1963) 1972. “The Structuralist Activity.” Pp. 213–220 in Critical Essays, translated by Richard Howard. Evanston, IL: Northwestern University Press. ———. (1966) 1977. “Introduction to the Structural Analysis of Narratives.” Pp. 79–124 in Image Music Text, translated by Stephen Heath. New York: Hill and Wang. ———. (1973) 1974. S/Z, translated by Richard Miller. New York: Hill and Wang. Genette, Gérard. (1972) 1980. Narrative Discourse: An Essay in Method, translated by Jane E. Lewin. Ithaca, NY: Cornell University Press. Geoghegan, Bernard Dionysius. 2023. Code: From Information Theory to French Theory. Durham, NC and London: Duke University Press. Greimas, A.-J. (1966) 1983. Structural Semantics: An Attempt at a Method. Lincoln, NE and London: University of Nebraska Press. Lévi-Strauss, Claude. 1955. “The Structural Study of Myth.” The Journal of American Folklore 68 (270): 428–444. ———. (1958) 1963. Structural Anthropology, translated by Claire Jacobson and Brooke Grundfest Schoolpf. New York: Basic Books.

[antigonick]

Thank you so much for adding this, I'm excited to check Gabriel's article out. Carson is shifty with language and with gender—the only times her exploration on gender shines is when it questions it into dissolution (no gender, beyond gender), and I've been wondering for a while about her tackling transness in writing, and to what extent it's used as a gimmick, an exercise in language rather than an actual exploration—beyond the fairly cynical view of marketisation (which is a valid argument too). Carson's translational writings are defined by her making the Ancient Greek "travel" into English and retain its nature despite the voyage; it's effect-based, neologism-full. Greek is, for her, the root of all language, the language she thinks in, the true language that lurks under hers*, etc. From that point of view, Pentheus' depiction in Bakkhai becomes less about his identity (Carson refuses to be branded a confessional or feeling poet, and usually shies away from truly layered character writing, preferring to treat characters as philosophical or linguistic signs), and more of a writing challenge to tackle in order to shape the Greek (and its lack of precise language for transidentities, hence proto-trans) into an English that lacks the same precision despite its contemporeanity. In complete opposition to Gabriel's suggestion of anachronism**, it seems to aim at pointing out the linguistic anachronism (by using binary pronouns for example) while highlighting its essential atemporality: "Are we supposed to believe this desire is new?". In short, this quote might be asking: "this questioning Pentheus can't name accurately [and won't name because of Ancient Greece's wild misogyny], this questioning was already there and preceded its expressing."

If this reading is accurate, then it comes back to Carson's recurring and favored motifs—namely, that time is "out of joint" as it were (in my research I reject the idea of anachronism in Carson's writings altogether, as she seems to treat time as... floating—for more on this, see her Float, especially Cassandra Float Can), and that language is a failure (can try to express, but won't ever manage to express exactly, the usual post-structuralist idea) which still can reveal something of an essential truth in its failures and its silences. It also uses "desire" in a way that is typical of Carson's entire body of work: desire as Eros, ie: not a "choice", but a desire you can't escape, both bitter and sweet, a desire that defines you because it's desire that will allow you to go beyond your own boundary (one boundary being social norm/normativity).

However, where I completely agree with Kay Gabriel, and what makes me curious to dig more despite Carson being so generally shifty, is that even if (again, if) this reading is accurate, Carson here still baits us with the binary—worse, with the clunky addition of the closet, of the "girl-guise". Atemporality goes two ways: if the Greeks could not express transness as we express it, her readers certainly can recognise what she's pulling here. She uses contemporary allusions to queer contemporary language to gesture at its possibility/impossibility. She's high-handed at the best of time, and she has become more and more so throughout her career, poking at shocking (or rather, titillating—it's never quite iconoclastic enough to shock) her audience just for kicks; but she is a linguist, a classicist and a translator, and she knows what language conveys as much as what it fails to convey. So, what is she doing here? Is transness the Trojan horse within the binary of a language that hasn't yet expanded enough to express transness, or is the binary the Trojan horse in a linguistic exercise that gestures at transness but snaps back, like a rubber band, into gender essentialism?

(I'll leave you on that because I haven't found my answer yet).

*see this article for Carson's views on Greek as the root of language / the language she thinks in. **see this article for more on Carson's view of time / atemporality.

“The new person you become with that first sip of wine was already there. Look at Pentheus twirling around in a dress, so pleased with his girl-guise he’s almost in tears. Are we to believe this desire is new?”

— Anne Carson, in her translation note to Euripides’ Bakkhai

[literaryvein-reblogs]

Some Renaissance Loan Words in Middle English

Loan Word - vocabulary borrowings

Borrow - to introduce a word (or some other linguistic feature) from one language or dialect into another

From Latin and Greek absurdity, adapt, agile, alienate, allusion, anachronism, anonymous, appropriate, assassinate, atmosphere, autograph, benefit, capsule, catastrophe, chaos, climax, conspicuous, contradictory, crisis, criterion, critic, delirium, denunciation, disability, disrespect, emancipate, emphasis, encyclopedia, enthusiasm, epilepsy, eradicate, exact, exaggerate, excavate, excursion, exist, expectation, expensive, explain, external, extinguish, fact, glottis, habitual, halo, harass, idiosyncrasy, immaturity, impersonal, inclemency, jocular, larynx, lexicon, lunar, malignant, monopoly, monosyllable, necessitate, obstruction, pancreas, parasite, parenthesis, pathetic, pneumonia, relaxation, relevant, scheme, skeleton, soda, species, system, tactics, temperature, tendon, thermometer, tibia, tonic, transcribe, ulna, utopian, vacuum, virus

From or via French alloy, anatomy, battery, bayonet, bigot, bizarre, chocolate, colonel, comrade, detail, docility, duel, entrance, equip, explore, grotesque, invite, moustache, muscle, naturalize, passport, pioneer, probability, progress, shock, surpass, ticket, tomato, vase, vogue, volunteer

From or via Italian argosy, balcony, ballot, cameo, carnival, concerto, cupola, design, fuse, giraffe, grotto, lottery, macaroni, opera, piazza, portico, rocket, solo, sonata, sonnet, soprano, stanza, stucco, trill, violin, volcano

From or via Spanish and Portuguese alligator, anchovy, apricot, armada, banana, barricade, bravado, cannibal, canoe, cockroach, cocoa, corral, desperado, embargo, guitar, hammock, hurricane, maize, mosquito, mulatto, negro, potato, port (wine), rusk, sombrero, tank, tobacco, yam

From other languages bamboo (Malay), bazaar (Persian), caravan (Persian), coffee (Turkish), cruise (Dutch), curry (Tamil), easel (Dutch), flannel (Welsh), guru (Hindi), harem (Arabic), horde (Turkish), keelhaul (Dutch), ketchup (Malay), kiosk (Turkish), knapsack (Dutch), landscape (Dutch), pariah (Tamil), raccoon (Algonquian), rouble (Russian), sago (Malay), sheikh (Arabic), shekel (Hebrew), shogun (Japanese), troll (Norwegian), trousers (Irish Gaelic), turban (Persian), wampum (Algonquian), yacht (Dutch), yoghurt (Turkish)

Source ⚜ More References: Middle English ⚜ Renaissance