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G-o-o-o-d evening, good evening, good evening, good evening, | 0:00:29 | 0:00:33 | |
good evening, good evening, good evening, welcome to QI. | 0:00:33 | 0:00:36 | |
Tonight, we're leaping our way through language and literature. | 0:00:36 | 0:00:41 | |
Lurking in my labyrinth are the loquacious Jack Whitehall... | 0:00:41 | 0:00:44 | |
APPLAUSE | 0:00:44 | 0:00:46 | |
..the logomaniac, Lloyd Langford... | 0:00:47 | 0:00:51 | |
APPLAUSE | 0:00:51 | 0:00:53 | |
..the learned Victoria Coren Mitchell... | 0:00:55 | 0:00:57 | |
APPLAUSE | 0:00:57 | 0:00:59 | |
..and the long-suffering Alan Davies. | 0:01:01 | 0:01:04 | |
APPLAUSE | 0:01:04 | 0:01:07 | |
So, let's hear your lines. | 0:01:08 | 0:01:11 | |
Jack goes... | 0:01:11 | 0:01:13 | |
DING "I wandered lonely as a cloud..." | 0:01:13 | 0:01:16 | |
Lloyd goes... | 0:01:17 | 0:01:19 | |
DANG "That floats on high | 0:01:19 | 0:01:21 | |
"o'er vales and hills..." | 0:01:21 | 0:01:23 | |
Victoria goes... | 0:01:23 | 0:01:24 | |
DONG "When all at once I saw a crowd..." | 0:01:24 | 0:01:28 | |
And Alan goes... | 0:01:28 | 0:01:30 | |
AIR HORN "Arsenal, Arsenal!" | 0:01:30 | 0:01:33 | |
Oh, dear. | 0:01:34 | 0:01:36 | |
Let's start with a nice easy one. | 0:01:36 | 0:01:38 | |
In fact, this one is so easy I'm going to ask the audience. | 0:01:38 | 0:01:41 | |
Have you read 1984? Hands up if you've read 1984. | 0:01:41 | 0:01:44 | |
Wow, that's pretty good. How many...? | 0:01:45 | 0:01:47 | |
-KLAXON -How many...? Yeah. | 0:01:47 | 0:01:50 | |
The fact is, research on several occasions | 0:01:50 | 0:01:53 | |
show that at least a quarter of the people who claim | 0:01:53 | 0:01:57 | |
to have read 1984 are lying, | 0:01:57 | 0:01:59 | |
-so I'm afraid we have to take points away from you. -Really? | 0:01:59 | 0:02:02 | |
Yeah. | 0:02:02 | 0:02:03 | |
Can you put your hand up if you said you'd read it, | 0:02:03 | 0:02:06 | |
but actually secretly you haven't? | 0:02:06 | 0:02:08 | |
-Oh, come on. -Come on. -Oh, you look very shifty. -Yes. | 0:02:08 | 0:02:12 | |
The honest man at the back has earned some more... The audience. | 0:02:12 | 0:02:15 | |
I have to confess here, I studied English at university, | 0:02:15 | 0:02:18 | |
-I haven't read it. -I should hope not! | 0:02:18 | 0:02:20 | |
What kind of English degree | 0:02:20 | 0:02:22 | |
would include something written as late as 1948? | 0:02:22 | 0:02:24 | |
Well, that's true, yes. We read things written in 1370. | 0:02:24 | 0:02:27 | |
But I kind of felt I didn't need to, which is an appalling thing to say. | 0:02:27 | 0:02:31 | |
Oh, it's terribly good, Stephen. | 0:02:31 | 0:02:33 | |
Well, I kind of, I know... | 0:02:33 | 0:02:34 | |
Look at all the TV shows named after it. | 0:02:34 | 0:02:37 | |
Two at least, Room 101 and Big Brother. | 0:02:37 | 0:02:40 | |
-Oh, that's ruined my line. -Oh, sorry! | 0:02:40 | 0:02:42 | |
LAUGHTER | 0:02:42 | 0:02:44 | |
I know how it opens. It opens with the clock striking 13, | 0:02:44 | 0:02:47 | |
I know the character's called Winston. | 0:02:47 | 0:02:49 | |
It's really good and they made a film of it with John Hurt. | 0:02:49 | 0:02:51 | |
It's hard to bother, isn't it, when there's a great film of a book? | 0:02:51 | 0:02:54 | |
-I was the same with the Muppet Christmas Carol. -LAUGHTER | 0:02:54 | 0:02:57 | |
-You know, I feel it's been done. -Quite. Why would you bother? | 0:02:57 | 0:02:59 | |
I know what the turkey does in the story. Why read it? | 0:02:59 | 0:03:03 | |
That is a masterpiece of a film, it has to be said. | 0:03:03 | 0:03:06 | |
I lie a lot to impress people, and I'll be honest now, | 0:03:06 | 0:03:09 | |
I have never read The Hungry Caterpillar. LAUGHTER | 0:03:09 | 0:03:13 | |
I get so close to the end and I get too emotional. | 0:03:13 | 0:03:15 | |
I'm like, "He's going to die, he's overfed himself, | 0:03:15 | 0:03:17 | |
"I can't, I can't do it." And I stop. | 0:03:17 | 0:03:19 | |
So I just pretend that I've read it. | 0:03:19 | 0:03:21 | |
-I don't know what happens. -No, no, he becomes a butterfl... -LAUGHTER | 0:03:21 | 0:03:26 | |
Spoiler! Spoiler! | 0:03:26 | 0:03:28 | |
I'm so sorry, that was wrong of me. | 0:03:28 | 0:03:30 | |
That's like when I knew someone who gave away the end of Psycho - | 0:03:30 | 0:03:33 | |
-it's nearly as serious as that. -Oh, my goodness. | 0:03:33 | 0:03:36 | |
-There are some books that you don't need to bother reading. -Hmm? | 0:03:36 | 0:03:40 | |
Like, it's controversial to say it, | 0:03:40 | 0:03:41 | |
but I don't think Harry Potter is worth reading. LAUGHTER | 0:03:41 | 0:03:45 | |
Because it is so expertly narrated on the audio books. | 0:03:45 | 0:03:48 | |
You're so right. | 0:03:48 | 0:03:49 | |
By none other than Mr Stephen, but it is! It is. It, I mean... | 0:03:49 | 0:03:53 | |
APPLAUSE | 0:03:53 | 0:03:56 | |
No, but I do, after I listened to the Harry Potter books, | 0:03:56 | 0:03:59 | |
with you narrating them, | 0:03:59 | 0:04:00 | |
everything in my life is narrated by Stephen Fry. All my thoughts, | 0:04:00 | 0:04:04 | |
my internal monologue, is now Stephen Fry's voice. | 0:04:04 | 0:04:07 | |
Even the dirty thoughts are Stephen's voice. No, | 0:04:07 | 0:04:09 | |
because it makes it acceptable. I had a sexual thought the other day | 0:04:09 | 0:04:12 | |
and I'll put my hand in the air, | 0:04:12 | 0:04:14 | |
I had a sexual thought about Camilla Parker Bowles. | 0:04:14 | 0:04:16 | |
It didn't seem weird because Stephen was saying it to me. | 0:04:16 | 0:04:19 | |
Now, I should say that there's a bonus hidden in tonight's programme, | 0:04:19 | 0:04:23 | |
and that is what we call the Spend A Penny bonus. | 0:04:23 | 0:04:26 | |
JINGLE | 0:04:26 | 0:04:28 | |
FLUSHING | 0:04:28 | 0:04:30 | |
That's it. There'll be one question, at least, tonight, whose theme... | 0:04:30 | 0:04:35 | |
LAUGHTER | 0:04:35 | 0:04:37 | |
..whose theme is lavatorial. | 0:04:37 | 0:04:38 | |
And if you think that the answer is something to do with the lavatory, | 0:04:38 | 0:04:42 | |
then you wave and you spend your penny. | 0:04:42 | 0:04:44 | |
I'm going to keep mine and use it in one of those arcades. | 0:04:44 | 0:04:47 | |
That's a very good idea. | 0:04:48 | 0:04:50 | |
Now, here's a lovely list of Victorian slang. | 0:04:50 | 0:04:53 | |
What do these L words mean? | 0:04:53 | 0:04:55 | |
We've got lally-gagging or lolly-gagging. | 0:04:55 | 0:04:57 | |
Last shake o' the bag. Land o'Scots. Land o'cakes. | 0:04:57 | 0:04:59 | |
Lemon Squash Party. | 0:04:59 | 0:05:00 | |
-I know lolly-gagging. -Yeah? | 0:05:00 | 0:05:03 | |
That's when you squeeze too hard at the bottom of your Calippo. | 0:05:03 | 0:05:06 | |
Oh. | 0:05:06 | 0:05:08 | |
LAUGHTER | 0:05:08 | 0:05:09 | |
