The world of the periodical essay: Social
networks and discourse communities in eighteenth-century
London
Susan Fitzmaurice (contact)
(University
of Sheffield)
Received: July
2006, published March 2007 (HSL/SHL 7)
1.
Introduction
The backdrop for
the study reported in this paper is a long-term interest in the role
of social ties and community in influencing the social behaviour and
practices represented by language use. The database used for this is
a network of eighteenth-century men and women in London between
approximately 1670 and 1760, centred on Joseph Addison
(1672–1719) and represented by an electronic corpus of early
eighteenth-century texts written by members of this network (Network
of Eighteenth-century English Texts). Accordingly, my exploration of
language use and social influence has been grounded in social
network analysis, which affords an analysis of the ways in which the
associations that are formed by actors, such as coalitions, support
the pursuit of particular goals and in particular projects. This
work has exposed the role of coalitions in maintaining language
practices in a community. In particular, the coalitions formed
around Addison’s and Steele’s Spectator project between 1710
and 1714 was instrumental in providing pressure for actors to adhere
to a set of norms associated with the powerful members of the
coalition.
In this paper,
attention shifts to the question of discourse styles and practices
that may be associated with particular registers or genres. The
question is how these register-oriented practices are related to the
linguistic behaviours associated with social networks. For example,
it is interesting to ask whether the practices that we observe to be
shared by members of the network who were also involved in the
Spectator coalition are characteristic of the wider community
of periodical writers. In this instance, it would be interesting to
examine the extent to which people outside the social network, like
Daniel Defoe, nevertheless appear to subscribe to the practices and
norms adhered to by periodical essayists in general, including those
of the Spectator writers. I submit that social networks
provide the scaffolding for the study of discourse communities in a
particular milieu such as early eighteenth-century
London.
The primary data is
provided by the essays sub-corpus in the Network of
Eighteenth-century English Texts corpus (NEET). Of the literary
community in early eighteenth-century London, Dobree and Davis
(1969:220) observe that “after the restoration, with the rapid development of a
well-organized literary community in London, the author-reader
relationship was correspondingly transformed, and the writer was
able to direct his observations to a body of readers whom he could
easily visualize, and with whom he might almost be said to
converse”.
They go on to
comment that despite this new literary and literate world,
“it was some
time before these new conditions led to any considerable growth in
essay writing”.
However, they do suggest that the last decades of the seventeenth
century set the conditions in which writers begin to conceive the
particularly interactive – what
I have called the intersubjective – style of appeal and
address to the reader that typifies the essay as exemplified by the
Spectator and Tatler. The periodical essay is
recognized, to all intents and purposes, as a new genre in the early
eighteenth century. It is not entirely novel of course, but has its
antecedents in other forms and practices (which I won’t rehearse
here). I am interested in examining the extent to which members of
the social network participate in the practices of a wider discourse
community of essay writers in the period.
In order to compare
the roles of social networks and discourse communities in shaping
language use, I examine the meaning and use of a set of linguistic
features in the letters and essays of the men and women in the NEET
corpus. This study will allow us to ascertain the extent to which
writers adhere to styles and conventions that may be established
with the practice of writing a particular genre or register (however
implicitly). The research questions for the present study are
informed by a study of
the emergence of intersubjective comment clauses and their
development as discourse markers (you say, you know, see) in
letters and prose drama using the ARCHER
corpus (Fitzmaurice 2004). It also builds on my study
of the grammar of stance
in the NEET letters subcorpus, specifically of modal expressions,
epistemic and attitudinal stance verbs –
hope, think,
know, wish, desire –
with complement
clauses (Fitzmaurice 2003).
In this paper, I
expand on various aspects of these findings, using the NEET corpus
to explore the use of stance verbs with both first and second person
subjects as comment clauses in essays. As stance expressions become
routinized in discourse, it would seem reasonable to expect them to
diffuse into different registers. Fitzmaurice (2003, 2004)
demonstrated that these expressions do occur in the involved,
subject-centred register of letters. Their occurrence in
eighteenth-century essays might be taken to indicate the extent to
which the essay of the period might occupy a stylistic space that is
not as distant from letters as that occupied by the essay’s
present-day counterpart, academic discourse. The following questions
thus guide the study:
- How does the distribution of
first person stance verbs (know, see, say) in letters
compare with that in essays produced by the same
actors?
- Do speakers recruit epistemic
verbs like suppose, imagine and find for use
in comment clauses with first person subjects, and with second
person subjects in essays as well as in letters?
- To what extent can the
distribution and use
of first and second person comment clauses in individual essays be
regarded as consistent with the linguistic practices and choices
characteristic of a discourse community of essay writers?
The last question
is the most tentative and exploratory, and perhaps can be only
partially addressed by the work reported in this paper because
linguistic practices comprise a suite of choices that together
distinguish the genre of the discourse community. In the sections
that follow I first discuss social networks and the ways in which
the periodical writers in early eighteenth-century London might be
regarded as constituting a discourse community. I then outline the
research procedure followed, and then present and discuss the
findings and offer some directions for further
investigation.
2. Social networks and discourse communities
Social networks
analysis (SNA) provides the basis for examining the ways in which
actors cooperate in specific projects in order to achieve certain
goals. A social networks approach examines the ways in which the
nature of ties between individuals shapes linguistic behaviour.
Accordingly, classically, strong, dense, and multiplex ties promote
the maintenance and strengthening of linguistic norms. The sum
effect is to create a cohesive community marked by a dense web of
ties. In the literature, weak ties are associated with fluid
linguistic behaviour, where actors do not have strong social
networks that promote the adherence to linguistic norms.
