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Ain't That a Kick in the Head?
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"Ain't That a Kick in the Head?"
Single by Dean Martin
B-side
"Humdinger"
Released
July 1960 (1960-07)
Format
7-inch single
Recorded
May 10, 1960
Genre
Swing
Length
2:24
Label
Capitol
Composer(s)
Jimmy Van Heusen
Lyricist(s)
Sammy Cahn
Producer(s)
Lee Gillette
Dean Martin singles chronology
"Just in Time"
(1960) "Ain't That a Kick in the Head?"
(1960) "Sogni D'oro (Golden Dreams)"
(1960)
"Ain't That a Kick in the Head?" is a pop song written in 1960 with music by Jimmy Van Heusen and lyrics by Sammy Cahn. It was first recorded on May 10, 1960, by Dean Martin in a swinging big band jazz arrangement conducted by Nelson Riddle. Martin performed the song in the 1960 heist film Ocean's 11 in an alternate arrangement featuring vibraphonist Red Norvo and his quartet.
Contents
1 Background
2 Reception
3 References
4 External links
Background[edit]
Van Heusen and Cahn wrote the song specifically for the 1960 film Ocean's 11, though it was initially referred to press as "Ain't That a Kick in the Seat".[1] Dean Martin's single was released before the film, which premiered on August 10, 1960.
Reception[edit]
Despite being listed on the "Very Strong Sales Potential" list in Billboard's "Reviews of This Week's Singles",[2] Dean Martin's initial release failed to chart.[3][4] However, the song has become strongly associated with Martin and—despite never technically being a "hit" in terms of sales or radio play—has been released on many Dean Martin "greatest hits" albums, such as Dino: The Essential Dean Martin, Greatest Hits (Capitol),[5] and Greatest Hits (EMI),[6] as well as many swing and easy listening compilations.[7] Contributing to this association is his performance of the song in Ocean's Eleven, which is considered the "quintessential" Rat Pack film.[8]
References[edit]
Jump up ^ Zhito, Lee (1 February 1960). "On the Soundtrack". Billboard (Vol. 72, No. 5). Nielsen Business Media, Inc. p. 33. Retrieved 19 February 2018.
Jump up ^ "Reviews of This Week's Singles". Billboard. Nielsen Business Media, Inc. 25 July 1960. p. 45. Retrieved 19 February 2018.
Jump up ^ Billboard Archive Search, 1960
Jump up ^ "Show Music" (Vol 7). Max O. Preeo. 1991. p. 76. Retrieved 19 February 2018.
Jump up ^ https://www.allmusic.com/album/greatest-hits-capitol-mw0002580777
Jump up ^ https://www.allmusic.com/album/greatest-hits-emi-import-mw0001068842
Jump up ^ "Ain't That a Kick in the Head - Dean Martin Song Info". AllMusic.
Jump up ^ Mott, Patrick (February 2000). "The Dean of Las Vegas". Orange Coast Magazine (Vol. 26, No. 2). Emmis Communications. Retrieved 19 February 2018.
External links[edit]
Lyrics of this song at MetroLyrics
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Dean Martin
Discography
Studio albums
Dean Martin Sings
Swingin' Down Yonder
Pretty Baby
Sleep Warm
A Winter Romance
This Time I'm Swingin'!
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Dean "Tex" Martin: Country Style
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"Return to Me"
"Angel Baby"
"Volare"
"On an Evening in Roma"
"Just in Time"
"Ain't That a Kick in the Head?"
"Everybody Loves Somebody"
"The Door Is Still Open to My Heart"
"You're Nobody till Somebody Loves You"
"Send Me the Pillow You Dream On"
"(Remember Me) I'm the One Who Loves You"
"Houston"
"I Will"
"Somewhere There's a Someone"
"Come Running Back"
"A Million and One"
"Nobody's Baby Again"
"(Open Up the Door) Let the Good Times In"
"Lay Some Happiness on Me"
"In the Chapel in the Moonlight"
"Little Ole Wine Drinker, Me"
"In the Misty Moonlight"
"You've Still Got a Place in My Heart"
"Not Enough Indians"
"Gentle on My Mind"
"I Take a Lot of Pride in What I Am"
"Detroit City"
"She's a Little Bit Country"
"Baby, It's Cold Outside"
Related
Martin and Lewis
Rat Pack
Deana Martin (daughter)
Dean Paul Martin (son)
Ricci Martin (son)
The Rat Pack (1998 film)
Martin and Lewis (2002 film)
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text:
Dominique
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the song. For other uses, see Dominique (disambiguation).
This article is in a list format that may be better presented using prose. You can help by converting this article to prose, if appropriate. Editing help is available. (October 2013)
"Dominique"
Single by Sœur Sourire
from the album The Singing Nun
B-side
"Entre Les Étoiles"
Released
1963
Format
7" vinyl
Recorded
24 October 1961
Studio
Philips Studios, Brussels
Genre
Folk
Length
2:53
Label
Philips
Songwriter(s)
Jeanine Deckers
"Dominique" is a 1963 French language popular song, written and performed by Jeannine Deckers of Belgium, better known as Sœur Sourire or The Singing Nun. "Dominique" is about Saint Dominic, a Spanish-born priest and founder of the Dominican Order, of which she was a member (as Sister Luc-Gabrielle).[1] The English-version lyrics of the song were written by Noël Regney.[2] In addition to French and English, Deckers recorded versions in Dutch, German, Hebrew, Japanese, Korean and Portuguese.
