Оксана Галайбіда, Єлизавета Нетеча
(Кам’янець-Подільський національний університет імені Івана Огієнка)
LINGUISTIC FEATURES OF TRADITIONAL
AND MODERN HISTORICAL NOVEL
One of the most important linguistic features of traditional historical fiction is the use of such language means that create a sense of authenticity. In broad understanding, this means that the words and phrases should be appropriate for the period being depicted [4]. However, modern historical fiction uses more explicit and clear writing mode, and less formal modern language lexical units and syntactic structures which are often expressive and emotional.
The article aims at distinguishing the linguistic peculiarities of classical and contemporary historical fiction.
Several researchers have contributed to understanding how language functions within historical fiction, examining aspects such as linguistic style, narrative techniques, and the portrayal of historical settings. Catherine Belsey, a literary critic, has contributed to the study of language and narrative in literature. Her works “Critical Practice” and “Poststructuralism: A Very Short Introduction” [2] offer insights into how language constructs meaning in historical narratives. The writer, John Yeoman, in one of his blog posts, remarks: “…to what degree can we legitimately – or even intelligibly – use language or literary forms authentic to a given period?” Yet, said Yeoman, “how else can a historical writer communicate with a modern reader, except in a modern idiom?” [1]. A novelist and critic, David Lodge researches the intersection of fiction and history. His book “The Modes of Modern Writing: Metaphor, Metonymy, and the Typology of Modern Literature” [3] discusses language and narrative strategies in modern literature, which can be applied to historical fiction.
These researchers offer valuable insights into the complex relationship between language, narrative, and history representation in both classical and modern historical fiction. Thus, language has evolved and altered over time with the development of the society. In English fiction, there is an evolutionary trend toward concreteness and imageability. Classical historical novels often incorporate historical vocabulary and terminology relevant to the period depicted.
From the widely recognized first notable historical novel by Sir Walter Scott to contemporary historical fiction, there has been a shift in language use from the classical forms of the eighteenth century, which were mimicked, to slang and accent diversity. For example, Emily Brontë’s “Wuthering Heights” portrays characters from Yorkshire, England, who speak in a regional dialect with phonetic renderings of their speech patterns, such as “tha” for “you” and “reet” for “right,” reflecting the rural setting and cultural background of the characters [5]. As well as in relatively modern Mark Twain’s “Adventures of Huckleberry Finn” characters Huck Finn and Jim speak in Southern dialects characteristic of the antebellum South, using colloquialisms and phonetic spellings to capture the authenticity of their speech [7].
In the nineteenth century due to the rise of the Romantic movement historical fiction genre became more emotionally charged and less formal and in the twentieth century the Modernist movement brought experimentation with language and narrative structure. So the language had to reflect a heightened sensibility, fragmented timelines, and stream-of-consciousness. Therefore the main focus of the narration drifted off from long and detailed descriptions to characters’ thoughts, and dialogues which reflected social status and education. For example, in Jane Austen’s “Pride and Prejudice” characters from the upper classes, such as Mr. Darcy and Elizabeth Bennet, speak with refined language and grammatical correctness, whereas characters like Mrs. Bennet and Mr. Collins, who are from the lower gentry, use more colloquial and less polished language [6]. This tendency of using language to set the more accessible situation for contemporary readers, avoiding archaisms and overly formal diction continues in modern fiction. The use of “authentic-sounding” period language is not advisable, perhaps because it is difficult to make such language sound right, and also to keep readers engaged with what might be a difficult read [1].
Authors opt for a modern English writing style to ensure readability. For example, Philippa Gregory in her Tudor-era novels, such as “The Other Boleyn Girl” “The White Queen”, and “The Red Queen”, tends to use emphatic and inverted sentences and avoids contracted forms in sentence structures to convey the voice of Middle English: “But I do dream true” [8, p. 112]; “Did I not see you…” [8, p. 26]; “Please admit me” [8, p. 98];“…where I might find my mind divided” [8, p. 224]. At the same time in the second novel of the series “The Red Queen” Gregory uses many phrasal verbs that would be more appropriate to contemporary native speaker than sixteenth century maiden: “he has snapped up”, “botch it”, “slip up” [9].
So, the tendency of traditional historical fiction language to include dialects and slang to immerse the readers in the time period is nowadays often correlated with the use of language units that specify and concretisize details and are emotional and expressive. Theabove demonstrates how modern historical fiction approaches language in a way that balances authenticity with accessibility, reflecting contemporary attitudes towards historical storytelling while honoring the nuances of the past. Authors employ modernized language that resonates with contemporary audiences while still capturing the essence of the historical period.
REFERENCES
- Carolyn Hughes. Ancient of Modern Language in Historical Fiction. Carolyn Hughes Historical novelist. November 30, 2016. URL: https://carolynhughesauthor.com/2016/11/30/ancient-or-modern-language-in-historical-fiction/
- Catherine Belsey. Poststructuralism: A Very Short Introduction. Oxford University Press. November 25, 2022. 160 p. URL: https://global.oup.com/academic/product/poststructuralism-a-very-short-introduction-9780198859963?cc=us&lang=en&
- David Lodge. The Modes of Modern Writing: Metaphor, Metonymy, and the Typology of Modern Literature. British Library C dialoguing in Publication Dat London. 1977. 320 p. URL: https://www.scribd.com/doc/95195555/David-Lodge-The-Modes-of-Modern-Writing
- Three Important Linguistic Features of Historical Fiction. Learn from the best. Languages blog. February 13, 2023. URL: https://www.ilovelanguages.com/3-important-linguistic-features-of-historical-fiction/
- Emily Brontë. Wuthering Heights. The Project Gutenberg Etext. December, 1996. URL: chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://www.ucm.es/data/cont/docs/119-2014-04-09-Wuthering%20Heights.pdf
- Jane Austen. Pride and Prejudice. The Project Gutenberg eBook. November 12, 2022. URL: https://www.gutenberg.org/files/1342/1342-h/1342-h.htm
- Mark Twain. Adventures of Huckleberry Finn. The Project Gutenberg eBook. August, 1993. URL: https://www.gutenberg.org/files/76/76-h/76-h.htm
- Philippa Gregory, The White Queen: UK Simon & Schuster. 2009, 455.
- Philippa Gregory, The Red Queen: UK Simon & Schuster. 2010, 419.