The notion of
“network” adopted
here is a technical one, developed in the fields of anthropology,
social psychology, sociology, epidemiology, business studies,
economics, and recently, in sociolinguistics, to describe the
relationship between individuals and the social structures which
they construct and inhabit (Boissevain 1974; Wasserman &
Galaskiewicz 1994; Milroy 1987, Milroy & Milroy 1985, Milroy
1992). A “network” refers
to a group of individuals whose connections to one another are made
up by social ties of varying strengths, types and lengths. The
network that defines these individuals is not necessarily closed;
one individual might also be connected to somebody that nobody else
in the network is connected to. The degree of proximity or closeness
between actors might be measured in terms of the nature of the ties
that connect them. The parameters on which strength of ties are
calculated are:
- longevity of relationship
- geographical proximity
- formal social relationship in terms of comparative rank
(social equal/superior/inferior)
- type of relationship (intimates/equals/acquaintance;
friendship/competition) inferred from the nature of documentary
evidence for the relationship (in the form of texts and other
evidence connecting the actors, such as correspondence, memoirs,
collaboration in pamphlets, editions and plays).
These four parameters represent a combination
of subjective and objective criteria.
The calculation of these ties and the characterisation of the group
in terms of the values attributed to the ties between actors provide
a structural basis for inferring and understanding social influence,
both of one actor upon another, but also of the network as a whole
on other networks in the community. The processes taken to underlie
influence include “relations of
authority, identification, expertise and
competition” (Marsden
& Friedkin 1994:3).
The social
networks formed by and around Joseph Addison provide the basic
design and rationale for the construction of the NEET corpus.
Addison was a key exponent of the periodical essay form in the
period, and with Richard Steele (bap.
1672, d. 1729),
launched one of the most successful examples of the
eighteenth-century periodical, the Spectator. Previous work
has examined in detail the impact of the Spectator coalition
on the language and culture of the period (Fitzmaurice 2000a).
The men behind The
Spectator formed a group which developed identifiably political
and literary ties to achieve particular goals, which include
personal success and fame. Addison’s own pursuit of the protection
and sponsorship of powerful men like Halifax and Somers demonstrates
quite clearly the usefulness of social networking, as does Pope’s
pursuit of Addison himself in 1710. The coalition was also allied
with a particular political grouping, the Whig parliamentarians and
government managers, who saw themselves as forward-looking and
progressive in comparison with the Tories. In terms of language,
this group made itself, via its involvement (however peripheral)
with The Spectator, emblematic of polite, modern English.
Addison’s own network consists primarily of
people who are old friends, colleagues and enemies, who share
correspondences, political convictions and loyalties, who
collaborate in publishing projects and who contribute to the same
periodicals. Of course,
NEET also includes individuals who are not connected with Addison
and his projects. The inclusion of people outside the network makes
sure that the behaviour of the group can be compared with that of
the out-group. Despite the fact that NEET’s design is principally
informed by the social networks formed by Addison, the corpus also
captures important aspects of a particular discourse community of
the time. Many of the participants in the Spectator coalition
collaborated on other periodical projects. In addition to working
together on the Spectator project, Steele, Addison and
Jonathan Swift (1667–1745) had earlier cooperated in developing the
Tatler. Addison was highly successful in recruiting young
writers to the Spectator group (and to the Whig cause),
adding Alexander Pope (1688–1744)
, Eustace Budgell
(1686–1737), Ambrose Philips
(bap. 1674, d.
1749), Thomas Tickell
(1685–1740), and John Hughes (1678?–1720)
to the
coalition. Steele and
Addison also sought contributions from Pope for their next venture,
The Guardian, yet Addison worked more or less solo on The
Freeholder. A year after the closure of the Spectator,
Steele and Swift conducted a public and vituperative row over their
respective political affinities. Their quarrel was occasioned by an
unflattering portrait of the Duke of Marlborough in the pages of the
Tory Examiner, which Steele, in the Whig Guardian,
attributed to Swift.
The Examiner was launched in the summer of 1710, and drew the
participation of prominent Tory politicians like Henry St. John
(1678–1751), who provided much of the paper’s political impetus, Francis
Atterbury (1663–1732), as well as civil servants like Matthew
Prior (1664–1721). Swift’s contributions to The
Examiner comprise thirty-three essays written from a Tory point
of view “to assert
the principles, and justify the proceedings of the new
ministers”. The
paper was published on Thursdays from 2 November 1710 (no. 14) to 14
June 1711 (no. 46, jointly written with Delariviere Manley,
c.1670–1724, the
subsequent editor). Swift's essays were each answered in The
Medley on the following Monday by Addison's friend, the Whig MP
Arthur Mainwaring (1668–1712). Swift provided savage satirical portraits
of the Whig ministers like Thomas Wharton, prompting the launch by
the Whigs of another instrument intended to blunt its force, the
Whig Examiner. Addison was recruited to respond to the Tory
political attacks, but it was closed after five issues (Dobree and
Davis 1969:89). Although the Spectator and Tatler
continued to be regarded as the most influential periodicals of the
time, there was another more overtly political and much longer lived
periodical that commented on the party wars and appealed to the man
in the street. This was Daniel Defoe’s A Review of the State of
the British Nation (1704–1713). In addition to these papers,
there were other party-sponsored periodicals, including the
Mercator which was designed to support Robert Harley against
the Wig British Merchant (Dobree and Davis 1969:96), as well
as Steele’s The Englishman (July–November, 1715).
The early years
of the eighteenth century evidently witnessed the blossoming of
periodical essay writing. Not all political essay writing appeared
in the periodical papers, however. All of the people I’ve mentioned
wrote essays for pamphlet publication as well as for periodical
publication. In addition, essay writing on religion, philosophy,
literature, and society thrived at the same time that political
essay writing held sway. The essay seemed to be the big new thing in
the literary community, building on the foundations set by Dryden’s
literary criticism, as exemplified in his Essay on Dramatick
Poesie (1684). In form the eighteenth-century essay occupies a
stylistic space between the letter and the dialogue. Essay authors
tend to adopt a persona, exemplified most vividly by the Tatler’s
Isaac Bickerstaff. They also typically appeal to the reader
directly in adopting conventions that seem to be more characteristic
of the letter or of the newspaper feature than of the essay now
conceived. To the extent that there is a recognizable set of
practices associated with essay writing and production at the time,
I will invoke the idea of the discourse community to describe the
behaviour that the essay writers of the period
observe.
