As short as it is, the verb ‘be’ has a range of meanings and uses that have developed over the last 1,500 years. It is—after ‘the’—the second most frequent word in the English language, and if you’re not afraid to use it, it can help you become a better writer. For National Novel Writing Month, we’ve laid out the various uses of ‘be’, taken from the Story of Be, to help aid you with your writing.
Some sentences just sound awkward. In order to ensure clarity, writers need to consider more than just grammar: weight is equally important. In the following extract from Making Sense, acclaimed linguist David Crystal shows how sentence length (and weight) affects writing quality.
The Internet has become a key part of modern communication. But how has it influenced language structure? Surprisingly, formal writing remains unchanged. Informal writing, however, has seen an influx of stylistic changes. In the following shortened extract from Making Sense: The Glamorous Story of English Grammar, renowned linguist David Crystal breaks down the grammatical and syntactical evolution of language in the Internet-era.
Can grammar be glamorous? Due to its meticulous nature, the study of grammar has been saddled with an undeserved intimidating reputation. Esteemed linguist David explains how grammar is an essential tool for communication. Demystifying the rules behind the English language can allow us to communicate effectively both professionally and casually. In the following excerpt from […]
A dictionary is in indeed a collection of stories and each word entry has a unique tale to tell. If we choose the verb ‘be’, we encounter a special insight into English, and into the society and thought that has shaped it over the past 1,500 years.
Since the groundbreaking Original Pronunciation productions at Shakespeare’s Globe in London in 2004-05, OP has captured the imagination of performers, directors, and the play-going public. Going back to the pronunciation of the late 16th and early 17th centuries reveals nuances, puns, and rhymes that otherwise lie completely hidden, and gives fresh dynamism to productions.
In 2004, Shakespeare’s Globe in London began a daring experiment. They decided to mount a production of a Shakespeare play in ‘original pronunciation’ (OP) – a reconstruction of the accents that would have been used on the London stage around the year 1600, part of a period known as Early Modern English. They chose Romeo and Juliet as their first production, but – uncertain about how the unfamiliar accent would be received by the audience – performances in OP took place for only one weekend.
In All’s Well that Ends Well (3.7), Helena devises a plan to ignite the affections of her husband, for which she needs the help of her new acquaintances, a widow and her daughter. The widow is naturally suspicious, but Helena persuades her by offering to pay for her daughter’s marriage.
False friends (‘faux amis’) are words in one language which look the same as words in another. We therefore think that their meanings are the same and get a shock when we find they are not. Generations of French students have believed that demander means ‘demand’ (whereas it means ‘ask’) or librairie means ‘library’ (instead of ‘bookshop’). It is a sign of a mature understanding of a language when you can cope with the false friends, which can be some of its most frequently used words.
There’s something about the idea of ‘original pronunciation’ (OP) that gets the pulse racing. I’ve been amazed by the public interest shown in this unusual application of a little-known branch of linguistics — historical phonology, a subject that explores how the sounds of a language change over time.