Speaking Slavery Language in ਀䔀椀最栀琀攀攀渀琀栀 䌀攀渀琀甀爀礀  䴀愀甀爀椀琀椀甀猀㰀⼀栀㄀㸀 by Prof. Megan Vaughan, University of Oxford

Ayant demandé à ce noir pourquoi il਀椀渀焀甀椀琀愀椀琀 挀攀琀琀攀 渀最爀攀猀猀攀Ⰰ 氀攀 渀漀椀爀 氀甀椀 爀瀀漀渀搀椀琀㨀 焀甀攀猀焀甀攀 挀攀氀愀 琀攀 昀漀甀琀Ⰰ 洀漀椀 瘀漀甀氀攀 baser ly

But਀琀栀椀猀 欀椀渀搀 漀昀 愀爀最甀洀攀渀琀 洀愀欀攀猀 愀 渀甀洀戀攀爀 漀昀 愀猀猀甀洀瀀琀椀漀渀猀 愀戀漀甀琀 琀栀攀 爀攀氀愀琀椀漀渀猀栀椀瀀 between language, culture and consciousness. In particular it implies that਀最爀愀洀洀愀爀Ⰰ 戀攀椀渀最 ᠀搠攀攀瀀攀爀ᤀ†愀渀搀 洀漀爀攀 ᠀猠琀爀甀挀琀甀爀愀氀ᤀ†琀栀愀渀 瘀漀挀愀戀甀氀愀爀礀Ⰰ 挀漀渀琀愀椀渀猀 眀椀琀栀椀渀 it some kind of African cultural essence which survives the trauma of਀攀渀猀氀愀瘀攀洀攀渀琀⸀ 匀甀挀栀 愀猀猀甀洀瀀琀椀漀渀猀 洀甀猀琀 猀甀爀攀氀礀 戀攀 焀甀攀猀琀椀漀渀攀搀⸀㰀愀 栀爀攀昀㴀∀⌀开攀搀渀㘀∀ name="_ednref6" title="">[vi]
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We਀挀愀渀渀漀琀 爀攀愀氀氀礀 欀渀漀眀 琀漀 眀栀愀琀 攀砀琀攀渀琀 ᠀洠漀琀栀攀爀ⴀ琀漀渀最甀攀猀ᤀ†猀甀爀瘀椀瘀攀搀Ⰰ 椀昀 漀渀氀礀 昀漀爀 猀栀漀爀琀 periods, or to what extent bilingualism or multilingualism may have characterised਀琀栀攀 猀氀愀瘀攀 攀砀瀀攀爀椀攀渀挀攀⸀ 匀氀愀瘀攀猀 漀渀 䤀氀攀 搀攀 䘀爀愀渀挀攀 挀愀洀攀 昀爀漀洀 愀 戀攀眀椀氀搀攀爀椀渀最 搀椀瘀攀爀猀椀琀礀 of linguistic backgrounds in East and West Africa, Madagascar and India. We਀挀攀爀琀愀椀渀氀礀 挀愀渀渀漀琀 洀愀欀攀 愀渀礀 愀猀猀甀洀瀀琀椀漀渀猀 愀戀漀甀琀 洀甀琀甀愀氀 椀渀琀攀氀氀椀最椀戀椀氀椀琀礀 愀洀漀渀最猀琀 琀栀攀 slave community. On the other hand, there were probably some counter-balancing਀昀愀挀琀漀爀猀⸀ 吀栀攀 瘀攀爀礀 挀漀洀瀀氀攀砀椀琀礀 漀昀 琀栀攀 䄀昀爀椀挀愀渀 氀椀渀最甀椀猀琀椀挀 猀椀琀甀愀琀椀漀渀Ⰰ 昀漀爀 攀砀愀洀瀀氀攀Ⰰ meant that Africans were familiar with the experience of encountering ‘foreign’਀氀愀渀最甀愀最攀猀Ⰰ 愀渀搀 漀昀琀攀渀 愀搀攀瀀琀 愀琀 愀挀焀甀椀爀椀渀最 猀漀洀攀 搀攀最爀攀攀 漀昀 昀氀甀攀渀挀礀 椀渀 琀栀攀洀⸀ Furthermore, by the eighteenth century ( and for West Africa, much earlier)਀琀爀愀搀椀渀最 氀愀渀最甀愀最攀猀 愀渀搀 挀漀愀猀琀愀氀 ᠀瀠椀搀最椀渀猀ᤀ†眀攀爀攀 愀渀 椀洀瀀漀爀琀愀渀琀 昀攀愀琀甀爀攀 漀昀 琀栀攀 linguistic environment. So, for example, we might speculate that many East਀䄀昀爀椀挀愀渀猀 洀愀礀 栀愀瘀攀 猀栀愀爀攀搀 猀漀洀攀 欀渀漀眀氀攀搀最攀 漀昀 匀眀愀栀椀氀椀Ⰰ 攀瘀攀渀 椀昀 琀栀攀椀爀 ᠀洠漀琀栀攀爀ᤀ tongues were not mutually intelligible.

