Welcome to Lesson 10 of the Elizabethan English course. In this lesson, we examine the pronoun it, one of the most frequently employed words in Early Modern English, serving as the third person singular neuter subject pronoun. While modern speakers may consider this word unremarkable, it carried considerable weight in Elizabethan discourse, often functioning in ways that differ from contemporary usage.
In Shakespeare’s age, it served not only as a simple referent for inanimate objects and abstract concepts, but also as a powerful rhetorical device. The pronoun appears in some of the most famous lines of English literature: “If it be now, ‘tis not to come” (Hamlet), “It is the east, and Juliet is the sun” (Romeo and Juliet), and “It was a lover and his lass” (As You Like It).
Course Index:
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FAQ: What does “it” mean in Elizabethan English?
Q: How did Shakespeare and his contemporaries use the pronoun “it”?
A: The pronoun it functioned as the third person singular neuter subject pronoun, referring to things, animals, abstract concepts, and situations. It also served as an expletive or “dummy subject” in constructions like “it rains” or “it seems,” and could introduce clauses emphatically, as in “It is certain that...”
Pronunciation Note: In Original Pronunciation (OP), it was pronounced /ɪt/, similar to modern English but with a clearer, more dental /t/ release. The vowel quality remained short and front, as today.
Key Takeaways -
It functions as the neuter third person singular subject pronoun -
The word serves as an expletive (dummy subject) in weather and existential constructions -
Elizabethan usage permitted it to refer to children and animals more readily than modern conventions -
The possessive form its was only emerging during Shakespeare’s lifetime; it or his often served instead -
Pronunciation: /ɪt/ with clear dental /t/
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10.1a It is the very error of the moon
10.1b It (/ɪt/) it is (/ɪz/) is the (/ðə/) the very (/ˈvɛri/) very error (/ˈɛrər/) error of (/ɔv/) of the (/ðə/) the moon (/muːn/) moon
10.2a It rains upon the just and unjust alike
10.2b It (/ɪt/) it rains (/reːnz/) rains upon (/əˈpɔn/) upon the (/ðə/) the just (/dʒʊst/) just and (/and/) and unjust (/ʊnˈdʒʊst/) unjust alike (/əˈləɪk/) alike
10.3a What is it that troubles thee
10.3b What (/ʍat/) what is (/ɪz/) is it (/ɪt/) it that (/ðat/) that troubles (/ˈtrʊblz/) troubles thee (/ðiː/) thee-ACC
10.4a It matters not what men say
10.4b It (/ɪt/) it-EXPL matters (/ˈmatərz/) matters not (/nɔt/) not what (/ʍat/) what men (/mɛn/) men say (/seː/) say
10.5a Take it and use it well
10.5b Take (/teːk/) take-IMP it (/ɪt/) it-ACC and (/and/) and use (/juːz/) use-IMP it (/ɪt/) it-ACC well (/wɛl/) well
10.6a It was in the bleak midwinter that the king departed
10.6b It (/ɪt/) it-EXPL was (/waz/) was in (/ɪn/) in the (/ðə/) the bleak (/bliːk/) bleak midwinter (/mɪdˈwɪntər/) midwinter that (/ðat/) that the (/ðə/) the king (/kɪŋ/) king departed (/dɪˈpartɪd/) departed
10.7a The babe cried for it knew hunger
10.7b The (/ðə/) the babe (/beːb/) babe cried (/krəɪd/) cried for (/fɔr/) for it (/ɪt/) it knew (/njuː/) knew hunger (/ˈhʊŋgər/) hunger
10.8a It seemeth a most strange disposition in nature
10.8b It (/ɪt/) it-EXPL seemeth (/ˈsiːmɪθ/) seems-3SG a (/a/) a most (/moːst/) most strange (/streːndʒ/) strange disposition (/dɪspɔˈziːsiɔn/) disposition in (/ɪn/) in nature (/ˈneːtjər/) nature
