Etymological Novelties

The people of the Regency were people of words, much more than we of the current day are. I think that we, despite our literacy rates and our love of reading, are very much people of pictures.

A picture is worth a thousand words, the cliche goes. But in the Regency pictures were harder to come by than in our present day. Images, photos, graphics, paintings surround us all, every day, at school, work, and leisure. In the Regency one could, if wealthy, collect and admire paintings. One could stand before the print shop window and enjoy the prints displayed, and even purchase one, funds permitting. Magazines and journals at the beginning of the 19th century carried few pictures, almost none in 1800, and three or four per issue by 1815. Books of engravings became increasingly available throughout the Regency, but it was words that entertained for the most part.

Regency folk enjoyed their words. In July of 1812, the Repository of Arts, Mr. Ackermann's popular journal, published an item--part of an on-going series--titled Etymological Novelties. The words listed are purported to be defined, with their history and evolution delineated, but the explanations are jests, clever convolutions of meaning and message. Some approach logic, some are what we might call 'lame', and some are witty by the standards of any age. Here are some examples:

Extravagance, originally extra-vagrants, from its adding so much to the community of beggars.

Marvellous. Wonders were originally said to be marble-ous, because they made folks stare and roll their eyes about.

Ironical, from ire on I call, as persons using that figure of rhetoric which is termed irony, certainly incur the danger of exciting the ire of those who are the objects of it.

Gazette, a species of newspaper containing information which people are always extremely eager to gaze at.

Maid. This is a playful contradiction--maid before marriage, no longer maid when married, and yet made when well married.

Some of the 'etymological' comments are pointed commentaries on current conditions and politics:

Poor-laws. This appellation was given as a reproof to the legislature of an enlightened country, on account of the defectiveness of a certain part of its laws, in contradistinction to the justice and wisdom of the rest of the code of jurisprudence. The continuance of such a system is a reproach to those whom Providence has placed above wretchedness and poverty. Poor laws, indeed!

Justice, a quality eminently displayed by the Greeks, Romans, and others, where the virtues of the camp superseded all feeling, where fathers adjudged their children to death, owning no relations but those which bound them to their country, and banishing from their hearts every spark of mercy; when they were considered to be neither better nor worse than just ice.

The Regency fascination with words is displayed in many books that were published during the period.

The Classical Dictionary of the Vulgar Tongue, first published in 1785, demonstrates the humour and facility with language that even the very poor revealed. Of course, a great deal of the wit of the book comes from its author, Captain Francis Grose, but the originators of the slang readily show their facility with words. Pierce Egan's edition of the Dictionary includes his own ready wit and scurrilous definitions. His other books affirm his skill with the written word.

The Miseries of Human Life written by James Beresford in 1805 is another example of the Regency delight in words. In describing the afflictions of the daily round upon sensitive souls, Beresford illustrated a dexterity with language that Regency readers highly approved. Walter Scott himself praised its "wit, ... humour and perfect originality."

In reading Regency periodicals, I am sometimes taken aback by the density of the text, the unrelieved torrent of words. I long for pictures, and indeed, I break up my own torrent of words--my blog--with illustrations. The people of the Regency looked for the words first, and enjoyed the pictures if and when they could be found.

'Til next time,

Lesley-Anne

Love's Vocabulary

Valentine's Day is coming, and so it seems appropriate to discuss 'Love's Vocabulary'. It is a common phrase; a Google search will bring up hundreds of results. But one writer in the early 19th century had an interesting take on the idea, and wrote elegant, scathing definitions of the words that describe the participants, the emotions, and the activities involved in the romantic state we call 'love'.

Sun -- All comparisons of one's mistress to the sun, the stars, etc. are out of date. They are all so hackneyed, that even poetry rejects them. One modern poet, indeed, has ventured to compare his mistress to the sun, because, like him, she was a common benefit, and shone on all alike."

We don't know the name of the writer of this brief, clever glossary. It was first published, I believe, in the April and May issues of the Lady's Monthly Museum for 1801. Portions appeared a year later in The Lady's Magazine and Musical Repository, without any attribution. Then in 1811, selections from the same essay were published in an American magazine, The Lady's Miscellany and Weekly Visitor.

