The Introduction of “Empathy” into English.

Rae Greiner has the kind of deep dive into word history that I love, in this case “1909: The Introduction of the Word ‘Empathy’ into English.” She begins thus:

Empathy is a hot topic these days, on the lips of cognitive scientists, philosophers, literary critics, and U.S. Presidents alike. But what is it? Consider the opening paragraph of the opening essay of a 2011 collection entitled The Social Neuroscience of Empathy. In “These Things Called Empathy: Eight Related but Distinct Phenomena,” C. Daniel Batson writes:

Students of empathy can seem a cantankerous lot. Although they typically agree that empathy is important, they often disagree about why it is important, about what effects it has, about where it comes from, and even about what it is. The term empathy is currently applied to more than a half-dozen phenomena. These phenomena are related to one another, but they are not elements, aspects, facets, or components of a single thing that is empathy, as one might say that an attitude has cognitive, affective, and behavioral components. Rather, each is a conceptually distinct, stand-alone psychological state. Further, each of those states has been called by names other than empathy. Opportunities for disagreement abound. (3, original emphasis)

As Batson goes on to suggest, empathy can be difficult to define because it is often invoked “to provide an answer to two quite different questions” (3). The first is this one: how do we know what others think and feel? And the second: how can we explain the impulse to respond to the feelings of others? The first is principally a question of knowledge. It asks how we are able to infer the contents of other minds, or how and to what extent we project those contents from our own. The second, centered on motivation and behavior, is primarily ethical. It seeks to understand as well as “promote prosocial action” (4). […]

Empathy is the decidedly younger term, at least in English. Moreover, though “empathy” is favored over “sympathy” in modern discourse (for reasons we will explore), it rose to prominence and accrued new meaning in a field—psychological aesthetics—which for many of us no doubt remains unfamiliar.

Her conclusion:

Certainly, one must be wary of overstating the similarities between eighteenth- and nineteenth-century conceptions of sympathy and a fin de siècle empathy bearing the undeniable stamp of its post-Darwinian making. At present, though, the pendulum often swings too far in the opposite direction, making empathy seem inarguably superior to its old-fashioned cousin. In Upheavals of Thought: the Intelligence of Emotions (2003), Martha Nussbaum offers a corrective, asserting the continuing relevance of a sympathy that, unlike empathy, always entails an ethical stance: “a malevolent person who imagines the situation of the other and takes pleasure in her distress may be empathetic,” she writes, “but will surely not be judged sympathetic. Sympathy, by comparison, includes a judgment that the other person’s distress is bad” (302). There are no doubt plenty of good reasons why a recent study citing evidence for the altruistic behavior of rats toward their distressed fellows should refer to such behavior as empathetic rather than sympathetic (the moral question, surely, is number one).[8] But Nussbaum’s distinction may nevertheless give us reason to pause before jettisoning sympathy altogether in explaining more human endeavors. We will do well, as historians and scholars of a long and lengthening nineteenth century, to continue scrutinizing the empathy/sympathy relation as well as its ostensible divide.

If any of this interests you, I recommend the whole essay; it goes into all sorts of relevant byways.

Addendum. See also this 2012 post (on usage rather than history).

Happy Birthday GDoS!

Jonathon Green takes justifiable pride in his accomplishments:

Green’s Dictionary of Slang (GDoS) was launched online on 12 October 2016. I cannot say that this made much of a splash beyond a minuscule and immediate few.¹ The print edition had been published six years earlier, and had I not called in every figurative debt I could find so as to obtain its reviews (and why not thank once more those who conjured up so many kind words in its favour), would have slipped on stage virtually unseen. As it was, amazon, as only they would be capable of doing, shrank its substantial price to something a least worth considering, and it momentarily topped the three niche charts for which it was eligible.

Now its digital incarnation is ten years old². I have no idea how many times it has been consulted, nor by how many individuals or institutions. What I do know is that never a day passes without me loading it up and, via screen or printed page, setting out to see what slang – new, chronologically necessary (I go for a citation per anglophone country per decade and when useful add alternative spellings and other tweaks) can be added to the mountain of the anglophone varieties of what I have long categorised as ‘the counter-language’.

