Multilingualism in the Drama of Shakespeare and his Contemporaries.

Multilingualism in the Drama of Shakespeare and his Contemporaries -- Editorial page -- Title page -- LCC data -- Table of contents -- Contributors -- "If but as well I other accents borrow, that can my speech diffuse" -- 1. A crucible of languages -- 2. Further perspectives -- References -- Reading early modern literature through OED3 -- 1. OED3 -- 2. The neologism -- 3. The loan word -- 4. Methodology -- 5. Data and discussion -- 5.1 John Skelton (born c. 1460) -- 5.2 Sir Philip Sidney (born 1554) -- 5.3 George Chapman (born 1559/1560) -- 5.4 Christopher Marlowe (born 1564) -- 5.5 William Shakespeare (born 1564) -- 5.6 Thomas Nashe (born 1567) -- 5.7 Ben Jonson (born 1572) -- 5.8 John Dryden (born 1631) -- 6. Conclusion -- References -- Primary sources9 -- Other references -- Neighbor Hob and Neighbor Lob -- 1. Introduction -- 2. Educating language change -- 3. Renegotiating linguistic difference -- 4. Concluding note -- References -- Primary sources -- Other references -- 'Fause Frenche Enough' -- 1. Introduction -- 2. The nation: King Henry V and the French of England -- 3. The classroom: Henry V and language primers -- 3.1 Henry V, Agincourt and Liber Donati -- 3.2 Henry V, Hollyband's French Littelton (1591) and Eliot's Ortho-epia Gallica (1593) -- 4. "False Frenche" on the stage -- 4.1 The playwright's "false Frenche": How good was Shakespeare's French and does it matter? -- 4.2 The stage player's "false Frenche": Pseudo-phonetic orthography -- 4.3 "False French" and audiences -- 5. Concluding note -- Notes -- References -- Primary sources -- Dictionaries -- Other references -- Female multilingualism in William Shakespeare and George Peele1 -- 1. Introduction -- 2. Monolingual women in multilingual contexts -- 3. Code-switching women in Shakespeare -- 4. The exoticized other in Shakespeare.

5. George Peele's multilingual female characters -- 6. Concluding remarks -- Notes -- References -- Primary sources -- Other references -- 'Have you the tongues?' -- 1. Elizabethan Englishness -- 2. Re-forming identities -- 3. Multilingualism and The Two Gentlemen of Verona -- 4. Translation and Love's Labour's Lost -- 5. Conclusion -- Notes -- References -- Primary sources -- Other references -- Social stratification and stylistic choices in Thomas Dekker's The Shoemaker's Holiday -- 1. Introduction -- 2. Social norms in The Shoemaker's Holiday -- 3. The English language around 1600 and its use in The Shoemaker's Holiday -- 3.1 The second-person pronoun system in The Shoemaker's Holiday (1600) -- 3.2 The present indicative third-person singular suffix -th and -s in The Shoemaker's Holiday (1600) -- 4. The use of the Dutch language in The Shoemaker's Holiday -- 5. Conclusion -- Notes -- References -- Primary sources -- Other references -- Refashioning language in Richard Brome's theatre -- 1. Introduction -- 2. "Nothing but French all over" (The New Academy, 5.1.1066) -- 3. "The province of asparagus" (The Sparagus Garden, 3.2.441) -- 4. Northern dialect on stage -- 5. Concluding remarks -- References -- Primary sources -- Other references -- Interlinguicity and The Alchemist* -- 1. Vertical and horizontal philology: A theoretical context -- 2. The Biblical and Ovidian frames of The Alchemist -- 3. High Dutch and interlinguicity -- 4. Exterior tongues -- 5. Conclusion -- Notes -- References -- Primary sources -- Other references -- Afterword: -- Notes -- References -- Primary sources -- Other references -- Index.

Ben Jonson animates The Alchemist with an intersection of languages. In this moral satire, he captures the layered dialects, specialized vocabularies, and social desires of London and holds them up for view. This essay examines the play's negotiation of 'vertical' and 'horizontal' modes of translation, also with reference to Shakespeare's treatment of overlapping languages, and to the use of multiple languages in a contemporary Catholic treatise on translation, A Discoverie of the Manifold Corruptions of the Holy Scriptures. Jonson's conclusion is that the friction between languages offers opportunities for cheats to thrive onstage and off, and that the predominant language of this world is sin, from which only lucid repentance can 'translate' us. His satire may stand on godly ground, but his insight is also useful for the current study of translated and adapted literature, particularly Shakespeare.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.