This year marks the 400th anniversary of the death of perhaps the most memorable writer of all. It is fitting that the phrase “we all make his praise” is an anagram of William Shakespeare.
Moreover, the “all” in the phrase refers not only to native speakers of English but to all literate people on the planet. Shakespeare’s works have been translated into more than 100 languages, and it has been calculated that almost half of the world’s students have studied parts of his oeuvre. Ben Jonson’s comment about Shakespeare in the Preface to the First Folio in 1623, “He was not of an age, but for all time,” is one that has itself been vindicated by time.
Literary critic Harold Bloom titled his tome Shakespeare: The Invention of the Human because Shakespeare “went beyond all precedents (even Chaucer) and invented the human as we know it.” Bloom argues that the Bard can be credited for creating the modern person not only in the West but throughout all cultures, and he views the Shakespearean characters Hamlet and Falstaff as representing “the inauguration of personality as we have to recognize it.”
Shakespeare’s contribution to our phraseology is ubiquitous. Observe: We all cite him “without rhyme or reason.” If you are “in a pickle” because you’ve been “eaten out of house and home” by your own “flesh and blood,” or by a “stone-hearted” “blinking idiot” or by “strange bedfellows,” you are quoting Shakespeare. Small wonder you’ve been “hoodwinked” and are “playing fast and loose” and haven’t “slept a wink” and are probably “breathing your last.” Methinks you’ve been “more sinned against than sinning.” While it may be “cold comfort,” it’s also a “foregone conclusion” you are quoting Shakespeare.
The story is told (probably apocryphal) of an adolescent’s response upon seeing a performance of Hamlet stating that the play is “merely a collection of clichés.” Of course when Shakespeare coined expressions such as “brevity is the soul of wit,” “primrose path,” “dog will have its day,” “the lady doth protest too much,” “sweets for the sweet” and “cruel to be kind,” they were newly minted gems.
Because of Shakespeare’s transcendent phraseology, we sometimes forget that he may also rate as the greatest word creator of all time. To wit, the Oxford English Dictionary shows that the first evidence of a word is found in his works 1504 times and the first sense of a word appears in his works on 7,698 occasions. Examples of the latter are the verbal use of elbow and cow to mean “jostle” and “intimidate,” respectively, and admired to mean “praiseworthy” (especially as previously it had meant “wondered about.” The total of the above two categories exceeds his nearest competitor Chaucer by almost 2,000.
George Gordon, in Shakespeare’s English, congratulates Elizabethan writers for their willingness to use “every form of verbal wealth.” Shakespeare was fortunate to live an era when the language was very fluid. Gordon explains that Shakespeare could do what he liked with grammar because it had no fixed rules and he “drew beauty and power from its imperfections.”
Many words were created by the addition of prefixes and suffixes. Arouse first appears in Henry VI, Part II; premeditated was first used in A Midsummer Night’s Dream; uncomfortable in Romeo and Juliet; useful and useless in King John and The Rape of Lucrece, respectively. Lonely first appears in Coriolanus, and reclusive makes its debut in Much Ado About Nothing. Amazement, first found in Titus Andronicus, is one of the first uses of the suffix -ment to form a noun from a Teutonic verb.
As a language with Germanic roots, English had a tradition of creating new words through compounding, as German does. Some of the Bard’s contributions here are barefaced, hot-blooded, lackluster, dewdrop, foregone, still-born and skim-milk.
But if English lacked a word that could aid in his writing, Shakespeare invented it, invariably with a Latin root. Because many of these words were mellifluously polysyllabic, Shakespeare used them to enhance rhythm. For example, frugal comes from the Latin frugalis and is first seen in The Merry Wives of Windsor: “I was then frugall in my worth.” Castigate derives from the Latin castigare (to correct) and makes its stage entry in Titus Andronicus: “If thou didst put this soure cold habit on to castigate thy pride, ’twere well.” Courtship is first seen in Love’s Labour’s Lost with the sense of the behaviour befitting the court: “Trim Gallants, full of Courtship and of state.” Besmirch is first seen in Hamlet: “And now no soyle … doth besmirch the virtue of his will.” Shakespeare also borrowed from other Romance languages. Examples are bandit crafted from Italian bandito and torture from the French torturer.
Professor Victor Margolin summed up Shakespeare’s linguistic genius succinctly with this pun: “Shakespeare was great shakes and without peer.”