Women are not always cast in a good light:

Coquette - One who wants to engage the men without engaging herself, whose chief aim is to be thought agreeable, handsome, amiable; though a composition of levity and vanity.

But neither are men:

Danglers - An insipid tribe of triflers, with whom the women divert themselves, in perfect innocence, when they have nothing better to do. They are in a class of beings beneath their monkeys, parrots, and lap-dogs.

The entries speak of manipulation:

Absence - "How dear is my absence from you going to cost me! How tedious will the hours seem!" This signifies precisely, "If I was always with you, my stock of fine speeches would be soon exhausted. I should have nothing new to say to you: when I see  you again, you will like me better."

And of pain:

Cruelty - This expression does no so much signify the insensibility of a mistress, as the impatience of a lover.

And the writer seems to have a particular point to make about:

Matrimony - A term, which is the stale topic of ridicule to witlings, libertines, and coxcombs; and a term of the utmost respect among the virtuous and sensible. It is, like patriotism, the most noble motive, and the most infamous pretext. It is the paradise of the wise, and the hell of fools. At present, the fashion is, properly speaking, to commit matrimony; since on the footing that things are, it is rather a crime than a virtue; since, often, no nobler a view determines to it, than sends a highwayman to Hounslow heath; to wit, ---the taking of a purse. Sordid interest is now the great master of ceremonies to Hymen, of which it pollutes the sanctuary, and dishonours the worship. Parents who sacrifice their children to it are worse than the Ammonites, who burned theirs in honour to Moloch; at least the pain of those wretched victims was momentary; whilst the pain of those sold for interest is a lingering one, and often as sure as death.

I hope you have enjoyed these excerpts from the 'Vocabulary' of this astute, insightful writer; I wish we knew his/her name. I wonder if it is one we would recognize.

Next week, Diane Gaston, award-winning author of Regency Historical Romance, will visit to talk about 'Regency Army Officers'. She will also be giving away an autographed copy of  the first in her series, Gallant Officer, Forbidden Lady, to a randomly chosen commenter. Please join us then!



'Til next time,

Lesley-Anne

A Fashionable Glossary of 1819

The New Monthly Magazine and Universal Register was a British journal published from 1814 to 1884. It combined news from around the world and Britain with a wide variety of articles, and some humourous and pointed 'letters to the editor'.

The August 1, 1819 issue of the magazine has a number of interesting articles: 'Philosophy of Domestic Economy', 'A Tiger and Lion Hunt in Hindostan', 'Remarks on the Southwark Bridge', among others.

One of the most interesting however is a tongue-in-cheek look at the language currently in use by the upper classes of society. The writer addresses his remarks to Mr. Editor and shows, by his biting definitions, his disdain for the current morals and modes of the beau monde.

 

I wish we knew the author of this wickedly funny work. It gives us a wonderfully acute look into the world of the beau monde by a contemporary.

Next week, Sheri Cobb South, award-winning author of  Regency romances, will visit to talk about the Regency in Alabama and its intriguing connection to Napoleonic France. Sheri's writing, including the John Pickett series of Regency mysteries, has been interrupted by a cross-country move from Alabama to Colorado, but her Regency romances, released in electronic format by Belgrave House, are now available for Amazon Kindle.

Until next time,

Lesley-Anne

Language, Dialogue and Dialects--Shropshire

Enabling characters to speak properly--to reflect their origins, their status and their natures--is a challenge for every writer. In a country such as Britiain with a wide variety of regional dialects, it is a particular test. I am a Canadian and so, in many ways, it is presumptuous of me to write stories set in Britain and to think, without extensive experience of the country, that I can make my settings authentic. But I do my best, and I work hard at research. Language is part of that effort.

Stories set in London among the upper classes are no problem. (I have spoken elsewhere of my concern with authentic period language.)The beau monde all spoke much the same and the writer needs only to reflect individual speech patterns in dialogue. When a story moves beyond the boundaries of London and the upper class however, interesting language possibilities occur. The writer of course has to find a balance of dialect use--too much annoys, confuses, and ultimately alienates the reader. But a little, just a touch, can add an authenticity and charm to a story that nothing else can provide. The accent can be elusive, hard to capture, but the archaic, location-specific words themselves have a fascination all their own.

