Dollar and booze: English words that aren't really English

The British Council's new exhibition has revealed the top 10 English words that originated overseas.

It’s widely known that the English language is an amalgamation of words originating from different countries and cultures. Words like hula, a hip-swinging dance from Hawaii, obviously didn't originate in Britain. But what about shampoo or booze? Surely these words are British through and through? Not according to the British Council.

As part of their new exhibition, The English Effect, which examines the impact the English language has had on other countries and cultures around the world, they have revealed the top ten English words that didn’t originate in Britain.

Here is their definitive list:

Dollar (German)

Dollar tops the list. Despite being synonymous with America, the word originates from the German Taler, a coin first minted in 1519 from silver mined in Joachimsthal. The word occurs in English from the mid-1500s, referring to various silver coins coins used in the British colonies in North America at the time of the War of Independence. The dollar was later adopted as the US currency in 1785.

Booze (Dutch)

Booze (earlier spelt bouse) comes from the medieval Dutch verb būsen – “to drink to excess”. It appeared in medieval English, but it is found more frequently in the 1500s, in the language of thieves and beggars. It then gradually spread to general slang and colloquial use.

Bungalow (Hindi or Bengali)

Many believe the urban myth about bungalow: that the word was coined after a builder was told to “bung a low roof” on a house when he ran out of bricks. But bungalow was actually first recorded in the 1600s, when one-storey houses were built for early European settlers in Bengal. It comes from a Hindi or Bengali word meaning “belonging to Bengal”.

Tomato (Nahuatl – Mexico)

The word tomato has been passed from country to country. Originating from Nahuatl (the language of the Aztecs), the Spanish language borrowed it in the 1530s, before it came into English in the 1600s. Originally, the word was spelled tomatl, and may come from tomau meaning “to grow”.

Zombie (West African via the Caribbean)

Zombie originated in West African languages as a combination of Kikongo zumbi – meaning fetish – and Kimbundu nzambi, meaning god. But it made its way into the English language via communities in the Caribbean, southern America and other parts of the US where African communities had been brought over as part of the slave trade.

Vampire (Hungarian)

Unsurprisingly, the origins of vampire lie in Eastern Europe. Fictional tales like Bram Stoker's 1897 Gothic horror novel Dracula, the most famous of all the vampires, place him in this part of the world. The word found its way into the English language from the Hungarian word vampir.

Parka (Russian)

Parka came into English from Russian in the 1620s, but it originated among the Nenets people of the Arctic regions of Russia, originally referring their jackets made from animal skins. In the 1890s it began to be found referring to a hooded winter coat.

Shampoo (Hindi)

The meaning of the word shampoo has evolved over time. Its probable origin is the Hindi word cām.po, meaning “press”, but its original meaning in English was “to massage”, before it later came to mean “to wash or scrub (the head or hair)”. Finally, shampoo now means the substance we use for washing hair.

Magazine (Arabic)

In its original form, the word magazine meant “storehouse”. Originating from Arabic, spelled mak- zin, the word entered the English language from French in the 1500s. Reference to its original meaning can be seen both in modern French, where magasin means “shop”, and modern English military uses of magazine.

Avatar (Sanskrit)

No, science-fiction didn’t invent the word Avatar, it came from the ancient language of Sanskrit, meaning “the descent of a Hindu deity to the Earth in bodily form”. Entering English in the late 1700s, the modern, sci-fi, use of the word emerged in the mid-1980s.

 

King Alfred the Great's translation of the 'Compendious History of the World' by Paulus Orosius from Latin into Anglo-Saxon or Old English. (Photo: Hulton Archive/Getty Images)
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Would the BBC's Nazi drama SS-GB have felt half so resonant a year ago?

This alternate history is freighted with meaning now we're facing the wurst-case scenario. 

Would SS-GB have felt half so resonant a year ago? Though the clever-after-the-fact Nostradamus types out there might disagree, I can’t believe that it would. When it comes to the Second World War, after all, the present has helpfully stepped in where memory is just beginning to leave off. The EU, in the process of fragmenting, is now more than ever powerless to act in the matter of rogue states, even among its own membership. In case you hadn’t noticed, Hungary, for instance, is already operating as a kind of proto-fascist state, led by Viktor Orbán, a man whom Jean-Claude Juncker, the president of the European Commission, jokingly likes to call “the dictator” – and where it goes, doubtless others will soon follow.

The series (Sundays, 9pm), adapted from Len Deighton’s novel, is set in 1941 in a Britain under Nazi occupation; Winston Churchill has been executed and the resistance is struggling to hold on to its last strongholds in the countryside. Sam Riley plays Douglas Archer, a detective at Scotland Yard, now under the control of the SS, and a character who appears in almost every scene. Riley has, for an actor, a somewhat unexpressive face, beautiful but unreadable. Here, however, his downturned mouth and impassive cheekbones are perfect: Archer, after all, operates (by which I mean, barely operates) in a world in which no one wants to give their true feelings away, whether to their landlady, their lover, or their boss, newly arrived from Himmler’s office and as Protestant as all hell (he hasn’t used the word “degenerate” yet, but he will, he will).

Archer is, of course, an ambiguous figure, neither (at present) a member of the resistance nor (we gather) a fully committed collaborator. He is – or so he tells himself – merely doing his job, biding his time until those braver or more foolhardy do something to restore the old order. Widowed, he has a small boy to bring up. Yet how long he can inhabit this dubious middle ground remains to be seen. Oskar Huth (Lars Eidinger), the new boss, is keen to finish off the resistance; the resistance, in turn, is determined to persuade Archer to join its cause.

It’s hard to find fault with the series; for the next month, I am going to look forward to Sunday nights mightily. I would, I suppose, have hoped for a slightly more charismatic actress than Kate Bosworth to play Barbara Barga, the American journalist who may or may not be involved with the British resistance. But everything else seems pretty perfect to me. London looks suitably dirty and its inhabitants’ meals suitably exiguous. Happiness is an extra egg for tea, smoking is practically a profession, and
the likes of Archer wear thick, white vests.

Swastikas adorn everything from the Palace of Westminster to Trafalgar Square, Buckingham Palace is half ruined, a memorial to what the Germans regard as Churchill’s folly, and the CGI is good enough for the sight of all these things to induce your heart to ache briefly. Nazi brutality is depicted here as almost quotidian – and doubtless it once was to some. Huth’s determination to have four new telephone lines installed in his office within the hour is at one end of this horrible ordinariness. At the other is the box in which Archer’s mutinous secretary Sylvia (Maeve Dermody) furiously stubs out her fag, full to the brim with yellow stars.

When I first heard about The Kettering Incident (Tuesdays, 12.20am; repeated Wednesdays, 10pm) I thought someone must have found out about that thing that happened one time I was driving north on the M1 with a more-than-usually terrible hangover. Turns out it’s a new Australian drama, which comes to us on Sky Atlantic. Anna (Elizabeth Debicki), a doctor working in London, pitches up back in Tasmania many years after her teenage friend Gillian disappeared into its Kettering forest, having seen a load of mysterious bright lights. Was Gillian abducted by aliens or was she, as some local people believe, murdered by Anna? To be honest, she could be working as a roadie for Kylie, for all I care. This ponderous, derivative show is what happens when a writer sacrifices character on the altar of plot. The more the plot thickens, the more jaw-achingly tedious it becomes.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 24 February 2017 issue of the New Statesman, The world after Brexit