Tag Archives: lexicon

Gadzooks, Gosh, Tarnation and the F-Bomb

Blimey! How our lexicon of foul language has evolved! Up to a few hundred years ago most swear words and oaths bore some connection to God, Jesus or other religious figure or event. But the need to display some level of dubious piety and avoid a lightening bolt from the blue led many to invent and mince a whole range of creative euphemisms. Hence, even today, we still hear words like “drat”, “gosh”, “tarnation”, “by george”, “by jove”, “heck”, “strewth”, “odsbodikins”, “gadzooks”, “doggone”.

More recently our linguistic penchant for shock and awe stems mostly from euphemistic — or not — labels for body parts and bodily functions — think: “freaking” or “shit” or “dick” and all manner of “f-words” and “c-words”. Sensitivities aside, many of us are fortunate enough to live in nations that have evolved beyond corporal or even capital punishment for uttering such blasphemous or vulgar indiscretions.

So, the next time your drop the “f-bomb” or a “dagnabbit” in public reflect for a while and thank yourself for supporting your precious democracy over the neighboring theocracy.

From WSJ:

At street level and in popular culture, Americans are freer with profanity now than ever before—or so it might seem to judge by how often people throw around the “F-bomb” or use a certain S-word of scatological meaning as a synonym for “stuff.” Or consider the millions of fans who adore the cartoon series “South Park,” with its pint-size, raucously foul-mouthed characters.

But things might look different to an expedition of anthropologists visiting from Mars. They might conclude that Americans today are as uptight about profanity as were our 19th-century forbears in ascots and petticoats. It’s just that what we think of as “bad” words is different. To us, our ancestors’ word taboos look as bizarre as tribal rituals. But the real question is: How different from them, for better or worse, are we?

In medieval English, at a time when wars were fought in disputes over religious doctrine and authority, the chief category of profanity was, at first, invoking—that is, swearing to—the name of God, Jesus or other religious figures in heated moments, along the lines of “By God!” Even now, we describe profanity as “swearing” or as muttering “oaths.”

It might seem like a kind of obsessive piety to us now, but the culture of that day was largely oral, and swearing—making a sincere oral testament—was a key gesture of commitment. To swear by or to God lightly was considered sinful, which is the origin of the expression to take the Lord’s name in vain (translated from Biblical Hebrew for “emptily”).

The need to avoid such transgressions produced various euphemisms, many of them familiar today, such as “by Jove,” “by George,” “gosh,” “golly” and “Odsbodikins,” which started as “God’s body.” “Zounds!” was a twee shortening of “By his wounds,” as in those of Jesus. A time traveler to the 17th century would encounter variations on that theme such as “Zlids!” and “Znails!”, referring to “his” eyelids and nails.

In the 19th century, “Drat!” was a way to say “God rot.” Around the same time, darn started when people avoided saying “Eternal damnation!” by saying “Tarnation!”, which, because of the D-word hovering around, was easy to recast as “Darnation!”, from which “darn!” was a short step.

By the late 18th century, sex, excretion and the parts associated with same had come to be treated as equally profane as “swearing” in the religious sense. Such matters had always been considered bawdy topics, of course, but the space for ordinary words referring to them had been shrinking for centuries already.

Chaucer had available to him a thoroughly inoffensive word referring to the sex act, swive. An anatomy book in the 1400s could casually refer to a part of the female anatomy with what we today call the C-word. But over time, referring to these things in common conversation came to be regarded with a kind of pearl-clutching horror.

By the 1500s, as English began taking its place alongside Latin as a world language with a copious high literature, a fashion arose for using fancy Latinate terms in place of native English ones for more private matters. Thus was born a slightly antiseptic vocabulary, with words like copulate and penis. Even today modern English has no terms for such things that are neither clinical nor vulgar, along the lines of arm or foot or whistle.

The burgeoning bourgeois culture of the late 1700s, both in Great Britain and America, was especially alarmist about the “down there” aspect of things. In growing cities with stark social stratification, a new gentry developed a new linguistic self-consciousness—more English grammars were published between 1750 and 1800 than had ever appeared before that time.

In speaking of cooked fowl, “white” and “dark” meat originated as terms to avoid mention of breasts and limbs. What one does in a restroom, another euphemism of this era, is only laboriously classified as repose. Bosom and seat (for the backside) originated from the same impulse.

