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Preface

The publication of a dictionary of French cant and slang demands some explanation from the author. During a long course of philological studies, extending over many years, I have been in the habit of putting on record, for my own edification, a large number of those cant and slang terms and quaint expressions of which the English and French tongues furnish an abundant harvest. Whatever of this nature I heard from the lips of persons to whom they are familiar, or gleaned from the perusal of modern works and newspapers, I carefully noted down, until my note-book had assumed such dimensions that the idea of completing a collection already considerable was suggested. It was pointed out to me, as an inducement to venture on so arduous an undertaking, that it must prove, from its very nature, not only an object of curiosity and interest to the lover of philological studies and the public at large, but also one of utility to the English reader of modern French works of fiction. The fact is not to be ignored that the chief works of the so-called Naturalistic School do certainly find their way to this country, where they command a large number of readers. These productions of modern French fiction dwell with complaisance on the vices of society, dissect them patiently, often with power and talent, and too often exaggerate them. It is not within my province to pass a judgment upon their analytical study of all that is gross in human nature. But, from a philological point of view, the men and women whom they place as actors on the stage of their human comedy are interesting, whatever they may be in other respects. Some of them belong to the very dregs of society, possessing a language of their own, forcible, picturesque, and graphic. This language sometimes embodies in a single word a whole train of philosophical ideas, and is dashed with a grim humour, with a species of wit which not often misses the mark. Moreover, these labourers, roughs, street arabs, thieves, and worse than thieves--these Coupeaus, Bec-Salés, Mes-Bottes, Lantiers--are not the sole possessors of a vernacular which, to a certain extent, is the exponent of their idiosyncrasies. Slang has invaded all classes of society, and is often used for want of terms sufficiently strong or pointed to convey the speaker’s real feelings. It seems to be resorted to in order to make up for the shortcomings of a well-balanced and polished tongue, which will not lend itself to exaggeration and violence of utterance. Journalists, artists, politicians, men of fashion, soldiers, even women talk argot, sometimes unawares, and these as well as the lower classes are depicted in the Naturalistic novel. Now, although the study of French is daily acquiring more and more importance in England, the professors of that language do not as a rule initiate their pupils--and very naturally so--into the mysteries of the vernacular of the highest and lowest strata of society, into the cynical but pithy and humorous jargon of the voyou from the heights of Montmartre or Ménilmontant, nor even into the lisping twaddle of the languid gommeux who lolls on the Boulevard des Italiens. Hence English readers of L’Assommoir and other similar works find themselves puzzled at every line, and turn in vain for assistance to their dictionaries. The present volume aims at filling the vacant space on the shelves of all who read for something besides the passing of an idle hour. An English slang equivalent of the English rendering has been inserted whenever that was possible, and because the meaning of a term is better conveyed by examples, as many quotations as the limits of the Dictionary would admit have been reproduced from different authors.

A few words on the manner in which the work has been compiled are due to the reader. In order to complete my own private information, specially with reference to old cant, I have drawn as freely as seemed to me legitimate on works of a similar character--Michel’s, Delvau’s, Rigaud’s, Lorédan Larchey’s excellent Dictionnaire Historique d’Argot, Vilatte’s Parisismen, a very complete work on French argot rendered into German. But by far the most important portion of my collection has been gathered from Vidocq’s productions, Balzac’s works, The Memoirs of Monsieur Claude, formerly superintendent of the detective department in Paris, and from other works to be mentioned hereafter. To an inspector of the detective force in Paris, Monsieur Lagaillarde, I am indebted for many of the terms of the phraseology used by the worthies with whom his functions have brought him in contact.