The discourse
community is a concept developed in applied linguistics and rhetoric
research to capture the shared conventions and practices observed by
people in a shared field or occupation (e.g. Swales 1988, Johns
& Swales 2002). Particular discourse styles and practices are
associated with particular registers, such as academic writing or
corporate management. These practices and conventions may not
necessarily be explicitly prescribed but they must be sufficiently
valued to be upheld as norms of the domain, and targets for
participants new to the field. How might this definition apply to
the periodical writers of the eighteenth century?
Periodical writing
requires the production of a commodity – the periodical paper – that meets the demands of a publication
produced and distributed at regular intervals for a readership
interested in current affairs (however this is defined). The
practices that would seem to cast periodical writers as a discourse
community include their adherence to a set of genre or register
conventions, recognition of practices which members would easily
identify, and adherence to a rhetoric and style designed for
periodical publication on the one hand and for a periodical audience
on the other. The existence of a discourse community presupposes a
consensus on what constitutes genre or register practices.
The techniques and data
afforded by a corpus linguistic approach to the study of
eighteenth-century texts provides the opportunity to examine the
extent to which register or genre appear to shape writers’
linguistic choices.
Now we ought to
make a distinction between writers who regularly produce work for
periodicals –publications produced regularly in order to be delivered at a
fixed time – and those writers who were not constrained by having to
write on a prescribed topic to tight timelines. Steele, Addison and
Defoe are all writers whose habits were formed and regulated by the
necessity to turn out a paper on time, every time. Although Swift,
Pope, Prior and Lady Mary Wortley Montagu (bap. 1689–1762), were asked to contribute to periodical
papers, and though Swift and Montagu, for a short period were each
responsible for the production of a periodical, their work was not
confined to the medium of the periodical. They also all published
essays as single one-off pamphlets. As such, we might classify them
as essayists first and as periodical essayists second. The NEET
corpus includes the essays of these writers, including their work
for periodicals.
However, NEET also
comprises essays of people who were not part of London’s popular
periodical writers but who nevertheless produced essays for
publication, sometimes a long time after their completion. Mary
Astell (1666–1731, though known to Lady Mary Wortley Montagu
(bap. 1689, d.
1762), was not connected with
Addison and his circle. However, from 1696 with her publication of
the controversial essay, A Serious Proposal to the Ladies for the Advancement of
their True and Greatest Interest, she was established as a serious, not to
say notorious, essayist. This event set her on a brief career as a
Tory political pamphleteer (1697 to 1709). A serious theologian,
Astell began exchanging letters with the Cambridge Platonist John
Norris (1657–1712), rector of Bremerton, who published their
correspondence in 1695 under the title Letters Concerning the
Love of God. Susanna Wesley (1669–1742) is
altogether different from the other writers of essays collected in
NEET. Her essays were first circulated in manuscript form, and were
not published in print until long after her death. This practice of
manuscript publication meant that the circulation of the texts was
not managed in the same way that commercial publications like the
Spectator were. Additionally, unlike the Spectator
which was easily available to anybody from commercial outlets like
print-shops and coffee houses, Wesley’s essays were transmitted from
individual reader to reader only by association.
William Congreve
(1670–1729) and John Dryden (1631–1700)
are essay writers, though their
essays appear in different domains from the others. Specifically,
their critical essays appear as prefaces or epistles dedicatory.
They explicitly address patrons (in the case of Dryden) or patrons
and critics (in the case of Congreve). Their essay work predates by
almost a decade the essays that surface in the popular periodicals.
Congreve’s Amendments of Mr. Collier's False & Imperfect
Citations, etc. (1695), shares with Astell’s Serious Proposal the notoriety that attends
controversy. Although
John Dryden was dead by 1700, his work is also collected in NEET
because he was so influential on the literary careers of Addison and
his cohort. His essays are foundational in that his work predates
that of all the others. Sutherland remarks as follows on his work:
The easy and familiar tone of Dryden in the various prefaces
that he wrote for his plays was partly due to many of those pieces
being addressed to individuals in the form of dedications, but also
to his awareness of the fact that most of his readers had already
seen his plays, and that to this an acquaintanceship already
existed. Long before he had reached old age, however, Dryden’s
conversational manner had become habitual with him, and in this, as
in so many other directions, his influence on the age must have been
considerable (Sutherland 1969:220).
As we shall see, it
is possible that it was Dryden’s essay style that provided the
standard for the intersubjective style that the periodical writers
seek.
Let me try to
distinguish between the social network that has as its centre one of
the founders of the Spectator, Joseph Addison, and the more
elastic alliance represented by a discourse community of essay
writers. To do so, I present below two diagrammatic representations
(Figure 1). The first is Addison’s social network around about 1711.
Note that I have included the names of individuals who have very
indirect or tenuous connections with members of Addison’s network
(Mary Astell, via Lady Mary Wortley Montagu; Sarah Churchill
1660–1744, via Matthew Prior).
In contrast is
the representation of London’s essay writers (Figure 2). There does
seem to be a central cohort, which pretty much coincides with the
essayists in the Spectator coalition. This central group
includes Addison, Steele, Pope, Swift, Prior, Congreve and Lady Mary
Wortley Montagu. The others have nothing to do with the
Spectator, but arguably are part of the discourse community
by virtue of their participation in essay writing and publication.
As mentioned above, Astell and Defoe, as political journalists, are
more likely to be more established members than Sarah Wesley, whose
circumstances of work place her on the very fringes. Note that Sarah
Churchill, as an aristocratic memoirist far removed from the world
of publication for profit, is absent from this picture. Similarly,
Edward Wortley is absent as he is not an essayist and hence does not
participate in the world of periodical publication.