Passages in books of the era can be opaque to us now without an understanding of how particular people had gotten: In Dickens’s “Oliver Twist,” Giles the butler begins, “I got softly out of bed; drew on a pair of…” only to be interrupted with “Ladies present…” after which he dutifully says “…of shoes, sir.” He wanted to say trousers, but because of where pants sit on the body, well…

Or, from the gargantuan Oxford English Dictionary, published in 1884 and copious enough to take up a shelf and bend it, you would never have known in the original edition that the F-word or the C-word existed.

Such moments extend well into the early 20th century. In a number called “Shuffle Off to Buffalo” in the 1932 Broadway musical “42nd Street,” Ginger Rogers sings “He did right by little Nelly / with a shotgun at his bell-” and then interjects “tummy” instead. “Belly” was considered a rude part of the body to refer to; tummy was OK because of its association with children.

Read the entire story here.

I Literally Can’t Even

Literally… Can’t Even…

By the time you read this the title phrase will be a cringeworthy embarrassment to the teens that popularized it just over a month ago. Ok, so I’m exaggerating slightly, but you get my point — new slang enters, and leaves, our pop lexicon faster than the rise and fall of internet hasbeen Psy. The simplified life-cycle goes something like this:

Week 1: Teens co-opt and twist an existing word or phrase to a new meaning.

Week 2: Parents of teens scratch heads; teens’ obfuscation is successful.

Week 3: Social networks both on and offline amplify the new “meme”.

Week 4: Corporations targeting the teen demographic adopt the meme themselves.

Week 5: Mass media picks up the story.

Week 5 + 1 Day: New meme is old news; teens move on; parents continue head-scratching; corporate ad agencies still promoting old meme are fired.

To an amateur linguist this process is fascinating. Though, I must admit to heart palpitations — metaphorical ones — when I hear people, young and old, use and misuse “literally”. As for “can’t even”, well, its time has already passed. Next!

From NYT:

A little paradox of Internet celebrity is that a YouTube personality can amass millions upon millions of young fans by making it seem as if he’s chatting with each of them one to one. Tyler Oakley, a 26-year-old man who identifies as a “professional fangirl,” is a master of the genre. He has nerd glasses, pinchable cheeks, a quiff he dyes in shades of blue and green and more YouTube subscribers than Shakira. Some of his teenage admirers have told him that he is the very first gay person that they have ever seen. He models slumber party outfits and gushes over boy bands, giving the kids who watch him from their bedrooms a peek into a wider world.

In March 2012, Oakley faced the camera, balanced a laptop in his sightline and paged through a photo set of the curly-haired actor Darren Criss, whose turn as a hunky gay singer in “Glee” made him a fixture of teenage dreams. In these new pictures, which had just been leaked online, Criss was lounging on a beach wearing only a pair of low-rise jeans and a layer of perspiration. Oakley’s videotaped reaction was exultant. “I literally cannot even,” he informed his fans. “I can’t even. I am unable to even. I have lost my ability to even. I am so unable to even. Oh, my God. Oh, my God!”

Soon, Oakley’s groupies had immortalized his soliloquy in GIF form: “Can’t” upon “can’t,” looping forever. Now they could conjure the GIF whenever they felt so overcome by emotion that they couldn’t even complete a thought. Oakley was not the first to recast the sentence fragment “I can’t even” as a stand-alone expression. He just helped shepherd it out of the insular realm of Tumblr fandom and into the wide-open Internet. That June, John Green, a writer of fiction for young adults who was awed by the praise for his breakaway novel, “The Fault in Our Stars,” pledged to “endeavor to regain my ability to even.” When Kacey Musgraves, then 25, won Best Country Album at the 2014 Grammy Awards, besting Taylor Swift, she began her acceptance speech with two “I can’t evens.” And this season, “Saturday Night Live” aired a sketchin which a trio of nasal-toned interns “literally couldn’t even” deal with their office’s frigid temperature. The punch line lands when they screech at a fourth intern to close her window, and the audience sees her sitting helplessly at her desk, both arms suspended in plaster casts. “I can’t,” she whimpers. “I literally cannot.”

