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Oxford BBC Guide to Pronunciation

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essential handbook of the English spoken word

How do you pronounce the word controversy? Is it kohn-trov-ersy, or kohn-trov-ersy? And how about schedule – do we say shed-yool, or sked-yool? Pronunciation can be something of a minefield in the UK – especially when it is also linked to class accent and language usage. The Oxford BBC Guide to Pronunciation is is an ideal source for finding out how to pronounce controversial or difficult words and foreign names. Expert guidance is given on how to pronounce 15,000+ less-than-usual terms.

Oxford BBC Guide to Pronunciation Entries run from Aachen and Aalvar Alto, via Maastricht and the Mabinogion, to Zyklon B and zymurgy (which is a type of fermentation, just in case you wondered). There’s a guide to how the word should sound shown by splitting it into its stressed and unstressed parts, then by showing it written in the International Phonetic Alphabet (IPA).

The compilers of this guide – both experts from the BBC’s pronunciation unit, have opted to give just one recommended pronunciation for each term. But if there are serious contenders as alternatives, these are listed too. And the guide to how words should be spoken is based on received pronunciation.

Yet we can no longer really call it ‘BBC English’ – and for very good reasons. The BBC has been forced to use more and more people with non-standard accents as announcers. Now it is quite common for someone with a regional accent to be reading the news (Huw Edwards for instance), or commenting on political matters (as does Newsnight reporter Paul Mason – who is from the same part of the north as me).

What do you do with those people who seek to aggrandise themselves by adopting idiosyncratic pronunciations for their own names? – that is, the Cole-in Powells and Anthony Poles of this world. Why not Cole-in Pole? The editors politely sidestep this issue by observing of the American general that “The unusual pronunciation for the first name is his own” – though no such note is made on the surname of the English novelist and toff.

It has often been rumoured that during the second world war the British government tested suspect German spies (who were claiming to be English) by inviting them to discuss people with weirdly aberrant English family names. I was amazed to find that these had even more variations than I knew:

Featherstonehaugh British family name

feth-uhr-stuhn-haw
fan-shaw
fest-uhn-haw
fee-suhn-hay
feer-stuhn-haw

A great deal of the substance here is how to pronounce foreign terms, and in fact there are special panels which deal with the pronunciation of other languages, ranging from Arabic to Welsh. The entries have been chosen to reflect themes and topics of contemporary relevance, and they include newly-researched material from the BBC’s pronunciation database.

© Roy Johnson 2006

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Oxford BBC Guide to Pronunciation, Oxford: Oxford University Press, 2006, pp.432, ISBN: 0192807102

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Oxford Companion to Wine

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encyclopedia covering every aspect of the world’s wines

Jancis Robinson was one of the first writers to take a lot of the snobbery out of commenting on wine, and the TV series which made her famous was successful because it combined serious and wide-ranging knowledge with a lightness of touch. This modestly titled Oxford Companion to Wine (which is effectively an encyclopedia) does the same thing. It covers every conceivable aspect of growing grapes, making wine, and drinking the finished product that you can imagine.

Oxford Companion to Wine The whole of the world’s wine regions are described; there are over 600 entries on wine grape varieties; she discusses the how and why of viticulture and wine-making; the history of famous vintages, and even peripheral matters such as label designs, the names of glasses and decanters, and the changes in fashion in the wine trade.

Entries run from abboccato (Italian, medium sweet) to Zweigelt (an Austrian grape variety) and you would be amazed at some of the places which produce wine. Even England gets a two-page entry. Of course France is still the home of serious viticulture, and this is reflected in the depth of information on the grand chateaux, the grape varieties, and the classifications. There’s coverage of some famous vineyards whose terroir is not much more than a couple of fields.

She also deals with the politics and the commerce of the wine trade – describing phenomena such as the ‘flying wine makers’ from the New World areas such as Australia who have been imported back into France in regions such as the Langeudoc and helped to bring the quality of their wines back up again after recent declines.

