The Languages of the Cosmere

The Languages of the Cosmere

Dec 06, 2024

Welcome back to our coverage of Dragonsteel Nexus 2024! Yesterday afternoon I had the pleasure of sitting in on a panel featuring VP of Editorial Peter Ahlstrom, Continuity Director Karen Ahlstrom, and Travis Anthony. The panel was an awesome discussion on the use of language to deepen the connection between the story and the reader. Enjoy!

The Cosmere, Brandon Sanderson’s sprawling interconnected universe, has captivated fans around the world. Sanderson is known for intricate plots and deep characters, and these elements are paired with the rich linguistic tapestries that define each world. 

Sanderson’s approach to language in the Cosmere is as much an art form as it is a narrative device. He weaves together phonetics, cultural history, and connotations to enhance the immersion of his stories. This is how Sanderson constructs and uses languages, names, and swears to add depth to the Cosmere. 

 

 

Constructed Languages vs. Linguistic Inspirations

When it comes to languages, Sanderson opts for a pragmatic approach rather than full-fledged conlanging (constructed languages). 

The most famous fantasy conlangs were created by none other than J. R. R. Tolkien. The constructed languages in The Lord of the Rings are iconic, and they came from Tolkien’s devotion to linguistic authenticity. He created fully functional languages, such as Quenya and Sindarin, for Middle-earth.

Sanderson takes a different approach to language in the Cosmere. His primary goal is to support his narrative, and some of that comes from including languages rooted in Earth cultures, which allows us to relate to these alien fantasy worlds. That technique of bridging the gap between story and reader is one of the hallmarks of Sanderson’s career. 

While Tolkien’s languages are meticulously structured, Sanderson uses phonetic and cultural modeling to suggest linguistic cohesion without constructing entire grammatical systems.

Cultural Modeling

Each world in the Cosmere draws linguistic influences from real-world languages. It’s pretty fascinating to notice these connections when you read (or reread) the books. As it is on our planet, understanding the language of a culture deepens your connection to it (which is a Cosmere metaphysical element we’ll discuss later).

Here are some brief observations on the cultural influences associated with a few planets in the Cosmere:

  • Scadrial: The dominant language of the Final Empire has a French-inspired phonology, reflecting a sense of aristocracy and centralization. This contrasts with dialects and slang from other regions, like Wayne’s salty vernacular, which incorporates modern swears borrowed from Earth.
  • Roshar: Names and terms on Roshar frequently exhibit Hebrew and Arabic influences, especially for the Fused and other ancient entities. Sanderson collaborated with his team, particularly Karen, to create names that balance cultural echoes with alien fantasy aesthetics.
  • Sel: Language on Sel, such as that spoken in Elantris, emphasizes pronounced vowels (e.g., Rao) and takes inspiration from Korean and Chinese linguistic structures, creating a mix of phonetic clarity and cultural depth.
  • Nalthis: In Warbreaker, the act of Awakening requires precision in one’s native language, adding a linguistic constraint to the magic system that feels both natural and narratively purposeful. The Cosmere doesn’t have a lot of magic systems that are hindered by language, or even dependent on it. Most of the time the language assists the magic, so it’s fun to see this constraint on Nalthis and how it affects the world.

Linguistic Cohesion and Phonetics

Sanderson makes sure the names and languages across the Cosmere maintain a degree of coherence with languages we already know. That way, it’s easy for readers to understand and they don’t get pulled out of the narrative. By relying on vowel-consonant combinations that are naturally found in human speech, he makes his invented languages feel intuitive yet distinct. 

Certain languages, such as those tied to magic systems (e.g., Awakening or AonDor), focus on sound as much as meaning. The clear enunciation of syllables is essential to the functioning of the magic. Again, we’re hitting on that idea of purposefully connecting the narrative to the language. 

Ultimately this focus on phonetics allows readers to connect emotionally with unfamiliar terms without requiring an understanding of a constructed grammar. 

Swearing and Cultural Values

We arrive at the best part! Just as swearing and slang reveal a lot about humans on Earth, the swearing conventions of Cosmere cultures reveal much about their societies. Swears are designed to coincide with the world’s mythology, religion, and sociopolitical tensions, and can be a powerful narrative tool to reflect how societies conceptualize power, fear, and reverence. For instance, the respect for Shards or storms on Roshar versus the grounded practicality of Scadrial’s industrial-age swearing.

On Roshar, “storming” comes from the ever-present threat of highstorms, reflecting the planet’s elemental chaos and cultural importance of Stormlight. On Scadrial, phrases like “Rust and Ruin” echo the cosmological truths of the world by referencing Ruin, one of the Shards.

Sanderson occasionally uses real-world swears, as seen with Wayne, to provide immediacy and relatability, especially in characters tied to more Earthlike cultures.

Language and Magic: A Synergistic Relationship

Language in the Cosmere often plays a critical role in accessing or enhancing magic.

Magic on many planets, such as Sel or Scadrial, is tied to geographical and cultural roots. On Sel, the use of AonDor is geographically locked, and the symbols of the magic system are derived from the local language. The longer a culture resides in a location, the stronger its Connection to the land, influencing both linguistic and magical evolution.

In Warbreaker, Awakening requires precise pronunciation in one’s native language, emphasizing the magical weight of words and sounds. This constraint highlights the deep interplay between culture, identity, and power.

Evolving Language: Worldhopping and Cultural Exchange

Worldhopping, a central feature of the Cosmere, introduces linguistic diffusion. Characters who traverse multiple planets often carry linguistic markers that set them apart. Discerning readers looking for Worldhoppers across Cosmere books will be able to spot them when a character uses language that isn’t local. So, yes, those are intentional—Brandon puts those Easter eggs in there for you to find.

The Reader’s Role in Pronunciation

Another interesting part of this conversation is pronunciation. While some authors might say that all pronunciation needs to be consistent to retain meaning, Sanderson has other ideas.

Brandon’s philosophy toward pronunciation underscores the reader’s ownership of the story. He has stated that it doesn’t matter how readers pronounce names like Kelsier or Szeth, as long as they engage with the world. Audiobook narrators follow a standard, but Sanderson’s open-ended approach empowers readers to be active participants in the story.

Conclusion: A Living Linguistic Tapestry

The languages of the Cosmere are living, evolving reflections of their cultures and histories. In many cases, they’re also reflections of our own cultures and histories. By blending real-world linguistic principles with imaginative worldbuilding, Sanderson’s language deepens immersion and adds texture to his universe. Whether it is the precise enunciation required for magic on Nalthis or the Rosharan swears that reveal their fears and values, every word carries weight in the Cosmere.

For fans and scholars alike, exploring the languages of the Cosmere is a reminder of how words shape worlds—both fictional and our own.

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