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Grammar Usage

Grammar in real time

Q: I recently attended a seminar for court stenographers. One section was entitled, “Realtime and You Is Not a Conflict.” Shouldn’t the verb be “are” and not “is”? I am required to attend these seminars to maintain my license, but perhaps the educators may need some education!

A: Not so fast. The educators know a thing or two.

This is one of those cases that seem to trump the rules of subject-verb agreement.

In fact, we suspect that the educators (or the organizers of the seminar) liked the title for just that reason—it gets one’s attention.

Here, “real time and you” is not a compound subject that takes a plural verb (as would be the case with “Real time and you are often in conflict”).

In this case, “real time and you” encompasses one idea and is considered a single entity. And when two or more subjects amount to a single thing, then the verb is singular.

So, it’s correct to say “Real time and you is not a conflict.” A similar sentence may make it easier for you to see: “Real time and you IS the subject of the seminar.”

Here are a few more examples in which two subjects joined by “and” express one idea and require a singular verb:

“Love and marriage is Jane Austen’s favorite theme” … “His chief supporter and best friend is his wife” … “Macaroni and cheese is a staple at the diner” … “Their separation and divorce was a catastrophe.”

Note that in all these cases, a compound subject that would normally be plural is instead singular when it’s equated with a singular thing, person, or idea (“theme” … “wife” … “staple” … “catastrophe”).

If those same subjects were NOT identified with a singular thing, they would be construed as plural:

“Love and marriage go together like a horse and carriage” … “His chief supporter and best friend were witnesses for the defense” … “Macaroni and cheese belong to different food groups” … “Their separation and divorce were followed by a reconciliation.”

In standard dictionaries, by the way, “real time” is still two words when used as a noun; the adjective is hyphenated: “real-time.”

But a Google search in real time finds that millions of people like to mush together the noun and adjective as “realtime.”   

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Grammar Usage

Back to the future

Q: I’m among the masses who use “going to” and “will” interchangeably. I didn’t think much about it until a friend from China asked me for help on her ESL homework. What is the difference between these two usages?

A: The most common way of expressing a future action is by using “will” plus an infinitive (“I will study tomorrow”).

But there’s another way: “be going” plus an infinitive (“I am going to study tomorrow”).

This second method, the Oxford English Dictionary says, has been in use in one sense or another since the 1400s.

At first, according to the OED, it meant on the way to, preparing to, or tending to, but it’s now used as a more colloquial way of “expressing immediate or near futurity.”

Both methods are perfectly legitimate, though there are subtle and not-so-subtle differences between them.

The most obvious is that “will” is followed by a bare infinitive (like “study”) while “be going” is followed by “to” plus the infinitive.

Another obvious difference is that “will” stays the same through all conjugations (“I will … he will … they will study”), while “be going” does not (“I am going… he is going … they are going to study”).

The Cambridge Grammar of the English Language goes into considerable detail about “will” versus “be going.”

We’ll try to summarize, using our own examples (with apologies to the authors, Rodney Huddleston and Geoffrey K. Pullum).

(1) As far as style goes, “be going” is “relatively informal,” while “will” is neutral. So “I’m going to call her” may sound more casual than “I will call her.”

(2) A wider variety of expression is possible with “be going” than with “will.” For example, “I may be going to study,” or (casting the future into the past) “I was going to study,” “I had been going to study,” and so on.

(3) There’s often more immediacy with “be going” than with “will.” A sentence like “You’re going to fall!” implies NOW! It conveys more urgency than “You will fall!”

(4) Sometimes “be going” implies a simple intention (“He’s not going to come”) while “will” implies willingness or volition (“He won’t come”).

There’s another question hidden in this discussion. We can express future time in English, but do we really have a future “tense” in the strict sense of the word? 

Grammarians have traditionally viewed “will” as the sign of the future tense in English.

But modern academic grammarians take another view. They believe that technically English has no future tense, only present and past.

These grammarians say the word “will” in a future construction is an auxiliary verb in the same category as “can,” “may,” “must,” and others.

Future actions, they say, are expressed by tweaking the infinitive or some form of the present tense with an auxiliary (“He will leave”), or with “be going” (“He is going to leave”), or with an adverb or adverbial phrase (“He leaves tomorrow,” “He’s leaving at 4”).

And sometimes, no tweaking is necessary. A sentence like “If he goes, I go” implies future action but uses only present-tense verbs.

Here’s what scholars of grammar are saying today about tense and future time.

In the Cambridge Grammar, Huddleston and Pullum write, “While there are numerous ways of indicating future time, there is no grammatical category that can be properly analysed as a future tense.”

In The Oxford English Grammar, Sidney Greenbaum writes, “Strictly speaking, English has only two tenses of the verb—present and past—if tense is defined as being shown by a verb inflection.”

Future time, Greenbaum says, is most commonly expressed in a verb phrase with “will” or “be going.”

These grammarians have a point. Clearly, if English had a true future tense, we wouldn’t need the auxiliary “will” to express it.

A verb (“know” for example) would have a future form with the inflection built in, so we could say (in effect) “I will know” with a single verb, like speakers of Spanish, Italian, and French.

The Spanish, for example, say it with sabré, the Italians with saprò, and the French with saurai.

But for most of us, the question whether English has a true future tense or merely has other means of expressing future action is largely academic.

The language hasn’t changed, only perhaps our way of looking at it.

For the sake of convenience and readability, here at The Grammarphobia Blog we’ll continue to describe “will” verb phrases as examples of the future tense.

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English language Etymology Grammar Linguistics Usage

Meet Pat today in Manhattan

She’ll be at the Mid-Manhattan branch of the New York Public Library, 40th Street and Fifth Avenue, at 6:30 p.m.

Pat will speak and answer questions about “How Words Evolve: A Darwinian Look at the English Language.” Admission is free.

Most of us don’t think of our language as a living creature. But like the beaks of finches or the wings of fruit flies, English words have evolved over time.

In her talk, Pat will discuss how new words are formed, how old ones change, and even how the dinosaurs among them become extinct.

It’s no accident that the title of her latest book—Origins of the Specious—has a Darwinian flavor!

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English language Etymology Linguistics Usage

Tricks our ears and tongues play on us

Q: I enjoyed your posting about Archie Fisher snow, but I’d like explanations of the various howlers: malapropisms, spoonerisms, mondegreens, and eggcorns.

Over the years, we’ve written on the blog about the tricks our ears and tongues play on us, and about the various species of bloopers that result.

But maybe it’s time to say something about the major ones in a single posting.

In Origins of the Specious, our book about language myths and misconceptions, we devote a chapter (called “In High Dungeon: And Other Moat Points”) to these amusing accidents of nature.

Here’s a sampling from the book:

“We’re often more creative at abusing language than using it, and as you might expect we have names for the various species of abuse. Mixing up two similar-sounding words (like ‘synecdoche’ and ‘Schenectady’) is called a malapropism (from the French mal à propos, or inappropriate). The name was popularized by a character in The Rivals, an eighteenth-century play by Richard Brinsley Sheridan. Just about every time Mrs. Malaprop opens her mouth, she bobbles her words. She wants her niece, Lydia Languish, to marry for money instead of love, but Mrs. M complains that the reluctant young woman is ‘as headstrong as an allegory on the banks of the Nile.’ She regrets that ‘my affluence over my niece is very small,’ but she praises the stubborn Lydia as ‘an object not altogether illegible.’ When her eloquence is called into question, Mrs. Malaprop exclaims: ‘Sure, if I reprehend anything in this world, it is the use of my oracular tongue, and a nice derangement of epitaphs!’

“If malapropisms tickle your fancy, then spoonerisms ought to tickle your funny bone. A spoonerism, a slip of the tongue in which parts of words are switched around, is a ‘different fettle of kitsch,’ as the essayist Roger Rosenblatt once put it. The term comes from William Archibald Spooner (1844–1930), a scholar, dean, and warden at New College, Oxford. He was known for his slips of the tongue, though most of those attributed to him (like ‘It is kisstomary to cuss the bride’) are apocryphal. In fact, many of the spoonerisms I’ve come across weren’t slips at all but the deliberate work of punsters. One of my favorites is the songwriter Tom Waits’s quip, ‘I’d rather have a bottle in front of me than a frontal lobotomy.’ Of course, we don’t have to search far to find legitimate slips of the tongue. Here’s one from our forty-third president: ‘If the terriers and bariffs are torn down, the economy will grow.’

“If you like rock music, you’ve probably misheard a lyric or two. There’s also a name for this one. A mondegreen is a misunderstanding in which a familiar song lyric, bit of poetry, or popular expression is misinterpreted or misheard. Many schoolchildren, for example, have begun the Pledge of Allegiance with ‘I led the pigeons to the flag,’ and sung in church about ‘Round John Virgin’ or ‘Gladly, the cross-eyed bear.’ The term ‘mondegreen’ was coined by an American writer, Sylvia Wright, who’d misheard an old Scottish ballad when she was a child. What she heard was ‘They hae slain the Earl o’ Moray, / And Lady Mondegreen.’ The real second line was ‘And laid him on the green.’ Rock songs are a rich source of mondegreens. Creedence Clearwater fans, perhaps under the influence of controlled substances, have heard ‘There’s a bathroom on the right’ instead of ‘There’s a bad moon on the rise.’ And many a Jimi Hendrix audience used to join in and sing ‘ ’Scuse me while I kiss this guy’ instead of ‘while I kiss the sky.’ After a while, it became a running joke and even Hendrix joined in. He’d sometimes point to a guy onstage—his bassist, Noel Redding, for instance—while singing the mondegreen version.

“The linguists Geoffrey Pullum and Mark Liberman came up with the term ‘eggcorn’ to describe another kind of blooper: mistaking a word or phrase for a similar-sounding one. The expression was inspired by a woman who used ‘egg corn’ for ‘acorn.’ Think of ‘duck tape’ (for ‘duct tape’) or ‘tough road to hoe’ (it’s ‘row,’ not ‘road’) or ‘tow the line’ (nope, ‘toe’).”

And now we’ll stop, before the subject gets deader than a doorknob.

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Grammar Usage

Which craft

Q: Can you explain to me what “in which” means in the phase “the way in which”? I find that just dropping “in which” or simply replacing it with “that” does the trick admirably.

A: The pronoun “that” has many uses. Among other things, it can be used to mean “in which,” “on which,” “with which,” or “by which.”

For example, the phrase “the way in which” means the same thing as “the way that.”

In these phrases, “in which” is grammatically equivalent to “that.” And, as you say, “way” often works by itself, without adding either “in which” or “that.”

So these sentences have the same meaning: “I didn’t like the way in which he expressed himself” … “I didn’t like the way that he expressed himself” … “I didn’t like the way he expressed himself.”

