You may just possibly know that there’s currently a popular program on the telly called Downton Abbey. If you follow language blogs and language gossip (yes, there is such a thing), you will probably be equally aware of the current kerfuffle involving verbal anachronisms on the show.
The rumblings started last fall with an article in the British broadsheet The Telegraph, complaining that Downton characters used such not-yet-coined (in the 1916-20 period in which the action takes place) words and expressions as get shafted, fed up, and boyfriend. (The piece also found fault with the line “So everything in the garden is rosy?” the particular gripe being that this expression–hitherto unfamiliar to my ears–didn’t enter the lexicon until the 1920s. I say, big schmeel! My problem with the line is the sentence-starting So, a wise-guy Americanism that surely dates from no farther back than the 40s. And by the way, I once heard a Downton character actually say “he had a problem with” someone. I will take credit for outing that egregious anachronism, until I’m informed otherwise.)
The peripatetic and formidable language commentator Ben Zimmer picked up the ball and added a few more offenders to the list, including:
- I’m just sayin’ (to defuse a comment)
- Step on it
- Floozy
- Contact (as a verb)
- Uppity
- When push comes to shove
- I couldn’t care less
Then Zimmer put together a hilarious video mashup of DA rum notes; to date it has had 27,566 views on YouTube.
The most recent advancement of the argument was made Monday by Ben Schmidt on his Sapping Attention digital humanities blog. He observed that up till now, commentators
have relied, so far as I can tell, on finding a phrase or two that sounds a bit off, and checking the online sources for earliest use. …
I thought: why not just check every single line in the show for historical accuracy? Idioms are the most colorful examples, but the whole language is always changing. There must be dozens of mistakes no one else is noticing. Google has digitized so much of written language that I don’t have to rely on my ear to find what sounds wrong; a computer can do that far faster and better. So I found some copies of the Downton Abbey scripts online, and fed every single two-word phrase through the Google Ngram database to see how characteristic of the English Language, c. 1917, Downton Abbey really is.
“Not very,” was his finding. Immediately popping up were a whole bunch of brand-new anachronisms, including fingerprint (as a verb), moral high ground, heaven’s name, basic tips, having (to mean eating), and realistic, basic, and major as adjectives. Upping the ante, Schmidt put together some remarkable graphs for specific episodes, in which every single two-word phrase is plotted according to its overall frequency in the period, and its over- or underrepresentation in the show.
Pretty amazing stuff; you should check it out. But does it really matter? That is, in 1591, Shakespeare had his character Richard III say, “Now is the winter of our discontent/Made glorious summer by this sun of York.” Would the real Richard III have used the noun discontent when he lived well over 100 years earlier? Not likely. The Oxford English Dictionary tells us that the word was coined in–what do you know?–1591 by a certain playwright from Stratford-on-Avon. Yet you don’t see people making video mashups of anachronisms in Shakespeare.
The reason relates to something a smart teacher told me a long time ago. He employed a barnyard epithet that I am told I cannot use in Lingua Franca. So I’ll substitute. Anyway, he basically said, “There is nonsense, and there is good nonsense.” I would apply that to television. That is, it is absurd to expect realism on TV, whether in depiction of hospital procedures, workplace banter, family life or upper-class English talk of any period. But what one can expect is good nonsense, an artfully and thoughtfully made world that is at least plausible enough that one can enjoyably suspend one’s disbelief. I know that many would disagree with me, but I feel that on this score, Downton Abbey’s anachronisms are a symptom of its larger imaginative failings.
What’s more, a native Englishman tells Lingua Franca that the show’s errors are hardly limited to language. He says the show is totally unrealistic because of the “fact that there is very little physical and verbal abuse of the servants; the lack of overcoats in the house in the winter; the beautiful clean clothing all the while; the absence of derogatory language about the Germans, and the French; and the good complexions and clean teeth.” And of course, he adds, there’s the sun.

