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The Simpsons:

The Idiom Impact on English Language

Mary Anne Trunnell

Professor George R. Jantzen

Engl 3810. History and Structure of the English Language

April 15, 2010

For the past twenty years, an unprecedented phenomenon has swept the world through the less-common medium of a seemingly straightforward, average cartoon. John Alberti, editor of Leaving Springfield: The Simpsons and the Possibility of Oppositional Culture, writes that The Simpsons was brought to life by then comic strip artist, Matt Groening (pronounced gray-neeing), along side television comedy-writing veteran, director, and also producer James L. Brooks in the late 1980s (xi). In the early years, no one could ever begin to fathom just how far and wide this animated sitcom could reach viewers. Whether one embraces the popularity or critical acclaim of the animated series or not, it is undeniable The Simpsons is a vastly influential television program that has, in a variety ways, contributed to the English language.

In addition, some of these largest vernacular contributions have been made possible through a large selection of popular idioms coined or made famous by The Simpsons characters. Truly, Bart, Homer Simpson, and even little Maggie Simpson have broken new ground with just how far and wide a seemingly simple “cartoon” can reach and modify a universal English-speaking audience. Steven Keslowitz, the author of The Simpsons and Society: An Independence Analysis of Our Favorite TV Family and Its Influence in Contemporary Society and a University Scholar from the Honors college found at Brooklyn College, opens his book by proudly declaring this simple, yet profound, fact:

The Simpsons has transformed the American way of life. Fans of the series view the show as a parody of the “average” American family. Indeed, The Simpsons does provide inside into the inner workings of the American household. However, the television audience may not realize that The Simpsons has actually shaped our very way of life. (10)

One of the many ways this delightfully-dysfunctional family has influenced the English language is through popular sayings by the main characters of the program. It might come as a surprise to learn that “Don’t have a cow, man!” gained so much limelight through The Simpsons. Interestingly enough, Matt Groening was the first to rejuvenate this popular retort, which was once used widely in the 70s, in his 1988 collection of cartoons entitled “Life in Hell” from the cartoon “Childhood is Hell” (Keslowitz v). Perhaps mischievous, little Bart Simpson, Springfield’s (their fictional hometown suburbia) answer to a more edgy, irreverent Dennis the Menace, was not the first to start this catchphrase; however, it certainly did not take off and become a household name until that plucky, spikey-haired youth uttered those words. In fact, this idiom took off so much so that it was once plastered on hundreds Simpsons merchandise: T-shirts, toys, cups, stickers, magnets, just to name a few. So what if The Simpsons didn’t create this saying—don’t have a cow, man!

Along with “Don’t have a cow, man!”, Bart Simpson also coined a phrase that continues to this day to be in high use—and even growing more so in the process. To introduce this catchphrase, here is an excerpt of dialogue when the saying made its first debut on March 19, 1995 in episode 122, “Lisa’s Wedding”:

Bart: Oh, these Renaissance fairs are so boring.
Marge: Oh, really? Did you see the loom? I took loom in high school.
(Marge then weaves the message "Hi Bart, I am weaving on a loom”)
Bart: Meh.

What does “meh” even mean? According to Mark Peters, the author of the article “Doh! Meh Makes Its Mark” from the online publication Good, the Collins English Dictionary, in which “meh” recently was added in the 30^th edition, states that the phrase “meh” can work as an interjection to express indifference or boredom: How’d you like the movie last night? Meh. Also, “meh” functions as an adjective for something that is mediocre or boring (Did you like the new album I lent you a while ago? It was meh.) Also, “meh” has an alternate version as an adjective. It can also be used to describe being apathetic, unimpressed, or bored (I saw you earlier today, and you looked pretty down. Yeah, I was pretty meh.) Collins own head of content Cormac Mckeown added that information on the Yiddish saying “feh” (where the popular phrase was derived from) will also be added to the final entry of “meh” in the dictionary.

However, besides finding a permanent home in a British-based dictionary, “meh” has also been spoken and featured in countless media genre as seen from Peters last word on the matter:

Urban Dictionary is a dubious, Wikipedia-like source, but its 229 definitions of meh show large awareness of the tiny word. Online variations such as meh-ness, mehometer, mehgasm, mehitude, mehage, mehtastic, mehtacular, mehlicious, non-meh, and meh-on-a-stick show the term’s usefulness and adaptability. Getting in the Collins Dictionary, however, requires wide use. In English texts from around the world—which include magazines, newspapers, books, journals, and websites—McKeown says meh scored big: “We have examples of meh being used in more than 40 of our sources over the last three years.” Some words are added despite appearing in as few as five of their sources, so for such a weary word, meh certainly gets around. (“Doh!”)

It is safe to say that this phrase will most likely be along for a very long time and only continue to grow in reputation and usage as time goes on. What if it doesn’t? Meh.

Certainly “meh” has clearly contributed in molding and honing the vernacular of the world’s modern day culture, but an even more well-known catchphrase was coined by the idiotic genius himself, Homer J. Simpson. Take, for example, this scenario: I’m afraid to have to tell you that you have not passed this particular college course. D’oh! As written by Blair Shewchuk for CBC News Online, he explains that the definition of this exclamatory remark can be located in The New Oxford Dictionary of English. The definition states that “do’h” refers to : "[e]xpressing frustration at the realization that things have turned out badly or not as planned, or that one has just said or done something foolish. Also (usually mildly derogatory) [this phrase can also be used for] implying that another person has said or done something foolish." Here it becomes even more evident than ever before that The Simpsons are not your average prime-time animated series. This TV series is far more than any one individual could ever begin to properly imagine. In so much that a famous phrase coined by the father, Homer Simpson himself, found a home in an English dictionary that takes many, many years to update and has only been updated two other times previously: once in 1928 and once in 1989 (Shewchuk).

