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In Grammars of Approach, Cynthia Wall offers a close look at changes in perspective in spatial design, language, and narrative across the late eighteenth and early nineteenth centuries that involve, literally and psychologically, the concept of “approach.” In architecture, the term “approach” changed in that period from a verb to a noun, coming to denote the drive from the lodge at the entrance of an estate “through the most interesting part of the grounds,” as landscape designer Humphrey Repton put it. The shift from the long straight avenue to the winding approach, Wall shows, swung the perceptual balance away from the great house onto the personal experience of the visitor. At the same time, the grammatical and typographical landscape was shifting in tandem, away from objects and Things (and capitalized common Nouns) to the spaces in between, like punctuation and the “lesser parts of speech”. The implications for narrative included new patterns of syntactical architecture and the phenomenon of free indirect discourse. Wall examines the work of landscape theorists such as Repton, John Claudius Loudon, and Thomas Whately alongside travel narratives, topographical views, printers’ manuals, dictionaries, encyclopedias, grammars, and the novels of Defoe, Richardson, Burney, Radcliffe, and Austen to reveal a new landscaping across disciplines—new grammars of approach in ways of perceiving and representing the world in both word and image.
Eighteenth-century English grammarians plead eloquently for purity, precision and perspicuity, but their method of teaching largely amounts to citing examples of impurity, imprecision and lack of clarity from contemporary writings. This book is the first of its kind to provide a detailed systematic account of such 'errors'. Apart from source and page references, the Dictionary gives the context of the error (I have not wept this forty years), the correct or 'target' form ('these forty years'), the name of the authors quoted by the grammarians ('Addison', 'Swift'), and the labels which sum up their assessment of the error ('absurd', 'solecism'). It operates with error categories such as ambiguity, ellipsis and government (fourteen in all), which are subdivided into grammatically described main entries, subentries, and so on. The Introduction includes a guide to the use of the Dictionary, the grammatical code, and a discussion of grammatical concepts, error typologies, problems of identifying literary sources, attitudes to correctness, grammatical figures, and other topics. A Bibliography and an Index of lexical items and technical terms round off the volume. The way the Dictionary is organized should make it possible to find in it the answer to a wide variety of questions pertaining to grammar, style and linguistic historiography.