Another attractive feature of the book is that the entries are cross-referenced – so you start from a wine, go to a grape, then a producer, on to a growing method, then to who has consumed most in recent years. Here’s a typical entry describing a small area on the Cote d’Or where I used to stop off regularly on my way south:

Auxey-Duresses, a village in Burgundy producing medium-priced red and white wines not dissimilar to neighbouring VOLNAY and MEURSAULT respectively, although more austere in style. The vineyards, which include those of the hamlets of Petit Auey and Melin, are located on either side of a valley subject to cooler winds than the main Cote de BEAUNE, PINOT NOIR vineyards, including such PREMIER CRUS as Les Duresses and Le Climat de Val, are grown on the south east slope of the Montagne du Bourdon. White wines, made from CHARDONNAY, account for just above a quarter of the production, covering the slopes adjacent to Meursault. Some vines, atypically for Burgundy, are trained high.

In the past wines from Auxey-Duresses were likely to have been sold under the names of grander neighbours. Many are now labelled as Cote de Beaunes Villages, although the village appellation is becoming more popular. See COTE D’OR and BURGUNDY map.

There are appendices listing a guide to the best vintages and the appellation controlles and their permitted grape varieties, and you can marvel at the ‘aroma wheel’, invented in an attempt to give some sort of scientific rigour to the way tastes and aromas are described.

This new edition of Jancis Robinson’s award-winning magnum opus is a major revision of her earlier work with over 500 new entries and the remainder completely revised to present the latest developments in the fast-moving and increasingly popular wine scene.

It’s beautifully designed and has been completely reset in a larger, more manageable format with new illustrations. The term ‘Companion’ doesn’t really do justice to the encyclopedic nature of this work. I was given a copy as a birthday present by friends, and have used it regularly ever since.

© Roy Johnson 2006

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Jancis Robinson, The Oxford Companion to Wine, Oxford: Oxford University Press, 3rd edition, 2006, pp.840, ISBN: 0198609906

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Oxford Dictionary of Allusions

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guide to popular cultural references – old and new

Allusions are a sort of cultural shorthand. If someone is ‘as rich as Croesus’, a comparison is being made with the sixth century BC King of Lydia, who was fabled for his wealth (and it’s pronounced Kree-Sus, by the way). The problem for most of us who haven’t had a classical education, is that many of these references might be lost on us. This completely new reference guide, the Oxford Dictionary of Allusions explains the meaning of allusions used in modern English – from Abaddon to Zorro.

Oxford Dictionary of AllusionsSee what I mean? You probably knew about the masked crusader, but like me, you would have to look up Abaddon to discover that it is ‘the angel of the bottomless pit’ from the Book of Revelation in the Bible. Topics are listed thematically – dancing, danger, darkness – and all entries are cross referenced in an index. The compilers have put a lot of emphasis on contemporary relevance – so although you get Adam and Eve plus Jason and the Argonauts, there are also entries on Cinderella, James Bond, Mary Poppins, and Al Capone. As with most books of this type, one of its chief pleasures is the opportunity to browse idly and come across unexpected gems. There’s everything here – from Barbara Cartland to Dido and Aeneas or from Morgan le Fay to Bridget Jones’s Diary.

© Roy Johnson 2005

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The Oxford Dictionary of Allusions, Oxford: Oxford University Press, 2nd edition 2005, pp.480, ISBN: 0198609191

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Oxford Dictionary of Catchphrases

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sources of much-quoted words and phrases

Do the following catchphrases mean anything to you? Can I do you now, sir?, Shut that door!, Who loves ya, baby?, Bono Estente!, and Eat my shorts!. The more of these you know, the older you probably are. This Oxford Dictionary of Catchphrases offers explanations and the original sources of these and many other popular phrases, which in alphabetical terms range from accidento bizarro to Yada, yada, yada – coming from The Fast Show and Seinfeld respectively.