Ow. Followed by brain freeze. | 0:05:12 | 0:05:13 | |
But if you do that and you squeeze too hard, | 0:05:13 | 0:05:15 | |
then it comes right out of the tube, but you can't deal with it all. | 0:05:15 | 0:05:18 | |
What do you do? Do you bite it off? | 0:05:18 | 0:05:21 | |
-You lolly-gag. -LAUGHTER | 0:05:21 | 0:05:24 | |
Kind of a shover. | 0:05:24 | 0:05:25 | |
That's a very odd thing to see. Do that again. | 0:05:27 | 0:05:30 | |
LAUGHTER | 0:05:30 | 0:05:32 | |
A Leg Maniac is one of those people whose leg twitches | 0:05:34 | 0:05:37 | |
-when they're sitting in a chair. -It would be a good name for that. | 0:05:37 | 0:05:39 | |
I used to do that terribly as a teenager, just endless bouncing. | 0:05:39 | 0:05:42 | |
-I've been doing it all show. -Have you? -Yeah. | 0:05:42 | 0:05:44 | |
-It's very hard to stop once you start. -It's so hard | 0:05:44 | 0:05:47 | |
-and now I'm thinking about it. -Oh. | 0:05:47 | 0:05:48 | |
I'm not thinking about it, Stephen Fry is thinking about it. | 0:05:48 | 0:05:51 | |
But you should roll with it | 0:05:51 | 0:05:53 | |
because Michael Flatley made a living out of that. | 0:05:53 | 0:05:55 | |
-VICTORIA: -I know one of them. -Yes, say. | 0:05:57 | 0:05:59 | |
Land o'cakes is Robert Burns, isn't it? | 0:05:59 | 0:06:01 | |
Yes, you're absolutely right. | 0:06:01 | 0:06:02 | |
-Scotland. -He's talking about Scotland. -Scotland. Good. | 0:06:02 | 0:06:04 | |
But Land o'Scots you would think would be Scotland, but it isn't. | 0:06:04 | 0:06:07 | |
It's actually heaven. | 0:06:07 | 0:06:09 | |
Go figure. | 0:06:09 | 0:06:10 | |
-Learning Shover, you might guess. -Teacher. | 0:06:10 | 0:06:12 | |
Yes. Quite right. You know a bit about that. | 0:06:12 | 0:06:15 | |
-Yes. Can I have a point? -Yes, you certainly can. | 0:06:15 | 0:06:17 | |
-Thank you, sir. -Lally-gagging. | 0:06:17 | 0:06:20 | |
It's very hard to guess, actually. | 0:06:20 | 0:06:22 | |
You either know it, or you don't, really. | 0:06:22 | 0:06:24 | |
It means to flirt, Jack. | 0:06:24 | 0:06:26 | |
Oh, yes, I did a bit of flirting, didn't I? Last time I was on. | 0:06:26 | 0:06:29 | |
-You did, you lally-gagged. -But I decided, | 0:06:29 | 0:06:31 | |
cos it was very awkward when the show went out | 0:06:31 | 0:06:33 | |
and I had a very long conversation with my father, | 0:06:33 | 0:06:35 | |
and I watched it back... | 0:06:35 | 0:06:37 | |
"Have you got something to tell me, Jack?" | 0:06:37 | 0:06:39 | |
And, no, I looked very... I looked back at it and to be honest, | 0:06:39 | 0:06:41 | |
I looked desperate for your affections. | 0:06:41 | 0:06:43 | |
And so this evening I have decided to deploy a little bit of carrot | 0:06:43 | 0:06:46 | |
-and a little bit of stick... -Very good. | 0:06:46 | 0:06:48 | |
..because last time I showed you too much of my carrot. | 0:06:48 | 0:06:50 | |
LAUGHTER | 0:06:50 | 0:06:52 | |
A very charming carrot it was, too. | 0:06:52 | 0:06:55 | |
-VICTORIA: -Now, here's a problem. You've just explained | 0:06:55 | 0:06:57 | |
we can wave this little fan if we think it's lavatorial. | 0:06:57 | 0:07:00 | |
I'm looking at "last shake of the bag" | 0:07:00 | 0:07:03 | |
and "lemon squash party". | 0:07:03 | 0:07:05 | |
And I'm thinking, I really hope not. | 0:07:06 | 0:07:08 | |
Lemon Squash Party looks like something | 0:07:08 | 0:07:10 | |
you could put into the internet and find... | 0:07:10 | 0:07:12 | |
LAUGHTER | 0:07:12 | 0:07:14 | |
-Tennis players. -Yes. | 0:07:14 | 0:07:17 | |
-Is it a political party? -It's not a political party. | 0:07:17 | 0:07:19 | |
It's part of a movement that was very popular in the 19th century, | 0:07:19 | 0:07:22 | |
a rather dull movement to many of us, perhaps. | 0:07:22 | 0:07:24 | |
-It's very straightforward. -Temperance. | 0:07:24 | 0:07:26 | |
Temperance. It is an all-male party where only lemon squash was served. | 0:07:26 | 0:07:31 | |
It's that simple. | 0:07:31 | 0:07:33 | |
I mean, we've all had a lemon squash party. | 0:07:33 | 0:07:35 | |
It's the party that comes AFTER the after-party. | 0:07:35 | 0:07:38 | |
-You're quite right. -Last shake o' the bag. | 0:07:38 | 0:07:40 | |
-That's my favourite. -Is that...? | 0:07:40 | 0:07:43 | |
Is it, like, something to do with you, like, your...? | 0:07:43 | 0:07:48 | |
LAUGHTER No... | 0:07:48 | 0:07:50 | |
-Out with it, man. -It's not. Is it, like, your last child? | 0:07:50 | 0:07:53 | |
Yes. Your youngest child. | 0:07:53 | 0:07:54 | |
-Because it's the last...bag. -The last shake of the bag. Isn't that great? | 0:07:54 | 0:07:58 | |
I think it's a terrific phrase. | 0:07:58 | 0:08:00 | |
"Meet Benjamin, he's my last shake of the bag." | 0:08:00 | 0:08:02 | |
Yes, you've had teacher. | 0:08:04 | 0:08:06 | |
Leg Maniac is the only one we haven't covered | 0:08:06 | 0:08:08 | |
and it's just really an eccentric dancer, a rather frenzied dancer. | 0:08:08 | 0:08:11 | |
I was right with Flatley, then. | 0:08:11 | 0:08:13 | |
Yes, you were, basically. They're rather pleasing. | 0:08:13 | 0:08:16 | |
I'm particularly sorry that last shake o' the bag's | 0:08:16 | 0:08:18 | |
gone out of the language. | 0:08:18 | 0:08:19 | |
Now, without mincing words, what is this? | 0:08:19 | 0:08:21 | |
"Ah, I have to be, rather like Ask The Family. | 0:08:21 | 0:08:23 | |
"It's going to come into view. | 0:08:23 | 0:08:25 | |
"Ah. Ah-ha!" | 0:08:25 | 0:08:28 | |
-Toilet! -JINGLE | 0:08:28 | 0:08:30 | |
Yes. It couldn't be more lavatorial, could it? | 0:08:30 | 0:08:32 | |
But... But you have to answer the question, what is it? | 0:08:32 | 0:08:36 | |
-What do you mean, what is it? -Without mincing words, what is it? | 0:08:36 | 0:08:39 | |
Oh, it's going to be a trick one, like, it's a set of weights. | 0:08:39 | 0:08:42 | |
-LAUGHTER -No. | 0:08:42 | 0:08:45 | |
-It's a toilet. -Oh! -KLAXON | 0:08:45 | 0:08:48 | |
-A lavatory. -Lavatory. -KLAXON CONTINUES | 0:08:48 | 0:08:51 | |
-Bog. -Water closet. -We've had lavatory, toilet, water closet. | 0:08:51 | 0:08:54 | |
Shitter! | 0:08:54 | 0:08:56 | |
Shitter. Water closet, we had. | 0:08:56 | 0:08:59 | |
-Khazi. -Water closet. -We had water closet. | 0:08:59 | 0:09:02 | |
A flush, a wall-mounted flushable... | 0:09:02 | 0:09:04 | |
-Yes, excrement receiver. -..device. Yes. | 0:09:06 | 0:09:08 | |
The point is, there is no word for it that isn't a euphemism | 0:09:08 | 0:09:11 | |
because toilet comes from "toile", meaning "towel", you know, | 0:09:11 | 0:09:14 | |
-that's where we get our word "towel". -I always wee in a towel, so... | 0:09:14 | 0:09:17 | |
-Well, in that case it's realistic. -Then it is. | 0:09:17 | 0:09:19 | |
A lavatory is from "lavare", the Latin for "to wash". | 0:09:19 | 0:09:22 | |
So it's a bit like saying the washroom, | 0:09:22 | 0:09:24 | |