As of this update, the dictionary now offers 57,993 entries; the full count of senses/definitions runs to 148,118 and includes derivatives, compounds and phrases, and the illustrative citations number 662,483.³ This specific update has added 3,529 such examples, and they have generated 264 new slang terms and given earlier ‘predates’ for the ‘first recorded use’ of 300.

He expresses his appreciation for various sources (I love the photo of the very dapper-looking Henry ‘Chips’ Channon) and finishes up:
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Ksenia Nekrasova.

Frequent correspondent Patrick Wang wrote to ask if I knew Ksenia Nekrasova’s poetry, including a link to his recent post on her. I responded that I’d never heard of her, and it turns out she’s not mentioned in Kahn et al.’s History of Russian Literature (see this post), which is generally very inclusive, but she should certainly be better known, so I’m helping to spread the word. Patrick’s post starts with a quote from Anna Akhmatova (“I have met only two female poets in my life… Marina Tsvetaeva and Ksenia Nekrasova”) and continues:

Two of these names are among the best known Russian poets in the west: Marina Tsvetaeva and Anna Akhmatova. The third name—Ksenia Nekrasova—is obscure to the English reader. She does not appear in the Penguin Book of Russian Verse. Of the half dozen other English anthologies of Russian poetry in my library, I only see her making one appearance: in 20th Century Russian Poetry: Silver and Steel, an encyclopedic volume over a thousand pages long. It contains three of her poems. I also found an old issue of Boulevard from 1990 that translated six of her poems. You’ll find one blog post in English. And that’s about it.

One of her early supporters, Nikolai Aseyev, remembered her this way:

We waited such a long time for a poet like her to appear; and when she did, we put every obstacle we could find in her way.

In 1937, he published three of her poems in October magazine and was immediately on the defensive against passionate criticism from a colleague.

The protest was that Nekrasova’s verse lacked the regular meter and rhyme that so overwhelmingly characterized Russian poetical practice at the time—a time when poetry was practiced by just about everyone. She would occasionally muster those formal elements and in certain moments was attentive to the most delicate prosody. But then in the next line—like a distracted child (or a holy fool)—she would wander off the regular path. […]

There is always a deceptive simplicity to Nekrasova’s poems. But if one thinks of fixed meter and rhyme as arithmetic, there is a kind of algebra at play in her poems. One needs to understand the discreteness of arithmetic to begin, but then it slips into something more continuous, curved, and intricate. Yes, it is technically free verse, but it is artfully attentive to meter. In fact, it is mostly modulations around a core of blank verse—a form she links to the way ordinary Russians naturally speak.

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Evolving Dialects.

I found this site via Facebook; it’s based on research by James Burridge (seen here in 2022) and Bert Vaux (at LH in 2017), and the intro is as follows:

[blockquote deleted]

The site is so spiffy and designed-to-the-hilt that I’m a little afraid of it, but I trust those who know more about statistics and dialects will look into it, and hopefully share what they find in the comment thread.

Update. Commenters point out that the site is apparently AI slop, and I regret having posted it.

No Time to Make It Shorter.

Ben Yagoda wrote at Facebook:

The discovery of the day comes from the indefatigable quote investigator Garson O’Toole, acting on a tip from Nigel Rees and Peter Cogman. As some of my former students will recall, one of my favorite quotes about writing has always been from French author Blaise Pascal, who wrote to a friend in 1656 or 1657 (sources differ), “I would have written a shorter letter, but I did not have the time.”

On the American Dialect Society listserv, Garson has shared a rendition of this sentiment that came from another French writer, Jean-Louis Guez de Balzac in 1652. It indicates Pascal was riffing on an existing formulation (the capitalization is in the original):

“‘THAT MAN,’ people used to say in Paris when I was there, ‘WROTE A LONG BOOK BECAUSE HE DID NOT HAVE THE LEISURE TO WRITE A SHORT ONE.'”

Consider my world rocked.

