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Diction, Dialect, and Speech in Nineteenth-Century Lyric A

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Diction, Dialect, and Speech in Nineteenth-Century Lyric A THE UNIVERSITY OF CHICAGO WHAT IS THE LANGUAGE OF POETRY? DICTION, DIALECT, AND SPEECH IN NINETEENTH-CENTURY LYRIC A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF COMPARATIVE LITERATURE BY JOEL CALAHAN CHICAGO, ILLINOIS AUGUST 2016 Copyright © 2016 by Joel Calahan All rights reserved. To the memory of my father, Scott Calahan, whose folksy Nebraska idioms still resound in my ears and who always used to read the copyright date of books to me as a child Contents Abstract ............................................................................................................................................. vi Acknowledgments ........................................................................................................................... viii Introduction: How We Hear Speech When We Read Poetry ................................................... 1 Dialectology: The Forgotten Study of Speech ..................................................................... 8 Critical Approaches to Speech in Lyric ................................................................................ 13 Method and Chapter Descriptions ....................................................................................... 20 Chapter 1: Vulgar Philology: Speech, History, and Lyric ........................................................... 30 Locke’s Legacy: Condillac, Cesarotti, and the Questione della lingua ............................. 39 Glottologia: The New Study of Speech ................................................................................. 52 Historical Poetics and Speech: Veselovsky and De Sanctis ............................................... 62 Conclusion: Lyric and the Need for Criticism .................................................................... 83 Chapter 2: Absolute Metaphor and Historical Vernacular in Leopardi’s Canti .................... 89 Philological Style and Pellegrinità ..................................................................................... 95 Word, Register, and Allegory in Gli idilli ......................................................................... 106 Absolute Metaphor and Begriffsgeschichte in the Late Canti ............................................ 123 Chapter 3: Coleridge’s Talk and the Idea of a Lyric Speaker ..................................................... 142 Lyric Speakers, Lyric Speech ................................................................................................. 148 “Science and Song”: Semantic Form in “The Blossoming of the Solitary Date-Tree” . 159 Coleridge’s Complex Words ................................................................................................. 171 Die Stille: Two Readings of the Poetic Trope as Talk ........................................................ 183 iv Chapter 4: Dialect Verse and the Purity of Speech ..................................................................... 198 Dialect Glossaries as New Histories of Language ............................................................... 205 William Barnes and the Pure English Style ......................................................................... 212 Barnes’s Word-Stems and British Philology ....................................................................... 220 Pure Dialect in Pastoral .......................................................................................................... 227 Appendix .................................................................................................................................. 239 Epilogue: Reading Modern Lyric in the “Possible Chorus” ....................................................... 240 Works Cited ...................................................................................................................................... 248 Biography .......................................................................................................................................... 265 v Abstract “What Is the Language of Poetry? Diction, Dialect, and Speech in Nineteenth-Century Lyric” In this dissertation, I propose a reconsideration of the idea of speech that animates the writing and reading of lyric poetry. The project revisits competing linguistic and literary definitions of speech that emerged from nineteenth-century debates in the European academy over the nature of language, and reads the transformation of the lyric poem and its diction as a reaction to the Romantic ideal of language—a diction taken from “real language of men,” as Wordsworth famously formulates it in the Preface to Lyrical Ballads. I argue that poetry critics can revisit the definition of poetic language by turning to the principles of dialectology (or glottologia), a branch of historical linguistics pursued primarily by Italian scholars in the latter half of the nineteenth century, especially its resistance to the widely held idea that speech is inferior to the written word. Through readings of neglected archival sources in dialect lexicography and grammar alongside both canonical and non-canonical lyric poems by Leopardi, Coleridge, Barnes, Hopkins, and Manzoni, I offer a general theoretical claim about the nature of the lyric: that poetic language ought to be read as the speech of geographically-bounded communities of speakers over the longue durée, not merely, as many critics propose, from an immediate historical context nor from an idealized timeless present tense. The work of these poets confronts us with the idea that the specific figurative or rhetorical uses of words and phrases in individual poems may draw discriminately from deep reservoirs of historical meaning as a consequence of the social, geographical world that the poem establishes. By extension, these poets show through their art that everyday speech contains deep roots in social communities. vi In each of four chapters, my project reevaluates a different common assumption of literary criticism on how speech influences poetic language. The introductory chapter argues that Locke’s influential rationalist conception of language, which continues to dominate our thinking about the spoken language, saw crucial revisions toward a socio-historical plane (primarily in Condillac, Cesarotti, and Ascoli). Based on new analysis of the internal anachronism of spoken language, these critics redefined language function not in terms of its immediate contextual usage but in terms of its deep history. In the main critical chapters, I then focus on two canonical poets of the early nineteenth-century lyric, Leopardi and Coleridge, each of whom presents a different model of poetic language based on figures found embedded in the linguistic strata of individual words. For Coleridge, the lyric speaker demonstrates the limits of individual speech capacities by using an artificially hybridized diction that illuminates the German and French roots of English; by contrast, Leopardi’s use of archaisms reveals the deep resemblance of spoken Italian to Vulgar Latin—a demonstration of the permanence of speech against the dramatic linguistic changes of written Italian. My final chapter considers the linguistic turn to dialectology through the experimental philology and poetry of William Barnes. By creating an artificially standardized language with no real-world equivalent speech community, Barnes’s experiments with dialect poetry and a universal Standard English make visible the inherent anachronism of speech. This project ultimately aims to be prospective: I affirm the need for literary scholars to reconsider their implicit allegiance to a simple, transparent concept of speech by ignoring the historical and material dimension of poetic language—important precisely for a hybrid genre like the lyric, dependent as it is on the deep history and evolution of speech as its touchstone. vii Acknowledgments I would like to acknowledge the many interlocutors, discussants, disputants, questioners, sympathetic ears, sounding boards, echolaliacs, and all those with the gift of gab who contributed by their conversations to how I think about speech and poetry, admitting in advance the influence I have absorbed from so many that I don’t have space for. Those who merit special, named thanks include the members of my dissertation committee, three individuals who have each shaped my thinking on poetry and language through their commentary and conversation over the years. I thank Boris Maslov, whose selfless and scrupulous dedication to the field of comparative literature has modeled the life of the mind for me, and whose seminars and conferences opened the academic field up to me in a way I never expected; Rebecca West, doctrix illustris, whose constant encouragement and limitless knowledge of Italian history and literature allowed me to immerse myself in a body of work that spoke to me; and Mark Payne, whose common sense and skillful and generous reading of poetry gave me clarity when I needed it most. The University of Chicago poetics community is unique, and has over the years enriched and formed my critical thinking and reading through the Poetry and Poetics workshop and through the guest lectures and reading series. I especially appreciate the faculty members of the various humanities departments whose advice and mentorship in research, writing, and teaching has meant the world to me, including Paolo Cherchi, Loren Kruger, Francoise Meltzer, Michael Murrin, Thomas Pavel, Chicu Reddy,
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