10.9a Let it be done with all convenient speed
10.9b Let (/lɛt/) let-IMP it (/ɪt/) it be (/biː/) be done (/dʊn/) done with (/wɪθ/) with all (/aːl/) all convenient (/kɔnˈviːniɛnt/) convenient speed (/spiːd/) speed
10.10a Though it be madness yet there is method in it
10.10b Though (/ðoː/) though it (/ɪt/) it be (/biː/) be-SUBJ madness (/ˈmadnɪs/) madness yet (/jɛt/) yet there (/ðɛːr/) there is (/ɪz/) is method (/ˈmɛθəd/) method in (/ɪn/) in it (/ɪt/) it
10.11a The proclamation declared it to be a most grievous offence
10.11b The (/ðə/) the proclamation (/prɔklaˈmeːsiɔn/) proclamation declared (/dɪˈkleːrd/) declared it (/ɪt/) it to (/tuː/) to be (/biː/) be a (/a/) a most (/moːst/) most grievous (/ˈgriːvɪəs/) grievous offence (/ɔˈfɛns/) offence
10.12a It boots thee not to speak of moderation
10.12b It (/ɪt/) it-EXPL boots (/buːts/) profits thee (/ðiː/) thee-ACC not (/nɔt/) not to (/tuː/) to speak (/spiːk/) speak of (/ɔv/) of moderation (/mɔdəˈreːsiɔn/) moderation
10.13a Fortune will have it so and there is no remedy
10.13b Fortune (/ˈfɔrtjuːn/) fortune will (/wɪl/) will have (/hav/) have it (/ɪt/) it so (/soː/) so and (/and/) and there (/ðɛːr/) there is (/ɪz/) is no (/noː/) no remedy (/ˈrɛmɪdi/) remedy
10.14a How is it with you that you bend your eye on vacancy
10.14b How (/hʊ/) how is (/ɪz/) is it (/ɪt/) it with (/wɪθ/) with you (/juː/) you that (/ðat/) that you (/juː/) you bend (/bɛnd/) bend your (/jʊr/) your eye (/əɪ/) eye on (/ɔn/) on vacancy (/ˈveːkənsi/) vacancy
10.15a It is a nipping and an eager air that greets us this morrow
10.15b It (/ɪt/) it-EXPL is (/ɪz/) is a (/a/) a nipping (/ˈnɪpɪŋ/) nipping and (/and/) and an (/an/) an eager (/ˈiːgər/) sharp air (/ɛːr/) air that (/ðat/) that greets (/griːts/) greets us (/ʊs/) us this (/ðɪs/) this morrow (/ˈmɔroː/) morning
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10.1 It is the very error of the moon. “This is the very aberration caused by the moon.”
10.2 It rains upon the just and unjust alike. “The rain falls on the righteous and the wicked equally.”
10.3 What is it that troubles thee? “What is the thing that disturbs you?”
10.4 It matters not what men say. “What men say is of no consequence.”
10.5 Take it and use it well. “Receive this and employ it wisely.”
10.6 It was in the bleak midwinter that the king departed. “The king took his leave during the harsh depths of winter.”
10.7 The babe cried, for it knew hunger. “The infant wept, for the child experienced hunger.”
10.8 It seemeth a most strange disposition in nature. “This appears to be a most unusual arrangement in the natural order.”
10.9 Let it be done with all convenient speed. “Allow this to be accomplished with appropriate haste.”
10.10 Though it be madness, yet there is method in it. “Although this may seem insanity, there exists purpose within it.”
10.11 The proclamation declared it to be a most grievous offence. “The official announcement pronounced this to be a most serious crime.”
10.12 It boots thee not to speak of moderation. “It profits you nothing to discourse upon temperance.”
10.13 Fortune will have it so, and there is no remedy. “Fate has determined it thus, and there exists no cure for this.”
10.14 How is it with you, that you bend your eye on vacancy? “What ails you, that you fix your gaze upon emptiness?”
10.15 It is a nipping and an eager air that greets us this morrow. “A biting and keen wind receives us this morning.”
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10.1 It is the very error of the moon.
