Hidden Ancient Greek Medical Text Read for the First Time in a Thousand Years — with a Particle Accelerator

Image by Far­rin Abbott/SLAC, via Flickr Com­mons

Long before human­i­ty had paper to write on, we had papyrus. Made of the pith of the wet­land plant Cype­r­us papyrus and first used in ancient Egypt, it made for quite a step up in terms of con­ve­nience from, say, the stone tablet. And not only could you write on it, you could rewrite on it. In that sense it was less the paper of its day than the first-gen­er­a­tion video tape: giv­en the expense of the stuff, it often made sense to erase the con­tent already writ­ten on a piece of papyrus in order to record some­thing more time­ly. But you could­n’t com­plete­ly oblit­er­ate the pre­vi­ous lay­ers of text, a fact that has long held out promise to schol­ars of ancient his­to­ry look­ing to expand their field of pri­ma­ry sources.

The decid­ed­ly non-ancient solu­tion: par­ti­cle accel­er­a­tors. Researchers at the Stan­ford Syn­chro­tron Radi­a­tion Light­source (SSRL) recent­ly used one to find the hid­den text in what’s now called the Syr­i­ac Galen Palimpsest. It con­tains, some­where deep in its pages, “On the Mix­tures and Pow­ers of Sim­ple Drugs,” an “impor­tant phar­ma­ceu­ti­cal text that would help edu­cate fel­low Greek-Roman doc­tors,” writes Aman­da Sol­l­i­day at the SLAC Nation­al Accel­er­a­tor Lab­o­ra­to­ry.

Orig­i­nal­ly com­posed by Galen of Perg­a­mon, “an influ­en­tial physi­cian and a philoso­pher of ear­ly West­ern med­i­cine,” the work made its way into the 6th-cen­tu­ry Islam­ic world through a trans­la­tion into a lan­guage between Greek and Ara­bic called Syr­i­ac.

Image by Far­rin Abbott/SLAC, via Flickr Com­mons

Alas, “despite the physician’s fame, the most com­plete sur­viv­ing ver­sion of the trans­lat­ed man­u­script was erased and writ­ten over with hymns in the 11th cen­tu­ry – a com­mon prac­tice at the time.” Palimpsest, the word coined to describe such texts writ­ten, erased, and writ­ten over on pre-paper mate­ri­als like papyrus and parch­ment, has long since had a place in the lex­i­con as a metaphor for any­thing long-his­to­ried, mul­ti-lay­ered, and ful­ly under­stand­able only with effort. The Stan­ford team’s effort involved a tech­nique called X‑ray flu­o­res­cence (XRF), whose rays “knock out elec­trons close to the nuclei of met­al atoms, and these holes are filled with out­er elec­trons result­ing in char­ac­ter­is­tic X‑ray flu­o­res­cence that can be picked up by a sen­si­tive detec­tor.”

Those rays “pen­e­trate through lay­ers of text and cal­ci­um, and the hid­den Galen text and the new­er reli­gious text flu­o­resce in slight­ly dif­fer­ent ways because their inks con­tain dif­fer­ent com­bi­na­tions of met­als such as iron, zinc, mer­cury and cop­per.” Each of the leather-bound book’s 26 pages takes ten hours to scan, and the enor­mous amounts of new data col­lect­ed will pre­sum­ably occu­py a vari­ety of experts on the ancient world — on the Greek and Islam­ic civ­i­liza­tions, on their lan­guages, on their med­i­cine — for much longer there­after. But you do have to won­der: what kind of unimag­in­ably advanced tech­nol­o­gy will our descen­dants a mil­len­ni­um and a half years from now be using to read all of the stuff we thought we’d erased?

via SLAC

Relat­ed Con­tent:

2,000-Year-Old Man­u­script of the Ten Com­mand­ments Gets Dig­i­tized: See/Download “Nash Papyrus” in High Res­o­lu­tion

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

Try the Old­est Known Recipe For Tooth­paste: From Ancient Egypt, Cir­ca the 4th Cen­tu­ry BC