which is a very American euphemism that we find silly. | 0:09:24 | 0:09:27 | |
A water closet just means a cupboard with water in it, running water. | 0:09:27 | 0:09:30 | |
Although, to be fair, there are all sorts of words | 0:09:30 | 0:09:32 | |
for which there's nothing that isn't a euphemism. | 0:09:32 | 0:09:35 | |
I mean, kitchen. We don't have a word "cookpot place". | 0:09:35 | 0:09:37 | |
-We're not German! -No, that's right. | 0:09:37 | 0:09:39 | |
I mean, all language is metaphorical and to some extent hedges around. | 0:09:39 | 0:09:42 | |
-There is just... -Why has that one at the top been...? The interior is... | 0:09:42 | 0:09:46 | |
Looks like it's been done with one of Noel Edmonds' shirts. LAUGHTER | 0:09:46 | 0:09:51 | |
It does, doesn't it? Exactly like. | 0:09:51 | 0:09:52 | |
It's a Crinkly Bottom one, in every sense. | 0:09:52 | 0:09:55 | |
So, there is no actual word for the little boys' room | 0:09:55 | 0:09:58 | |
that isn't a you-know-what. | 0:09:58 | 0:10:00 | |
What suggestions do you have for the last line of this limerick? | 0:10:00 | 0:10:04 | |
There was an old person of Chile, | 0:10:04 | 0:10:06 | |
Whose conduct was painful and silly, | 0:10:06 | 0:10:08 | |
He sat on the stairs, eating apples and pears... | 0:10:08 | 0:10:11 | |
-Firing pips out of his willy. -LAUGHTER | 0:10:11 | 0:10:13 | |
Very good. I don't think that can be improved upon. | 0:10:22 | 0:10:25 | |
It certainly wasn't improved upon | 0:10:25 | 0:10:27 | |
by the author of that limerick, who was...? | 0:10:27 | 0:10:30 | |
George Orwell. | 0:10:30 | 0:10:32 | |
-LLOYD: -Eric Blair. | 0:10:32 | 0:10:33 | |
-VICTORIA: -Was it Edward Lear? -Edward Lear, as Victoria rightly said, | 0:10:33 | 0:10:36 | |
who sort of popularised the form. But he had one fatal flaw | 0:10:36 | 0:10:39 | |
in his limerick writing, which was, do you know? | 0:10:39 | 0:10:41 | |
-Was the last line the same as the first? -The last line was more or less the same. | 0:10:41 | 0:10:44 | |
Is it - "That boring old person of Chile"? | 0:10:44 | 0:10:46 | |
Basically it is, yeah, as you will see, it is | 0:10:46 | 0:10:48 | |
"That imprudent old person of Chile." | 0:10:48 | 0:10:52 | |
I think you'll all agree that Alan's version is a lot better. | 0:10:52 | 0:10:55 | |
Yeah, firing pips out of the willy is a lot funnier than that. | 0:10:56 | 0:10:59 | |
Yes, that's exactly what I mean. On the other hand, less Victorian. | 0:10:59 | 0:11:03 | |
He was sort of around the latter half of the 19th century. | 0:11:03 | 0:11:05 | |
-That is an entirely pointless thing to write down. -It is, | 0:11:05 | 0:11:08 | |
but it popularised the form, and there are other versions of his. | 0:11:08 | 0:11:11 | |
-They're all... -It's not painful and silly is it, to be imprudent? | 0:11:11 | 0:11:15 | |
-No. -It's painful and silly to put the pips in your willy... | 0:11:15 | 0:11:18 | |
-Oh, it certainly is. -And fire them out. | 0:11:18 | 0:11:20 | |
I think we're all with you, Alan. | 0:11:20 | 0:11:22 | |
But why has he not thought...? He hasn't thought of a painful, | 0:11:22 | 0:11:25 | |
-silly thing to do... -He hasn't thought it through. | 0:11:25 | 0:11:27 | |
..related to apples, pears and being on stairs. | 0:11:27 | 0:11:29 | |
He just says it's imprudent. But there's nothing in that that's... | 0:11:29 | 0:11:32 | |
There's nothing imprudent in the previous four lines. | 0:11:32 | 0:11:35 | |
-I mean, the thing is, apples and pears is rhyming slang for stairs, isn't it? -Anyway. | 0:11:35 | 0:11:39 | |
-Yeah, he's eating the stairs. -He's eating the stairs! | 0:11:39 | 0:11:41 | |
LAUGHTER | 0:11:41 | 0:11:43 | |
He's sat on the stairs eating the apples and pears. | 0:11:43 | 0:11:46 | |
Firing splinters out of his willy. | 0:11:46 | 0:11:48 | |
And also it's "Chil-lay", which doesn't rhyme with silly. | 0:11:49 | 0:11:52 | |
-Well, unless you say "sil-lay". -"Sil-lay". | 0:11:52 | 0:11:55 | |
Which is how I pronounce it. | 0:11:57 | 0:11:59 | |
Well, anyway, other versions you might be able to finish. | 0:12:00 | 0:12:03 | |
There was an old man with a gong who bumped at it all day long | 0:12:03 | 0:12:08 | |
But they called out, "O Lor'! You're a horrid old bore!" | 0:12:08 | 0:12:11 | |
Pull up your trousers, you're doing it wrong. | 0:12:11 | 0:12:13 | |
It sounds like that new Coldplay song. | 0:12:15 | 0:12:19 | |
Very good. | 0:12:19 | 0:12:20 | |
Which, if you haven't heard it, sounds like any Coldplay song. | 0:12:20 | 0:12:25 | |
What, so it's going to be, "You're a horrible old bore. | 0:12:25 | 0:12:28 | |
"You silly old man with a gong." | 0:12:28 | 0:12:30 | |
-Basically, yeah. -This guy's shit. | 0:12:30 | 0:12:32 | |
-He is. You can see his original. -These are like Lil Wayne lyrics. | 0:12:33 | 0:12:36 | |
So they smashed that old man with a gong. | 0:12:36 | 0:12:38 | |
-They smashed him with the gong?! -Yeah. -Why did they do that?! | 0:12:38 | 0:12:42 | |
Because he was a horrid old bore. | 0:12:42 | 0:12:44 | |
-Well, just take the gong away. There's no need to... -Yeah. | 0:12:44 | 0:12:48 | |
Once you've got the gong from the old man, the problem's solved. | 0:12:48 | 0:12:52 | |
He's not going to annoy you with the gong any more. | 0:12:52 | 0:12:54 | |
There's no point to then smash... | 0:12:54 | 0:12:55 | |
To smash him with the gong is a greater crime than to hit the gong, | 0:12:55 | 0:12:58 | |
regardless of whether he does it all day long. | 0:12:58 | 0:13:01 | |
Also, move away. Go out of earshot where you can't hear the gong. | 0:13:01 | 0:13:05 | |
-There's no excuse for assaulting. -Your outrage is commendable. | 0:13:05 | 0:13:09 | |
Let's get some more points by saying, | 0:13:09 | 0:13:11 | |
"To forgive Edward Lear is to know him better." | 0:13:11 | 0:13:14 | |
And what was his first and greatest achievement? | 0:13:14 | 0:13:17 | |
And it wasn't poetry, despite The Pobble Who Had No Toes | 0:13:17 | 0:13:20 | |
and The Owl And The Pussycat, which are wonderful poems. | 0:13:20 | 0:13:23 | |
Was it the jet? | 0:13:23 | 0:13:25 | |
LAUGHTER | 0:13:25 | 0:13:27 | |
It's a nice thought. | 0:13:28 | 0:13:30 | |
He wasn't a poet, primarily, he was something else. | 0:13:30 | 0:13:32 | |
A cook. | 0:13:32 | 0:13:34 | |
A racing driver. | 0:13:34 | 0:13:36 | |
Astronaut. | 0:13:36 | 0:13:37 | |
Well, you either know or you don't. He was a painter. | 0:13:37 | 0:13:39 | |
He was particularly, an orno...onorothol... | 0:13:39 | 0:13:43 | |
-Do you know, funnily enough... -Birds. Bird paintings. | 0:13:43 | 0:13:47 | |
Yes. Ornithological painter. | 0:13:47 | 0:13:49 | |
I think he got a lot better as he went from left to right. | 0:13:49 | 0:13:51 | |
LAUGHTER | 0:13:51 | 0:13:54 | |
APPLAUSE | 0:13:54 | 0:13:57 | |
But it's still the same. Look, he started with a parrot | 0:14:00 | 0:14:03 | |
