Tag Archives: object pronouns

Leísmo and verb subject properties

Earlier this month I wrote a blog post comparing the contexts of leísta and non-leísta pronoun usage in Jordi Sierra’s Cuatro días en enero. At least in the first few chapters of this book, masculine human direct objects of physical verbs tended to be expressed with lo and los, and objects of other verbs (mostly verbs of cognition) with le and les. Here is the verb table from that post.Since then, I’ve dusted off my virtual pile of leísmo readings to check for anything written about the relationship between verb choice and leísmo. This literature search came up almost dry: research on the semantics and leísmo uniformly refers to the semantic properties of nouns rather than verbs. One property that comes up frequently in the literature is whether an direct object expresses discrete, or countable, items (like cars) or non-countable materials (like sugar). Another, discussed in a 1974 paper by Erica García and Ricardo Otheguy, is relative strength, or activity. García and Otheguy suggest that le is chosen when a verb’s direct object is “stronger”, or more active. For example, they give the example of María le llora ‘Mary complains to him’, whose object “him” (a living person) is more active than the corpse in María lo llora ‘Mary mourns him’. This reminded me of Jon Aske’s comment on my original post, that “leísmo is used to add a nuance to the sentence, primarily having to do with human objects that are highly involved in the action or that something is being done for them, as opposed to to them.”

However, García and Otheguy also relate the le/lo choice to the properties of subjects, suggesting that le is chosen when a verb’s subject is “weaker”, or less active. For example, they contrast:

  1. No hagas ruido, niño, que le molesta a su padre ‘Don’t make noise, child, because it annoys your father’
  2. No hagas ruido, niño, que lo molesta a su padre ‘Don’t make noise, child, because you’ll annoy your father’.

As is typical in gustar-type sentences, the subject of sentence #1 (“noise”) is not an active participant. In contrast, the subject in sentence #2 (the child himself) is only too active!

This distinction might help to explain the division between le and lo verbs in the table above. Someone who eludes, finds, kills or unites (verbs from the second column of the table) is surely a stronger, or more active, subject than someone who merely sees, asks, or needs (first column). This might be a fruitful topic for a Spanish linguistics dissertation, if anyone is looking…

 

Jordi Sierra’s off-and-on leísmo

When I could distract my brain from the engrossing plot of Jordi Sierra I Fabra’s Cuatro días de enero, and pay attention to Sierra’s language, I was struck by his off-and-on leísmo. For readers who are unfamiliar with this term, leísmo refers to the use of the masculine indirect object pronoun le ‘to him’ instead of the masculine direct object pronoun lo ‘him’, as in the first row of Table A, below. Leísmo, a centuries-old speech pattern, is most common in Spain. Most Spanish textbooks in the United States therefore teach the non-leísta pattern shown in the second column. Note that leísmo normally only applies to human direct objects.

Table A

Sierra’s object pronoun usage is fascinating because he isn’t strictly leísta or non-leísta, but alternates between the two styles of pronoun usage. An example is the following sentence, at the beginning of Chapter 2, which uses one les and two los.

Todos los soldados más o menos útiles estaban siendo sacados del lugar con urgencia, tal vez para llevarles a combatir, tal vez para trasladarlos a la última resistencia, Valencia, tal vez para conducirlos a Francia.

‘All the soldiers who were more or less fit were being taken away urgently, perhaps to carry them to combat, perhaps to move them to Valencia, the last city of the resistance, perhaps to take them to France.

The same approximate ratio of two instances of lo (or los) for each one of le (or les) holds more broadly in Cuatro días de enero, as can be seen in Table B, which contains all examples of masculine human direct objects in the book’s first two chapters.

Table B: Masculine human direct object pronouns in Cuatro días de enero, caps. 1-2

A serious look at leísmo in Sierra’s writing would of course have to analyze much more text, ideally pulling it from a variety of his books. It would have to take into account Sierra’s Catalonian origins: Sierra is from Barcelona, and writes in both Castilian Spanish and in Catalán. Perhaps his bilingualism plays a role in his pronoun usage? And to a linguist, an analysis of leísmo in spoken Spanish will always be fundamentally more interesting than one based on written Spanish.

Nevertheless, an interesting pattern immediately emerges from the data in Table B: Sierra’s use of leísta and non-leísta pronouns appears to be governed by semantics rather than syntax. Sierra uses the two types of pronouns in the same syntactic contexts: in both single and double pronoun structures (e.g. Se les necesitabaSe los llevaron), in reference to both singular and plural people, and both before and after verbs. However, as shown in Table C (based on the examples in Table B), most of the verbs used with lo and los express physical actions, while most of those used with le and les express cognition. These are tendencies rather than absolutes: llevar (used with le) and entender (used with lo) are obvious exceptions.