It was a top selling record in 11 countries in late 1963 and early 1964, one of the last Number 1 sellers before the British Invasion of popular music.
Contents
[hide]
1 Commercial performance
2 Deckers' personal life
3 The song
4 Charts
5 Cover versions
6 Soundtrack appearances
7 Samples
8 References
9 External links
Commercial performance[edit]
"Dominique" reached the Top 10 in 11 countries in late 1963 and early 1964, topping the chart in the United States, Canada, Australia and New Zealand. It reached the Top 5 in Norway, Denmark, Ireland and South Africa, with the song making it into the lower reaches of the Top 10 in the Netherlands, West Germany, and the United Kingdom. The song reached and stayed at No. 1 on WLS for the last three weeks of November, then both the U.S. Billboard Hot 100 and "easy listening chart" (since renamed the Adult Contemporary chart) for the four weeks in December of 1963. It was the second foreign language song to hit #1 on the Hot 100 in 1963, the first being "Sukiyaki" by Kyu Sakamoto. For the next ten years or so, although there were a number of hits with most of the vocals in a language other than English (e.g., The Sandpipers' "Guantanamera", René y René's "Lo Mucho Que Te Quiero", etc.), no other purely foreign language song reached the Billboard Hot 100's top 40 until the Spanish language hit "Eres tú (Touch The Wind)", which entered the top 40 on 16 February 1974 and peaked at No. 9 on 23–30 March 1974.[3] "Dominique" outsold Elvis Presley during its stay on the Billboard Hot 100; it was the second to last No. 1 hit before the British Invasion.
Deckers' personal life[edit]
Deckers never again reached the same success and continued to lead a colourful, but tragic life. She and her companion of ten years, Annie Pescher, both committed suicide in 1985, as a result of financial and tax problems stemming from the recording of the song.[4]
The song[edit]
"Dominique" became a worldwide hit in 1963 and was the first, and only, Belgian number one hit single in the American Billboard charts.
It is remembered chiefly for its refrain, which goes:
Domi-nique -nique -nique s'en allait tout simplement,
Routier, pauvre et chantant.
En tous chemins, en tous lieux,
Il ne parle que du Bon Dieu,
Il ne parle que du Bon Dieu.
A literal English translation is:
Domi-nique -nique -nique went about simply,
a poor singing traveller.
On every road, in every place,
he talks only of the Good Lord,
he talks only of the Good Lord.
The lyrics of the chorus of Regney's English-language translation are:
Domi-nique -nique -nique, o'er the land he plods along,
And sings a little song.
Never asking for reward,
He just talks about the Lord,
He just talks about the Lord.
Charts[edit]
Chart (1963/1964)
Peak
position
Australian Singles Chart[5] 1
Canadian Singles Chart[6] 1
Danish Singles Chart[7] 4
Dutch Singles Chart[8] 6
German Singles Chart[9] 7
Irish Singles Chart[10] 4
New Zealand Hit Parade[11] 1
Norwegian Singles Chart[12] 2
South African Singles Chart[13] 5
Swedish Singles Chart[14] 12
UK Singles Chart[15] 7
US Billboard Hot 100 1
Cover versions[edit]
Mary Ford recorded an English-language version that was released in November 1963 by Calendar Records.
The Cuban artist La Lupe, the Mexican artist Angélica María, and the Venezuelan artist Mirla Castellanos[16] recorded Spanish language versions of this song.
The Brazilian singer Giane recorded a Brazilian Portuguese version of this song.
Spike Jones recorded a version that combined "Dominique" with "When the Saints Go Marching In", merging both the melodies and the styles of the two songs.
Tommy Roe recorded an English version of the song for his U.S. album release, "Something for Everybody" in 1964. <Discogs><Tommy Roe>
Sandler and Young revived the song in late 1966,[17] a version that appeared on the Billboard easy listening chart. The performance was a medley including other religious-themed songs including "Deep River" and "Nobody Knows the Trouble I've Seen".
The Czech singer Judita Čeřovská covered this song in 1964 under the name "Dominiku".
Soundtrack appearances[edit]
In the 1966 film The Singing Nun, about Deckers, Debbie Reynolds, playing the title role, sings an English-language version of the song (with different lyrics than Deckers' English-language version).
The song is heard in the 1985 film Heaven Help Us.
In the 1987 Married... with Children episode "Thinnergy", "Dominique" is one of several songs Peg (Katey Sagal) sings in an attempt to annoy Al (Ed O'Neill).
It was used in the 1990 film Mermaids with Cher.
The song was referenced in The Simpsons episode "Bart's Friend Falls in Love" (1992), where Milhouse van Houten visits his girlfriend in an all-girls convent school. A nun playing guitar and singing "Dominique" passes along, followed by several equally happy little girls. The nun's character voice was provided by cast member Maggie Roswell, who knew none of the song's actual French lyrics and instead made up her own.[18]
In 1999, it was sung in Everybody Loves Raymond by Robert and Raymond when they learn Debra's sister is becoming a nun.
In 2009, the song was used in the third series premiere of British teen drama Skins.
In 2009, it was also used in Mad Men in the episode "The Color Blue", when Don Draper walks into Suzanne Farell's apartment for the second time.
