Difference Between Standard English And Creole

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The language of both Standard English and Creole presented in Caribbean literary texts is integral in understanding the narrative voices established within the texts as well as the socio-cultural differences illustrated. This paper seeks to address issues raised by the representation of Creole in literary texts by closely examining three articles, “Language use in West Indian Literature,” “The Language of Earl Lovelace,” and “Samuel Selvon’s linguistic extravaganza: Moses Ascending”. An important concept to be discussed is the connection between ideological perspective and code choice.
In the article, “Language Use in West Indian Literature” written by Maureen Warner-Lewis, language encompasses a word system of morphology, semantics, syntax,
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For instance, novels by H. G. De Lisser from Jamaica and plays by Douglas Archibald from Trinidad. These writers were white creoles who spoke Standard English and the themes focused on was historical romance and upper social stratum. The Anglophone Caribbean writers kept Standard English for narration, monologues and dialogues of the educated characters while the uneducated characters spoke Creole. The reasons uneducated characters spoke Creole are writers judge Creole as unaesthetic, limited in its expressive and ideational range and restrictive with is communication to an international audience. By disguising the Creole, writers minimize these limitations. This can be seen in the short story, “Blood Out of Stone” by Trinidadian author A. M. Clarke from his Ma Mamba, 1939. The narrative voice speaks the Standard English but Clarke includes a conversation between a Chinese shopkeeper and an African young girl where the language was changed. “As Teresita called for the first item, the short, wizened Chinaman asked, ‘You pringee money, nuh?’ ‘No, but you will get it later.’ ‘Every day same-e thing. No money, You koing ket chob? How-ee you kong pay, nuh?’ ‘No, I haven got the job yet. I expect one soon.’ ‘Vell, come whenee you ket chob. Me canee gee you more now.’ ‘But mother is sick, Chin. She always pay you well. We have no food in the house. Give us some goods, please, nuh?’” (Clarke [1939], 155). Here the…show more content…
In 1948, the birth of West Indian nationalism, diglossic language use signifies the wave of dramatic productions. This is portrayed in Errol John’s, Moon on a Rainbow Shawl, 1958, where a poor educated girl, Ester, code-switches. It is also displayed in Freddie Kissoon’s, God and Uriah Butler, 1967, when Uriah Butler spoke Creole to his followers in informal situations but spoke Standard English in his public addresses, in a private conversation with a legal advisor and a friend who is more educated than him. The complications of sound-meaning interpretation, widened in situations of diglossia and multilingualism, offering the writer the option of consciously encrypting multiple meanings into the literary text. In Dennis Scott’s “More Poem” both Standard English and Rastafarian English was used allowing for ambiguity with a solitary voice and a salutary voice. Amongst prose writers, Samuel Selvon has most often make use of the vernacular. In his first novel, A Brighter Sun, 1952, there was code-switching from Standard English to Creole. His other novel, The Lonely Londoners, 1956, he used a naturalistic flow with incorporating vernacular idioms, affect and speech. The participant-observer first-person narrative voice was established to carry out this purpose. The younger generations of writers find
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