{"id":80,"date":"2016-11-05T13:17:58","date_gmt":"2016-11-05T13:17:58","guid":{"rendered":"http:\/\/www.hebulstrode.co.uk\/?p=80"},"modified":"2016-11-05T14:26:23","modified_gmt":"2016-11-05T14:26:23","slug":"capturing-voices-from-the-past","status":"publish","type":"post","link":"http:\/\/www.hebulstrode.co.uk\/?p=80","title":{"rendered":"Capturing Voices from the Past"},"content":{"rendered":"

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?<\/span><\/span>\u00a0<\/span><\/span><\/p>\n

This has prompted\u00a0much discussion over the years, particularly\u00a0with 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 is often desperately short on laughs. Why should this be so? It would seem that this is largely down to shifts in the spoken form of the language, and the following discussion of how it has changed \u2013 featuring examples of lines from Shakespeare rendered in both Received Pronunciation and \u2018Original Pronunciation\u2019 \u2013 is both illuminating and entertaining. There is an earthy rusticity to Shakespeare\u2019s language in its originally accented form that is missing from its contemporary delivery which greatly enhances its comprehensibility, restoring missing rhymes and puns. It\u2019s well worth listening to: <\/span><\/span>http:\/\/www.realmofhistory.com\/2016\/10\/31\/listen-shakespeare-sounded-original-pronunciation\/<\/span><\/u><\/span><\/a><\/p>\n

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