Yet, catchphrases, whether funny or not, also can serve as something more than a popular saying. Julie Woblewski author of English 60A Contemporary Critical Theory entitled “Language and Filial Relationships in The Simpsons” from lawerence.edu sums up quite nicely the function of this saying Homer frequently uses. “His "D'oh!" communicates an instantly understood message in a simple and straightforward manner.” This is why catchphrases from this TV show work so effectively. Whether heard or said from the program itself, in other forms of entertainment, or merely in a public setting, these quirky idioms become fully universal: anyone can use these sayings, most people will automatically recognize or even assume its meaning by the inflection applied, and, as mentioned above, these catchphrases are short and to the point—the perfect answer to a world gone instant or truncated in all sayings and doings. Everyone loves using quirky idioms! They don’t? D’oh!

Homer Simpson may have one of the most well-known and celebrated exclamatory remarks in contemporary culture from The Simpsons, but his youngest, infantile daughter Maggie also has a less-than-formulaic approach to being heard and remembered just as well by viewers world-wide. Keslowitz dedicates a short chapter on Maggie Simpson and her significance and representation to the show and to the audience at hand. Only able to walk for brief periods, only to comically flop momentarily onto the floor face-first, Maggie is one of the few verbally-absent characters in a vast crowd of colorful, loud Springfieldians. Only once does the littlest Simpson speak up, uttering a soft coo of “Daddy” throughout the entire animated TV show’s airing. Despite her expected quiet nature due to her undeveloped speaking abilities, Maggie Simpson can still say far more in a glance or pacifier suck than most cartoons can convey in an entire episode (Keslowitz 60).

Furthermore, a very important role of Maggie is to convey an on-going presence and example of pure innocence. This concept is made even more apparent and possible through her lack of verbal communication. With her large eyes and sweet demeanor, Maggie Simpson is hard not to like or sympathize with—despite her age and maturity, or lack thereof. Often times, this is all that is needed from the stumbling infant: a subtle glance or brief acknowledgment (Keslowitz 61). However, Maggie is not a typical baby girl. Because of her bright red pacifier always present in her mouth which she continuously sucks upon, she can make sure even the most boorish of characters (her father, Homer Simpson, for instance) doesn’t get all the attention. What is one of the integral characteristics of the youngest Simpson is how likeable and loveable this character is, further proving that catchphrases do not have to be verbalized to become memorable in an always-verbal society. For all Maggie Simpson haters out there: “Let the baby have [her] bottle.” Also, quit sucking up to only Bart and Homer Simpson! They are not the only characters worth quoting—er—see: *suck suck* (pacifier noise)

In the end, it cannot be denied; The Simpsons are here to stay. And why not? Any cartoon that can come from such humble beginnings and gain such a monumental amount of praise and of a following by people of all demographics must be doing something right, and therefore, deserves to claim ownership and enjoy the limelight for all of these. Thanks to simple idioms spoken by various Simpson family members, Americans and other people of this world have grown accustomed and fond of these sayings--so much so that many of these unique utterances have taken off on their own to spread even further than the TV show and the loyal fan base. Many of these catchphrases can be located and heard in numerous instances of media, some have and still are found on various items of Simpson merchandise, and a choice few have given the honor of becoming immortalized as actual English language phrases in The Oxford and Collins dictionaries.

Even more so, not many TV sitcoms—let alone animated TV sitcoms—have this opportunity (or measure of power) to revolutionize and contribute to the actual vernacular of English. Dr. Sarah J. Greenwald, from Appalachian State University, and Dr. Andrew Nestler, from Santa Monica College, state from the web site mathsci.appstate.edu: “The Simpsons has established itself as an award-winning international pop culture phenomenon. It is the longest-running sitcom of all time and it is also one of the most literate television programs on the air, containing many references to subject matter and scholars from various academic fields…” It goes without saying that no more evidence needs to be provided for an open-minded individual to rightfully and dutifully accept, admire, and celebrate Matt Groening’s brainchild, The Simpsons, for its influence and its bestowment on the English language itself. Still not convinced? D’oh! Or as Maggie would say if she was old enough (meaning, not-so-innocent) to verbalize her own feelings, “Sucks to be you.”

Works Cited

Alberti, John. Leaving Springfield: The Simpsons and the Possibility of Oppositional Culture. Detroit: Wayne State University, 2004. xi. Print.

Greenwald, Dr. Sarah J., and Dr. Andrew Nestler Nestler. "simpsonsmath.com." mathsci.appstate.edu. n. pag. Web. 6 Apr 2010. <http://www.mathsci.appstate.edu/

~sjg/simpsonsmath/>.

Keslowitz, Steven. The Simpsons and Society: An Independence Analysis of Our Favorite TV Family and Its Influence in Contemporary Society. Tucson: Hats Off Books, 2004. v, 60-61. Print.

"Lisa’s Wedding." The Simpsons. FOX: 2F15, 19, 1995. Television.

Peters, Mark. "Doh! Meh Makes Its Mark ." Good November 21, 2008: n. pag. Web. 6 Apr 2010. <http://www.good.is/post/doh-meh-makes-its-mark>.

Shewchuk, Blair. "DOH!? WELL DUH!." CBC News Online July 17 2001: n. pag. Web. 18 Apr 2010. <http://www.cbc.ca/news/indepth/words/doh_oed.html>.

Wroblewski, Julie. "Language and Filial Relationships in The Simpsons." lawrence.edu. N.p., March 1 1997. Web. 6 Apr 2010. <http://www.lawrence.edu/dept/english/courses/60a/

handouts/juliesite3.html>.