What can be more objectionable than the irreverent and offensive manner in which many Dissenting ministers continually pronounce the names of the Deity—God and Lord? God, instead of pronouncing in the plain and beautiful simple old English way, “G‑o‑d,” they drawl out into “Gorde” or “Gaude;” and Lord, instead of speaking in the proper way, they desecrate into “Loard” or “Loerd,”—lingering on the u, or the r, as the case may be, until an honest hearer feels disgusted, and almost inclined to run the gauntlet of beadles and deacons, and pull the vulgar preacher from his pulpit. This is, though a Christian impulse, hardly in accordance with our modern times and tolerant habits. Many young preachers strive hard to acquire this peculiar pronunciation, in imitation of the older ministers. What, then, can more properly be called Slang, or, indeed, the most objectionable of Slang, than this studious endeavour to pronounce the most sacred names in a uniformly vulgar and unbecoming manner? If the old-fashioned preacher whistled Cant through his nose, the modern vulgar reverend whines Slang from the more natural organ. These vagaries of speech will, perhaps, by an apologist, be termed “pulpit peculiarities,” and the writer may be impugned for having dared to intermeddle with a subject that is or should be removed from his criticisms. Honesty of purpose and evident truthfulness of remark will, however, overcome the most virulent opposition. The terms used by the mob towards the Church, however illiberal and satirically vulgar, are fairly within the province of an inquiry such as the present. A clergyman, in vulgar language, is spoken of as a “choker,” a “cushion-thumper,” a “dominie,” an “earwig,” a “gospel-grinder,” a “grey-coat parson;” a “spouter,” a “white-choker,” or a “warming-pan rector,” if he only holds the living pro tempore. If he is a lessee of the great tithes, “one in ten;” or if spoken of by an Anglo-Indian, a “rook.” If a Tractarian, his outer garment is rudely spoken of as a “pygostole,” or “M. B. (mark of the beast) coat.” His profession is termed “the cloth” (this item of Slang has been already referred to), and his practice is called “tub-thumping.” This latter term has of late years been almost peculiarly confined to itinerant preachers. Should he belong to the Dissenting body, he is probably styled a “pantiler,” or a “psalm smiter,” or perhaps, a “swaddler.”[51] His chapel, too, is spoken of as a “schism shop.” A Roman Catholic is coarsely named a “brisket-beater.”
Particular as lawyers generally are about the meanings of words, they have not prevented an unauthorized phraseology from arising, which may be termed legal Slang. So forcibly did this truth impress a late writer, that he wrote in a popular journal, “You may hear Slang every day in term from barristers in their robes, at every mess-table, at every bar-mess, at every college commons, and in every club dining-room.” Swift, in his Art of Polite Conversation (p. 15), published a century and a half ago, states that “vardi” was the Slang in his time for “verdict.” A few of the most common and well-known terms used out of doors, with reference to legal matters, are “cook,” to hash or make up a balance-sheet; “dipped,” mortgaged; “dun” (from a famous writ or process-server named Dunn), to solicit payment; “fullied,” to be “fully committed for trial;” “land shark,” a sailor’s definition of a lawyer; “limb of the law,” a milder term for the same “professional;” “monkey with a long tail,” a mortgage; “mouthpiece,” the thief’s term for his counsel; “to run through the ring,” to take advantage of the Insolvency Act; “smash,” to become bankrupt; “snipe,” an attorney with a long bill; and “whitewash,” to take the benefit of the Insolvent Act. Comparatively recent legislation has rendered many of these terms obsolete, and “in liquidation” is now the most ominous sound a creditor can hear. Lawyers, from their connexion with the police courts, and transactions with persons in every grade of society, have ample opportunities for acquiring street Slang, of which, in cross-questioning and wrangling, they frequently avail themselves.