-and he's ended with a parrot. -Yes. -Just paint another bird. | 0:14:03 | 0:14:06 | |
That's what held you back in the limerick game | 0:14:06 | 0:14:09 | |
and it's holding you back in the painting game as well. | 0:14:09 | 0:14:11 | |
-Open your eyes! -It is. | 0:14:11 | 0:14:13 | |
-Look at the owl. The owl's just heard one of the limericks. -Yes. | 0:14:16 | 0:14:19 | |
David Attenborough described him | 0:14:23 | 0:14:25 | |
as the greatest British ornithological painter there was, | 0:14:25 | 0:14:28 | |
and he was incredibly accurate and in the time before photography, | 0:14:28 | 0:14:31 | |
-extraordinarily useful. -Well, I mean, he was quite accurate. | 0:14:31 | 0:14:34 | |
The second parrot is odd. | 0:14:34 | 0:14:36 | |
-No, he did comic ones too. -The second from the left, though, | 0:14:36 | 0:14:39 | |
I think he started off doing a dolphin. | 0:14:39 | 0:14:41 | |
True. | 0:14:44 | 0:14:45 | |
He had a cat called Foss of whom he was so fond that | 0:14:45 | 0:14:49 | |
when he was forced to move from the area he lived into another area, | 0:14:49 | 0:14:52 | |
he did something quite remarkable. Can you imagine what it is? | 0:14:52 | 0:14:54 | |
-Stuffed it. -No. He certainly wouldn't want to see it dead. | 0:14:54 | 0:14:57 | |
He loved it very much. | 0:14:57 | 0:14:59 | |
He built a house in the second place that was identical | 0:14:59 | 0:15:02 | |
to the house he'd come from so the cat would feel at home. | 0:15:02 | 0:15:05 | |
The cat sat on the mat It was fat... | 0:15:05 | 0:15:08 | |
the cat. | 0:15:08 | 0:15:09 | |
LAUGHTER | 0:15:09 | 0:15:11 | |
There we are. | 0:15:13 | 0:15:14 | |
It's not supposed to be worse, is it? | 0:15:14 | 0:15:16 | |
I think putting in his bid there to be the next poet laureate, | 0:15:16 | 0:15:19 | |
Alan Davies. So... | 0:15:19 | 0:15:21 | |
Genuinely, though, it sounds like he was sort of a lunatic for symmetry. | 0:15:21 | 0:15:24 | |
-Yes. -All he needed was to live in three slightly different houses | 0:15:24 | 0:15:27 | |
in between the two identical ones... | 0:15:27 | 0:15:29 | |
And he would have an architectural limerick. | 0:15:29 | 0:15:31 | |
-He would have realised his dream. -Yeah, it's true. | 0:15:31 | 0:15:33 | |
-LLOYD: -Also, he would have done that to make him at home. | 0:15:33 | 0:15:36 | |
To make himself at home rather than the cat? | 0:15:36 | 0:15:39 | |
And he's gone, "I've sort of done this for the cat," | 0:15:39 | 0:15:41 | |
but secretly he's thinking, "Well, I know where toilet is. | 0:15:41 | 0:15:45 | |
-"Same place as the last time." -It's true. You never know. | 0:15:45 | 0:15:48 | |
What kind of logical reasoning did Sherlock Holmes use? | 0:15:48 | 0:15:52 | |
L for logic there. Oh. | 0:15:52 | 0:15:54 | |
-Lavatorial? -Hmm. | 0:15:54 | 0:15:56 | |
That's not correct. | 0:15:56 | 0:15:58 | |
LAUGHTER | 0:15:58 | 0:16:00 | |
-Lavatorial reasoning. -Yeah. | 0:16:01 | 0:16:03 | |
So take me through lavatorial reasoning. | 0:16:03 | 0:16:06 | |
No, you do, cos when you go to the loo, it unclogs your body | 0:16:06 | 0:16:09 | |
-and your mind. -Oh, I see. -So like... No, it does. | 0:16:09 | 0:16:12 | |
-Scatological. -Yeah, when I'm at home, if I'm stressed by something, | 0:16:12 | 0:16:15 | |
like a dishwasher, I can't load the dishwasher properly | 0:16:15 | 0:16:18 | |
and there's loads of bowls and I can't get them in, | 0:16:18 | 0:16:20 | |
I'm like, "Jack, take a step back. | 0:16:20 | 0:16:22 | |
"Go and drop the kids off at the pool and come back to it." | 0:16:22 | 0:16:24 | |
And it works, because it does, you sit on the loo, you think, | 0:16:24 | 0:16:27 | |
"What's the task going to be like? How am I going to attack this? | 0:16:27 | 0:16:30 | |
"Let's work out a game plan, a strategy." You deploy the troops, | 0:16:30 | 0:16:33 | |
come back and I'm slamming those plates in like Tetris. | 0:16:33 | 0:16:37 | |
And you leave your children alone at a swimming pool, meanwhile? | 0:16:37 | 0:16:40 | |
That was a horrible metaphor. | 0:16:40 | 0:16:42 | |
APPLAUSE | 0:16:42 | 0:16:44 | |
Oh, I see! | 0:16:44 | 0:16:46 | |
Sorry. I thought you were a bit young... | 0:16:49 | 0:16:52 | |
You thought I have children?! | 0:16:52 | 0:16:53 | |
I thought you were a bit young to have children you could just... | 0:16:53 | 0:16:56 | |
-That means... -Why would I take them to the pool? -That means have a poo. | 0:16:56 | 0:17:00 | |
I didn't know that meant have a poo. Dropping the kids off at the pool. | 0:17:00 | 0:17:03 | |
I like that, that's quite a good one. | 0:17:03 | 0:17:06 | |
-Drop the kids off at the pool. -And the logic is good as well. | 0:17:06 | 0:17:08 | |
-But we have no evidence that he used that. -Oh, yes. | 0:17:08 | 0:17:10 | |
But we do know, from the books, the kind of logic he used. | 0:17:10 | 0:17:13 | |
-There are different sorts of logic. -Well, now, | 0:17:13 | 0:17:16 | |
if you eliminate the impossible, you're left with the possible. | 0:17:16 | 0:17:19 | |
-Yes, if everything... -LAUGHTER | 0:17:19 | 0:17:22 | |
-Deduction? -No, not deduction. -KLAXON | 0:17:22 | 0:17:25 | |
Oh, you idiot! Ah-ha-ha-ha! | 0:17:25 | 0:17:27 | |
Deduction is essentially reasoning something which is unchallengeable - | 0:17:29 | 0:17:33 | |
it must be true. | 0:17:33 | 0:17:34 | |
You're given a set of premises and the deduction is true. | 0:17:34 | 0:17:38 | |
So if you say all humans are mortal... Alan Davies is human - | 0:17:38 | 0:17:42 | |
we can say that - therefore Alan Davies is mortal. | 0:17:42 | 0:17:46 | |
That's just simply an absolute fact. | 0:17:46 | 0:17:48 | |
-It must be true... -Oh, that's disappointing. | 0:17:48 | 0:17:50 | |
If those two premises are true, then the synthesis must be true as well. | 0:17:50 | 0:17:53 | |
-But abductive reasoning would be saying something like... -Uh-oh. | 0:17:53 | 0:17:58 | |
I saw Alan Davies in an Arsenal scarf. | 0:17:58 | 0:18:00 | |
He always cries when Arsenal lose. | 0:18:00 | 0:18:03 | |
I saw Alan crying, therefore Arsenal just lost. | 0:18:03 | 0:18:06 | |
Now that isn't certainly true, | 0:18:06 | 0:18:08 | |
but it's the kind of logic that Sherlock Holmes used. | 0:18:08 | 0:18:10 | |
Not absolutely certain and definite to be true, | 0:18:10 | 0:18:13 | |
but he was nearly always right. | 0:18:13 | 0:18:14 | |
He reasoned abductively, | 0:18:14 | 0:18:16 | |
-so that's the sort he used. -Oh. | 0:18:16 | 0:18:18 | |
There you are. What's his great phrase? | 0:18:18 | 0:18:20 | |
What's the famous phrase he used? | 0:18:20 | 0:18:22 | |
-Burn, ant, burn! -LAUGHTER | 0:18:22 | 0:18:24 | |
-That's fantastic. -You know this was painted by Edward Lear? | 0:18:36 | 0:18:43 | |
And you recognise the great Sherlock in the middle, I'm sure. | 0:18:43 | 0:18:46 | |