I too have long loved that quote, and I too was shaken; you can read the whole story at Quote Investigator, where you will see Guez de Balzac’s original French in a book scan as well as in transcription:

Si nous — nous conseillions aueque le Temps, il reduiroit nos excés à la mediocrité, outre les autres bons offices qu’il nous rendroit. CET HOMME, disoit-on à Paris, lors que i’y estois, A FAIT UN GRAND LIVRE PARCE QU’IL N’A PAS EU LE LOISIR D’EN FAIRE UN PETIT.

Back in 2017, I happily accepted the attribution to Pascal.

A Fetch.

Another tidbit from the (excellent) Peter Hessler New Yorker piece (archived) I quoted yesterday in connection with “Ouray”:

It had started snowing the previous day, and it was still coming down softly. Nordquist stopped at a series of platforms that tracked the snow’s height. He carried a device that measured the amount of water in the snow, and he also relied on reading the landscape. “You can look at a slope and see if it’s been wind-sculpted,” he told me. “I’m looking to see if it’s loading from a fetch into a start zone. A fetch is the back side of a hill. A fetch is usually where snow is coming from. A lot of times, you can see big plumes coming off a peak.”

Of course I was struck by this use of “fetch,” and immediately turned to the OED, whose noun entry (from 1895) has a fair number of senses, but not this; the closest is 3.b. “More generally: the expanse of water over which the wind blows before it reaches the point of observation (on the water or at the water’s edge); the distance that waves can travel continuously without obstruction.” But that’s not really very close. Wiktionary has basically the same set of definitions. Is anyone familiar with the sense “the back side of a hill”? (I might add that the etymology isn’t pinned down; OED: “Old English fecc(e)an; according to Platt […] and Sievers an altered form of fetian […], the originally syllabic i having, it is supposed, become consonantal, and the resulting combination /tj/ having developed into the closely resembling sound expressed by cc, i.e. either the geminated palatal stop, or something between this and its modern representative /tʃ/,” which doesn’t exactly inspire confidence.)

I can’t resist pointing out that the fiction in the same issue is “Narrow Escape” (archived) by… Aleksandr Solzhenitsyn! Their introduction:

In 1948, Aleksandr Solzhenitsyn, who was then twenty-nine and incarcerated in a Soviet facility—serving an eight-year sentence for having criticized Joseph Stalin in his private correspondence—began writing an autobiographical novel titled “Love the Revolution.” The novel, which was never completed, was published in Russia in 1999, and will come out in English for the first time later this year. This passage, adapted from the first chapter of the novel, is set in Rostov-on-Don, in the summer of 1941.

It’s pretty good, and I may have to look at the novel someday.

Gallicagram.

In a recent comment, Y wrote:

Recently announced: Gallicagram, an ngram site for French sources and much more. It’s far more advanced and slicker than Google ngrams. Although it doesn’t have access to Google Books, it does have access to MajinBooks, a word statistics database built upon shadow libraries. It’s non-commercial.
Maybe it deserves a posting?

Voilà!

Words from Han Kang.

My current reading is Han Kang’s much-lauded novel Greek Lessons; I’m finding the protagonist irritatingly self-absorbed (as is the case with so many novels in these self-absorbed times), but (as might be predicted) there’s quite a bit of linguistically interesting material. For one thing, she throws in Korean terms with no explanation, trusting the reader to look them up as needed; I consider that a laudable practice, especially now that explanations are a moment’s click away, since it normalizes foreignness and keeps people from living complacently in a bubble of the already-known. A couple of examples:

“Are you okay, seonsaengnim?” asked the young woman with the curly hair and sweet eyes who sat at the very front of the class.

Seonsaengnim (선생님) means ‘teacher’ (and is also a polite term of address for an elder male or female).

I sit and rest on the wooden maru outside the public hall.

Maru (마루) means ‘floor’s covering, especially for wood flooring’; I’m not quite sure why it’s necessary in the quote (why not “on the wooden flooring”?), but perhaps a Korean speaker can elucidate.
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Well-set-up, Banjo.

