Slang Lexicographers. The first glossaries or lexicons of European slang on record were lists of the verbal curiosities used by thieves and neer-do-wells which were compiled in Germany and France in the fifteenth century.
A hundred years later the first English collections appeared under the titles The Hye Waye to the Spytell House, by Copland, Fraternite of Vacabondes, by Awdeley, and Caveat for Common Cursetours, by Harman.
Although dramatists and pamphleteers of seventeenth-century England made spirited use of slang in their works, it was not until the very end of the 1600s that the next important compilation, the first real dictionary of slang, appeared.
This was A New Dictionary of the Terms ancient and modern of the Canting Crew by B. E. Gent, a writer whose real identity is lost to us. In 1785, Captain Francis Grose published the first edition of his Classical Dictionary of the Vulgar Tongue, the most important contribution to slang lexicography until John Camden Hottens Dictionary of Modern Slang, Cant and Vulgar Words, 1859, which was overtaken its turn by Farmer and Henleys more sophisticated Slang and its Analogues in 1890. All these were published in Britain and it was the New Zealander Eric Partridges single-handed masterwork A Dictionary of Slang and Unconventional English, also published in London, in 1937, that, despite its lack of citations and sometimes eccentric etymologies, became the yardstick of slang scholarship at least until the arrival of more rigorously organised compendiums from the USA in the 1950s. Since then several larger reference works have been published, usually confining themselves to one geographical area and based mainly on written sources, together with a number of smaller, often excellent specialist dictionaries dealing with categories such as naval slang, Glaswegian slang, rhyming slang, the argot of police and criminals and the jargon of finance and high technology.
The Bloomsbury Dictionary Of Contemporary Slang The Bloomsbury Dictionary of Contemporary Slang was first produced with the idea of combining the enthusiasms and instincts of a user of slang - someone who had been part of the subcultures and milieux where this language variety has flourished and in later life still ventures into clubs, bars, music festivals, football matches and, on occasion, homeless shelters - with the methods of the modern lexicographer earlier work on the Longman Dictionary of Contemporary English being a particular influence and applied linguist.
The first edition set out to record the 6,000 or so key terms and 15,000-odd definitions which formed the core of worldwide English language slang from 1950 to 1990 the new, updated edition, published in Autumn 1997, extends the time-frame almost to the millennium and expands the number of entries by two thousand, losing a few obscure, doubtfully attested or just plain uninteresting terms in the process.
The dictionary aims to pick up the elusive and picturesque figures of speech that really are in use out there in the multiple anglophone speech communities, and many terms which appear in its pages have never been recorded before.
In keeping with the modern principles of dictionary-making, the headwords which are listed here are defined as far as possible in natural, discursive language. The modern dictionary ideally moves beyond mere definition and tries to show how a term functions in the language, who uses it and when and why, what special associations or overtones it may have, perhaps even how it is pronounced.
Where possible a history of the word and an indication of its origin will be included and its usage illustrated by an authentic citation or an invented exemplary phrase or sentence.
As with all similar dictionaries, the Bloomsbury volume is based to some extent on consulting written sources such as newspapers, magazines, comic books, novels and works of non-fiction. Other secondary sources of slang are TV and radio programmes, films and song lyrics. Existing glossaries compiled by researchers, by journalists and by Internet enthusiasts were also checked, but treated, like fictional texts and broadcasts, with caution investigators may be misled by their informants and, as society becomes more self-conscious in its treatment of new and unorthodox language, varieties of so-called slang appear that are only partly authentic, such as the gushing teen-talk a variety of journalese appearing in UK magazines like Just Seventeen, My Guy or Sugar directed by twenty- and thirty-something journalists at their much younger readers, or the argot developed by writers for cult movies such as Bill and Ted s Bogus Journey, Wayne s World and Clueless. The embellishing or inventing of slang is nothing new Damon Runyon, Raymond Chandler and P. G. Wodehouse all indulged in it, as did British TV comedy writers for Porridge, Minder, Only Fools and Horses, etc over the last three decades.
For the Bloomsbury dictionary terms have been admitted if they can be verified from two or more sources, thereby, sadly, shutting out examples of idiolect one person s private language, restricted sociolects terms shared by very small groups and nonce terms one-off coinages. Any description of slang that is based purely on secondary or written sources and most still are cannot hope to do justice to a language which is primarily transmitted orally.
Slang terms may exist in spoken usage for many years, even for centuries, before being written down some are never committed to paper, so there is an absolute need for work in the field with primary sources eavesdropping on and interviewing the users of slang themselves, and, where they are not able to report objectively on the words and phrases they are using, their neighbours, parents, colleagues, fellow-students and friends must be mobilised.
This is the most exciting part of lexicography, if sometimes the most risky.
The modern language researchers going undercover to listen in on conversations or setting up networks of informants at street-level can imagine themselves as successors to the pioneering anthropologists of the last century, rather than harmless drudges Dr Johnson s memorable definition of the lexicographer toiling alone in dusty libraries or staring at flickering screens.