Oxford Dictionary of CatchphrasesAnna Farkas uses as her sources mainly films, television and radio shows, advertising, songs, and music hall acts. She provides full details of who coined or employed each phrase, when they used it, and in what context. Some are no more than a single word stressed in a particular way – such as Miss Piggy’s use of Moi? in The Muppets. This book will appeal hugely to fans of radio and television comedy on both sides of the Atlantic – because in addition to giving the source of a catchphrase, she also offers a potted explanation for its origin.

These explanations are almost as funny as the original, because they are written in a such a dead-pan style. Many of them also go on to provide fascinating details from the programmes and set an ideological context for popular culture.

Don’t mention the war
Spoken repeatedly by Basil Fawlty (John Cleese) in an episode of Fawlty Towers (1975-79). Cleese as the accident-prone hotel manager challenged the bounds of acceptability in British comedy by breaking into SS-style goose-stepping before a party of German guests. Although Basil keeps telling everyone ‘Whatever you do, don’t mention the war’, he seems unable to control himself, infuriating his guests by referring to the Second World War at every opportunity.

If you’ve seen any of these programmes, her flat descriptions somehow allow the humour to rise off the page again in a very satisfying way.

Amazingly rich sources are The Goon Show, Monty Python, The Fast Show, and there are a huge number of phrases and one-liners from David Letterman and Saturday Night Live.

One of the things I warmed to was the fact that she provides new summaries and explanations of sources which generate multiple catchphrases. So, if you’ve just read about Did she want it, sir? from The Fast Show, you get a different set of background details about the show when it comes to Does my bum look big in this?

There’s also lots of interesting trivia – such as who does the voice-overs in South Park and what happened to cartoonist Robert Crumb’s copyright on ‘Keep on Trukin’.

I might seem something of an anorak, but I read the whole collection from beginning to end. Guaranteed to make you smile.

© Roy Johnson 2003

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Anna Farkas, Oxford Dictionary of Catchphrases, Oxford: Oxford University Press, 2003, pp.357, ISBN: 0198607350

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Oxford Guide to Word Games

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puzzles, puns, acrostics, charades, and palindromes

If you like words, wordplay, and peculiarities of the English Language, you’ll love The Oxford Guide to Word Games. What is the difference between elephants and fleas? Answer: an elephant can have fleas, but fleas cannot have elephants. Each chapter deals with a different play on words – ranging from the lowly pun to extremely sophisticated word squares. And there are plenty of surprises along the way. I didn’t realise that charades started out in written, not acted form.

The Oxford Guide to Word Games There are also lots of unusual cases along the way, such as words which can be split into three and even four separate words – as when sometime becomes So-Met-I-Me. An acrostic is formed from the first letter of each line, but it can also be the last, and in more complex examples, elsewhere in the line, including ‘double acrostics’ in which the first and last letter (reversed) of each line are related to each other. The example given is attributed to Queen Victoria.

This leads into the immensely complicated world of word squares, which were the origin of the surprisingly recent (1913) crossword puzzle – now the most world-popular word game. This section actually teaches you how to solve common types of crossword clues.

There’s also a brief history of Scrabble – one of the most commercially successful word games. Here you get tips on how to increase your score, plus a consideration of rare and exotic words – zoae and qibla and more interestingly of the dictionaries that contain them.

The rebus seems to anticipate the text message by five thousand years or so, using a printed symbol to represent a phrase, as in If the gr8 B mt, put : – in other words, ‘If the grate be empty, put coal on’.

Palindromes can be single words (Eve) or sentences – as in the famous Madam, I’m Adam. The general quest seems to be for the longest palindromic utterance, but interestingly, sense recedes as the sentences lengthen, as this example begins to show – Marge lets Norah see Sharon’s telegram.

All sorts of word games are illustrated – pangrams, lipograms, and chronograms – many of which are no longer fashionable, but which retain a period charm. There’s also plenty on tongue-twisters, Spoonerisms, alphabet games, and malapropisms.

Prostitutes appeal to Pope
Doctor Fuchs off to South Pole
March planned for April

This is a witty and entertaining book which manages to include etymological scholarship alongside how to play lexical ping-pong or how to crack a rebus such as EGNC for Aegean Sea. It’s great fun for anyone interested in word play, etymology, and a fun and games approach to language.

