Dictionaries and Rules

These were essentially growing pains for the standard language, which con­tinued to gain ground in the sixteenth and seventeenth centuries, abetted by a number of developments: the ever-increasing dominance of London and the Southeast, the growth in social and geographic mobility, and in particular the introduction and spread of print, which led both to higher levels of lit­eracy and schooling and to the gradual standardization of English spelling. But even as this process was going on, other developments were both creating new distinctions and investing existing ones with a new importance. For one thing, people were starting to pay more attention to accents based on social class, rather than region, an understandable preoccupation as social mobility increased and speech became a more important indicator of social back­ground. Not surprisingly, the often imperfect efforts of the emerging middle class to speak and dress like their social superiors occasioned some ridicule; Thomas Gainsford wrote in 1616 of the "foppish mockery" of commoners who tried to imitate gentlemen by altering "habit, manner of life, conversa­tion, and even their phrase of speech." Yet even the upper classes were paying more attention to speech as a social indicator than they had in previous ages; as one writer put it, "it is a pity when a Noble man is better distinguished from a Clowne by his golden laces, than by his good language." (Shakespeare plays on this theme in Henry IV [3.1.250, 257ЎX58] when he has Hotspur tease his wife for swearing too daintily, which makes her sound like "a comfit-maker's wife," rather than "like a lady as thou art," who swears with "a good mouth-filling oath.")

Over the course of the seventeenth and eighteenth centuries, print began to exercise a paradoxical effect on the perception of the language: even as it was serving to codify the standard, it was also making people more aware of variation and more anxious about its consequences. This was largely the result of the growing importance of print, as periodicals, novels, and other new forms became increasingly influential in shaping public opinion, together with the perception that the contributors to the print discourse were drawn from a wider range of backgrounds than in previous periods. As Sam­uel Johnson wrote: "The present age...may be styled, with great propriety, the Age of Authors; for, perhaps, there was never a time when men of all degrees of ability, of every kind of education, of every profession and employment were posting with ardor so general to the press."

This anxiety about the language was behind the frequent eighteenth-century lamentations that English was "unruled," "barbarous," or, as Johnson put it, "copious without order, and energetic without rule." Some writers looked for a remedy in public institutions modelled on the French Academy. This idea was advocated by John Dryden, Daniel Defoe, Joseph Addison, and most notably by Jonathan Swift, in a 1712 pamphlet called Ў§A Proposal for Correcting, Improving, and Ascertaining(i.e. fixing) The English TongueЎЁ, which did receive some official attention from the Tory government. But the idea was dropped as a Tory scheme when the Whigs came to power two years later, and by the middle of the eighteenth century, there was wide agreement among all parties that an academy would be an unwarranted intervention in the free conduct of public discourse. Samuel Johnson wrote in the Preface to his Dictionary of 1775 that he hoped that "the spirit of English liberty will hinder or destroy" any attempt to set up an academy; and the scientist and radical Joseph Priestly called such an institution "unsuitable to the genius of a free nation."

The rejection of the idea of an academy was to be important in the sub­sequent development of the language. From that time forward, it was clear that the state was not to play a major role in regulating and reforming the language, whether in England or in the other nations of the language com­munity-a characteristic that makes English different from many other lan­guages. (In languages like French and German, for example, spelling reforms can be introduced by official commissions charged with drawing up rules which are then adopted in all textbooks and official publications, a procedure that would be unthinkable in any of the nations of the English-speaking world) instead, the task of determining standards was left to private citizens, whose authority rested on their ability to gain general public acceptance.

The eighteenth century saw an enormous growth in the number of gram­mars and handbooks, which formulated most of the principles of correct English that, for better or worse, are still with us today-the rules for using who and whom, for example, the injunction against constructions like "very unique," and the curious prejudice against the split infinitive. Even more important was the development of the modern English dictionary. Before 1700, English speakers had to make do with alphabetical lists of "hard-words," a bit like the vocabulary improvement books that are still frequent today; it was only in the early 1700s that scholars began to produce anything like a comprehensive dictionary in the modern sense, a process that culmi­nated in the publication of Samuel Johnson's magisterial Dictionary of 1755. It would be hard to argue that these dictionaries did much in fact to reduce variation or to arrest the process of linguistic change (among the words that Johnson objected to, for example, were belabor, budge, cajole, coax, doff, gambler, and job, all of which have since become part of the standard lan­guage). But they did serve to ease the sense of linguistic crisis, by providing a structure for describing the language and points of reference for resolving disputes about grammar and meaning. And while both the understanding of language and the craft of lexicography have made a great deal of progress since Johnson's time, the form of the English-language dictionary is still pretty much as he laid it down (in this regard, Johnson's Dictionary is likely to present a much more familiar appearance to a modern reader than his poetry or periodical essays.)

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