10.2 It rains upon the just and unjust alike.
10.3 What is it that troubles thee?
10.4 It matters not what men say.
10.5 Take it and use it well.
10.6 It was in the bleak midwinter that the king departed.
10.7 The babe cried, for it knew hunger.
10.8 It seemeth a most strange disposition in nature.
10.9 Let it be done with all convenient speed.
10.10 Though it be madness, yet there is method in it.
10.11 The proclamation declared it to be a most grievous offence.
10.12 It boots thee not to speak of moderation.
10.13 Fortune will have it so, and there is no remedy.
10.14 How is it with you, that you bend your eye on vacancy?
10.15 It is a nipping and an eager air that greets us this morrow.
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These are the grammar rules for “it” in Elizabethan English:
The pronoun it in Early Modern English functions similarly to its modern counterpart but with several notable differences in usage and convention.
Basic Function
The pronoun it serves as the third person singular neuter subject pronoun. It refers to things, animals (whose sex is unknown or irrelevant), abstract concepts, and situations. In Elizabethan usage, it could also refer to infants and young children, a practice now considered archaic: “The babe cried, for it knew hunger.”
Expletive (Dummy Subject) Function
One of the most common uses of it in Elizabethan English is as an expletive or dummy subject. This function permits it to occupy the subject position without referring to any specific entity. Such constructions include weather expressions (”it rains”), temporal expressions (”it was in the bleak midwinter”), and anticipatory constructions (”it seemeth strange that...”). The expletive function appears frequently throughout Shakespeare’s works.
The Possessive Form
A crucial distinction between Elizabethan and modern usage concerns the possessive. The form its was only beginning to appear during Shakespeare’s lifetime and remained quite rare in his works (appearing perhaps once or twice in the entire canon). Instead, Elizabethan writers typically used it alone, his, or the phrasal construction of it to indicate possession. Thus, “the cat has lost its way” would more naturally appear as “the cat has lost his way” or “the cat has lost the way of it.”
Idiomatic Constructions
Several idiomatic expressions employ it in ways that may seem unusual to modern readers. The phrase “it boots not” means “it profits not” or “it avails not.” The expression “how is it with you” enquires after one’s condition or state of being. “Let it be” permits or allows a situation to stand. These constructions remain grammatically transparent but carry semantic weight that requires familiarization.
Word Order and Emphasis
In Elizabethan English, it could be positioned for rhetorical emphasis in ways less common today. The cleft construction “it is X that...” appears frequently to foreground particular elements: “It is the east, and Juliet is the sun.” This construction places emphatic focus on the identified element.
Common Mistakes
Learners should avoid using its in period-appropriate writing, as this form was exceedingly rare before 1620. The construction “it’s” (it is) was not yet standardized and appeared inconsistently. Writers should maintain clear antecedent references, though Elizabethan style permitted more ambiguous pronoun reference than modern formal English prefers.
Grammatical Summary
Subject form: it (/ɪt/) Object form: it (/ɪt/) Possessive form: his (for masculine-coded items), her (for feminine-coded items), or of it (neutral periphrasis); its emerging but rare Reflexive form: itself (/ɪtˈsɛlf/)
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The Pronoun in Performance
The pronoun it carried particular theatrical weight in the playhouses of Shakespeare’s London. Because the stage relied upon language to establish setting and atmosphere, expletive constructions beginning with it served to create mood and context: “It was the lark, and not the nightingale” transports the audience to the lovers’ dawn without need of scenery.
Gender and Reference
Early Modern English retained stronger connections to the grammatical gender system of Old English than contemporary English. Ships, nations, and abstract virtues typically received feminine pronouns (”England, she defends her borders”), while death, time, and the sun often received masculine reference. The neuter it was reserved for things lacking such conventional gendering, though usage remained inconsistent across writers and regions.
Philosophical Implications
The dummy subject construction with it (”it rains,” “it seems”) fascinated Renaissance thinkers. What exactly is the “it” that rains? Such constructions point toward a view of language where grammatical requirements sometimes override semantic clarity. Contemporary readers should appreciate that educated Elizabethans were well aware of these philosophical puzzles surrounding ordinary pronoun usage.
