This lesson explores the preposition on in Early Modern English, the language of Shakespeare, Marlowe, and the Elizabethan court. In the sixteenth and early seventeenth centuries, “on” functioned much as it does today—indicating surface contact, position, temporal relation, and figurative attachment—yet its pronunciation and contextual usage bore distinctive period characteristics.
The word on derives from Old English on, an (cognate with Old High German an and Greek ana), and in Elizabethan usage retained a richer semantic range than Modern English allows. Where contemporary speakers might choose “upon,” “about,” or “concerning,” Elizabethans frequently employed “on” alone. The preposition also appeared in compounds now obsolete: on-looking (observation), on-set (assault), and on-waiting (attendance).
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FAQ: What does “on” mean in Elizabethan English?
In Elizabethan English, “on” functions as a preposition indicating surface contact (”the book lieth on the table”), temporal relation (”on the morrow”), continuous action (”march on”), figurative dependence (”rely on”), and condition (”on pain of death”). Its pronunciation was /ɔn/ with an open-o vowel, distinct from modern British /ɒn/.
Key Takeaways
The preposition “on” in Elizabethan English indicates surface position, temporal reference, and figurative relation. Period pronunciation featured an open-o vowel /ɔn/. The word frequently paired with verbs to create phrasal constructions still recognizable today. Elizabethan writers used “on” in contexts where Modern English might prefer “upon” or “about.” Understanding this preposition illuminates countless passages in Shakespeare and his contemporaries.
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This lesson employs IPA transcription reflecting Original Pronunciation (OP) as reconstructed by David Crystal and other scholars. Key features distinguishing Elizabethan pronunciation from Modern English include:
Vowels (Mid-Shift): The Great Vowel Shift was incomplete in Shakespeare’s time. Long vowels retained more “continental” qualities. The word “life” sounded closer to /laɪf/ with a true diphthong, while “time” was /taɪm/ rather than the centralized modern form.
The -tion Suffix: Crucially, words ending in “-tion” and “-sion” were pronounced /sɪən/ or /sjən/, NOT modern /ʃən/. Thus “nation” was /ˈneɪ.sɪ.ən/, “position” was /pɔˈzɪ.sɪ.ən/, and “contemplation” was /ˌkɔn.tɛm.ˈpleɪ.sɪ.ən/.
Rhotic /r/: The “r” was pronounced in ALL positions—initial, medial, and final. “Heart” was /hart/, “never” was /ˈnɛ.vər/, and “for” was /fɔr/.
Short Vowels: More open than modern equivalents: /a/ in “trap” (not modern /æ/), /ɔ/ in “lot” (not modern /ɒ/).
Final Unstressed Syllables: The suffix “-y” in words like “happy” was pronounced /əɪ/ (a diphthong), not modern /i/.
The Word “on”: Pronounced /ɔn/ with an open-o vowel, slightly longer than modern British pronunciation.
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18.1a The candles burn on the table in the hall.
18.1b The /ðə/ the candles /ˈkan.dəlz/ candles burn /bərn/ burn on /ɔn/ ON the /ðə/ the table /ˈteɪ.bəl/ table in /ɪn/ in the /ðə/ the hall /hɔːl/ hall
18.2a My lord doth wait on the queen this day.
18.2b My /maɪ/ my lord /lɔrd/ lord doth /dʌθ/ does wait /weɪt/ wait on /ɔn/ ON the /ðə/ the queen /kwiːn/ queen this /ðɪs/ this day /deɪ/ day
18.3a On the morrow we shall ride to London.
18.3b On /ɔn/ ON the /ðə/ the morrow /ˈmɔ.roʊ/ morrow we /wiː/ we shall /ʃal/ shall ride /raɪd/ ride to /tuː/ to London /ˈlʌn.dən/ London
18.4a The soldiers march on through the bitter night.
18.4b The /ðə/ the soldiers /ˈsoʊl.dʒərz/ soldiers march /martʃ/ march on /ɔn/ ON through /θruː/ through the /ðə/ the bitter /ˈbɪ.tər/ bitter night /naɪt/ night
18.5a I have set my affection on thy sister.
18.5b I /aɪ/ I have /hav/ have set /sɛt/ set my /maɪ/ my affection /aˈfɛk.sɪ.ən/ affection on /ɔn/ ON thy /ðaɪ/ thy sister /ˈsɪs.tər/ sister
18.6a The messenger arrived on horseback at dawn.
18.6b The /ðə/ the messenger /ˈmɛ.sən.dʒər/ messenger arrived /aˈraɪvd/ arrived on /ɔn/ ON horseback /ˈhɔrs.bak/ horseback at /at/ at dawn /dɔːn/ dawn
18.7a What news have you on the matter of the succession?
18.7b What /ʍat/ what news /njuːz/ news have /hav/ have you /juː/ you on /ɔn/ ON the /ðə/ the matter /ˈma.tər/ matter of /ɔv/ of the /ðə/ the succession /sʌkˈsɛ.sɪ.ən/ succession
18.8a On pain of death, speak not of this treason.