Again, newspapers of both countries have also brought in their contingent, but the most interesting sources of information, as being the most original, have been workpeople, soldiers, pickpockets, and other malefactors having done their “time,” or likely to be “wanted” at a short notice. The members of the light-fingered gentry were not easily to be got at, as their natural suspicions precluded their realizing at once my object, and it required some diplomacy and pains to succeed in enlisting their services. In one particular instance I was deprived of my informants in a rather summary manner. Two brothers, members of a family which strongly reminded one of E. Sue’s Martials, inasmuch as the father had mounted the scaffold, the mother was in prison, and other members had met with similar accidents, had volunteered to become my collaborators, and were willing to furnish information the more valuable, it seemed to me, as coming from such distinguished individuals. Unfortunately for the Dictionary the brothers were apprehended when coming to my rendez-vous, and are now, I believe, far on their way to the penal settlement of New Caledonia.

I have to thank numerous correspondents, French and English officers, journalists, and artists, for coming to my assistance and furnishing me with valuable information. My best thanks are due also to M. Godefroy Durand for his admirable etching.

As regards the English part, I am considerably indebted to the Slang Dictionary published by Messrs. Chatto and Windus, to the History and Curious Adventures of Bampfylde-Moore Carew, King of the Mendicants, as well as to the various journals of the day, and to verbal inquiries among all classes of people.

I have not attempted, except in a few cases, to trace the origin of words, as an etymological history of cant would be the work of a lifetime.

It is somewhat difficult to know exactly where to draw the line, and to decide whether a word belongs to slang or should be rejected. I have been guided on this point by Littré, and any terms mentioned by him as having passed into the language I have discarded. I have introduced a small number of what might be termed eccentricities of language, which, though not strictly slang, deserve recording on account of their quaintness. To the English reader I need not, I trust, apologize for not having recoiled, in my desire for completeness, before certain unsavoury terms, and for having thus acted upon Victor Hugo’s recommendation, “Quand la chose est, dites le mot.”

AUTHORITIES CONSULTED AND QUOTED.

About (Edmond). Trente et Quarante. Paris.

Almanach Chantant, 1869.

Amusemens à la Grecque ou les Soirées de la Halle par un ami de feu Vadé. Paris, 1764.

Amusemens rapsodi-poétiques. 1773.

Apothicaire (l’) empoisonné, dans les Maistres d’Hostel aux Halles. 1671.

Audebrand (Philibert). Petits Mémoires d’une Stalle d’Orchestre. Paris, 1885.

Balzac (Honoré de). La Cousine Bette. --La dernière Incarnation de Vautrin. --La Physiologie du Mariage. --Les Chouans. --Le Père Goriot. Paris, 1884.

Banville (Théodore de). La Cuisinière poétique.

Bonnetain (Paul). L’Opium. Paris, 1886. --Au Tonkin. Paris, 1885.

Boutmy (Eugène). Dictionnaire de l’Argot des Typographes. Paris, 1883.

Brantome (Pierre de). Vie des Dames galantes. Paris, 1822.

Canler. Mémoires. Paris.

Caylus (Comte de). Les Ecosseuses ou les Œufs de Pâques. 1739.

Champfleury. La Mascarade de la Vie parisienne.

Chatillon (Auguste de). Poésies. Paris, 1866.

Cim (Albert). Institution de Demoiselles. Paris, 1887.

Citrons (les) de Javotte. Histoire de Carnaval. Amsterdam, 1756.

Claude. Mémoires. Paris.

Courteline (Georges). Les Gaîtés de l’Escadron. Paris, N. D.

Daudet (Alphonse). Les Rois en Exil. Paris, 1886.

Debans (Camille). Histoire de tous les Diables. Paris, 1882.

Delcourt (Pierre). Paris Voleur. Paris, 1887.

Delvau. La Langue Verte. Paris.

Drapeau (le) de la mère Duchesne contre les fâcheux et les intrigants. Paris, 1792.

Dubut de Laforest. Le Gaga. Paris, 1886.

