Irish dialects

P.S. I Love You: I’m driving the limos these four years, Holly!P.S. I Love You: She’s not after liking me for 8 years already.The Jackal: Except, I’m after giving you my word.In Irish English pronounyou is put in plural and singular forms, for instance by using the archaic English word ye to make plurality: But it also can have other forms:Far and Away: My ambition’s a little grander than ye’s.The Jackal: I’m no use to ya. P.S. I love you: Ye were both so young! Preposition on is often used for negative connotation:Far and Away:Sure, he's lefton uswith a huge debt of rent on the landP.S. I Love You: I haven’t said it on your mother!The Jackal: You don’t give on me credit.There is a common and very frequent use of meinstead of my and mine:Far and Away: I’m washing me clothes.P.S. I Love You: Oh, kiss me arse! Me balls, they were hanging there a minute ago.The Jackal: Pardon me language! I’ve been in prison.The combination of verbs do and be is also often without the purpose of emphasizing. Like in the examples below:Far and Away: We do being smart and sell off a thing or twoP.S. I Love You: It does be a wild Irish dogThe Jackal: If he do bes on the next name…From the point of view of lexis there are no borrowed Irish or Scottish words presented in the film which are usually frequent in Irish English but not so known overseas, like chisler, mot, coddle. But there are some words which are associated with Irish or mostly spoken by Irish English like: lad (boy), grand (fine), fella, lass (girl), bob (money), blight (very colloquial for eye infection), shag off (leave), aye (yes), da (instead of dad), wee bit (instead of a little bit).Far and Away: You’re the blight on this country. Put your face up, lad!Aye, they would and I could make you a cup of tea.P.S. I Love You: Kissing him like that, I’m not surprised, poor lad.You’re grand!The Jackal: Shag off, both of you! A wee bit rusty. That’s all.Regarding the mentioned above examples it is clear that Irish English is presented in the analysed films on different linguistic levels: grammatical, phonetical and lexical. At least one example of certain features was found in the film scripts.Phonetically it is slightly exaggerated, the evident phonetic features were taken by non-Irish actors and they tried to make it accurate. Their attempts worldwide were taken without doubts. It should be notice thought that Irish English dialects are sometimes difficult to understand for people not familiar with it without trying to imitate it properly. There were several grammatical features in three films which helped in depicting the authentic Irish English but not more than three examples for the film which is not exactly enough. The last attempt for showing the authenticity was made in the choice of lexicon of the characters which made the atmosphere more believable. The lack of foreign Irish or Scottish words which are frequent in Irish English may be explained by the wide range of audience and the entertainment purpose of the films which did not intended to make the perception of the foreign words too complex for the spectators. There was another aspect of making Irish English more accurate from cultural point of view. All the characters presented in the analysed films are slightly stubborn and tempered which stereotypically assigned to Irish traits of character as well as singing, drinking and fighting. ConclusionOneside of continuous linguistic studies is the possibility of introduction of the results further into the world and spheres like cinematography in order to change the perception of Irish English worldwide from low and easy and even comical kind of language, to the way it really is, and it is complex and systematic as standard language. It has a long history of changes and development which is still in process. Films can be an exact reflection of such developments and socially important issues and history told in the correct way and linguistically correct as well.From the analysis provided above the notion of Stage Irishman in films can be traced in 15 years of filmmaking but the effort of making it right on different levels is still there, so it is not only stereotypes but respect for the cultural and linguistic characteristics too. However, for the more evident and correct presentation of the Irish English it is better to consider films produced in Ireland. But despite all of this Irish English is well recognized worldwide in films and that may help to preserve uniqueness of the dialects phenomenon. ReferencesBliss, A. J. (1979) Spoken English in Ireland: 1600-1740: twenty-seven representative texts assembled & analysed, Dublin: Dolmen PressHarris, J. (1984) ‘Syntactic Variation and Dialect Divergence’, Journal of Linguistiсs, Vol. 20, pp. 303–327.Hickey, R. (2007) Irish English: History and Present-day Forms, Сambridge: Cambridge University Press. Hogan, J. (1927) The English Language in Ireland, Dublin: The Educational Company of Ireland. Joyce, P. W. ([1910] 1991)Kallen J (2012) An English Language in Ireland: An Introduction, IJLTIC 2012 1 (1), 25-41Walsh Sh. (2009) Irish English as Represented in Film, Peter LangOxford Reference. Electronic version www.oxfordreference.com/view