By Bonnie Stanard
The 1670s in France is the
setting for a story I’m working on about a traveling troupe of actors. As soon
as a conversation came up, I had to ask myself, how did people talk in
Renaissance France? Obviously, the writing should remind the reader the story
takes place over 300 years ago. And in France.
After much consideration,
I’ve decided to signal the time with early English expressions and the place
with a sprinkling of French words. Not ideal, I know. But what to do? If you’re
thinking I should simply move the story to England, that introduces a different
problem. In England, unlike France, acting was a male profession. The first
recorded performance of a female playing a role on the English stage is
December 1660, too close for comfort. And
as far as I’m concerned, no women, no story.
DIALOGUE
Some writers can produce
books with almost no dialogue. John Banville, Charles Frazier, and IsabelleAllende come to mind. For most of us, dialogue is a device whereby we advance
the plot, elevate tension, or reveal motive. The conversations we give our
characters differentiate their personalities. You can get more suggestions
about how to write dialogue than you’ll ever need from workshops as well as
online. I’ll only say that the writer of “How are you?” or “What’s up?” or
“Hello” is digging a grave.
DIALECT
Carefully chosen dialect
reminds readers about where and when the story is unfolding. In some cases it delineates
social status. Some editors go to the extreme in warning us against using
dialect. Obviously Anthony Burgess ignored them and wrote the best-selling A Clockwork Orange with a patois so
dense some of us could only understand the audio version.
So, when to use dialect and
how often? Too much and the story drags. Too little and it becomes generic
contemporary writing. If you will, somewhere between “By my
trowth, thou dost make the millstone seem as a feather what widst thy
lard-bloated footfall” and “You are fat.”
RENAISSANCE LANGUAGE
Much of my time lately has
been devoted to developing a lexicon of dated English words and expressions. Researching
colloquial language is not as easy as getting other background information,
such as the nature of housing, clothing, social circumstances, and political
environment. This information can usually be found in recorded history. Most books of this sort are available fromAbe Books.
However, history books don’t
reveal how people talked at the time. Shakespeare’s plays have probably demonstrated
more about dated colloquial English than any other source. I have a flip-card
booklet with Shakespeare’s insults, which makes for fun reading (Thou Spleeny Swag-Bellied Miscreant).
SOURCES
I’ve added a number of
expressions to my lexicon from Margaret Butler’s historical fiction novel, Lion of England, which brings to life
Henry II in the 12th Century. This book is a great example of how
language makes a story real to its time. A good reference book, English Through the Ages by William
Brohaugh, gives you lists of words in use by the century of its appearance. Then
there are online sources such as Elizabethan Slang and Elizabethan greetings.
They knew how to insult
back then—milksop, dunderhead, whey face, toadeater, or rank-scented, lumpish
prig. I can get so carried away with language that my lexicon grows at the
expense of my story.
The Oxford English Dictionary (OED) is an excellent source for this kind of research. The words are defined by date and place of usage. I have a print copy, but I'm sure it's available on line. Also -- Shakespeare is the best source of colorful language in the early modern times.
ReplyDeleteCheck out the reformation. After 1660, women were allowed on the stage in England.
ReplyDelete