The sentence you choose here is a matter of preference. A writer is free to pick whatever best conveys the meaning and seems most compatible with what’s being written—its degree of formality and so on.

But with words other than “way,” there are times when “in which” is the natural usage. In none of these sentences, for instance, would you substitute “that” for “in which”:

“John was criticized for the manner in which he left his wife.”

“It was a tumor, in which case surgery was needed.”

“She likes to read German, in which she’s fluent.”

“Diamond-cutting is a task in which a steady hand is called for.”

“There were three accidents last week in which people were killed.”

“In which month is Veterans Day?”

“Fossiliferous stone is rock in which fossils are found.”

“His advice was to sell early, in which he was proved right.”

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Grammar Usage

You know not what you do

Q: “You not know” may sound like pidgin, but is it any less grammatical than “You know not”?

A: The word “not” can be knotty. The reason “you not know” isn’t grammatical is that in a negative statement, “not” generally follows a verb.

“Not” follows the primary verb if you use only one (as in “you know not” … “I was not” … “I wasn’t”).

“Not” follows the auxiliary or helping verb otherwise (“you do not know” … “you don’t know”… “you didn’t know” … “I haven’t been”).

A construction like “you know not” sounds a bit lofty or Elizabethan now, since the common tendency these days is to use the auxiliary “do.” Most of us would say, “You do not know” or “You don’t know.”

Similarly, unless we’re being poetic or highfalutin, we say things like “Don’t speak” and “Don’t go” instead of “Speak not” and “Go not.”

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Etymology Spelling Usage

No, it’s not spelled d-i-l-e-m-n-a

Q: You say in Origins of the Specious that “dilemma” is the proper spelling of the word for a situation with unpalatable choices. I’ve always spelled it “dilemna” and that’s the spelling in a Modern Library paperback of Robinson Crusoe that claims to follow the original 18th-century edition except for the long s’s. Any help?

A: The proper spelling of the word is and always has been “dilemma,” not “dilemna.”

Besides writing about the misspelling in Origins of the Specious, our book about language myths, wee discussed it in a 2008 blog posting.

The misspelling does turn up in print, though rarely. We’ve found two 1719 printings of Robinson Crusoe online that spell the word with an “n,” which has to mean that either Defoe or his printer made a mistake.

We think the error was the printer’s, because Defoe correctly spells “dilemma” in some of his earlier works.

For example, he used the word in An Essay Upon Projects (1697). Here’s the passage, in a section about unfortunate widows:

“ … the Poor Young Woman, it may be, has Three or Four Children, and is driven to a thousand shifts, while he lies in the Mint or Friars under the Dilemma of a Statute of Bankrupt; but if he Dies, then she is absolutely Undone, unless she has Friends to go to.”

And here it is again, in Defoe’s novel The Compleat Mendicant, or, Unhappy Beggar (1699):

“Being now deliver’d from this strange Dilemma, which, notwithstanding, had exhausted all my Stock; Moneyless, Friendless, and Disconsolate I wander from one place to another….”

Both of those quotations were copied from facsimile pages, as originally published, and available in the Early English Books Online database. We’ve left out Defoe’s italics and the long s’s that look like f’s.

The word appears only once, early on, in Volume 1 of Robinson Crusoe.

There were six authorized editions of the novel published in 1719 (we found only two of them), and at least some had “errata” that were later corrected.

The two early versions we found were both published in 1719 by W. Taylor in London, one labeled “third edition” and one “fourth edition.”

Here’s how the relevant passage reads in both of them:

“In this Dilemna, as I was very pensive, I stept into the Cabin, and sat me down, Xury having the Helm, when on a sudden the Boy cry’d out Master, Master, a Ship with a Sail … (again, we didn’t reproduce Defoe’s italics or those picturesque long s’s).

The spelling is corrected to “dilemma” in every later edition of the book that we’ve been able to find, from the 1790s onward.

Robinson Crusoe was wildly popular from the beginning, and those early authorized editions were followed by scores of others.

In some, publishers took great liberties, making cuts and changing Defoe’s wording, phraseology, paragraphing, and more.

But later, in the 19th and early 20th centuries, versions appeared that were advertised as authentic and based on the original texts. All of the them that we found used the correct “dilemma” spelling.

For example, “dilemma” was used in editions published in London in 1810 and 1815 that restored Defoe’s original wording (as quoted above).

Another edition, published in London in 1866 with antiquated spellings and capitalizations, uses “dilemma.” This edition claimed to be “edited after the original editions,” and the editor said it had been collated from the 1719 texts.

That 1866 edition is virtually identical to two others (London, 1882 and 1905), both claiming to have been taken from the 1719 texts and edited by the Victorian novelist Henry Kingsley.

In summary, all of those early versions said to be “edited after the original” used the correct spelling of “dilemma.”

We haven’t seen the Modern Library paperback. If, as you say, the editors used the incorrect spelling, we can only note that the editors of other “authentic” editions chose to use the correct spelling.

In case you’re interested, Michael Quinion has written about the “dilemma/dilemna” phenomenon on his website World Wide Words.

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Grammar Usage

‘We the people’ v. ‘us the people’

Q: Populists often stress democratic values by invoking the phrase “we the people,” but lately they’ve taken to using it not just as a subject but as an object as well. Thus: “We must never allow [insert villain] to trample on we the people!”

A: “We the people” is a subject; “us the people” is an object. Here’s how they look in sentences:

“We, the people, elect our leaders. Our leaders are elected by us, the people.”

In both of those noun phrases, “the people” is an appositive. It identifies or explains the preceding noun or pronoun by using a different term (like the name in “My son, John”).

We’ve written on the blog before about appositives, which are sometimes surrounded by commas, as in our examples above.

An appositive never changes the case (that is, subject or object) of the pronoun it follows. That’s why the entire phrase “we the people” is always a subject and “us the people” is always an object.

The words “we the people” resonate with Americans because they introduce the Preamble to the Constitution:

“We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.”

If ever a phrase deserved proper handling, it’s “we the people.”

It’s demeaned when misused as a grammatical object (as in, “Don’t trample on we the people!”).

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Etymology Usage

The fundamental things apply

Q: I recently ran into three uses of “principal” where it should have read “principle.” All were in distressingly unexpected contexts: a book on ethics by the philosopher Kwame Anthony Appiah, an opinion by Justice Stephen Breyer, and an article about the resignation of Cathie Black as Schools Chancellor in NYC.

A: A lot of people have trouble keeping these two words straight.

A “principal” is a leading figure (the head of a school, for example) and plays a “principal” (that is, a leading) role. A “principle” is a rule or a standard.

Pat uses a time-honored memory aid in her grammar and usage book Woe Is I: “If you’re good at school, the principal is your p-a-l.”

You’re right that many educated people use “principal” to mean “principle” these days, but this isn’t a recent phenomenon.

The Oxford English Dictionary has published references going as far back as the mid-16th century for the use of “principal” to mean a primary or fundamental point.

The earliest citation is from The Exposicion of Daniel the Prophete (1545), a work of biblical commentary by George Joye:

“Let euery diligent reder knowe hymselfe miche to haue profited, if he but the cheif principalls vnderstand, although it be but meanly.”

The OED notes that the use of “principal” in this sense “is common as a non-standard spelling of principle from the 20th cent. onwards.”

In standard English, though, a “principle” is still a rule. In other words, the fundamental things apply as time goes by.

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Etymology Usage

Why an annoying person is a pill

Q: Why is an unpleasant person called a “pill”? For example, “So and so is a real pill.”

A: As you might suspect, this slang use of “pill” comes from medicine.

The word “pill” in its medical sense has been around since at least the late 1300s. It ultimately comes from the Latin pillula, which in classical times meant a little ball or pellet and in medieval times also meant a bullet.

The first citation in the Oxford English Dictionary for the medicinal “pill” is from an English translation of a Latin medical text, Guido Lanfranc’s Science of Cirurgie. The OED dates the translation to sometime before 1400.

Here’s the quotation: “He schal ofte be purgid with pillis.” (The “th” in “with” was actually a runic letter called a thorn.)

The original meaning, according to the OED, was “a small compressed ball or globular mass containing a medicinal substance, intended to be taken by mouth and usually of a size convenient for swallowing whole.”

A note in the OED adds: “Pills were originally made by mixing the drug with an inert substance and rolling it into a spherical shape.”

In the mid-1500s people began using the word to mean any remedy or solution, especially an unpleasant one that had to be endured.

That meaning gave us the expression “bitter pill,” as in this quotation from Jane Austen’s novel Mansfield Park (1814): “Mrs. Rushworth will be very angry. It will be a bitter pill to her.”

Since the middle of the 19th century, writers have been using “pill” to refer to people who are hard to swallow for one reason or another.

A person might be called a “pill” for being unpleasant, foolish, boring, weak, or otherwise difficult to take.

The OED cites an example from Carry on, Jeeves! by P. G. Wodehouse: “What’s to be done? … That pill is coming to stay here.”

When Pat was growing up in Iowa the word was often used affectionately. If her grandparents said, “What a pill!” they might be referring to someone with a mischievous or irrepressible sense of humor.

However, we haven’t found this affectionate sense of the word in slang dictionaries.

“Pill” has had many other slang meanings over the centuries. Among things that have been described as “pills” are baseballs, basketballs, billiards, cigarettes, doctors, the testicles, and even (in an echo of medieval Latin) bullets.

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Etymology Usage

The incident room

Q: A story on Accuweather.com the other day referred to more than 1,300 “incidences” of severe weather and damage. I sent the website a brief note that it should have been “incidents.” You may wish to address this on your site.

A: We think the confusion in using “incident” and “incidence” can be traced to two problems.

First, writers mix up “incidence” (singular) with “incidents” (plural) because they sound alike as spoken.

This is why journalists often put the wrong words into people’s mouths when quoting them, and consequently why the Internet is rife with misusages.

Second, people don’t understand the difference between the singulars, “incident” and “incidence.”

Both words entered English in the 15th century by way of French, but they’re ultimately derived from the Latin incidere (to fall into, fall upon, happen).

Over the years, the two words have shared several meanings, including the one in that weather story.

The adjective “incident,” also from the 15th century, is largely used today in technical and legal writing. For most of us, it may bring to mind a phrase familiar in crime fiction: “incident room.”

In modern usage, the nouns “incident” and “incidence” have different principal meanings, but the words overlap a lot, and seem to be growing more alike.

Let’s begin with their main senses in contemporary English.

An “incident” is a definite and separate occurrence—that is, an event of some kind, as in “I reported the incident to the police,” or “The commission reviewed three incidents of harassment.”

An “incidence” refers to the frequency or rate of an occurrence, as in “The incidence of measles has declined.”

