But it’s not nearly enough. Sure, coming to Paris with that type of background will give you the immediate ability to function in the city. What’s in that sandwich you might wonder? No problem – jambon, fromage. Beginner stuff. But then you have to order it – “…je…voudrais…” oops, first mistake. Parisians don’t say “je voudrais” – they say “je prend”. And you would certainly not learn that out of a French textbook for foreigners.
Once you get past that first freak-out of being too embarrassed to say so much as “bonjour” in French because you know the minute you say it, you’ll be pinned for a foreigner, or worse a foreigner with the hint of an American accent...you start making progress. But though you get better, it’s an uphill battle. Sure, I have no difficulty understanding Madame-my-host-mother-Petillault; heck, I’ve even gotten used to Charlotte’s ability to come up with more sentences in a minute than I might in a day. But, there’s always that catch that reminds you of how hopelessly impossible it is to completely master the language. Usually with comprehension it comes down to slang, like the slang of my host-brother – it makes you wonder if that language you’ve been learning was actually French. French, in fact, is language that takes on three distinct forms – the oral version, the written version, and the literary version. Having learned French out of a text-book, you could say I’m pretty good at understanding the written version – the type of French that turns up on signs, restaurant menus, even newspapers. It’s standard French, nothing to unexpected after eight years of French class.
But as soon as you open a book – it morphs into this crazy thing known as literature. Suddenly, you are confronted by this verb tense you would never have seen if you weren’t particularly fond of Victor Hugo’s possibly unnecessary digressions. Passé Simple. Used only in literature. Why? Because the French clearly want to make their language as exclusive as possible, or so I imagine. And of course the level of vocabulary is nowhere near your comprehension level. But okay, you’ve learned the new conjugations, you’ve looked up the never-heard-of-before-Hugo-vocab, you’re all set, right? Wrong. The problem with reading French literature is that it is plus soutenu then the spoken or standard language – it is full of difficult syntax construction, seemingly random changes in grammar, and the sort of stylized writing you have never encountered. In short, it is a language of its own – taking the rules of the one you learned and twisting them into complex variations full of metaphors, allusions, and word play. Now you no longer need to know just vocab and grammar, you need to understand the language. You need to understand it enough to be able to manipulate it and to understand how others manipulate it. You are forced to grasp the complex flow of the language – the way the structure is built, not just what the words mean, but how are they juxtaposed. I mean, think of all the hard-to-comprehend essays you’ve read and how the authors of those essays turned seemingly simple sentences into a rollercoaster ride of adverbs that are only loosely held together. Now try that in French. See what I mean?