© Roy Johnson 2003

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Tony Augarde, The Oxford Guide to Word Games, Oxford: Oxford University Press, 2003, pp.304, ISBN: 0198662645

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Pears’ Cyclopaedia

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best-selling one-volume encyclopaedia, issued annually

What is the population of Stockholm? the atomic number of calcium? or the best way to treat frostbite? To get all the answers in a one-volume reference guide, you need Pears Cyclopaedia. Pears’ (not the soap or fruit) is a long-established classic of compressed facts and knowledge. It packs all sorts of topics into a handy desktop book of reference. Editions vary from year to year, but the fundamental sections remain the same. An edition bought at any time will last you for years and years. There’s a potted chronology of world events (starting at 70,000,000 BC); then a list of prominent people, with thumbnail biographies; and sections on literature, art, and music – complete with mini-essays on the major topics covered.

Pears CyclopaediaThe centre of the book is an atlas with a huge index which even lists the position and populations of small villages. There are sections on economic events and political institutions (including recent UK parliamentary statistics); and an encyclopaedia of general knowledge, plus science in the form of chemistry, medicine, computers, and the environment. Ideas and beliefs cover the major world philosophies, and the myths and legends get a section of their own, as does a Biblical glossary.

You have to put up with an absence of page numbers, and strangely enough, the index to the book itself is quite small; but since the entries in most sections are arranged either chronologically or alphabetically, information is easy to locate. This is the work of reference I use most apart from dictionaries and my old copy of Encyclopaedia Britannica. It’s one of those books which you’ll find difficult to put down, once you start browsing. New editions appear in August of each year.

Pears’ Cyclopedia was first produced by the Queen’s soap-makers in 1897 on the occasion of Victoria’s diamond jubilee. It has been revised and updated every year since then, and is still going strong as what the publisher’s rightly claim as ‘the Swiss Army penknife of reference books.

© Roy Johnson 2000

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Pears’ Cyclopaedia London: Allen Lane, (issued annually) pp.832, ISBN: 1846143764

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Pocket Oxford Spanish Dictionary

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dictionary + grammar + culture + communication

Don’t be misled by the title of this book. The Pocket Oxford Spanish Dictionary is not simply a Spanish dictionary. It’s a full English-Spanish and Spanish-English dual-language dictionary, aimed at intermediate students and the everyday user. In fact it’s even more than that, because the two big lexicons are surrounded by lots of other support materials. There is enough supplementary material in this book to provide a substantial insight into Spanish culture and society.

Pocket Oxford Spanish DictionaryThere are guides to pronunciation; a list of traditions, festivals, and holidays; an A to Z gazette of life and culture; guidance notes on writing letters; and even notes on grammar plus verb tables. These are presented in both languages in all cases. The only thing that struck me as very odd is the fact that pronunciation is given for English words, but not for Spanish. Since this book is aimed at English buyers, this ought to be the other way round, at least.

It covers over 90,000 words and phrases and 120,000 translations of contemporary Spanish and English, and the technical supplement provides full information on all the key points of Spanish and English grammar,

In addition to a new 32 page grammar supplement for this edition, there are example letters, emails, postcards, and CVs.

Language is now studied in the context of its culture, so the existing culture section has been revised and expanded to offer lively and useful information on life in the Spanish-speaking world – everything from political institutions to how weddings are celebrated.