-Basil Rathbone. -Basil Rathbone, yes. -Basil! | 0:18:46 | 0:18:48 | |
So, anyway, the famous phrase he is associated with, of course... | 0:18:48 | 0:18:52 | |
"Elementary, my dear Watson." | 0:18:52 | 0:18:54 | |
-He never said it. -Which, as Victoria rightly says, he doesn't say. | 0:18:54 | 0:18:57 | |
But points if you know where it first appeared in literature. | 0:18:57 | 0:19:00 | |
It was in 1915, by a truly great writer | 0:19:00 | 0:19:02 | |
who actually based his two most famous characters | 0:19:02 | 0:19:04 | |
on the relationship between Holmes and Watson. | 0:19:04 | 0:19:06 | |
One of them a bit of a blitherer, | 0:19:06 | 0:19:07 | |
-the other one incredibly intelligent. -Jeeves and Wooster? | 0:19:07 | 0:19:10 | |
-Oh, Wodehouse. -Jeeves and Wooster, yes. So it was PG Wodehouse. | 0:19:10 | 0:19:13 | |
But it was in fact in another series of his books, | 0:19:13 | 0:19:15 | |
the Psmith series. There he is. | 0:19:15 | 0:19:16 | |
Called Psmith, Journalist, in 1915, set in New York. | 0:19:16 | 0:19:19 | |
So, Sherlock Holmes practised abduction, not deduction. | 0:19:20 | 0:19:24 | |
Now to the universal language of laughter. Who likes clowns? | 0:19:24 | 0:19:28 | |
No-one. | 0:19:28 | 0:19:31 | |
UKIP supporters. LAUGHTER | 0:19:31 | 0:19:33 | |
-Weh-hey! -No, cos they are kind of like clowns, UKIP politicians. | 0:19:33 | 0:19:37 | |
They're kind of fun and comical and wear silly clothes, | 0:19:37 | 0:19:39 | |
but they're also terrifying. LAUGHTER | 0:19:39 | 0:19:42 | |
It's that... | 0:19:42 | 0:19:44 | |
-Well... -And they also have a lot of white faces. | 0:19:47 | 0:19:51 | |
Very good. | 0:19:55 | 0:19:56 | |
Well, the certain answer is... | 0:19:58 | 0:19:59 | |
No, I'm just trying to work out who likes clowns and thinking, | 0:19:59 | 0:20:02 | |
"Well, it's certainly not children or adults." | 0:20:02 | 0:20:04 | |
You're right, so basically other clowns | 0:20:04 | 0:20:06 | |
is probably the only answer we can come up with. | 0:20:06 | 0:20:08 | |
-Or sort of other people that work in the circus. -Yes. | 0:20:08 | 0:20:10 | |
They're not going to be anybody's least favourite thing | 0:20:10 | 0:20:13 | |
-as long as there are clowns on the bill. -That's true. | 0:20:13 | 0:20:15 | |
And I like the cars that fall apart | 0:20:15 | 0:20:17 | |
and some of the gags they do, vaguely, but the actual make-up | 0:20:17 | 0:20:20 | |
and the whole...schmear as it were, is pretty disturbing. | 0:20:20 | 0:20:23 | |
And children, it's been shown, do not like them. | 0:20:23 | 0:20:26 | |
LAUGHTER | 0:20:26 | 0:20:28 | |
There was a study in 2008 that showed | 0:20:28 | 0:20:29 | |
that children were more frightened | 0:20:29 | 0:20:31 | |
than in any way healed, or smoothed, or helped. | 0:20:31 | 0:20:33 | |
But all children are frightened, | 0:20:33 | 0:20:35 | |
so that may mean that clowns don't know what laughter sounds like. | 0:20:35 | 0:20:39 | |
They just think the screams of terrified children are laughter. | 0:20:39 | 0:20:43 | |
-"I did really well..." -Because it's all they've ever heard. | 0:20:43 | 0:20:45 | |
"They screamed wonderfully." | 0:20:45 | 0:20:47 | |
-P Diddy is afraid of clowns. -Is he? | 0:20:47 | 0:20:49 | |
-Yes. -There is a so-called word for it. Do you know it? | 0:20:49 | 0:20:52 | |
-Coulrophobic. -Yes, you're right. | 0:20:52 | 0:20:54 | |
Though, unfortunately, | 0:20:54 | 0:20:55 | |
and I don't mean this as a personal slight, it's not in the OED, | 0:20:55 | 0:20:59 | |
and if you look it up in the online etymology dictionary, it says, | 0:20:59 | 0:21:02 | |
"It looks suspiciously like the sort of thing that idle, | 0:21:02 | 0:21:05 | |
"pseudo-intellectuals invent on the internet, | 0:21:05 | 0:21:07 | |
"and which every smarty-pants takes up thereafter." | 0:21:07 | 0:21:10 | |
I mean, "coulro" is "limb" from a stilt walker, possibly, | 0:21:10 | 0:21:13 | |
and the Greek for clown is "klooun" which comes from English, | 0:21:13 | 0:21:16 | |
so, if anything, it should be kloounaphobia, or just... | 0:21:16 | 0:21:18 | |
No, that's the fear of Martin Clunes. | 0:21:18 | 0:21:21 | |
Which is an actual real thing. I'm terrified of him. | 0:21:21 | 0:21:24 | |
Cos those ears... Those flappy ears. I remember when he was starting out, | 0:21:24 | 0:21:27 | |
I can't remember what we were doing, we were in the same place. | 0:21:27 | 0:21:30 | |
He picked up a magazine. He said, "Oh, God. I think there's an interview with me in this." | 0:21:30 | 0:21:34 | |
The first line of the interview is, you know, "Six-foot tall, | 0:21:34 | 0:21:37 | |
"with a tweed jacket, Stephen Fry..." | 0:21:37 | 0:21:39 | |
Or, you know, "Twinkly with a pert little botty, Jack Whitehall." | 0:21:39 | 0:21:43 | |
LAUGHTER | 0:21:43 | 0:21:45 | |
And the one on Martin Clunes just started, | 0:21:47 | 0:21:50 | |
"Face like a torn arse..." | 0:21:50 | 0:21:52 | |
LAUGHTER | 0:21:52 | 0:21:53 | |
It was so unfair! He's got this round, sweet, beautiful face. | 0:21:56 | 0:21:59 | |
And, actually, women fall for him enormously. Arse! I know! | 0:21:59 | 0:22:02 | |
-I'm trying to visualise a torn arse. -It's not good. | 0:22:02 | 0:22:06 | |
-I can help with that as well. -Oh! No, no, no, no. | 0:22:06 | 0:22:09 | |
Since around 2,500 BC, clowns have been known and written about. | 0:22:09 | 0:22:14 | |
But the first famous one in Britain, do you know who it might have been in the 18th century? | 0:22:14 | 0:22:18 | |
17... Born in 1778, really, the 19th century. | 0:22:18 | 0:22:21 | |
-I know, actually. -Yes, go on. | 0:22:21 | 0:22:22 | |
Joseph Grimaldi. | 0:22:22 | 0:22:24 | |
Grimaldi is the right answer. Joseph Grimaldi. | 0:22:24 | 0:22:27 | |
APPLAUSE | 0:22:27 | 0:22:29 | |
It's said that one in eight Londoners saw him perform. | 0:22:32 | 0:22:34 | |
There's a Grimaldi Park in Islington, not far from where what's-his-chops lived. | 0:22:34 | 0:22:39 | |
-Who's that? Eric Blair. -Oh, yes, Orwell. | 0:22:39 | 0:22:42 | |
There's a famous story of someone going to see a doctor, | 0:22:42 | 0:22:44 | |
before the days of psychology, | 0:22:44 | 0:22:46 | |
but a doctor who specialised in the mind, and this person said, | 0:22:46 | 0:22:49 | |
"I'm miserable, every day is horrible, I don't know | 0:22:49 | 0:22:51 | |
"what to do with myself, I can't get up in the morning." | 0:22:51 | 0:22:53 | |
And the doctor said, "Well, I suggest going to see Grimaldi. | 0:22:53 | 0:22:56 | |
"He'll cheer you up." | 0:22:56 | 0:22:58 | |
And the guy said, "I am Grimaldi." | 0:22:58 | 0:23:00 | |
-And he was a very miserable man. -No wonder he was so depressed. | 0:23:00 | 0:23:04 | |
It would have taken him about 45 minutes to get his coat on. | 0:23:04 | 0:23:07 | |
That's true. | 0:23:07 | 0:23:09 | |