Learn Ancient Greek in 64 Free Lessons: A Free Course from Bran­deis & Har­vard

Intro­duc­tion to Ancient Greek His­to­ry: A Free Online Course from Yale

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Meet Nadia Boulanger, “The Most Influential Teacher Since Socrates,” Who Mentored Philip Glass, Leonard Bernstein, Aaron Copland, Quincy Jones & Other Legends

We recent­ly fea­tured a video of Bri­an Eno giv­ing con­tro­ver­sial advice to artists: “don’t get a job.” Eas­i­er said than done, of course, but he makes a com­pelling case. Along the way, he says some­thing inter­est­ing about the fetish we make of genius—an obses­sive focus on lone, and almost always male, artists as self-made, hero­ic embod­i­ments of great­ness. “Although great new ideas are usu­al­ly artic­u­lat­ed by indi­vid­u­als,” he says, “they’re near­ly always gen­er­at­ed by com­mu­ni­ties.” (He pro­pos­es the neol­o­gism “sce­nius” in place of “genius” to describe “coop­er­a­tive intel­li­gence.”) Eno would prob­a­bly agree that great art not only comes out of cre­ative com­mu­ni­ties of peers, but also from the influ­ence of great teach­ers.

One such fig­ure, Nadia Boulanger (1887 –1979), has been described as “the most influ­en­tial teacher since Socrates.” This is hard­ly hyper­bole. As Clemen­cy Bur­ton-Hill notes at the BBC, “her ros­ter of music stu­dents reads like the ulti­mate 20th Cen­tu­ry Hall of Fame. Leonard Bern­stein. Aaron Cop­land. Quin­cy Jones. Astor Piaz­zol­la. Philip Glass,” and so on.

“It is no exag­ger­a­tion, then, to con­sid­er Boulanger the most impor­tant musi­cal ped­a­gogue of the modern—or indeed any—era.” She was also a tal­ent­ed com­pos­er, a men­tor and fierce cham­pi­on of Igor Stravin­sky, and the first woman to con­duct major sym­phonies in Europe and the U.S., such as the New York Phil­har­mon­ic and the Boston Sym­pho­ny Orches­tra.

Boulanger had her own take on genius: “We are as fools to say, ‘he’s a genius,’” she opines in the inter­view at the top. She also describes her method of weed­ing out unse­ri­ous stu­dents by ask­ing them, “Can you live with­out music?” If the answer is yes, she tells them “thank the Lord and good­bye!” Even at an advanced age, her fierce­ly uncom­pro­mis­ing approach is pal­pa­ble, a qual­i­ty Philip Glass remem­bers from his first meet­ing with her in 1964, when “she was already a rel­ic,” writes Matthew Guer­ri­eri at Red Bull Acad­e­my. She iden­ti­fied a bar from one of Glass’s com­po­si­tions as “writ­ten by a real com­pos­er,” says Glass. “It was “the first and last time she said any­thing nice to me for the next two years.”

Amer­i­can com­posers sub­ject­ed them­selves to Boulanger’s harsh dis­ci­pline as a “rite of pas­sage,” vis­it­ing her in her Paris apart­ment where she did most of her teach­ing. She also made her way through “lead­ing con­ser­va­toires,” Bur­ton-Hill notes, “includ­ing the Juil­liard School, the Yehu­di Menuhin School, the Roy­al Col­lege of Music and the Roy­al Acad­e­my of Music.” Boulanger’s ear­ly life is as fas­ci­nat­ing as her teach­ing career; she was the def­i­n­i­tion of “a tough, aris­to­crat­ic French­woman,” as Glass describes her, and grew up sur­round­ed by music. Her father, Ernest, was a com­pos­er, con­duc­tor, and singing pro­fes­sor. Her younger sis­ter Lili, who died in 1918 at the age of 24, was the more tal­ent­ed com­pos­er. (Nadia, writes Bur­ton-Hill, was “riv­en with envy.”)