The plural “incidences” is seen mostly in scientific writing, as in “This graph plots the incidences and risk factors for four diseases.”

However, “incidence” is often used to refer to an occurrence in a general way. An example in The American Heritage Dictionary of the English Language (4th ed.) refers to someone who “did not expect criticism and was surprised by its incidence.”

And an example in the Cambridge Dictionaries Online uses the word in the plural to mean separate occurrences: “There have been quite a few incidences of bullying in the school this year.”

Obviously, the difference between “incident” and “incidence” is fuzzy and getting fuzzier.

Nevertheless, we would use “incident” for a specific occurrence of something and “incidence” for the rate or frequency of an occurrence.

So if we were writing that Accuweather story, we’d refer to more than 1,300 “incidents” of severe weather and damage.

For anyone needing a good rule of thumb, Garner’s Modern American Usage (3rd ed.) has one:  “Wherever incidence appears where incident would fit, a switch is probably in order.”

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Etymology Usage

Is our writing lame?

Q: I’m surprised that you use the word “lame” in Origins of the Specious to mean bad. I taught a student with cerebral palsy and this use of “lame” seems insensitive to me. But perhaps it has nothing to do with actually being disabled.

A: You raise an interesting question. Is the use of “lame” in a figurative sense (as in “a lame argument” or “a lame excuse”) insensitive or politically incorrect?

We certainly didn’t intend to be insensitive when we used the word in Origins of the Specious, our book about language myths. (We called a false etymology of the name Fiat “pretty lame”).

But we’re glad you brought this up, since it gives us a chance to examine the word more closely.

The word “lame,” which is extremely old, was written as lama or loma when it was first recorded in Old English in the year 725.

As for its ancestry, the Oxford English Dictionary notes that there were corresponding words in Old Frisian, Old Saxon, Old High and Middle High German, and Old Norse. And there’s a connection with Old Church Slavonic, in which lomiti meant to break.

When “lame” first came into English, the OED says, it meant “disabled or impaired in any way; weak, infirm; paralysed; unable to move.”

This meaning is now considered obsolete, but a similar sense developed around the year 1000.

The OED defines this later meaning as “disabled through injury to, or defect in, a limb; spec. disabled in the foot or leg, so as to walk haltingly or be unable to walk.”

The word was first used this way by the Benedictine abbot and scholar Aelfric in his Lives of Saints, and this is what the word still means today in its literal sense.

But a figurative usage emerged in the 1300s. The OED defines this figurative sense as meaning “imperfect or defective, unsatisfactory as wanting a part or parts. Said esp. of an argument, excuse, account, narrative, or the like.”

Chaucer was the first to use the word in an other-than-literal way. In his short poem A.B.C. (circa 1366), he used the phrase “in soule to be lame” (that is, to be lame in one’s soul).

Chaucer later wrote, in his long poem Troilus and Criseyde (circa 1374): “Disblameth my yf ony word be lame. For as myn auctor seyde so sey I.”

(A modern version: “I pray you meekly not to blame me if any word might be lame, for just as my author said, I say the same.”)

The word has been used in this figurative way ever since. Here are a few of the examples cited in the OED.

“O most lame and impotent conclusion,” from Shakespeare’s Othello (before 1616).

“I will not contend much with him about the Proposition, which is lame to the ground,” from John  Canne’s A Necessitie of Separation From the Church of England (1634).

“Tables, or other Repertories … are oftentimes short, and give a lame account of the Subject sought for,” from Sir Matthew Hale’s Preface to H. Rolle’s Abridgment (1668).

“Our Argument … will be very lame and precarious,” from Richard Bentley’s A Dissertation Upon the Epistles of Phalaris (1699).

“The Theory of Comets, which at present is very lame and defective,” from Gulliver’s Travels by Jonathan Swift (1726).

“Her account was so lame and imperfect, that Mrs. Mourtray lost all patience,” from Elizabeth Hervey’s novel  The Mourtray Family (1800).

“His grammatical construction is often lame and imperfect,” from William Hazlitt’s Lectures on the English Poets (1818).

You’ve heard the expression “lame duck” used to mean an officer-holder who’s been defeated in an election or can’t serve another  term. This American expression dates from the early 20th century.

For example, the OED cites an article that ran in the New York Evening Post in December 1910.

“Lame Duck Alley,” according to the article, was a name reporters gave to “a screened-off corridor in the White House offices, where statesmen who went down in the recent electoral combat may meet.”

But “lame duck” had been used earlier, in 18th-century England, to refer to someone defaulting on a debt. And a still earlier use of “lame” to mean “behind time” originated in Britain in the mid-1600s. For example, news or tidings that arrived “by the lame post” was late or outdated.

All these figurative meanings led to another, one that’s become ubiquitous in modern slang.

In this newest sense, the OED says, someone who’s “lame”  is “inept, naive, easily fooled; spec. unskilled in the fashionable behaviour of a particular group, socially inept.”

This usage was first recorded in 1942, according to the OED, which labels it “slang” and says it originated in the US.

One OED citation quotes the linguist William Labov, who wrote in his book Language in the Inner City (1972): “To be lame means to be outside of the central group and its culture.”

Another quotes an article from a London newspaper, the Sun: “This DJ is lame.”

To sum up, it would appear that in modern times, figurative uses of “lame” to mean (more or less) ineffectual or out of it are so common as to be routine.

Meanwhile, use of the word in its literal sense—that is, having difficulty in walking—seems to have declined. People who are literally lame don’t often describe themselves as such, and many resent the term.

At least this is the impression we’ve gotten after visiting several websites for people with disabilities.

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An ædifying history

Q: I enjoyed your recent discussion of the diaeresis and other diacritical marks. How about the archaic form “æ”? Is it pronounced with one sound or two? Where is it from? French? German? Is it useful or just cute? Can it be properly written as “ae”? Should we wax nostalgic for æroplanes?

A: When the letters “a” and “e” are printed as one squished-together symbol—“æ”—they form what is known as a digraph (a two-letter symbol) or a ligature.

This symbol represents a diphthong—one sound gliding into another within the same syllable. (We mentioned diphthongs in that blog entry about the diaeresis.)

Words once spelled with “æ” are rarely seen that way today because their spellings have been modernized. And that’s largely because pronunciations have changed and those diphthongs no longer exist.

You mentioned “æroplane,” which is one way that word was spelled in the Wright brothers’ day. It was also spelled as “aeroplane” and sometimes as “aëroplane.”

The “ær” at the beginning of “æroplane” would have rhymed with “payer.” The full word would have been pronounced something like AY-er-o-plain.

Those early spellings (“æroplane,” “aeroplane,” “aëroplane”) reflected the fact that the first syllable had an audible diphthong. Now that it doesn’t, we spell the word “airplane.”

Similarly, the word “æon,” meaning a long period of time, became “aeon” and now is usually spelled “eon.” The word “æsthetic” became “aesthetic” and is now often spelled “esthetic.”

There are scores of other examples. In some cases, the former “æ” words are now spelled with two separate letters (“ae”). But in most, only one letter has been retained, usually the “e.”

As the Oxford English Dictionary explains, English has had two different kinds of “æ” in its history, one from Old English and one from Latin.

The Old English “æ” was not a diphthong. It represented the sound of “a simple vowel, intermediate between a and e,” the OED says. This symbol died out by about 1300, when it was replaced in new spellings by “a,” “e,” or “ee.”

But another “æ” symbol—the one we’re talking about here—was introduced in the 16th century, this time in spellings of English words derived from Latin or Greek.

The symbol was used where the original diphthong was spelled æ in Latin or ?? in Greek.

But here again, the “æ” symbol didn’t last long in English.

As the OED explains, it had only etymological value—that is, it showed a word’s classical ancestry. Once these words became “thoroughly English,” the OED says, so did their spellings.

We still see both “æ” and “ae” in Latin and Greek proper names: “Æneas” and “Aeneas”; “Æsop” and “Aesop”; “Cæsar” and “Caesar.”

But most often the “æ” became “ae” and finally just “e.” Thus the word once spelled “ædify” is now “edify,” and “æther” is now “ether.”

One final example. The word originally spelled “encyclopædia” became “encyclopaedia” and finally, in most modern spellings, “encyclopedia.”

But in this case, says the OED, the whiff of antiquity clings to the word:

“The spelling with æ has been preserved from becoming obsolete by the fact that many of the works so called have Latin titles.”

The most familiar of these living relics is the Encyclopædia Britannica.

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All right, this chick is toast!

Q: We were driving in Arizona when disaster struck. The engine of our classic Porsche 356 (a k a Holly) blew up. No injuries to us but Holly’s engine was toast! Which brings us to our question: Have you done research on this use of “toast”?

A: Yikes! Good luck finding a new engine. The 356 is a real classic, Porsche’s first production automobile.

As for your question, we probably have the actor Bill Murray to thank for phrases like “You’re toast” or “Oh no, we’re toast!”

When the movie Ghostbusters (1984) was filmed, Murray slightly altered the wording of the script, which was written by Dan Aykroyd and Harold Ramis.

Playing the role of the ghostbusting parapsychologist Dr. Peter Venkman, Murray delivers the line as he’s preparing to fire his laser-like weapon at an androgynous apparition.

The line as written: “I’m gonna turn this guy into toast.”

The line as ad-libbed by Murray: “All right, this chick is toast.”

All this is explained in a note in the Oxford English Dictionary, which says the use of “toast” to mean “a person or thing that is defunct, dead, finished, in serious trouble, etc.,” originated with the movie.

“A considerable amount of the dialogue is ad-libbed,” the OED says, and Murray’s “toast” ad-lib is probably responsible for “the proleptic construction which has gained particular currency.”

A “proleptic” construction refers to something that hasn’t happened yet. For example, a talkative hit man, before pulling the trigger, says, “You’re history.” Or, an angry teen-ager, before storming away, says, “I’m out of here.”

In our opinion, Murray’s alteration made all the difference. There’s a huge semantic gulf between “I’m gonna turn you into toast” and “You’re toast.”

The OED’s next example of “toast” used in Murray’s sense of the word is from a quotation in the Omaha World-Herald (1985): “Shake, Fedya … because you’re toast!”

Carl Hiaasen wrote in his novel Skin Tight (1989): “I’m calling my banker in the Caymans and having him read the balance in my account. If it’s not heavier by twenty-five, you’re toast.”

And the 1994 script for the movie Clueless, written by Amy Heckerling, has another example: “You get your report card?” … “Yeah, I’m toast, you’ll never see me out of the house again.”

The OED also has a pair of “toast” citations that we might call “non-proleptic,” merely meaning that someone or something is … well … history.

In this kind of usage the damage isn’t merely anticipated—it’s already done (like what happened to your car).