2.1. Discourse communities and
intersubjectivity
In the light of the
discussion of discourse communities and social networks, I offer two
hypotheses in this study. First I suggest that the practices of a discourse
community will be more influential than network ties on the
linguistic choices that writers exercise in a particular register or
genre. For
example, Defoe’s essay style will be more
compatible with that of the other periodical writers than not,
despite his exclusion from their social networks. In other words, the
discourse community to which the essay
writers belong (whether they know it or not) will provide a more
compelling model and set of practices than social ties. Further, I expect that writers
who are not part of the discourse community will not exhibit the
same linguistic choices or behaviour in their production of the same
register or genre. Secondly, I suggest that the more
established the discourse community, the more consistent the
practices across its exemplars. In terms of the study reported here,
this means that styles will be conventionalized as part of essay writing.
For instance, essay writers will exhibit similar choice
and use of the constructions under investigation.
Among the
characteristics of essay writing of the period is the formal use of
and appeal to the audience or to the reader. In formal terms, the
appeal provides the framework of the essay, so it is not unusual for
the arguments put forth in an essay of the period to have an
addressee. Congreve’s essays and Dryden’s essays clearly have the
framework of an address or a letter. Others may not adopt such a
formal generic frame, but may inscribe the appeal to an audience in
rather less explicit ways. For example, the writer may seek to
engage the audience by involving it directly in argument and debate
by constructing sympathetic or contrasting views or positions and
attributing them to the audience or reader. Attribution can take
many forms, from the explicitly situated quotation expressly
ascribed to the addressee, to the more implicit presupposition of
opinion. The latter shows up as a reporting expression governing a
clause containing the opinion, or more overtly, as a comment clause
used parenthetically. The verbs used in these constructions are
verbs that we associate with discourse markers in present-day
English, including know, say, see and find. Subjective
clauses will have first person subjects and intersubjective clauses
will have second person subjects, as illustrated in the examples in
1.
-
a. I
know
[Ø you are no
stranger to sentiments of tender and natural affection], which
will make my concern very intelligible to you, though it may
seem unaccountable to the generality, who are of another make
(Congreve to Joseph Keally [cclet015])
b. You
know
[Ø it is natural to have recourse to our
Friends in our Unhappiness], and I am at present too peevish to
converse with any but by Letter (Pope to Ford
[bplet017])
For the purposes of
this study then, intersubjectivity has to do with the representation of speaker stance as
addressee stance, and thus involves the transformation of
propositional meaning from new information to presuppositional
meaning. Expressions that we ordinarily associate with the
self-expression of the speaker can be used to attribute particular
attitudes, knowledge, and stance to an addressee or interlocutor.
For example, though infinitive and that-complement clauses
governed by mental verbs, comment clauses, and modal verbs are
usually associated with the speaker’s rhetorical
self-positioning, these same resources may be marshaled for the
speaker’s rhetorical construction of the interlocutor’s
perspective or attitude. So, there is a difference between using
an explicitly subjective epistemic stance marker such as a
complement clause governed by an epistemic verb like know and
the first person (as in 1a above), and what I suggest is an
intersubjective stance marker such as a complement clause governed
by know with a second person subject, as illustrated in
example (4b) above. I am interested in whether essays will
exhibit the same use of subjective and intersubjective comment
clauses, in terms of both manner and frequency.
3.
Procedure
3.1.
Corpus
I used the letters
and essays subcorpora of the NEET corpus in order to compare the
extent to which genre or register considerations override idiolectal
characteristics.
The details of the
subcorpora are summarized in Table 1:
Writer |
Dates of births and deaths |
Letters: Word # |
Essays:Word # |
John Dryden
|
1631-1700 |
23,208 |
57,299 |
Daniel
Defoe |
1660-1731 |
45,144 |
42,458 |
Sarah
Churchill |
1660-1744 |
55,735 |
16,213 |
George
Stepney |
1663-1707 |
19,579 |
N/A |
Matthew
Prior |
1664-1721 |
21,266 |
14,520 |
Mary
Astell |
1666-1731 |
37,445 |
40,407 |
Jonathan
Swift |
1667-1745 |
48,134 |
43,043 |
Susannah
Wesley |
1669-1742 |
40,746 |
41,945 |
William
Congreve |
1672-1729 |
26,384 |
20,479 |
Edward
Wortley |
1672-1761 |
25,396 |
N/A |
Joseph
Addison |
1672-1719 |
50,898 |
42,248 |
Richard
Steele |
1672-1729 |
40,951 |
43,703 |
Alexander
Pope |
1688-1744 |
41,919 |
41,284 |
Mary
Montagu |
1689-1762 |
41,491 |
24,171 |
Range: |
1631-1762 |
518,296 |
427,770 |
Table
1. Numbers of words in individual subcorpora (letters and
essays).
Monoconc, a
commercial concordancing package, was used to conduct a search of
the letters and essays subcorpora for lexical expressions with know, see, find,
suppose and imagine. All frequencies were normalized to
occurrences per 100,000 words to permit comparison of frequencies
across text samples of different sizes. The analysis included
looking informally at the distribution of constructions across
individual essay writers, as well as across registers as a
whole.
3.2. Linguistic
features
The following
specific constructions were investigated:
first person
singular (I) and plural (we) subject complement
constructions with know, find, see, imagine, suppose
governing that and zero clauses as illustrated in the
examples in (2):
-
a.
