Capturing Voices from the Past
One thorny challenge for the writer of historical fiction is how to capture and convey the language of a particular time and place in history, or indeed, whether to bother at all. To what extent should an author seek to reproduce past patterns and modes of speech, bearing in mind that they should be comprehensible and engaging for the modern reader?
There has been much discussion over the years with respect to the language of Shakespearian English, for it is striking to any speaker of English today that many of his sonnets do not rhyme, and his comedy often leaves one cold. Why should this be so? It is largely down to shifts in the spoken form of the language, and the following discussion of how it has changed – featuring examples of lines from Shakespeare rendered in both Received Pronunciation and ‘Original Pronunciation’ – is both illuminating and entertaining. There is an earthy rusticity to Shakespeare’s language in its originally accented form that is missing from its contemporary delivery which greatly enhances its comprehensibility, restoring missing rhymes and puns. It’s well worth listening to: http://www.realmofhistory.com/2016/10...
There has been much discussion over the years with respect to the language of Shakespearian English, for it is striking to any speaker of English today that many of his sonnets do not rhyme, and his comedy often leaves one cold. Why should this be so? It is largely down to shifts in the spoken form of the language, and the following discussion of how it has changed – featuring examples of lines from Shakespeare rendered in both Received Pronunciation and ‘Original Pronunciation’ – is both illuminating and entertaining. There is an earthy rusticity to Shakespeare’s language in its originally accented form that is missing from its contemporary delivery which greatly enhances its comprehensibility, restoring missing rhymes and puns. It’s well worth listening to: http://www.realmofhistory.com/2016/10...
No comments have been added yet.