Regional Variation
While the standard literary form remained it, dialectal variations existed throughout England. Some regions preserved the older form hit (from Old English), which occasionally appears in representations of rustic or lower-class speech in plays. The demonstrative that sometimes substituted for it in emphatic contexts.
The Emerging “Its”
The possessive form its represents one of the great grammatical innovations of the Early Modern period. First appearing in the late sixteenth century, it remained rare and suspect for decades. Many considered it vulgar or overly colloquial. Shakespeare famously used it only once or twice in works spanning twenty years of composition. Writers maintained the older conventions of using his or periphrasis well into the seventeenth century.
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Source: William Shakespeare, Hamlet, Act I, Scene iv (c. 1600)
F-A: Interlinear Construed Text
It (/ɪt/) it-EXPL is (/ɪz/) is a (/a/) a nipping (/ˈnɪpɪŋ/) biting and (/and/) and an (/an/) an eager (/ˈiːgər/) sharp air (/ɛːr/) air
How (/hʊ/) how is (/ɪz/) is it (/ɪt/) it with (/wɪθ/) with you (/juː/) you Horatio (/hɔˈreːsiɔ/) Horatio
It (/ɪt/) it draws (/draːz/) draws near (/niːr/) near the (/ðə/) the season (/ˈsiːzən/) season
Wherein (/ʍɛrˈɪn/) wherein the (/ðə/) the spirit (/ˈspɪrɪt/) spirit held (/hɛld/) held his (/hɪz/) his wont (/wɔnt/) custom to (/tuː/) to walk (/waːk/) walk
F-B: Natural Text with Translation
It is a nipping and an eager air. How is it with you, Horatio? It draws near the season wherein the spirit held his wont to walk.
“The air is biting and sharp. How do you fare, Horatio? The hour approaches when the ghost was accustomed to appear.”
F-C: Original Text Only
It is a nipping and an eager air. How is it with you, Horatio? It draws near the season wherein the spirit held his wont to walk.
F-D: Grammar and Vocabulary Notes
This passage from Hamlet demonstrates three distinct uses of it in rapid succession. The first occurrence (”It is a nipping and an eager air”) employs it as an expletive subject introducing a description of the weather—a common construction for setting atmospheric mood on the Elizabethan stage.
The second occurrence (”How is it with you”) shows it in an idiomatic expression enquiring after Horatio’s well-being. This phrase remained common through the seventeenth century and survives in phrases like “how goes it?”
The third occurrence (”It draws near the season”) again uses it as an expletive, this time in a temporal expression indicating the approach of midnight. Note that “eager” here means “sharp” or “biting” (from French aigre, sour/sharp), not “enthusiastic” as in modern usage.
The pronunciation note: “season” would have been pronounced /ˈsiːzən/ and “Horatio” as /hɔˈreːsiɔ/, reflecting the Original Pronunciation norm where “-tion” and “-sion” endings retained their /siɔn/ quality rather than modern /ʃən/.
