As a word lover, you no doubt come across this claim often: "Shakespeare invented this word/phrase".
"Cool," you probably think, "that Shakespeare was one smart dude with the words thing".
Me? *head explodes, jumps up and down* (as they say on twitter): "No he DIDN'T!!"
This persistent myth drives me CRAZY.
These claims are all over the place. Here's the
latest one I've come across, and, lo, it has the imprimatur (the internetatur?) of the mighty TED, so it must be true:
A short list of verbs invented by the Bard:
arouse
besmirch
bet
drug
dwindle
hoodwink
hurry
puke
rant
swagger
Shakespeare also minted new metaphors, many now cliches, but fresh in his time:
it’s Greek to me
played fast and loose
slept not one wink
seen better days
knit your brows
have your teeth set on edge
Here's another paragraph claiming that every boldfaced word was coined by the Bard:
You cannot ignore him. He’s got you surrounded. You may think this claim baseless, perhaps even laughable, but he’s there at your elbow. Daily, he jumps trippingly off your tongue. He’s present when you wake at dawn and when the moonbeam slips through your window at night. You may chance upon him in the bedroom. You bump into him at the cinema. He’s there when you’re lonely; he’s there when you’re gloomy. That love letter? His idea. When your account dwindles and you go on a rant, think of him. The soft-hearted know him, and so does your hardhearted employer. Embrace this idea. It’s not just skim milk.
Great. If only it were true.
Shakespeare did not in fact coin most of those words.
The source of this myth seems to be a Merriam-Webster 1998 publication
Coined by Shakespeare: Words & Meanings First Penned by the Bard,
by Jeffrey McQuain and Stanley Malless, from which the writer of the above paragraph drew his inspiration.
Here's the problem. The authors of this book seem to have looked at every entry in the
Oxford English Dictionary 2nd edition for which Shakespeare provided the first quotation and come to the rather naive conclusion that this meant Shakespeare invented those words (or gave them a new meaning).
Of course this is not the case. There are two problems with concluding that Shakespeare was so prolific a wordsmith, based on his presence in the OED
1) Back in the 1880s, when the OED started publishing, Shakespeare was the most easily accessible source of a lot of evidence of 16th-century English. Since then, much more research has been done on Early Modern English, and many more texts have become available, so that as the OED editors proceed at their majestic pace to revise the dictionary, many of the words whose earliest attestation was previously from Shakespeare have now been antedated, sometimes by more than a century.
But, and this is very important, most of the OED has not been revised. In the 3rd edition
online, some of the entries, like “moonbeam,” have been updated
with an antedating since the Merriam-Webster book came out. This will
more than likely happen to many, perhaps most, of the words currently
having a first quotation from Shakespeare, as revision proceeds on the
dictionary.
It's essential, when you're looking at an OED online entry, to pay attention to the note to the right of the headword, which tells you how up to date (or not) the entry is. For instance, at "arouse", the note says "This entry has not yet been fully updated (first published 1885)."
At present, M-R and A-Alz, roughly, have been revised. Am-L and S-Z, roughly, have not been revised. Some words scattered around the alphabet within the unrevised letters have been revised; for instance, the verb "drug" was revised in 2009, and Shakespeare is indeed still the first attestation.But it is very risky indeed to make claims about Shakespeare
“coining” the words for which he is the first evidence if they are in
the unrevised stretches of the alphabet.
2) Even those words for which Shakespeare is the first written attestation as far as our most up-to-date scholarship reveals may not have been coined by him. Many were probably kicking around Elizabethan English before he set them on paper.
That others should be on these lists or in the Merriam-Webster book at all mystifies
me, since even in the unrevised edition of the OED, they were not the first attestation of the word or meaning. “Elbow” has been in the English language since Anglo-Saxon times,
and even “at your elbow” to mean “nearby” is first attested in 1548,
before Shakespeare was born. An expression for which the
OED
does have a first attestation from Shakespeare is “up to one’s elbows,”
but since this is in an unrevised part of the dictionary, it may well
yet be antedated.
For the record, I have listed below the words or meanings of words that are first exemplified by Shakespeare in the revised parts of the OED. Note how many of them are not part of common parlance, paying attention to the specific sense in which the word is illustrated by Shakespeare. They really don't have the makings of a "Gosh gee whillikers did you know that Shakespeare invented the words
pullet sperm and
nook-shotten?" piece for endless retweeting. If anything, it's striking how
few of these words and usages are part of everyday English.
