Showing posts with label Edward I. Show all posts
Showing posts with label Edward I. Show all posts

Thursday, 25 July 2019

The History of English Part II: From Conquest to Printing Press

I'm currently writing a story set in the aftermath of the Battle of Hastings. One of the immediate changes must have been the language barrier which was surely constructed. Or was it?

The first part of my story of English (see HERE) concluded with the coming of the Normans, and a tale from the 12th century sums up what happened after the Normans settled. A local priest witnessed a miracle, where after the laying on of hands, a mute man was cured and was thereafter able to speak English and French. The priest was resentful. Brother William, he said, had laid hands on this man and instantly he could speak two languages, whereas he, the local priest, had to remain dumb in the presence of the bishop. This priest, it transpired, knew little Latin, and no French.


A page from the Anglo-Saxon Chronicle

In 1154, the English monks who had written the Anglo-Saxon Chronicle (established by Alfred the great) put down their pens. French was the language to speak, and Latin was used for writing and remained the principal language of religion and learning. A visitor from another planet would assume that English disappeared, to be replaced permanently by French.

However, we know this is not so.

In a document from c.1100, Henry I addresses “All his faithful people, both French and English.” Orderic Vitalis (1074-c.1142), an historian born of a Norman knight and an English mother, complained when he was sent to a monastery in Normandy that he heard “A language [French] that I did not know.”

Imagine a minor Norman knight being given a small manor in the English countryside. Surrounded by English-speaking ‘natives’, he would have to pick up a fair amount of English if he wished to be understood.

Perhaps we can also thank ‘Bad’ King John for the survival of the English Language. His loss of the French territories forced the nobility to choose one or the other. “My brother Amaury” said Simon de Montford, “released to me our brother’s whole inheritance in England, provided that I could secure it; in return I released to him what I had in France.” In 1244 the king of France declared that, “As it is impossible that any man living in my kingdom, and having possessions in England, can competently serve two masters, he must either inseparably attach himself to me or to the king of England.”

King John

In the 1230s, Henry III had become the first king of England since 1066 to give distinctively English names to his sons – Edward and Edmund. The eldest son, Edward I, was very conscious of his Englishness, and French gradually became an acquired language. Documents began to be written in English again and during the 100 Years War there was a massive impetus to speak English. Church sermons, prayers and carols were all expressed in English. During the Peasants’ Revolt in 1381, Richard II spoke to the peasants in English.


But English was now what we term Middle English (ME) – a written record of what had been happening for a while in spoken English. An example of how the language was changing is the case of the letter y. In Old English (OE) it represented a short vowel, written by French scribes as u. The OE word mycel became ME muchel, which became modern much. When y stood for a long vowel it was written by the French scribes as ui. So the OE fyr became the ME fuir and the modern fire. This sound, though, was pronounced differently in different parts of the country, sometimes representing the i in kin, but in Kent and parts of East Anglia it was more like the e in merry. In the west it was the oo in mood, but spelt with a u. So the OE for kin, cyn, could be kyn, ken, or kun.

The OE byrgen had ME variants birien, burien, berien and became our modern bury, using the Kentish pronunciation berry, yet busy has the western spelling but is pronounced as the London/E Midlands bizzy.

The five main speech areas – Northern, West and East Midland, Southern, and Kentish are similar to contemporary English speech areas.

The triangle of Oxford, Cambridge and London shared the same kind of English, which may be said to have become the basis for Standard English of the modern age.

Geoffrey Chaucer

London English came to be exemplified by one man: Geoffrey Chaucer. Choosing to write in English, he brought about the rebirth of English as a National Language. One line from his Troilus and Criseyde shows the journey of the language up to that point:

Criseyde says to Troilus: "Welcome, my knight, my pees, my suffisance."

Welcome, my, and knight, are all English words, although the original OE cniht meant boy, before it became loaded with French military connotations. Pees (peace) is one of the earliest words to come with the conquest, replacing the OE grith. Suffisance, an overblown synonym for satisfaction, is from French, via Latin.

Chaucer’s time also saw another monumental change, with the emergence of surnames. People began to be associated with where they lived (Brooks, Rivers, Hill, and Dale) or their occupation (Butcher, Hunter, Glover, Sadler, Miller, Cooper).


Chaucer wrote in English, but the official language of government was still, for the time being, French. Henry V became the first English king since Harold to use English in official documents and, in the summer of 1415, when he crossed the Channel to fight the French, the first letter he dictated was, symbolically, written in English.