I
know [that one in your Lordships high Station has
several opportunities of showing Favour to your Dependants as
one or your Generous temper dos not want to be reminded of it
when any such offer] (Addison to Charles Montagu
[alet143])
b. I
know [you are no stranger to sentiments of tender and
natural affection, which will make my concern very intelligible
to you, though it may seem unaccountable to the generality, who
are of another make (Congreve to Joseph Keally
[cclet015])
c. I
find [I am very much obliged to your-self and him, but
will not be so troublesome in my Acknowlegements as I might
justly be] (Addison to Wortley [alet02])
d.
we see
[they are seldome listned to by the Audience, and that is many
times the ruin of the Play: for, being once let pass without
attention, the Audience can never recover themselves to
understand the Plot (Dryden, Essay on Dramatic Poesie
[jdess001])
second person
subject complement constructions with know, find, see, imagine,
suppose governing that and zero clauses as illustrated
in the examples in (3) below:
-
a.
You know
[it is natural to have recourse to our Friends in our
Unhappiness, and I am at present too peevish to converse with
any but by Letter] (Pope to Ford
[bplet017])
b. But when
e're they endeavour to rise to any quick turns and counterturns
of Plot, as some of them have attempted, since Corneilles Playes
have been less in vogue, you see [they write as
irregularly as we, though they cover it more speciously]
(Dryden, Essay on Dramatic Poesie
[jdess001])
comment clauses
(or parentheticals) with first and second person subjects as
illustrated in (4) below:
-
a.
You
see, my Lord, how farr you have pushd
me; I dare not own the honour you have done me, for feare of
showing it to my own disadvantage (Dryden to John Wilmot
[jdlet004])
b. yet (to the Comfort
of all those who may be apprehensive of Persecution) Blasphemy
we know is freely spoke a Million of times in every
Coffee-House and Tavern, or wherever else good Company meet
(Swift, The Abolishing of Christianity in England 1708.
[asess002])
c. But I fear it was kidnapped
by some privateer, or else you were lazy or forgetful; or, which
is full as good, perhaps, it had no need of an answer; and I
would not for a good deal, that the former had miscarried,
because the inclosed was wonderfully politic, and would have
been read to you, as this, I suppose, will, though it be
not half so profound (Swift to Stearne
[aslet006])
It is important to
note that I did not exclude from consideration expressions that
included modals or modifiers in the stance verb phrases or comment
clauses. Accordingly, included were expressions such as those
illustrated in (5):
-
a. During
the Time her Cause was upon Trial, she behaved her self, I warrant
you, with such a deep Attention to her Business, took
Opportunities to have little Billets handed to her Counsel, then
would be in such a pretty Confusion, occasioned, you must
know, by acting before so much Company, that not only I but
the whole Court was prejudiced in her Favour; ... (Richard Steele,
Spectator No. 113, Tuesday, 10 July 1711
[rsess010])
b. However it be,
I don't know, I say, why this Prejudice, well
improved and carried as far as it would go, might not be made to
conduce to the Preservation of many innocent Creatures, which are
now exposed to all the Wantonness of an ignorant Barbarity
(Alexander Pope, On Pastorals, The Guardian No. 40, April
27, 1713 [bpess004])
c. Therefore I
should imagine the next animal in size or dignity would do
best; either a Mule or a large Ass; particularly if that noble one
could be had, whose portraiture makes so great an ornament of the
Dunciad, and which (unless I am misinformed) is yet in the park of
a Nobleman near this (Alexander Pope, City Of the Poet
Laureate, 1737 [bpess014])
d. If I must
suppose there are great Numbers of Ladys in these narrow
circumstances, I will suppose at least one in Twenty of them to be
handsome enough to make the rest of their Sex desirous of looking
like them (Lady Mary Wortley Montagu, The Nonsense of
Common-Sense No. 2, 1737
[mmess005])
Note that the
modification includes negation –
quite common with know in collocation with the first person.
4.
Results and
discussion
Figure 1
summarizes the relative distribution of first person stance verbs
(know, see, say) in letters and in essays by the same actors.
Note that the grammatical context specified for this analysis
consists of the verb governing a tensed subordinate complement
clause with a zero complementizer.
Figure 3. Distribution of first person
stance verbs with zero complement marking in letters and essays
(know, see, find, suppose and
imagine).
The figures are
quite small overall – unsurprisingly for lexical strings– but the difference between the frequencies
for each register is striking. First person verb phrases with
know occur nearly three times more often in letters than in
essays, first person verb phrases with find occur five times
more often in letters than in essays, and first person verb phrases
with suppose occur about four times more often in letters
than in essays. However, more striking in light of our discussion
about the stylistic positioning of essays in the period as involved
and engaged with the reader is the fact that these stance features
occur in essays at all. Their presence would seem to suggest that
the essay in the period is participating in the work of expressing
opinion, as illustrated in the examples from Defoe’s Review
with know and find in (6) below.
|
I
know |
I
see |
I
find |
I
suppose |
I
imagine |
essays |
4.68 |
0.7 |
1.87 |
3.74 |
0.23 |
letters |
12.5 |
0.98 |
10.16 |
12.11 |
0.98 |
Table
2: Frequencies of first person subject stance verbs (per 100,000
words)
-
a.
I know
nothing remains for me to do but to sit down pleased and thankful,
though I am Eke to be among those who are like to enjoy the least
share of the blessing by the Union. (Daniel Defoe, Review
Vol. IV, NO. 21, DEFOE'S PART IN THE UNION OF SCOTLAND AND
ENGLAND, 1707 [ddess013])
b. My opinion of
satire is that first of all the character should be just, which in
these cases can not be pretended; secondly, that the thing
satirized be a crime; thirdly, that the language, though keen, be
decent-in every one of which these authors are faulty. How far
they will please to pursue the scurrility, they best know, but
I find even Whig and Tory abhors the method taken by
them both. (Daniel Defoe, Review Vol. VIII, No. 180, The
Nature OF SATIRE, 1712 [ddess008])
The second
question for investigation concerned the use of epistemic verbs like
suppose, imagine and find in comment clauses
with first person subjects, and with second person subjects. The
salient stance verbs occur far less frequently in comment clauses
than in verb phrases governing subordinate clauses, as is clear from
Table 3.
|
I
know |
I
suppose |
I
see |
I
find |
I
imagine |
essays |
3.51 |
3.74 |
1.17 |
2.1 |
0.47 |
letters |
5.27 |
5.47 |
0 |
2.34 |
0.6 |
Table 3: Frequencies of first person comment
clauses (per 100,000 words).