One thing that is clear is that Shakespeare was a fan of verbs created from nouns and adjectives (yes I know I harp on this, oh wait, "harp" is another one...):
portcullis, muddy, palate, pander, porter, prerogative, prologue
Please do not repeat this "coined by Shakespeare" cliché, and if you're an editor, beware of anyone who does.
P.S.
If you liked this post, you might enjoy regular updates about English
usage and word origins from Wordlady. Receive every new post
delivered right to your inbox! Sign
up here.
Follow
me on twitter: @thewordlady
List of words with first attestations from Shakespeare in newly revised OED. Words first, followed by senses of words.
acture |
The process of acting; action. |
Louers Complaint
|
1609 |
|
affecting |
Using affectation or pretentious style; = affected adj. 3. |
Romeo & Juliet
|
1597 |
|
affectioned |
Affected in style or behaviour; full of affectation. |
Twelfth Night
|
1615 |
|
allicholly |
= melancholy n. Cf. allicholly adj. |
Merry Wives of Windsor
|
1615 |
|
malefaction |
Evildoing; an instance of evildoing, a criminal act. |
Hamlet
|
1604 |
|
mangling |
That mangles, in the senses of mangle v. |
Venus & Adonis
|
1593 |
|
meditance |
Meditation. |
Two Noble Kinsmen
|
1624 |
|
militarist |
A soldier or warrior; a person who studies military phenomena
or history. Also: person having militaristic attitudes and ideals. |
All's Well that ends Well
|
1615 |
|
minutely |
That occurs every minute, or minute by minute. |
Macbeth
|
1615 |
|
misadventured |
Unfortunate, hapless. In later use also: misguided. |
Romeo & Juliet
|
1599 |
|
misbecomingly |
Unbecomingly, unfittingly. |
Two Noble Kinsmen
|
1624 |
|
mistership |
Compositorial misreading of mistress-ship n. |
Titus Andronicus
|
1615 |
|
mockable |
Worthy of, or exposed to, mockery or derision. |
As you like It
|
1615 |
|
morris |
A board game played between two players, each with a number
(usually nine) of pebbles… |
Midsummer Night's Dream
|
1600 |
|
moy |
App.: a coin of an imaginary type. |
Henry V
|
1615 |
|
muddy |
To confuse or muddle (a person, the mind); to render (a thing)
more complex, to make… |
Hamlet
|
1604 |
|
multipotent |
Having much power; very powerful. Now rare. |
Troilus & Cressida
|
1609 |
|
muset |
A gap in a hedge or fence through which hares, rabbits, or
other animals may pass; (also)… |
Venus & Adonis
|
1594 |
|
nayword |
A password, watchword; a catchphrase. Obs. rare. |
Merry Wives
|
1615 |
|
near-legged |
Of a horse: moving with the legs close together (perh.:
knock-kneed). Cf. near adv. 11. |
Taming of Shrew
|
1615 |
|
night-walking |
That walks or goes about at night. |
Richard III
|
1597 |
|
noncome |
A state of bewilderment or insanity. |
Much Ado about Nothing
|
1600 |
|
non-regardance |
Failure or refusal to regard something. |
Twelfth Night
|
1615 |
|
nook-shotten |
Having many corners, angles, or projections; having an
irregular form. |
Henry V
|
1615 |
|
obduracy |
The state or quality of being obdurate; stubbornness,
resistance to all entreaty; persistence in wrongdoing or evil. |
Henry IV, Pt. 2
|
1600 |
|
obscenely |
In an obscene manner; offensively, repulsively, horribly;
indecently, lewdly. |
Love's Labour's Lost
|
1598 |
|
off-cap |
intr. To take off or doff the cap, in reverence or respect to
(a person). |
Othello
|
1615 |
|
omittance |
= omission n. |
As you like It
|
1615 |
|
opposeless |
Not to be opposed; unopposable; irresistible. |
King Lear
|
1608 |
|
out-breast |
intr. Prob.: to outdo another in singing high or loudly. |
Two Noble Kinsmen
|
1624 |
|
outdare |
trans. To overcome by daring; to outbrave, defy. Now rare. |
Henry IV, Pt. 1
|
1598 |
|
outlustre |
trans. To surpass in lustre; to outshine. |
Cymbeline
|
1615 |
|
outpeer |
trans. To outrival; to surpass in excellence. |
Cymbeline
|
1615 |
|
outstay |
trans. To stay beyond the end or limit of (one's expected or
permitted time, an event… |
As you like It
|
1615 |
|
outswear |
trans. To outdo in swearing; to swear more or more coarsely
than; to overcome or get the better of by swearing. |
Love's Labour's Lost
|
1598 |
|
outsweeten |
trans. To surpass in sweetening or in sweetness. |
Cymbeline
|
1615 |
|
outswell |
trans. To surpass in or by swelling; to surpass in size,
quantity, or degree; to swell out more than. |
Troilus & Cressida
|
1609 |
|
out-villain |
trans. To surpass in villainy. |
All's Well that ends Well
|
1615 |
|
overbeat |
trans. To beat (a person or thing) down; to overpower,
overwhelm. Now rare. |
Coriolanus
|
1615 |
|
overdyed |
That is dyed with a second colour; dyed too deeply. Also fig. |
Winter's Tale
|
1615 |
|
overeaten |
That has been eaten away on all sides; nibbled all over.
