28. Barbarisms and Foreign Words and their Stylistic Functions.

In the vocabulary of the English language there is a considerable layer of words called barbarisms. These are words of foreign origin which have not entirely been assimilated into the English lan­guage. They bear the appearance of a borrowing and are felt as some­thing alien to the native tongue. The role foreign borrowings played in the development of the English literary language is well known, and the great majority of these borrowed words now form part of the rank and file of the English vocabulary. It is the science of linguistics, in particular its branch etymology, that reveals the foreign nature of this or that word. But most of what were formerly foreign borrowings are now, from a purely stylistic position, not regarded as foreign. But still there are some words which retain their foreign appearance to a greater or lesser degree. These words, which are called barbarisms, are, like archaisms*, also considered to be on the outskirts of the lit­erary language. *

Most of them have corresponding English synonyms; e. g. chic (=stylish); bon mot (=a clever witty saying); en passant (— in passing); Ы infinitum (= to infinity) and many other words and phrases.

It is very important for purely stylistic purposes to distinguish between barbarisms and foreign words proper. Barbarisms are words which have already become facts of the English language. They are, as it were, part and parcel of the English word-stock, though they remain on the outskirts of the literary vocabulary. Foreign words, though used for certain stylistic purposes, do not belong to the English vocabulary. They are not registered by English dictionaries, except in a kind of ad­denda which gives the meanings of the foreign words most frequently used in literary English. Barbarisms are generally given in the body of the dictionary.

In printed works foreign words and phrases are generally italicized to indicate their alien nature or their stylistic value. Barbarisms, on the contrary, are not made conspicuous in the text unless they bear a special bad of stylistic information.

There are foreign words in the English vocabulary which fulfil a terminological function. Therefore, though they still retain their foreign appearance, they should not be regarded as barbarisms. Such words as ukase, udarnik, soviet, kolkhoz and the like denote certain concepts which reflect an objective reality not familiar to English-speaking communities. There are no names for them in English and so they have to be explained. New concepts of this type are generally given the names they have in the language of the people whose reality they reflect.

Further, such words as solo, tenor, concerto, blitzkrieg (the blitz), luftwaffe and the like should also be distinguished from barbarisms. They are different not only in their functions but in their nature as well; They are terms. Terminological borrowings have no synonyms; barbarisms, on the contrary, may have almost exact synonyms.

It is evident that barbarisms are a historical category. Many foreign words and phrases which were once just foreign words used in literary English to express a concept non-existent in English reality, have little by little entered the class of words named barbarisms and many of these barbarisms have gradually lost their foreign peculiarities, become more or less naturalized and have merged with the native English stock of words. Both foreign words and barbarisms are widely used in various styles of language with various aims, aims which predetermine their typical functions.

In this connection mention might be made of a stylistic device often used by writers whose knowledge of the language and customs of the country they depict bursts out from the texture of the narrative, they use foreign words and phrases and sometimes whole sentences quite regard* less of the fact that these may not be understood by the reader. However, one suspects that the words are not intended to be understood exactly. All that is required of the reader is that he should be aware that the words used are foreign and mean something, in the above case connected with food.

Another function of barbarisms and foreign words is to build up the stylistic device of non-personal direct speech or represented speech (see p. 236). The use of a word, or a phrase, or a sentence in the reported speech of a local inhabitant helps to reproduce his actual words, manner of speech and the environment as well.

Barbarisms and foreign words are used in various styles of language, but are most often to be found in the style of belles-lettres and the publi-cistic style. In the belles-lettres style, however, foreignisms are sometimes used not only as separate units incorporated in the English narrative. The author makes his character actually speak a foreign language, by putting a string of foreign words into his mouth, words which to many readers may be quite unfamiliar. These phrases or whole sentences are sometimes translated by the writer in a foot-note or by explaining the foreign utterance in English in the text. But this is seldom done.

Barbarisms have still another function when used in the belles-lettres style. We may call it an "exactifying" function. Words of foreign origin generally have a more or less monosemantic value. In other words, they do not tend to develop new meanings. The English So long, for example, due to its conventional usage has lost its primary meaning. It has become a formal phrase of parting. Not so with the French "Au-revoir." When used in English as a formal sign of parting it will either carry the exact meaning of the words it is composed of, viz. 'See you again soon', or have another stylistic function.

In publicistic style the use of barbarisms and foreign words is mainly confined to colouring the passage on the problem in question with & touch of authority. A person who uses so many foreign words and phrases is obviously a very educated person, the reader thinks, and therefore a "man who knows."