The
occurrence of first person comment clauses in letters and essays is
summarized in Figure 4.
Figure 4. Distribution of first person
comment clauses in letters and essays.
Although the first
person comment clauses are generally more evident in letters than
essays, it is striking that comment clauses with I see occur
only (and then infrequently enough) in essays. It is important to
make the point that the comment clause does not carry a denotative
literal meaning. Instead, “I see”
might be construed as
“I
surmise” or
“I
understand” in these
contexts. (The most common occurrence of “I see” in both
registers is unsurprisingly as a sense verb with a simple noun
phrase direct object.) In addition, the stance verbs find and
imagine occur in first person comment clauses infrequently in
both registers, but just slightly less often in essays than in
letters. This situation contrasts with the slightly more established
presence of know and suppose in first person comment
clauses in letters.
The examples in (7)
illustrate the range of uses to which the stance verbs are put in
first person comment clauses, again, in the essays subcorpus. In
each case, the effect of the first person comment clause is to
express the opinion of the speaker – and thus stamp a
perspective or interested position on the presentation of the
information conveyed in the essay. Three of the examples, (7a), (7c)
and (7d), are from periodical essays. In the first case, the persona
represented is not the writer’s, but that of the paper’s subject,
the abused wife. Similarly, in (7c), Steele represents the Whig
opinion of one of the Spectator’s characters, Sir Andrew
Freeport, against the Tory Sir Roger de Coverley. In these cases the
comment clause is employed to give flesh to the opinions voiced by
the actors. In the case of (7d), the persona is an Italian
impresario who proposes to export to England, Italian opera singers
and cooks to feed the desires of the British people. This essay is
presented as a letter to the editor of the journal; it is evident
that in keeping with the periodical community’s practice of
constructing letters for the body of the paper, Lady Mary Wortley
Montagu ensures that her paper addresses the topic of imported
culture by relying on the same.
-
a. To maintain
myself by an honest servitude (having really no other dependence)
is what I would gladly accept of, and which I count, by many
degrees, a heavenly life to that slavish one I now live; yet even
this attempt, I know, will be attended with almost
insuperable difficulties (Daniel Defoe, Review No. 96, An
abused wife’s appeal, 1705, [ddess021])
b. These, with some Additions,
would have made up such a Sum, as, with prudent Management, might,
I suppose, have maintained an hundred thousand Men
by Sea and Land (Jonathan Swift, The Conduct of the Allies
[asess005])
c. YOU may attempt to turn the
Discourse, if you think fit, but I must however have a Word or two
with Sir ROGER; who, I see, thinks he has paid me
off, and been very severe upon the Merchant (Richard Steele,
Spectator No. 174 [rsess015])
d. No Nation, I
find, is more fond than this of Novelty and Variety: As
for Novelty, I am sure no such Thing was ever attempted before, or
so much as imagined, not even by any of our Travel-Writers; and as
for Variety, one may easily see we have an inexhaustible Source
(Lady Mary Wortley Montagu, The Nonsense of Common-Sense
No. 3, 1737. [mmess005])
e. This, I imagine,
was the chief reason why he minded only the clearness of his
satire, and the cleanness of expression, without ascending to
those heights to which his –own vigour might have carried him
(John Dryden, A Discourse … Satire
[jdess002])
Examples (7b) and
(7d) do not invest the speaker with a persona separate from that
represented by the author.
It is worth
turning to the analysis of the extent to which comment clauses with
second person subjects occur in the two registers to ascertain the
role of the audience in the two. Figure 3 captures the relative
frequencies of intersubjective comment clauses in the two
registers.
Figure 5. Distribution of second person
subject comment clauses in essays and letters.
The distribution of
second person comment clauses seems to follow the pattern observed
for first person subject comment clauses in the two registers.
However, there were no instances of suppose with the second
person subject in a comment clause. Indeed, there were no instances
of the second person subject with suppose governing a
subordinate clause with a zero complementizer in essays, and only
negligibly so (0.2 per 100,000 words) in this construction in
letters. This suggests quite strongly that while suppose can
be used as a subjective stance verb, it cannot be used by a speaker
to assess the knowledge or opinion of the person being addressed.
However, suppose can be recruited in collocation with the
impersonal third person pronoun some with as and the
hedging modal may, as in the following example taken from
Addison’s Freeholder essays:
-
a. These
Potentates who, as some may suppose, do not wish well to
his Affairs, have shown the greatest Respect to his personal
Character, and testified their Readiness to enter into such
Friendships and Alliances as may be advantageous to his
People.(Joseph Addison, Freeholder No. XLVI, Monday May 28
1716 [aess020])
Addison’s
expression, favouring neither speaker nor addressee, has the effect
of hedging. However, the inclusion of the epistemic verb in a
comment clause invites the inference that it is being used to draw
attention to the negative intentions of his subject, namely,
“[t]hese
Potentates”. Swift
uses the verb as an imperative with a following comment phrase,
for Argument sake, and a complement clause marked by that
as in (8b).
b.
Suppose, for
Argument sake, that the Tories favoured Margarita, the Whigs, Mrs
Tofts, and the Trimmers Valentini, would not Margaritians,
Toftians and Valentinians be very tolerable Marks of Distinction?
(Jonathan Swift, Abolishing Christianity,
[asess002.txt])
Swift’s use is
more explicitly intersubjective as it implies the active
intellectual engagement of the reader in the arguments put forth in
the essay. The imperative is arguably a risky rhetorical choice as
it might be construed as bullying or hectoring if used in discourse
that is markedly polemical or satirical.