Creole, créolité and slavery

To਀戀攀最椀渀 眀椀琀栀 栀攀 栀愀猀 愀渀 攀瘀漀挀愀琀椀瘀攀 眀愀礀 漀昀 搀攀猀挀爀椀戀椀渀最 琀栀攀 挀漀攀砀椀猀琀攀渀挀攀 漀昀 猀琀愀戀椀氀椀琀礀 and instability in the creole language, its openness and closure. Creole he਀眀爀椀琀攀猀Ⰰ 椀猀 愀 氀愀渀最甀愀最攀 ᠀爠攀愀搀礀 昀漀爀 愀渀礀 琀爀愀渀猀愀挀琀椀漀渀Ⰰ 愀渀礀 挀漀洀瀀爀漀洀椀猀攀Ⰰ 愀渀礀 concession’. Its vocabulary is open to ‘all imports’ and its syntax (‘si syntaxe਀椀氀 礀 愀ᤀ†ጀ†㰀⼀椀㸀椀昀 琀栀攀爀攀 椀猀 愀 猀礀渀琀愀砀ᤀ⤠ 戀攀渀搀猀 椀琀猀攀氀昀 琀栀椀猀 眀愀礀 愀渀搀 琀栀愀琀Ⰰ 挀攀搀攀猀 琀漀 what he calls the ‘violence of the foreigner’.  And yet, the creole language਀愀氀猀漀 欀渀漀眀猀 椀琀猀攀氀昀 愀渀搀 挀愀渀 挀漀洀攀 栀漀洀攀 琀漀 椀琀猀攀氀昀㨀㰀戀爀㸀

Baissac਀昀漀爀 栀椀猀 瀀愀爀琀 愀瀀瀀攀愀爀猀 琀漀 琀栀椀渀欀 琀栀愀琀 琀栀攀 挀爀攀漀氀攀 氀愀渀最甀愀最攀 琀愀氀欀猀 洀漀爀攀 琀漀 氀漀猀猀 琀栀愀渀 to liberation. Not only, as he indicates, is there no to be in creole,਀琀栀攀爀攀 椀猀 愀氀猀漀 渀漀 㰀椀㸀᠀䤠ᤀ㰠⼀椀㸀Ⰰ 漀渀氀礀ꀀ ᠀洠攀ᤀ†ጀ†栀攀渀挀攀Ⰰ 㰀椀㸀樀攀 瀀攀渀猀攀Ⰰ 搀漀渀挀 樀攀 猀甀椀猀㰀⼀椀㸀Ⰰ becomes truncated to mo mazine. Ile de France creole, like many (਀瀀攀爀栀愀瀀猀 愀氀氀⤀ 挀爀攀漀氀攀 氀愀渀最甀愀最攀猀Ⰰ 愀瀀瀀攀愀爀猀 琀漀 洀愀欀攀 渀漀 搀椀猀琀椀渀挀琀椀漀渀 戀攀琀眀攀攀渀 猀甀戀樀攀挀琀 and object. What, if anything, does this mean in terms of our understanding of਀猀氀愀瘀攀 猀甀戀樀攀挀琀椀瘀椀琀礀 愀渀搀 愀最攀渀挀礀㼀 吀栀攀 䘀爀攀渀挀栀 氀攀最愀氀 猀礀猀琀攀洀 攀砀瀀氀椀挀椀琀氀礀 椀洀愀最椀渀攀搀 猀氀愀瘀攀猀 as having agency, inner dispositions, ‘first persons’. But in the courtroom the਀愀挀挀甀猀攀搀 猀氀愀瘀攀 眀愀猀 甀渀愀戀氀攀 琀漀 猀愀礀 ᠀礠攀猀Ⰰ 䤀 搀椀搀 椀琀ᤀ†漀爀 ᠀渠漀Ⰰ 䤀 搀椀搀渀ᤀ琠 搀漀 椀琀ᤀ†ጀ†戀甀琀 only the equivalent of ‘me do it’ or ‘me no do it’. In her suggestive article,਀刀栀漀渀搀愀 䌀漀戀栀愀洀ⴀ匀愀渀搀攀爀 愀瀀瀀氀椀攀猀 愀 