This chapter examines the consolidation of attitudes and praxis in relation to the emergence of a supraregional accent of English. Engaging in detail with phonological history, it documents the increased salience of delocalisation in representations of speech from the mid eighteenth century onwards while exploring the intersection between formal prescription and private practice. An abundance of primary texts on the need for a normative model of speech was in existence by the late nineteenth century while popular culture, and an emerging national system, also addressed desiderata of this kind. The advent of the pronouncing dictionary, an influential sub-genre in the history of lexicography, is a further important strand in the attempted dissemination of one accent for all, though broadcast English brought other avenues by which paradigms of ‘received’ English were both implemented and encouraged. If the social, cultural and linguistic hegemonies of a ‘standard’ accent were originally embedded in formally democratic models, the chapter also provides a critical examination of both the rhetoric and praxis of ‘received’ English in this respect, alongside its legacies in Present-Day English.

This chapter examines how poet, orator, and early speech therapist John Thelwall engages with embodied materialist models of involuntary, yet autonomous, utterance to support his lifelong belief in the necessity of free and active speech. It investigates how Thelwall’s work presents both politicised notions of the speaking body and a physiological and sometimes pathologised understanding of political silencing and argues that Thelwall’s later elocutionary work develops a concern with embodied speech already fundamental to his more overtly political writing, resulting in a theory of speech production and impediment which remains suggestive of a radical politics in its materialist conception of the human body’s operation and agency. Drawing on his unpublished ‘Derby Manuscript’, the chapter considers how Thelwall’s cross-disciplinary theory of ‘rhythmus’, which positions the elements of elocution as fundamental physical laws, rather than practical or cultural rules, gives credence to the notion of speech as a materially potent force.

Taking the notion of the ‘mechanic’ as its starting point, this chapter outlines how an interest in the mechanic and scientific aspects of speech production is a pervasive feature of Romantic-era treatments of spoken utterance. The chapter investigates the numerous contemporary senses of the term ‘mechanic’, to highlight these senses’ common concern with physical movement, whether of the human hands, a constructed machine, or the material world. It examines how Romantic innovations in the theory of speech production which present utterance as a form of motion – of bodies, of machines, and of matter itself – combine, engage with, and react to traditions of materialist philosophy and elocution teaching and explores how such studies of speech rely on blending knowledge-based fields of study with traditionally non-theoretical practices including medicine and elocution.

This essay explores the intersection of religion and literature in sermons and lectures during the British Romantic period. The essay traces the advance of elocutionary advice in eighteenth- and early nineteenth-century literature and demonstrates how interest in orality proliferated the printing of both sermons and lectures on religious themes. In addition to noted figures such as S. T. Coleridge, William Hazlitt, and Edward Irving, women’s voices emerged during the time, as women in dissenting religious circles set the stage for the first public lectures by women in Britain.

African American actresses apparently appeared in Shakespeare productions for New York’s African Company in 1821. But after the suppression of the company and for the rest of the century the only other records that seem to survive of black actresses’ public Shakespearean performances describe recitals of speeches from the plays. Despite the recognized talent of two later black Shakespearean elocutionists, Henrietta Vinton Davis and Adrienne McLean Herndon, neither ever appeared in a full Shakespeare production – a prohibition pointing to the belief that black women were manifestly incapable of embodying Shakespearean meanings. Such representational policing operated within the period’s violently reactionary anti-blackness, and both actresses fashioned responses to it, with Davis eventually leaving the stage altogether for pan-African political organizing with Marcus Garvey’s United Negro Improvement Association. Herndon, however, began a tradition of Shakespeare productions at historically black colleges and universities (HBCUs), soliciting new audiences and authorizing black women as Shakespeareans.