So – the presentation of a typical entry goes as follows – for the verb perder – to lose.

perder
[E8] vt 1. (en general) to lose; perdi el pasaporte I lost my passport; quiere ~ peso he wants to lose weight; con conguntar no se pierde nada we’ve/you’ve nothing to lose by asking; ~ la vida to lose one’s life, to perish; • CABEZA 1E, VISTA 3; yo no pierdo las esperanzas I’m not giving up hope; ~ la práctica to get out of practice; ~ el equilibrio to lose one’s balance; ~ el conocimiento to lose consciousness, to pass out; ~ el ritmo (Mús) to lose the beat; (en trabajo) to get out of the rhythm

2. (a) (autobús/tren/avión) to miss (b) (occasión o opportunidad) to miss; sin ~ la detalle without missing any detail (c) (tiempo) to waste; no me hagas ~ (el) tiempo! don’t waste my time!; no hay tiempo que ~ there’s no time to lose

3. (a) (guerra/plaito/partido) to lose (b) (curso/año) to fail; (examen) (Ur) to fail

4. (agua/aciete/aire) to lose

One thing is for certain however. Unless you are wearing an oversized hunting jacket, this book will definitely not fit in your pocket. But it’s an excellent dictionary and a good source of reference about everyday communication in Spanish.

© Roy Johnson 2009

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Pocket Oxford Spanish Dictionary, Oxford: Oxford University Press, 4th edition, 2009, pp.1088, ISBN: 0199560773

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Roger’s Profanisaurus: Magna Farta

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hilarious dictionary of slang, smut, indecency, and filth

Do you know the difference between an air biscuit and a trouser cough, or the relationship between a pearl necklace and mammary dandruff? Do you know what an art pamphlet and a bongo periodical have in common? Welcome to the world of Viz, linguistic invention, and ribald scatology. Roger’s Profanisaurus is what I would call an ‘advanced’ and deliberately rude dictionary of slang.

Roger's Profanisaurus: Magna Farta The entries are compiled from contributions to the monthly comic magazine. It assumes as a starting point the lowest and most wide-ranging street language for sexual matters, body functions, and gender preference. And it is blisteringly funny, mainly because each expression is defined by the use of further slang terms which are provocatively allusive, offered in a cod serious tone, and take every opportunity to introduce further vulgarity.

You have to be deep into the laddish frame of reference to know what’s going on. But if you’re interested in the connections between slang and linguistic imagination the effort is well worth it, believe me.

Stanky n. The glaze that is left on the shaft of the choad after a bout of kipper splitting. May be zuffled on curtains or wiped on a stankey-chief.

Even the spoof cross-referencing is funny, because one obscure term is often defined by others which themselves need explanation, or are cloaked in comic metaphor – as in

rear gunner n. In aviation terms, a gunner who shoots one of his own side by firing his lamb cannon (qv) into their bomb bay (qv).

snookered behind the red Unable to sink the pink due to the time of month. The only pot on is a difficult brown.

Some of them are clearly comic inventions, such as

Snogging water;   a male grooming lotion that smells like Joan Collins’ knickers. After shave.

but the majority are explanations of common terms, such as horizontal jogging, rear admiral, and tradesman’s entrance, and there’s also lots of rhyming slang and examples of street language ‘shown’ in the work of famous writers.

You’ll need a strong stomach to take in all the lavatory terms, but essentially it’s kind-hearted smut and self-consciously outrageous sexism – not at all vicious. And there are also, en passant, some interesting sociological details:

Sports bag n. A handy cottaging accessory in which one partner stands to conceal his feet and avoid detection by lavatory attendants looking under the door.

The latest and hugely enlarged edition has just appeared which the publisher describes as “an exhaustive lexicon of four letter filth which contains over 10,000 useful words and phrases to turn the air bluer than a baboon’s arse.”

For those who may not know, the Roger in the title is ‘Roger Mellie, the Man on the Telly’ – one of the regular characters in Viz who specialises in vulgarity. This book is filthy, extremely funny, and very well informed. Since its first appearance it has gone through many new editions. Make sure you get the latest and biggest.

© Roy Johnson 2007

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Roger’s Profanisaurus Rex IV: The Magna Farta, London: Dennis Publishing, 2007, pp.480, ISBN: 095485778X

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Roget’s Thesaurus

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best-selling reference for word alternatives and opposites

Roget’s Thesaurus is a classic and much-loved compilation of synonyms and antonyms. It was first published in the middle of the nineteenth century, and although the arrangement of its entries has been modified from time to time, it has remained in print ever since. When do you need a thesaurus? Basically, most people use them to find alternatives for words which they wish to avoid repeating. And they are very popular with fans of crossword puzzles.