Also, his wife died in childbirth, his father was a bit of a loon. | 0:23:09 | 0:23:13 | |
His son drank himself to death. Lots of misery. | 0:23:13 | 0:23:15 | |
"I am grim all day," he said of himself, Grimaldi, | 0:23:15 | 0:23:18 | |
"but I make you laugh at night." So, good, excellent. | 0:23:18 | 0:23:22 | |
And now, in honour of Victoria, QI does Only Connect. | 0:23:22 | 0:23:27 | |
-Cue music. -ONLY CONNECT THEME PLAYS | 0:23:27 | 0:23:31 | |
-The greatest programme on television, after QI. -Oh, hello. | 0:23:31 | 0:23:34 | |
-Yes, does that ring any bells with you? -Oh, yeah. | 0:23:34 | 0:23:36 | |
So can you choose, please, an Egyptian hieroglyph. | 0:23:36 | 0:23:38 | |
Oh, my goodness, I've never had the chance to do this before. | 0:23:38 | 0:23:41 | |
Obviously, the Eye of Horus. | 0:23:41 | 0:23:43 | |
Eye of Horus it is. | 0:23:43 | 0:23:45 | |
You have to find the connection between these five things. | 0:23:45 | 0:23:48 | |
-Five? -First... | 0:23:48 | 0:23:50 | |
..John F Kennedy, Profiles In Courage. | 0:23:51 | 0:23:54 | |
Lots of points of course if you get it from one. All right. | 0:23:54 | 0:23:56 | |
Anybody else is allowed to buzz, if they think they know. | 0:23:56 | 0:23:59 | |
And the second one... | 0:23:59 | 0:24:00 | |
Schumann, Theme And Variations In E Flat. | 0:24:00 | 0:24:03 | |
-Hmm. -Whoa. | 0:24:03 | 0:24:05 | |
LAUGHTER | 0:24:05 | 0:24:07 | |
-Are you patronising Jack? -You can all piss off! | 0:24:08 | 0:24:11 | |
What's it got to do with the Eye of Horus? | 0:24:13 | 0:24:15 | |
-No, that's... You choose. Have you never watched? -LAUGHTER | 0:24:15 | 0:24:19 | |
-You've never watched Only Connect? -Not a whole one, no. | 0:24:19 | 0:24:21 | |
Not a whole one?! | 0:24:21 | 0:24:23 | |
All you have to do is find what's in common, only connect, literally. | 0:24:24 | 0:24:27 | |
I think the F stands for his middle name. | 0:24:27 | 0:24:29 | |
Yes, that... How does that connect him? | 0:24:31 | 0:24:34 | |
I'm just taking notes and then I will abduct once I've got them all. | 0:24:34 | 0:24:37 | |
LAUGHTER | 0:24:37 | 0:24:39 | |
I don't know about Schumann, but if I was on a team | 0:24:40 | 0:24:43 | |
on Only Connect, I'd ask them, is it like the second thing they wrote? | 0:24:43 | 0:24:47 | |
-Something like that. -Oh, that's very good. | 0:24:47 | 0:24:50 | |
Stephen, Stephen in my head, is Schumann a composer? | 0:24:50 | 0:24:53 | |
-Yes. -Why, thank you. | 0:24:55 | 0:24:57 | |
-Robert Schumann, yes. -Robert Schumann. | 0:24:57 | 0:24:59 | |
So let's have the third one | 0:24:59 | 0:25:00 | |
because I don't think you're getting it from two. John Prescott, Prezza. | 0:25:00 | 0:25:03 | |
Goodness me. | 0:25:05 | 0:25:06 | |
Schumann's nickname is Theme And Variations. | 0:25:06 | 0:25:08 | |
Oh, was that one of the Sugababes' line-ups? | 0:25:08 | 0:25:11 | |
So I think we'd better have a look at the fourth one. | 0:25:12 | 0:25:15 | |
Fewer points, but this might help. | 0:25:15 | 0:25:17 | |
Alcoholics Anonymous and The 12 Steps. | 0:25:17 | 0:25:20 | |
-I so can get this. -The last one will give it to you. | 0:25:20 | 0:25:23 | |
-So the last one is only for one point. -OK, hold on now. | 0:25:23 | 0:25:26 | |
The Alcoholics Anonymous... The 12 Steps put together by two people | 0:25:27 | 0:25:31 | |
that only have letters as surnames? | 0:25:31 | 0:25:34 | |
You can see why I never got to the end of this show. | 0:25:34 | 0:25:37 | |
No, you'll see the last one and I think... | 0:25:38 | 0:25:40 | |
All right, struggle for the buzzer. | 0:25:40 | 0:25:42 | |
-They all had ghost writers! -Yes! | 0:25:42 | 0:25:44 | |
Yes! Yes! Come on! APPLAUSE | 0:25:44 | 0:25:47 | |
-Well done. Well done, Jack. -CHEERING | 0:25:56 | 0:25:59 | |
Yes. Argh! | 0:26:02 | 0:26:05 | |
Oh, my God! Steady. | 0:26:05 | 0:26:07 | |
-Steady. Whoa. -Sorry, sorry. | 0:26:09 | 0:26:13 | |
You've made a happy man feel very old. | 0:26:15 | 0:26:17 | |
So... | 0:26:19 | 0:26:21 | |
I'm going to have to go for a really awkward dinner with my dad now. | 0:26:21 | 0:26:25 | |
LAUGHTER "I watched you on QI..." | 0:26:25 | 0:26:28 | |
Well, you're just too brilliant. | 0:26:28 | 0:26:29 | |
And, of course, we waited until the most intellectual one, | 0:26:29 | 0:26:32 | |
Katie Price's Crystal and you got it, Jack, so marvellous. | 0:26:32 | 0:26:34 | |
-It is a great read. -A point to Jack. | 0:26:34 | 0:26:36 | |
-And your audio book of it was fantastic. -Well, thank you very much. | 0:26:36 | 0:26:40 | |
-But how does The 12 Steps...? -"Me and Dane went on holiday..." | 0:26:40 | 0:26:42 | |
How does that have a ghost writer? | 0:26:42 | 0:26:44 | |
That's what's so interesting, in a way, | 0:26:44 | 0:26:46 | |
is that the Schumann and the Alcoholics Anonymous are ghost-written | 0:26:46 | 0:26:49 | |
in very special and different way, | 0:26:49 | 0:26:50 | |
at least according to their authors. | 0:26:50 | 0:26:52 | |
Bill Wilson was one of the founders of AA. | 0:26:52 | 0:26:54 | |
-And Bob W? -That's right. | 0:26:54 | 0:26:56 | |
But Bill Wilson claimed that he was spoken to by a spirit, a ghost, | 0:26:56 | 0:27:00 | |
who told him what the 12 steps were. | 0:27:00 | 0:27:03 | |
Oh, well, you could say the same about all of Yeats' poetry. | 0:27:03 | 0:27:05 | |
Well, indeed, you could. | 0:27:05 | 0:27:06 | |
And Schumann claimed that the spirits | 0:27:06 | 0:27:09 | |
of Schubert and Mendelssohn gave him the idea | 0:27:09 | 0:27:11 | |
for his Theme And Variations In E Flat. | 0:27:11 | 0:27:13 | |
So this piece is actually also known as the Ghost Variations. | 0:27:13 | 0:27:16 | |
But John Prescott's autobiography was written by Hunter Davies, | 0:27:16 | 0:27:19 | |
Prezza, who also gave us the Gazza and Wayne Rooney book. | 0:27:19 | 0:27:23 | |
Katie Price's second novel, Crystal, | 0:27:23 | 0:27:26 | |
out-sold all seven Booker Prize nominees that year. | 0:27:26 | 0:27:29 | |
She wasn't nominated for the Booker Prize? | 0:27:29 | 0:27:31 | |
It wasn't actually nominated itself, though. | 0:27:31 | 0:27:33 | |
-Scandalous! -I know. | 0:27:33 | 0:27:34 | |
She talks through the stories with her ghost writer, | 0:27:34 | 0:27:37 | |
who then writes them out, | 0:27:37 | 0:27:38 | |
or as one of Price's managers put it, | 0:27:38 | 0:27:40 | |
"Katie says what she wants the story to be like, | 0:27:40 | 0:27:43 | |
"and they just put it into book words." | 0:27:43 | 0:27:45 | |
LAUGHTER Really? | 0:27:45 | 0:27:48 | |
She's been stuck in that pose for so long | 0:27:48 | 0:27:50 | |
that a group of spiders have colonised her head. | 0:27:50 | 0:27:52 | |
That's true. Which else...? | 0:27:54 | 0:27:56 | |
Oh, yes, Ted Sorensen was JFK's speech writer, who came up | 0:27:56 | 0:28:00 | |
