One of the Earliest Known Uses of the “F‑word” Discovered: It Appears in a 1568 Anthology Compiled During a Plague

“Wan fukkit fun­ling”: as an insult, these words would today land a minor blow at most. Not so in Scot­land of the ear­ly 16th cen­tu­ry, in which William Dun­bar and Wal­ter Kennedy, two of the land’s well-known poets, faced off before the court of King James IV in a con­test of rhyme. The event is memo­ri­al­ized in the poem “The Fly­t­ing of Dun­bar and Kennedie,” one of 400 anthol­o­gized in what’s known as the Ban­natyne Man­u­script. Com­piled in 1568 by an Edin­burgh mer­chant named George Ban­natyne, stuck at home while a plague swept his city — a con­di­tion many can relate to these days — it now enjoys pride of place at the Nation­al Library of Scot­land as a cul­tur­al trea­sure, not least because it con­tains what may be the old­est record­ed use of the F‑word.

The Ban­natyne Man­u­script and “wan fukkit fun­ling” (whose appear­ance you can see in the image at the top of the post, in the sixth line from the bot­tom) play an impor­tant part in the new BBC Scot­land doc­u­men­tary Scot­land – Con­tains Strong Lan­guage. The hour-long pro­gram, writes The Scots­man’s Bri­an Fer­gu­son, “sees actress, singer and the­atre-mak­er Cora Bis­sett trace the nation’s long love affair with swear­ing and insults, despite the long-stand­ing efforts of reli­gious lead­ers to con­demn it as a sin.” Fer­gu­son quotes Bis­sett describ­ing the impor­tance of this par­tic­u­lar “fly­t­ing” (“the 16th cen­tu­ry equiv­a­lent of a rap bat­tle”) as fol­lows: “When Kennedy address­es Dun­bar, there is the ear­li­est sur­viv­ing record of the word ‘f***’ in the world.”

“In the poem, Dun­bar makes fun of Kennedy’s High­land dialect, for instance, as well as his per­son­al appear­ance, and he sug­gests his oppo­nent enjoys sex­u­al inter­course with hors­es,” writes Ars Tech­ni­ca’s Jen­nifer Ouel­lette. “Kennedy retal­i­ates with attacks on Dun­bar’s diminu­tive stature and lack of bow­el con­trol, sug­gest­ing his rival gets his inspi­ra­tion from drink­ing ‘frogspawn’ from the waters of a rur­al pond.” All high­ly amus­ing, to be sure, but giv­en how few of us Eng­lish-speak­ers will imme­di­ate­ly rec­og­nize in “wan fukkit fun­ling” the curse with which we’ve grown so inti­mate­ly famil­iar, does this real­ly count as an exam­ple of usage in Eng­lish?

‘To me, that looks more like Scots than Mid­dle Eng­lish,” writes Boing Boing’s Thom Dunn, “although both lan­guages were derived from Olde Eng­lish.” (He also reminds us not to con­fuse Scots with the sep­a­rate lan­guage of Scot­tish Gael­ic.) Medieval his­to­ri­an Kristin Uscin­s­ki writes in to Ars Tech­ni­ca to point out a cer­tain “Roger F$#%-by-the-Navel who appears in some court records from 1310–11” — pre­vi­ous­ly fea­tured, of course, here on Open Cul­ture. His­to­ri­ans and lin­guists will sure­ly con­tin­ue doing their own kind of bat­tle to deter­mine what counts as the first true F‑word, mak­ing more dis­cov­er­ies about the Eng­lish lan­guage’s her­itage of swear­ing along the way. One thing is cer­tain: if any nation has made a rich use of that her­itage, it’s Scot­land.

via Boing­Bo­ing

Relat­ed Con­tent:

The Ear­li­est Known Appear­ance of the F‑Word, in a Bizarre Court Record Entry from 1310

The Very First Writ­ten Use of the F Word in Eng­lish (1528)

Steven Pinker Explains the Neu­ro­science of Swear­ing (NSFW)

Stephen Fry, Lan­guage Enthu­si­ast, Defends The “Unnec­es­sary” Art Of Swear­ing

Read A Clas­si­cal Dic­tio­nary of the Vul­gar Tongue, a Hilar­i­ous & Infor­ma­tive Col­lec­tion of Ear­ly Mod­ern Eng­lish Slang (1785)

A Lec­ture About the His­to­ry of the Scots Lan­guage … in Scots: How Much Can You Com­pre­hend?

