Buzz
Have you ever created a word that caught on? We’re not referring to the gibberish you might have mumbled as a toddler. We’re talking about genuine, widely-used terms that have become part of everyday language. If you’re like most people, the answer is likely “none.” But don’t worry—crafting a word or phrase that resonates with the public is no small feat.
However, this wasn’t a challenge for William Shakespeare. The renowned playwright is believed to have introduced between 1,600 and 1,700 words, along with numerous phrases and expressions that remain in use today. His groundbreaking plays revolutionized the English language, leaving a lasting impact on modern English speakers across the globe.
Still skeptical? Keep reading! In this list, we’ll explore ten phrases attributed to Shakespeare that are still commonly used today. If you’ve ever wondered, “Why do we say that?” or “Where did that come from?” you might just find the answers here.
10. The Ultimate Phrase for a Grand Exit
The phrase “be all and end all” is one we’ve all likely used or heard. It signifies the ultimate reason or the most crucial aspect of something. When someone mentions it in conversation, it implies there’s no room for alternatives—it’s the final word. In 1605’s Macbeth, Shakespeare was the first to introduce this vivid imagery.
In the play, as Macbeth ponders the assassination of King Duncan, he weighs the consequences of such an act in both this life and the afterlife. He muses, “If it were done, when ’tis done, then ’twere well it were done quickly. If th’ assassination could trammel up the consequence, and catch with his surcease, success: that but this blow might be the be-all and the end-all.”
As fans of Macbeth know, the assassination plot doesn’t serve as the “be all and end all” for the protagonist. However, that’s beside the point for this list. What matters is that Shakespeare’s Macbeth envisioned a decisive, violent act against King Duncan. While it didn’t go as planned for Macbeth, it gifted the modern world a timeless phrase we still cherish today.
9. Pioneering Dairy Terminology
In Act II, Scene III of Henry IV, Shakespeare introduced a term now deeply ingrained in our nutritional vocabulary: skim milk. Skim milk, or “skimmed milk” in some regions, is produced by removing the cream from whole milk. While humans have consumed similar beverages for centuries—dating back to ancient Romans, Greeks, and other civilizations—Shakespeare is credited with coining the term as we know it today.
In that Henry IV scene, Hotspur uses “skim milk” as a metaphor to describe someone with a feeble character. Criticizing a nobleman for failing to back his rebellion against the king, Hotspur angrily declares: “O, I could divide myself and go to buffets, for moving such a dish of skim milk with so honourable an action! Hang him! Let him tell the king: we are prepared. I will set forward tonight.”
And there you have it! While Shakespeare wasn’t literally describing the process of making skim milk, his phrasing endured. Today, we use the term to describe the method of letting raw milk settle so the cream separates and can be skimmed off. In the play, however, “skim milk” serves as a metaphor for Hotspur’s target, who he sees as lacking courage and integrity. Shakespeare’s genius truly has layers!
8. In Cold Blood (or Hot!)
Shakespeare was a trailblazer in linking emotions to the perceived temperature of one’s blood. Today, we casually describe someone as “hot-blooded” if they’re quick-tempered or fiery, while “cold-blooded” refers to acts of calculated cruelty. These idioms permeate modern English, from Truman Capote’s true crime masterpiece In Cold Blood to everyday conversations about human behavior.
We owe this linguistic legacy to William Shakespeare. Across multiple plays, he explored the concept of blood temperature as a reflection of emotion. For instance, in The Merry Wives of Windsor, Falstaff exclaims, “The Windsor bell hath struck twelve; the minute draws on. Now, the hot-blooded gods assist me!” Similarly, in King Lear, the king references a “hot-blooded France” during discussions of war.
Shakespeare didn’t just depict boiling blood in his works—he also explored its chilling counterpart. In King John, the widow Constance fiercely labels Limoges a “cold-blooded slave” for his emotionless demeanor. From Shakespeare’s era to today, the imagery of blood’s temperature—whether hot or cold—continues to resonate, just as it did in the time of England’s most celebrated playwright.
7. What’s in a Name?
William Shakespeare is credited with inventing the name Jessica. While it may sound unbelievable, it’s entirely true. The first recorded use of the name “Jessica” appears in Shakespeare’s The Merchant of Venice, where it belongs to Shylock’s daughter, a prominent character in the play.
Historians aren’t entirely certain about the origin of the name, but one plausible theory links it to the Hebrew name “Iscah,” meaning “vision” or “sight.” Given Shylock’s Jewish identity, it’s possible Shakespeare adapted “Iscah,” anglicizing it for his theatrical audience.
It’s unlikely Shakespeare anticipated Jessica becoming a popular name in modern times. Most parents who choose the name today probably aren’t aware of its origins in The Merchant of Venice—they simply find it pleasant and fitting for contemporary use. So, whether it’s Jessica Biel, Jessica Simpson, Sarah Jessica Parker, Jessica Alba, or Jessica Chastain, you now know the perfect trivia to share!
6. Beware of Wild Geese!
The phrase “wild goose chase” was first coined by Shakespeare in one of his most renowned works, Romeo and Juliet. In the play, Mercutio engages in witty banter with Romeo, quipping: “If thy wits run the wild-goose chase, I have done, for thou hast more of the wild-goose in one of thy wits than, I am sure, I have in my whole five.” This marked the birth of the modern concept of a wild goose chase—though not exactly as we know it today.
Initially, after Shakespeare introduced the term in Romeo and Juliet, it referred to a type of race, often involving horses, where participants followed the leader in a chaotic, unpredictable pattern reminiscent of wild geese in flight. These races were typically futile for the followers, as the leaders usually won effortlessly. Over time, the phrase evolved to emphasize the frustrating and often fruitless nature of such pursuits.
