2֤ε ([2023-01-16-1], [2023-01-17-1]) ɸθˤĤƹͤƤ Speake θŵ OED ꡤŪʥꥨФƤߤ褦
c 1340 R. Rolle in G. G. perry Religious Pieces (EETS) 88 When Adam dalfe [dug] and Eue spane ... Whare was than the pride of man?
1381 in Brown & Robbins Index Middle English Verse (1943) 628 Whan adam delffid and eve span, Who was than a gentilman?
a1450 in C. Brown Relig. Lyrics 14th Cent. (1924) 96 When adam delf & eue span, spir, if þou wil spede, Whare was þan þe pride of man þat now merres his mede.
a1450 T. Walsingham Historia Anglicana (1864) II. 32 Whan Adam dalf, and Eve span, Wo was thanne a gentilman?
c1525 J. Rastell Of Gentylnes & Nobylyte sig. Aviv For when adam dolf and eue span who was then a gentylman.
1562 J. Pilkington Aggeus & Abadias I. ii. When Adam dalve, and Eve span, Who was than a gentleman? Up start the carle, and gathered good, And thereof came the gentle blood.
1777 T. Campbell Philos. Surv. S. Ireland xxxii. 308 England..had its Levellers, who, aggrieved by the monopoly of farms, rebelliously asked, When Adam delved, and Eve span, Where was then your Gentleman?
1979 C. E. Schorske Fin-de Siécle Vienna vi. When Adam delved and Eve span Who was then the gentleman? The question had ironic relevance for the arrivé.
2013 New Statesman May (online) An oral peasant culture, such as still survives in the Balkan countryside, is a fertile context for the transmission of history and ideas through ballad and song. This is not so different from 'When Adam Delved and Eve Span', which we've inherited from our 14th-century Peasants' Revolt.
delve βȤƤϡѸʳ齾ζѲ˲äƿѲ⸽ƤȤʬ롥ξڵϰǤϡ span ѤǤꡤɸŪ spun ֤줿ϤʤޤȤ who where ѤƤΡa gentleman your gentleman Τ褦 the ʳѤƤΤ⤢ägentleman pride of man ȤΤ⤪⤷
Ǹˡ뤤ϤۤȤɻȤʤ̾ delve ˤĤưƤϸűѸ gedelf (> PDE delf) ̤ΰ۷ȤǤ뤫⤷ʤФ1590ǯ Spenser Faerie Queene Ǥ뤳ȤͤȡSpenser ήβŪŪʸոȿǤ줿ư delve ʻž (conversion) λȤȤȤ館뤳ȤǤcf. #1410. Ƚ ([2013-03-07-1])ˡहΤȤ롥
Speake, Jennifer, ed. The Oxford Dictionary of Proverbs. 6th ed. Oxford: OUP, 2015.
ѸˤˤơɸѸ (Standard English) ľܤεϤɤˤ뤫֤ɤˤ뤫פȤ⡤षԤ֤ɤ֤ΤפȤǤ뤫顤ʸ롥դɸಽ Chaucer 14˲"Chancery Standard" 15Ⱦȯã˸ڤơդλɸಽȤ븫ŪˤϤ롥ɸѸľϢʤΤϡ֤ɤפǡ֤ġפʤΤȤϡɸಽ (standardisation) ȤϲʤΤȤܼŪȷӤĤʤʤ
Crowley (303--04) ϡɸѸη˴ؤͤνȤ "Renaissance Origins" ꤹƤ롥ɸಽΥߥ˴ؤ1ĤθȤơƶ٤ƤΤǡޤޤѤThomas Wilson, George Puttenham, Edmund Spenser Ȥ16̾ͤθդڤơϤΤɸѸ쵯ŸƤ롥
The emergence of the English vernacular as a culturally valorized and legitimate form took place in the Renaissance period. It is possible to trace in the comments of three major writers of the time the origins of a persistent set of problems which later became attached to the term "standard English." Following the introduction of Thomas Wilson's phrase "the king's English" in 1553, the principal statement of the idea of a centralized form of the language in the Renaissance was George Puttenham's determination in 1589 of the "natural, pure and most usual" type of English to be used by poets: "that usual speech of the court, and that of London and the shires lying about London, within lx miles and not much above" (Puttenham 1936: 144--5). In the following decade the poet and colonial servant Edmund Spenser composed A View of the State of Ireland (1596) during the height of the decisive Nine Years War between the English colonists in Ireland and the natives. In the course of his wide-ranging analysis of the difficulties facing English rule, Spenser offers a diagnosis of one of the most serious causes of English "degeneration" (a term often used in Tudor debates on Ireland to refer to the Gaelicization of the colonists): "first, I have to finde fault with the abuse of language, that is, for the speaking of Irish among the English, which, as it is unnaturall that any people should love anothers language more than their owne, so it is very inconvenient, and the cause of many other evils" (Spenser 1633: 47). Given Spenser's belief that language and identity were linked ("the speech being Irish, the heart must needes bee Irish), his answer was the Anglicization of Ireland. He therefore recommended the adoption of Roman imperial practice, since "it hath ever been the use of the Conquerour, to despise the language of the conquered, and to force him by all means to use his" (Spencer 1633: 47).