䰀愀挀愀渀椀愀渀 愀渀愀氀礀猀椀猀 琀漀 琀栀攀 瀀栀攀渀漀洀攀渀漀渀 漀昀 琀栀攀 absent ‘I’ in present-day Jamaican English (Cobham-Sander,1995). A young man,਀䌀漀氀椀渀 䘀攀爀最甀猀漀渀Ⰰ 椀猀 甀瀀 椀渀 挀漀甀爀琀 愀挀挀甀猀攀搀 漀昀 洀甀爀搀攀爀Ⰰ 眀栀椀挀栀 栀攀 搀攀渀椀攀猀 ጀ†㰀椀㸀洀攀 渀攀瘀愀栀 do a ting. Yes, says Cobham-Sander, me never does do a ting ,਀漀渀氀礀 ᠀䤠ᤀ†挀愀渀 搀漀 琀栀愀琀⸀ 吀栀攀 挀爀攀漀氀攀 猀瀀攀愀欀攀爀Ⰰ 瘀攀渀琀甀爀攀猀 䌀漀戀栀愀洀ⴀ匀愀渀搀攀爀Ⰰ 椀猀 猀漀洀攀眀栀愀琀 psychotic for, according to Lacan, a subject only enters the symbolic order਀眀栀攀渀 栀攀 ⠀ 椀琀 椀猀 栀攀⤀ 椀渀猀攀爀琀猀 栀椀洀猀攀氀昀 椀渀琀漀 琀栀攀 氀愀渀最甀愀最攀 愀猀 ᠀䤠ᤀ†ጀ†戀攀挀漀洀攀猀 愀 speaking subject.  If she were right, it would cast a lot of doubt on my਀椀渀琀攀爀瀀爀攀琀愀琀椀漀渀 漀昀 猀氀愀瘀攀 猀甀戀樀攀挀琀椀瘀椀琀礀Ⰰ 戀攀挀愀甀猀攀 琀栀攀爀攀 挀漀甀氀搀 戀攀 渀漀渀攀⸀ Acknowledging the limits of her argument, Cobham-Sanders goes on to concede਀琀栀愀琀 ᠀攠瘀攀爀礀漀渀攀 椀猀 瀀攀爀昀攀挀琀氀礀 愀眀愀爀攀 琀栀愀琀 琀栀攀 挀爀攀漀氀攀 ᰀ洠攀ᴀ†椀猀 挀愀瀀愀戀氀攀 漀昀 愀最攀渀挀礀Ⰰ responsibility and love….’, but argues, nevertheless, that the historical਀洀攀洀漀爀礀 漀昀 琀爀愀甀洀愀 瀀爀漀搀甀挀攀搀 琀栀攀 愀戀猀攀渀琀ꀀ ᠀䤠ᤀ⸠㰀戀爀㸀

The਀愀戀猀攀渀挀攀 漀昀 琀栀攀 ᠀䤠ᤀ†椀渀 挀爀攀漀氀攀 氀愀渀最甀愀最攀猀 椀猀 椀渀琀爀椀最甀椀渀最Ⰰ 戀甀琀 椀猀 渀漀琀Ⰰ 椀渀 昀愀挀琀Ⰰ unique to them, and there is no easy interpretation of this and other aspects਀漀昀 氀愀渀最甀愀最攀 挀爀攀愀琀攀搀 甀渀搀攀爀 猀氀愀瘀攀爀礀㰀愀 栀爀攀昀㴀∀⌀开攀搀渀㤀∀ 渀愀洀攀㴀∀开攀搀渀爀攀昀㤀∀ 琀椀琀氀攀㴀∀∀㸀嬀椀砀崀㰀⼀愀㸀⸀ Indeed, as Francoise Vergès has recently argued this theory of the absent ‘I’਀椀渀 挀爀攀漀氀攀 氀愀渀最甀愀最攀猀 挀愀渀 戀攀 瀀爀漀昀漀甀渀搀氀礀 瀀愀琀栀漀氀漀最椀猀椀渀最 ⠀嘀攀爀最猀Ⰰ ㄀㤀㤀㤀㨀㈀㌀　⤀⸀ 㰀戀㸀ꀀ㰀⼀戀㸀䨀愀挀焀甀攀猀 Lacan describes all subjects as ‘slaves of language’ (Lacan, 1982,148) and this਀䰀愀挀愀渀椀愀渀 洀漀搀攀氀 漀昀 愀氀椀攀渀愀琀椀漀渀 椀渀 氀愀渀最甀愀最攀 椀猀 爀攀椀琀攀爀愀琀攀搀 戀礀 䨀愀挀焀甀攀猀 䐀攀爀爀椀搀愀 (Derrida,1998), who, in his account of language and colonialism in North਀䄀昀爀椀挀愀Ⰰ 椀渀猀椀猀琀猀 琀栀愀琀 愀氀氀 挀甀氀琀甀爀攀 椀猀 ᠀挠漀氀漀渀椀愀氀ᤀ⸠ 䤀昀 眀攀 甀渀搀攀爀猀琀愀渀搀 琀栀愀琀 愀氀氀 subjects are necessarily alienated by the ‘otherness’ of language, the਀猀甀最最攀猀琀椀漀渀 椀猀 琀栀愀琀 琀栀攀 瘀椀漀氀攀渀挀攀 漀昀 猀氀愀瘀攀爀礀 瀀爀漀搀甀挀攀搀 愀 欀椀渀搀 漀昀 搀漀甀戀氀攀 愀氀椀攀渀愀琀椀漀渀 represented by the creole language (though this is not what Derrida is਀猀甀最最攀猀琀椀渀最⤀⸀ 一漀琀 攀瘀攀爀礀漀渀攀 戀攀氀椀攀瘀攀猀 琀栀愀琀 挀爀攀漀氀攀 氀愀渀最甀愀最攀猀 愀爀攀 氀椀戀攀爀愀琀椀渀最 椀渀 their essential panglossian origins – some stress their limitations, and their਀漀爀椀最椀渀猀 椀渀 琀栀攀 攀爀愀猀甀爀攀 漀昀 椀搀攀渀琀椀琀椀攀猀 ⠀䴀攀琀攀氀氀甀猀Ⰰ㄀㤀㤀㠀⤀⸀ 䈀愀椀猀猀愀挀Ⰰ 眀栀漀 挀氀攀愀爀氀礀 眀愀猀 not a Lacanian and had not read Derrida, is also struck by the absences and mutismes਀漀昀 琀栀攀 氀愀渀最甀愀最攀Ⰰ 昀攀愀琀甀爀攀猀 栀攀 愀琀琀爀椀戀甀琀攀猀 琀漀 琀栀攀 洀椀搀搀氀攀 瀀愀猀猀愀最攀⸀ 䄀 瀀椀挀琀甀爀攀 攀洀攀爀最攀猀 from Baissac of both loss and confusion – the blanking out which sometimes goes਀眀椀琀栀 愀 琀爀愀甀洀愀琀椀挀 攀瘀攀渀琀㰀愀 栀爀攀昀㴀∀⌀开攀搀渀㄀　∀ 渀愀洀攀㴀∀开攀搀渀爀攀昀㄀　∀ 琀椀琀氀攀㴀∀∀㸀㰀椀㸀嬀砀崀㰀⼀椀㸀㰀⼀愀㸀Ⰰ 愀渀搀 the confusion caused by forcible entry into a completely different world.  Yet਀漀甀琀 漀昀 琀栀椀猀 愀爀椀猀攀 愀 氀愀渀最甀愀最攀 愀渀搀 愀渀 漀爀愀氀 琀爀愀搀椀琀椀漀渀 眀栀椀挀栀 䈀愀椀猀猀愀挀 愀瀀瀀攀愀爀猀 琀漀 celebrate, and the anticipated loss of which he guards against by writing it਀搀漀眀渀㰀愀 栀爀攀昀㴀∀⌀开攀搀渀㄀㄀∀ 渀愀洀攀㴀∀开攀搀渀爀攀昀㄀㄀∀ 琀椀琀氀攀㴀∀∀㸀㰀椀㸀嬀砀椀崀㰀⼀椀㸀㰀⼀愀㸀⸀㰀戀爀㸀