Here’s an example from a 1991 issue of Sports Illustrated: “Soon their relationship was toast.”

And here’s the other, from a 2002 article in Mojo, a British music magazine: “Brian at that time was basically a hermit and, to put it mildly, toast.”

[Update: For more on Bill Murray and the  “toast” quote, see our later post.]

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Fascinator rhythm

Q: I grew up in England and moved to the US 30 years ago, but I never heard of the word “fascinator” until the recent royal nuptials. I’m curious to know if there’s any link between what is now, obviously, a piece of millinery whimsy atop a lady’s head and the notion of such headgear as being (somewhat) fascinating.

A: If you studied the crowds waiting outside Westminster Abbey for a glimpse of the royal couple, you probably saw lots of fascinators.

A fascinator, as we all know now, is a lady’s hat, but not just any kind of hat. It is (to quote you) “a piece of millinery whimsy.” And it is often over the top, if you’ll pardon the pun.

It’s generally concocted of things like feathers, flowers, beads, and lace, and it perches jauntily—rather like a bird—just above the forehead or off to one side.

Like many British women, Kate Middleton (now Catherine, Dutchess of Cambridge), has liked fascinators.

In fact, her liking for them has kicked off what the Wall Street Journal calls a “fascinator frenzy.”

If you have time, take a look at the Journal article, complete with a slideshow of (mostly) British ladies in their fascinators.

Since we associate fascinators with British women, it’s interesting that the word “fascinator” in the sense of headwear first appeared in 19th-century America.

Back then, though, a fascinator wasn’t as flashy as it is today.

The Oxford English Dictionary describes the early “fascinator” as “a head shawl worn by women, either crocheted or made of a soft material.”

The term first showed up in print, the OED says, thanks to another Kate. In a letter written in 1878, the author Kate Douglas Wiggin recalled “Mother crocheting a fascinator.”

In another citation, the Sears, Roebuck catalogue for 1897 offered a “Ladies’ Fascinator, made of good quality Shetland yarn … colors, pink and white.”

The dictionary’s other citations for that early sense of “fascinator” extend into the 1960s, so it’s likely that the meaning of the old word was simply updated.

The OED doesn’t explain why those early head shawls were called fascinators, but we can guess.

Since they were often crocheted or made of lace, a lady could modestly cover her head and still peep out—shyly or provocatively—through the spaces in the material.

And an attentive gentleman could catch a glimpse of her shy or provocative eye. What could be more fascinating?

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Par for the course

Q: If people aren’t doing well—or feeling well—we say they’re “under par.” But shooting “under par” in golf is a positive thing, and not a negative. Any thoughts?

A: The term “par” comes from an identical word in Latin that means “equality” or “that which is equal.” (Think of “parity.”)

When it was first recorded in English, in 1601, “par” was a term in economics, according to the Oxford English Dictionary.

It was short for “par of exchange,” a phrase that meant “the recognized value of the currency of one country in terms of that of another.”

Later, in the early 1700s, the term “par” acquired another financial meaning: “the face value of a share or other security as distinct from its market value,” the OED says.

So “at par” meant a price at face value; “above par” meant a price above that, or at a premium; “below par” meant at a discount.

Meanwhile, “par” acquired a more general meaning: “equality of value or standing; an equal footing, a level,” in the words of the OED.

And “on a par” meant equal or on the same level.

It’s not surprising that people in the late 1700s would begin using “par” in reference to health and well-being.

If you weren’t feeling quite up to scratch, you were feeling “under par,” and vice versa.

The OED’s first citation for this use of the word comes from a letter written in 1776 by Lady Hester Newdigate: “As to my Spirits they are rather above than below par.”

And since we never pass up a chance to quote P. G. Wodehouse, here’s a citation from his novel Quick Service (1940):

“Mrs. Chavender’s Pekinese, Patricia, had woken up that morning a little below par, and Sally was driving her and it to the veterinary surgeon in Lewe.”

(The OED replaced the Pekinese’s name with an ellipsis, but we think that anyone who’d drop “Patricia” must be dotty.)

When did golf enter the picture?

The term “par” was first used in the late 1880s to mean “the number of strokes which a scratch player should need for a hole or for a course,” the OED says.

The word “par” was also used as a noun meaning “a score of this number of stokes at a hole.”

Here’s the OED’s first recorded golfing use, from W. Simpson’s Art of Golf (1887): “He easily recalls how often he has done each hole in par figures.”

A more recent citation comes from the Times of London in 2000: “Westwood’s closing 71 took him to a total of 270, 14 under par.”

So when we say we’re feeling “a bit under par,” we’re not borrowing a golfing term. It was golfers who borrowed the word from common usage.

But we are using golf terminology when we say, “That’s par for the course.”

This figurative usage was first recorded in the 1940s, according to published references in the OED.

The dictionary’s earliest citation is from short story in a 1947 issue of The Partisan Review:

“Nancy had married and moved to San Francisco and had had three children immediately. ‘Par for the course,’ said Seymour to Jasper.”

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Our changing language

Q: When do we stop correcting everyone around us and acknowledge that language has evolved? For instance the lovely distinction between “jealous” and “envious” has been so thoroughly blurred that it’s widely lost. At what point do we throw in the towel?

A: This is a complicated question. It’s a myth that English has been formal up until now and has suddenly become casual. English has always been in transition and always will be.

As the inevitable shifts in usage occur, there’s going to be a certain amount of  hand-wringing on the part of those who think English should remain frozen in time—their time!

One concrete thing you can do is keep your dictionary up to date. Lexicographers always have their ears to the ground. It’s the words that are out there, in common usage, that make it into dictionaries in the first place.

A dictionary entry in effect tells people that this is a word people use, this is how they spell it, this is how they pronounce it, and this is what they mean by it.

Inevitably, its meaning, its spelling, its pronunciation will change over time in common usage.

And as these things change, so does a word’s entry in the dictionary. This is why dictionaries of only fifty years ago are very different from those of today.

We wrote a blog posting last year about how words can change their stripes over the centuries.

As for “jealous” and “envious,” you may be surprised at how much these two words have evolved over the years.

The adjective “jealous,” according to the Oxford English Dictionary, has meant wrathful, furious, devoted, eager, amorous, lustful, zealous, and so on, though many of these senses are now obsolete.

The word is ultimately derived from zelus, Latin for zeal.

The Chambers Dictionary of Etymology says “jealous” apparently entered English sometime before 1200, and originally meant “distrustful of the faithfulness of a spouse or lover.”

The earliest citation in the OED is from The Owl and the Nightingale, a Middle English poem from the 12th or 13th century: “He was so gelus of his wive.”

It wasn’t until a couple of centuries later, according to citations in the OED, that people began being “jealous” of their rivals (or imagined rivals) in love.

Here’s an early citation from The Book of the Knight of La Tour-Landry, a mid-15th century translation of a French etiquette guide for young women: “She loued hym so moche that she was ielous ouer alle women that he spake with.”

The adjective “envious” has meant “vexed or discontented at the good fortune or qualities of another” since it entered English around 1300.

But over the centuries it has also meant malicious, spiteful, grudging, stingy, and odious, though most of those senses are now obsolete.

Why all those nasty meanings? Perhaps because the word ultimately comes from the Latin invidere, to look with ill will upon or cast an evil eye on someone.

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Too many chefs in the kitchen?

Q: If Bob, Jack, Kate, and I (David) all chip in and start a restaurant, does one say, “That’s Bob, Jack, Kate, and my restaurant”? Or ought one say, “That’s Bob’s, Jack’s, Kate’s, and my restaurant”? Maybe we should just chip in for a bar! Or, is it just me?

A: It’s not just you. This is a subject that flummoxes many people, and that’s understandable. We wrote a posting on the subject a while back.

There’s really no good answer here.

In this case, you wouldn’t use more than  one possessive-adjective apostrophe BEFORE the noun.

If a noun is jointly owned, use the apostrophe only with the last owner. That’s why we say, for example, “Mom and Dad’s house,” not “Mom’s and Dad’s house.”

If the first-person problem went away, you could say, “That’s Bob, Jack, and Kate’s restaurant.” But the “my” screws up that construction.

You might refer to yourself in the third person: “That’s Bob, Jack, Kate, and David’s restaurant.”  But that would be a little weird.

Here are several (admittedly clunky) solutions:

“The restaurant is mine, Bob’s, Jack’s, and Kate’s.”

“The restaurant belongs to [or “is owned by”] me, Bob, Jack, and Kate.”

“The restaurant is ours—Bob’s, Jack’s, Kate’s, and mine.”

“We—Bob, Jack, Kate, and I—own the restaurant.”

“The restaurant belongs to us—Bob, Jack, Kate, and me.”

And by the way, if you do use a pronoun to refer to yourself, the order doesn’t matter; “me” or “I” could go anywhere in the list. Just don’t use “I” as an object or “me” as a subject.

Sorry, but we can’t think of a more graceful solution!

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Why is ‘she’ the cat’s mother?

[Note: This post was updated on April 28, 2020.]

Q: You must be catted out by now, but I have one more feline inquiry. My mother would not allow us children to refer to her in the third person while she was in front of us. Any infraction of this rule would cause her immediate response: “Don’t call me ‘she’!  ‘She’ is the cat’s mother!” What the heck does this mean?

A: Well, we’ve answered two catty questions lately—one in March and one in April—so why not one more?

There was a time when a child could get a scolding for using the word “she” instead of a name, especially if the “she” (often an older person, like one’s mother) was present.

And the scolding might have consisted of  “Who’s ‘she’—the cat’s mother?”

We can see why “she” is sometimes rude. And we can see why “she” might be equated with “the cat’s mother.”

After all, a cat’s mother is probably some nameless, unknown feline. But people have names—“Mom,” for example.

The Oxford English Dictionary says the catchphrase “Who’s she—the cat’s mother?” (or some variation thereof) is “said to one (esp. a child) who uses the pronoun of the third person singular impolitely or with inadequate reference.”

The OED’s earliest citation is from the May 25, 1878, issue of the journal Notes and Queries. We’ll expand the quotation here:

“I cannot find any mention of this saying … in books of proverbial expressions, but it is one with which I have been acquainted from my youth. … For example, a little girl runs in to her mother, and says excitedly, ‘O mamma, we met her just as we were coming home from our walk, and she was so glad to see us!’ Upon which the mamma says, ‘Who is “she”? the cat’s mother?’ ” Thus, adds the writer, Cuthbert Bede, the expression is used “to enjoin perspicuity of speech and precision  in reference.”