A few years after Lili’s trag­ic death, Nadia aban­doned com­po­si­tion to focus pri­mar­i­ly on her teach­ing, men­tor­ing stu­dents with tremen­dous promise and those with less evi­dent gifts alike. “Any­one could be a Boulanger stu­dent,” Guer­ri­eri writes (pro­vid­ed they couldn’t live with­out music): “Those with less­er skills were tak­en in along­side prodi­gies and pro­fes­sion­als.” She did not dis­crim­i­nate on any basis, though her polit­i­cal atti­tudes make her a dif­fi­cult fig­ure for many peo­ple to ful­ly embrace. “She espoused nation­al­ism, monar­chism and, although her good man­ners kept it from her often-Jew­ish stu­dents, anti-Semi­tism.” She held democ­ra­cy in con­tempt and did not believe women should vote. And she was espe­cial­ly hard on her female stu­dents. (When one woman final­ly met her approval, Boulanger addressed her as “Mon­sieur.”)

Boulanger was as tra­di­tion­al in her musi­cal attitudes—spurning Arnold Schoenberg’s inno­va­tions, for example—as in her pol­i­tics. Yet she worked with jazz musi­cians like Jones and Don­ald Byrd, and with com­posers like Joe Raposo, “the musi­cal chameleon behind the songs of Sesame Street and The Elec­tric Com­pa­ny.” She was an encour­ag­ing pres­ence in the lives of her stu­dents long after they had gone on to suc­cess and fame. When Leonard Bern­stein sent her the score to West Side Sto­ry, she pro­nounced, “I am enchant­ed by its daz­zling nature” (though she added a cri­tique about its “facil­i­ty”). Per­haps her most rad­i­cal stu­dent, Philip Glass, has nev­er been accused of musi­cal con­ser­vatism. But through his dif­fi­cult course of study with Boulanger, he says, “I learned to hear.”

“To under­go Boulanger’s rig­or­ous train­ing,” writes Guer­ri­eri, “was to absorb her sense of music his­to­ry: evo­lu­tion, not rev­o­lu­tion.” Then again, many of history’s rev­o­lu­tion­ar­ies have also been some of the keen­est stu­dents of tra­di­tion, usu­al­ly assist­ed, guid­ed, and trained by his­to­ry’s great teach­ers.

via @dark_shark/Red Bull Acad­e­my

Relat­ed Con­tent:

A Min­i­mal Glimpse of Philip Glass

Leonard Bernstein’s Mas­ter­ful Lec­tures on Music (11+ Hours of Video Record­ed at Har­vard in 1973)

1200 Years of Women Com­posers: A Free 78-Hour Music Playlist That Takes You From Medieval Times to Now

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness.

Brian Eno’s Advice for Those Who Want to Do Their Best Creative Work: Don’t Get a Job

“Once upon a time, artists had jobs,” writes Katy Wald­man in a recent New York Times Mag­a­zine piece. “Think of T.S. Eliot, con­jur­ing ‘The Waste Land’ (1922) by night and over­see­ing for­eign accounts at Lloyds Bank dur­ing the day, or Wal­lace Stevens, scrib­bling lines of poet­ry on his two-mile walk to work, then hand­ing them over to his sec­re­tary to tran­scribe at the insur­ance agency where he super­vised real estate claims.” Or Willem de Koon­ing paint­ing signs, James Dick­ey writ­ing slo­gans for Coca-Cola, William Car­los Williams writ­ing pre­scrip­tions, Philip Glass installing dish­wash­ers – the list goes on.

Wald­man sug­gests that we con­sid­er day jobs not just bill-pay­ing grinds but deliv­ery sys­tems for “the same replen­ish­ing min­istries as sleep or a long run: reliev­ing cre­ative angst, restor­ing the artist to her body and to the tex­ture of imme­di­ate expe­ri­ence.” Bri­an Eno thinks dif­fer­ent­ly. “I often get asked to come and talk at art schools,” he says in the clip above, “and I rarely get asked back, because the first thing I always say is, ‘I’m here to per­suade you not to have a job.’ ”

That does­n’t mean, he empha­sizes, that you should “try not to do any­thing. It means try to leave your­self in a posi­tion that you do the things you want to do with your time, and where you take max­i­mum advan­tage of what­ev­er your pos­si­bil­i­ties are.”

