Separated by a Common Language

I've been meaning to blog about the British greeting All right?* or You all right? in part because I wanted to get feedback on whether I'm responding correctly, since it is something that flummoxes Americans (and New Zealanders too, it seems). Then this happened in my Intercultural Communication class on Friday:

I was talking about the different parts of a conversation, starting with the opening, and mentioning along the way some of the ways in which the rituals differ in different cultures. The conversation went something like this:

Me: Like the British greeting All right? That confuses Americans--we don't know how to respond.

American Exchange Student: Wait, how do you respond?

Me: Let's try.  (addressing a group of English students in one corner)  All right?

English students (as one):  All right.

English student 1:  You know, it's like if Americans said You okay?

AmExSt: No, it's not. If you say You okay? to me, it means you think I look lost or upset and you're offering to help. So all these people have been saying You all right? to me and I've been thinking "What am I doing wrong? Why do they think I'm lost?"

[sound of a number of pennies dropping (variation on a BrE expression)]



So, it turns out that my strategy of replying All right or All right, and you? is acceptable. Phew.

A difference related to these different interpretations of you all right/okay? is that if you look lost in public in the US, someone will almost certainly come up to you and offer their help/directions (possibly with You okay?). In my experience, all you have to do in New York is open a map, and some local will ask to help.  (I recall this happening on a subway platform and Better Half exclaiming that that would never happen in London.)

In the south of England, if you're lost and want help, you generally have to (get up the courage and pick the right stranger and) ask for help. Or stay lost, which may be preferable. An exception to this generalization would be if the stranger had some official role that makes it acceptable to address someone and offer help. It's not that help is never offered, but you certainly can't count on it. I would not be surprised to hear that this is less true in other parts of the UK, since one thing the southerners have a reputation for is not talking to strangers.


It feels to me like All right? as a greeting is getting more and more common--though the OED has examples of it going back to 1868. (Maybe I was just oblivious to it for a while.) It also feels somewhat masculine to me. I think far more men greet me this way than women, and it is often  followed by the mostly masculine address term mate:  All right, mate?  There may be generational things going on here too--perhaps younger people of both sexes use it more? (Let me know.)




*A lot of people on the internet are writing this as Alright? Not how the dictionaries spell it--and, of course, a frequent misspelling in a lot of contexts.

• I'm only talking about the relationship between British and American English here (as is my theme). These expressions may well have equivalents in other languages or dialects.  
• By Untranslatable I mean that there is no lexicali{z/s}ed equivalent in the other dialect. And by lexicali{z/s}ed I mean that the expression is a word or an idiom--something that language users learn through hearing others say it, rather than something that has been made up anew.
  One can translate things by making up new sentences or phrases that describe the same thing, sure. But it's special when a language has lexicali{z/s}ed an  expression for something--it tells us something about the culture that invented and uses that expression.
• Many of these have started to be borrowed between the dialects--and that's natural. If it's a useful expression and the other dialect doesn't have it, it's a prime candidate for international migration.
• If you have not heard of the word before (even though I've said it comes from your country), then I hope that you might celebrate that you've learned a new expression, rather than complain to me that it's not 'really' American or British. Please know that I'm not posting them without some research, and none of us has a complete vocabulary. That said, if you can improve on my definitions, challenge the 'untranslatability' or give other insight into the untranslatables, please let me know!
• I'm grateful for suggestions of additional untranslatables (though they may not make UotD status until next year), but I won't repeat any expressions that have been used in previous Octobers. The lists for each October are accessible by clicking on the 'untranslatable' label in the right margin, the bottom of this post, or, conveniently, here: untranslatable.
  There are also search boxes at the top and in the right margin of this blog. (The one in the margin works much better.) So please have a quick search before making suggestions, in order to cut down on the time that I spend responding to suggestions. (This is all voluntary on my part, please remember!)

Untranslatables (like Differences of the Day) will appear at 3pm British time (10am US east coast) each weekday on Twitter till the 30th. If you don't use Twitter, you can see them in the Twitter feed to the right here, or wait for the summary at the end of the month. In any case, I hope you enjoy them! 

P.S. (6 October 2015): I forgot to mention another of the 'rules'.  I don't include names for objects, activities or institutions that don't exist in the other country. For instance, there is no American equivalent of the expression Eccles cake, but that's not because Americans hadn't thought to lexicali{z/s}e it, but because they've probably never seen such a thing. This can get a bit tricky to determine when it's not an object we're talking about or when the expression has also taken on figurative meanings--see last year's example three-line whip.

John Wells wrote to ask:

Have you discussed BrE playing the piano/violin vs. AmE playing piano/violin?

Not really, John, and it turns out that it's one of those things that's (all together now!) more complicated than you might think! 

The Corpus of Contemporary American English (COCA) has 689 play* the piano to 309 play* piano. (The * there used as a wildcard in corpus searches; so play* gets us play, playing, played, etc.) That's more than two arthrous (fancy word for having a the) cases for every anarthrous (fancy word for not having a the) one--in American English.