Chaucer Manuscript

English spelling is confusing, as we explored last time, but if you wonder why head doesn't sound like heat, or why steak doesn't rhyme with streak, and some doesn't rhyme with home, you can blame the Great Vowel Shift. Between roughly 1400 and 1700, the pronunciation of long vowels changed. Mice stopped being pronounced meese. House stopped being pronounced like hoose. (Although there is an area near Sheffield where it is pronounced arse*.) Some words, particularly words with ea, kept their old pronunciation. Northern English dialects were less affected.

It might reasonably be argued that in some ways the regional dialects of the north remain closer to the original OE or even Old Norse (ON). Melvyn Bragg (A Cumbrian-born broadcaster and writer) overheard someone in a Scandinavian restaurant proclaim “As garn yam” (I’m going home.) To this day, inhabitants of Cumbria would understand this. Cumbrian vowel sounds probably did not shift to the same extent, so that we might still hear someone at Windermere telling us “I’m aboard a boat I bought about a week ago” with vowel sounds that make it seem more like, “As aboard abort about a boot a week sin.”

In other areas of the country, use of words typifies dialect. In the east of England, particularly Norfolk, the word that replaces it at seemingly every opportunity. “Thank you for bringing that book back, I’ll put that back on the shelf.” “That’s now raining.” “That’s a cold wind in the east; that don’t go round you, that go right through you.”

But I digress. English spelling was about to be not standardised, but dictated, by the printers. And here we come back to those spelling anomalies which I mentioned in more detail in Part I.

Ever wondered about the silent middle of words like night and right? In OE, the letter h was used for words like ham (home) and niht (night). This puzzled the French scribes, who couldn’t use a g, which was already in use, nor h, for the same reason. So they compromised with a gh to denote the sound. Although the pronunciation of this sound was dying out (it’s still in use in Scotland nicht/night) the spelling had become established and, crucially, William Caxton used it. His first printed book has a preface dedicated to Philip, Duke of Burgundy, whom he describes as a “Ryght noble, gloryous and myghty prince.”
Brut Chronicle, printed by Caxton

Gradually, spelling was falling prey to rules, although it had some way to go. And while French did not ‘take over’, its influence on spelling is clear. OE had a word sinder, meaning the residue left by metal in a furnace, the French had cendre, meaning ashes, and the two fused to become the modern word, cinder.

By the time printing arrived, in the 1470s, the above-mentioned Great Vowel Shift was well underway. Caxton himself lamented the variety of spelling and pronunciation: “And certainly our language varyeth far from that which was used and spoken when I was born.” With the arrival of printing came a more systemised way of using punctuation marks, but spelling was still quite varied. What printing did do, however, was sound the death knell for the OE letters ‘thorn’ (þ) and ‘eth’ (ð) and ‘yogh’ (Ȝ). Spelling might not yet be standardised, but the alphabet was.


*The Arse that Jack Built - BBC Radio 4

Part I: The Early History of English

Further Reading:
A Little Book of Language – David Crystal
Spell It Out – David Crystal
The Story of English – McCrum, Cran & MacNeil
Whatt Fettle Mun: A Celebration of Cumbrian Dialect – T Barker
Broad Norfolk - J Mardle
A Dictionary of Cumberland Dialect – Richard LM Byers
Concise Oxford Dictionary
Wordcraft – S Pollington

Find me at anniewhiteheadauthor.co.uk
And on Amazon


[A version of this article originally appeared on the EHFA Blog]

Sunday, 13 September 2015

Televising the past - truth or fairy tales?

How much does the 'story' part of history matter?


If you are going to teach history you need to teach the facts, right? Films and TV dramas that mess with those facts are irresponsible, misleading and wrong. Right?  That 'awful film' Braveheart that got the Battle of Stirling Bridge so badly wrong - removing the bridge from the retelling - and that terrible series The Tudors which didn't even bother to slap a ginger beard on Jonathan Rhys Meyers. Tut tut. This will never do.


image - picturespider.com

Except ...


Well, how about going back to the beginning - and no, I don't mean pre-history - to take a look at how history should or shouldn't be taught in schools.


Richard Kennett, teacher and contributor to BBC Radio 4's Making History wrote insightfully in History Today magazine: "Narrative at school is often a dirty word ... as teachers we scrawl ... 'stop telling the story' in the margins of essays as if this was an insult to history." He went on to say, "Children love a story and what makes history great is that these are stories that actually happened. Tell your students about the murder of Thomas Becket in 1170. Four knights entering Canterbury Cathedral and lopping off the head of an archbishop. What more could you ask for to grab the attention of a class?"


image - guardian.com

So, does it matter if that story deviates a little from the truth?