In our own searches, we found an earlier example, from a burlesque play in which the characters are people, fairies, and cats. Here’s the exchange:

Prince Lardi-Dardi: Who’s she? … Miss McTabby: His nurse would tell him, ‘she’ is the cat’s mother; / A lesson learnt by every little baby” (The White Cat! by Francis Cowley Burnand, first produced Dec. 26, 1870).

We’ve also found a few examples, from the late 1870s and afterwards, of “the cat’s grandmother” and “the cat’s aunt” used in the same way—as a retort to someone who uses “she” in uncertain reference.

Here are some later examples of the reprimand, cited in the the OED:

“Don’t call your mamma ‘she.’ ‘She’ is a cat” (from The Beth Book, by Frances Macfall, writing as Sarah Grand, 1897).

“ ‘Who’s She?’ demanded Nurse. ‘She’s the cat’s
mother’ ” (from Compton Mackenzie’s novel Sinister Street, 1913).

“To one who keeps saying ‘she’ in an impolite manner the reproof is: ‘Who’s she, the cat’s mother?’ ” (from The Lore and Language of Schoolchildren, by Iona and Peter Opie, 1959).

“Who’s she? The cat’s grandmother?” (from Nanny Says, by Sir Hugh Casson and Joyce Grenfell, 1972).

“ ‘Who’s she, the cat’s mother?’ Lindy said, not looking up from the magazine” (from Helen Cross’s My Summer of Love, a novel set in Yorkshire in the 1980s and published in 2001).

Despite that 21st-century example, we suspect that this nostalgic old expression is one more nicety of language that’s gradually fading away.

[Note: A reader wrote us on Dec. 2, 2015, to say the “cat’s mother” reprimand is alive and well in his family. “My wife is using it on our child as her Mom did unto her,” he said. “In our household, it is being handed down to the next generation as I type.”]

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Why isn’t a W called a double V?

[Note: An updated post on the naming of the letter w” was published on Feb. 20, 2023.)

Q: Why is the letter “w” called “double u”? It looks like a “double v” to me.

A: The name of the 23rd letter of the English alphabet is “double u” because it was originally written that way in Anglo-Saxon times.

As the Oxford English Dictionary explains it, the ancient Roman alphabet did not have a letter “w.”

So in the 7th century, when the Latin alphabet was first used in early Old English writing, it was necessary to invent a symbol to represent that sound.

At first, the sound was represented by “uu”—literally a double “u.”

It wasn’t written as a “v” because the letter “v” didn’t exist in Old English, as we’ve written before on the blog. And a double “v” would not have approximated the sound anyway.

The “uu” was replaced by another symbol in the 8th century, ƿ, a character from the runic alphabet called a wynn.

In the 11th century, according to the OED, the old “uu” form was reintroduced by Norman scribes in a ligatured (that is, joined) form, written as “w.”

In early versions of “Cædmon’s Hymn,” which originated in the seventh century and is considered the oldest recorded Old English poem, “w” is written as “uu” in two words, uuldurfadur (glorious father) and uundra (wonder). Here’s an excerpt from a manuscript written in the 730s:

“Nu scylun hergan hefaenricaes uard / metudæs maecti end his modgidanc / uerc uuldurfadur sue he uundra gihuaes / eci dryctin or astelidæ” (“Now we must praise the heavenly kingdom’s guardian, / the creator’s might and his conception, / the creation of the wondrous father, thus each of the wonders / that he ordained at the beginning”).

In later Old English documents the two words are written either with the runic ƿ (ƿuldor fæder, ƿundra) or a “w” ligature (wuldorfæder, wundra).

But no matter how the “w” has been written, the OED says, “It has never lost its original name of ‘double U.’ ”

[This post was updated on Dec. 20, 2022.)

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Archie Fisher snow

Q: I’ve been wondering about something I swear I learned as an undergrad (longer ago than I’d ever admit) in a development of the English language course. It was about a man who grew up thinking artificial snow was called “Archie Fisher snow.” As a boy in a small town, he’d misheard a reference to the snow in a Christmas display in Archie Fisher’s drugstore. I think this phenomenon has a name but I can’t remember it.

A: By chance, as we were researching another question, we recently happened upon the reference you mention. It’s described in The Origins and Development of the English Language, by Thomas Pyles & John Algeo.

The anecdote is told on page 280 in our copy of the book:

“As a child too young to read, one of the authors of this book misheard artificial snow as Archie Fisher snow, a plausible enough boner for one who lived in a town in which a prominent merchant was named Archie Fisher. In any case, Mr. Fisher displayed the stuff in his window, and for all an innocent child knew, he might even have invented it.”

The story is told in Chapter 11 (“New Words From Old”), in a section called “Blending Words.” This particular blend (Archie Fisher snow) is described in a subsection called “Folk Etymology.”

The authors write: “Folk etymology—the naive misunderstanding of a more or less esoteric word that makes it into something more familiar and hence seems to give it a new etymology, false though it be—is a minor kind of blending.”

Another example is given, in which dance students at an American university described a certain ballet jump as a “soda box.” Questioned by a visiting German teacher of dance, they insisted this was what it was called and even how it was spelled.

What they were referring to was the ballet term saut de Basque (Basque leap).

The authors describe another, and more widespread, misunderstanding in which the phrase “chest of drawers” is misheard as “Chester drawers.” This mistake, the authors note, has even appeared in furniture-store advertisements.

We can well believe it. As we’ve said before in our blog, we once spotted a newspaper ad for a sale on “Chip ’n’ Dale” furniture. The store’s ad manager confused “Chippendale” with Chip and Dale, the Disney cartoon chipmunks.

As we mentioned, the Pyles and Algeo book includes such usages among blends traceable to folk etymology, but most people would probably refer to them as malapropisms. A more recent, and more precise, term would be “eggcorns.”

We’ve discussed malapropisms and eggcorns several times on the blog, including postings in 2007 and 2010. A similar term, “mondegreens,” is usually applied to goofy mishearings of song lyrics or poems.

We can’t end this without mentioning an example of mangled usage that we heard about from a blog reader named Mark. When he played hide-and-seek with his little nephew, the boy would say: “Uncle Mark … get set … go!”

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A rhetorical sin of omission

Q: I’m trying to track down a term from my days at Power Memorial Academy in New York. I believe it’s praeteritio. Brother Hickey told us in Latin III that it was a rhetorical device for when you say you won’t mention something and then proceed to mention it.

A: The English word for the rhetorical figure you’re talking about is “preterition” (pronounced pret-uh-RISH-un).

The word dates from 1602, and the Oxford English Dictionary defines it as a rhetorical device “in which attention is drawn to something by professing to omit it.”

The use of preterition is easy to spot, since it’s usually introduced by “I needn’t mention …” or “to say nothing of …” or “needless to say …” or “it’s not my intention to …” or something of that nature.

In Trollope’s 1857 novel Barchester Towers, for example, this is how the wife of Bishop Proudie is introduced:

“It is not my intention to breathe a word against the character of Mrs Proudie, but still I cannot think that with all her virtues she adds much to her husband’s happiness. The truth is that in matters domestic she rules supreme over her titular lord, and rules with a rod of iron. Nor is this all. Things domestic Dr Proudie might have abandoned to her, if not voluntarily, yet willingly. But Mrs Proudie is not satisfied with such home dominion, and stretches her power over all his movements, and will not even abstain from things spiritual. In fact, the bishop is henpecked.”

The English term “preterition” ultimately comes from the Latin verb praeterire (to go past). In the third century, the post-classical Latin noun praeteritio came to mean the rhetorical device, according to the OED.

Henry Peacham, in a 1577 treatise on rhetoric, The Garden of Eloquence, coined a short-lived English version of the Latin noun:

Preteritio, when we faine and make as though we would say nothing in some matter, when notwithstanding we speake most of al, or when we say something, in saying we will not say it.”

As we said, the “preteritio” that Peacham used did not last long in English (the OED calls it an “unassimilated borrowing”).

However, “preterition” as well as another term for the same rhetorical device, “paralipsis,” did survive in English.

“Paralipsis” (also spelled “paraleipsis”) entered English in 1550.

The OED says it was borrowed from the post-classical Latin paralipsis, a “rhetorical device of emphasising or drawing attention to something by professing to say little or nothing about it, or affecting to dismiss it (3rd cent.).”

The Latin word came from the Greek paraleipein (to leave out).

The Romans must have used this rhetorical gambit a lot, since they had two words for it—praeteritio and paralipsis. Here are their etymologies.

praeteritio: a passing by or over, from Latin praeter (past or by) + ire (to go)

paralipsis: a leaving aside, from Greek para (aside) + leipein (to leave)

Brother Hickey may have mentioned both of those terms when he discussed the rhetorical device at Power Memorial, an all-boys high school that existed from 1931 to 1984.

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Can one make a concerted effort?

[Note: This post was updated on June 10, 2020.]

Q: Can a single person make a concerted effort? The dictionaries I’ve checked say a “concerted effort” is something done collectively. But I often hear the phrase being used for an effort by one person.

A: Traditionally, “concerted” has meant done in concert—that is, jointly.

However, the adjective had an earlier meaning of organized, coordinated, or united. And since the 19th century people have used “concerted” without any collective sense to mean purposeful and determined.

The newer usage can be found in the Oxford English Dictionary, an etymological dictionary based on historical evidence. The entry for “concerted” (updated September 2015) includes this definition: “Of an effort, attempt, etc.: characterized by purpose and determination.”

Standard dictionaries, too, are now recognizing this more recent sense. So a determined effort can be described as “concerted” whether it’s made by one person or many.

Six of the ten standard American and British dictionaries we usually consult accept this use without reservation.

The definitions in American Heritage, for example, include these senses: #1, “planned or accomplished together,” and #2, “deliberate and determined.” Similarly, Lexico (formerly Oxford Dictionaries Online) includes #1, “jointly arranged or carried out,” and #2, “done with great effort or determination.”

While “concerted” is most often used to modify “effort” or “efforts,” it’s seen with other nouns too. A cursory internet search finds it paired with “movement,” “action,” “approach,” “measure,” “struggle,” and “activity,” as well as plural versions.

The earliest recorded sense of “concerted” dates from the mid-17th century and is defined in the OED as “showing coordination, organized, united.”

In the first citation, the well-organized parts of a sentence are said to have “the insinuating harmony of a well-concerted period.” From Thomas Urquhart’s Εκσκυβαλαυρον, 1652. (The Greek title means “gold from garbage,” but the book is often referred to as The Jewel).

Similar examples of this coordinated sense include “concerted Reasoning” (1659) and “concerted Falshoods” (1716).

By the late 1600s, however, people were also using “concerted” in what are now considered the traditional senses. These are defined by the OED as “united in action or purpose; working or acting in concert,” and “jointly arranged or carried out; agreed upon, prearranged; planned, coordinated.”