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A scene between two courtiers discussing strange events at the palace
10.16a What is it that disturbs the tranquillity of this court
10.16b What (/ʍat/) what is (/ɪz/) is it (/ɪt/) it that (/ðat/) that disturbs (/dɪsˈtʊrbz/) disturbs the (/ðə/) the tranquillity (/traŋˈkwɪlɪti/) tranquillity of (/ɔv/) of this (/ðɪs/) this court (/kɔrt/) court
10.17a It is rumoured that the prince hath lost his wits
10.17b It (/ɪt/) it-EXPL is (/ɪz/) is rumoured (/ˈruːmərd/) rumoured that (/ðat/) that the (/ðə/) the prince (/prɪns/) prince hath (/haθ/) has lost (/lɔst/) lost his (/hɪz/) his wits (/wɪts/) wits
10.18a Say you so and do you believe it to be true
10.18b Say (/seː/) say you (/juː/) you so (/soː/) so and (/and/) and do (/duː/) do you (/juː/) you believe (/bɪˈliːv/) believe it (/ɪt/) it to (/tuː/) to be (/biː/) be true (/truː/) true
10.19a It is not for me to judge the condition of princes
10.19b It (/ɪt/) it-EXPL is (/ɪz/) is not (/nɔt/) not for (/fɔr/) for me (/miː/) me to (/tuː/) to judge (/dʒʊdʒ/) judge the (/ðə/) the condition (/kɔnˈdɪsiɔn/) condition of (/ɔv/) of princes (/ˈprɪnsɪz/) princes
10.20a Yet it must be confessed his behaviour shows most strange
10.20b Yet (/jɛt/) yet it (/ɪt/) it-EXPL must (/mʊst/) must be (/biː/) be confessed (/kɔnˈfɛst/) confessed his (/hɪz/) his behaviour (/bɪˈheːvjər/) behaviour shows (/ʃoːz/) shows most (/moːst/) most strange (/streːndʒ/) strange
10.21a It may be that some passion troubles his mind
10.21b It (/ɪt/) it-EXPL may (/meː/) may be (/biː/) be that (/ðat/) that some (/sʊm/) some passion (/ˈpasiɔn/) passion troubles (/ˈtrʊblz/) troubles his (/hɪz/) his mind (/məɪnd/) mind
10.22a Love perhaps or some frustration in his ambition
10.22b Love (/lʊv/) love perhaps (/pərˈhaps/) perhaps or (/ɔr/) or some (/sʊm/) some frustration (/frʊˈstreːsiɔn/) frustration in (/ɪn/) in his (/hɪz/) his ambition (/amˈbɪsiɔn/) ambition
10.23a It were better not to speak of it where walls have ears
10.23b It (/ɪt/) it-EXPL were (/wɛːr/) were-SUBJ better (/ˈbɛtər/) better not (/nɔt/) not to (/tuː/) to speak (/spiːk/) speak of (/ɔv/) of it (/ɪt/) it where (/ʍɛːr/) where walls (/waːlz/) walls have (/hav/) have ears (/iːrz/) ears
10.24a You are wise and it pleases me that you counsel caution
10.24b You (/juː/) you are (/ar/) are wise (/wəɪz/) wise and (/and/) and it (/ɪt/) it-EXPL pleases (/ˈpliːzɪz/) pleases me (/miː/) me that (/ðat/) that you (/juː/) you counsel (/ˈkʊnsl/) counsel caution (/ˈkaːsiɔn/) caution
10.25a The queen takes it hard that her son avoids her company
10.25b The (/ðə/) the queen (/kwiːn/) queen takes (/teːks/) takes it (/ɪt/) it hard (/hard/) hard that (/ðat/) that her (/hɛr/) her son (/sʊn/) son avoids (/əˈvɔɪdz/) avoids her (/hɛr/) her company (/ˈkʊmpəni/) company
10.26a It is natural for a mother to grieve so
10.26b It (/ɪt/) it-EXPL is (/ɪz/) is natural (/ˈnatjərəl/) natural for (/fɔr/) for a (/a/) a mother (/ˈmʊðər/) mother to (/tuː/) to grieve (/griːv/) grieve so (/soː/) so
10.27a The king makes it known he suspects some deeper malady
10.27b The (/ðə/) the king (/kɪŋ/) king makes (/meːks/) makes it (/ɪt/) it known (/noːn/) known he (/hiː/) he suspects (/sʊsˈpɛkts/) suspects some (/sʊm/) some deeper (/ˈdiːpər/) deeper malady (/ˈmalɪdi/) malady
10.28a It stands to reason that such melancholy hath a cause
10.28b It (/ɪt/) it-EXPL stands (/standz/) stands to (/tuː/) to reason (/ˈriːzən/) reason that (/ðat/) that such (/sʊtʃ/) such melancholy (/ˈmɛləŋkɔli/) melancholy hath (/haθ/) has a (/a/) a cause (/kaːz/) cause
10.29a We must leave it to time to reveal all truth
10.29b We (/wiː/) we must (/mʊst/) must leave (/liːv/) leave it (/ɪt/) it to (/tuː/) to time (/təɪm/) time to (/tuː/) to reveal (/rɪˈviːl/) reveal all (/aːl/) all truth (/truːθ/) truth
10.30a Aye and pray it be nothing that touches the safety of the realm
10.30b Aye (/aɪ/) aye and (/and/) and pray (/preː/) pray-IMP it (/ɪt/) it be (/biː/) be-SUBJ nothing (/ˈnʊθɪŋ/) nothing that (/ðat/) that touches (/ˈtʊtʃɪz/) touches the (/ðə/) the safety (/ˈseːfti/) safety of (/ɔv/) of the (/ðə/) the realm (/rɛlm/) realm
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10.16 What is it that disturbs the tranquillity of this court? “What troubles the peace of this royal household?”