In 2012, the song is featured prominently in US anthology series American Horror Story: Asylum, the events of which take place in 1964. The original Belgian French version of the song is playing over and over in the common room of the insane asylum, and the inmates are punished if they disrupt or stop the song from playing.
In season 2 of episode 20 (titled 'Rock n Roll Fantasy') of Just the Ten of Us, it is sung by Heather Langenkamp, who played Marie Lubbock. It originally aired April 28, 1989.
In the season 2 episode of the science fiction series Dark Matter, entitled "All the Time in the World", it is sung by Anthony Lemke and Zoie Palmer. Lemke, who is fully bilingual, plays a character who is caught in a time loop similar to "Groundhog Day" and spends his time learning French from the spaceship's android.
Samples[edit]
The musician Poe used a sample of the song in her album Haunted, on the track "House of Leaves."
The anonymous Australian rock band TISM sampled the song in the chorus to their 1998 song "I Might Be a Cunt, But I'm Not a Fucking Cunt".
References[edit]
Jump up ^ Dominique, by the "Singing Nun", Lyrics and Music. National Institutes of Health, Department of Health & Human Services. Retrieved on January 25, 2009
Jump up ^ Noel Regney, 80; Wrote Favorite Christmas Tune, Hit Song for Singing Nun By Dennis Mclellan. November 30, 2002 for The Los Angeles Times. Retrieved on January 25, 2009.
Jump up ^ Whitburn, Joel (1990). The Billboard Hot 100 Charts: The Seventies (12 January 1974 through 4 May 1974). Menomonee Falls, Wisconsin: Record Research, Inc. ISBN 0-89820-076-8.
Jump up ^ Purtell, Tim (1992-12-18). "The Singing Nun". EW.com. Retrieved 2015-02-26.
Jump up ^ Billboard - Google Livres. Books.google.fr. Retrieved 2015-02-26.
Jump up ^ [1]
Jump up ^ "Danish Top 20: 31-12-63". Danpop.dk. 1963-12-31. Archived from the original on 2012-03-28. Retrieved 2015-02-26.
Jump up ^ Steffen Hung (2015-02-21). "Dutch Charts". dutchcharts.nl. Retrieved 2015-02-26.
Jump up ^ "INFINITY CHARTS: German Top 20". Ki.informatik.uni-wuerzburg.de. 2001-01-22. Retrieved 2015-02-26.
Jump up ^ Jaclyn Ward - Fireball Media Group. "The Irish Charts - All there is to know". Irishcharts.ie. Archived from the original on 2009-06-03. Retrieved 2015-02-26.
Jump up ^ "flavour of new zealand - Home". Flavourofnz.co.nz. Retrieved 2015-02-26.
Jump up ^ Steffen Hung. "Sœur Sourire - Dominique". norwegiancharts.com. Archived from the original on 2015-03-24. Retrieved 2015-02-26.
Jump up ^ Brian Currin (2003-05-25). "South African Rock Lists Website - Hits 1964". Rock.co.za. Retrieved 2015-02-26.
Jump up ^ "Bästa låtar 1963". S0416.tripod.com. 1963-12-14. Retrieved 2015-02-26.
Jump up ^ "UK Top 40 Chart Archive, British Singles & Album Charts". everyHit.com. 2000-03-16. Retrieved 2015-02-26.
Jump up ^ "Carátulas Venezuela: Mirla Castllanos". August 19, 2012. Retrieved October 7, 2013.
Jump up ^ Sandler & Young CD Collection Archived 2008-12-10 at the Wayback Machine.. Retrieved on January 25, 2009
Jump up ^ Jean, Al. (2003). The Simpsons season 3 DVD commentary for the episode "Bart's Friend Falls in Love." [DVD]. 20th Century Fox.
External links[edit]
"Dominique" lyrics in English and French Allthelyrics.com
The lyrics in full (in French)
Preceded by
"I'm Leaving It Up to You" by Dale & Grace Billboard Hot 100 number one single
December 7, 1963 (four weeks) Succeeded by
"There! I've Said It Again" by Bobby Vinton
Preceded by
"I'm Leaving It Up to You" by Dale & Grace "Billboard" Easy Listening number-one single by
The Singing Nun
December 7, 1963 (four weeks) Succeeded by
"There! I've Said It Again" by Bobby Vinton
Retrieved from "https://en.wikipedia.org/w/index.php?title=Dominique&oldid=826288224"
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1963 singles
Billboard Hot 100 number-one singles
Billboard Adult Contemporary number-one singles
Soeur Sourire songs
Songs written by Noël Regney
French-language songs
Philips Records singles
1963 songs
Number-one singles in Mexico
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text:
List of films shot in Lone Pine
From Wikipedia, the free encyclopedia
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The following is a list of films shot in Lone Pine, California and the surrounding area, including the Alabama Hills and Whitney Portal.[1][2][3]
Year
Title
Studio
Starring
1948 3 Godfathers Metro-Goldwyn-Mayer John Wayne
1939 Across the Plains Monogram Jack Randall
2000 Adventures in Wild California IMAX Documentary
1954 The Adventures of Hajji Baba 20th Century Fox John Derek
1938 The Adventures of Marco Polo United Artists Gary Cooper
1951 Along the Great Divide Warner Brothers Kirk Douglas
1978 And I Alone Survived NBC Blair Brown
1928 Arizona Cyclone Universal Pictures Fred Humes
1948 The Arizona Ranger RKO Radio Pictures Tim Holt
1938 Army Girl Republic Pictures Madge Evans
1993 Army of One Vision International Dolph Lundgren
1943 Around the World RKO Radio Pictures Kay Kyser
1956 Around the World in 80 Days United Artists David Niven
1994 Autry AMC Documentary
1924 The Back Trail Universal Pictures Jack Hoxie
1955 Bad Day at Black Rock Metro-Goldwyn-Mayer Spencer Tracy
1925 The Bad Lands Producers Distributing Corporation Harry Carey
1930 The Bad Man First National Pictures Walter Huston
1949 Bagdad Universal Pictures Maureen O'Hara
1967 The Bamboo Saucer [4] World Entertainment Corporation Dan Duryea
1943 Bar 20 United Artists William Boyd (Hopalong Cassidy)
1935 Bar 20 Rides Again Paramount Pictures William Boyd (Hopalong Cassidy)
1944 Barbary Coast Gent Metro-Goldwyn-Mayer Wallace Beery
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See also[edit]
Lone Pine, California
Lone Pine Film Festival
Alabama Hills
Whitney Portal, California
References[edit]
Jump up ^ "Lone Pine Film Database". Lone Pine Film History Museum. Archived from the original on August 12, 2014. Retrieved June 1, 2012.
