
Contents
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“Nothing into All Things” “Nothing into All Things”
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The Beggar’s Opera’s British Vernacular The Beggar’s Opera’s British Vernacular
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Pastoral, Burlesque, and The Beggar’s Opera’s Stereophonic Language Pastoral, Burlesque, and The Beggar’s Opera’s Stereophonic Language
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Languages of Independence Languages of Independence
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Three John Gay’s Overloaded Languages
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Published:June 2017
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Abstract
This chapter turns to John Gay's method of deploying cant languages, which marks a return to its older associations with violation and outsiders in order to represent a Britain in which self-serving cant-speakers were difficult to distinguish from corrupt members of “legitimate” society. The disorienting mixture of respectable and cant languages in The Beggar's Opera signals disturbing, if also creatively productive, breakdowns of distinctions between high and low, right and wrong. Although a shift in thinking about cant was taking place in some quarters in the eighteenth century, Gay makes use of an ongoing understanding of cant as the sine qua non of criminals, a language of dangerous outsiders that illegitimately departs from given meaning.
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