10.17 It is rumoured that the prince hath lost his wits. “People whisper that the prince has gone mad.”
10.18 Say you so? And do you believe it to be true? “Do you say this? And do you credit its truth?”
10.19 It is not for me to judge the condition of princes. “I am not fitted to assess the state of royalty.”
10.20 Yet it must be confessed, his behaviour shows most strange. “Nevertheless, one must admit his conduct appears very peculiar.”
10.21 It may be that some passion troubles his mind. “Perhaps some strong emotion disturbs his thoughts.”
10.22 Love, perhaps, or some frustration in his ambition. “Love, it may be, or some obstacle to his aspirations.”
10.23 It were better not to speak of it where walls have ears. “It would be wiser to remain silent where we might be overheard.”
10.24 You are wise, and it pleases me that you counsel caution. “You show wisdom, and I am glad you advise prudence.”
10.25 The queen takes it hard that her son avoids her company. “The queen suffers greatly because her son shuns her presence.”
10.26 It is natural for a mother to grieve so. “A mother’s sorrow at such treatment is to be expected.”
10.27 The king makes it known he suspects some deeper malady. “His majesty has revealed that he fears some greater illness.”
10.28 It stands to reason that such melancholy hath a cause. “Logic dictates that such sadness must have an origin.”
10.29 We must leave it to time to reveal all truth. “We must allow the passage of days to disclose what is hidden.”
10.30 Aye, and pray it be nothing that touches the safety of the realm. “Indeed, and let us hope it concerns nothing that endangers the kingdom.”
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10.16 What is it that disturbs the tranquillity of this court?
10.17 It is rumoured that the prince hath lost his wits.
10.18 Say you so? And do you believe it to be true?
10.19 It is not for me to judge the condition of princes.
10.20 Yet it must be confessed, his behaviour shows most strange.
10.21 It may be that some passion troubles his mind.
10.22 Love, perhaps, or some frustration in his ambition.
10.23 It were better not to speak of it where walls have ears.
10.24 You are wise, and it pleases me that you counsel caution.
10.25 The queen takes it hard that her son avoids her company.
10.26 It is natural for a mother to grieve so.
10.27 The king makes it known he suspects some deeper malady.
10.28 It stands to reason that such melancholy hath a cause.
10.29 We must leave it to time to reveal all truth.
10.30 Aye, and pray it be nothing that touches the safety of the realm.
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Expletive “It” in Formal Discourse
The dialogue demonstrates how it functions repeatedly in formal, courtly discourse. The construction “it is rumoured” (10.17) shows the passive expletive pattern, allowing speakers to report information without naming sources—a politically prudent choice in Tudor and Stuart courts.
Subjunctive Constructions
Note the subjunctive mood in “it were better” (10.23) and “pray it be” (10.30). The past subjunctive “were” (rather than indicative “was”) signals a hypothetical or contrary-to-fact condition. The present subjunctive “be” (rather than “is”) expresses a wish or hope. These forms appear consistently with it in formal Early Modern writing.
“It” as Object of Verbs of Perception and Emotion
Several examples show it as the object of verbs expressing emotional response: “takes it hard” (10.25), “believe it” (10.18), “makes it known” (10.27). These idiomatic expressions retain it as a necessary placeholder even when the actual content appears in a following clause.