For those who grew up when teenagers didn’t “can’t,” the phrase might register as a whimper, as if millennials have spun their inability to climb the staircase out of the parental basement into a mantra. At least the Valley Girls of the 1980s and ’90s, who turned every statement into a question, and the vocal-fried pop tarts of the early 2000s, who growled almost inaudibly, had the decency to finish their sentences. Kids today, it seems, are so mindless that they can’t even complete their verb phrases.

But if you really believe that teenage girls (and boys) don’t know what they’re talking about, it’s more likely that they just don’t want you to know what they’re talking about. Teenagers may not be able to drive or vote or stay out past curfew or use the bathroom during school hours without permission, but they can talk. Their speech is the site of rebellion, and their slang provides shelter from adult scrutiny.

Guarding the secret code has become tricky, though. Teenagers used to listen for the telltale click of a parent eavesdropping on the telephone line. Now somebody (or something) is monitoring every keystroke. If an adult picks up a scrap of inscrutable teenager-speak via text or Twitter or a whisper wafting up from the back seat, she can access its definition on Urban Dictionary or Genius (which explains that “?‘I can’t even’ is a state of speechlessness too deep to even express in any other words”). In 1980, the linguist David Maurer, author of “The Big Con,” a book about underworld slang, wrote that “the migration of words from subculture to dominant culture is sparked by the amount of interaction between these groups,” as well as by the dominant group’s “interest in the behavior patterns” of the other. Parents are perennially nosy about what their teenagers are saying, and nowadays they can just Google it.

Read the entire article here.

The Demise of the Language of Landscape

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In his new book entitled Landmarks author Robert Macfarlane ponders the relationship of words to our natural landscape. Reviewers describe the book as a “field guide to the literature of nature”. Sadly, Macfarlane’s detailed research for the book chronicles a disturbing trend: the culling of many words from our everyday lexicon that describe our natural world to make way for the buzzwords of progress. This substitution comes in the form of newer memes that describe our narrow, urbanized and increasingly virtual world circumscribed by technology. Macfarlane cited Oxford Junior Dictionary (OJD) as a vivid example of the evisceration of our language of landscape. The OJD has removed words such as acorn, beech, conker, dandelion, heather, heron, kingfisher, pasture and willow. In their place we now find words like attachmentblogbroadbandbullet-pointcelebritychatroomcut-and-pasteMP3 player and voice-mail. Get the idea?

I’m no fundamentalist luddite — I’m writing a blog after all — but surely some aspects of our heritage warrant protection. We are an intrinsic part of the natural environment despite our increasing urbanization. Don’t we all crave the escape to a place where we can lounge under a drooping willow surrounded by nothing more than the buzzing of insects and the babbling of a stream. I’d rather that than deal with the next attachment or voice-mail.

What a loss it would be for our children, and a double-edged loss at that. We, the preceding generation continue to preside over the systematic destruction of our natural landscape. And, in doing so we remove the words as well — the words that once described what we still crave.

From the Guardian:

Eight years ago, in the coastal township of Shawbost on the Outer Hebridean island of Lewis, I was given an extraordinary document. It was entitled “Some Lewis Moorland Terms: A Peat Glossary”, and it listed Gaelic words and phrases for aspects of the tawny moorland that fills Lewis’s interior. Reading the glossary, I was amazed by the compressive elegance of its lexis, and its capacity for fine discrimination: a caochan, for instance, is “a slender moor-stream obscured by vegetation such that it is virtually hidden from sight”, while a feadan is “a small stream running from a moorland loch”, and a fèith is “a fine vein-like watercourse running through peat, often dry in the summer”. Other terms were striking for their visual poetry: rionnach maoim means “the shadows cast on the moorland by clouds moving across the sky on a bright and windy day”; èit refers to “the practice of placing quartz stones in streams so that they sparkle in moonlight and thereby attract salmon to them in the late summer and autumn”, and teine biorach is “the flame or will-o’-the-wisp that runs on top of heather when the moor burns during the summer”.

