1. “Translate” the extracts into normal English.

STYLE VARIATIONS

Dialect

1. “Translate” the extracts into normal English.

2. Analyse the language features of speech (phonetic, morphological, etc)

3. What kind of author’s attitude does their speech reveal in each instance?

Mrs Bryant:	Time drag heavy then?
Stan;	Yearp time drag heavy. She do that. Time drag so slow, I get to thinkin’ it’s Monday when it’s still Sunday.Still, I had my day gal I say. Yearp. I had that all right.
Mrs Bryant:	Yearp. You had that an’ a bit more ole son. I shant grumble if I last as long as you.
Stan:	Yearp. I hed my day. An’ I’d do it all the same again, you know that? Do it all the same I would.
Mrs Bryant:	Blust! All your drinkin’ an’ that?
Stan:	Hell! Thaas what kep’ me goin’ look. Almost anyways. None o’ them young ‘uns’ll do it, hell if they will. There ent much life in the young ‘uns. Bunch o’ weak-kneed ruffians. None on ‘em like livin’ look, none on ‘em! You read in them ole papers what go on look, an’ you wonder if they can see. You do! Wonder if they got eyes to look around them. Think they know where they live? ‘Course they don’t, they don’t you know, not one. Blust! the winter go an’ the spring come on after an’ they don’t see buds an’ they don’t smell no breeze an’ they don’t see gals, an’ when they see gals they don’t know whatta do wi’ em. They don’t!

(Arnold Wesker, Roots)

Mrs. Goodall was a large woman with smooth-parted hair, a common, obstinate woman, who had spoiled her four lads and her one vixen of a married daughter. She was one of those old-fashioned powerful natures that couldn't do with looks or education or any form of showing off. She fairly hated the sound of correct English. She thee'd and tha'd her prospective daughter-in-law, and said:

'I'm none as ormin' as I look, seest ta.'

Fanny did not think her prospective mother-in-law looked at all orming, so the speech was unnecessary.

'I towd him mysen,' said Mrs. Goodall, ''Er's held back all this long, let 'er stop as 'er is. 'E'd none ha' had thee for my tellin'--tha hears. No, 'e's a fool, an' I know it. I says to him, 'Tha looks a man, doesn't ter, at thy age, goin' an' openin' to her when ter hears her scrat' at th' gate, after she's done gallivantin' round wherever she'd a mind. That looks rare an' soft.' But it's no use o' any talking: he answered that letter o' thine and made his own bad bargain.'

(D.H. Lawrence, Fanny and Annie)

In a kingdom over the hills and far away, there lived a young prince who was very full of himself. He was healthy, relatively handsome, and had had more than his fair share of happiness and comfort growing up. Yet he felt that he deserved something more. It was not enough for him to have been born into a life of parasitical leisure and to keep the masses firmly under the heel of his calfskin boot. He was also determined to perpetuate this undemocratic tyranny by marrying only a real, authentic, card-carrying princess.

His mother the queen encouraged her son’s obsession, despite the obvious risks of haemophiliac or microcephalic grandchildren. Many years earlier, after a period of inadequate wellness, his father the king had achieved corporal terminality. This lack of a strong male presence gnawed at the prince on a subconscious level, and no amount of weekend retreats and male bonding with other young dukes and barons could relieve this anxiety. His mother, for her own codependent and Oedipal reasons, did not bother to change or correct his selfish notions of unattainable perfection in a spousal lifemate.

In his quest for the perfect partner, the prince travelled far and wide, looking for someone to enslave in matrimony.

(James Finn Garner, The Princess and the Pea)

Medium

1. Will you perceive the extracts as written or oral speech or a mixture of both? If a mixture, mark the points of change.

2. Which linguistic features are responsible for the kind of perception above?

You must go back with me to the autumn of 1827.

My father, as you know, was a sort of gentleman farmer …

(Anne Brontë, The Tenant of Wildfell Hall)

`I want to see what you do,' said Vic. `I'm willing to learn. I've been reading those books you mentioned, Jane Eyre and Wuthering Heights.'

Robyn could not resist the bait. `And what did you think of them?'

`Jane Eyre was all right. A bit long-winded. With Wuthering Heights I kept getting in a muddle about who was who.'

`That's deliberate, of course,' said Robyn.

`Is it?’

'The same names keep cropping up in different permutations and different generations. Cathy the older is born Catherine Earnshaw and becomes Catherine Linton by marriage. Cathy the younger is born Catherine Linton, becomes Catherine Heathcliff by her first marriage to Linton Heathcliff, the son of Isabella Linton and Heath- cliff, and later becomes Catherine Earnshaw by her second marriage to Hareton Earnshaw, so she ends up with the same name as her mother, Catherine Earnshaw.'

`You should go on "Mastermind",' said Vic.

`It's incredibly confusing, especially with all the time- shifts as well,' said Robyn. `It's what makes Wuthering Heights such a remarkable novel for its period.'

`I don't see the point. More people would enjoy it if it was more straightforward.'

`Difficulty generates meaning. It makes the reader work harder.'

(David Lodge, Nice Work)

Before I came to live here, she [Nelly Dean] commenced—waiting no farther invitation to her story—I was almost always at Wuthering Heights; because my mother had nursed Mr. Hindley Earnshaw, that was Hareton's father, and I got used to playing with the children: I ran errands too, and helped to make hay, and hung about the farm ready for anything that anybody would set me to. One fine summer morning—it was the beginning of harvest, I remember—Mr. Earnshaw, the old master, came down-stairs, dressed for a journey; and, after he had told Joseph what was to be done during the day, he turned to Hindley, and Cathy, and me—for I sat eating my porridge with them—and he said, speaking to his son (…)

[2 pages below] He seemed a sullen, patient child; hardened, perhaps, to ill—treatment: he would stand Hindley's blows without winking or shedding a tear, and my pinches moved him only to draw in a breath and open his eyes, as if he had hurt himself by accident, and nobody was to blame. This endurance made old Earnshaw furious, when he discovered his son persecuting the poor fatherless child, as he called him. He took to Heathcliff strangely, believing all he said (for that matter, he said precious little, and generally the truth), and petting him up far above Cathy, who was too mischievous and wayward for a favourite.

So, from the very beginning, he bred bad feeling in the house; and at Mrs. Earnshaw's death, which happened in less than two years after, the young master had learned to regard his father as an oppressor rather than a friend, and Heathcliff as a usurper of his parent's affections and his privileges; and he grew bitter with brooding over these injuries.

(Emily Brontë, Wuthering Heights)

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