A grand Irish usage

June 27, 2019

In Irish English, the word grand has the familiar meanings: impressive, magnificent, high-ranking, very large, etc. – size being etymologically salient – but its most common use is in the dialectal sense ‘OK, fine, satisfactory’. As such it often appears in brief, affirmative replies:

How’s it going?
Grand, thanks.

Was the sea cold?
It was grand.

How did the interview go?
I got on grand.

I’ll pick you up in an hour.
Grand.

I’m sorry about that.
Ah no, you’re grand. [Don’t worry about it.]

This use of grand is so routine and prevalent in Ireland that it’s virtually a state of mind (and hence popular in T-shirt designs and the like). This comes in handy for understatement in injurious situations:

Irish Times screengrab: "'I'm grand': Cork woman cuts off finger after years of chronic pain." "I threw it in the bin ... Ever since I have had no pain. It has been brilliant."

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The Irish diminutive suffix -een

January 16, 2019

In A Brilliant Void, a new anthology of vintage Irish science fiction edited by Jack Fennell (Tramp Press, 2018), I saw some examples of a grammatical feature I’ve been meaning to write about: the Irish English suffix –een. Anglicised from Irish –ín /iːn/, it normally signifies littleness or endearment but can also disparage or serve other functions.

Look up –ín in Ó Dónaill’s Irish-English dictionary and you’ll find such diverse examples as an t-éinín bíogach ‘the chirpy little bird’, an choisín chomair ‘the neat little foot’, an bheainín ghleoite ‘the charming little woman’, an méirín púca ‘the foxglove’, and an paidrín páirteach ‘the family rosary’.

The –ín suffix is so productive in Irish, and Irish so influences the traditional dialects of English in Ireland, that it’s no surprise –een became established in vernacular Irish English, especially in the west. You probably know it if you’re at all familiar with Irish speech or culture; even if not, you may recognise some of the examples below.

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Being bold in Irish English

August 31, 2018

In standard English the primary meaning of the adjective bold is ‘brave, courageous, unafraid, daring’. This can shade into a related, negative sense of impudence, brazenness, or presumption. Another common sense is ‘visibly prominent, distinct, strong, or clear’, often associated with lines or colour. For nuance, compare the definitions by M-W, AHD, Oxford, Macmillan, Cambridge, and Collins.

When I first learned the word, though, it was in none of these senses: it meant ‘naughty, mischievous’. If I heard someone (including myself) described as bold, it meant they were misbehaving – or maybe being playful in a cheeky way. This is a very common usage in Irish English but absent from standard English; there’s no mention of it in the OED.

The sense is so intrinsic to the word in Ireland that when I read this line in Swing Time by Zadie Smith last week, I had to read it twice to be sure of the intent:

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Savouring each preposition

May 31, 2018

In ‘The Last Campaign’, from her story collection Orange Horses (Tramp Press, 2016), Maeve Kelly portrays a marriage whose members have deeply contrasting – and sometimes clashing – communication styles. Martha and Joe are a middle-aged couple devoted to each other and to their farm, on which much of their conversation turns:

Herself and Joe met at the tap on the wall outside. He hosed down his boots, thinking about something.

‘Isn’t it a beautiful day, Joe,’ she said. ‘You might get the last of the hay drawn in today.’

‘I might,’ he said, looking up at a small, dark cloud away on the horizon and checking the direction of the wind. ‘If it holds. I think there’s a change.’

‘It’ll hardly break before this evening,’ she said.

‘Maybe not.’

She wondered to herself why his sentences were always so short. Words spilled over in her own mind so much. She had to hold them back, conscious always of his brief replies and afraid she might become garrulous in her effort to fill the void. ‘Communication,’ she reminded herself sometimes, ‘is not only made with speech.’

From this brief exchange we understand not only each character’s expressive preferences but also the effect of the difference on Martha, who would likely be more talkative were Joe not so taciturn. For this lack she must console herself with truisms. And yet their mutual fondness is unmistakable and is underscored implicitly as the tale unfolds.

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Irishisms in City of Bohane

March 11, 2018

He was back among the city’s voices, and it was the rhythm of them that slowed the rush of his thoughts. —Kevin Barry, City of Bohane

Kevin Barry’s award-winning first novel City of Bohane (Jonathan Cape, 2011) is an extravagant experiment in language, rich in Irish English slang and vernacular. It may take non-Irish readers a little while to tune in to its sounds and rhythms, but the rewards are considerable.

This post annotates a few items of linguistic interest in the book.

Divil a bit stirred in the Trace that he didn’t know about, nor across the Smoketown footbridge.

Divil (rhymes with civil) is a common pronunciation of devil in colloquial Irish English. The idiom divil a bit has various emphatic negative meanings: ‘not at all’, ‘none at all’, and in Barry’s line, ‘nothing at all’.

Divil is such a frequent feature of traditional Irish English that P.W. Joyce, in English As We Speak It In Ireland, dedicated an entire chapter to ‘the devil and his territory’.

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Look at the cut of this Irish expression

February 18, 2018

Growing up in rural Ireland, I regularly heard – and still occasionally hear – some version of the phrase the cut of someone. It’s an informal idiom that means the state or appearance of someone and usually incorporates criticism or amusement or both. Here’s an example I just read in Deirdre Madden’s novel Nothing Is Black:

‘Look at the cut of me!’ Claire’s mother had said the last time she’d visited her. She’d been sitting by a mirror, combing out her faded hair. ‘I’m as grey as a badger. How come I look so old, yet I feel no different to what I was forty years ago? Where’s the sense in that?’ She’d started to laugh …

In Irish literature the expression is generally found in dialogue or in vernacular narrative. Madden’s example is typical in a few ways: it’s light-hearted, colloquial, and deprecatory – in this case self-deprecatory. In a similar vein, the next two examples involve mirrors. Marian Keyes, Anybody Out There:

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On foot of an Irish idiom

August 14, 2017

In a comment on my post about 12 Irish English usages, Margaret suggested that I write about the Irish expression on foot of. It was a good idea: the phrase is not widely known outside Ireland and is therefore liable to cause confusion, if this exchange is any indication.

On foot of means ‘because of’, ‘as a result of’, or ‘on the basis of’. T.P. Dolan’s Dictionary of Hiberno-English offers the example sentences ‘On foot of this, we can’t go any further with this deal’ and ‘On foot of the charges, he had to appear in the court’.

These lines suggest it’s a formal phrase, and that’s invariably how I see it used; I’ve yet to hear it in everyday conversation. A search on Google News shows that it’s common in crime reporting in Ireland. I also see it in academic and business prose, an impression confirmed by the example sentences in Oxford Dictionaries, e.g.:

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