Eas­i­er said than done, of course, which is why Eno wants to “work to a future where every­body is in a posi­tion to do that,” enact­ing some form of uni­ver­sal basic income, the gen­er­al idea of which holds that soci­ety will func­tion bet­ter if it guar­an­tees all its mem­bers a cer­tain stan­dard of liv­ing regard­less of employ­ment sta­tus. But if that stan­dard ris­es too high, might it run the risk of soft­en­ing the rig­ors and loos­en­ing the lim­i­ta­tions need­ed to encour­age true cre­ativ­i­ty? Musi­cian Daniel Lanois, who has worked with Eno on the pro­duc­tion of sev­er­al U2 albums as well as ambi­ent music projects, describes learn­ing that les­son from his col­lab­o­ra­tor in the Louisiana Chan­nel video just above.

“At the peak of my son­ic exper­i­men­ta­tions with Bri­an Eno, we only ever used four box­es,” says Lanois. “That’s when we start­ed get­ting these real­ly beau­ti­ful tex­tures and human-like sounds from machines. We got to be experts at those few tools.” The lim­i­ta­tions under which they worked in the stu­dio may not have fol­lowed from any par­tic­u­lar phi­los­o­phy, but the actu­al expe­ri­ence taught them how a rich­er artis­tic result can arise, para­dox­i­cal­ly, from more strait­ened cir­cum­stances. Since the begin­ning of art, its prac­ti­tion­ers have always had to find inno­v­a­tive ways around obsta­cles, whether those obsta­cles have to do with tech­nol­o­gy, sides, time, mon­ey, or any­thing else besides. As Lanois reas­sur­ing­ly puts it, “I can imag­ine that if you have lim­i­ta­tion, even finan­cial lim­i­ta­tion, that might be okay, man.”

Relat­ed Con­tent:

William Faulkn­er Resigns From His Post Office Job With a Spec­tac­u­lar Let­ter (1924)

Charles Bukows­ki Rails Against 9‑to‑5 Jobs in a Bru­tal­ly Hon­est Let­ter (1986)

Bri­an Eno Explains the Loss of Human­i­ty in Mod­ern Music

The Genius of Bri­an Eno On Dis­play in 80 Minute Q&A: Talks Art, iPad Apps, ABBA, & MoreBri­an Eno on Why Do We Make Art & What’s It Good For?: Down­load His 2015 John Peel Lec­ture

Bri­an Eno Lists 20 Books for Rebuild­ing Civ­i­liza­tion & 59 Books For Build­ing Your Intel­lec­tu­al World

The Employ­ment: A Prize-Win­ning Ani­ma­tion About Why We’re So Dis­en­chant­ed with Work Today

Hear Alan Watts’s 1960s Pre­dic­tion That Automa­tion Will Neces­si­tate a Uni­ver­sal Basic Income

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear Marvin Gaye Sing “I Heard It Through the Grapevine” A Capella: The Haunting Isolated Vocal Track

Mar­vin Gaye’s mega-hit, “I Heard it Through the Grapevine,” turns 50 this year.

Smokey Robin­son and Gladys Knight got the first cracks at the now icon­ic Bar­rett Strong-Nor­man Whit­field tune, but Gaye’s 1968 ren­di­tion is the famous one, the best­selling Motown sin­gle of the decade.

Gaye’s for­mer broth­er-in-law, Motown Records founder Berry Gordy, is per­haps the only one who wasn’t impressed, refus­ing to believe it could be a viable sin­gle until its enthu­si­as­tic recep­tion by radio DJs and the lis­ten­ing pub­lic con­vinced him oth­er­wise. In short order, In The Groove, the 1968 album on which it first appeared, was reti­tled with the name of its mon­ster hit.

It’s giv­en a con­sid­er­able boost to the danc­ing raisins, Lawrence Kasdan’s film, The Big Chill, and the many emerg­ing tal­ents who’ve sam­pled the track in the decades fol­low­ing the singer’s untime­ly death.

