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Memorials and Other Papers — Volume 1 by Thomas De Quincey
page 34 of 299 (11%)
the practice of systematically traducing our order of country
gentlemen. His picture of Squire Western is not only a malicious, but
also an incongruous libel. The squire's ordinary language is
impossible, being alternately bookish and absurdly rustic. In reality,
the conventional dialect ascribed to the rustic order in general--to
peasants even more than to gentlemen--in our English plays and novels,
is a childish and fantastic babble, belonging to no form of real
breathing life; nowhere intelligible; not in _any_ province;
whilst, at the same time, all provinces--Somersetshire, Devonshire,
Hampshire--are confounded with our midland counties; and positively the
diction of Parricombe and Charricombe from Exmoor Forest is mixed up
with the pure Icelandic forms of the English lakes, of North Yorkshire,
and of Northumberland. In Scotland, it needs but a slight intercourse
with the peasantry to distinguish various dialects--the Aberdonian and
Fifeshire, for instance, how easily distinguished, even by an English
alien, from the western dialects of Ayrshire, &c.! And I have heard it
said, by Scottish purists in this matter, that even Sir Walter Scott is
chargeable with considerable licentiousness in the management of his
colloquial Scotch. Yet, generally speaking, it bears the strongest
impress of truthfulness. But, on the other hand, how false and
powerless does this same Sir Walter become, when the necessities of his
tale oblige him at any time to come amongst the English peasantry! His
magic wand is instantaneously broken; and he moves along by a babble of
impossible forms, as fantastic as any that our London theatres have
traditionally ascribed to English rustics, to English sailors, and to
Irishmen universally. Fielding is open to the same stern criticism, as
a deliberate falsehood-monger; and from the same cause--want of energy
to face the difficulty of mastering a real living idiom. This defect in
language, however, I cite only as one feature in the complex falsehood
which disfigures Fielding's portrait of the English country gentleman.
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