The strange thing about story-telling, when it comes through the medium of film or TV, is that by masking the facts one can sometimes interest viewers sufficiently to lead them to discover the truth:


Let's go back to that terrible series The Tudors. Perhaps I'm an equally terrible parent but I allowed my youngest child, then aged about 12 or 13, to watch it. She loved it; initially, I suspect, because she was rather taken with the aforementioned Mr Rhys Meyers, and possibly the equally fine Henry Cavill as Suffolk. When we took a family holiday to Ireland she was keen to see some of the locations used for filming, such as Kilruddery House, pictured below



blogger's own photo

but she was equally interested when we visited places which were associated with historical characters



blogger's own photo

such as Ormonde Castle and Manor House, above. Here, she learned how Francis Bryan, 'the one with the eye patch', married Lady Joan Fitzgerald, widow of the 9th Earl. Okay, so apparently the dating of his arrival at court and the appearance of the eye patch were a little wonky (pun intended), but hey, she knew who he was. The series brought my daughter to explore the history and associations with the houses we saw in Ireland. When I then quietly explained that Henry didn't look like that, and that he had two sisters, not one - she accepted it, and amended her 'knowledge' accordingly.


So what about Braveheart? It's all wrong, wrong wrong. The battle was on a bridge, not in a great big field. He's depicted having an affair with a princess who was actually only about ten when he was executed. He was a lowlander, not a highlander, so he wouldn't have worn the plaid etcetera etcetera.



image - thedennisjonestumblr.com

BUT - if you get that Edward I was trying to smash the Scots, if you get that Wallace 'succeeded at Stirling, failed at Falkirk', should we get too hung up? I happen to think that the film offered a realistic view of how the world looked at that time, how bloody and thunderingly loud the battles were and how chaotic the business was of the Scottish succession in this period. Such images surely serve to give people a better idea of history than none at all? 


Ian Mortimer, author and historian, makes the argument that academic debates are but a small part of history and that "The vast bulk of history lies elsewhere ... in the biographies and general history books. It lies in the television programmes that bring key themes to the attention of millions overnight."

The Braveheart film spawned many serious documentaries detailing what is known about Wallace's life, which surely reached a larger audience than they would have done had the film not been made.


But how far can you go to make it a good story before it deviates and stops being history? I'm thinking immediately of the film A Knight's Tale - but, if it gets people interested in Chaucer by thinking he looked like Paul Bettany...

My A levels studies of Bismarck and the unification of Germany were much enhanced by my notion that Bismarck looked like Oliver Reed, who played him in the Flashman film.  (And I can't help wondering how more recent students will have enjoyed studying the Napoleonic era now that they can picture Richard Sharpe charging around capturing Eagles). Sharpe was fictional, but boy can we all now picture what the battles of the Peninsular War looked like...


Probably one of the most earnest historical films was Mary Queen of Scots which was made in 1971 and starred two of the most talented and respected actresses of their generation: Glenda Jackson and Vanessa Redgrave. Yet even here, there was an erroneous scene depicting the two queens meeting, which has never been proven to have happened. Did it spoil my learning or understanding? Nope.


Some years ago I visited Dover castle at the beginning of a project to redecorate some of the rooms in the Great Tower. Now it's finished, and they depict how these rooms would have looked at the time of Henry II. 


image - English Heritage

Better, perhaps, to reconstruct, to avoid the lament which my own children chanted regularly when we were on holiday: "Not another castle, please, Mummy." I still recall their glee when we went to one that "Actually has a roof on it!" How much better it is for children to 'see' what the past might have looked like.

When I was a child, a joke, (admittedly a bad one) had a mother lemming asking her child, "If your friends asked you to jump off a cliff, would you?" Now we know that lemmings don't have suicidal tendencies, but it's a bit mealy-mouthed to point it out and spoil the joke. Sometimes we have to go with the accepted 'truth', the one that engages people, gets them interested.




Susannah Lipscomb, Convenor for History and Senior Lecturer in Early Modern History at the New College of the Humanities, London recently remarked : "As a Tudor historian I am bothered slightly less by the fact that the TV drama The Tudors had a tendency to conflate characters, rearrange historical events and compress time than by the underlying conviction that, if you can strip away all the guff about faith and politics and honour, you will discover that Henry VIII, his six wives and his ministers were really secularists with modern ideas about sexuality."

She went on to say: "But all these forms of history as entertainment share an ability to dust the discipline down: to stimulate viewers to a sense that the past was as vivid, vibrant and dynamic a place to live in as that depicted on our screens and that the issues our ancestors grappled with were as urgent to them as our social, political, spiritual and romantic lives are to us today. If they achieve this, we need not be snooty."


I think she's right.  As an educator, I am thrilled if my small charges take an interest in a new topic. If they get it a bit 'wrong', we don't criticise; we applaud their enthusiasm. If a partly inaccurate film or TV series gets it a bit 'wrong' but sparks an interest and sets off a pursuit of learning, I think that's probably okay too.