Chiefly fig. |
Troilus & Cressida
|
1609 |
|
overleaven |
trans. To leaven too much; to cause to rise or swell
excessively. Chiefly fig. |
Hamlet
|
1604 |
|
overmounting |
That mounts or rises too high. |
Henry VI, Pt. 1
|
1615 |
|
over-picture |
trans. To surpass in depiction; to depict or describe with
exaggeration. |
Antony & Cleopatra
|
1615 |
|
overpost |
trans. To cover (ground) quickly and easily (fig. in quot.
1600). |
Henry IV, Pt. 2
|
1600 |
|
overpower |
trans. To defeat or overcome with superior power or force; to
reduce to submission. |
Richard II
|
1597 |
|
over-roasted |
That has been roasted too much or for too long. |
Taming of Shrew
|
1615 |
|
overteemed |
Excessively productive or fertile; put under strain by
excessive breeding or production. |
Hamlet
|
1604 |
|
palate |
trans. To perceive or try with the palate, to taste; to gratify
the palate with; to enjoy the taste of, relish. Also fig. |
Troilus & Cressida
|
1609 |
|
pander |
trans. To act as a pander to; to minister to the gratification
of (another's desire or lust). Also fig. Obs. |
Hamlet
|
1615 |
|
parti- |
having a parti-coat. |
Love's Labour's Lost
|
1598 |
|
pauser |
A person who pauses; a person who stops something. |
Macbeth
|
1615 |
|
pausingly |
With a pause or pauses; haltingly, hesitantly. |
Henry VIII
|
1623 |
|
paying back |
The action of repaying something; an instance of this. |
Henry IV, Pt. 1
|
1598 |
|
pelting |
The action of pelt v.; beating with missiles; persistent
striking or beating; an instance of this. |
King Lear
|
1608 |
|
pensived |
Saddened. |
Louers Complaint
|
1609 |
|
phantasim |
A fantastic being; a fantasizer, a fantast. |
Love's Labour's Lost
|
1598 |
|
piglike |
In a manner resembling or suggestive of that of a pig. |
Two Noble Kinsmen
|
1624 |
|
pignut |
The sweetish edible tuber of Conopodium majus, a fine-leaved
plant of the family Apiaceae… |
Tempest
|
1615 |
|
plantage |
Vegetation, herbage. Obs. |
Troilus & Cressida
|
1609 |
|
pleached |
Chiefly poet. Fenced, bordered, or overarched with pleached
boughs. |
Much Ado about Nothing
|
1600 |
|
pleading |
That pleads; esp. entreating, beseeching, imploring. |
Venus & Adonis
|
1594 |
|
plighter |
A person who makes a pledge or promise (fig. in quot. 1616). |
Antony & Cleopatra
|
1615 |
|
plumpy |
Characterized by plumpness; plump. |
Antony & Cleopatra
|
1615 |
|
portcullis |
trans. To furnish with a portcullis; to close with a
portcullis; (fig.) to close securely. |
Richard II
|
1597 |
|
porter |
trans. with it and intr. To act as a gatekeeper or porter. |
Macbeth
|
1615 |
|
preceptial |
Consisting of or conveying precepts; instructive. |
Much Ado about Nothing
|
1600 |
|
precipitance |
= precipitancy n. 2. |
Two Noble Kinsmen
|
1624 |
|
preformed |
Formed or shaped beforehand; formed prior to some subsequent
operation. Cf. preform v. |
Julius Caesar
|
1615 |
|
prerogative |
trans. (in pass.). To endow (a person) with a prerogative,
right, or privilege. |
Othello
|
1615 |
|
priceless |
Beyond price; having an inestimable value; invaluable. Occas.
