Die Wörterbücher Von Johannes Ebers Studien Zur Frühen Englisch-Deutschen Lexikografie

Total Page:16

File Type:pdf, Size:1020Kb

Die Wörterbücher Von Johannes Ebers Studien Zur Frühen Englisch-Deutschen Lexikografie Die Wörterbücher von Johannes Ebers Studien zur frühen englisch-deutschen Lexikografie Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät I der Julius-Maximilians-Universität Würzburg Vorgelegt von Derek Lewis aus Exeter Würzburg 2013 Erstgutachter: Professor Dr. Werner Wegstein Zweitgutachter: Professor Dr. Norbert Wolf Tag des Kolloquiums: 31.1.2011 DANK Mein Dank gilt allen, die zum Zustandekommen dieser Arbeit beigetragen haben. Insbesondere danke ich - Prof. Dr. Werner Wegstein von der Universität Würzburg für seine Anregung zu diesem Projekt und für seine kompetente Beratung und Betreuung, - meiner Frau für ihre Geduld und für ihre moralische und praktische Unterstützung, - den Kollegen der Bibliothek in Exeter (Devon and Exeter Institution Library), die mir die Originalexemplare der Wörterbücher von Johannes Ebers zur Verfügung gestellt haben. Inhalt Kapitel 1: Einleitung zur Entwicklung der deutsch-englischen Lexikografie .... 9 1.1 Die Anfänge der deutsch-englischen Lexikografie ............................ 9 1.2 Mehrsprachige Wörterbücher 1500 - ca. 1600 ............................... 10 1.3 Zweisprachige Wörterbücher 1550 - 1700 ...................................... 13 1.4 Entwicklungen im 18. Jahrhundert .................................................. 15 1.4.1 Der politische Hintergrund .............................................................. 15 1.4.2 Der Kulturtransfer zwischen England und Deutschland .................. 17 1.4.3 Übersetzungen als Träger des Kulturtransfers ............................... 19 1.4.4 Der englische Sprachunterricht in Deutschland .............................. 25 1.4.5 Der Kulturaustausch von Deutschland nach England ..................... 29 1.5 Christian Ludwig ............................................................................. 32 1.6 Theodor Arnold ............................................................................... 35 Kapitel 2: Die Wörterbücher von Johann Christoph Adelung und Johannes Ebers ................................................................................................... 43 2.1 Einleitung ........................................................................................ 43 2.2 Zum Leben und Schaffen von Johannes Ebers .............................. 44 2.3 Ebers' Wörterbücher 1793-1799 ..................................................... 50 2.4 Ebers' Wörterbücher 1800-1802 ..................................................... 54 2.5 Die deutsch-englische Lexikografie um die Jahrhundertwende ...... 56 Kapitel 3: Die Quellen für Ebers' englisch-deutsches Wörterbuch ................ 60 3.1 Übersicht ........................................................................................ 60 3.2 Samuel Johnson ............................................................................. 64 3.3 Die 'Orthoepisten' und die Standardisierung der Aussprache......... 73 3.3.1 Thomas Sheridan und John Walker ............................................... 77 3.3.2 Das Transkriptionssystem von Thomas Sheridan .......................... 80 3.3.3 Das Transkriptionssystem von John Walker ................................... 85 3.3.4 Sheridan und Walker im Vergleich ................................................. 88 3.3.5 Die Rezeption von Sheridan und Walker in Deutschland ............... 89 5 3.3.6 Die Transkriptionsmodelle von Ebers und Sheridan/Walker im Vergleich ................................................................................................... 90 3.3.7 Sheridan als Vorbild für Ebers' Prosodie der englischen Sprache .. 96 3.3.8 Die Originalität des Transkriptionssystems von Johannes Ebers ... 98 3.4 Ephraim Chambers ....................................................................... 100 3.5 Francis Grose und die 'Cant'-Wörter ............................................ 102 3.5.1 Ursprung und Beschreibung des Cant im Englischen .................. 104 3.5.2 Die Cant-Sprache im Wörterbuch von Johannes Ebers ............... 107 Kapitel 4: Das Transkriptionssystem von Johannes Ebers .......................... 110 4.1 Einleitung ...................................................................................... 110 4.2 Die Akzentzeichen Akut und Gravis ............................................. 110 4.3 Makron.......................................................................................... 119 4.4 Zwischentöne und reduzierte Vokale ............................................ 120 4.5 Silbentrennung ............................................................................. 123 4.6 Doppelakzente .............................................................................. 124 4.7 Typografische Fehler .................................................................... 125 4.8 Eine Kritik des Ebersschen Transkriptionssystems ...................... 125 4.8.1 Die Vokale .................................................................................... 125 4.8.2 Die Konsonanten .......................................................................... 132 4.9 Die zweite Edition des englisch-deutschen Wörterbuchs ............. 136 4.9.1 Die didaktischen Werke von Johannes Ebers .............................. 136 Kapitel 5: Die Kodierung von Sonderzeichen und typografischen Informationen ................................................................................................. 144 5.1 Einleitung ...................................................................................... 