When I wrote 'The Disadvantaged Gentleman' I studied the language of Shropshire, and I found a wonderful book. Written in 1879, the "Shropshire Word-Book; a Glossary of Archaic and Provincial Words etc. used in the county" by Georgina F. Jackson, is a treasure.        

Some words just beg to be used in a story:

"Tan - to fret or to worry"

"Rozzen-in - to set to work in a determined, vigorous manner"

"Fore-end - the beginning of a week, month or year"

"Daggly - wet or showery"

"Ovil - conceited, supercilious"

"Daffish - shy and bashful"

Old words are, for the most part, highly evocative and in many cases ungrammatical. One or two of these words in the mouth of an appropriate character will bring an authenticity to the story that nothing else will.

The "Shropshire Word-Book" is available for download from Google Books.

(Gray's 1824 map of Shropshire, left)

"English Accents and Dialects : An Introduction to Social and Regional Varieties of English in the British Isles" by Trudgill and Hughes looks like a very useful reference.

BBC has an excellent page of audio dialect references called Voices, and for a more scholarly take on British dialects, go here.

I just read a historical fiction book that used at least twice the expression 'how come'. That is poor contemporary English, and that it does not belong in a book set in Ancient Egypt goes without saying. The language must be right to convince the reader of your setting. And if you can add a charming old word or two, so much the better.

Next week, Regency author and researcher Joanna Waugh will visit us. Visit her website of resources for Regency readers and writers at http://www.joannawaugh.com/. She'll be discussing the Bath Assembly Rooms. I hope you will join us.

'Til then,

Lesley-Anne

The Language of Regencies

I love the language of Jane Austen, Georgette Heyer, and other fine traditional Regency writers. I love the odd twists to our familiar English. I love the archaic words, the unusual constructions, and the long sentences of the best Regency writing.

What really bothers me about Regency historicals, and inexperienced Regency writers, is their lack of that authentic-sounding Regency voice. Recently a reviewer from LASR(http://www.longandshortreviews.com/LASR/index.htm) said of my book The Education of Portia, "I love classic literature especially that of Jane Austen and this book is definitely akin to that brand of story from the characters, plot and language. This is a historical novel that will not throw you out of the time period. You might just believe you are actually reading a period piece." That is the finest compliment I have ever received. That is what I try to do--I want the reader to believe they are in the Regency period.

Names are a pet peeve of mine--authors have to do their research and use names of the period. Heroines named Cindy or Heather make me crazy, as do heroes called Tyler or Cash. Don't laugh--it's been done. And writers really need to be aware of the change of gender in names--Courtney, Evelyn and Lindsay used to be male names. So if they are used in a Regency romance story, they should be male characters.

Out and out anachronisms are inexcusable in my opinion. Words like 'cuppa', 'monocle', 'guv', and 'sassy' have no place in a Regency. Why can't authors do their homework? Words like that jerk the reader right out of the period, and sometimes they don't even know why. And some of the biggest names in Regency historical writing are at fault in this.

It's the subtleties of the Regency language that I enjoy using. Authentic language creates authentic voice. It is essential to creating a believable Regency world. Reading Jane Austen is always a good primer for the way Regency folk used English. I have found two other very interesting books as well.

"Nineteenth Century English" by Richard W. Bailey I have had for some time. It's from the University of Michigan Press, 1996, ISBN 0-472-08540-9. It's a fascinating book with which I haven't spent enough time. With chapters like 'Sounds', 'Words' and 'Slang' he covers the full range of language.

The other book "Jane Austen's English" I just recently came across in my local library. It's an older book, part of a series called 'The Language Library' from Andre Deutsch Ltd, 1970, ISBN 0-233-96228-x It is terrific, and utterly fascinating. The author is K. C. Phillipps and he/she does a great job of presenting information under the headings of 'Vocabulary', 'Sentence Structure' and 'Modes of Address'. Plentiful quotes from J.A.'s books are compared with modern English and explained; it's a bit scholarly in places, but generally very readable.

I will keep throwing books with pathetic Regency voice against the wall. And I will keep striving to use the most authentic Regency language I can. You can probably tell I feel deeply about it.

Until next time,

Lesley-Anne