also: having no market price; not obtainable for money. |
Lucrece
|
1594 |
|
primogenitive |
= primogeniture n. 3. Obs. rare. |
Troilus & Cressida
|
1615 |
|
primy |
That is in its prime; indicative of (a person's) prime. |
Hamlet
|
1604 |
|
printless |
Making or leaving no print or trace. Now rare. |
Tempest
|
1615 |
|
prizer |
A person who fights a prize (prize n.); a prizefighter. |
As you like It
|
1615 |
|
prologue |
trans. To introduce; to precede (something) as an introduction;
to come before or in front of. |
All's Well that ends Well
|
1615 |
|
prompture |
Prompting, suggestion, instigation. |
Measure for Measure
|
1615 |
|
pudency |
Modesty, bashfulness, or reticence; embarrassment; an instance
or expression of this. |
Cymbeline
|
1615 |
|
pugging |
Of uncertain meaning; perhaps: ‘that pulls or tugs,
thieving’. |
Winter's Tale
|
1615 |
|
pulsidge |
Humorous blunder for pulse n. |
Henry IV, Pt. 2
|
1600 |
|
pupil age |
In early use: the period during which one is a pupil, minority.
In later use: the age or… |
Henry IV, Pt. 1
|
1598 |
|
pupil-like |
In the manner of a pupil. Obs. |
Richard II
|
1597 |
|
purr |
An act of purring; the low vibrating sound made by a cat,
usually when pleased or contented. Also: any sound resembling
this. |
All's Well that ends Well
|
1615 |
|
reclusive |
Characterized by seclusion from society or human interaction,
esp. as part of a religious discipline. |
Much Ado about Nothing
|
1600 |
|
recollected |
Gathered painstakingly; studied, artificial; practised,
refined. Obs. |
Twelfth Night
|
1615 |
|
remediate |
= remedial adj. 1a. |
King Lear
|
1608 |
|
repine |
The action of repining, discontent; an instance of this, a
complaint. |
Venus & Adonis
|
1593 |
|
revengive |
Vengeful, vindictive. |
King Lear
|
1608 |
|
reverb |
trans. = reverberate v. 4c. |
King Lear
|
1608 |
|
revolving |
Of the mind, thoughts, etc.: turning something over,
considering, actively… |
Richard III
|
1597 |
|
rondure |
Roundness; (also) a circle or round object. Cf. roundure n. |
Sonnets
|
1609 |
|
rubious |
Ruby-coloured. |
Twelfth Night
|
1615 |
|
rumourer |
A person who spreads rumours. |
Coriolanus
|
1615 |
|
|
|
abhorring |
The condition or state of being abhorrent. Obs. rare. |
Antony & Cleopatra
|
1615 |
|
acorned |
Of a boar or hog: fed or filled with acorns. Obs. |
Cymbeline
|
1615 |
|
air |
Without qualification or following construction. Obs. |
Winter's Tale
|
1615 |
|
all hid |
The game of hide-and-seek. Also as int.: the call used in the
game (see note). |
Love's Labour's Lost
|
1598 |
|
making |
The material out of which something may be made; the
potentiality of becoming something.… |
Henry VIII
|
1623 |
|
malignancy |
Malign or baleful character; unpropitiousness; great
injuriousness. Obs. |
Twelfth Night
|
1615 |
|
man-monster |
|
Tempest
|
1615 |
|
mangling |
That mangles, in the senses of mangle v. |
Venus & Adonis
|
1593 |
|
manly |
Excellently. Cf. bravely adv. 3. Obs. rare. |
Macbeth
|
1615 |
|
manner |
Forms of behaviour exemplifying politeness or respect. Now only
in to make (also do) one's manners… |
Taming of Shrew
|
1615 |
|
march |
intr. Mil. Used in the imperative as a word of command. Also
march on. Also in extended… |
Richard II
|
1597 |
|
mask |
Theatre. An image of a face worn by an actor; (Classical