144 5.2 Zeichenkodierung und Fraktur ...................................................... 144 5.3 Die Kodierung von Sonder- und diakritischen Zeichen ................. 145 5.4 Die Kodierung typografischer Informationen................................. 145 5.4.1 Die Schrifttypen Fraktur und Antiqua ............................................ 145 5.4.2 Das Rastermodell ......................................................................... 146 5.4.3 Zeilenumbrüche und Silbentrennung ............................................ 149 5.4.4 Forme Work .................................................................................. 150 Kapitel 6: Die Kodierungsstrukturen des englisch-deutschen Wörterbuchs 152 6.1 Einleitung: Kodierung nach TEI-P5 ............................................... 152 6 6.2 Die Organisation der XML-Textdateien ........................................ 152 6.3 Die strukturellen Einheiten der Vorrede und der Prosodie ............ 153 6.3.1 Die allgemeine Struktur der Prosodie ........................................... 154 6.3.2 Die Kodierung der Sprache: das XML-Attribut 'xml:lang' .............. 157 6.3.3 Linguistische Fachausdrücke ....................................................... 158 6.3.4 Phonetische Strukturen in der Prosodie: das Element <seg> ...... 161 6.3.5 Transkriptionen und Verweise: das Element <ptr> ....................... 167 6.3.6 Personennamen: die Elemente <author> und <bibl> ................... 169 6.3.7 Beispiel: Die Kodierung eines Textteils ........................................ 170 6.4 Das Wörterbuch (Hauptteil) .......................................................... 173 6.4.1 Die Kodierung der Sprache .......................................................... 173 6.4.2 Die Struktur und Kodierung der Einträge ...................................... 174 Kapitel 7: Die Kodierungsstrukturen des deutsch-englischen Wörterbuchs 207 7.1 Einleitung ...................................................................................... 207 7.2 Struktur und Kodierung der Einträge ............................................ 208 Kapitel 8: Die Verarbeitung der Dateien in XSLT ........................................ 227 8.1 XSLT: Einleitung ........................................................................... 227 8.2 Formen der Ausgabe .................................................................... 228 8.3 Die Generierung von Links zu den Grafikdateien ......................... 229 8.4 Darstellung des Inhalts der Prosodie ............................................ 230 8.5 Darstellung des Inhalts des englisch-deutschen Wörterbuchs ..... 231 8.6 Darstellung des Inhalts des deutsch-englischen Wörterbuchs ..... 232 8.7 Besondere Ausgabeformen .......................................................... 232 9: Bibliografie ............................................................................................... 233 9.1 Wörterbücher und Lehrwerke von Johannes Ebers ...................... 233 9.2 Editionen und Übersetzungen von Johannes Ebers ..................... 236 9.3 Rezensionen ................................................................................. 237 9.4 Wörterbücher: einsprachig ............................................................ 238 9.5 Wörterbücher: ein- und mehrsprachig .......................................... 245 9.6 Sonstiges ...................................................................................... 254 10. Anhang: Exkurs zur Entwicklung von Transkriptionsystemen ............... 277 10.1 Thomas Dyche ............................................................................. 277 10.2 Nathan Bailey ............................................................................... 277 7 10.3 James Buchanan .......................................................................... 279 10.4 William Johnston .......................................................................... 283 10.5 William Perry ................................................................................ 283
Recommended publications
  • Irish Gothic Fiction
    THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title "Furbish'd Remnants": Theatrical Adaptation and the Orient, 1660-1815 Permalink https://escholarship.org/uc/item/0998z0zz Author Del Balzo, Angelina Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles “Furbish’d Remnants”: Theatrical Adaptation and the Orient, 1660-1815 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Angelina Marie Del Balzo 2019 Ó Copyright by Angelina Marie Del Balzo 2019 ABSTRACT OF THE DISSERTATION “Furbish’d Remnants”: Theatrical Adaptation and the Orient, 1660-1815 by Angelina Marie Del Balzo Doctor of Philosophy in English University of California, Los Angeles, 2019 Professor Felicity A. Nussbaum, Chair Furbish’d Remnants argues that eighteenth-century theatrical adaptations set in the Orient destabilize categories of difference, introducing Oriental characters as subjects of sympathy while at the same time defamiliarizing the people and space of London. Applying contemporary theories of emotion, I contend that in eighteenth-century theater, the actor and the character become distinct subjects for the affective transfer of sympathy, increasing the emotional potential of performance beyond the narrative onstage. Adaptation as a form heightens this alienation effect, by drawing attention to narrative’s properties as an artistic construction. A paradox at the heart of eighteenth-century theater is that while the term “adaptation” did not have a specific literary or theatrical definition until near the end of the period, in practice adaptations and translations proliferated on the English stage.