Jump up ^ Bann, Richard W. (2010). Lone Pine in the Movies: Celebrating Republic's 75th Anniversary. Little Rock: Riverwood Press. ISBN 978-1880756171.
Jump up ^ "Alabama Hills, Lone Pine, California". Internet Movie Database. Retrieved June 5, 2012.
Jump up ^ p. 103 Langley, Christopher Lone Pine Arcadia Publishing 2007
External links[edit]
Alabama Hills, Lone Pine, California
Lone Pine Museum of Film History
Retrieved from "https://en.wikipedia.org/w/index.php?title=List_of_films_shot_in_Lone_Pine&oldid=848243617"
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De novo synthesis
From Wikipedia, the free encyclopedia
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De novo synthesis refers to the synthesis of complex molecules from simple molecules such as sugars or amino acids, as opposed to recycling after partial degradation. For example, nucleotides are not needed in the diet as they can be constructed from small precursor molecules such as formate and aspartate. Methionine, on the other hand, is needed in the diet because while it can be degraded to and then regenerated from homocysteine, it cannot be synthesized de novo.
De novo is a Latin phrase, literally translating to "from the new," but implying "anew," "from scratch," or "from the beginning."
Contents
[hide]
1 De novo DNA synthesis
2 De novo pathways
3 External links
4 References
De novo DNA synthesis[edit]
De novo DNA synthesis is DNA replication without the need for precursor template DNA. It's also referred to as artificial gene synthesis. Primase is an RNA polymerase, and it can add a primer to an existing strand awaiting replication. DNA polymerase cannot add primers, and therefore, needs primase to add the primer de novo.
De novo pathways[edit]
De novo pathways do not use free bases: adenine (abbreviated as A), guanine (G), cytosine (C), thymine (T), or uracil (U). The purine ring is built up one atom or a few atoms at a time and attached to ribose throughout the process. Pyrimidine ring is synthesized as orotate and attached to ribose phosphate and later converted to common pyrimidine nucleotides. De novo synthesis enzymes are predicted to be present as large multienzyme complexes, although this hypothesis has yet to be thoroughly proven.
External links[edit]
Purine and pyrimidine Metabolism
De novo synthesis of purine nucleotides
References[edit]

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A Dictionary of the English Language
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A Dictionary of the English Language
Title page from the second edition of the Dictionary
Author
Samuel Johnson
Country
Great Britain
Language
English
Subject
Dictionary
Publisher
consortium
Publication date
15 April 1755
Published on 15 April 1755 and written by Samuel Johnson, A Dictionary of the English Language, sometimes published as Johnson's Dictionary, is among the most influential dictionaries in the history of the English language.
There was dissatisfaction with the dictionaries of the period, so in June 1746 a group of London booksellers contracted Johnson to write a dictionary for the sum of 1,500 guineas (£1,575), equivalent to about £220,000 in 2017.[1] Johnson took seven years to complete the work, although he had claimed he could finish it in three. Remarkably, he did so single-handedly, with only clerical assistance to copy out the illustrative quotations that he had marked in books. Johnson produced several revised editions during his life.
Until the completion of the Oxford English Dictionary 173 years later, Johnson's was viewed as the pre-eminent English dictionary. According to Walter Jackson Bate, the Dictionary "easily ranks as one of the greatest single achievements of scholarship, and probably the greatest ever performed by one individual who laboured under anything like the disadvantages in a comparable length of time".[2]
Contents
[hide]
1 Background
1.1 Johnson's preparation
2 The text
3 Reception history
3.1 Initial reception
3.2 Criticism
3.3 Influence in Britain
3.4 Reputation abroad
3.5 Influence in America
4 Folio and Abridged editions
5 Modern editions
6 Notes
7 References
8 External links
Background[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2017) (Learn how and when to remove this template message)
At the time, books had been regarded with something approaching veneration, but by the mid-eighteenth century this was no longer the case. The rise of literacy among the general public, combined with the technical advances in the mechanics of printing and bookbinding, meant that for the first time, books, texts, maps, pamphlets and newspapers were widely available to the general public at a reasonable cost. Such an explosion of the printed word demanded a set pattern of grammar, definition, and spelling for those words. This could be achieved by means of an authoritative dictionary of the English language. In 1746, a consortium of London's most successful printers, including Robert Dodsley and Thomas Longman – none could afford to undertake it alone – set out to satisfy and capitalise on this need by the ever-increasing reading and writing public.