This is apparently the first OED example in reference to people working together: “that which opposed the sending the concerted Troops into Tuscany and making further attempts, being the disturbance which rose from the Duke of Parma.” The History of the Republick of Venice (1673), Robert Honywood’s translation from the Italian of Battista Nani.

Later OED examples that imply more than one person or force working together include “the concerted powers” (i.e., sovereigns of Europe, 1793); “a concerted scheme” (1785); “a concerted opposition” (1834); “a concerted front” (1948); “concerted attack” (1968); “concerted practices” (1999), and “a concerted group” (2009).

Finally, the more recent sense of “concerted”—determined, purposeful, strenuous—emerged in the 19th century. It can involve one person or more than one. In the dictionary’s first example, many people are involved:

“We have but to make a vigorous and concerted effort throughout the State to effect a complete overthrow of Locofocoism in Alabama.” (The Locofocos were a faction of the Democratic Party of the 1830s and ’40s.) From the Mobile Daily Advertiser, July 23, 1844.

In this OED example, from the late 19th century, a single country is involved:

“He says that Germany should make a concerted effort to have an exhibit that would photograph the magnitude of its manufacturing industries.” From the Anglo-American Times, London, Oct. 9, 1891.

And in this example, the effort is made by a single person:

“When Horace Abbott … was chairman of this committee he made a concerted effort to get some graduate schools to work out a plan for study in absentia.” From the Extension Service Review, Washington, June 1938.

As for its etymology, the OED says the adjective “concerted” was formed within English, derived partly from the verb “concert” (to work jointly; to mutually agree or arrange) and partly from the noun “concert” (agreement or harmony; a working together; a public performance).

The verb “concert” (accented, like the adjective, on the first syllable) was first recorded in 1581 and came into English through several routes. As the dictionary explains, it was borrowed partly from Spanish (concertar), partly from French (concerter), and partly from the ultimate source of them all, Latin (concertare).

The noun “concert” was first recorded in 1578, the OED says, borrowed partly from French (concert, originally an agreement, accord, or pact), and partly from Italian (concerto, a group of musicians performing together).

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A gazeeka box and a green-fedora guy

Q: I’m reading Gypsy Rose Lee’s The G-String Murders. She uses the phrase “a green-fedora guy.” Do you have any idea what that means? And if you want to tackle “gazeeka box,” that would be interesting, too. She peppers this book with quite a bit of showbiz jargon.

A: In The G-String Murders, a 1941 mystery, there are two references to green fedoras.

In describing a guy named Moey, an “ex-racketeer” who runs the concession at the burlesque house where the novel is set, the author writes:

“He wore a white wash coat when he was working, dazzling checks when the show was over. Strictly a green-fedora guy, but he gave us a ten per cent discount on our cokes, so he was popular enough backstage.”

Later in the book, Moey reappears in his street clothes (a suit with “green and yellow threads running through the material”) and begins opening a package: “He pushed his green fedora back on his head and went to work with the scissors.”

None of our slang references (not even the aptly named Green’s Dictionary of Slang) give us a clue to what a “green-fedora guy” might be.

Our guess is that the reference is literal, and Gypsy Rose Lee meant that Moey always wore a green fedora (and perhaps that his taste was a bit over the top).

Green fedoras were more common in those days—now we see them chiefly on St. Patrick’s Day.

A 1934 song called “I’m Wearin’ My Green Fedora,” by Al Sherman, Al Lewis, and Joseph Meyer, was featured in several cartoons of the 1930s.

A line from refrain: “I’M WEARIN’ MY GREEN FEDORA, FEDORA, not Alice, not Annie, Not Daisy but FEDORA.” And the finale: “That’s why I’M WEARIN’ MY GREEN FEDORA, FEDORA, FEDORA, FEDORA is the girl I love!” (Thanks to the Levy Collection at the Sheridan Libraries, Johns Hopkins University, for providing us with the sheet music.)

The song was a takeoff on the comic routines of Joe Penner, a popular stage, radio, and film actor of the ’30s whose trademark was a fedora perched on the back of his head.

And here’s an interesting aside. While the song appears to pun on the phrase “for Dora,” in fact the word “fedora” was originally a woman’s name. The term for the hat was inspired by a French play entitled Fédora, written by Victorien Sardou in 1882. Its heroine is a Russian princess named Fédora (the Russian feminine of Fedor), who wears a soft-brimmed hat with a crease in the crown.

When you finish The G-String Murders, you might want to check out Lady of Burlesque, a 1943 film made from it (Barbara Stanwyck is the Gypsy Rose Lee character).

You also asked about “gazeeka box,” a term that turns up many times in The G-String Murders. The gazeeka box in the novel is a coffin-like prop used in the burlesque house. (Naturally, a body is discovered in it!)

The Random House Historical Dictionary of American Slang describes “gazeeka box” (origin unknown) as a burlesque term for “a stage prop used in comedy acts which takes the form of a large box from which beautiful girls emerge, supposedly endlessly.”

Random House’s first citation for the use of the term is from Gypsy Rose Lee’s 1941 novel. But the term is much older. It’s mentioned, for instance, in Archibald Haddon’s book Green Room Gossip (1922).

In at least one old burlesque sketch we found online, the showgirls who magically emerge from the gazeeka box are called “gazeekas.”

But gazeeka boxes, with their false backs, could also be used to make a showgirl magically disappear.

And they weren’t always coffin-like, as in Gypsy Rose Lee’s novel. They were generally upright, like phone booths.

And with that, we’ll make our exit.

[Note: This post was updated on March 5, 2015.]

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Purple prose

Q: In the sentence “Jack painted his old jalopy purple,” what part of speech is the word “purple”?

A: It’s an adjective.

The modifier here could have been an adverb, as in “He painted the jalopy quickly.” In that case, “quickly” is an adverb because it modifies the verb, “painted.”

But in a sentence like “He painted the jalopy purple,” the modifier is an adjective because it describes the noun “jalopy.”

It’s not an adverb; it doesn’t modify the verb.

If hypothetically “purple” did modify the verb, the sentence would be saying that Jack painted it “in a purple manner.”

That wouldn’t make much sense, unless perhaps he orated in an ornate way while he painted the jalopy.

We’ll try to come up with an illustration where the modifier could go either way—adverb or adjective. Say a sailor is tying a knot: “He made it fast.”

Here, “fast” could be an adverb, meaning that he made the knot quickly.

Or, it could be an adjective, meaning that he made the knot tight.

“Fast” is one of many words that can be an adverb or an adjective; it doesn’t take the typical “-ly” adverbial ending. We’ve written before about these “flat adverbs,” including a posting back in 2006.

In case you’re interested, the expression “purple prose,” meaning ornate or fussy language, first showed up in the early 20th century, according to citations in the Oxford English Dictionary.

The OED’s first print reference is from a 1901 issue of the North Adams (Mass.) Evening Transcript: “It is probably in the wine and egg period that he composes accounts of Nero banquets and other purple prose matter.”

That usage evolved from the older “purple passage” (1882), which evolved from the even older “purple patch” (early 1700s), which evolved from the much, much older Latin phrase purpureus pannus (purple garment, circa 18 BC) in Horace’s Ars Poetica (The Art of Poetry).

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The other half of it

Q: You say on the blog that the idiomatic use of “the” in “the half of it” isn’t acceptable in formal English. However, I’ve found this usage in the King James version of the Bible, where the Queen of Sheba tells Solomon: “Howbeit I believed not the words, until I came, and mine eyes had seen it: and, behold, the half was not told me: thy wisdom and prosperity exceedeth the fame which I heard.”

A: In our 2009 posting, we discussed many of the idiomatic uses of “the.” Among others, we talked about the expressions “the both of us” and “the half of it.”

We said those two constructions, while acceptable in speech and informal writing, wouldn’t be appropriate in formal written English in the US.

But perhaps we were a bit shortsighted about “the half of it.” After doing some additional research, we’ve decided to fill in the other half of the story. So here goes.

A search of the Early English Books Online database shows that respectable writers—and not just writers of Bibles—have been using phrases like “the half” and “the half of it” for centuries.

Examples in the ordinary sense (that is, half of something) are numerous: “the half of my kingdom,” “the half of their goods,” and so on.

But we also found many examples of negative or ironic constructions built around the phrases “the half of” and “by the half.”

These are early versions of such modern expressions as “you don’t know the half of it” and “he’s too clever by half.”

Here’s a sampling from the 16th and 17th centuries.

1571: “Excuse if I writ euill [evil], ye may gesse the halfe of it” (from George Buchanan’s condemnation of Mary Queen of Scots).

1587: “If men but knew, the halfe that he did write” (from a eulogy on the death of Sir Phillip Sidney).

1652: “O, quoth the Goat-Heard, I doe not yet know the half of the Adventures succeeded to Marcela‘s lovers” (from a translation of Don Quixote).

1655: “Is it not as well to have it [money] without blows?” “Not by the half” (dialogue from The Passionate Lovers, a tragicomedy by Lodowick Carlell).

1667: “few of the Laity know the half of them” (from an anti-papist treatise by Jeremy Taylor).

1677: “But truly I have not come to the half of that which I intended” (from a London minister, Thomas Wadsworth).

1685: “report of the Glory was true, but the half of it was not told” (from a theological treatise by George Keith).

1686: “it was too little by the halfe” (from Raphael Holinshed’s Chronicles of England, Scotland and Ireland).

1686: “the half of it is not mentioned” (from Gilbert Burnet, bishop of Salisbury).

1690: “I found that the half was not told you then of what is commonly known in this place” … “They have not done the half of what will be necessary to save them” (sentences from a theological work by Thomas Morer).

1696: “It were tedious to number the half of its omissions” (a comment on the Litany by a Presbyterian minister, Richard Baxter).

We could go on, but you get the idea.

The Oxford English Dictionary’s citations for “the half of it” (meaning “a significant or more important part of something” and generally used “in negative contexts”) don’t begin until the 20th century.

The OED’s first citation is from Hot Water (1932), a novel by P. G. Wodehouse.

Since we never pass up an opportunity to quote Wodehouse, here’s the relevant passage: “It makes me sick. And that’s not the half of it. … She told me I’ve got to be American Ambassador to France.”

Here’s another OED citation, from Minute for Murder (1947), by the pseudonymous Nicholas Blake (actually Cecil Day-Lewis): “ ‘We’ve not seen the half of it yet,’ said the Messenger darkly.”

The OED’s citations for “by half” (meaning “by a great deal; much, considerably, far”) go back much further—to before the year 1000.

The first quotation—which translates into Modern English as “sweeter by half”—is from the Metres of Boethius, an Old English adaptation from the Latin of the sixth-century Roman philosopher Boethius.