Roget's Thesaurus If you’ve already shown off by using the word ‘benevolence’, you look up the term and discover ‘philanthropy’, ‘generosity’, ‘benignity’, ‘charity’, and ‘unselfishness’ as synonyms (same or near-same meaning). The headword is also explored in its form as a noun, verb, adverb, and adjective. Thesauri (that’s the plural) also include antonyms (opposite meaning) and Roget has always given examples of expressions in common usage.

So in this case, it includes ‘good Samaritan’ and clichés such as ‘heart in the right place’ and ‘milk of human kindness’. Roget’s is a thesaurus which you dip into for some nugget of information, and stay there tasting and sampling for much longer than you had intended.

The book has always been a big favourite with crossword puzzle fans, because the entries throw up alternative word possibilities of the kind which are often locked in their clues.

It’s a treasure trove of verbal information (sorry – another cliché) which is why the original compiler’s name has always been retained in the title as a guarantee of value. Make sure you get the latest edition, because lots of quotations have been added.

© Roy Johnson 2004

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Roget’s Thesaurus, London: Penguin, 2004, pp.848, ISBN: 0140515038

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Shakespeare’s Bawdy

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all the Bard’s smut, indecency, and suggestiveness

Eric Partridge was a maverick, self-taught Australian lexicographer. In addition to scholarly work on grammar and linguistics, he specialised in slang, swearing, and the colourful language of everyday life. In this classic work from 1941 he combines a study of ‘rude language’ with a scholarly reading of Shakespeare. The result in Shakespeare’s Bawdy is a marvellous compilation of Shakespeare’s linguistic inventiveness and an in-depth study of imagery, allusion, innuendo, and metaphor. Structurally, the book is composed in its first part of introductory essays on sexual, homosexual, and general bawdy; and then in its second part a major glossary of terms, with quoted examples from the plays and poetry.

Shakespeare's Bawdy Partridge assumes that all the opinion, references, and allusions represent Shakespeare’s own personal opinion, rather than that of the characters who express them. This is an approach which many today would take to be critically naive. But I don’t think this matters too much. Most people reading the book will be delighted with Partridge’s learned swashbuckling style, grateful for his scholarship, and amused by the plethora of examples he explores. Here’s a typical example which illustrates both the scholarly detail and the amazing density of the sexual reference he uncovers:

boat hath a leak, her. To Edgar’s Come o’er the bourne, Bessy, to me’, the Fool adds, ‘Her boat hath a leak And she must not speak Why she doth not come over to thee’ (Lear, III vi 25-28). Perhaps, ‘she is having her period’, but probably ‘she is suffering from gonorrhoea’. (Cf. leaky.)
The boat may be the female body (cf. carrack), a rich prize that a man is ready to board; or it may, by a shape-allusion, be the female pudend.

This is a linguistic register in which innocent words such as ‘neck’ and ‘nose’ are used to imply sexual body parts, and even the pronunciation of the single letter ‘n’ may be used suggestively. What the majority of these entries reveal however is not simply the sauciness and ribaldry of Shakespeare’s language, but his amazing power of coining metaphors and the spectacular profundity of his imagination.

This is one of the first volumes in Routledge’s re-issue of books which have established themselves as classics. They are now available for those who missed them first time round, and for a younger generation for whom the authors are just frequently-cited names in bibliographies.

Because they have now acquired the status of ‘set texts’, the current editions have been given introductions, prefaces, and notes which place them in historical context and offer a scholarly apparatus which make them even more valuable than their original editions.

All Partridge’s books are a joy to read, and this is no exception. This is a handsomely produced book – well designed and printed, and very good value at the price. It’s a series which deserves to prosper.

© Roy Johnson 2002

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Eric Partridge, Shakespeare’s Bawdy, London: Routledge Classics, 2001, pp.291, ISBN: 0415254000

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