William Shakespeare, the Bard of Avon, needs no introduction. His timeless plays and sonnets have captivated audiences for centuries, exploring the depths of human emotion and the complexities of the human condition. But beyond his storytelling prowess, Shakespeare holds another, lesser-known title: a revolutionary wordsmith.
English, during Shakespeare’s era (late 16th and early 17th centuries), was a language in flux. The Great Vowel Shift, a sound change that dramatically altered pronunciation, had recently concluded. Printing presses were becoming more widespread, fostering a need for standardization. It was in this dynamic linguistic environment that Shakespeare emerged, not just a playwright, but a sculptor of the English language itself.
Attributing the invention of words to a single person is a complex task. Sometimes, Shakespeare may have been the first to write down a word already in use but not formally documented. Other times, he may have taken existing words and twisted them into something entirely new. Regardless of the exact process, Shakespeare’s influence on the English lexicon is undeniable.
While estimates vary, scholars believe Shakespeare’s works introduced over 1,700 words into the language. To claim he single-handedly “added” 10 words feels almost disingenuous. However, to illustrate the Bard’s impact, let’s explore ten fascinating examples of Shakespearean coinages that have become ingrained in modern English:
Swagger (A Midsummer Night’s Dream, 1600)
Imagine a character striding across the stage, chin held high, every step radiating an exaggerated sense of self-importance. Their clothes might even swish dramatically as they walk. That’s the essence of “swagger,” a word Shakespeare coined (or at least, etched permanently into the language) in A Midsummer Night’s Dream. It likely stemmed from the Middle English “swag,” which meant to sway or swing, perfectly capturing the boastful confidence that makes someone seem to swagger with each arrogant stride.
Bedazzled (The Taming of the Shrew, 1623)
“Bedazzled” sparkles with Shakespeare’s linguistic ingenuity. It evokes a feeling of being gloriously overwhelmed, not by mere light, but by a cascading brilliance. Imagine a person adorned in such extravagant finery that their jewels and glittering attire become a blinding spectacle. Shakespeare, likely inspired by “dazzle,” adds the “be” prefix to create a word that captures this intensified effect. “Bedazzled” isn’t just about seeing something bright; it’s about being delightfully overloaded by its radiance.
Addiction (Othello, 1604)
While the human struggle with dependence has existed for millennia, Shakespeare wasn’t just reflecting a known concept – he gave it a name. In 1604’s Othello, he introduced “addiction” to the English language. The play centers on Othello’s descent into a jealous rage, a portrayal some argue embodies the all-consuming nature of addiction. Shakespeare may have recognized the obsessive and destructive qualities of dependence, even without our modern terminology, and immortalized it in this powerful word.
Elbow (verb) (King Lear, 1608)
Forget elbows as just bony hinges. Shakespeare, ever the innovator, took this familiar noun and made it a verb. Imagine navigating a crowded marketplace, and instead of saying “Excuse me,” you could say you “elbowed” your way through. This playful twist on a common word showcases Shakespeare’s genius for imbuing language with fresh meaning and perfectly captures the act of pushing past someone with a sharp nudge of your elbow.
Lonely (Coriolanus, 1616)
The ache of isolation, the yearning for connection – these feelings existed long before Shakespeare. Yet, it was the Bard who gifted them a single, evocative word: “lonely.” This seemingly simple term encapsulates a complex tapestry of emotions – the sting of rejection, the hollowness of solitude, the deep longing for companionship. Shakespeare’s genius lies in highlighting the power of language to express these nuanced human experiences. With one word, he gave voice to a universal feeling, forever etching “lonely” into the soul of the English language
Lackluster (As You Like It, 1616)
Imagine a performance with monotonous delivery and dim lighting – that’s the epitome of lackluster. Credited to Shakespeare’s ingenuity, “lackluster” perfectly captures this absence of vibrancy. He cleverly combined “lack,” signifying absence, with “luster,” meaning shine or brilliance, to craft this evocative term. This simple yet effective word paints a vivid picture of something dull and lifeless.
Eyeball (The Tempest, 1611)
Previously, writers relied on cumbersome phrases like “orb of sight” or “apple of the eye” to describe this essential organ. Shakespeare, with his genius for the economy of language, gifted us the single, powerful word “eyeball.” This invention perfectly captures the essence of the eye – a sphere that transmits visual information – while remaining clear and direct. It’s a testament to Shakespeare’s influence that such a fundamental word feels so natural today, a cornerstone of our visual vocabulary.
Zany (As You Like It, 1616)
It likely originated from the Italian “Zanni,” a comedic archetype in commedia dell’arte known for slapstick antics and outrageous costumes. Shakespeare, with his keen ear for language, recognized the character’s inherent silliness and captured it perfectly with this concise term. “Zany” doesn’t just describe someone eccentric; it evokes a sense of playful madness, perfectly encapsulating the outlandish behavior that made the Zanni such a crowd-pleaser.
Bewitch (Macbeth, 1606)
“Bewitch,” a word that first appeared in Shakespeare’s Macbeth (1606), weaves a potent spell with its very construction. Shakespeare, ever the linguistic alchemist, likely combined the intensifying prefix “be” with “witch” to conjure a sense of utter enthrallment. This wasn’t mere fascination; to be bewitched implied a complete captivation, a transformation orchestrated by the unseen forces witches were believed to wield. The word transcended the act of casting a spell, becoming synonymous with the overwhelming power it held.
Catastrophe (Hamlet, 1603)
Catastrophe (Hamlet, 1603) exemplifies Shakespeare’s mastery of dramatic language. Drawing from the Greek roots “kata” (down) and “strephein” (to turn), it condenses a sprawling concept – a sudden, disastrous reversal of fortune – into a single, powerful word. This efficiency perfectly suited Shakespeare’s penchant for heightened emotions and dramatic turns of plot. No wonder “catastrophe” became synonymous with the kind of tragic downfalls that pepper his plays.
These are just a handful of gems from Shakespeare’s vast linguistic treasure trove. His influence goes far beyond these ten words.