Theatre) a hollow figure of a… |
Midsummer Night's Dream
|
1600 |
|
meeting |
That meets or comes together. |
Venus & Adonis
|
1593 |
|
mercury |
A person entrusted with messages between parties, esp. in a
clandestine love affair; a go-between. |
Merry Wives of Windsor
|
1602 |
|
merit |
In clauses with as or than. |
Much Ado about Nothing
|
1600 |
|
mettle |
In an animal, esp. a horse: liveliness, eagerness, friskiness. |
Henry IV, Pt. 1
|
1598 |
|
mince |
trans. Usu. in negative contexts: to moderate or restrain
(one's language) so as to keep… |
Henry V
|
1615 |
|
mincing |
The action or habit of speaking or acting in an affectedly
refined or elegant manner. In… |
Henry VIII
|
1623 |
|
mingle |
fig. To put together so as to make one; to pool. Obs. rare. |
Cymbeline
|
1615 |
|
miracle |
trans. (refl.) To reveal by a miracle. Obs. nonce-use. |
Cymbeline
|
1615 |
|
misplaced |
That has been put in a wrong place; devoted to or bestowed on a
wrong or… |
King John
|
1615 |
|
moral |
Import, meaning, significance. Obs. rare. |
Taming of Shrew
|
1615 |
|
mountain squire |
|
Henry V
|
1615 |
|
mountainous |
Resembling a mountain or mountains in size or shape; huge,
enormous. Also fig. |
Coriolanus
|
1615 |
|
muster |
trans. Perh.: to exemplify (a particular skill or quality).
Obs. rare. |
All's Well that ends Well
|
1615 |
|
nave |
The navel. In recent use only with allusion to quot. 1616. |
Macbeth
|
1615 |
|
neither |
With negative implied contextually. Obs. |
Comedy of Errors
|
1615 |
|
new-fallen |
Of a right, property, etc.: that has newly fallen or passed to
a person. Obs. |
Henry IV, Pt. 1
|
1598 |
|
night-swift |
|
Midsummer Night's Dream
|
1615 |
|
night-brawler |
|
Othello
|
1615 |
|
nighted |
Dark or black as night. Freq. fig. |
Hamlet
|
1604 |
|
night-fly |
A flying insect which is active at night. |
Henry IV, Pt. 2
|
1600 |
|
obsequious |
Dutiful in performing obsequies or showing respect for the
dead; appropriate to obsequies. Obs. |
Titus Andronicus
|
1594 |
|
obstruction |
The action or an act of preventing, impeding, or hindering the
motion or passage of a… |
Twelfth Night
|
1615 |
|
off |
Naut. At a distance from the land; offshore. |
Henry IV, Pt. 1
|
1598 |
|
offering |
That offers (in various senses): see offer v. |
Henry IV, Pt. 1
|
1598 |
|
old |
Wearing old clothes, shabby. Obs. rare. |
Taming of Shrew
|
1615 |
|
old |
In ancient times, long ago. |
Pericles
|
1609 |
|
out-jest |
|
King Lear
|
1608 |
|
out-breast |
intr. Prob.: to outdo another in singing high or loudly. |
Two Noble Kinsmen
|
1624 |
|
outswell |
trans. To surpass in or by swelling; to surpass in size,
quantity, or degree; to swell out more than. |
Troilus & Cressida
|
1609 |
|
over-bulk |
|
Troilus & Cressida
|
1609 |
|
overteeming |
Excessively fertile or productive; too active or vigorous. |
Hamlet
|
1603 |
|
paddle |
trans. To finger idly or playfully; to fondle. Now arch. and
rare. |
Winter's Tale
|
1615 |
|
pagan |
euphem. A prostitute. Obs. |
Henry IV, Pt. 2
|
1600 |
|
at pause |
at (also in) pause: temporarily inactive or motionless; not
proceeding; hesitating… |
Hamlet
|
1604 |
|
pawn |
= gage n. 2. Obs. |
Richard II
|
1597 |
|
pebbled |
Covered, strewn, or heaped with pebbles; pebbly. |
Sonnets
|
1609 |
|
persistency |
The quality, fact, or condition of being persistent; esp.
