he would ſometimes break off in a ſudden and ſpirited Epiphonema, or rather Erotesis […] and demand it categorically of his antagoniſt, Whether he would take upon him to ſay, he had ever remember'd,—whether he had ever read,–or even whether he had ever heard tell of a man, call'd Tristram, performing any thing great or worth recording?–No–, he would ſay,–Tristram!–The thing is impoſſible.

New Yorkian stage names are used. Their possible European equivalents have been discussed in the text.

His new album is quite rocky.

In order to do that, I turn briefly to the ways in which the terms marked and unmarked are employed in other domains, to determine whether those notions can be extended naturally into the area of discourse.