Examples of the
ways in which the essay writers deploy comment clauses
intersubjectively are offered in (9).
-
a.
My Lord,
whatever you imagine, this is the advice of a
Friend, and one who remembers he formerly had the honour of some
profession of Friendship from you (Alexander Pope, Letter
to a Noble Lord on the occasion of some Libels written and
propagated at Court, 1732
[bpess013])
b. Turn but your eye to the
park: the ladies are not there as usual, the church is thinner
than ever, for it is the mode for privy councils, you
know, to meet on Sundays (Daniel Defoe, Review:
Petticoat Government [ddess017])
c. Thus, you
see, your Rhyme is uncapable of expressing the greatest
thoughts naturally, and the lowest it cannot with any grace: for
what is more unbefitting the Majesty of Verse, then to call a
Servant, or bid a door be shut in Rhime? And yet you are often
forced on this miserable necessity. But Verse, you
say, circumscribes a quick and luxuriant fancy, which
would extend it self too far on every subject, did not the labour
which is required to well turned and polished Rhyme, set bounds to
it. Yet this Argument, if granted, would onely prove that we may
write better in Verse, but not more naturally (John Dryden, An
Essay of Dramatick Poesie
[jdess001])
Although Pope’s
Letter, written in 1733, was designed to respond
immediately to a verse attack against him by John, Lord Hervey, it
was published only in 1751 (Cowler 1986:433). Pope’s more public and
lasting retort was the Epistle to Dr Arbuthnot which appeared
in January 1734/5, a year after he wrote the prose Letter.
Cowler characterizes the Letter as a “straightforward, restrained, personal
response” which
“instead of
transcending the personal and temporal, bears hard upon
it”
(1986:435). In the extract quoted in (9a), Pope explicitly yet
ironically acknowledges the possibility that his noble addressee
might interpret his comments as hostile, which of course they are.
The effect is withering. Defoe’s use of you know in (9b)
assumes a confiding, gently conspiratorial not to say patronizing
tone as he constructs the habits and interests of a government made
up of women. Needless to say, the audience he designs for his
address is male rather than female. In (9c) John Dryden exhibits the
language that prompted Sutherland to remark on his conversational
style as “I
habit”. He
constructs a dialogue between his reader and himself, attributing
attentiveness and understanding (you see) and opinion (you
say) in an unfolding argument about writing in verse.
Interestingly, he adopts the possessive pronoun your to
modify “‘Rhyme”, but
here it serves a familiarizing function with generic reference
rather than specifically attributing possession (or a position) to
his reader. The effect of the use of the second person comment
clauses is to establish an interactive tone, drawing focus away from
the speaker-subject and his stance.
Let us now turn
to the closer examination of a verb with first and second person
subjects in the essays in order to discover whether their functions
distinguish them as stylistic options that serve the essay genre. In
other words, is it reasonable on the basis of these features to
suggest their role in contributing to a nascent essay style that
comes to be typical of the periodical essay? I’ll examine the
distribution and use of know in essays as compared with its
occurrence in letters in an exploratory gesture in this
paper.
Figure 6. Distribution of know
in essays and letters.
Figure
6 captures the distribution of know with first person
singular and plural as well as second person in stance verb phrases
with zero complementizers and in comment clauses. The reason for
adding to the inventory of constructions know with first
person plural subject we was to find out whether the reader’s
participation in the discourse of the essay shows up in other ways,
and ways in which it does not occur in letters.
|
I know Ø |
I
know |
you know Ø |
you
know |
we know Ø |
we
know |
essays |
4.68 |
3.51 |
2.34 |
2.34 |
0.4 |
1.4 |
letters |
12.5 |
5.27 |
7.62 |
4.3 |
0 |
0 |
Table 4: Frequencies of know (per
100,000 words).
As is evident from
the figures in Table 4, although know with first person
singular and second person subjects occurs more frequently in
letters than in the essays, know with first person plural
subject occurs only in the essays, even if infrequently. Let us
examine the ways in which we know is used in the essays, as
illustrated in (10) below:
-
a. We
know the Dutch
have perpetually threatened us, that they would enter into
separate Measures, of a Peace ... (Jonathan Swift, Conduct of
the Allies [asess005])
b. And I am the
more inclined to this Opinion, because we know it
has been the constant Practice of the Jesuits to send over
Emissaries, with Instructions to personate themselves Members of
the several prevailing Sects amongst us (Jonathan Swift,
Abolishing of Christianity [asess002])
c. I think it is
not fair to argue from one Instance, perhaps another cannot be
produced, yet (to the Comfort of all those who may be apprehensive
of Persecution) Blasphemy we know is freely spoke a
Million of times in every Coffee-House and Tavern, or wherever
else good Company meet (Jonathan Swift, Conduct of the Allies
[asess005])
d. Perhaps he was
afraid it might give Offence to the Allies, among whom, [for
ought we know], it may be the Custom of the Country to
believe a God (Jonathan Swift, Abolishing of Christianity
[asess002])
In the
examples in (10), taken from Swift’s essays, Conduct of the
Allies and Abolishing Christianity, we see the phrase
used as a stance verb phrase (a, b), and as a comment clause (c, d).
The stance phrase seems to be deployed in order to situate the
dominant position of the interest group for which the writer speaks.
Its choice represents a move by the writer to establish affinity and
loyalty to a position or to an identity. In the case of (10a), we
and us have the same referent, namely, the English
people. In (10b), Swift distinguishes the singular from the plural;
he uses the singular I to mark his conscious choice of an
opinion on the basis of popular intelligence. The effect is to
underline the unity of the writer’s position with that of the
constituency of protestants for which he speaks and whom he
addresses. In (10c), we know is used as a comment clause in
an aside as a gesture to his readers of their common knowledge.
