The grammarian Lindley Murray (1745–1826), according to Monaghan(1996), was the author of the best selling English grammar book ofall times, called English Grammar and firstpublished in 1795. Not surprisingly, therefore, his work wassubjected to severe criticism by later grammarians as well as byauthors of usage guides, who may have thought that Murray's successmight negatively influence the sales figures of their own books. Asthe publication history of the grammar in Alston (1965) suggests,Murray was also the most popular grammarian of the late18th and perhaps the entire 19th century, andthis is most clearly reflected in the way in which a wide range of19th- and even some 20th-century literaryauthors, from both sides of the Atlantic, mentioned Lindley Murrayin their novels. Examples are Harriet Beecher Stowe (UncleTom's Cabin, 1852), George Eliot(Middlemarch, 1871–2), Charles Dickens, in severalof his novels (Sketches by Boz, 1836;Nicholas Nickleby, 1838–9; The OldCuriosity Shop 1840–1; Dombey &Son, 1846–8); Oscar Wilde (Miner and MinorPoets, 1887) and James Joyce (Ulysses,1918) (Fens–de Zeeuw, 2011: 170–2). Another example is Edgar AllenPoe, who according to Hayes (2000) grew up with Murray's textbooksand used his writings as a kind of linguistic touchstone, especiallyin his reviews. Many more writers could be mentioned, and not onlyliterary ones, for in a recent paper in which Crystal (2018)analysed the presence of linguistic elements in issues ofPunch published during the 19thcentury, he discovered that ‘[w]henever Punchdebates grammar, it refers to Lindley Murray’. Murray, according toCrystal, ‘is the only grammarian to receive any mention throughoutthe period, and his name turns up in 19 articles’ (Crystal, 2018:86). Murray had become synonymous with grammar prescription, andeven in the early 20th century, he was still referred toas ‘the father of English Grammar’ (Johnson, 1904: 365).