    [Show full text]
  • An Examination of the Theories and Methodologies of John Walker (1732- 1807) with Emphasis Upon Gesturing
    This dissertation has been 64—7006 microfilmed exactly as received DODEZ, M. Leon, 1934- AN EXAMINATION OF THE THEORIES AND METHODOLOGIES OF JOHN WALKER (1732- 1807) WITH EMPHASIS UPON GESTURING. The Ohio State University, Ph.D., 1963 Speech—Theater University Microfilms, Inc., Ann Arbor, Michigan AN EXAMINATION OP THE THEORIES AND METHODOLOGIES OP JOHN WALKER (1732-1807) WITH EMPHASIS UPON GESTURING DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By M. Leon Dodez, B.Sc., M.A ****** The Ohio State University 1963 Approved by Department of Speech ACKNOWLEDGMENT I wish to express my gratitude to Dr. George Lewis for his assistance In helping to shape my background, to Dr. Franklin Knower for guiding me to focus, and to Dr. Keith Brooks, my adviser, for his cooperation, patience, encouragement, leadership, and friendship. All three have given much valued time, encouragement and knowledge. ii CONTENTS Page ACKNOWLEDGMENTS ................... 1 Chapter I. INTRODUCTION............................... 1 II, BIOGRAPHY................................... 9 III. THE PUBLICATIONS OP JOHN WALKE R............. 27 IV. JOHN WALKER, ORTHOEPIST AND LEXIGRAPHER .... 43 V. NATURALISM AND MECHANICALISM............... 59 VI. THEORY AND METHODOLOGY..................... 80 VII^ POSTURE AND P A S S I O N S ......................... 110 VIII. APPLICATION AND PROJECTIONS OP JOHN WALKER'S THEORIES AND METHODOLOGIES......... 142 The Growth of Elocution......................143 L a n g u a g e ................................... 148 P u r p o s e s ................................... 150 H u m o r ....................................... 154 The Disciplines of Oral Reading and Public Speaking ......................... 156 Historical Analysis ....................... 159 The Pa u s e ..................................
    [Show full text]
  • Research Guide for Archival Sources of Smock Alley Theatre, Dublin
    Research Guide for Archival Sources of Smock Alley theatre, Dublin. October 2009 This research guide is intended to provide an accessible insight into the historical, theatrical and archival legacy of Smock Alley theatre, Dublin. It is designed as an aid for all readers and researchers who have an interest in theatre history and particularly those wishing to immerse themselves in the considerable theatrical legacy of Smock Alley theatre and it’s array of actors, actresses, directors, designers, its many scandals and stories, of what was and is a unique theatrical venue in the fulcrum of Dublin’s cultural heart. Founded in 1662 by John Ogilby, Smock Alley theatre and stage was home to many of the most famous and talented actors, writers and directors ever to work and produce in Ireland, England, Scotland and Wales, throughout the seventeenth and eighteenth century. Celebrated players included Peg Woffington, David Garrick, Colley Cibber, Spranger Barry and George Ann Bellamy. Renowned managers and designers such as John Ogilby, Thomas Sheridan, Louis De Val and Joseph Ashbury would help cement the place of Smock Alley theatre as a venue of immense theatrical quality where more than just a play was produced and performed but more of a captivating, wild and entertaining spectacle. The original playbills from seventeenth century productions at Smock Alley detail many and varied interval acts that often took place as often as between every act would feature singing, dancing, farce, tumbling, juggling and all manner of entertainment for the large public audience. Smock Alley was celebrated for its musical and operatic productions as well as its purely dramatic performances.