Johnson's dictionary was not the first English dictionary, nor even among the first dozen. Over the previous 150 years more than twenty dictionaries had been published in England, the oldest of these being a Latin-English "wordbook" by Sir Thomas Elyot published in 1538.
The next to appear was by Richard Mulcaster, a headmaster, in 1583. Mulcaster compiled what he termed "a generall table [of eight thousand words] we commonlie use...[yet] It were a thing verie praise worthy...if som well learned...would gather all words which we use in the English tung...into one dictionary..."[3]
In 1598 an Italian–English dictionary by John Florio was published. It was the first English dictionary to use quotations ("illustrations") to give meaning to the word; surprisingly, in none of these dictionaries so far were there any actual definitions of words. This was to change, to a small extent, in schoolmaster Robert Cawdrey's Table Alphabeticall, published in 1604. Though it contained only 2,449 words, and no word beginning with the letters W, X, or Y, this was the first monolingual English dictionary.
Several more dictionaries followed: in Latin, English, French and Italian. Benjamin Martin's Lingua Britannica Reformata (1749) and Ainsworth's Thesaurus Linguae Latinae (1737) are both significant, in that they define entries in separate senses, or aspects, of the word. In English (among others), John Cowell's Interpreter, a law dictionary, was published in 1607, Edward Phillips' The new world of English words came out in 1658 and a dictionary of 40,000 words had been prepared in 1721 by Nathan Bailey, though none was as comprehensive in breadth or style as Johnson's.
The problem with these dictionaries was that they tended to be little more than poorly organised and poorly researched glossaries of "hard words": words that were technical, foreign, obscure or antiquated. But perhaps the greatest single fault of these early lexicographers was, as historian Henry Hitchings put it, that they "failed to give sufficient sense of [the English] language as it appeared in use."[4] In that sense Dr. Johnson's dictionary was the first to comprehensively document the English lexicon.
Johnson's preparation[edit]
Main article: Letter to Chesterfield
Johnson's dictionary was prepared at 17 Gough Square, London, an eclectic household, between the years of 1746 and 1755. By 1747 Johnson had written his Plan of a Dictionary of the English Language, which spelled out his intentions and proposed methodology for preparing his document. He clearly saw benefit in drawing from previous efforts, and saw the process as a parallel to legal precedent (possibly influenced by Cowell):
I shall therefore, since the rules of stile, like those of law, arise from precedents often repeated, collect the testimonies of both sides, and endeavour to discover and promulgate the decrees of custom, who has so long possessed whether by right or by usurpation, the sovereignty of words.
Johnson's Plan received the patronage of Philip Stanhope, 4th Earl of Chesterfield but not to Johnson's pleasure.[5] Chesterfield did not care about praise, but was instead interested by Johnson's abilities.[6] Seven years after first meeting Johnson to discuss the work, Chesterfield wrote two anonymous essays in The World that recommended the Dictionary.[6] He complained that the English language was lacking structure and argued:
We must have recourse to the old Roman expedient in times of confusion, and chose a dictator. Upon this principle, I give my vote for Mr Johnson to fill that great and arduous post.[7]
However, Johnson did not appreciate the tone of the essay, and he felt that Chesterfield had not made good on his promise to be the work's patron.[7] In a letter, Johnson explained his feelings about the matter:
Seven years, my lord, have now past since I waited in your outward rooms or was repulsed from your door, during which time I have been pushing on my work through difficulties of which it is useless to complain, and have brought it at last to the verge of publication without one act of assistance, one word of encouragement, or one smile of favour. Such treatment I did not expect, for I never had a patron before ... Is not a patron, my lord, one who looks with unconcern on a man struggling for life in the water, and when he has reached ground, encumbers him with help? The notice which you have been pleased to take of my labours, had it been early, had been kind: but it has been delayed till I am indifferent and cannot enjoy it; till I am solitary and cannot impart it; till I am known and do not want it.[8]
The text[edit]
A Dictionary of the English Language was somewhat large and very expensive. Its pages were 18 inches (46 cm) tall and nearly 20 inches (50 cm) wide. The paper was of the finest quality available, the cost of which ran to nearly £1,600; more than Johnson had been paid to write the book. Johnson himself pronounced the book "Vasta mole superbus" ("Proud in its great bulk").[9] No bookseller could possibly hope to print this book without help; outside a few special editions of the Bible no book of this heft and size had even been set to type.
The title page reads:
A
DICTIONARY
of the
ENGLISH LANGUAGE:
in which
The WORDS are deduced from their ORIGINALS,
and
ILLUSTRATED in their DIFFERENT SIGNIFICATIONS
by
EXAMPLES from the beſt WRITERS.
To which are prefixed,
A HISTORY of the LANGUAGE,
and AN ENGLISH GRAMMAR.
By SAMUEL JOHNSON, A.M.