Example (10d) represents an emerging use in a comment clause, for
aught we know, an idiomatic expression also used frequently by
Defoe and Dryden with the first person to inject an intersubjective
comment into a claim or statement. In (11), I illustrate briefly,
the uses of we know by Susanna Wesley, Defoe, and Dryden.
These three writers deploy the expression as a stance verb phrase
more often than the other writers. This fact requires further
investigation in order to discover whether their preference for the
expression is a function of the subject matter or whether it is a
feature of their essay writing more generally. Susanna Wesley
conjoins know with feel, and preposes the object
pronoun it to allow a cataphoric construction in which the
object is elaborated in a formal fashion.
-
a. But this
we know and feel, that they also fell and thereby
broke the union between the divine and human nature, forfeited
their interest in God, became servants to Satan, and subject to
death temporal, spiritual and eternal (Susanna Wesley, Remarks
on the Rev. Whitefield [wess006])
b.
“Lord,” said
she, “we are at
the greatest loss imaginable, we must not appear to have the least
concern about him, we know the Whigs will oblige us
to push at his destruction, if possible ...”
(Daniel Defoe, Minutes of the Negotiation of Monsr. Mesnager at
the Court of England during the Four Last Years of the Reign of
Her Late Majesty Queen Anne [ddess023])
c. For a
Play is still an imitation of Nature; we know we are
to be deceived, and we desire to be so (Dryden, Essay
[jdess001])
Defoe deploys the
stance verb phrase in the representation of a statement by Queen
Anne about the exiled deposed king in France. And in Dryden’s
Essay, he allies himself with the audience at a play, sharing
the knowledge of being willingly deceived by the suspense of reality
in drama. In these examples in (11), we know is used fairly
literally to refer to a general belief or intelligence, which the
writer shares about a state of affairs. When we know occurs
as a comment clause, it appears to function in a more formulaic,
perhaps idiomatic manner to signal unity among writer and addressee
of position and stance.
5. Concluding
observations
There is not
space or time to elaborate these results further here. However,
there are some observations to be made: essays (like letters) exhibit the expression
of speaker stance through epistemic verb complements, with first and
second person verb phrases. Letters exhibit the more frequent use of
comment clauses than essays do, and the letters exhibit more
frequent use of both subjective and intersubjective comment clauses
than essays. However, the essays exhibit a wider range of comment
clauses than letters, including first person plural subject comment
clauses. Is it fair to conjecture that comment clauses with second
and first – particularly first
person plural – subjects are
features that typify the early eighteenth-century essay? It is
clearly too soon to say, although the fact that the essays appear to
adopt these expressions prompts the wider and more fine-grained
analysis of other intersubjective features that might be regarded as
marking the essay’s situation as a genre that leans towards the
involved, highly interactive personal letter in its form and in its
appeal to its readership.
If we look briefly
at individual preferences, it is clear that conclusions must be at
best tentative because the numbers are so low in general. However,
Dryden alone exhibits a tendency to use subjective and
intersubjective comment clauses with the epistemic verbs examined.
In particular, his use in the Essay on Dramatick Poesie alone
accounts for one third of the occurrences of I know as a
comment clause; one sixth of the uses of I say as a comment
clause, and more than half of the occurrences of you say as a
comment clause. This is particularly striking because Dryden’s essay
predates the writing of the others by at least a decade if not
longer. Daniel Defoe, Jonathan Swift, Richard Steele, Alexander Pope
and William Congreve adopt a practice that echoes Dryden’s, but
theirs is much more tentative and sporadic in terms of frequency and
distribution across their writing. It is worth noting that these men
are in the thick of periodical publication in London, and it is
conceivable that their practices begin to mark the community norms
associated with the periodical essay in particular. Curiously,
Joseph Addison does not participate in the practice to any
discernible extent, and it will be necessary to look more closely at
his essays, together with those of the group just mentioned, across
the different periodicals between 1709 and 1715 to track the
emergence of a set of practices that could confidently be argued to
characterize the periodical essay. The women essay writers, Susannah
Wesley, Lady Mary Wortley Montagu and Mary Astell require further
scrutiny to determine properly whether they adhere to particular
patterns of use, whether shared with their male counterparts or not.
There is much to be done.
However, what is
striking is that there does appear to be some merit in looking at
patterns of language choice that might be associated with a
discourse community involved in the production of essays, and in
particular periodical essays. The fact that the writers of these
periodicals appear to share preferences with respect to stance
expressions and comment clauses suggests that the production of the
genre is the mechanism that overrides the role of social ties with
respect to language choice. This is supported by the observation
that Defoe and Steele behave similarly despite the absence of social
ties, and that Dryden and Defoe behave similarly despite the absence
of a social tie, and that Dryden and Swift behave similarly despite
the absence of a social tie.
Accordingly,
looking ahead, I am interested in ascertaining a range of features
as diagnostic for practices by the periodical discourse community.
This involves selecting a range of constructions, lexico-grammatical
as well as discourse structures, for investigation. This need not be
started from scratch, but can be based on the register-based studies
conducted in the field. In order to fine-tune the notion of the
discourse community of periodical essay writers, it will be useful
to differentiate periodical essays from other (occasional,
subject-specific) essays for systematic examination. The analysis
must also include a study of dates of publication as well as
publication history of the periodicals and manner of transmission in
order to establish the emergence of discourse practices that mark
this community, and the ways in which social relationships interact
with discourse community to shape language use in the
period.
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Footnotes
[2]
To introduce a
degree of flexibility into the characterisation, I have judged each
parameter for each relationship on a five-point scale. The overall
calculation of “proximity” is then
a mean of the aggregated scores: greatest proximity = 1, least
proximity (greatest distance) = 5.
[3]
For a detailed
account of the quarrel, see Chapter 3 of Fitzmaurice
(2002).
[4]
Although
this is an essay, it has the look and feel of a sermon, in which the
speaker invokes the congregation’s experience and beliefs and yokes
those with her/his own.
|