Table C: Verbs with le and les vs. lo and los in Cuatro días de enero, caps. 1-2
(based on Table B)

This pattern is doubly logical. The object of a physical action — the person who is killed, accompanied, trapped, and so on — is closer to the canonical idea of a direct object than one who is seen, believed, needed, and so on. In addition, the use of le and les is already associated with non-physical verbs of the gustar type: someone who is pleased (me gusta), surprised (te sorprende), bothered (le molesta), and the like. The next task on my to-do list is to hit the literature to review what has already been written on this topic.

Incidentally, in Siete días de julio, the sequel to Cuatro días de enero, I noted an example of le being used to refer to a non-human direct object: Su…llamémosle trabajo no era precisamente agradable ‘Her…let’s call it work…wasn’t exactly pleasant.’ According to Inés Fernández Ordóñez (a leading leísmo scholar), the use of le with llamar is quite common in much of Spain. There are no such examples in the first two chapters of Cuatro días.

[See follow-up post here.]

Triple pronoun positions in Spanish

I recently ran into a sentence with one conjugated verb and two infinitives.

Ouch!

But seriously…it was a sentence like Quiero poder hablarlo ‘I want to be able to speak it’, where ‘it’ referred to, perhaps, the Spanish language. I don’t remember whether this sentence came up in a student’s paper or was just something I was working out in my head. At any rate, I was curious to find out how many possible positions there were for the lo pronoun in this sentence.

As all of you know if you’ve tangled with Spanish grammar, an object pronoun like lo can come either before a conjugated verb or after an infinitive. (These are the main two rules, though there are others.) So in a sentence with two verbs, of which the first is conjugated, the pronoun can either precede the first (Lo quiero hablar) or follow the second (Quiero hablarlo). Both are equally valid, and Spanish speakers freely alternate between them.

I wondered: in a sentence with one conjugated verb and two infinitives, are there three possible pronoun positions?

  1. Lo quiero poder hablar
  2. Quiero poderlo hablar
  3. Quiero poder hablarlo

I posed this question on two of my favorite forums, /r/Spanish and WordReference, and the answer was a resounding : all three positions are legitimate.

How cool is that?

From te to le in ‘Idilio’

Who doesn’t love object pronouns?

This is a rhetorical question, obviously. Most people don’t care about object pronouns, Most students who have to learn them, loathe them. For a linguist, though, they’re language candy — pure creatures of grammar, with no meaning of their own.

I noticed a curious pronoun phenomenon the other day while visiting the Museum of Modern Art in New York. The museum’s current photography exhibition “From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola” includes examples of surreal photomontages by Grete Stern published in the avant-garde Argentinian journal Idilio from 1948 to 1951. You can learn more about this series here; an example is below.

Grete SternI didn’t care for Stern’s photomontages, but I got a kick out of their linguistic context. They illustrated a regular Idilio column on Freudian psychoanalysis whose original title was El psicoanálisis te ayudará ‘Psychoanalysis will help you’. After a few issues this changed to El psicoanálisis le ayudarále also means ‘you’, but is more formal than te.

te ayudaráAn early column, showing the original title (with te)

le ayudaráAn later column, showing the revised title (with le)

The choice of te versus le depends on context — who is speaking (or writing), and who is listening (or reading). In this case, le was a more correct choice because the column itself struck a formal tone. Consider the banner-style first sentence below the te title: Queremos ayudarle a conocerse a misma, a fortalecer su alma, a resolver sus problemas, a responder a sus dudas, a vencer sus complejos, y a superarse ‘We want to help you to know yourself, to strengthen your soul, to resolve your problems, to address your doubts, to defeat your complexes, and to improve yourself’. This sentence presents a raft of formal markers: the object pronoun le ‘you’, the formal reflexives se and sí misma ‘yourself’, and the formal possessives su and sus ‘your’. The next sentence includes the formal subject pronoun usted and corresponding formal verb forms such as conteste and siente.

The real puzzle, then, is why informal te ever appeared in the original title. The most likely explanation is an editorial snafu: surely some higher-up decided on the title, but the writer proceeded to adopt a formal voice anyway, forcing a change in title once someone noticed the discrepancy.

Kudos to MoMA for mounting  a show of both photographic and linguistic interest!

If you enjoyed this post, make sure to vote for spanishlinguist.us in the ongoing Top 100 Language Lovers poll! (through June 14).