The Scots language has to be enriched, so old vocabulary must resurrect. That includes the usage of internal borrowings. Archaic Scots lexis is used differently from play to play and I will examine the quantitative differences and literary effects, which arise from the lexis, on the basis of two modern Scottish theatre plays.
A drama is more qualified for an analysis of potential forms and functions of Scots than other sorts of texts. A more particular multifaceted usage of Scots is expected in a drama, because Scots is not a standardized form of speech and it is much more used in informally spoken language. The term “Scots” refers principally to the forms of speech in the Scottish lowlands, but in detail it can describe different things, for example a national language, or a collective of regional dialects or sociolects of the English language. These different dialects share a mutual distance to English, but are close to each other.
Scots lasts until today as a spoken language particularly in the lower social classes, even if it was tried to anglicize Scots and to banish that language. In the florescence of enlightenment the pronunciation became a status symbol and so a list of all scottisisms was published to force the Scottish people to rectify their language.
This essay deals with functions of Scots in a drama and the corpus of two modern Scottish theatre plays and the use of Scots and also Scots archaisms and their dramatic function within the plays. At first, I have chosen Liz Lochhead´s “Mary Queen of Scots got her head chopped off” and secondly Duncan McLean´s “Julie Allardyce” which I want to compare on the basis of quantitative differences in the usage of Scots types and the degree of obsolescence.
Table of Contents
1. Introduction and Problem Definition
2. The Functions of Scots in Contemporary Drama
3. Comparative Analysis of Selected Plays
3.1 Liz Lochhead: Mary Queen of Scots got her head chopped off
3.2 Duncan McLean: Julie Allardyce
4. Conclusion
Objectives and Core Topics
The primary objective of this essay is to examine the usage, dramatic functions, and quantitative differences of the Scots language and its archaisms in contemporary Scottish theatre. The study aims to analyze how linguistic choices contribute to characterization, atmosphere, and the transmission of historical or social themes in two distinct modern plays.
- Linguistic analysis of "theatrical Scots" in contemporary dramas.
- Evaluation of archaic Scots lexis and its impact on audience intelligibility and atmosphere.
- Comparative quantitative research on lexical density in Liz Lochhead’s and Duncan McLean’s works.
- Exploration of how dialect usage reflects gender-specific roles and socio-economic identity.
Excerpt from the Book
The Use of Scots and their archaisms and their dramatic funtion. A comparison between Liz Lochhead´s “Mary Queen of Scots got her head chopped off” and Duncan McLean´s “Julie Allardyce”.
The functions of Scots in drama are to evoke a certain atmosphere, to characterize the dramatic figures and to create a setting. But even if authenticity is important for the audience to put themselves in the position of the figures of the play, a drama also has to be accessible and intelligible. If archaic and obsolete words are used which even active Scots speakers don´t know it causes difficulties in understanding. If a supra-regional success is going to be achieved the use of archaic vocabulary has to be handled with care in scenes where it is significant, for example to create poetic effects in the stage language or to portray the prestige of the Scots language and Scotland’s identity and culture. (inet)Otherwise it could be included in dramas of other nations to achieve a humorous effect, as it was utilized in the British drama since the 16th and 17th century. As an example the language of the Welsh character Fluellen in Shakespeare’s Henry V. was intended to induce amusement.
In contrast to the traditionally historical drama a present-day relevance in contemporary Scottish dramas is of great importance, as we can observe in “Mary Queen of Scots got her head chopped off” and “Julie Allardyce”. The main focus is not set any more on the authenticity and the transmission of historical events. The socially critical drama of the present time is rather interested in issues of current events, as poverty, unemployment and conflicts of different classes. Also the settings are not only limited anymore on Glasgow.
Summary of Chapters
1. Introduction and Problem Definition: This section introduces the research topic and defines the scope of analyzing Scots language usage in modern Scottish theatre.
2. The Functions of Scots in Contemporary Drama: This chapter outlines the theoretical framework regarding why and how Scots is employed to create atmosphere, character traits, and authenticity within theatrical performances.
3. Comparative Analysis of Selected Plays: This chapter provides a detailed examination of the two chosen plays, comparing their linguistic density and the specific socio-dramatic application of Scots dialect.
4. Conclusion: The final section synthesizes the findings regarding the effectiveness of language usage in the analyzed dramas and summarizes the importance of Scots in shaping modern Scottish identity on stage.
Keywords
Scots language, Scottish drama, Liz Lochhead, Duncan McLean, theatrical Scots, archaic lexis, linguistic density, social identity, gender stereotypes, characterization, modern theatre, Scottish literature, dialectology, historical drama, literary effects.
Frequently Asked Questions
What is the primary focus of this academic essay?
The essay explores the usage, function, and quantitative frequency of the Scots language and its archaisms in two specific contemporary Scottish plays.
Which two plays are analyzed in this comparison?
The study compares Liz Lochhead’s "Mary Queen of Scots got her head chopped off" and Duncan McLean’s "Julie Allardyce."
What is the main goal of the research?
The goal is to determine how the usage of Scots influences characterization, the setting of the atmosphere, and the overall intelligibility of the drama for the audience.
What scientific methods are applied in this work?
The author employs a comparative literary analysis combined with a quantitative study of lexical density to evaluate how often Scots types and tokens appear in the texts.
What central themes are discussed in the main section?
The discussion covers the shift from traditional historical narratives to socially critical, contemporary themes like class conflict, gender roles, and regional identity.
Which terms characterize this research?
Key terms include "theatrical Scots," "archaic lexis," "lexical density," "Scottish identity," and "modern theatre."
How does the usage of archaic Scots differ between the two analyzed plays?
In the historical play by Lochhead, archaic Scots serves to create a historical and literary style, whereas in McLean’s play, the language is used more realistically and is focused on the contemporary social environment.
What conclusion does the author draw regarding the intelligibility of Scots in drama?
The author concludes that while authenticity is important, excessive use of obscure archaic vocabulary can hinder audience understanding; therefore, a balance must be maintained to achieve success.
- Quote paper
- Kevin Theinl (Author), 2010, The Use of Scots and their archaisms and their dramatic funtion, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/179366