In TWO Volumes
VOL. I
The words "Samuel Johnson" and "English Language" were printed in red; the rest was printed in black. The preface and headings were set in 4.6 mm "English" type, the text—double columned—was set in 3.5 mm pica. This first edition of the dictionary contained a 42,773-word list, to which only a few more were added in subsequent editions. One of Johnson's important innovations was to illustrate the meanings of his words by literary quotation, of which there are around 114,000. The authors most frequently cited by Johnson include Shakespeare, Milton and Dryden. For example:
OPULENCE
Wealth; riches; affluence
"There in full opulence a banker dwelt,
Who all the joys and pangs of riches felt;
His sideboard glitter'd with imagin'd plate,
And his proud fancy held a vast estate."
-- Jonathan Swift
Furthermore, Johnson, unlike Bailey, added notes on a word's usage, rather than being merely descriptive.
Unlike most modern lexicographers, Johnson introduced humour or prejudice into quite a number of his definitions. Among the best-known are:
"Excise: a hateful tax levied upon commodities and adjudged not by the common judges of property but wretches hired by those to whom excise is paid"[10]
"Lexicographer: a writer of dictionaries; a harmless drudge that busies himself in tracing the original and detailing the signification of words"[11]
"Oats: a grain which in England is generally given to horses, but in Scotland supports the people"[12]
A much less well-known example is:
"Monsieur: a term of reproach for a Frenchman"[13]
He included whimsical little-known words, such as:
"Writative – A word of Pope's, not to be imitated: "Increase of years makes men more talkative but less writative; to that degree I now write letters but of plain how d'ey's." "[14]
On a more serious level, Johnson's work showed a heretofore unseen meticulousness. Unlike all the proto-dictionaries that had come before, painstaking care went into the completeness when it came not only to "illustrations" but also to definitions as well:
"Turn" had 16 definitions with 15 illustrations
"Time" had 20 definitions with 14 illustrations
"Put" ran more than 5,000 words spread over 3 pages
"Take" had 134 definitions, running 8,000 words, over 5 pages[15]
The original goal was to publish the dictionary in two folio volumes: A–K and L–Z. But that soon proved unwieldy, unprofitable, and unrealistic. Subsequent printings ran to four volumes; even these formed a stack 10 inches (25.4 cm) tall, and weighed in at nearly 21 pounds (9.5 kg).[citation needed] In addition to the sheer physical heft of Johnson's dictionary, came the equally hefty price: £4/10/- (equivalent to approximately £631 in 2017).[1] So discouraging was the price that by 1784, thirty years after the first edition was published, when the dictionary had by then run through five editions, only about 6,000 copies were in circulation—an average sale of 200 books a year for thirty years.[citation needed]
Johnson's etymologies would be considered poor by modern standards, and he gave little guide to pronunciation; one example being "Cough: A convulsion of the lungs, vellicated by some sharp serosity. It is pronounced coff". Much of his dictionary was prescriptivist. It was also linguistically conservative, advocating traditional spellings such as publick rather than the simpler spellings that would be favoured 73 years later by Noah Webster.
In spite of its shortcomings, the dictionary was far and away the best of its day. Its scope and structure were carried forward in dictionaries that followed, including Noah Webster's Webster's Dictionary in 1828 and the Oxford English Dictionary later in the same century.
Reception history[edit]
Initial reception[edit]
From the beginning there was universal appreciation not only of the content of the Dictionary but also of Johnson's achievement in single-handedly creating it: "When Boswell came to this part of Johnson's life, more than three decades later, he pronounced that 'the world contemplated with wonder so stupendous a work achieved by one man, while other countries had thought such undertakings fit only for whole academies'."[16] "The Dictionary was considered, from the moment of its inception, to be Johnson's, and from the time of its completion it was Johnson's Dictionary—his book and his property, his monument, his memorial."[17]
Immediately after publication "The Dictionary was enthusiastically written up in important periodicals such as the London Magazine and—none too surprisingly—the Gentleman's Magazine. In the latter it received an eight-page notice".[18] Reviews, such as they were, proved generous in tone: "Of the less positive assessments the only properly judicious one came from Adam Smith in the pro-Whig Edinburgh Review ... he wished that Johnson 'had oftener passed his own censure upon those words which are not of approved use, though sometimes to be met with in authors of no mean name'. Furthermore, Johnson's approach was not 'sufficiently grammatical'".[19]
Despite the Dictionary's critical acclaim, Johnson's general financial situation continued in its dismal fashion for some years after 1755: "The image of Johnson racing to write Rasselas to pay for his mother's funeral, romantic hyperbole though it is, conveys the precariousness of his existence, almost four years after his work on the Dictionary was done. His financial uncertainties continued. He gave up the house in Gough Square in March 1759, probably for lack of funds. Yet, just as Johnson was plunging into another trough of despondency, the reputation of the Dictionary at last brought reward. In July 1762 Johnson was granted a state pension of £300 a year by the twenty-four-year-old monarch, George III. The pension did not make him rich, but it ensured he would no longer have to grub around for the odd guinea."[20]
Criticism[edit]
As lexicography developed, faults were found with Johnson's work: "From an early stage there were noisy detractors. Perhaps the loudest of them was John Horne Tooke ... Not content to pronounce it 'imperfect and faulty', he complained that it was 'one of the most idle performances ever offered to the public', that its author 'possessed not one single requisite for the undertaking', that its grammatical and historical parts were 'most truly contemptible performances', and that 'nearly one third ... is as much the language of the Hottentots as of the English'."[21] "Horace Walpole summed up for the unbelievers when he pronounced at the end of the eighteenth century, 'I cannot imagine that Dr Johnson's reputation will be very lasting.' His dictionary was 'a surprising work for one man', but 'the task is too much for one man, and ... a society should alone pretend to publish a standard dictionary.' Walpole's reservations notwithstanding, the admirers out-numbered the detractors, and the reputation of the Dictionary was repeatedly boosted by other philologists, lexicographers, educationalists and word detectives."[22]
Johnson's dictionary was made when etymology was largely based on guesswork. His Classical leanings led him to prefer spellings that pointed to Latin or Greek sources, "while his lack of sound scholarship prevented him from detecting their frequent errors". For example, he preferred the spelling ache over ake as he wrongly thought it came from the Greek achos. Some of his spelling choices were also inconsistent: "while retaining the Latin p in receipt he left it out of deceit; he spelled deign one way and disdain another; he spelled uphill but downhil, muckhill but dunghil, instill but distil, inthrall but disenthral".[23]
Boswell[24] relates that "A lady once asked him [Johnson] how he came to define pastern as the knee of a horse: instead of making an elaborate reply, as she expected, he at once replied, 'Ignorance, Madam, pure ignorance.'" On the same page, Boswell notes that Johnson's definition of network ("Any thing reticulated or decussated, at equal distances, with interstices between the intersections")[25] "has often been quoted with sportive malignity, as obscuring a thing in itself very plain."