Strip all that away.

For an even pur­er lis­ten­ing expe­ri­ence, strip away its famous orches­tra­tion, described by Time Magazine’s Gilbert Cruz as “ a sin­gle drum shot,” “a dan­ger­ous-sound­ing elec­tric-piano riff,” and “a por­ten­tous tam­bourine rat­tle.”

As author Nel­son George, an his­to­ri­an of African Amer­i­can music, observed in his 1984 essay, “Mar­vin Gaye’s Abid­ing Unrest”:

In the ’60s Mar­vin bent his voice to the wish­es of Motown, but he did so his way, vocal­ly if not musi­cal­ly. He claimed he had three dif­fer­ent voic­es, a falset­to, a grit­ty gospel shout, and a smooth midrange close to his speak­ing voice…. His ver­sion of “Grapevine” is so intense, so pret­ty, so god­damn black in spir­it, it seems to cat­a­logue that world of black male emo­tions Charles Fuller evokes in his insight­ful Soldier’s Play

The superla­tives that accom­pa­ny Gaye’s 6th place rank­ing on Rolling Stone’s 2010 list of the 100 Great­est Singers of All Time speak to both the emo­tion­al pow­er he brought to his work, as well as his “bril­liant musi­cal­i­ty”:

These days we have Pro Tools and a thou­sand tracks, and you can do dif­fer­ent vocals on every track. But back then you real­ly had to inno­vate, like the way Mar­vin answered him­self in songs, or all that real­ly dis­tant back­ing work, where his voice is all the way in the back and echo­ing. It’s haunt­ing; he deliv­ered every sin­gle song with such clar­i­ty…

Even ex-wife Janis Gaye had sweet words for that voice in a recent inter­view with Voice Coun­cil mag­a­zine. Among the shock­ing rev­e­la­tions that got left out of her tell-all mem­oir about their tem­pes­tu­ous relationship—Gaye was a pri­mar­i­ly self-taught artist who smoked unfil­tered Camels:

…some­times he would walk around like Pavarot­ti just to make the kids laugh. But, yes, he would also run through scales, drink tea with hon­ey and lemon and lit­tle con­coc­tions of cayenne pep­per with vine­gar and things like that. But he didn’t warm up before every per­for­mance.

Lis­ten to “Let’s Get It On,” “Sex­u­al Heal­ing,” and oth­er iso­lat­ed vocal tracks from Mar­vin Gaye’s hit list here.

via Twist­ed Sifter

Relat­ed Con­tent:

Hear the Beach Boys’ Angel­ic Vocal Har­monies in Four Iso­lat­ed Tracks from Pet Sounds: “Wouldn’t It Be Nice,” “God Only Knows,” “Sloop John B” & “Good Vibra­tions”

Lis­ten to Fred­die Mer­cury and David Bowie on the Iso­lat­ed Vocal Track for the Queen Hit ‘Under Pres­sure,’ 1981

Hear a 4 Hour Playlist of Great Protest Songs: Bob Dylan, Nina Simone, Bob Mar­ley, Pub­lic Ene­my, Bil­ly Bragg & More

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her at the New York Soci­ety Library on April 23 for her month­ly low-bud­get vari­ety show, Necro­mancers of the Pub­lic Domain.  Fol­low her @AyunHalliday.

Patti Smith’s 40 Favorite Books

Image of Pat­ti Smith per­form­ing in Rio de Janeiro by Dai­go Oli­va

As a lit­tle girl, Pat­ti Smith found lib­er­a­tion in words — first through the bed­time prayers she made up her­self, and lat­er in books. “I was com­plete­ly smit­ten by the book,” she writes in her mem­oir, Just Kids.  “I longed to read them all, and the things I read of pro­duced new yearn­ings.”

