The most popular slang expression of the day is "to rubberneck," or, more concisely, "to rubber." Its primary meaning is to crane the neck in curiosity, to pry round the corner, as it were.[[W]] But it has numerous and surprising extensions of meaning. It appears to be one of the laws of slang that when a phrase strikes the popular fancy, it is pressed into service on every possible or impossible occasion. Another favourite expression is "That cuts no ice with me."[[X]] I was unable to ascertain either its origin or its precise significance. On the other hand, a piece of slang which supplies a "felt want," and will one day, I believe, pass into the literary language, is "the limit" in the sense of "le comble." A theatrical poster, widely displayed in New York while I was there, bore this alluring inscription:
THE LIMIT AT LAST!
"THE MORMON SENATOR AND THE MERMAID"
JAGS OF JOY FOR JADED JOHNNIES.
A "jag," be it known, means primarily a load, secondarily a "load," or "package," of alcohol.
Collectors of slang will find many priceless gems in two recent books which I commend to their notice: Chimmie Fadden, by Mr. E.W. Townsend, and Artie, by Mr. George Ade. Chimmie Fadden gives us the dialect of the New York Bowery Boy, or "tough," in which the most notable feature is the substitution either of "d" or "t" for "th." Is this, I wonder, a spontaneous corruption, or is it due to German and Yiddish influence? When Chimmie wants to express his admiration for a young lady, he says: "Well, say, she's a torrowbred, an' dat goes." When the young lady's father comes to thank him for championing her, this is how Chimmie describes the visit: "Den he gives me a song an' dance about me being a brave young man for tumping de mug what insulted his daughter," "Mug," the Bowery term for "fellow" or "man," in Chicago finds its equivalent in "guy." Mr. Ade's Artie is a Chicago clerk, and his dialect is of the most delectable. In comparison with him, Mr. Dooley is a well of English undefiled. Here again we find traces of the influence of polyglot immigration. "Kopecks" for "money" evidently comes from the Russian Jew; "girlerino," as a term of endearment, from the "Dago" of the sunny south; and "spiel," meaning practically anything you please, from the Fatherland. When Artie goes to a wedding, he records that "there was a long spiel by the high guy in the pulpit." After describing the embarrassments of a country cousin in the city, Artie proceeds, "Down at the farm, he was the wise guy and I was the soft mark." "Mark" in the sense of "butt" or "gull" is one of the commonest of slang words. When Artie has cut out all rivals in the good graces of his Mamie, he puts it thus, "There ain't nobody else in the one-two-sevens. They ain't even in the 'also rans.'" When they have a lovers' quarrel he remarks, "Well, I s'pose the other boy's fillin' all my dates." When he is asked whether Mamie cycles, he replies, "Does she? She's a scorchalorum!" When he disapproves of another young gentleman, this is how "he puts him next" to the fact, as he himself would say—
"You're nothin' but a two-spot. You're the smallest thing in the deck.... Chee-e-ese it! You can't do nothin' like that to me and then come around afterwards and jolly me. Not in a million! I tell you you're a two spot, and if you come into the same part o' the town with me I'll change your face. There's only one way to get back at you people.... If he don't keep off o' my route, there'll be people walkin' slow behind him one o' these days.... But this same two-spot's got a sister that can have my seat in the car any time she comes in."
I plead guilty to an unholy relish for Chimmie's and Artie's racy metaphors from the music-hall, the poker-table, and the "grip-car."[[Y]] But it is to be noted that both these profound students of slang, Mr. Townsend and Mr. Ade, like the creator of the delightful Dooley, express themselves in pure and excellent English the moment they drop the mask of their personage. This is very characteristic. Many educated Americans take great delight, and even pride, in keeping abreast of the daily developments of slang and patter; but this study does not in the least impair their sense for, or their command of, good English. The idea that the English language is degenerating in America is an absolutely groundless illusion. Take them all round, the newspapers of the leading American cities, in their editorial columns at any rate, are at least as well written as the newspapers of London; and in magazines and books the average level of literary accomplishment is certainly very high. There are bad and vulgar writers on both sides of the Atlantic; but until the beams are removed from our own eyes, we may safely trust the Americans to attend to the motes in theirs.
POSTSCRIPT.—When this paper originally appeared, it formed the text for an editorial article in the Daily News, in which Mr. Andrew Lang's sign manual was not to be mistaken. Mr. Lang brought my somewhat desultory discussion very neatly to a point. He admitted that we habitually use "Americanism" as a term of reproach; "but," he asked, "who is reproached? Not the American (who may do as he pleases) but the English writer, who, in serious work, introduces, needlessly, an American phrase into our literature. We say 'needlessly' when our language already possesses a consecrated equivalent for the word or idiom."
In the first place, one has to remark that many English critics are far from accepting Mr. Lang's principle that "the American may do as he pleases, of course." Mr. Lang himself scarcely acts up to it in this very article. And, for my part, I think the principle a false one. I think the English language has been entrusted to the care of all of us, English no less than Americans, Americans no less than English; and if I find an American writer debasing it in an essential point, as opposed to a point of mere local predilection, I assert my right to remonstrate with him, just as I admit his right, under similar circumstances, to remonstrate with me.