John Joseph
University of Edinburgh
“The most celebrated opponent of the sound symbolic hypothesis,” writes Magnus (2013: 201), “was, of course, Ferdinand de Saussure”. Of course. One of Saussure’s key contributions to modern linguistics is the principle of the arbitrariness of the link between sound and meaning, or more precisely between signifier and signified within the linguistic sign, his most detailed discussion of which took place in his third course in general linguistics in 1910-11. It was carried over into the posthumous Cours de linguistique gĂ©nĂ©rale (1916), where it has long been the target of attacks by linguists convinced of the explanatory power of sound symbolism.
But how is it then that in the last paper he published during his lifetime, Saussure (1912) argued that a group of Latin adjectives had developed in a particular way because the shape of the diphthong in their stressed syllable is mimetic of the shape of the idea common to the words containing the diphthong?
Few investigators of iconicity have read the 1912 paper (one of the rare later studies to discuss it is GmĂŒr 1990: 47-49). Like Magnus, they generally understand sound symbolism to be the direct opposite of the arbitrariness which Saussure professed. Since he wrote this paper just after, or even while, giving the lectures on arbitrariness, it may look like a deathbed conversion. But given that it was for a Festschrift presented to Vilhelm Thomsen on his 70th birthday, 25 January 1912, chances are that Saussure was writing the paper no later than the semester in which the lectures on arbitrariness took place. If we go back 35 years to his second published paper (Saussure 1877), it too proposed a form-meaning link, more conventional but still of the sort that typically gets classified as iconic (see Joseph 2012: 200-202). In between, we have his testimony from 1892 concerning his own synaesthetic associations of vowels with colours, textures and smells (Joseph 2012: 392-397).
This is starting to look like quite a different man from the one of whose limited vision Magnus & Co. despair. In this post I shall explain why I think their despair is misplaced.