Howard Richler’s book Wordplay: Arranged & Deranged Wit was published in April 2016.
Moreover, the “all” in the phrase refers not only to native speakers of English but to all literate people on the planet. Shakespeare’s works have been translated into more than 100 languages, and it has been calculated that almost half of the world’s students have studied parts of his oeuvre. Ben Jonson’s comment about Shakespeare in the Preface to the First Folio in 1623, “He was not of an age, but for all time,” is one that has itself been vindicated by time.
Literary critic Harold Bloom titled his tome Shakespeare: The Invention of the Human because Shakespeare “went beyond all precedents (even Chaucer) and invented the human as we know it.” Bloom argues that the Bard can be credited for creating the modern person not only in the West but throughout all cultures, and he views the Shakespearean characters Hamlet and Falstaff as representing “the inauguration of personality as we have to recognize it.”
Shakespeare’s contribution to our phraseology is ubiquitous. Observe: We all cite him “without rhyme or reason.” If you are “in a pickle” because you’ve been “eaten out of house and home” by your own “flesh and blood,” or by a “stone-hearted” “blinking idiot” or by “strange bedfellows,” you are quoting Shakespeare. Small wonder you’ve been “hoodwinked” and are “playing fast and loose” and haven’t “slept a wink” and are probably “breathing your last.” Methinks you’ve been “more sinned against than sinning.” While it may be “cold comfort,” it’s also a “foregone conclusion” you are quoting Shakespeare.
The story is told (probably apocryphal) of an adolescent’s response upon seeing a performance of Hamlet stating that the play is “merely a collection of clichés.” Of course when Shakespeare coined expressions such as “brevity is the soul of wit,” “primrose path,” “dog will have its day,” “the lady doth protest too much,” “sweets for the sweet” and “cruel to be kind,” they were newly minted gems.
Because of Shakespeare’s transcendent phraseology, we sometimes forget that he may also rate as the greatest word creator of all time. To wit, the Oxford English Dictionary shows that the first evidence of a word is found in his works 1504 times and the first sense of a word appears in his works on 7,698 occasions. Examples of the latter are the verbal use of elbow and cow to mean “jostle” and “intimidate,” respectively, and admired to mean “praiseworthy” (especially as previously it had meant “wondered about.” The total of the above two categories exceeds his nearest competitor Chaucer by almost 2,000.
George Gordon, in Shakespeare’s English, congratulates Elizabethan writers for their willingness to use “every form of verbal wealth.” Shakespeare was fortunate to live an era when the language was very fluid. Gordon explains that Shakespeare could do what he liked with grammar because it had no fixed rules and he “drew beauty and power from its imperfections.”
Many words were created by the addition of prefixes and suffixes. Arouse first appears in Henry VI, Part II; premeditated was first used in A Midsummer Night’s Dream; uncomfortable in Romeo and Juliet; useful and useless in King John and The Rape of Lucrece, respectively. Lonely first appears in Coriolanus, and reclusive makes its debut in Much Ado About Nothing. Amazement, first found in Titus Andronicus, is one of the first uses of the suffix -ment to form a noun from a Teutonic verb.
As a language with Germanic roots, English had a tradition of creating new words through compounding, as German does. Some of the Bard’s contributions here are barefaced, hot-blooded, lackluster, dewdrop, foregone, still-born and skim-milk.
But if English lacked a word that could aid in his writing, Shakespeare invented it, invariably with a Latin root. Because many of these words were mellifluously polysyllabic, Shakespeare used them to enhance rhythm. For example, frugal comes from the Latin frugalis and is first seen in The Merry Wives of Windsor: “I was then frugall in my worth.” Castigate derives from the Latin castigare (to correct) and makes its stage entry in Titus Andronicus: “If thou didst put this soure cold habit on to castigate thy pride, ’twere well.” Courtship is first seen in Love’s Labour’s Lost with the sense of the behaviour befitting the court: “Trim Gallants, full of Courtship and of state.” Besmirch is first seen in Hamlet: “And now no soyle … doth besmirch the virtue of his will.” Shakespeare also borrowed from other Romance languages. Examples are bandit crafted from Italian bandito and torture from the French torturer.
Professor Victor Margolin summed up Shakespeare’s linguistic genius succinctly with this pun: “Shakespeare was great shakes and without peer.”
Howard Richler’s book Wordplay: Arranged & Deranged Wit was published in April 2016.