with perhaps his most famous phrase that he used in his inauguration. | 0:28:00 | 0:28:04 | |
"Ask not what you can do for your..." No... | 0:28:04 | 0:28:07 | |
"Ask not what your country can do for you..." | 0:28:07 | 0:28:10 | |
Have a kebab. | 0:28:10 | 0:28:12 | |
"..but what you can do for your country." | 0:28:13 | 0:28:15 | |
Known as a chiasmus, exactly, and a fine example of one. | 0:28:15 | 0:28:17 | |
And that was written by Sorensen. | 0:28:17 | 0:28:19 | |
And Ronald Reagan said of his autobiography, do you know what he said? | 0:28:19 | 0:28:22 | |
He looked forward to reading it. | 0:28:22 | 0:28:24 | |
Yes. "I hear it's a terrific book. I look forward to reading it." | 0:28:24 | 0:28:28 | |
Absolutely right. Very good. | 0:28:28 | 0:28:30 | |
-Anyway, that's all from Only Connect. -ONLY CONNECT THEME PLAYS | 0:28:30 | 0:28:34 | |
APPLAUSE | 0:28:34 | 0:28:36 | |
Thank you. | 0:28:36 | 0:28:37 | |
Right, now, this here what you're about to see | 0:28:39 | 0:28:42 | |
is the longest word in literature. What do you think it means? | 0:28:42 | 0:28:45 | |
Is it the Greek for "that place in North Wales?" | 0:28:45 | 0:28:48 | |
LAUGHTER | 0:28:48 | 0:28:50 | |
It's the Greek for "that peculiar feeling | 0:28:53 | 0:28:55 | |
"when you're trapped in a labyrinth with a man with a bull's head." | 0:28:55 | 0:29:01 | |
That Minotaur-y feeling. | 0:29:02 | 0:29:04 | |
"Minatory" is an English word, which means threatening, | 0:29:04 | 0:29:07 | |
so it would be rather appropriate. No, this... Who's the best-known... | 0:29:07 | 0:29:10 | |
comic Greek playwright? | 0:29:10 | 0:29:13 | |
-Aristophanes. -Aristophanes. | 0:29:13 | 0:29:14 | |
Aristophanes, first in was Alan. And this is basically lunch. | 0:29:14 | 0:29:18 | |
Lunch in ancient Greek. It actually means, "a dish of sliced fish, | 0:29:18 | 0:29:21 | |
"shark and remnants of dogfish head, forming a pungent sharp tasting | 0:29:21 | 0:29:24 | |
"mixture, laserwort, crab with drizzled honey, | 0:29:24 | 0:29:26 | |
"and thrush and a blackbird on top, a wood pigeon, a normal pigeon, | 0:29:26 | 0:29:29 | |
"a little baked chicken head, another pigeon, a hare, | 0:29:29 | 0:29:32 | |
"with boiled down wine, and crunchy wings for dipping." | 0:29:32 | 0:29:34 | |
I'll just have the soup. | 0:29:34 | 0:29:36 | |
-What, no feta? -No. And not a bottle of Retsina, either. | 0:29:39 | 0:29:43 | |
-Oh, I love feta, me. -That's why they went bankrupt in Greece | 0:29:43 | 0:29:46 | |
because it took them so long to write out the menus, | 0:29:46 | 0:29:49 | |
they did no business. | 0:29:49 | 0:29:50 | |
Talking of lunch, what do we know about the word "lunch", | 0:29:50 | 0:29:53 | |
-a good L word, lunch. -Now, you see, interestingly... | 0:29:53 | 0:29:56 | |
-Luncheon. -Luncheon, yes, that's how it started. | 0:29:56 | 0:29:58 | |
As a matter of fact, it isn't. It was lunch first. | 0:29:58 | 0:30:04 | |
And people extended it to luncheon | 0:30:04 | 0:30:05 | |
because they thought it sounded smarter. | 0:30:05 | 0:30:08 | |
-Not quite right. -It is! I've made a whole programme about this. | 0:30:08 | 0:30:12 | |
LAUGHTER | 0:30:12 | 0:30:14 | |
-It derives from an Anglo-Saxon word. -It does... -From nuncheon. | 0:30:14 | 0:30:18 | |
This is like watching two great stags, locking heads, together. | 0:30:18 | 0:30:23 | |
But it doesn't. Where do you think the phrase | 0:30:23 | 0:30:25 | |
"ploughman's lunch" comes from? | 0:30:25 | 0:30:27 | |
From ploughmen having their lunch? | 0:30:27 | 0:30:29 | |
-No, it was invented by the Milk Marketing Board. -That's true. | 0:30:29 | 0:30:32 | |
Investigating the history of that, we discovered that | 0:30:32 | 0:30:35 | |
it is very disputed whether lunch comes from nuncheon. | 0:30:35 | 0:30:38 | |
Well, until about the 18th century, the word nuncheon was used. | 0:30:38 | 0:30:41 | |
You have a light nuncheon. And nuncheon has a very clear derivation. | 0:30:41 | 0:30:46 | |
It comes from "noon", as in mid-day, and "schench", which means drink. | 0:30:46 | 0:30:49 | |
It was literally a liquid lunch. Nuncheon. | 0:30:49 | 0:30:52 | |
And it was changed, no-one's quite sure why it changed to luncheon, | 0:30:52 | 0:30:55 | |
but it did change to luncheon, | 0:30:55 | 0:30:56 | |
and then the luncheon got dropped to lunch. | 0:30:56 | 0:30:58 | |
30-15, Fry! | 0:30:58 | 0:31:00 | |
LAUGHTER | 0:31:00 | 0:31:03 | |
APPLAUSE | 0:31:03 | 0:31:06 | |
Well, it's very convincing. I wish you had been on the programme. | 0:31:06 | 0:31:10 | |
The theory put forward was that they had been rolled | 0:31:10 | 0:31:12 | |
together in people's minds and lunch came from somewhere else | 0:31:12 | 0:31:15 | |
and it was made longer to sound smarter. | 0:31:15 | 0:31:17 | |
So then people thought it was | 0:31:17 | 0:31:19 | |
the same as the word luncheon, but it's not. | 0:31:19 | 0:31:21 | |
I do not know of people using the word lunch before the word luncheon. | 0:31:21 | 0:31:24 | |
That's breakfast, isn't it? | 0:31:24 | 0:31:26 | |
LAUGHTER | 0:31:26 | 0:31:29 | |
-Anyway, what we have got here is a picnic. -Yeah. | 0:31:30 | 0:31:34 | |
-Well, let's move to less disputed areas. -Or arm wrestle. | 0:31:34 | 0:31:38 | |
LAUGHTER | 0:31:38 | 0:31:40 | |
We'll do a Harry Hill moment. | 0:31:40 | 0:31:43 | |
Well, there you go. | 0:31:43 | 0:31:44 | |
And so to the epilogue that we call General Ignorance. | 0:31:44 | 0:31:47 | |
Time for fingers on buzzers, please. What comes before a fall? | 0:31:47 | 0:31:50 | |
AIR HORN "Arsenal! Arsenal!" | 0:31:50 | 0:31:52 | |
Pride. | 0:31:52 | 0:31:53 | |
-Oh! -KLAXON | 0:31:53 | 0:31:55 | |
Victoria, did you do a programme about this? | 0:32:02 | 0:32:04 | |
-Is this going to be something to do with Greek drama? -No, no, no. | 0:32:04 | 0:32:08 | |
It's the Book of Proverbs in the King James Bible, and it says, | 0:32:08 | 0:32:11 | |
"Pride goeth before destruction, an haughty spirit before a fall." | 0:32:11 | 0:32:15 | |
And there you are. | 0:32:15 | 0:32:17 | |
But things that are misquoted are rather fun. | 0:32:17 | 0:32:19 | |
There's a 2009 survey that found that the most common misquote | 0:32:19 | 0:32:23 | |
is mispronouncing the phrase "damp squib" as "damp squid". | 0:32:23 | 0:32:28 | |
Yeah, it was a bit of a damp squid. | 0:32:28 | 0:32:31 | |
What kind of idiot would say that?! | 0:32:31 | 0:32:33 | |
I've definitely said that. LAUGHTER | 0:32:33 | 0:32:35 | |
It would mean something completely different because you want a squid to be damp. | 0:32:35 | 0:32:39 | |
-Yeah, horrible to have a dry squid. -Damp squid is the best sort of squid. | 0:32:39 | 0:32:42 | |
-Oh, deep-fried squid is lush, though, isn't it? -Calamari. | 0:32:42 | 0:32:44 | |
But you can say that as a compliment then. If you get served that | 0:32:44 | 0:32:48 | |