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Discover the Disappearing Turkish Language That is Whistled, Not Spoken

We so often priv­i­lege indi­vid­u­als as the pri­ma­ry dri­vers of inno­va­tion. But what if tech­nol­o­gy is also self-orga­niz­ing, devel­op­ing as an evo­lu­tion­ary response to the envi­ron­ment? If we think of whis­tled lan­guage as a kind of tech­nol­o­gy, we have an excel­lent exam­ple of this self-orga­niz­ing prin­ci­ple in the 42 doc­u­ment­ed whis­tled lan­guages around the world.

As we not­ed in a pre­vi­ous post, reports of whis­tled lan­guages go back hun­dreds of years in cul­tures that would have had no con­tact with each oth­er: Oax­a­ca, Mex­i­co, north­ern Africa’s Atlas Moun­tains, the Brazil­ian Ama­zon, north­ern Laos, and the Canary Islands.

These are “places with steep ter­rain or dense forests,” writes Michelle Nijhuis at The New York­er, “where it might oth­er­wise be hard to com­mu­ni­cate at a dis­tance.” Such is the case in the vil­lage of Kuşköy, in “the remote moun­tains of north­ern Turkey,” notes Great Big Sto­ry:

“For three cen­turies” farm­ers there “have com­mu­ni­cat­ed great dis­tances by whistling. It’s a lan­guage called kuş dili that is still used to this day, though few­er peo­ple are learn­ing it in the age of the cell phone.” Also called “bird lan­guage” by locals, “for obvi­ous rea­sons,” this sys­tem of vocal tele­pho­ny, like all oth­er exam­ples, is based on actu­al speech. Nijhuis explains:

Kuşköy’s ver­sion [of whis­tled lan­guage] adapts stan­dard Turk­ish syl­la­bles into pierc­ing tones that can be heard from more than half a mile away. The phrase “Do you have fresh bread?,” which in Turk­ish is “Taze ekmek var mı?,” becomes, in bird lan­guage, six sep­a­rate whis­tles made with the tongue, teeth, and fin­gers.

The method may be avian, but the mes­sages are human, albeit in sim­pli­fied lan­guage for ease of trans­mis­sion. In the video above Muazzez Köçek, Kuşköy’s best whistler, shows how she trans­lates Turk­ish vocab­u­lary into melodies—turning words into music, an act of cod­ing with­out a com­put­er.

That this bio-tech­no­log­i­cal feat arose spon­ta­neous­ly to solve the same prob­lem the world over shows how us how humans col­lec­tive­ly prob­lem-solve. But of course, indi­vid­u­al­ism has its advan­tages. Despite the huge amount of data they gath­er on us, mod­ern com­mu­ni­ca­tions tech­nolo­gies have met one par­tic­u­lar human need.

In Kuşköy, “bird lan­guage is rapid­ly dis­ap­pear­ing from dai­ly life,” writes Nijhuis. “In a small town filled with nosy neigh­bors, tex­ting affords a lev­el of pri­va­cy that whistling nev­er did.”

Relat­ed Con­tent:

The Fas­ci­nat­ing Whis­tled Lan­guages of the Canary Islands, Turkey & Mex­i­co (and What They Say About the Human Brain)

Speak­ing in Whis­tles: The Whis­tled Lan­guage of Oax­a­ca, Mex­i­co

How Lan­guages Evolve: Explained in a Win­ning TED-Ed Ani­ma­tion

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness.