It has been said there exists a literary Slang, or the Slang of Criticism—dramatic, artistic, and scientific. This is composed of such words as “æsthetic,” “transcendental,” “the harmonies,” “the unities,” a “myth;” such phrases as “an exquisite morceau on the big drum,” a “scholarlike rendering of John the Baptist’s great toe,” “keeping harmony,” “middle distance,” “aërial perspective,” “delicate handling,” “nervous chiaroscuro,” and the like. It is easy to find fault with this system of doing work, whilst it is not easy to discover another at once so easily understood by educated readers, and so satisfactory to artists themselves. Discretion must, of course, always be used, in fact always is used by the best writers, with regard to the quantity of technical Slang an article will hold comfortably. Overdone mannerism is always a mistake, and generally defeats its own end. Properly used, these technicalities are allowable as the generous inflections and bendings of a bountiful language, for the purpose of expressing fresh phases of thought, and ideas not yet provided with representative words.[52] Punch often employs a Slang term to give point to a joke, or humour to a line of satire. In his best day he gave an original etymology of the schoolboy-ism “slog.” “Slog,” said the classical and then clever Punch, is derived from the Greek word “slogo,” to baste, to wallop, to slaughter. To show his partiality to the subject, he once amused his readers with two columns on Slang and Sanscrit, from which the following is taken:—
“The allegory which pervades the conversation of all Eastern nations is the foundation of Western Slang; and the increased number of students of the Oriental languages, especially since Sanscrit and Arabic have been made subjects for the Indian Civil Service examinations, may have contributed to supply the English language with a large portion of its new dialect. While, however, the spirit of allegory comes from the East, there is so great a difference between the brevity of Western expression and the more cumbrous diction of the Oriental, that the origin of a phrase becomes difficult to trace. Thus, for instance, whilst the Turkish merchant might address his friend somewhat as follows—‘That which seems good to my father is to his servant as the perfumed breath of the west wind in the calm night of the Arabian summer;’ the Western negotiator observes more briefly, ‘all serene!’”[53]
But the vulgar term, “brick,” Punch remarks in illustration,
“must be allowed to be an exception, its Greek derivation being universally admitted, corresponding so exactly as it does in its rectangular form and compactness to the perfection of manhood, according to the views of Plato and Simonides; but any deviation from the simple expression, in which locality is indicated—as, for instance, ‘a genuine Bath’—decidedly breathes the Oriental spirit.”
It is singular that what Punch says unwittingly and in humour respecting the Slang expression “bosh,” should be quite true. “Bosh,” remarks Punch, after speaking of it as belonging to the stock of words pilfered from the Turks, “is one whose innate force and beauty the slangographer is reluctantly compelled to admit. It is the only word which seems a proper appellation for a great deal which we are obliged to hear and to read every day of our life.” “Bosh,” nonsense or stupidity, is derived from the Gipsy and the Persian. The universality of Slang is proved by its continual use in the pages of Punch. Who ever thinks, unless belonging to a past generation, of asking a friend to explain the stray vulgar words employed by the London Charivari? Some of the jokes, though, might nowadays be accompanied by explanatory notes, in similar style to that adopted by youthful artists who write “a man,” “a horse,” &c., when rather uncertain as to whether or not their efforts will meet with due appreciation.