Influence in Britain[edit]
Despite the criticisms, "The influence of the Dictionary was sweeping. Johnson established both a methodology for how dictionaries should be put together and a paradigm for how entries should be presented. Anyone who sought to create a dictionary, post-Johnson, did so in his shadow."[26] "In his history of the Oxford English Dictionary, Simon Winchester asserts of its eighteenth-century predecessor that 'by the end of the century every educated household had, or had access to, the great book. So firmly established did it swiftly become that any request for "The Dictionary" would bring forth Johnson and none other.' 'One asked for The Dictionary,' writes Winchester, 'much as one might demand The Bible.'"[27] One of the first editors of the OED, James Murray, acknowledged that many of Johnson's explanations were adopted without change, for 'When his definitions are correct, and his arrangement judicious, it seems to be expedient to follow him.' ... In the end the OED reproduced around 1,700 of Johnson's definitions, marking them simply 'J.'."[28]
Reputation abroad[edit]
Johnson's influence was not confined to Britain and English: "The president of the Florentine Accademia declared that the Dictionary would be 'a perpetual Monument of Fame to the Author, an Honour to his own Country in particular, and a general Benefit to the Republic of Letters'. This was no empty commendation. Johnson's work served as a model for lexicographers abroad. It is no surprise that his friend Giuseppe Baretti chose to make the Dictionary the model for his Italian—English dictionary of 1760, and for his Spanish dictionary nearly two decades later.[29] But there are numerous examples of influence beyond Johnson's own circle. His work was translated into French and German."[30] And "In 1777, when Ferdinando Bottarelli published a pocket dictionary of Italian, French and English (the three languages side by side), his authorities for the French and Italian words were the works of the French and Italian academies: for the English he used Johnson."[31]
Influence in America[edit]
The Dictionary was exported to America. "The American adoption of the Dictionary was a momentous event not just in its history, but in the history of lexicography. For Americans in the second half of the eighteenth century, Johnson was the seminal authority on language, and the subsequent development of American lexicography was coloured by his fame."[31] For American lexicographers the Dictionary was impossible to ignore: "America's two great nineteenth-century lexicographers, Noah Webster and Joseph Emerson Worcester, argued fiercely over Johnson's legacy ... In 1789 [Webster] declared that 'Great Britain, whose children we are, and whose language we speak, should no longer be our standard; for the taste of her writers is already corrupted, and her language on the decline.'"[32] "Where Webster found fault with Johnson, Joseph Worcester saluted him ... In 1846 he completed his Universal and Critical Dictionary of the English Language. He defended Johnson's work, arguing that 'from the time of its publication, [it] has been, far more than any other, regarded as the standard for the language'."[33] Notwithstanding the evolution of lexicography in America, "The Dictionary has also played its part in the law, especially in the United States. Legislators are much occupied with ascertaining 'first meanings', with trying to secure the literal sense of their predecessors' legislation ... Often it is a matter of historicizing language: to understand a law, you need to understand what its terminology meant to its original architects ... as long as the American Constitution remains intact, Johnson's Dictionary will have a role to play in American law."[34]
Folio and Abridged editions[edit]
Samuel Johnson's Folio and Abridged Dictionaries together
Close up of pages for M entries in the Folio and Abridged Dictionaries of 1755 and 1756 by Samuel Johnson
Johnson's famous dictionary came out in two forms.
The first was the 1755 Folio edition, which came in two large volumes on 15 April. The folio edition also features full literary quotes by those authors that Johnson quoted, such as Dryden and Shakespeare. It was followed a few weeks later by a second edition published in 165 weekly parts. The third edition was published in 1765, but it was the fourth, which came out in 1773 which included significant revisions by Johnson of the original work.[35]
The Abridged edition came out in 1756 in two octavo volumes with entries, "abstracted from the folio edition by the author",[36] laid out as two columns per page. The abridged version did not feature the literary quotes, just the author quoted. This made it cheaper to produce and buy. It sold over a thousand copies a year for the next 30 years bringing "The Dictionary" to the reach of every literate home.[37]
Modern editions[edit]
Johnson's Dictionary has been available in replica editions for some years. The entire first Folio edition is available on A Dictionary of the English Language[38] as an electronic scan.