The “Peat Glossary” set my head a-whirr with wonder-words. It ran to several pages and more than 120 terms – and as that modest “Some” in its title acknowledged, it was incomplete. “There’s so much language to be added to it,” one of its compilers, Anne Campbell, told me. “It represents only three villages’ worth of words. I have a friend from South Uist who said her grandmother would add dozens to it. Every village in the upper islands would have its different phrases to contribute.” I thought of Norman MacCaig’s great Hebridean poem “By the Graveyard, Luskentyre”, where he imagines creating a dictionary out of the language of Donnie, a lobster fisherman from the Isle of Harris. It would be an impossible book, MacCaig concluded:

A volume thick as the height of the Clisham,

A volume big as the whole of Harris,

A volume beyond the wit of scholars.

The same summer I was on Lewis, a new edition of the Oxford Junior Dictionarywas published. A sharp-eyed reader noticed that there had been a culling of words concerning nature. Under pressure, Oxford University Press revealed a list of the entries it no longer felt to be relevant to a modern-day childhood. The deletions included acornadderashbeechbluebellbuttercupcatkinconkercowslipcygnetdandelionfernhazelheatherheronivykingfisherlarkmistletoenectarnewtotterpasture and willow. The words taking their places in the new edition included attachmentblock-graphblogbroadbandbullet-pointcelebritychatroomcommitteecut-and-pasteMP3 player and voice-mail. As I had been entranced by the language preserved in the prose?poem of the “Peat Glossary”, so I was dismayed by the language that had fallen (been pushed) from the dictionary. For blackberry, read Blackberry.

I have long been fascinated by the relations of language and landscape – by the power of strong style and single words to shape our senses of place. And it has become a habit, while travelling in Britain and Ireland, to note down place words as I encounter them: terms for particular aspects of terrain, elements, light and creaturely life, or resonant place names. I’ve scribbled these words in the backs of notebooks, or jotted them down on scraps of paper. Usually, I’ve gleaned them singly from conversations, maps or books. Now and then I’ve hit buried treasure in the form of vernacular word-lists or remarkable people – troves that have held gleaming handfuls of coinages, like the Lewisian “Peat Glossary”.

Not long after returning from Lewis, and spurred on by the Oxford deletions, I resolved to put my word-collecting on a more active footing, and to build up my own glossaries of place words. It seemed to me then that although we have fabulous compendia of flora, fauna and insects (Richard Mabey’s Flora Britannica and Mark Cocker’s Birds Britannica chief among them), we lack a Terra Britannica, as it were: a gathering of terms for the land and its weathers – terms used by crofters, fishermen, farmers, sailors, scientists, miners, climbers, soldiers, shepherds, poets, walkers and unrecorded others for whom particularised ways of describing place have been vital to everyday practice and perception. It seemed, too, that it might be worth assembling some of this terrifically fine-grained vocabulary – and releasing it back into imaginative circulation, as a way to rewild our language. I wanted to answer Norman MacCaig’s entreaty in his Luskentyre poem: “Scholars, I plead with you, / Where are your dictionaries of the wind … ?”

Read the entire article here and then buy the book, which is published in March 2015.

Image: Sunset over the Front Range. Courtesy of the author.

Of Shoons, Shakes and Slumgullions

One of the keys to the success of the English language is its flexibility — over time it has proven rather adept at borrowing and stealing from other languages. Of course, as the language adapts and evolves it sheds lesser used words and phrases. For writers this is a double-edged sword — new words enable an author to delve into the contemporary lexicon, but some beautiful old words fall out of favor and daily use.

From the New York Times:

A “slumgullion” is a stew of leftovers, and while the dish has been described as “watery,” the word itself is delectably unusual and juicily descriptive. Alas, you won’t find many people cooking up anything with that name these days, so we’re denied the pleasure of rolling the lovely sounds of slumgullion — let alone its more questionable flavors — on the tongue.

A certain kind of novelist — my kind — looks for opportunities to use such interesting bits of English, and one way to do that is to set a novel in the past. My predilection for stories of squalor and glitter, hysteria and moral complexity, led me most recently to 19th-century New York, which offers interesting parallels to the present-day city, and a dragon’s pile of linguistic loot. It’s an era recent enough that its speech is still comprehensible, but it’s sufficiently long ago to offer up lost words and expressions that reinvigorate language and make the past come alive.

The problem for a writer who has seized upon a story set in the past is how to create a narrative voice that conjures the atmosphere of its historical times, without alienating contemporary readers. It’s a complicated sort of ventriloquism. The worst perils and most intense attractions lie in dictionaries.