We’ll give a few more lines of the poem for context: “The comb of the honey cannot but seem / To each son of men sweeter by half, / If he have tasted before the honey / Aught that is bitter.”

A 1780 citation in the OED—“Oh, he’s too moral by half”—is from Richard Brinsley Sheridan’s comedy The School for Scandal.

And  later comes “too clever by half,” from George John Whyte-Melville’s novel The Interpreter (1858). The OED says the phrase means “trying too hard to be clever.”

And with that, we’ll stop. We don’t want to be too wordy by half.

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A cat’s-paw in fable and law

Q: In an appearance on WNYC, Pat mentioned the “cat’s-paw” fable of La Fontaine. As an attorney and an ailurophile, I might add that “cat’s paw” is the name of a legal theory of employer liability for discrimination. In a recent Supreme Court opinion, Justice Scalia explained the fable in footnote 1.

A: We’re ailurophiles (or cat lovers) ourselves, and we found your comment an interesting footnote to Pat’s discussion on the radio about feline expressions.

As Pat said on the show, a “cat’s-paw” (now often “catspaw,” but usually “cat’s paw” in employment law) is a dupe, someone used as a tool.

The term, first recorded in the mid-17th century, is an alteration of the earlier phrase “cat’s foot,” according to the Oxford English Dictionary.

The OED explains that it’s a “reference to the fable or tale of a monkey (or a fox) using the foot or paw of a cat to rake roasted chestnuts out of the burning coals.”

The dictionary adds parenthetically that some versions of the story say the monkey belonged to Pope Julius II (1503-13). Depending on the version, the cat is either tricked or forced into letting the monkey use its paw.

The earliest citation in the OED for “cat’s-paw” is from a political pamphlet, Killing Is Murder, written by Michael Hawke in 1657: “These he useth as the Monkey did the Cat’s paw to scrape the nuts out of the fire.”

The earliest reference to a “cat’s foot” used in this sense comes from a 1623 translation of The Spanish Rogue, a picaresque novel by Mateo Alemán that was published in Spanish the year before.

The English version of the Alemán quotation: “To take the Cat by the foote, and therewith to rake the coales out of the Ouen.”

As for the fable that gave rise to these terms, it was “current in the sixteenth century, but varying considerably in details,” according to John S. Farmer’s Slang and Its Analogues (1890).

“The earliest printed version,” Farmer writes, “occurs in John Sambucus’ Emblemata (Plantin, Antwerp, 1564), where the sufferer is a dog, and not a cat. There is, however, a story of the same kind told … of Pope Julius II.”

Francis Grose’s A Classical Dictionary of the Vulgar Tongue (1785) also notes that the monkey was said to have belonged to Pope Julius II.

And a contributor to the journal Notes and Queries wrote in 1884 that he had found an account written in 1600, stating “that the occurrence took place while the chamberlains of Julius II were waiting for the Pope to retire to rest, and that the monkey held the cat with his left arm and took the paw in his right.”

Pope or no pope, the definitive version of the tale is the one written by Jean de La Fontaine in the 17th century.

La Fontaine’s “Le Singe et le Chat” (“The Monkey and the Cat”) first appeared in a collection of fables published in 1679.

This version of the tale is less violent than some earlier ones, because La Fontaine’s cat is persuaded by flattery, not wrestled by force, into sticking a foot into the hot coals.

As the cat blisters his paws to claw the chestnuts out one by one, the monkey gobbles them up.

The footnote in Justice Antonin Scalia’s opinion says La Fontaine’s fable was “conceived by Aesop.”

Though the idea has often been attributed to Aesop, we haven’t found any positive evidence of this. Perhaps Justice Scalia knows something we don’t.

We can’t close without explaining the etymology of “ailurophile,” which comes from the Greek roots ailouros (cat) and phile (one who loves).

Despite its ancient connections, the word is a relative newcomer, coined in the 20th century.

The OED’s first citation is from 1931, but a Google Books search turned up one from a 1927 issue of Scribner’s Magazine:

“You are really an ‘ailurophile,’ or ‘lover of cats.’ I think ailurophile is a beautiful word, is fluent, and rolls trippingly on the tongue with catlike fluency.”

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Hear Pat live today on WNYC

She’ll be on the Leonard Lopate Show around 1:20 PM Eastern time to discuss the English language and take questions from callers. If you miss a program, you can listen to it on Pat’s WNYC page.

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Bear facts: the passive infinitive

Q: A narrator on Nat Geo TV who was speaking about a killer grizzly said the “authorities could order him to be destroyed.” Is this construction acceptable? I’d say the “authorities could order that he be destroyed.”

A: A sentence like “The authorities could order him to be destroyed” conjures up images of a judge saying to the bear, “Hey, you, Bruno! Be destroyed!”

But in fact sentences like this have been common for centuries. It’s an example of the passive infinitive.

Here, “to be destroyed” describes something to be done to the bear, not something Bruno is supposed to do to himself.

We often see the passive infinitive after verbs intended to cause something to happen—like “order” or “command”—when the person who’s supposed to carry out the order or command isn’t mentioned.

We’ll invent a few more examples: “I ordered the tree to be planted next to the pond” … “The king commanded the castle to be made ready” … “The vet directed the dog to be euthanized.”

In all those cases, the verbs’ immediate objects—the tree, the castle, the dog—aren’t being told to do anything. Some unnamed person or agent is the one being ordered around.

This kind of construction doesn’t work with every verb under the sun. We wouldn’t say, for example, “I asked the tree to be planted next to the pond” or “The vet advised the dog to be euthanized.”

With those verbs (“advise,” “ask”), a passive construction would call for a “that” clause in the subjunctive mood: “I asked that the tree be planted next to the pond” … “The vet advised that the dog be euthanized.”

(There are other kinds of passive infinitive sentences in which the agent isn’t mentioned: “The car needs to be washed” … “There wasn’t a star to be seen” … “The company is said to be on the ropes.”)

The word order may sound odd in some passive infinitive constructions, but it’s not ungrammatical.

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Cess who?

Q: The other day an Irish friend wished “bad cess” to the bankers responsible for Ireland’s economic woes. Is that “cess” as in “cesspool”? Too bad this is too late for St. Patrick’s Day. Maybe next year.

A: Why wait for St. Patrick’s Day to come around again? In fact, tax day (yes, today is the deadline for filing) may be just as appropriate. More on this later.

The Oxford English Dictionary describes “bad cess to” as an Anglo-Irish phrase meaning “bad luck to” or “evil befall.”

The OED’s first published reference for the usage is from Punch in 1859: “Carlisle and Russell—bad cess to their clan!”

But a Google Books search turned up a much earlier example.

In a story published in 1833 in the Dublin University Magazine, a character named Barny O’Reirdon says, “Whist, whist! and bad cess to you both.”

And the busy scanners at Google have also provided us with several 19th-century appearances of “good cess,” meaning good luck.

Here’s an 1857 example from Putnam’s Monthly Magazine of American Literature, Science and Art: “Oh, he’s a curious crayther, tho pig, an has his own ways, good cess to him!”

How did “cess” come to mean luck or fortune? The etymology here is a question mark, though the OED offers two suggestions:

(1) It could be short for “success.” This seems unlikely to us, since “good success” is redundant and “bad success” is an oxymoron.

(2) It could have something to do with taxes—a timely subject today, even if we’re too late for St. Patrick’s Day!

A “cess” has meant an assessment, tax, or levy since at least as far back as the 16th century. It’s an aphetic (or shortened) form of  “assess.”

(While the proper etymological spelling of the shortened term would be “sess,” the word generally appears as “cess.”)

“Cess” seems to have  been a product of English officialdom.

The OED’s first citation is from an act of Henry VIII in 1531 that makes reference to “divers and sundry Cesses, Scots, and Taxes.” (A “scot” is an assessment.)

Jonathan Swift in the 18th century refers to a “parish cess,” or church tax. Similar usages spread to other parts of the Empire.

In Scotland, for example, a “cess” referred to a land tax in the 17th and 18th centuries.

And in 19th-century India, a journalist wrote of “the road cess, the irrigation cess, the public works cess, and the education cess.” (Today all taxes in India are subject to an education cess of 3 percent.)

In Ireland, “cess” is still the official term for a local tax. But it once had another and more sinister meaning, and we think this is where “bad cess” comes from.

The OED defines this meaning of “cess,” first recorded around 1571, as “the obligation to supply the soldiers and the household of the lord deputy with provisions at prices ‘assessed’ or fixed by government.”

In other words, the Irish populace was arbitrarily forced to support the occupying soldiers and the personal needs of the lord deputy.

At any rate, to wish someone “bad cess” would be a curse indeed. A contributor to the Journal of the Royal Historical and Archaeological Association of Ireland had this to say in 1889:

“Before barracks were commonly built in Ireland, it was usual to quarter soldiers permanently upon the inhabitants, and this was called ‘cessing’ them. It was possible that the soldiers thus quartered might be well conducted and respectable men, but if (which was more than probable) they were not very desirable persons to have the run of a man’s house and premises, this might  be reasonably called a ‘bad cess’; and a few things can be imagined to have been more disagreeable.”

As for “cesspool,” the OED says the word is “of uncertain origin,” though the dictionary offers several theories.

The most likely, in our opinion, is that the English term is somehow related to the Italian word for privy, cesso, which is derived from the Latin secessus, a secluded place.

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You really got a hold on me

Q: I’m seeing the word “ahold” a lot in books—and not just in dialogue! I’m miffed, but a fellow librarian says it’s an archaic form like “aholt” that’s now an acceptable variation of “a hold.” If that’s the case, what part of speech is it?

A: As you know, the word “hold” is not only a verb (to grasp) but a noun (a “hold” is a grip). The verb preceded the noun; it was first recorded in the 10th century, the noun in the 11th.

In the common expression “get hold of,” it’s a noun. Sometimes the article “a” is added: “get a hold of.” Neither of these usages raises any hackles.

But the combination of the noun and the article into one word—as in “get ahold of”—gets people’s attention.

This usage is often criticized by language commentators as “dialectal” (peculiar to a region, social class, etc.), or “colloquial” (found more often in speech than in writing).

For example, Fowler’s Modern English Usage (rev. 3rd ed.) calls it colloquial and says the usual idiom is just “hold … with no a- prefixed.”

Garner’s Modern American Usage (3rd ed.) calls “ahold” a “casualism” (an informal usage).

And Pat’s grammar and usage book Woe Is I recommends “get hold” or “get a hold” instead.

However, The American Heritage Dictionary of the English Language (4th ed.) and Merriam-Webster’s Collegiate Dictionary (11th ed.) include “ahold” without any such reservations, which means they regard it as standard English.

American Heritage and Merriam-Webster’s—the two standard dictionaries we rely on the most—cite examples from the writings of contemporary authors.