France (Hector). Le Roman du Curé. Bruxelles, 1877. --L’Homme qui tue. Bruxelles, 1878. --Préface de Par devant Notaire. Bruxelles, 1880. --L’Amour au Pays Bleu. Londres, 1885. --Le Péché de Sœur Cunégonde. Paris, N. D. --Marie-Queue-de-Vache. Paris, N. D. --Les Va-nu-pieds de Londres. Paris, 1885. --La Pudique Albion. Paris, 1885. --Les Nuits de Londres. Paris, 1885. --Sous le Burnous. Paris, 1886. --Préface du Pays des Brouillards. Paris, 1886. --Londres illustré. Paris, 1886. --La Pucelle de Tebessa. Paris, 1887. --L’Armée de John Bull. Paris, 1887. --A Travers l’Espagne. Paris, 1887.

Frébault (Elie). La Vie de Paris: guide pittoresque et pratique du visiteur. Paris, 1878.

Frison (Gustave). Aventures du Colonel Ronchonot. Paris, 1886.

Gaboriau (Emile). Monsieur Lecoq. Paris, 1885.

Gautier (Théophile). Les Jeune-France. Paris, 1885.

Gavarni. Les Gens de Paris. Paris.

Génin (F.). Récréations philologiques. Paris, 1858.

Gennes (Charles Dubois de). Le Troupier tel qu’il est à cheval. Paris, 1862.

Gill (André). La Muse à Bibi. Paris, N. D.

Goncourt (E. de). La Fille Elisa. Paris.

Grandval. Le Vice puni ou Cartouche.

Gyp. Le plus heureux de tous. Paris, 1886.

Hugo (Victor). Le dernier Jour d’un Condamné. --Les Misérables. --Claude Gueux.

Humbert (A.). Mon Bagne.

Huysmans. Les Sœurs Vatard. Marthe. Paris.

Kapp (E.). La Joie des Pauvres. Paris, 1887.

Larchey (Lorédan). Dictionnaire Historique d’Argot. Paris, 1881.

Laurin (A.). Le Million de l’Ouvrière. Paris, 1887.

Le Jargon ou Langage de l’Argot réformé. Epinal, N. D.

Le Roux (Philibert Joseph). Dictionnaire comique, satyrique, critique, burlesque et proverbial. Lyon, 1735.

Leroy (Charles). Guibollard et Ramollot. Paris, N. D.

Les Premières Œuvres Poétiques du Capitaine Lasphrise. 1599.

Macé (G.). Mon premier Crime. Paris, 1886.

Mahalin (Paul). Mesdames de Cœur-Volant. Paris, 1886.

Malot (Hector). Baccara. Paris, 1886.

Merlin (Léon). La Langue Verte du Troupier. Paris, 1886.

Michel (Francisque). Dict. d’Argot ou Etudes de Philologie comparée sur l’Argot. Paris, 1856.

Michel (Louise). Les Microbes humains. Paris, 1886.

Molière (Jean Baptiste Poquelin). Œuvres. Paris.

Monnier (Henri). L’Exécution.

Montaigne (Michel de). Œuvres. 1825.

Monteil (Edgar). Cornebois. Paris, 1884.

Montluc (Adrien de). La Comédie des proverbes. 1633.

Mouillon (F.). Déclaration d’amour d’un imprimeur typographe à une jeune brocheuse. Paris, 1886.

Nadaud (Gustave). Chansons populaires. Paris, 1876.

Nisard (Charles). De quelques Parisianismes populaires et autres Locutions. Paris, 1876. --Curiosités de l’Etymologie française. Paris, 1863.

Nodier (Charles). Œuvres.

Poissardiana (le). 1756.

Poulot (Denis). Le Sublime.

Quellien (N.). L’argot des Nomades de la Basse-Bretagne. Paris, 1886.

Rabelais (François). Œuvres. Paris.

Raccoleurs (les). Paris, 1756.

Riche-en-gueule ou le nouveau Vadé. Paris, 1821.

Richepin (Jean). La Chanson des Gueux. Paris, N. D. --Le Pavé. Paris, 1886. --La Glu. Paris, N. D. --La Mer. Paris, 1886. --Les Morts bizarres. Paris, N. D. --Braves Gens. Paris.