    [Show full text]
  • Civility, Patriotism and Performance: Cato and the Irish History Play
    Ireland, Enlightenment and the English Stage, 1740-1820 7 Civility, patriotism and performance: Cato and the Irish history play David O’Shaughnessy Recent scholarship has underscored history writing as central to the culture of the eighteenth century and as a key mode of Enlightenment thought and practice in both Britain and Ireland.1 British elites, conscious of their own historiographical failings, looked uneasily on the French exemplar national histories which sparked a patriotic urging to match their Continental competitors.2 Writ properly, it was suggested, history could also lead to a more rational patriotic attachment to one’s own country, one enriched by a recognition of other nations in the spirit of Enlightenment.3 The proper framing and writing of national history (understood in the main as that which adhered to rigorous neoclassical values) also conveyed a country’s teleological progressiveness, its emergence from barbarity towards modernity, civilization and associated institutional norms. The form and content of a well written national history—encompassing inter alia a decorous tone, idealized characters, moral didacticism—mirrored each other, allowing a reader to assess their own civility as well as that of the country and its people in question. Enlightenment is a term with a myriad of My sincere thanks to Emily Anderson and David Taylor for their helpful comments on an earlier version of this essay. This chapter has received funding from the European Union’s 2020 research and innovation programme under the Marie Sklowdowska-Curie grant agreement No 745896. 1 Noelle Gallagher, Historical Literatures: Writing about the Past in England, 1660–1740 (Manchester University Press, 2012); Ruth Mack, Literary Historicity: Literature and Historical Experience in Eighteenth-Century Britain (Stanford University Press, 2009); and, Karen O’Brien, Narratives of Enlightenment: Cosmopolitan History from Voltaire to Gibbon (Cambridge University Press, 1997).
    [Show full text]
  • Irish Literature, 1750–1900
    Wright: Irish Literature 1750–1900 9781405145190_4_001 Page Proof page 131.7.2007 3:38pm Irish Literature, 1750–1900 Wright: Irish Literature 1750–1900 9781405145190_4_001 Page Proof page 231.7.2007 3:38pm Wright: Irish Literature 1750–1900 9781405145190_4_001 Page Proof page 331.7.2007 3:38pm Thomas Sheridan (1719–1788) Thomas Sheridan, probably born in Dublin but Humble Appeal also included a proposal for a possibly in Co. Cavan, was the son of another national theater in Dublin that would be publicly Thomas Sheridan (clergyman and author) and administered and ensure fair treatment of theater the godson of Jonathan Swift (a close friend of workers. the family). He may have been a descendant of As a dramatist, Sheridan mostly adapted other Denis Sheridan (c.1610–83), a native Irish authors’ works, as was common in his day; he speaker who assisted in the translation of the adapted, for instance, Coriolanus (1755) from Old Testament into Irish as part of Bishop texts by English authors William Shakespeare Bedell’s efforts to make the Church of Ireland and James Thomson. His enduringly popular accessible to Irish speakers. The younger Thomas farce The Brave Irishman: Or, Captain O’Blunder Sheridan worked primarily in the theater, as was published and staged throughout the second actor, manager, playwright, and author of var- half of the eighteenth century and compactly ious tracts related to theater reform, but also abbreviated in three double-columned pages published on other subjects, including British for the Cabinet of Irish Literature a century Education: Or the Source of Disorders in Great later.