Today, a “wild goose chase” describes a futile or hopeless endeavor, where one searches endlessly for something with little chance of success. While the modern meaning has shifted slightly from Shakespeare’s original usage, the playwright remains the originator of the phrase, setting it on its journey to becoming a staple of contemporary language.
5. What a Late Night Hoot!
Shakespeare, like many playwrights, frequently used animal imagery in his works. This wasn’t unusual or out of the ordinary. Often, his comparisons were direct and straightforward. For instance, in Richard II, he writes, “for night-owls shriek where mounting larks should sing.” This is a literal reference to owls, creatures known for their nocturnal habits.
However, Shakespeare also took a more creative approach with the term “night owl.” In his poem “The Rape of Lucrece,” he used the phrase metaphorically to describe someone who stays up late, burning the midnight oil. This shift from literal to figurative language showcased his linguistic versatility.
In the poem, Shakespeare penned: “This said, his guilty hand pluck’d up the latch, and with his knee the door he opens wide. The dove sleeps fast that this night-owl will catch: thus treason works ere traitors be espied.” This metaphorical use of “night owl” has endured, and today, we commonly use it to describe people who thrive during late hours.
4. Critics Critiquing Content
In Act III, Scene I of Shakespeare’s Love’s Labour’s Lost, the character Berowne reflects on his past behavior with regret. He laments, “I, that have been love’s whip; A very beadle to a humorous sigh; A critic, nay, a night-watch constable; A domineering pedant o’er the boy; Than whom no mortal so magnificent!” Here, Berowne critiques his own actions, comparing himself to a harsh critic and a strict enforcer of love’s rules.
The pivotal line in Berowne’s lament is when he refers to himself as “a critic, nay, a night-watch constable.” The term “critic” itself predates Shakespeare, originating from Middle French as “critique,” which was derived from the Latin “criticus.” This, in turn, traces back to the Greek word “kritikos,” meaning “able to make judgments,” and the verb “krinein,” which means “to decide” or “to separate.”
While the concept of critiquing wasn’t new in Shakespeare’s time, transforming the verb into a noun and assigning it as a formal role was groundbreaking. In the play, Berowne reflects on his past as someone whose job was to analyze and critique plays, actors, and playwrights. Shakespeare, who faced his share of critics during and after his lifetime, likely drew from personal experience when coining this term for the role.
3. That’s Wacky… uh, Zany!
In Act V, Scene II of Love’s Labour’s Lost, Berowne delivers a lengthy speech about a failed romantic scheme: “See the trick on’t: here was a consent, knowing aforehand of our merriment, to dash it like a Christmas comedy: some carry-tale, some please-man, some slight zany, some mumble-news, some trencher-knight, some Dick, that smiles his cheek in years and knows the trick, to make my lady laugh when she’s disposed, told our intents before; which once disclosed, the ladies did change favours: and then we, following the signs, woo’d but the sign of she.”
The term “zany” in this context has a straightforward origin. Shakespeare didn’t invent it; instead, he borrowed it from an Italian nickname. In Italy, men named Giovanni were often called “Zanni” by their peers, much like how “William” might be shortened to “Bill” or “Billy” in English. Shakespeare adapted this nickname into his work, giving it a new literary life.
The term “Zanni” also referred to a popular Italian clown figure in the 16th century. Known for his zany and comedic antics, Zanni was a familiar character across Italy. While Shakespeare likely knew his English audience wouldn’t recognize the reference, he adopted the term, anglicized it, and relied on context to convey its meaning in Love’s Labour’s Lost. This clever adaptation brings us to the end of today’s exploration!
2. Green with Envy
While Shakespeare didn’t invent jealousy, he is credited with linking it to the color green. This association first appeared in The Merchant of Venice, where Portia declares, “How all the other passions fleet to air, As doubtful thoughts, and rash-embraced despair, and shuddering fear, and green-eyed jealousy! O love, be moderate; allay thy ecstasy, in measure rein thy joy; scant this excess. I feel too much thy blessing: make it less, for fear I surfeit.”
A few years later, in 1604, Shakespeare expanded on this idea in Othello. The character Iago warns, “O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock the meat it feeds on; that cuckold lives in bliss who, certain of his fate, loves not his wronger; But, O, what damned minutes tells he o’er who dotes, yet doubts, suspects, yet strongly loves!” This vivid imagery solidified the connection between jealousy and the color green in the English language.
Shakespeare’s portrayal of jealousy as a “green-eyed monster” has endured, becoming a widely recognized metaphor for envy and suspicion. His creative use of color to depict emotions remains one of his most lasting contributions to literature and language.
Today, associating jealousy with the color green is second nature. The phrase “green with envy” is a staple in English vernacular, and we have Shakespeare to thank for it!
1. Eyes on the Prize
Shakespeare had a knack for blending words to create something entirely new. One such example is the word “eyeball,” which we now consider commonplace. In the late 16th century, Shakespeare introduced this simple yet effective term into everyday language.
While historians agree Shakespeare didn’t coin “eyeball” himself—other writers used it as early as 1580—his influence made it mainstream. Thanks to his widespread popularity, Shakespeare’s use of the term in two of his plays cemented its place in the English lexicon.
First, in A Midsummer Night’s Dream, he wrote, “Then crush this herb into Lysander’s eye, whose liquor hath this virtuous property, to take from thence all error with his might, and make his eyeballs roll with wonted sight.” Later, in The Tempest, Prospero tells Ariel, “Go make thyself like a nymph o’ the sea: be subject to no sight but thine and mine; invisible to every eyeball else.” These uses solidified “eyeball” as a lasting contribution to language.