Rigaud (Lucien). Dictionnaire d’Argot moderne. Paris, 1881.

Rigolboche. Mémoires.

Scarron (Paul). Gigantomachie. Paris, 1737.

Scholl (Aurélien). L’Esprit du Boulevard. Paris, 1887.

Sermet (Julien). Une Cabotine. Paris, 1886.

Sirven (Alfred). Au Pays des Roublards. Paris, 1886.

Sue (Eugène). Les Mystères de Paris. Paris, N. D.

Tallemant des Réaux. Historiettes. Paris, 1835.

Tardieu. Etude médico-légale sur les attentats aux mœurs.

Taxil (Léo). Histoire de la Prostitution. Paris, N. D.

Theo-Critt. Nos Farces à Saumur. Paris, 1884.

Vidocq. Mémoires. Paris, 1829. --Les Voleurs. --Les vrais Mystères de Paris.

Villon (François). Œuvres complètes. Paris, N. D.

Zola (Emile). Nana. --L’Assommoir. --Au Bonheur des Dames. Paris, 1885. --La Terre. Paris, 1887.

* * * * *

Ainsworth (W. Harrison). Rookwood. --Jack Sheppard.

Bampfylde-Moore Carew (The History and Curious Adventures of). London, N. D.

Brome (Richard). Joviall Crew; or, The Merry Beggars. 1652.

Chatto and Windus. The Slang Dictionary. London, 1885.

Davies (T. Lewis O.). A Supplementary English Glossary. London, 1881.

Dickens (Charles). Works.

Fielding (Henry). Amelia. --The History of the Life of the late Mr. Jonathan Wild the Great. 1886.

Greenwood (James). The Seven Curses of London. --Dick Temple. --Odd People.

Harman (Thomas). Caveat or Warening for Common Cursetors. London, 1568.

Horsley (Rev. J. W.). Autobiography of a Thief, _Macmillan’s Magazine_, 1879. --Jottings from Jail. 1887.

Kingsley (Charles). Westward Ho! 1855. --Two Years Ago.

Lytton (Henry Bulwer). Paul Clifford. --Ernest Maltravers.

Pascoe (C. E.). Every-day Life in our Public Schools. London, N. D.

Sims (G. R.). Rogues and Vagabonds.

* * * * *

La Marotte. La Nation. La Vie Parisienne. La Vie Populaire. Le Clairon. Le Cri du Peuple. L’Echo de Paris. L’Evénement. Le Figaro. Le Gaulois. Le Gil Blas. L’Intermédiaire des Chercheurs et Curieux. Le Journal Amusant. Le Père Duchêne. 1793. Le Petit Journal. Le Petit Journal pour rire. Le Radical. Le Tam-Tam. Le Voltaire. Paris. Paris Journal.

* * * * *

Punch. Fun. The Globe. Funny Folks. Judy. The Bird o’ Freedom. The Sporting Times. Evening News.

* * * * *

POPULAR SONGS AND PIECES OF POETRY.

Barrère (Pierre). Le Bœuf rouge et le Bœuf blanc.

Baumaine et Blondelet. Les Locutions vicieuses.

Ben et d’Herville. Ou’s qu’est ma Pip’lette.

Bois (E. du). C’est Pitanchard. --De la Bastille à Montparnasse.

Burani et Buquet. La Chanson du Gavroche.

Carré. J’ai mon Coup d’feu.

Clément. Chanson.

Dans la chambre de nos abbés.

Denneville. Une Tournée de Lurons.

Garnier (L.). Y a plus moyen d’rigoler.

La Chanson du Bataillon d’Afrique.

Lamentations du portier d’en face.

Maginn (Dr.). Vidocq’s Song.

Ouvrard. J’suis Fantassin.

Queyriaux. Va donc, eh, Fourneau!

The Leary Man.

The Sandman’s Wedding.

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