    [Show full text]
  • Thomas Sheridan: Pioneer in British Speech Technology
    This dissertation has been microfilmed exactly as received 67-2513 PATTERSON, Robert Ellis, 1907- THOMAS SHERIDAN: PIONEER IN BRITISH SPEECH TECHNOLOGY. The Ohio State University, Ph.D., 1966 %)eech University Microfilms, Inc., Ann Arbor, Michigan 0 Copyright by Robert Ellis Patterson 19671 THOMAS SHERIDAN; PIONEER IN BRITISH SPEECH TECHNOLOGY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Robert Ellis Patterson, A.B., B.S., M.A. * A *. ft ft ft * The Ohio State University 1966 Approved by à J ï Adviser Department of Speech PREFACE But when he [the author] adds, that he is. the first who ever laid open the principles upon which our language is founded, and the rules by which it is regulated, he hopes the claim he has laid in to the office he has undertaken, will not be considered either vain or pre­ sumptuous . Thomas Sheridan Dictionary, Preface, p. xi. Probably everyone would like to discover, or be the first to do something. It is only a vicarious thrill that this author has. This is a study in the evaluation and comparison of one who pioneered. Thomas Sheridan may not have thought of himself as having pioneered in three aspects of the speaking situation. He may not have thought of himself as having pioneered in three phases of British speech technology. But this is. the way the present author looks upon one man th a t h isto ry has overlooked. Evaluation is made easy by the passing of time.
    [Show full text]
  • Thomas Sheridan and the Evil Ends of Writing
    Conrad Brunstr?m Thomas Sheridan and the Evil Ends ofWriting Two new biographies of the great dramatist and parliamentarian Richard Brins ley Sheridan have provoked a renewal of interest in the whole Sheridan dynasty.1 InA TraitorysKiss (1997), Fintan O' Toole occasionally discusses Thomas Sheri dan's educational obsessions, but his sympathy for the son leads him to focus on the lackluster parenting skills of the father. In her life of Sheridan, Linda Kelly remarks of the dramatist's father that although "Thomas Sheridan's achieve ments had never been fully recognized in his lifetime. [...] Thomas Sheridan own on to con has his claims posterity."2 These claims have yet receive serious sideration, even by scholars of the eighteenth century. Thomas Sheridan (1719-1788), son of the poet, father of the dramatist, hus as band of the novelist?as well actor, stage manager, educational reformer, and public lecturer?passionately believed that speech was a higher and truer form of communication than writing, and understandably so, because he was the most influential elocutionist of his day. In his own lifetime, however, Thomas Sheridan was perhaps best known as one of the greatest tragic actors of the mid eighteenth century. Charles Churchill's poem The Rosciad, a best-selling survey of contemporary (1760) acting talent, regards Sheridan as a flawed but fasci nating touchstone of dramatic and rhetorical taste. But, spite of all defects, his glories rise; And Art, by Judgement form'd, with Nature vies. Where he falls short 'tis Nature's fault alone; Where he succeeds, the Merit's all his own.3 Sheridan is the penultimate player in Churchill's catalogue.
    [Show full text]
  • Jonathan Swift: Journal to Stella: Letters to Esther Johnson and Rebecca Dingley, 1710–1713 Edited by Abigail Williams Frontmatter More Information
    Cambridge University Press 978-0-521-84166-5 - Jonathan Swift: Journal to Stella: Letters to Esther Johnson and Rebecca Dingley, 1710–1713 Edited by Abigail Williams Frontmatter More information the cambridge edition of the works of jonathan swift © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84166-5 - Jonathan Swift: Journal to Stella: Letters to Esther Johnson and Rebecca Dingley, 1710–1713 Edited by Abigail Williams Frontmatter More information the cambridge edition of the works of jonathan swift General Editors Claude Rawson Yale University Ian Higgins Australian National University David Womersley University of Oxford Ian Gadd Bath Spa University Textual Adviser James McLaverty Keele University AHRC Research Fellows Paddy Bullard University of Oxford Adam Rounce Keele University Daniel Cook Keele University Advisory Board John Brewer Sean Connolly Seamus Deane Denis Donoghue Howard Erskine-Hill Mark Goldie Phillip Harth Paul Langford James E. May Ronald Paulson J. G. A. Pocock Pat Rogers G. Thomas Tanselle David L. Vander Meulen © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84166-5 - Jonathan Swift: Journal to Stella: Letters to Esther Johnson and Rebecca Dingley, 1710–1713 Edited by Abigail Williams Frontmatter More information the cambridge edition of the works of jonathan swift 1. A Tale of a Tub and Other Works 2. Parodies, Hoaxes, Mock Treatises: Polite Conversation, Directions to Servants and Other Works 3.–6. Poems 7. English Political Writings 1701–1711: The Examiner and Other Works 8. English Political Writings 1711–1714: The Conduct of the Allies and Other Works 9 Journal to Stella: Letters to Esther Johnson and Rebecca Dingley 1710–1713 10.