Smith found a role mod­el in Jo, the tomboy writer in Louisa May Alcot­t’s Lit­tle Women. “She gave me the courage of a new goal,” writes Smith, “and soon I was craft­ing lit­tle sto­ries and spin­ning long yarns for my broth­er and sis­ter.” As a teenag­er she dis­cov­ered the French Sym­bol­ist poets Charles Baude­laire and espe­cial­ly Arthur Rim­baud, who inspired her and helped shape her own artis­tic per­sona as a poet and punk rock­er.

Despite her fame as a rock ’n’ roll musi­cian, Smith has always described her­self as essen­tial­ly a book­ish per­son. It was around the time of Smith’s appear­ance at the 2008 Mel­bourne Inter­na­tion­al Arts Fes­ti­val, accord­ing to Ver­ti­go, that Smith released this list of her favorite books. Not sur­pris­ing­ly, it’s an eclec­tic and fas­ci­nat­ing group of books:

Smith’s read­ing rec­om­men­da­tions have no doubt evolved since the list was giv­en. Ear­li­er this year a writer for Elle asked what books she would sug­gest. “I could rec­om­mend a mil­lion,” Smith respond­ed. “I would just say read any­thing by [Rober­to] Bolaño. Re-read all the great clas­sics. Read The Scar­let Let­ter, read Moby Dick, read [Haru­ki] Muraka­mi. But Rober­to Bolaño’s 2666 is the first mas­ter­piece of the 21st cen­tu­ry.”

You can find a num­ber of the texts list­ed above in our col­lec­tion, 800 Free eBooks for iPad, Kin­dle & Oth­er Devices.

Note: An ear­li­er ver­sion of this post appeared on our site in April 2015.

Relat­ed Con­tent:

David Bowie’s Top 100 Books

Hayao Miyaza­ki Picks His 50 Favorite Children’s Books

29 Lists of Rec­om­mend­ed Books Cre­at­ed by Well-Known Authors, Artists & Thinkers

How Bill Gates Reads Books

If you’re a ded­i­cat­ed read­er of our site, you know that we’ve peri­od­i­cal­ly high­light­ed Bill Gates’ favorite books. (See his lists from 20152016 and 2017, plus this rec­om­men­da­tion made ear­li­er this year.) You also know that his read­ing diet skews heav­i­ly towards non-fiction–towards books like Enlight­en­ment Now by Steven PinkerSapi­ens: A Brief His­to­ry of Humankind by Noah Yuval Harari, and Mind­set: The New Psy­chol­o­gy of Suc­cess by Car­ol S. Dweck.

That’s what Gates likes to read. But how about how he reads? How does Gates get the most out of his time spent read­ing? As he explains in the Quartz video above, it boils down to this:

  1. Take Notes in the Mar­gins: That sim­ple step helps ensure that you’re real­ly pay­ing atten­tion and engag­ing crit­i­cal­ly with the text. It lets you “take in new knowl­edge and attach it to knowl­edge you already have.”
  2. Don’t Start What You Can’t Fin­ish: Gates does­n’t explain why you should nev­er cut your loss­es. Maybe it’s a form of self-dis­ci­pline. Maybe it’s a fear of miss­ing out on what a book promis­es to deliv­er. Or maybe it’s the sunk cost fal­la­cy. Either way, Gates does rec­om­mend pick­ing your books care­ful­ly before you get start­ed.
  3. Paper Books, Not eBooks: Bet­ter for mar­gin­a­lia, for sure.
  4. Block Out an Hour of Read­ing Time: You can’t read a seri­ous book in a short sit­ting. To real­ly engage with a book, give it a good hour each day. A tall order, I known, in our age of ever-declin­ing atten­tion spans.