ridiculous Greek dish and it's a tasty version of it, | 0:32:48 | 0:32:51 | |
"What a damp squid!" | 0:32:51 | 0:32:52 | |
Yeah, exactly. | 0:32:52 | 0:32:54 | |
Other things include "On tender hooks" instead of "tenterhooks". | 0:32:54 | 0:32:57 | |
ALAN GUFFAWS | 0:32:57 | 0:33:00 | |
"Nipping something in the butt", which is quite different. | 0:33:00 | 0:33:04 | |
A "mute point" instead of a "moot point". | 0:33:04 | 0:33:06 | |
Well, it's a Catch 24, isn't it, really? | 0:33:06 | 0:33:08 | |
LAUGHTER | 0:33:08 | 0:33:10 | |
They're called "eggcorns", as in from a mangling of acorns. | 0:33:10 | 0:33:13 | |
# The Simpsons... # | 0:33:13 | 0:33:15 | |
APPLAUSE | 0:33:18 | 0:33:20 | |
There's "in lame man's terms" is used, apparently. | 0:33:23 | 0:33:27 | |
"Cut to the cheese." | 0:33:27 | 0:33:28 | |
-That's good. -It is, isn't it? | 0:33:30 | 0:33:32 | |
"To all intensive purposes." | 0:33:32 | 0:33:34 | |
"The feeble position" instead of "the foetal position", which is very odd. | 0:33:34 | 0:33:37 | |
I've definitely had the feeble position before. | 0:33:37 | 0:33:40 | |
"Soaping wet", which is a sort of mix | 0:33:40 | 0:33:42 | |
between "sopping wet" and "soaking wet", I think. | 0:33:42 | 0:33:45 | |
"Soaping wet". I was soaping wet! | 0:33:45 | 0:33:48 | |
-That sounds filthy. -LAUGHTER | 0:33:48 | 0:33:51 | |
"Giving up the goat." | 0:33:51 | 0:33:53 | |
I think that's a Welsh one, I think. | 0:33:53 | 0:33:57 | |
I'm so glad you put your hand up to that one, | 0:33:57 | 0:33:59 | |
I wasn't really going to mention it. | 0:33:59 | 0:34:01 | |
"Getting your nipples in a twist." | 0:34:01 | 0:34:03 | |
These are kind of Fools And... | 0:34:03 | 0:34:05 | |
-Or Kath And Kim, they're always saying things wrong. -Yeah, yeah. | 0:34:05 | 0:34:08 | |
When she's hungry, she goes, "I'm absolutely ravishing." | 0:34:08 | 0:34:12 | |
"Chickens coming home to roast" I rather liked. | 0:34:14 | 0:34:17 | |
I hope they pluck themselves as they come | 0:34:17 | 0:34:19 | |
and just land gently on your plate. | 0:34:19 | 0:34:22 | |
Anyway, there we are. | 0:34:22 | 0:34:23 | |
"The haughty spirit comes before a fall." | 0:34:23 | 0:34:26 | |
How would you describe a siren's tail? | 0:34:26 | 0:34:28 | |
It's like a fish, like a mermaid. | 0:34:30 | 0:34:32 | |
-Oh, dear. -Isn't it? | 0:34:32 | 0:34:33 | |
-KLAXON -Is no-one else going to play?! | 0:34:33 | 0:34:36 | |
I'm afraid not. | 0:34:39 | 0:34:40 | |
Although, you're right, they were on the rocks when they sang. | 0:34:40 | 0:34:43 | |
The song was so alluring, ships were dashed on the rocks. | 0:34:43 | 0:34:47 | |
It's unclear why they wanted that to happen. | 0:34:47 | 0:34:49 | |
Yeah, I know. They were just wicked for some reason. | 0:34:49 | 0:34:51 | |
I think they were annoyed by their lack of nipples. | 0:34:51 | 0:34:53 | |
LAUGHTER | 0:34:53 | 0:34:56 | |
-Yes, that's probably what it was. -Where are my nipples? I don't know. | 0:34:56 | 0:34:59 | |
I've lost my nipples! | 0:34:59 | 0:35:01 | |
So who managed to survive hearing the siren's song? Remember? | 0:35:01 | 0:35:04 | |
-Odysseus. -Odysseus, also known as Ulysses. Yeah. | 0:35:04 | 0:35:07 | |
As in The Odyssey. Yeah. | 0:35:07 | 0:35:08 | |
-To hear the song, what did he do so he could hear it? -Taped it. | 0:35:08 | 0:35:12 | |
LAUGHTER | 0:35:12 | 0:35:14 | |
-No, he tapped himself. He had his men... -Downloaded it! | 0:35:14 | 0:35:17 | |
On iTunes, along with the Harry Potter audio book. | 0:35:17 | 0:35:20 | |
He had his men tape him to the foremast of his ship. | 0:35:20 | 0:35:23 | |
And he made them plug their own ears with wax | 0:35:23 | 0:35:26 | |
so they couldn't hear the siren's song. | 0:35:26 | 0:35:28 | |
Because it's such an extraordinary draw. | 0:35:28 | 0:35:30 | |
And had himself tied with his ears open. | 0:35:30 | 0:35:33 | |
And said, "No matter how much I shout and scream at you | 0:35:33 | 0:35:35 | |
"and you can see my face saying, 'Let me go...' " | 0:35:35 | 0:35:37 | |
-They do that at Simply Red gigs. -Do they? | 0:35:37 | 0:35:40 | |
-All the audience. -So they couldn't hear it. | 0:35:41 | 0:35:44 | |
So they carried on rowing and he was dying, | 0:35:44 | 0:35:46 | |
because he so wanted to go where | 0:35:46 | 0:35:48 | |
this incredible sound was coming from, but he was the only | 0:35:48 | 0:35:51 | |
one who ever heard the siren's song and survived, supposedly. | 0:35:51 | 0:35:55 | |
A charming story, not very true, probably, but charming. | 0:35:55 | 0:35:58 | |
Actually, they were half...? | 0:35:58 | 0:36:00 | |
Fish. | 0:36:00 | 0:36:01 | |
No, we said that, they were half bird. | 0:36:01 | 0:36:04 | |
-Bird? -Yes. -JACK: Ooh, sexy. | 0:36:04 | 0:36:06 | |
They were half...fish. | 0:36:06 | 0:36:09 | |
-It gives a whole new meaning to "Are you a leg or a breast man?" -LAUGHTER | 0:36:09 | 0:36:13 | |
Why do I think they were half fish, then? | 0:36:16 | 0:36:18 | |
Most people do, that's why we asked the question. | 0:36:18 | 0:36:20 | |
To trap, you know, the common view of them because they... | 0:36:20 | 0:36:22 | |
-When did mermaids get muddled up with sirens? -Interesting point. | 0:36:22 | 0:36:25 | |
I think it's because they were on the rocks by the coast, | 0:36:25 | 0:36:28 | |
so one assumed that they had something to do with water, but they were on land. | 0:36:28 | 0:36:31 | |
And they drew people into their rocks. | 0:36:31 | 0:36:33 | |
Anyway, now we've reached the end | 0:36:33 | 0:36:35 | |
and it's time to see the scores. | 0:36:35 | 0:36:37 | |
Well, in first place, with a resoundingly clear plus nine points, | 0:36:37 | 0:36:41 | |
it's Victoria Coren Mitchell. | 0:36:41 | 0:36:43 | |
APPLAUSE | 0:36:43 | 0:36:46 | |
Yes! | 0:36:46 | 0:36:48 | |
In second place... In second place, | 0:36:49 | 0:36:51 | |
with a very impressive minus two and a half, it's the audience. | 0:36:51 | 0:36:55 | |
APPLAUSE | 0:36:55 | 0:36:58 | |
In third place, terrific, terrific debut, minus ten, | 0:36:59 | 0:37:05 | |
-Lloyd Langford! -Thank you. | 0:37:05 | 0:37:06 | |
APPLAUSE | 0:37:06 | 0:37:09 | |
Ah. | 0:37:09 | 0:37:10 | |
He can hold his head up with pride, minus 16, Jack Whitehall. | 0:37:12 | 0:37:15 | |
APPLAUSE | 0:37:15 | 0:37:17 | |
And limping in the rear, I'm afraid, | 0:37:19 | 0:37:21 | |
it's Alan Davies with minus 39! | 0:37:21 | 0:37:23 | |
APPLAUSE | 0:37:23 | 0:37:25 | |
So, that's all from Victoria, Jack, Lloyd, Alan and me. | 0:37:31 | 0:37:34 | |
And I leave you with the last words of French grammarian, | 0:37:34 | 0:37:38 | |
Dominique Bouhours. | 0:37:38 | 0:37:40 | |
"I am about to - or I am going to - die. | 0:37:40 | 0:37:44 | |
"Either expression is used." Thank you and goodnight. | 0:37:44 | 0:37:47 |