    [Show full text]
  • THE RIVALS Educator Resource Guide
    Photo by HMMM Productions All original material copyright © 2019 Seattle Shakespeare Company CONTENT THE RIVALS Educator Resource Guide Welcome Letter.....................................................................................1 Synopsis & Characters.........................................................................2 Biography of Richard Brinsley Sheridan..............................................4 Malapropism: A Verbal Blender of Words and Faces [Phrases]..........5 The Tradition of Dueling.......................................................................7 Our Production......................................................................................8 Pre-Show Reflection & Post-Show Discussion Questions.................10 Activities 1. Character Web......................................................................12 2. Romantic Ideals of Love.......................................................13 Production still of She Stoops to Conquer (2019) Photo by John Ulman All original material copyright © 2019 Seattle Shakespeare Company WELCOME Dear Educators, Thank you for joining us for Sheridan’s The Rivals! This is a hilarious play about the lengths we go to for love, and the deceptions we need to assume to be who The Rivals we want to be, or who other people want us to be. Student Matinees While on the surface this is a fun romp of a production, there are some Tues, Jan. 14th important themes to discuss with your students. Many of the characters in this play have very specific ideas of who they should be
    [Show full text]
  • The Rise of Standard English
    The Rise of Standard English Raymond Hickey, University of Duisburg and Essen John Walker (1732-1807) Thomas Sheridan (1719-1788) Robert Lowth (1710-1787) Samuel Johnson (1709-1784) Structure of talk • Background to the language concerns of the 18th century. • The main authors in 18th century language studies. • The extent to which these authors effected notions of standards afterwards, i.e. their legacy. • The “Standard English”debate today. 2 Early references to the speech of London as the emerging standard The language of the court in London came to be perceived in the late 16th and 17th centuries as a guideline for speakers from the provinces. Initially, this is a very benign type of prescript- ivism without the censure of provincial forms which was to develop in the 18th century. 3 John Hart (d. 1574) in An orthographie of English (1569) offers a reformed spelling of English so that ‘the rude countrie Englishman’can speak the language ‘as the best sort use to speak it’. George Puttenham (d. 1590) in The arte of English poesie comments that ‘After a speach is fully fashioned to the common vnderstanding, & accepted by consent of a whole countrey & nation, it is called a language’. He then proceeds to mention that he regards the prime form of this language as ‘the vsuall speach of the Court and that of London and the shires lying about London within lx. myles and not much aboue’ About a century later, Christopher Cooper in his Grammatica linguae anglicanae (1685) stated that he regarded London speech as ‘the best dialect’, the ‘most pure and correct’, but he was quite liberal towards variation: ‘Everyone pronounceth them (words) as himself pleases’.
    [Show full text]
  • 1 Sheridan and Women Marianna D'ezio Born Into a Family Whose
    1 Sheridan and Women Marianna D’Ezio Born into a family whose reputation and income were anchored in literature and the theatre, Richard Brinsley Sheridan’s predisposition to theatrical activity was not unexpected. His father Thomas Sheridan was an actor and a manager, and Sheridan himself had always been surrounded by talented women writers, from his mother Frances Chamberlaine—a gifted authoress and playwright, albeit her work and biography still lack a comprehensive critical study—to his first wife Elizabeth Linley, a singer who managed to make a living from her public performances and contribute to realizing her family’s financial independence. Furthermore, there was another society of women around Sheridan besides his family connections, comprising professional and amateurish playwrights who were pursuing their own way into the highly male-dominated arena of commercial theatres. Of the plays that premiered at Drury Lane during Sheridan’s part-ownership of the theatre and his father’s management in 1778–1781, twenty-six were written by women, including a whole generation of distinguished female playwrights like Hannah Cowley, Elizabeth Inchbald, and Elizabeth Griffith, as well as authoresses like Frances Burney who wanted to try their hand at writing for the stage.1 Official biographies of Sheridan have generally suggested that his role with regard to female theatrical productions was that of mentor.2 At the time of Frances Burney’s early attempts at writing for the stage, for example, when Sheridan had become the manager of Drury
    [Show full text]