We਀洀愀礀 渀漀琀 愀最爀攀攀 琀栀愀琀 愀氀氀 猀甀戀樀攀挀琀猀 愀爀攀 攀焀甀愀氀氀礀 愀氀椀攀渀愀琀攀搀 眀椀琀栀椀渀 琀栀攀 ᠀挠漀氀漀渀椀愀氀椀猀洀ᤀ of language’. Britton, in her discussion of Glissant’s work, argues that the਀᠀氠愀挀欀ᤀ†漀昀 愀 氀愀渀最甀愀最攀 椀猀 渀漀琀 ᠀樠甀猀琀 愀 焀甀攀猀琀椀漀渀 漀昀 洀椀猀猀椀渀最 椀琀攀洀猀ᤀⰠ 戀甀琀 洀漀爀攀 radically, of the fact that ‘the language they do use is experienced by them as਀氀愀挀欀Ⰰ 戀氀椀最栀琀攀搀 戀礀 愀 欀椀渀搀 漀昀 渀漀琀栀椀渀最渀攀猀猀☀ᤠ†⠀䈀爀椀琀琀漀渀Ⰰ㄀㤀㤀㤀㨀㐀㌀⤀⸀ 䈀甀琀 䐀攀爀爀椀搀愀 愀渀搀 others are surely right to assert that mastery over language is a fantasy.਀圀栀攀琀栀攀爀 漀爀 渀漀琀 眀攀 愀挀挀攀瀀琀 䈀愀欀攀爀 愀渀搀 䌀漀爀渀攀ᤀ猠 瘀椀攀眀 琀栀愀琀 䤀猀氀攀 搀攀 䘀爀愀渀挀攀 挀爀攀漀氀攀 was/is in a sense more African than it is French, it is clear that the਀᠀洠愀猀琀攀爀猀ᤀ†漀昀 琀栀攀 椀猀氀愀渀搀 挀漀甀氀搀 渀攀瘀攀爀 挀漀洀瀀氀攀琀攀氀礀 栀愀瘀攀 挀漀洀洀愀渀搀 漀昀 愀 氀愀渀最甀愀最攀 which, even if  a langue d’arrivée, by the mid eighteenth century,਀渀攀瘀攀爀琀栀攀氀攀猀猀 爀攀洀愀椀渀攀搀 愀渀 甀渀猀琀愀戀氀攀 漀渀攀Ⰰ 挀漀渀琀椀渀甀愀氀氀礀 愀搀搀攀搀 琀漀 戀礀 琀栀攀 ᠀戠愀戀戀氀攀ᤀ†漀昀 new arrivals, and containing many spaces for innovation, inversion, and (਀瀀漀猀猀椀戀氀礀⤀ 猀甀戀瘀攀爀猀椀漀渀⸀ 匀氀愀瘀攀猀 漀渀 䤀氀攀 搀攀 䘀爀愀渀挀攀 洀愀礀 氀愀爀最攀氀礀 栀愀瘀攀 氀漀猀琀 琀栀攀椀爀 ‘mother tongues’, but it seems likely that even within the medium of French creole਀琀栀攀礀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀戀氀攀 琀漀 洀漀瘀攀 戀攀琀眀攀攀渀 爀攀最椀猀琀攀爀猀 愀渀搀 ᠀挠漀搀攀ⴀ猀眀椀琀挀栀ᤀ⸠ 吀栀椀猀 眀愀猀 predominantly an oral culture ( though the written word was also making its਀洀愀爀欀Ⰰ 愀猀 眀攀 猀栀愀氀氀 猀攀攀⤀ ጀ†愀渀搀 愀猀 愀渀 漀爀愀氀 挀甀氀琀甀爀攀 愀渀搀 氀愀爀最攀氀礀 甀渀眀爀椀琀琀攀渀 氀愀渀最甀愀最攀Ⰰ it was particularly hard for anyone to control.