firmness or obstinacy in adhering… |
Henry IV, Pt. 2
|
1600 |
|
place |
In Falconry: the high position or pitch to which a falcon or
other bird of prey… |
Macbeth
|
1615 |
|
to play off |
trans. colloq. To drain or finish (a drink, esp. an alcoholic
one). Obs. |
Henry IV, Pt. 1
|
1598 |
|
pleading |
That pleads; esp. entreating, beseeching, imploring. |
Venus & Adonis
|
1594 |
|
plough |
To furrow (a surface) with a ploughing action; to tear, scratch
up, as if by ploughing.… |
Titus Andronicus
|
1594 |
|
porch |
fig. |
Hamlet
|
1603 |
|
potent |
Of an argument, idea, theory, etc.: cogent, effective,
convincing. |
Troilus & Cressida
|
1609 |
|
prenzie |
Prob. a compositorial misreading of precise adj. |
Measure for Measure
|
1615 |
|
presage |
A presentiment, a foreboding; a prophetic or anticipatory
perception of the future. Now rare. |
Richard II
|
1597 |
|
prime |
Of a thought, aim, etc.: principal, chief, main; of primary
importance; most valuable. Also in extended use. |
Tempest
|
1615 |
|
primy |
That is in its prime; indicative of (a person's) prime. |
Hamlet
|
1604 |
|
I prithee |
=. |
Henry IV, Pt. 1
|
1598 |
|
prodigal |
Having or providing a lavish amount of a resource or quality;
generously or… |
Love's Labour's Lost
|
1598 |
|
prodigal |
A person who has lived a reckless or extravagant life away from
home, but subsequently… |
Merchant of Venice
|
1600 |
|
promise |
intr. To appear likely to turn out in a specified way; to
encourage expectation. Usually with adverb, as fair, well, etc. |
All's Well that ends Well
|
1615 |
|
proportion |
An allotted portion (of land, etc.). Now hist. and rare. |
Henry V
|
1615 |
|
pudency |
Modesty, bashfulness, or reticence; embarrassment; an instance
or expression of this. |
Cymbeline
|
1615 |
|
pugging |
Of uncertain meaning; perhaps: ‘that pulls or tugs,
thieving’. |
Winter's Tale
|
1615 |
|
pullet sperm |
(prob. chiefly after Shakespeare's use: see quot. 1616) eggs. |
Merry Wives of Windsor
|
1615 |
|
punch |
To pierce, cut, or perforate with or as with a punch (punch n.
3); to make a hole or holes in. |
Richard III
|
1597 |
|
puzzle |
To perplex, bewilder, confound (the brain, mind, will, etc.);
(also) to apply (one's… |
Hamlet
|
1603 |
|
quail |
A courtesan. Also: a prostitute. Obs. |
Troilus & Cressida
|
1609 |
|
queen |
With it. Of a woman: to be a queen; to act or rule as queen; to
behave in a queenly… |
Winter's Tale
|
1615 |
|
quick-answered |
|
Cymbeline
|
1615 |
|
quietus |
A release or respite from life; an ending of life, death;
something that causes death. |
Hamlet
|
1603 |
|
ranged |
Systematically arranged; ordered. Obs. |
Antony & Cleopatra
|
1615 |
|
rank |
Of a payment, financial gain, etc.: high or excessive. In later
use only in… |
Hamlet
|
1604 |
|
rash |
Urgent, pressing. Obs. rare. |
Troilus & Cressida
|
1609 |
|
rash-levied |
|
Richard III
|
1597 |
|
re |
trans. Used as a humorous threat to a musician: to give ‘re’
to. Cf. re n. |
Romeo & Juliet
|
1597 |
|
reel |
trans. To stagger drunkenly through or along (a street). Obs.
rare. |
Antony & Cleopatra
|
1615 |
|
remain |
Of an impression, object of perception, etc.: to stay with a
person; to stick in the mind. |
Timon of Athens
|
1615 |
|
reservation |
The action or fact of reserving (for oneself or another) a
right, entitlement, privilege… |
King Lear
|
1608 |
|
return |
To travel back along. Obs. rare. |
Richard III
|
1597 |
|
right |
Of a person: judging, thinking, or acting in accordance with
truth or the facts of… |
Henry IV, Pt. 2
|
1600 |
|
rival |
With present participles forming adjectives, as rival-hating,
etc. |
Richard II
|
1597 |
|
rivet |
With to or into. |
Merchant of Venice
|
1600 |
|
rub |
trans. To impede, hinder. Cf. rub n. 3. Obs. rare. |
King Lear
|
1608 |
|
ruffle |
Ostentatious bustle or display. rare. |
Louers Complaint
|
1609 |
|
ruin |
Any ruined thing, situation, or (esp.) person. |
King John
|
1615 | |
|
|