To be sure, you have your own read­ing prac­tices to rec­om­mend. Please don’t hes­i­tate to add them to the com­ments sec­tion below.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Bill Gates, Book Crit­ic, Names His Top 5 Books of 2015

Six Books (and One Blog) Bill Gates Wants You to Read This Sum­mer

Take Big His­to­ry: A Free Short Course on 13.8 Bil­lion Years of His­to­ry, Fund­ed by Bill Gates

View Bill Gates’ Mobile Library: The Books & Cours­es That Help Him Change The World

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The 1,700+ Words Invented by Shakespeare*

One of the favorite ref­er­ence books on my shelves isn’t a style guide or dic­tio­nary but a col­lec­tion of insults. And not just any col­lec­tion of insults, but Shakespeare’s Insults for Teach­ers, an illus­trat­ed guide through the playwright’s barbs and put-downs, designed to offer com­ic relief to the belea­guered edu­ca­tor. (Books and web­sites about Shakespeare’s insults almost con­sti­tute a genre in them­selves.) I refer to this slim, humor­ous hard­back every time dis­cus­sions of Shake­speare get too pon­der­ous, to remind myself at a glance that what read­ers and audi­ences have always val­ued in his work is its light­ning-fast wit and inven­tive­ness.

While perus­ing any curat­ed selec­tion of Shakespeare’s insults, one can’t help but notice that, amidst the puns and bawdy ref­er­ences to body parts, so many of his wise­cracks are about lan­guage itself—about cer­tain char­ac­ters’ lack of clar­i­ty or odd ways of speak­ing. From Much Ado About Noth­ing there’s the col­or­ful, “His words are a very fan­tas­ti­cal ban­quet, just so many strange dish­es.” From The Mer­chant of Venice, the sar­cas­tic, “Good­ly Lord, what a wit-snap­per you are!” From Troilus and Cres­si­da, the deri­sive, “There’s a stewed phrase indeed!” And from Ham­let the sub­tle shade of “This is the very coinage of your brain.”

Indeed, it can often seem that Shakespeare—if we grant his his­toric­i­ty and authorship—is often writ­ing self-dep­re­cat­ing notes about him­self. “It is often said,” writes Fras­er McAlpine at BBC Amer­i­ca, that Shake­speare “invent­ed a lot of what we cur­rent­ly call the Eng­lish lan­guage…. Some­thing like 1700 [words], all told,” which would mean that “out of every ten words,” in his plays, “one will either have been new to his audi­ence, new to his actors, or will have been pass­ing­ly famil­iar, but nev­er writ­ten down before.” It’s no won­der so much of his dia­logue seems to car­ry on a meta-com­men­tary about the strange­ness of its lan­guage.

We have enough trou­ble under­stand­ing Shake­speare today. The ques­tion McAlpine asks is how his con­tem­po­rary audi­ences could under­stand him, giv­en that so much of his dic­tion was “the very coinage” of his brain. Lists of words first used by Shake­speare can be found aplent­ly. There’s this cat­a­log from the exhaus­tive mul­ti-vol­ume lit­er­ary ref­er­ence The Oxford Eng­lish Dic­tio­nary, which lists such now-every­day words as “acces­si­ble,” “accom­mo­da­tion,” and “addic­tion” as mak­ing their first appear­ance in the plays. These “were not all invent­ed by Shake­speare,” the list dis­claims, “but the ear­li­est cita­tions for them in the OED” are from his work, mean­ing that the dictionary’s edi­tors could find no ear­li­er appear­ance in his­tor­i­cal writ­ten sources in Eng­lish.

Anoth­er short­er list links to an excerpt from Charles and Mary Cow­den Clarke’s The Shake­speare Key, show­ing how the author, “with the right and might of a true poet… mint­ed sev­er­al words” that are now cur­rent, or “deserve” to be, such as the verb “artic­u­late,” which we do use, and the noun “co-mart”—meaning “joint bargains”—which we could and maybe should. At ELLO, or Eng­lish Lan­guage and Lin­guis­tics Online, we find a short tuto­r­i­al on how Shake­speare formed new words, by bor­row­ing them from oth­er lan­guages, or adapt­ing them from oth­er parts of speech, turn­ing verbs into nouns, for exam­ple, or vice ver­sa, and adding new end­ings to exist­ing words.