AH quotes Jimmy Breslin: “I knew I could make it all right if I got … back to the hotel and got ahold of that bottle of brandy.” And M-W quotes Norman Mailer: “if you could get ahold of a representative.”

As for its part of speech, both dictionaries identify “ahold” as a noun meaning “hold.”

But the Oxford English Dictionary takes a different view. It still regards “ahold” (which it hyphenates, “a-hold”) as dialectal or colloquial. And it classifies the word as an adverb.

In the OED’s analysis, “ahold” is an adverb formed from the noun “hold” and the prefix “a-,” which is not an article but a preposition.

So “ahold” or “a-hold,” according to the OED editors, is in effect a small prepositional phrase, serving as an adverb.

In explaining the use of “a-” as a prepositional prefix, the OED says it’s often used with a noun or gerund, sometimes hyphenated and sometimes not, to express action.

Most words formed this way are now obsolete or regional, as in “At noon he was still lying abed” or “Froggy went a-courtin’ ” or “It’s been a long time a-coming.”

Historically, “ahold” was once used as a navigational term meaning to sail a ship close to the wind.

It was recorded sometime before 1616 in Shakespeare’s The Tempest. In Act I, the boatswain cries: “Lay her a-hold, a-hold!” That use of the word is now obsolete.

The modern sense of the word emerged in the 1870s. Here’s an OED citation from an 1878 issue of Scribner’s Monthly: “With one bee a-hold of your collar … and another a-hold of each arm.”

And here’s a 20th-century example, from Ernest Hemingway’s short-story collection In Our Time (1926): “Nick dropped his wrist. ‘Listen,’ Ad Francis said. ‘Take ahold again.’ ” 

Since you mention “aholt,” it’s interesting to note that the OED’s first citation for the current meaning of “ahold” is spelled this way.

It’s from Edward Eggleston’s novel The End of the World (1872): “You gripped a-holt of the truth.”

“Aholt,” which doesn’t appear in standard dictionaries, can be traced to what the OED calls “an unexplained phonetic variant” of “hold” as “holt.”

The OED has many citations for “holt,” dating from around 1375 to modern times.

In fact, it says “hold” is still pronounced “holt” in some midland and southern counties of England, as well as regionally in the US. So it’s dialect, not archaic.

But getting back to “ahold,” you can consider it a noun or an adverb, standard English or dialectal. In our opinion, it still has a dialectal flavor and doesn’t belong in formal writing.

Merriam-Webster’s Dictionary of English Usage says “ahold” is “primarily a spoken construction, and its most frequent appearance is in the transcription of speech.”

(Perhaps if the people quoted were writing instead of speaking, they would have written “a hold.” Who knows?)

As for how to label “ahold,” the M-W usage guide says, “If it is indeed dialectal it is well spread around.”

The word has been recorded in 17 states, both urban and rural and in all parts of the country, according to M-W usage and the Dictionary of American Regional English.

A couple of Google searches suggest that the two-word version is more popular: “a hold,” 16 million hits, vs. “ahold,” 5 million. (Many of the one-worders refer to the Dutch grocery chain Ahold.)

We’ll stick with “hold” or “a hold,” unless we’re going to our local Stop & Shop, an Ahold supermarket. 

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Odd fellows

Q: Your posting on the idiomatic use of prepositions with “odd” and “even” left me to wondering how these two little words got their numerical meanings.

A: And now we’ve been wondering about the conventions of “odd” and “even” numbering.

Let’s begin with “even” and save the odder history of “odd” for later.

The adjective “even” has had several related meanings over its more than 1,000-year history.

Among other things, it has meant level, equal, alike, uniform, straight, direct, parallel, exact, precise, balanced, and equable (that is, unruffled).

In the mid-16th century, the Oxford English Dictionay says, “even” acquired a numerical meaning: “divisible integrally into two equal parts.” 

“Even” first appeared this way, according to OED citations, in Robert Record’s The Whetstone of Witte (1557): “Euen nombers are those, whiche maie be diuided into equalle halfes.”

It’s easy to see how a word that meant equal could evolve over a few hundred years into one that meant dividable into equal parts.

The adjective “odd,” however, didn’t have to evolve to get its numerical sense.

It’s been used for numbers since it showed up in a Middle English religious poem in the late 13th century, according to OED references.

The original meaning of “odd” in English was one in addition to (or one shy of) an even number.

“Odd” got this meaning from associations it had in early Scandinavian.

For example, oddi in Old Icelandic meant a triangle, and later a third or an odd number. Here’s how the OED explains it:

 “The senses ‘odd,’ ‘odd number’ in early Scandinavian apparently developed by metaphor from ‘triangle’ (as being three-cornered), and thence by extension from the third or unpaired member of a group of three, to any single or unpaired member of a group, and from three as the primary ‘odd number,’ to all numbers containing an unpaired unit.”

Meanwhile, a century of so after it entered English, “odd” started taking on non-numerical meanings: left over, unpaired, irregular, strange, and generally the opposite of “even.”

So “even” developed its numerical meaning because of an earlier sense of evenness, while “odd” developed its sense of oddness because of an earlier numerical meaning.

Now isn’t that odd!

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Grammar Usage

Is all well that begins well?

Q: The words “so” and “well” are often the first ones that talking heads utter. Example: “So, Catherine, give us an update on the world. Well, Martha, the world is still round.” I know they aren’t needed here, but are they used properly?

A: Yes, “so” and “well” are properly used in sentences like those. But they do seem to be overused by on-air reporters and interviewers.

Many people have asked us about the use of “so” to introduce a remark. In fact, we had a blog item a couple of years ago about this usage.

As for “well,” it’s an adverb, but in this case it doesn’t modify a verb. Instead, it’s used almost like an interjection (or even a throat-clearer).

Here’s how the Oxford English Dictionary defines this use of the adverb:

“Employed without construction to introduce a remark or statement, sometimes implying that the speaker or writer accepts a situation, etc., already expressed or indicated, or desires to qualify this in some way, but frequently used merely as a preliminary or resumptive word.”

So “well” can be used merely to introduce a conversation (“Well, what do you think about so and so?”) or resume one (“Well, let’s get back to the subject of so and so”).

One thing you can say in favor of this usage is that it has a lot of history.

The OED’s first citation comes from King Alfred’s translation of  Boethius into Old English, circa 888: “Wella, wisan men, …” (Well, wise men, …).

The word has been steadily used in this way ever since.

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Etymology Grammar Usage

Into the woulds

Q: I was speaking to a Brazilian friend and said something like this: “When I was a boy, I would go to a theater every Saturday and watch two films, a newsreel, a short subject, and a cartoon for 30 cents.” A look of consternation crossed her face. “You mean you can use the conditional ‘would’ in place of ‘used to’?” I told her yes, but I couldn’t tell her why. Can you? Can anybody?

A: We’re surprised that your Brazilian friend found this use of “would” more astounding than seeing those two films and all the rest for 30 cents!

We’ve written before on the blog about the use of “would” to express a tentative question or request. Example: “I would like to borrow that book when you’re finished reading it” instead of “I want to borrow it.”

Your question is different, though. In a sentence like “When I was a boy, I would go to the theater every Saturday,” the word “would” is not the conditional; it’s the simple past tense of the verb “will.”

Here we’re not talking about the “will” that’s an auxiliary (or “helping”) verb to indicate a future action.

This “will” is a verb in itself, meaning to intend or desire. It expresses volition, intention, or voluntary action (as in “Do what you will”).

When “would” is the past tense of “will,” it can have many meanings: wished to, intended to, chose to, was capable of, was determined to, insisted on, was accustomed to, or used to.

And in many of these usages (as when it means wished to or used to), “would” is generally followed by an infinitive: “would go,” “would take,” “would find,” “would eat,” and so on.

(Yes, “go,” “take,” “find,” and “eat” are infinitives despite the absence of the prepositional marker “to.” We’ve written before about these “to”-less infinitives as well as the split infinitive myth.)

Getting back to “would” plus an infinitive, the Oxford English Dictionary cites this example from the works of Daniel Defoe in which “would” is used in the sense of wished to:

“Mrs. Bargrave asked her whether she would drink some Tea” (from A True Relation of the Apparition of One Mrs. Veal, the Next Day after her Death, to One Mrs. Bargrave, 1707).

Now here’s a citation in which it means used to, from William Makepeace Thackeray’s novel Vanity Fair (1848): “The girls would ask her … for a little music, and she would sing her three songs.”

This posting barely scratches the surface of “would,” which is a many-splendored verb with a multitude of uses. But we hope it answers your question.

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Etymology Linguistics Usage

Can you “read” an audio book?

Q: I believe you can “read” an audio book, but some people insist you can only “listen” to it. They feel that engaging in a book with your ears is inferior to using your eyes. What’s your take on this? And what about books written in Braille?

A: In our opinion, reading and listening are different experiences, though we don’t necessarily see one as better than the other.

And by reading, we mean interpreting a written text, whether with the eyes or the fingertips.

As you know, much of the ancient literature that’s survived into modern times was preserved in people’s memories and recited to generations of listeners, until at last it was committed to writing.

But the listener and the reader have different ways of engaging with that literature. Listening can be profoundly absorbing, of course. But it’s absorbing in a way that’s different from reading. 

Listening requires two people—one to recite and one to listen. Reading is more solitary; the only “voice” you hear is your own.

In an audio recording, for example, the voice (often an actor or other professional) might supply interpretive nuances that the reader of a book would have to supply for himself.

That’s what we mean by different ways of engaging. And that’s why we would have to say that one doesn’t read an audio book—one listens to it.

Interestingly, the verb “read” meant a lot more than to take in written words when it showed up in the early days of English.

In Old English, the language of the Anglo-Saxons, “read” also meant to consider, interpret, discern, guess, discover, and so on, according to the Oxford English Dictionary.

In other words, the process of reading has always meant something more than merely taking in words with our eyes.

The American Heritage Dictionary of the English Language (4th ed.) points out that English is “one of the few western European languages that does not derive its verb for ‘to read’ from Latin legere.

In an etymology note, the dictionary says the Latin verb for read gave the Italians leggere, the French lire, the Germans lesen, and so on.

Read comes from the Old English verb raedan, ‘to advise, interpret (something difficult), interpret (something written), read,’ ” American Heritage adds.

It seems that Anglo-Saxons also felt that reading was a more involved way of taking in information than listening.

In saying this, we’re not making a value judgment about reading versus listening. We’re merely recognizing that the experiences aren’t the same.

So how do the two of us experience them?

Well, we find ourselves more engaged by words on the page than by words in an audio book.

After all, we can listen to an audio book while driving, though perhaps the driving should get all of our concentration!

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