But those numbers need a bit more checking because any dialect would have playing piano music without a the. To get a better comparison, I looked at cases where piano is followed by an adverb (e.g. play [the] piano beautifully/well/loudly/tonight...) so that we can be sure that piano is a noun on its own and not a noun modifying another noun. Doing that, there are 53 arthrous cases and 23 anarthrous ones in COCA. So, pretty much like it was when I didn't take those sane, linguisticky precautions. The British National Corpus, in comparison, has 14 arthrous cases and 1 anarthrous. (But keep in mind that the data from BNC is 20 years older than that in COCA.)

The moral of that part of the story: it would not be right to say that  play piano is AmE for BrE play the piano. Instead, play piano is a lesser-used AmE variant of General English play the piano. The image here, from pianoplayingadvice.com, illustrates both variants living happily together.


Personally, I could say either, but prefer it with the the.  A bit more rooting around in the Corpus of Historical American English shows a bit of anarthrous piano-playing throughout the 20th century, but it really gets going in the 1970s, when the proportions are like those in COCA.

But hold your horses. If we look at other instruments, it gets more complicated.  (I'm rounding the numbers, unless they're <2 .="" comment-2--="">

• Violin: In COCA, the is favo(u)red 3:1.  In BNC, 5:1.
• Harp: In COCA, the 4:1. BNC 8:0.
• Guitar: Ziggy played guitar. Maybe the Spiders from Mars made him do it without the the, but in 1990s UK, the British were following suit and, like 2010s Americans, using play guitar twice as much as play the guitar. 
• Bass: Looks like a reversal! COCA 2:1.  BNC: 1:5.
  I tried discounting cases like playing (the) bass line/notes, but taking them out made no real difference.
• Trumpet: COCA1.4:1. BNC 5:2. 
• Flute: COCA 4:1. BNC 8:1.
  
• Drums: Play drums outnumbers play the drums in both dialects. Is it because it's plural? But what about...
• Spoons: Tiny numbers, but more the in AmE and equal numbers of both in BrE.

I could go on looking for more instruments, but I won't. (Report your findings in the comments if you wish.) It looks like BrE eschews the more often for stereotypical rock instruments than for others -- guitar, bass, drums (Bowie's fault? American rock'n'roll's fault?). I don't see a clear pattern to the US preferences--but in general it's not completely unusual to have anarthrous ones. Bass is the interesting one for its anarthrousness in BrE.

Is it just with play, though? No. Going back to sticking with piano, COCA has half as many practic(e*) piano as practic(e*) the piano. BNC has four practis(e*) with the and one without.

On piano is also common in COCA (about 1/3 as many as on the piano). BNC has 20 on piano to 73 on the piano--very much the same. In this case, some of the on the pianos will have been about particular, physical pianos, as in I stubbed my toe on the piano. There's no possibility of I stubbed my toe on piano. But if a singer were giving credit to her band, she could say ...and Lynne Murphy on piano! or ...and Lynne Murphy on the piano!  (Not me, of course, I only had a year of lessons.) I'm waiting for one of you to go out and listen to dozens of concerts with British and American singers to tell me if they all say on drums! on bass! 

Finally, the why questions.

Why do we put a the before instruments? It's a funny thing. If I lie and say I play the piano, it's not a particular piano that I am playing. It's that I have the potential to play any piano. (Whereas if I say I've draped myself over the piano, it is a particular piano.) It's kind of like the bus in I ride the bus to work. In that case, it's not the particular physical bus we're talking about--that can vary. It's the whole package that goes with bus-riding. I ride a bus that travels along the route between my street/road and my workplace. There's a package that goes along with pianos too. I'm not just playing the instrument, I'm playing music on the instrument. The music that I know how to play on any "the piano" is kind of like the routes that I travel on any "the bus".

In spite of all that, there's no pressing semantic reason for the the. We don't play the cards or play the dominoes even though similarly, if I say I know how to play dominoes, I'm saying that I know the rules for playing on any instrument of that type (any set of dominoes). [Yes, dominoes are the instrument, not the game--though people who only know one domino game tend to call it 'dominoes'. I am particularly fond of Mexican Train.] So why do we usually have a the with musical instruments, but not with game equipment? (The answer: because that's what we learned to do.)

The arthrous version is unhelpfully ambiguous, so maybe that is a contributor to the rise of the anarthrous alternative. If I say I play the piano I could be trying to point out that I know how to play a piano (so invite me to play at your wedding), or it could be saying that I play a particular piano habitually (so don't get rid of it). I play piano doesn't seem to have that ambiguity, so could be seen as more communicatively efficient. The play + bare-noun construction is familiar, since we say things like I play tennis, I play jazz, I play goalie.


If you want to carry the conversation toward(s) other cases of (an)arthrous variation in AmE and BrE, have a look at the past posts with the 'determiners' label. I've written about some of the famous ones already, and your comments on them would be most welcome at those old posts (which are still regularly read). And you're most welcome to carry on the conversation about musical instruments (and games) on this post, of course!

Just in case you want to get even by judging me for failing to not-judge spaghetti on toast, know this: my family eats Kraft macaroni (AmE: and) cheese with (Dad's homemade) strawberry jam on top.  And I'm not going to apologi{z/s}e for that. It's great. (I've no idea how this started. Could there be any link to having a German grandma—sweet noodle dishes? Dan Jurafsky's The Language of Food says that macaroni was originally a sweet almond pasta—but I can't imagine that a 14th century Italian dish affected my family's eating habits.)