“Whether you are ‘fash­ion­able’ or ‘sanc­ti­mo­nious,’” writes Nation­al Geo­graph­ic, “thank Shake­speare, who like­ly coined the terms.” He also appar­ent­ly invent­ed sev­er­al phras­es we now use in com­mon speech, like “full cir­cle,” “one fell swoop,” “strange bed­fel­lows,” and “method in the mad­ness.” (In anoth­er BBC Amer­i­ca arti­cle, McAlpine lists 45 such phras­es.) The online sources for Shakespeare’s orig­i­nal vocab­u­lary are mul­ti­tude, but we should note that many of them do not meet schol­ar­ly stan­dards. As lin­guists and Shake­speare experts David and Ben Crys­tal write in Shakespeare’s Words, “we found very lit­tle that might be classed as ‘high-qual­i­ty Shake­speare­an lex­i­cog­ra­phy’” online.

So, there are rea­sons to be skep­ti­cal about claims that Shake­speare is respon­si­ble for the 1700 or more words for which he’s giv­en sole cred­it. (Hence the aster­isk in our title.) As not­ed, a great many of those words already exist­ed in dif­fer­ent forms, and many of them may have exist­ed as non-lit­er­ary col­lo­qui­alisms before he raised their pro­file to the Eliz­a­bethan stage. Nonethe­less, it is cer­tain­ly the case that the Bard coined or first used hun­dreds of words, writes McAlpine, “with no obvi­ous prece­dent to the lis­ten­er, unless you were schooled in Latin or Greek.” The ques­tion, then, remains: “what on Earth did Shakespeare’s [most­ly] une­d­u­cat­ed audi­ence make of this influx of new­ly-mint­ed lan­guage into their enter­tain­ment?”

McAlpine brings those poten­tial­ly stu­pe­fied Eliz­a­bethans into the present by com­par­ing watch­ing a Shake­speare play to watch­ing “a three-hour long, open air rap bat­tle. One in which you have no idea what any of the slang means.” A good deal would go over your head, “you’d maybe get the gist, but not the full impact,” but all the same, “it would all seem ter­ri­bly impor­tant and dra­mat­ic.” (Cos­tum­ing, props, and stag­ing, of course, helped a lot, and still do.) The anal­o­gy works not only because of the amount of slang deployed in the plays, but also because of the inten­si­ty and reg­u­lar­i­ty of the boasts and put-downs, which makes even more inter­est­ing one data scientist’s attempt to com­pare Shakespeare’s vocab­u­lary with that of mod­ern rap­pers, whose lan­guage is, just as often, the very coinage of their brains.

Relat­ed Con­tent:

Do Rap­pers Have a Big­ger Vocab­u­lary Than Shake­speare?: A Data Sci­en­tist Maps Out the Answer

Hear 55 Hours of Shakespeare’s Plays: The Tragedies, Come­dies & His­to­ries Per­formed by Vanes­sa Red­grave, Sir John Giel­gud, Ralph Fiennes & Many More

What Shakespeare’s Eng­lish Sound­ed Like, and How We Know It

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness.

Applause Fills the Air as Stephen Hawking Gets Laid to Rest in Cambridge, England

Ear­li­er today, they laid Stephen Hawk­ing to rest in a pri­vate funer­al held at Uni­ver­si­ty Church of St. Mary the Great in Cam­bridge, Eng­land. Although the funer­al itself was attend­ed by only 500 guests, the streets of Cam­bridge swelled with onlook­ers who broke into applause as the cof­fin hold­ing the physi­cist made its way into the church, leav­ing us with some proof that there’s still some­thing right in a world tilt­ing toward the wrong, that we can still appre­ci­ate some­one who over­came so much, and left us with even more.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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Relat­ed Con­tent:

Stephen Hawk­ing Picks the Music (and One Nov­el) He’d Spend Eter­ni­ty With: Stream the Playlist Online

The Big Ideas of Stephen Hawk­ing Explained with Sim­ple Ani­ma­tion
Stephen Hawking’s Lec­tures on Black Holes Now Ful­ly Ani­mat­ed with Chalk­board Illus­tra­tions

Watch Stephen Hawking’s Inter­view with Neil DeGrasse Tyson, Record­ed 10 Days Before His Death: A Last Con­ver­sa­tion about Black Holes, Time Trav­el & More

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