The grammarian Lindley Murray (1745–1826), according to Monaghan
(1996), was the author of the best selling English grammar book of
all times, called English Grammar and first
published in 1795. Not surprisingly, therefore, his work was
subjected to severe criticism by later grammarians as well as by
authors of usage guides, who may have thought that Murray's success
might negatively influence the sales figures of their own books. As
the publication history of the grammar in Alston (1965) suggests,
Murray was also the most popular grammarian of the late
18th and perhaps the entire 19th century, and
this is most clearly reflected in the way in which a wide range of
19th- and even some 20th-century literary
authors, from both sides of the Atlantic, mentioned Lindley Murray
in their novels. Examples are Harriet Beecher Stowe (Uncle
Tom's Cabin, 1852), George Eliot
(Middlemarch, 1871–2), Charles Dickens, in several
of his novels (Sketches by Boz, 1836;
Nicholas Nickleby, 1838–9; The Old
Curiosity Shop 1840–1; Dombey &
Son, 1846–8); Oscar Wilde (Miner and Minor
Poets, 1887) and James Joyce (Ulysses,
1918) (Fens–de Zeeuw, 2011: 170–2). Another example is Edgar Allen
Poe, who according to Hayes (2000) grew up with Murray's textbooks
and used his writings as a kind of linguistic touchstone, especially
in his reviews. Many more writers could be mentioned, and not only
literary ones, for in a recent paper in which Crystal (2018)
analysed the presence of linguistic elements in issues of
Punch published during the 19th
century, he discovered that ‘[w]henever Punch
debates grammar, it refers to Lindley Murray’. Murray, according to
Crystal, ‘is the only grammarian to receive any mention throughout
the period, and his name turns up in 19 articles’ (Crystal, 2018:
86). Murray had become synonymous with grammar prescription, and
even in the early 20th century, he was still referred to
as ‘the father of English Grammar’ (Johnson, 1904: 365).