Pronunciation of “-tion” and “-sion” Endings
This dialogue provides excellent practice for the Original Pronunciation treatment of Latin-derived suffixes. Words appearing here include: tranquillity, condition, passion, frustration, ambition, caution, reason. In each case, the “-tion” or “-sion” ending would have been pronounced /siɔn/ rather than modern /ʃən/. Thus: condition /kɔnˈdɪsiɔn/, passion /ˈpasiɔn/, frustration /frʊˈstreːsiɔn/, ambition /amˈbɪsiɔn/, caution /ˈkaːsiɔn/, reason /ˈriːzən/.
The Phrase “It stands to reason”
This idiomatic expression (10.28) demonstrates how it functions in set phrases that have persisted into modern English. The construction presents logic or common sense as an impersonal force, with it serving as a formal subject that anticipates the following clause.
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Key Phonological Features of Original Pronunciation
The following guide reflects the sound system of Early Modern English as reconstructed by scholars including David Crystal, based on evidence from rhymes, puns, spelling variants, and contemporary descriptions.
The “-tion” Suffix
Perhaps the most distinctive feature of Original Pronunciation for modern listeners. The suffix “-tion” (and “-sion,” “-cian,” etc.) was pronounced /siɔn/ or /siən/, not modern /ʃən/. Thus: -
condition: /kɔnˈdɪsiɔn/ (not /kənˈdɪʃən/) -
passion: /ˈpasiɔn/ (not /ˈpæʃən/) -
proclamation: /prɔklaˈmeːsiɔn/ (not /prɒkləˈmeɪʃən/) -
moderation: /mɔdəˈreːsiɔn/ (not /mɒdəˈreɪʃən/)
Vowel Sounds
The Great Vowel Shift was still in progress during Shakespeare’s time. Key differences: -
“name” type vowels: /eː/ rather than modern /eɪ/ -
“time” type vowels: /əɪ/ with schwa onset, not modern /aɪ/ -
“moon” type vowels: /uːn/ similar to modern -
“air” type vowels: /ɛːr/ more open than modern
Consonants -
All /r/ sounds were pronounced (rhotic accent) -
Initial /ʍ/ (voiceless w) distinguished “where” from “wear” -
Clear /l/ in all positions -
Dental /t/ and /d/ with full release
Difficult Words from This Lesson -
disposition: /dɪspɔˈziːsiɔn/ -
convenient: /kɔnˈviːniɛnt/ -
tranquillity: /traŋˈkwɪlɪti/ -
melancholy: /ˈmɛləŋkɔli/ -
behaviour: /bɪˈheːvjər/ -
Horatio: /hɔˈreːsiɔ/
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This lesson forms part of the Elizabethan English course developed by the Latinum Institute, which has been creating language learning materials since 2006. The Latinum Institute specializes in autodidactic methodologies that enable learners to acquire languages independently through systematic study.
The construed text approach employed in this course draws on centuries of pedagogical tradition. By presenting target language with word-by-word glossing, this method allows learners to comprehend authentic texts from the very beginning of their studies. The interlinear format reveals the structure of the language transparently, enabling pattern recognition and natural acquisition.
For Early Modern English specifically, this course incorporates the findings of Original Pronunciation (OP) research pioneered by David Crystal and others at Shakespeare’s Globe. The IPA transcriptions reflect the reconstructed phonology of English circa 1600, allowing learners to hear Shakespeare’s language as his original audiences heard it.
Benefits of the Construed Text Approach: -
Immediate access to authentic texts -
Transparent grammatical structure -
Natural vocabulary acquisition through context -
Self-paced, independent learning -
Suitable for visual learners
Further Resources: -
Course Index: https://latinum.substack.com/p/index -
Latinum Institute: https://latinum.org.uk -
Trustpilot Reviews: https://uk.trustpilot.com/review/latinum.org.uk
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✓ Lesson 10 Elizabethan English complete
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