The recent launch of the second edition of the Australian National Dictionary (AND) gave me a chance to indulge in my long-time hobby of looking up the swear words. I’m looking forward to sharing some of my favourite home-grown colourful language in a future post, but I want to start with an entry that gives me the kind of pride that others expended on the Olympic Games last month.
The entry for fuckwit (p. 647) includes the note:
Used elsewhere but recorded earliest in Australia
That’s right. Australia is the home of the fuckwit. The earliest citation in the AND and the Oxford English Dictionary is from Alex Buzo’s 1970 play The Front Room Boys. The earliest non-Australian citation in the OED is from a 1992 article in Making Music magazine from America.
The second edition of the AND expands the citations for fuckwit, makes a clearer distinction between nominal and adjectival use, and (most importantly) adds an earlier citation for fuckwitted. Here are the entries, along with the earliest few citations:
One of the more entertaining literary spats of recent times was between two biographers of the poet John Betjeman (1906–84). It kicked off in earnest when A.N. Wilson, in a review at The Spectator in 2002, described Bevis Hillier’s biography of Betjeman as a ‘hopeless mishmash’:
Some reviewers would say that it was badly written, but the trouble is, it isn’t really written at all. It is hurled together, without any apparent distinction between what might or might not interest the reader. . . . Bevis Hillier was simply not up to the task which he set himself.
Hillier’s three-volume authorised work had taken him 25 years, and he was none too pleased to see it dismissed so. Years later he described Wilson as ‘despicable’. But harsh words were not enough: Hillier wanted retribution, and he got his chance when Wilson undertook to write his own biography of Betjeman.
We’re delighted to bring you a guest post by Michael Adams, Professor of English at Indiana University Bloomington and past president of the Dictionary Society of North America. Adams specializes in lexicography, slang, and the history of English. He is the author of Slayer Slang: A Buffy the Vampire Slayer Lexicon (2003), Slang: The People’s Poetry (2009), From Elvish to Klingon: Exploring Invented Languages (2011), and In Praise of Profanity (2016). You can expect that last one to reappear here sooner or later.
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Donald Trump swears a lot, perhaps more than any other major presidential candidate in history. I’m not sure that should bother us. Most Americans swear now and then and plenty of us swear more than Mr. Trump swears during his public appearances. I have no idea how much he swears in private; I’m pretty sure it’s none of my damned business.
It’s always entertaining to look up rude words in a dictionary. This activity can tell you something about the editor, and perhaps the intended audience. A nineteenth century single-copy hand-written dictionary that translates between Tibetan and Newar (a language of Nepal) offers a uniquely joyful smutty read.
In terms of plot, Shakespeare’s The Life of Henry the Fifth (Henry V) is fairly straightforward: invading France after making a claim on French territories, a vastly outnumbered King Henry (Harry) dispatches them at Agincourt, uniting the two kingdoms through his subsequent marriage to the French princess. In terms of language, however, the play has a lot of texture – not to mention the Bard’s ambivalent depictions of power and war that complicate this historical drama.
With its extensive cast of characters, Henry V features a range of linguistic registers. The lofty commentary of the Chorus frames the historical action of the play. The clergy’s academic discourse convinces Harry to mount his siege. Simple peasants malaprop in prose while the King rallies his troops with impassioned battle cries: “We few, we happy few, we band of brothers” (4.3.60). And the French princess, Catherine, says cunt.