The Oxford English Dictionary, for example, guardian of the mother tongue, regularly offers up such treasures as “I’ll misguggle your thrapple! I’ll mashackerel ye to rights!” This dazzling way of saying, “I’ll choke you,” was written by the Scottish playwright James Bridie, in his 1930 play “The Anatomist,” using language first documented a hundred years earlier.

My favorite of all dictionaries is “The Secret Language of Crime” a mother lode of forgotten words. This little volume was published in 1859 by the New York City police chief, George W. Matsell. Mr. Matsell was also the editor of a newspaper, The Police Gazette, which fed New Yorkers a steady diet of murder, rape, abduction and thievery.

He kept notes on the slang of thugs and criminals, and wrote up a guide, so his cops and reporters would know what the bad guys were talking about when they went on like this: “He told Jack as how Bill had flimped a yack, and pinched a swell of a spark-fawney.” In other words, “He told Jack that Bill had hustled a person, and obtained a watch, and also robbed a well-dressed gentleman of a diamond ring.”

According to Mr. Matsell, a “shickster” was a woman. “A shake” was a prostitute. A “shoon” was a lout. And that’s just three words in the “sh” section. His “vocabulum” or “Rogue’s Lexicon” is a mash-up of all the languages that have made American English the vibrant and evolving idiom we know, with words derivative of Irish, Italian, Yiddish, Spanish, German. “Shickster,” for example, is probably how Chief Matsell heard “shiksa,” the Yiddish word for a non-Jewish woman. A “fen” he defines as “a common woman” but in Ireland, a “fen” is a boggy marsh — which gives us a good idea of how an insult seeds itself and germinates on new soil.

But woe to the novelist who succumbs entirely to such specialized vernacular, whether it be a “rogue’s lexicon,” modern street slang or regional dialect. There’s no faster way to alienate a reader than to write, as Matsell did in his lexicon: “Jack speeled to the crib, when he found Johnny Doyle had been pulling down sawney for grub.” (Translation: “Jack fled home and saw that Johnny had stolen some bacon to eat.”) That’s far too much “vocabulum” to wade through, and readers have little patience for such thickets of gobbledygook. Novels overburdened in this way make good projectiles for heaving at the wall.

The best writers — from Charles Frazier in “Cold Mountain” to Junot Diaz in “The Brief Wondrous Life of Oscar Wao” — deploy foreign or arcane words sparingly, to give a realistic flavor of an era or a culture, but they also channel the atmosphere of time and place through the rhythms of speech.

“I am an old gimper,” says Knucks, a character in “The Waterworks,” E.L. Doctorow’s novel of New York in the 1870’s. “I must live by wits alone… and the wits tell me a man mustn’t show himself too inquirous about such dark matters.”

Reading this bit of dialogue, we know we’re not in the present. The word “gimper” is not in common use, but needs no translation. The syntax, too — “a man mustn’t show himself too inquirous” — is stiffer and more formal than a contemporary speaker’s. Certainly Doctorow’s characters talk in a manner true to their times, but his own narrative voice hews to a more contemporary English, and his work never crosses the line into overkill.

For novelists to get a realistic feel for “what it was like” in the past, reading original texts of the period is invaluable. Old newspapers, for example, full of advertisements for medicines like “liver invigorator,” or devices like the “toilet mask,” and headlines screaming about the crimes of a certain “Hag of Misery,” or “The Ghoul of Chatham Street,” help color the imagination with a sense of how the world looked and sounded, what people dreamed of and feared, how they went about their lives while wearing cage crinolines, deerstalker hats and whalebone corsets, before they were turned all sepia-tinted by time.

By perusing period novels, magazines, advice books, letters, medical texts and sermons, contemporary novelists can conjure up a fresh narrative voice not only out of the vocabulary of bygone days, but from the rhythms of speech, the values of an era. A 19th-century “swell” is not going to speak the “secret language of crime,” but will have his own “vocabulum,” one that will reflect a worldview. For example, the Rev. Charles Loring Brace, who founded the Children’s Aid Society in 1853, referred to homeless children as a “happy race of little heathens,” or “flibbertigibbets,” which reflected the 19th-century belief that such children were lighthearted and “merry.”

Read the entire article here.

Frankenlanguage

An interesting story on the adoption of pop culture words into our common lexicon. Beware! The next blockbuster sci-fi movie that you see may influence your next choice of noun.

From the Guardian:

Water cooler conversation at a dictionary company tends towards the odd. A while ago I was chatting with one of my colleagues about our respective defining batches. “I’m not sure,” he said, “what to do about the plural of ‘hobbit’. There are some citations for ‘hobbitses’, but I think they may be facetious uses. Have any thoughts?”

I did: “We enter ‘hobbit’ into the dictionary?” You learn something new every day.

Pop culture is a goldmine of neologisms, and science fiction and fantasy is one rich seam that has been contributing to English for hundreds of years. Yes, hundreds: because what is Gulliver’s Travels but a fantasy satire of 18th-century travel novels? And what is Frankenstein but science fiction? The name of Mary Shelley’s monster lives on both as its own word and as a combining form used in words like “frankenfood”. And Swift’s fantasy novel was so evocative, we adopted a number of words from it, such as “Lilliputian”, the tongue-twisting “Brobdingnagian”, and – surprise – “yahoo”.

Don’t be surprised. Many words have their origins in science fiction and fantasy writing, but have been so far removed from their original contexts that we’ve forgotten. George Orwell gave us “doublespeak”; Carl Sagan is responsible for the term “nuclear winter”; and Isaac Asimov coined “microcomputer” and “robotics”. And, yes, “blaster”, as in “Hokey religions and ancient weapons are no match for a good blaster at your side, kid.”

Which brings us to the familiar and more modern era of sci-fi and fantasy, ones filled with tricorders, lightsabers, dark lords in fiery mountain fortresses, and space cowboys. Indeed, we have whole cable channels devoted to sci-fi and fantasy shows, and the big blockbuster movie this season is Star Trek (again). So why haven’t we seen “tricorder” and “lightsaber” entered into the dictionary? When will the dictionary give “Quidditch” its due? Whither “gorram”?

All fields have their own vocabulary and, as often happens, that vocabulary is often isolated to that field. When an ad executive talks about a “deck”, they are not referring to the same “deck” that poker players use, or the same “deck” that sailors work on. When specialized vocabulary does appear outside of its particular field and in more general literature, it’s often long after its initial point of origin. This process is no different with words from science fiction and fantasy. “Tricorder”, for instance, is used in print, but most often only to refer to the medical diagnostic device used in the Star Trek movies. It’s not quite generic enough to merit entry as a general vocabulary word.

In some cases, the people who gave us the word aren’t keen to see it taken outside of its intended world and used with an extended meaning. Consequently, some coinages don’t get into print as often as you’d think: “Jedi mind trick” only appears four times in the Corpus of Contemporary American English. That corpus contains over 450 million indexed words.

Savvy writers of each genre also liked to resurrect and breathe new life into old words. JRR Tolkien not only gave us “hobbit”, he also popularized the plural “dwarves”, which has appeared in English with increasing frequency since the publication of The Hobbit in 1968. “Eldritch”, which dates to the 1500s, is linked in the modern mind almost exclusively to the stories of HP Lovecraft. The verb “terraform” that was most recently popularized by Joss Whedon’s show Firefly dates back to the 1940s, though it was uncommon until Firefly aired. Prior to 1977, storm troopers were Nazis.

Even new words can look old: JK Rowling’s “muggle” is a coinage of her own devising – but there are earlier, rarer “muggles” entered into the Oxford English Dictionary (one meaning “a tail resembling that of a fish”, and another meaning “a young woman or sweetheart”), along with a “dumbledore” (“a bumble-bee”) and a “hagrid” (a variant of “hag-ridden” meaning “afflicted by nightmares”).

More interesting to the lexicographer is that, in spite of the devoted following that sci-fi and fantasy each have – of the top 10 highest-grossing film franchises in history, at least five of them are science fiction or fantasy – we haven’t adopted more sci-fi and fantasy words into general use. Perhaps, in the case of sci-fi, we just need to wait for technology to improve to the point that we can talk with our co-workers about jumping into hyperspace or hanging out on the holodeck.

Read the entire article here.