਀          㰀⼀瀀㸀

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Eighteenth਀挀攀渀琀甀爀礀 琀爀愀瘀攀氀氀攀爀猀 椀渀 䤀猀氀攀 搀攀 䘀爀愀渀挀攀 爀攀洀愀爀欀攀搀 漀渀 琀栀攀 瀀漀瀀甀氀愀爀椀琀礀 愀洀漀渀最猀琀 猀氀愀瘀攀猀 of certain cultural forms. Milbert, in the early years of the nineteenth਀挀攀渀琀甀爀礀Ⰰ 洀攀渀琀椀漀渀攀搀 琀栀攀 瀀爀愀挀琀椀挀攀 漀昀 ᠀挠栀愀爀愀搀攀猀ᤀ⠠ 䴀椀氀戀攀爀琀Ⰰ ㄀㠀㄀㈀Ⰰ 瘀漀氀 ㄀㨀㈀㜀　⤀ 愀渀搀 though he gives no detailed account of this, we can assume that it involved a਀搀攀最爀攀攀 漀昀 洀椀洀椀挀爀礀Ⰰ 渀漀琀攀搀 椀渀 洀愀渀礀 漀琀栀攀爀 瀀愀爀琀猀 漀昀 琀栀攀 猀氀愀瘀攀 眀漀爀氀搀 ⠀䈀甀爀琀漀渀Ⰰ㄀㤀㤀㜀⤀⸀ The performative aspect of ‘charades’ may also, to some degree, have਀挀椀爀挀甀洀瘀攀渀琀攀搀 愀渀礀 瀀爀漀戀氀攀洀 眀椀琀栀 氀愀渀最甀愀最攀 愀渀搀 氀椀渀最甀椀猀琀椀挀 椀渀琀攀氀氀椀最椀戀椀氀椀琀礀⸀ 匀椀渀最椀渀最 and dancing were also central to slave culture, forms which could also easily਀戀攀 琀甀爀渀攀搀 琀漀 猀漀挀椀愀氀 挀漀洀洀攀渀琀愀爀礀⸀ 䴀椀氀戀攀爀琀 愀最愀椀渀 渀漀琀攀搀 琀栀愀琀 琀栀攀 瀀爀愀挀琀椀挀攀 漀昀 猀氀愀瘀攀猀 singing as they carried their masters and mistresses in palanquins:’It is easy਀琀漀 爀攀挀漀最渀椀猀攀 漀渀 琀栀攀 爀漀愀搀猀 琀栀攀 愀瀀瀀爀漀愀挀栀 漀昀 愀 爀椀挀栀 㰀椀㸀挀漀氀漀渀㰀⼀椀㸀 戀礀 琀栀攀 猀漀渀最猀 眀椀琀栀 which the slaves who carry him relieve the fatigue of the journey’ (Milbert,਀㄀㠀㄀㈀Ⰰ 瘀漀氀 ㄀㄀㨀 ㄀㔀㔀⤀⸀ 䈀礀 琀栀攀 攀愀爀氀礀 渀椀渀攀琀攀攀渀琀栀 挀攀渀琀甀爀礀 愀 猀礀渀挀爀攀琀椀挀 搀愀渀挀攀 昀漀爀洀 ጀ the sega – had also come into being. But there was another aspect of਀猀氀愀瘀攀 挀甀氀琀甀爀攀 眀栀椀挀栀 椀猀 猀甀最最攀猀琀椀瘀攀 漀昀 氀椀渀最甀椀猀琀椀挀 攀砀瀀氀漀爀愀琀椀漀渀 愀渀搀 愀最椀氀椀琀礀Ⰰ 愀渀搀 this was the practice of riddling. Many of the island’s slaves came from਀爀椀搀搀氀椀渀最 挀甀氀琀甀爀攀猀 椀渀 䄀昀爀椀挀愀Ⰰ 䴀愀搀愀最愀猀挀愀爀 愀渀搀 琀栀攀 䤀渀搀椀愀渀 猀甀戀ⴀ挀漀渀琀椀渀攀渀琀㰀愀 href="#_edn12" name="_ednref12" title="">[xii].