The Athenæum, the Saturday Review, and other kindred “weeklies,” often indulge in Slang words when force of expression or a little humour is desired, or when the various writers wish to say something which is better said in Slang, or so-called vulgar speech, than in the authorized language. Bartlett, the compiler of the Dictionary of Americanisms, continually cites the Athenæum as using Slang and vulgar expressions; but the magazine the American refers to is not the literary journal of the present day,—it was a smaller, and now defunct, “weekly.” The present possessor of the classic title is, though, by no means behindhand in its devotion to colloquialisms. Many other highly respectable journals often use Slang words and phrases. The Times (or, in Slang, the “Thunderer”) frequently employs unauthorized terms; and, following a “leader”[54] of the purest and most eloquent composition, may sometimes be seen another “article”[54] on a totally different subject, containing, perhaps, a score or more of exceedingly questionable words. Among the words and phrases which may be included under the head of Literary Slang are, “balaam,” matter kept constantly in type about monstrous productions of nature, to fill up spaces in newspapers; “balaam-box,” the term given in Blackwood to the repository for rejected articles; and “slate,” to pelt with abuse, or “cut up” in a review. “He’s the fellow to slate a piece” is often said of dramatic critics, especially of those who through youth, inexperience, and the process of unnatural selection which causes them to be critics, imagine that to abuse all that is above their comprehension is to properly exercise the critical faculty. This is, however, dangerous ground. The Slang names given to newspapers are curious;—thus, the Morning Advertiser is known as the “Tap-tub,” the “’Tizer,” and was until recently the “Gin and Gospel Gazette.” The Morning Post has obtained the suggestive sobriquet of “Jeames;” whilst the Morning Herald was long caricatured as “Mrs. Harris,” and the Standard as “Mrs. Gamp.”[55]
The Stage, of course, has its Slang—“both before and behind the curtain,” as a journalist remarks. The stage-manager is familiarly termed “daddy;” and an actor by profession, or a “professional,” is called a “pro.” It is amusing at times to hear a young actor—who struts about padded with copies of all newspapers that have mentioned his name—talking, in a mixed company, of the stage as the profession. This is after all but natural, for to him “all the world’s a stage.” A man who is occasionally hired at a trifling remuneration to come upon the stage as one of a crowd, or when a number of actors are wanted to give effect, is named a “supe,”—an abbreviation of “supernumerary.” A “surf” is a third-rate actor, who frequently pursues another calling; and the band, or orchestra between the pit and the stage, is generally spoken of as the “menagerie.” A “ben” is a benefit; and “sal” is the Slang abbreviation of “salary.” Should no money be forthcoming on the Saturday night, it is said that the “ghost doesn’t walk;” or else the statement goes abroad that there is “no treasury,” as though the coffers themselves had departed. The travelling or provincial theatricals, who perform in any large room that can be rented in a country village, are called “barn-stormers.” A “length” is forty-two lines of any dramatic composition; and a “run” is the continuous term of a piece’s performance. A “saddle” is the additional charge made by a manager to an actor or actress upon his or her benefit night. To “mug up” is to paint one’s face, or arrange the person, to represent a particular character; to “corpse,” or to “stick,” is to balk, or put the other actors out in their parts by forgetting yours. A performance is spoken of as either a “gooser” or a “screamer,” should it be a failure or a great success;—if the latter, it is not infrequently termed a “hit.” To “goose” a performance is to hiss it; and continued “goosing” generally ends, or did end before managers refused to accept the verdict of audiences, in the play or the players being “damned.” To “star it” is to perform as the centre of attraction, with your name in large type, and none but subordinates and indifferent actors in the same performance. The expressive term “clap-trap,” high-sounding nonsense, is nothing but an ancient theatrical term, and signified a “trap” to catch a “clap” by way of applause. “Up amongst the ‘gods,’” refers to being among the spectators in the gallery,—termed in French Slang “paradis.”
There exists, too, in the great territory of vulgar speech what may not inappropriately be termed Civic Slang. It consists of mercantile and Stock Exchange terms, and the Slang of good living and wealth. A turkey hung with sausages is facetiously styled an “alderman in chains,”—a term which has spread from the City and become general; and a half-crown, perhaps from its rotundity, is often termed an “alderman.” A “bear” is a speculator on the Exchange; and a “bull,” although of an opposite order, follows a like profession. There is something very humorous and applicable in the Slang term “lame duck,” a defaulter in stock-jobbing speculations. The allusion to his “waddling out of the Alley,” as they say, is excellent. “Breaking shins,” in City Slang, is borrowing money; a rotten or unsound scheme is spoken of as “fishy;” “rigging the market” means playing tricks with it; and “stag” was a common term during the railway mania for a speculator without capital, a seller of “scrip” in “Diddlesex Junction” and other equally safe lines. At Tattersall’s a “monkey” is 500l., and in the City a “plum” is 100,000l., and a “marygold” is one million sterling. But before proceeding further in a sketch of the different kinds of Slang, it may be as well to speak here of the extraordinary number of Cant and Slang terms in use to represent money—from farthings to bank-notes the value of fortunes. Her Majesty’s coin, collectively or in the piece, is known by more than one hundred and thirty distinct Slang words, from the humble “brown” (a halfpenny) to “flimsies,” or “long-tailed ones” (bank-notes).