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POT AUX ROSES.

Thanks to Céline of Naked Translations, I’ve learned a new French expression: découvrir le pot aux roses, which she says means ‘to find out what’s going on’ and my Dictionary of Modern Colloquial French by René James Hérail and Edwin A. Lovatt defines as ‘to stumble on a bit of scandal.’ It’s apparently often misunderstood as “poteau rose,” so Chris Waigl of serendipity is using poteaux roses as a French equivalent of “eggcorns” (first sighted here) for the purposes of her eggcorn database. (If any of my Russian readers know of a Russian word or phrase that’s sometimes replaced by a semantically clearer, though historically incorrect, version, like “eggcorn” for acorn or “poteau rose” for pot aux roses, please mention it in the comments.)

The interesting thing about découvrir le pot aux roses is that it’s not at all clear how the expression came about. For one thing, roses are not grown in pots, and there is no such thing as a pot aux roses in other contexts (hence the eggcorn potential). One theory is that the reference was originally to rose in the sense of ‘rouge,’ which makes perfect sense of the expression, since it would mean “discovering the secret of what you thought had been a woman’s natural beauty”; alas, as Francparler.com points out, the expression has always had roses, plural, so that won’t wash. There’s further discussion at the entry in the dictionary at the excellent Langue française site (“Dépannage en français, difficultés, (bon) usage, syntaxe, orthographe, vocabulaire, étymologie, débats et dossiers thématiques”—I love their epigraph « C’est quand les accents graves tournent à l’aigu que les sourcils sont en accent circonflexe. »).

The Hérail-Lovatt book, by the way, says “Few expressions containing the word pot have literal meanings. Most, like se manier le pot: to ‘put one’s skates on’, to hurry up and en avoir plein le pot: to be fed-up, are figurative derivations.” The listed meanings are ‘arse, bum, behind’; ‘luck, good fortune’; ‘drink, alcoholic beverage’; and ‘pot, kitty, pool of money staked at cards’; these are followed by phrases like faire son pot ‘to make one’s pile, amass a tidy sum of money,’ pot de colle ‘limpet-bore, tenacious button-holer,’ and tourner autour du pot ‘to beat about the bush, to tackle a problem or a situation in a dilly-dally manner’; the last of these is découvrir le pot aux roses, followed by the useful note “Because of a possible hiatus, the ‘t’ in pot is pronounced as a liaison in colloquial contexts.” An exemplary book (note that most definitions include both a colloquial equivalent and a literal explanation), which any reader of French literature (not to mention l’internet!) should have at hand.

AMHERST.

After leaving Montreal (with regret), we drove down through Vermont and visited Amherst, Massachusetts, where I finally got to see Emily Dickinson’s house. But first (the earliest tour was at 1 PM) I dropped in at the excellent Amherst Books, where I couldn’t resist buying Krazy & Ignatz 1925-1926, a wonderful Fantagraphics reprint of a year’s worth of George Herriman‘s Krazy Kat comics. Now, I’m going to make a wild leap here, and those of you with sensitive constitutions may want to skip ahead to the next paragraph, but I think Dickinson has far more in common with Herriman than with the lady poets she’s usually compared to (Sappho, say, not that we actually know anything about Sappho). Dickinson is perhaps America’s greatest pure poet (in the sense that she has no interest in propagandizing for religious or political sects or in telling stories) and Herriman is without question America’s greatest pure comic-strip artist (in the sense that he has no interest in writing for the market or in telling stories); her self-limitation to an apparently simple hymn form for her verse is as striking as his self-limitation to an apparently simple triangular structure for his strips (Ignatz heaves a brick at Krazy and is chastised by Officer Pupp), and both have been condescended to for these alleged faults, which in fact allowed them to refine their art and bring it to unmatched levels. The difference, of course—apart from medium, gender, era, and other trivia—is that Herriman found outside support and Dickinson did not. I quote from Bill Blackbeard‘s introduction to the Fantagraphics book:

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