There are several notable features to be drawn from these Renaissance observations on English, a language which, it should be recalled, was being studied seriously and codified in its own right for the first time in this period. The first point is the social and geographic basis of Wilson and Puttenham's accounts. Wilson's phrase "the king's English" was formed by analogy with "the king's peace" and "the king's highway," both of which had an original sense of being restricted to the legal and geographic areas which were guaranteed by the crown; only with the successful centralization of power in the figure of the monarch did such phrases come to have general rather than specific reference. Puttenham's version of the "best English" is likewise demarcated in terms of space and class: his account reduces it to the speech of the court and the area in and around London up to a boundary of 60 miles. A second point to note is that Puttenham's definition conflates speech and writing: its model of the written language, to be used by poets, is the speech of courtiers. And the final detail is the implicit link between the English language and English ethnicity which is evoked by Spenser's comments on the degeneration of the colonist in Ireland. These characteristics of Renaissance thinking on English (its delimitation with regard to class and region, the failure to distinguish between speech and writing, and the connection between language and ethnicity) were characteristics which would be closely associated with the language throughout its modern history.
ѹͥ16ˡ(1) ŪŪ˸ꤵ줿ҿѼȤơ(2) äաաפȡ(3) ָ̱²פΤȤ߽Ф줿Ѹ졥줬ޤϢʤ "Standard English" ľܤεǤ뤳Ȥ¤ΤʤʸϤФƤ롥ȤɶȤƻȤۤɡɤ߱ΤʸϤƱΥȤȤץ쥼ơȵӤǡƤ⤹äȼƤޤ褦ʰᡥΤ褦ʸϤ褦ˤʤꤿΤ
嵭 Puttenham ͭ̾ʰˤĤƤϡ#2030. ꥹ̤ץåˡ ([2014-11-17-1]) ǸʸƤΤǡ⻲ȡ
Crowley, Tony. "Class, Ethnicity, and the Formation of 'Standard English'." Chapter 30 of A Companion to the History of the English Language. Ed. Haruko Momma and Michael Matto. Malden, MA: Wiley-Blackwell, 2008. 303--12.
ε#2725. ghost word ([2016-10-12-1]) ǡderring-do ʹưɬͦˤȤˤĤƿ줿ϡͩˤĤƤ⤦ܤ⤷褦
褦 Chaucer In durryng don . . . ɽüȤʤäθ John Lydgate (1370?--1450?) Troy Book (a1420) Ǥ dorryng do ȤֻǻѤ줿줬1513ǯܤǤϸˤ derrynge do ȤƸƤ롥θ줿ֻϡΤޤ Edmund Spenser (1552?--99) ѤưȤƤǤϤʤ̾ȸShepheardes Calender (1579) October ˤ "manhood and chevalrie" Ϳθϡ Sir Walter Scott (1771--1832) ˤ Ivanhoe (1819) deeds of such derring-do ȤѤ졤19ΥޥɤκȤˤ路Ȥˤꡤ̲
OED Ǥϡ"pseudo-archaism" ȥ졼٥뤬Ž줿ǡΤ褦˸츻β⤬롥
The words come incidentally in their ordinary sense and construction followed by the object 'that' (= what, that which) in Chaucer's Troylus; whence, in an imitative passage by Lydgate, in an absolute construction more liable to misunderstanding; Lydgate's dorryng do was misprinted in the 16th c. editions (1513 and 1555) derrynge do, in which form it was picked up by Spenser and misconstrued as a subst. phrase, explained in the Glossary to the Sheph. Cal. as 'manhood and chevalrie'. Modern romantic writers, led by Sir W. Scott, have taken it from Spenser, printed it derring-do, and accentuated the erroneous use.
嵭˵ȤˤOED ƷǤ褦
c1374 Chaucer Troilus & Criseyde v. 837 Troylus was neuere vn-to no wight..in no degre secounde, In dorryng don [v.rr. duryng do, dorynge to do] þat longeth to a knyght..His herte ay wiþ þe firste and wiþ þe beste Stod paregal, to dorre don [v.rr. durre to do, dore don] that hym leste.
1430 Lydgate tr. Hist. Troy ii.xvi. (MSS. Digby 232 lf. 56 a/2; 230 lf. 81 a/1) And parygal, of manhode and of dede, he [Troylus] was to any þat I can of rede, In dorryng [v.rr. doryng(e] do, this noble worþy wyght, Ffor to fulfille þat longeþ to a knyȝt, The secounde Ector..he called was. [1513, 1555 In derrynge do, this noble worthy wyght.]
1579 Spenser Shepheardes Cal. Oct. 65 For ever who in derring doe were dreade, The loftie verse of hem was loved aye. [Gloss., In derring doe, in manhood and chevalrie.]
. . . .
1819 Scott Ivanhoe II. xv. 300 Singular..if there be two who can do a deed of such derring-do. [Note. Derring-do, desperate courage.]
1843 E. Bulwer-Lytton Last of Barons I. i. vi. 107 Such wonders and dareindo are too solemn for laughter.
1866 G. W. Dasent Gisli 107 Such a deed of derring-do would long be borne in mind.
1885 R. F. Burton tr. Arabian Nights' Entertainm. (1887) III. 433 Who is for duello, who is for derring-do, who is for knightly devoir?
Lydgate ߤȡSpenser ʳǡǤưȤƤǤϤʤ̾ȤƲƤǽꤽ
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