What Shakespeare’s English Sounded Like, and How We Know It

A com­mon joke has Amer­i­cans over­awed by peo­ple with British accents. It’s fun­ny because it’s part­ly true; Yanks can grant undue author­i­ty to peo­ple who sound like Sir David Atten­bor­ough or Bene­dict Cum­ber­batch. But in these cas­es, what we gener­i­cal­ly call a British accent should more accu­rate­ly be referred to as “Received Pro­nun­ci­a­tion” (or RP), the speech of BBC pre­sen­ters and edu­cat­ed Brits from cer­tain mid­dle- and upper-class areas in South­ern Eng­land. (If you like Received Pro­nun­ci­a­tion, you’re going to love “posh” Upper RP.) Received Pro­nun­ci­a­tion is only one of many British accents, as come­di­an Siob­han Thomp­son shows, most of which we’re unlike­ly to hear nar­rat­ing nature doc­u­men­taries.

RP is also some­times called “the Shake­speare accent,” for its asso­ci­a­tion with famous thes­pi­ans like John Giel­gud and Lau­rence Olivi­er, or Ian McK­ellen and Patrick Stew­art. But as we’ve pre­vi­ous­ly not­ed in a post on the work of lin­guist David Crys­tal and his son, actor Ben Crys­tal, the Eng­lish of Shakespeare’s day sound­ed noth­ing like what we typ­i­cal­ly hear on stage and screen.

What lin­guists call “Orig­i­nal Pro­nun­ci­a­tion” (OP), the actu­al Shake­speare accent, had a fla­vor all its own, like­ly com­bin­ing, to our mod­ern ears, “flecks of near­ly every region­al U.K. Eng­lish accent,” as Ben Crys­tal tells NPR, “and indeed Amer­i­can and in fact Aus­tralian, too.”

You can see the Crys­tals explain and demon­strate the accent in the video above, and make sense of many Shake­speare­an puns that only work in OP. And in the ani­mat­ed video at the top of the post, get a whirl­wind tour from Chaucer’s Mid­dle Eng­lish to Shakespeare’s Ear­ly Mod­ern vari­ety. Along the way, you’ll learn why the spelling of Eng­lish words—both Amer­i­can and British—is so con­fus­ing and irreg­u­lar. (“Knight,” for exam­ple, which makes no sense when pro­nounced as nite, was once pro­nounced much more pho­net­i­cal­ly.) The range of region­al accents pro­duced a bed­lam of vari­ant spellings, which took a few hun­dred years to stan­dard­ize dur­ing some intense spelling debates.

You’ll get an intro­duc­tion to the first Eng­lish print­er, William Cax­ton, and the “Great Vow­el Shift” which changed the language’s sound dra­mat­i­cal­ly over the course of a cou­ple hun­dred years. Once we get to Shake­speare and his “Orig­i­nal Pro­nun­ci­a­tion,” we can see how rhymes that don’t scan for us sound­ed just right to Eliz­a­bethan ears. These lost rhymes pro­vide a sig­nif­i­cant clue for lin­guists who recon­struct OP, as does meter and the sur­vival of old­er pro­nun­ci­a­tions in cer­tain dialects.

When the Crys­tals brought their recon­struc­tion of Shakespeare’s Eng­lish to the stage in huge­ly pop­u­lar pro­duc­tions at the Globe The­atre, mem­bers of the audi­ence all heard some­thing slight­ly different—their many dif­fer­ent dialects reflect­ed back at them. Lis­ten for all the var­i­ous kinds of Eng­lish above in Ben Crys­tal’s recita­tion of Hamlet’s “to be, or not to be” speech in Orig­i­nal Pro­nun­ci­a­tion.

Relat­ed Con­tent:

Hear What Shake­speare Sound­ed Like in the Orig­i­nal Pro­nun­ci­a­tion

A 68 Hour Playlist of Shakespeare’s Plays Being Per­formed by Great Actors: Giel­gud, McK­ellen & More

Hear What Ham­let, Richard III & King Lear Sound­ed Like in Shakespeare’s Orig­i­nal Pro­nun­ci­a­tion

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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