The Preface to the Dictionary is available on Project Gutenberg.[39] In addition, a scan of the 6th (1785) edition can be found at the Internet Archive in its two volumes.[40][41]
Notes[edit]
^ Jump up to: a b UK Consumer Price Index inflation figures are based on data from Gregory Clark (2016), "The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)", MeasuringWorth.com.
Jump up ^ Bate, Walter Jackson. Samuel Johnson, Ch. 15, "Storming the Main Gate: The Dictionary". New York: Harcourt Brace Jovanovich, 1975.
Jump up ^ Hitchings 2005, London p. 48; New York p. 53
Jump up ^ Hitchings 2005, London p. 49; New York p. 55
Jump up ^ Lane pp. 117–118
^ Jump up to: a b Lane p. 118
^ Jump up to: a b Lane p. 121
Jump up ^ Johnson Letters No. 56
Jump up ^ Hitchings 2005, London p. 195; New York p. 209
Jump up ^ See online copy of sixth edition
Jump up ^ See online copy of sixth edition
Jump up ^ See online copy of sixth edition
Jump up ^ See online copy of sixth edition
Jump up ^ Kacirk, Jeffrey, Forgotten English, 21 May (page)
Jump up ^ Hitchings 2005, London p. 87; New York p. 93
Jump up ^ Hitchings 2005, p. 198
Jump up ^ Hitchings 2005, p. 200
Jump up ^ Hitchings 2005, p. 198–9
Jump up ^ Hitchings 2005, p. 199
Jump up ^ Hitchings 2005, p. 203
Jump up ^ Hitchings 2005, p. 221
Jump up ^ Hitchings 2005, p. 222
Jump up ^ Handbook of Simplified Spelling. Simplified Spelling Board, 1920. p. 7
Jump up ^ Boswell, James (1791). "The Life of Samuel Johnson, Volume 1". Sturgis & Walton. Retrieved 9 July 2017.
Jump up ^ Johnson, Samuel (1755). "Network - A Dictionary of the English Language". "Johnson's Dictionary Online". Retrieved 9 July 2017.
Jump up ^ Hitchings 2005, p. 220
Jump up ^ Hitchings 2005, p. 212
Jump up ^ Hitchings 2005, pp. 227–8
Jump up ^ A DICTIONARY, Spanish and English, and English and Spanish, . .
Jump up ^ Hitchings 2005, p. 223
^ Jump up to: a b Hitchings 2005, p. 224
Jump up ^ Hitchings 2005, p. 225
Jump up ^ Hitchings 2005, pp. 226–7
Jump up ^ Hitchings 2005, pp. 229–31
Jump up ^ Crystal, David (2005). Samuel Johnson A Dictionary of the English Language: An Anthology. London: Penguin Books. p. xxviii. ISBN 978-0-14-144157-3.
Jump up ^ Johnson, Samuel (1807). Dictionary of the English Language Abstracted from the Folio Edition (12th ed.). London: J. Johnson et al. p. Title Page.
Jump up ^ Lynch, Jack (2004). Samuel Johnson's Dictionary. London: Atlantic Books. p. 17. ISBN 1-84354-296-X.
Jump up ^ "A Dictionary of the English Language: A Digital Edition of the 1755 Classic by Samuel Johnson". Retrieved 21 November 2013.
Jump up ^ "The Preface on Project Gutenberg". Gutenberg.org. 1 April 2004. Retrieved 15 April 2009.
Jump up ^ "Volume 1 of the 6th edition". Archive.org. Retrieved 21 January 2010.
Jump up ^ "Volume 2 of the 6th edition". Archive.org. Retrieved 21 January 2010.
References[edit]
Clifford, James L. Dictionary Johnson: Samuel Johnson's Middle Years (1979)
Hitchings, Henry (2005). Dr Johnson's Dictionary: The Extraordinary Story of the Book That Defined the World. London: John Murray. ISBN 0-7195-6631-2.
US edition: Hitchings, Henry (2005). Defining the World: The Extraordinary Story of Dr. Johnson's Dictionary. New York: Farrar, Straus and Giroux. ISBN 0-374-11302-5.
Lane, Margaret. Samuel Johnson & his World. New York: Harper & Row Publishers, 1975. 256 pp.
Lynch, Jack, ed. Samuel Johnson's Dictionary: Selections from the 1755 Work that Defined the English Language (2002)
Johnson, Samuel. Letters Ed. R. W. Chapman, London, 1952.
Sledd, James H. and Kolb, Gwin J. Dr. Johnson's Dictionary. Chicago, 1955.
External links[edit]
First Folio Edition Volume I Volume II from the Pomeranian Digital Library
Downloadable copy of Johnson's Dictionary, 6th Edition (1785), Volume 1 and Volume 2 at the Internet Archive
Searchable version of the 1st Folio edition of Johnson's Dictionary (in progress)
HTML version of the 1756 Abridged edition of Johnson's Dictionary (in progress)
Toefl preparation Classes in the East Bay Area, California
Article Words count from The Guardian April 2005
A Brief History of English lexicography
The Plan of A Dictionary of the English Language (1747.) From the Collections at the Library of Congress
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