Peter Gilliver has been an editor of the Oxford English Dictionary since 1987, and is now one of the Dictionary’s most experienced lexicographers; he has also contributed to several other dictionaries published by Oxford University Press. In addition to his lexicographical work, he has been writing and speaking about the history of the OED for over fifteen years. In this two part Q&A, we learn more about how his passion for lexicography inspired him to write a book on the development of the Oxford English Dictionary.
Peter Gilliver has been an editor of the Oxford English Dictionary since 1987, and is now one of the Dictionary’s most experienced lexicographers; he has also contributed to several other dictionaries published by OUP. In addition to his lexicographical work, he has been writing and speaking about the history of the OED for over fifteen years. In this two part Q&A, we learn more about how his passion for lexicography inspired him.
Curse is a much more complicated concept than blessing, because there are numerous ways to wish someone bad luck. Oral tradition (“folklore”) has retained countless examples of imprecations. Someone might want a neighbor’s cow to stop giving milk or another neighbor’s wife to become barren.
As usual, let me offer my non-formulaic, sincere thanks for the comments, additions, questions, and corrections. I have a theory that misspellings are the product of sorcery, as happened in my post on the idiom catch a crab (in rowing). According to the routine of many years, I proofread my texts with utmost care.
Caution is a virtue, but, like every other virtue, it can be practiced with excessive zeal and become a vice (like parsimony turning into stinginess). The negative extreme of caution is cowardice.
My travel through the English kr-words began with the verb creep, for I have for a long time tried to solve its mystery. On the face of it, there is no mystery. The verb has existed in Germanic from time immemorial, with cognates all over the place.
This post has been written in response to a query from our correspondent. An answer would have taken up the entire space of my next “gleanings,” and I decided not to wait a whole month.
The Oxford English Dictionary is the work of people: many thousands of them. In my work on the history of the Dictionary I have found the stories of many of those people endlessly fascinating. Very often an individual will enter the story who cries out to be made the subject of a biography in his or her own right; others, while not quite fascinating enough for that, are still sufficiently interesting that they could be a dangerous distraction to me when I was trying to concentrate on the main task of telling the story of the project itself.
I keep clawing at the bars of the cage I built for myself. But first a digression. Walter W. Skeat wrote numerous notes on English etymology, some of which he eventually put together and published in book form. Much to my regret, not too many kl-words attracted his attention. But I was amused to discover that the verb clop means not only the sound made by shoes or hoofs but also “to cling, adhere to.”
Perhaps the story would not have been worth telling if German and Dutch klein, the closest cognates of Engl. clean, did not mean “small.” Long ago, on 4 July 2007, I devoted half of my post to the adjective mad.
Last week, I mentioned Francis A. Wood’s rhyme words and rhyme ideas and cited his example cloud and crowd. In my life, such a pair is gleaning and cleaning.
Born in 1935, Robert Whitman was a member of an influential, innovative group of visual artists– Allan Kaprow, Red Grooms, Jim Dine, and Claes Oldenburg– who presented theater pieces on the lower east side in Manhattan in the early 1960s. Whitman has presented more than 40 theater pieces in the United States and abroad, including The American Moon, Flower, Mouth, and most recently Passport (2011) and Swim (2015).
Robert Whitman is a pioneering American artist who, in the company of other groundbreaking figures including Claes Oldenberg, Jim Dine, and Allan Kaprow, performed experimental performance art pieces in New York in the 1960s. In 1966, Whitman would become a founding member of the collective Experiments in Art and Technology (E.A.T.), along with Bell Labs engineers Billy Klüver and Fred Waldhaur and artist Robert Rauschenberg.
Engl. cloud belongs so obviously with clod and its kin that there might not even be a question of its origin (just one more lump), but for the first recorded sense of clūd in Old English, which was “rock, cliff.”
Once again, no gleanings: the comments have been too few, and there have been no questions. Perhaps when the time for a real rich harvest comes, I’ll start gleaning like a house on fire. When last week I attacked the verb clutter, I planned on continuing with the kl-series; my next candidates were cloud and cloth.
In an old post, I once referred to Jack London’s Martin Eden, a book almost forgotten in this country and probably in the rest of the English-speaking world. Martin is not Jack London’s self-portrait; yet the novel is to a great extent autobiographical.