਀吀栀攀爀攀 搀漀 渀漀琀 愀瀀瀀攀愀爀 琀漀 戀攀 愀渀礀 爀攀挀漀爀搀攀搀 爀椀搀搀氀攀猀 搀愀琀椀渀最 昀爀漀洀 琀栀攀 攀椀最栀琀攀攀渀琀栀 century, but Baissac made a collection of them in the nineteenth, some of which਀愀瀀瀀攀愀爀 琀漀 戀攀愀爀 琀栀攀 洀愀爀欀猀 漀昀 猀氀愀瘀攀爀礀㨀㰀戀爀㸀

Mo maison est peinte en jaune, a l’interieur j’ai une bande਀搀攀 瀀攀琀椀琀猀 洀漀稀愀洀戀椀焀甀攀猀㼀 ጀ†唀渀攀 瀀愀瀀愀礀攀 洀甀爀攀㰀⼀戀㸀㰀⼀椀㸀㰀戀㸀⸀㰀⼀戀㸀㰀戀爀㸀 My house is painted yellow, inside is a group of young Mozambicans-   A ripe਀瀀愀眀瀀愀眀⸀㰀⼀瀀㸀

Du blanc dans du très noir? – Le riz dans la marmite
਀           䄀 white inside something very black? – Rice in a cooking-pot.਀          㰀⼀瀀㸀

Maman guinée joue du violon, tous les blancs dansent? – La਀洀愀爀洀椀琀攀 搀攀 爀椀稀 猀甀爀 氀攀 昀攀甀⸀㰀⼀戀㸀㰀⼀椀㸀㰀戀爀㸀 A Guinée mama plays the violin and਀愀氀氀 琀栀攀 眀栀椀琀攀猀 搀愀渀挀攀㼀 ጀ†吀栀攀 挀漀漀欀椀渀最ⴀ瀀漀琀 漀昀 爀椀挀攀 漀渀 琀栀攀 昀椀爀攀㰀⼀瀀㸀

More਀爀攀挀攀渀琀氀礀 琀栀攀 䴀愀甀爀椀琀椀愀渀ⴀ戀漀爀渀 渀漀瘀攀氀椀猀琀 䰀攀 䌀氀稀椀漀 栀愀猀 愀氀猀漀 搀漀挀甀洀攀渀琀攀搀 䴀愀甀爀椀琀椀愀渀 riddles ( or sirandanes as they are known), many of which are identical਀琀漀 琀栀漀猀攀 挀漀氀氀攀挀琀攀搀 戀礀 䈀愀椀猀猀愀挀⸀ 刀椀搀搀氀攀猀 愀爀攀Ⰰ 愀挀挀漀爀搀椀渀最 琀漀 䰀攀 䌀氀稀椀漀Ⰰ 愀氀猀漀 㰀椀㸀洀漀琀猀 clés, key words, which ‘permit the memory to open and reveal a hidden਀琀爀攀愀猀甀爀攀ᤀ⸠ 匀漀洀攀琀椀洀攀猀Ⰰ 栀攀 愀爀最甀攀猀Ⰰ 琀栀攀椀爀 洀攀猀猀愀最攀 椀猀 瀀愀爀琀椀挀甀氀愀爀氀礀 洀礀猀琀攀爀椀漀甀猀 愀渀搀 suggestive, as in this riddle commentary on kinship: