[Lexicog] Shakespeare and words

Wed Sep 24 14:09:58 UTC 2014

Is there a similar figure for the French language?  It has always struck me that French literature, unlike English or German or Italian or Russian or Spanish, does not have a single dominant writer.

Fred Shapiro

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From: lexicographylist at yahoogroups.com [lexicographylist at yahoogroups.com]
Sent: Tuesday, September 23, 2014 5:21 PM
To: lexicographylist at yahoogroups.com
Subject: Re: [Lexicog] Shakespeare and words

Dear Fritz,

Thank you for forwarding the article about Bard. This article is very interesting. I can
mention that in many national literatures appeared such outstanding personalities  as
Shakespeare and Bard who influenced the language and phraseology. Usually
they appeared in the period of formation of national languages. For Germans such
role played most probably M. Luther (in his Bible translation) and Goethe, for Italians
Dante, for Russians Karamzin, Pushkin and Griboedov, for Jews (i.e. for Hebrew
language) - original Hebrew Bible and Ch. N. Bialik, for Yiddish Mendele Moycher
Sforim (Sh. Abramowich) and Shalom Aleychem (Sh. Rabinowich).

Best wishes,

Hayim Sheynin

On Tue, Sep 23, 2014 at 12:26 PM, 'Dr. Fritz Goerling' fritz.goerling at yahoo.de<mailto:fritz.goerling at yahoo.de> [lexicographylist] <lexicographylist at yahoogroups.com<mailto:lexicographylist at yahoogroups.com>> wrote:

I thought this would interest you.

Fritz Goerling

a man of fire-new words

Celebrating the Bard’s 450th birthday

by Richard Lederer

On April 23, we will celebrate the 450th birthday of the greatest word-maker who ever trod the earthly stage. Of the 20,138 basewords that Shakespeare employs in his plays, sonnets, and other poems, his is the first known use of over 1,700 of them! The most verbally innovative of our authors, Shakespeare made up more than 8.5 percent of his written vocabulary. Reading his works is like witnessing the birth of modern English.
Among his verbal inventions arc: auspicious, bedroom, bump, dishearten, dwindle, hurry, lapse, lonely, majestic, road, sneak, and useless. So great is his influence on his native tongue that we find it hard to imagine a time when these words did not exist:
Oscar Wilde once quipped, “Now we sit through Shakespeare in order to recognize the quotations.” Unrivaled in so many other ways in matters verbal, Shakespeare is unequaled as a phrasemaker.
A student who attended a performance of “Hamlet” came away complaining that the play “was nothing more than a bunch of clichés.” The reason for this common reaction is that so many of the memorable expressions in “Hamlet” have become proverbial. In that one play alone were born: brevity is the soul of wit; there’s the rub; to thine own self be true; it smells to heaven; the very witching time of night; the primrose path; though this be madness, yet there is method in it; dog will have his day; the apparel oft proclaims the man; neither a borrower nor a lender be; frailty, thy name is woman; something is rotten in the state of Denmark; more honored in the breach than the observance; hoist with his own petard; the lady doth protest too much; to be or not to be; sweets for the sweet; the be-all and end-all; to the manner born, and, more in sorrow than in anger.
Cudgel your brain, and you can append a sample of everyday, idiomatic phrases from other Shakespearean plays: if you knit your brow and wish that this disquisition would vanish into thin air because it is Greek to you, you are quoting William Shakespeare in all his infinite variety. If you point the finger at strange bedfellows and blinking -idiots, you are converting Shakespeare’s coinages into currency. If you have seen better days in your salad days, when you wore your heart on your sleeve, you are, whether you know it or not, going from Bard to verse.
If you break the ice with one fell swoop, if you never stand on ceremonies, if you play it fast and loose until the crack of doom, if you paint the lily, if you hope for a plague on both houses, if you are more sinned against than sinning because you have all been eaten out of house and home by your own flesh and blood (the most unkindest cut of all), if you haven’t slept a wink and are breathing your last because you’re in a pickle, if you carry within you the milk of human kindness and a heart of gold (even though you know that all that glisters is not gold), if you laugh yourself into stitches at too much of a good thing, if you make a virtue of necessity, if you know that the course of true love never did run smooth, and if you won’t budge an inch—why, if the truth be told and the truth will out, what the dickens, in a word, right on!, be that as it may, the game is up — you are, as luck would have it, standing on that tower of strength of phrasemakers, William Shakespeare.
The etymologist Ernest Weekley said of Shakespeare, “His contribution to our phraseology is ten times greater than that of any writer to any language in the history of the world.” The essayist and novelist Walter Pater exclaimed, “What a garden of words!” In Sonnet CXVI, the Bard himself wrote, “If this be error and upon me proved,/I never writ, nor no man ever loved.” If Shakespeare had not lived and written with such a loving ear for the music of our language, our English tongue would be immeasurably the poorer. No day goes by that we do not speak and hear and read and write his legacy.
(Reprinted from Mensa Bulletin, April/May 2014, ed. Roger Brooks)

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