This is some text about the ECEP database.
This reading was part of a presentation in the University of Sheffield's HRI Catalyse Series on 4th December 2017. The presentation was intended as a launch of the Eighteenth-Century English Phonology Database (ECEP) project. We decided to do this reading in order to 'bring to life' the database, to indicate possible applications, and, frankly, for light relief.
We chose this play for several reasons. It was and still is a popular comedy and continues to be widely performed. The author, Oliver Goldsmith, was Irish, as was Thomas Sheridan, one of the authors of pronouncing dictionaries used for ECEP. This play, and the scene chosen for the reading in particular, also sheds light on issues of social class in the late 18th-century that are implied in the evaluative comments on 'polite' versus 'vulgar' pronunciations found in the pronouncing dictionaries and registered in the database. Marlow is a young gentleman who is very inhibited in the presence of young ladies of his own class, but has no such inhibitions in his dealings with women of a lower social class. He has been sent into the country by his father, who hopes he will make the acquaintance of Miss Hardcastle with a view to marrying her. However, due to a mischievous trick on the part of her step-brother, Marlow is led to believe that the Hardcastle's house is an inn. Miss Hardcastle, seeing how tongue-tied Marlow is when introduced to her, takes advantage of this and masquerades as a barmaid in order to loosen his inhibitions, with more success than she had bargained for.
Immediately before this extract begins, Miss Hardcastle confides in her maid about her plans. When her maid asks whether Miss Hardcastle can successfully imitate a barmaid, the latter replies 'I know the bar cant'. In other words, she has an idea of how barmaids talk and is confident that she can imitate this. So, in this extract, we have two styles of 18th-century English pronunciation: the upper-class accent of Marlow, and Miss Hardcastle's performance of what she considers to be that of a lower-class woman.
We chose to base our reconstruction of these two styles of pronunciation on two main sources. For Marlow's pronunciation, which would have been the type recommended by the pronouncing dictionaries of the time, we used the dictionary whose date of publication was in the same year as the first performance of She Stoops to Conquer: William Kenrick's New Dictionary of the English Language (1773). For Miss Hardcastle's pronunciation in the guise of a barmaid, we used the comments from all the dictionaries in the ECEP database which marked pronunciation variants as 'vulgar' or associated with the lower classes. Such comments indicate that these pronunciations would have been known at the time to be markers of lower-class speech, so that a character like Miss Hardcastle would be likely to use these in order to pass as a barmaid.
Examples of these lower-class features are:
With regard to Marlow's pronunciation, you will notice certain features that differ from those of today's Received Pronunciation.
As you will see if you browse the ECEP database, there are many words for which different dictionaries recommend different pronunciations. Even within what was recommended as 'good’' pronunciation, there was change from the middle to the end of the century, and some variation between what was considered correct by different authorities. This is why we chose to base Marlow's pronunciation on just one dictionary. Reconstructing period pronunciation is always a matter of making the best use of the evidence available, especially when we have no audio-recordings to help us. Nevertheless, we hope that our reading of this extract from She Stoops to Conquer brings the voice of the eighteenth century to life for you.
As part of a special interdisciplinary webinar to mark the bicentennial of the death of poet John Keats, Ranjan Sen has collaborated in an exciting project in order to reconstruct Keats' London accent. The project was commissioned by the Keats-Shelley Memorial Association from the Institute for Digital Archaeology in Oxford, and the aim was to recite the poem
After some detective work and study of eighteenth-century pronouncing dictionaries, John Walker's (1809) edition of his
You can watch the webinar here, with Ranjan's contribution from minute 12 to 22, and the CGI Keast reading around 1:04. More on Bringing Keats (back) to life here
*With thanks to the University of Poitiers for giving us access to Walker's (1809) digital edition.