Spenser has
_tort'rest_, which can be contracted only from _tortur_ and not from
_torcher_.
_tort'rest_, which can be contracted only from _tortur_ and not from
_torcher_.
James Russell Lowell
In
'Gammer Gurton' and 'Mirror for Magistrates' is _sence_ for _since_;
Marlborough's Duchess so writes it, and Donne rhymes _since_ with
_Amiens_ and _patience_, Bishop Hall and Otway with _pretence_, Chapman
with _citizens_, Dryden with _providence_. Indeed, why should not
_sithence_ take that form? Dryden's wife (an earl's daughter) has _tell_
for _till_, Margaret, mother of Henry VII. , writes _seche_ for _such_,
and our _ef_ finds authority in the old form _yeffe_.
_E_ sometimes takes the place of _u_, as _jedge, tredge, bresh_. I find
_tredge_ in the interlude of 'Jack Jugler,' _bresh_ in a citation by
Collier from 'London Cries' of the middle of the seventeenth century,
and _resche_ for _rush_ (fifteenth century) in the very valuable 'Volume
of Vocabularies' edited by Mr. Wright. _Resce_ is one of the Anglo-Saxon
forms of the word in Bosworth's A. -S. Dictionary. Golding has _shet_.
The Yankee always shortens the _u_ in the ending _ture_, making _ventur,
natur, pictur_, and so on. This was common, also, among the educated of
the last generation. I am inclined to think it may have been once
universal, and I certainly think it more elegant than the vile _vencher,
naycher, pickcher_, that have taken its place, sounding like the
invention of a lexicographer to mitigate a sneeze. Nash in his 'Pierce
Penniless' has _ventur_, and so spells it, and I meet it also in
Spenser, Drayton, Ben Jonson, Herrick, and Prior.
Spenser has
_tort'rest_, which can be contracted only from _tortur_ and not from
_torcher_. Quarles rhymes _nature_ with _creator_, and Dryden with
_satire_, which he doubtless pronounced according to its older form of
_satyr_. Quarles has also _torture_ and _mortar_. Mary Boleyn writes
_kreatur_. I find _pikter_ in Izaak Walton's autograph will.
I shall now give some examples which cannot so easily be ranked under
any special head. Gill charges the Eastern counties with _kiver_ for
_cover_, and _ta_, for _to_. The Yankee pronounces both _too_ and _to_
like _ta_ (like the _tou_ in _touch_) where they are not emphatic. When
they are, both become _tu_. In old spelling, _to_ is the common (and
indeed correct) form of _too_, which is only _to_ with the sense of _in
addition_. I suspect that the sound of our _too_ has caught something
from the French _tout_, and it is possible that the old _too too_ is not
a reduplication, but a reminiscence of the feminine form of the same
word (_toute_) as anciently pronounced, with the _e_ not yet silenced.
Gill gives a Northern origin to _geaun_ for _gown_ and _waund_ for
_wound_ (_vulnus_). Lovelace has _waund_, but
there is something too dreadful in suspecting Spenser (who _borealised_
in his pastorals) of having ever been guilty of _geaun! _ And yet some
delicate mouths even now are careful to observe the Hibernicism of
_ge-ard_ for _guard_, and _ge-url_ for _girl_. Sir Philip Sidney
(_credite posteri! _) wrote _furr_ for _far_.
'Gammer Gurton' and 'Mirror for Magistrates' is _sence_ for _since_;
Marlborough's Duchess so writes it, and Donne rhymes _since_ with
_Amiens_ and _patience_, Bishop Hall and Otway with _pretence_, Chapman
with _citizens_, Dryden with _providence_. Indeed, why should not
_sithence_ take that form? Dryden's wife (an earl's daughter) has _tell_
for _till_, Margaret, mother of Henry VII. , writes _seche_ for _such_,
and our _ef_ finds authority in the old form _yeffe_.
_E_ sometimes takes the place of _u_, as _jedge, tredge, bresh_. I find
_tredge_ in the interlude of 'Jack Jugler,' _bresh_ in a citation by
Collier from 'London Cries' of the middle of the seventeenth century,
and _resche_ for _rush_ (fifteenth century) in the very valuable 'Volume
of Vocabularies' edited by Mr. Wright. _Resce_ is one of the Anglo-Saxon
forms of the word in Bosworth's A. -S. Dictionary. Golding has _shet_.
The Yankee always shortens the _u_ in the ending _ture_, making _ventur,
natur, pictur_, and so on. This was common, also, among the educated of
the last generation. I am inclined to think it may have been once
universal, and I certainly think it more elegant than the vile _vencher,
naycher, pickcher_, that have taken its place, sounding like the
invention of a lexicographer to mitigate a sneeze. Nash in his 'Pierce
Penniless' has _ventur_, and so spells it, and I meet it also in
Spenser, Drayton, Ben Jonson, Herrick, and Prior.
Spenser has
_tort'rest_, which can be contracted only from _tortur_ and not from
_torcher_. Quarles rhymes _nature_ with _creator_, and Dryden with
_satire_, which he doubtless pronounced according to its older form of
_satyr_. Quarles has also _torture_ and _mortar_. Mary Boleyn writes
_kreatur_. I find _pikter_ in Izaak Walton's autograph will.
I shall now give some examples which cannot so easily be ranked under
any special head. Gill charges the Eastern counties with _kiver_ for
_cover_, and _ta_, for _to_. The Yankee pronounces both _too_ and _to_
like _ta_ (like the _tou_ in _touch_) where they are not emphatic. When
they are, both become _tu_. In old spelling, _to_ is the common (and
indeed correct) form of _too_, which is only _to_ with the sense of _in
addition_. I suspect that the sound of our _too_ has caught something
from the French _tout_, and it is possible that the old _too too_ is not
a reduplication, but a reminiscence of the feminine form of the same
word (_toute_) as anciently pronounced, with the _e_ not yet silenced.
Gill gives a Northern origin to _geaun_ for _gown_ and _waund_ for
_wound_ (_vulnus_). Lovelace has _waund_, but
there is something too dreadful in suspecting Spenser (who _borealised_
in his pastorals) of having ever been guilty of _geaun! _ And yet some
delicate mouths even now are careful to observe the Hibernicism of
_ge-ard_ for _guard_, and _ge-url_ for _girl_. Sir Philip Sidney
(_credite posteri! _) wrote _furr_ for _far_.