A couple of terms new to me, with OED definitions and citations:

1) well-set-up (entry revised 2014)

Now somewhat archaic.
Having a good, strong, or upright figure. Cf. well-set adj. 1.
1790 Well set up, a full good looking face, rather sallow complexion, brown hair, light blue-grey eyes.
World 4 September 1/2
[…]
1867 Soldiers, mariners, and small-arm men, well drilled, and instructed to be upright and soldierlike in their carriage, are ‘well set up’.
W. H. Smyth & E. Belcher, The Sailor’s Word-Book: An Alphabetical Digest of Nautical Terms (at cited word)
1869 Very pretty damsels, and well set up.
R. D. Blackmore, Lorna Doone vol. I. xxvii. 310
[…]
1934 All the big dogs..come around. There is the big, slouchy setter, the well set-up police dog, [etc.].
Boys’ Life June 22/4
1950 Vorontzov was a well-set-up man, tall, slender, and elegant.
R. T. Weaver, translation of H. Troyat, Pushkin 175
2007 The late-nineteenth to mid-twentieth century idea of a ‘well set up man’ pretty much went out with Mrs Beeton and recipes that started ‘take two pounds of butter and a quart of cream’.
P. Doherty, Light Hist. Hot Air 211

I love that last citation.

2) banjo verb² (entry first published 2026; “Origin unknown”)

Chiefly British.
transitive. To batter or destroy (a person or thing); to ruin; to thwart.
1907 When he was accused of ‘banjoing him about in the lockup’ Holt’s indignation seemed to get the better of him.
Derby Daily Telegraph 19 September (Special edition)
[…]
1982 Number One—to find out if he does know who banjoed the restaurant.
J. Mitchell, Evil Ones xiii. 136
2025 If you walk down Union Street you will be banjoed by a Deliveroo bike barrelling towards you on the pavement.
Aberdeen Press & Journal (Nexis) 26 April 47

Are y’all familiar with these?

Austen’s Ampersands.

Louis Menand’s NYkr review essay “The Curious Power of Punctuation” (archived) deals with what sound like stupid books and has some stupid things to say about them and the subject of language in general (compare Menand on the Dictionary), and I don’t feel like dealing with all the stupidity, so I’ll let you read it for yourselves if you so desire and simply reproduce the opening passage, which I found eye-opening:

Do you know the first sentence of “Pride and Prejudice”? You probably think you do, but I bet you don’t. The answer is “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” Did you remember to put in the commas?

What are those commas doing there, anyway? By modern usage, they should mark off a non-restrictive clause, but they don’t. Nor are they marking items in a series or natural pauses in speech. Did Jane Austen even write them? Probably not. Judging by her few surviving manuscripts, Austen didn’t much use commas (or paragraphs). She used dashes.

Here is a passage from the manuscript of her last finished novel, “Persuasion”:

“To see you, cried he, in the midst of those who could not be my well-wishers, to see your Cousin close by you—conversing & smiling—& feel all the horrible Eligibilities & Proprieties of the Match!—to consider it as the certain wish of every being who could hope to influence you—even, if your own feelings were reluctant, or indifferent—to consider what powerful supports would be his !”

Here is the same passage from the published book:

“To see you,” cried he, “in the midst of those who could not be my well-wishers, to see your cousin close by you, conversing and smiling, and feel all the horrible eligibilities and proprieties of the match! To consider it as the certain wish of every being who could hope to influence you! Even if your own feelings were reluctant or indifferent, to consider what powerful supports would be his!”

And so on. The published version replaces five dashes and three ampersands, and lowercases four capitalized nouns. It sounds more like Austen, but maybe Austen really sounded like Virginia Woolf.

Austen must have made some of these revisions herself, but it is believed that the grammar and punctuation in her later novels were cleaned up by a man named William Gifford, who was an editor at Austen’s publisher, John Murray. (“Pride and Prejudice” was an early novel, published by a different house.) Which might mean that the polished, quasi-epigrammatic sentences we find so Austenian may not be sentences Austen actually wrote.

I tell you what, I would much rather read Austen with her original punctuation (which reminds me of Emily Dickinson, not Woolf), and I wish somebody would put out an edition that used it.
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