18.8b On /ɔn/ ON pain /peɪn/ pain of /ɔv/ of death /dɛθ/ death speak /spiːk/ speak not /nɔt/ not of /ɔv/ of this /ðɪs/ this treason /ˈtriː.zən/ treason
18.9a The king hath placed his crown on his head.
18.9b The /ðə/ the king /kɪŋ/ king hath /haθ/ has placed /pleɪst/ placed his /hɪz/ his crown /kraʊn/ crown on /ɔn/ ON his /hɪz/ his head /hɛd/ head
18.10a I call on heaven to witness my innocence.
18.10b I /aɪ/ I call /kɔːl/ call on /ɔn/ ON heaven /ˈhɛ.vən/ heaven to /tuː/ to witness /ˈwɪt.nəs/ witness my /maɪ/ my innocence /ˈɪ.nə.səns/ innocence
18.11a Thou must bestow more contemplation on this question.
18.11b Thou /ðaʊ/ thou must /mʌst/ must bestow /bɪˈstoʊ/ bestow more /mɔːr/ more contemplation /ˌkɔn.tɛmˈpleɪ.sɪ.ən/ contemplation on /ɔn/ ON this /ðɪs/ this question /ˈkwɛs.tɪ.ən/ question
18.12a The players shall perform on the stage this evening.
18.12b The /ðə/ the players /ˈpleɪ.ərz/ players shall /ʃal/ shall perform /pərˈfɔrm/ perform on /ɔn/ ON the /ðə/ the stage /steɪdʒ/ stage this /ðɪs/ this evening /ˈiːv.nɪŋ/ evening
18.13a On my honour, I swear I have spoken true.
18.13b On /ɔn/ ON my /maɪ/ my honour /ˈɔ.nər/ honour I /aɪ/ I swear /swɛːr/ swear I /aɪ/ I have /hav/ have spoken /ˈspoʊ.kən/ spoken true /truː/ true
18.14a The shadow of suspicion doth fall on every courtier.
18.14b The /ðə/ the shadow /ˈʃa.doʊ/ shadow of /ɔv/ of suspicion /sʌsˈpɪ.sɪ.ən/ suspicion doth /dʌθ/ does fall /fɔːl/ fall on /ɔn/ ON every /ˈɛv.rəɪ/ every courtier /ˈkɔːr.tɪ.ər/ courtier
18.15a Come, let us go on with our business ere the sun sets.
18.15b Come /kʌm/ come let /lɛt/ let us /ʌs/ us go /goʊ/ go on /ɔn/ ON with /wɪð/ with our /aʊr/ our business /ˈbɪz.nəs/ business ere /ɛːr/ before the /ðə/ the sun /sʌn/ sun sets /sɛts/ sets
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18.1 The candles burn on the table in the hall. “The candles are burning on the table in the great hall.”
18.2 My lord doth wait on the queen this day. “My lord is attending upon the queen today.”
18.3 On the morrow we shall ride to London. “Tomorrow we shall ride to London.”
18.4 The soldiers march on through the bitter night. “The soldiers continue marching through the bitter night.”
18.5 I have set my affection on thy sister. “I have fixed my love upon your sister.”
18.6 The messenger arrived on horseback at dawn. “The messenger arrived by horse at dawn.”
18.7 What news have you on the matter of the succession? “What news do you have concerning the matter of the succession?”
18.8 On pain of death, speak not of this treason. “Under threat of death, do not speak of this treason.”
18.9 The king hath placed his crown on his head. “The king has placed his crown upon his head.”
18.10 I call on heaven to witness my innocence. “I call upon heaven to witness my innocence.”
18.11 Thou must bestow more contemplation on this question. “You must give more thought to this question.”
18.12 The players shall perform on the stage this evening. “The actors shall perform on the stage this evening.”
18.13 On my honour, I swear I have spoken true. “Upon my honour, I swear I have spoken truthfully.”
18.14 The shadow of suspicion doth fall on every courtier. “The shadow of suspicion falls upon every courtier.”
18.15 Come, let us go on with our business ere the sun sets. “Come, let us proceed with our business before the sun sets.”
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18.1 The candles burn on the table in the hall.
18.2 My lord doth wait on the queen this day.
18.3 On the morrow we shall ride to London.
18.4 The soldiers march on through the bitter night.
18.5 I have set my affection on thy sister.
18.6 The messenger arrived on horseback at dawn.
18.7 What news have you on the matter of the succession?
18.8 On pain of death, speak not of this treason.
18.9 The king hath placed his crown on his head.
18.10 I call on heaven to witness my innocence.
18.11 Thou must bestow more contemplation on this question.
18.12 The players shall perform on the stage this evening.
18.13 On my honour, I swear I have spoken true.
18.14 The shadow of suspicion doth fall on every courtier.
18.15 Come, let us go on with our business ere the sun sets.
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These are the grammar rules for “on” in Elizabethan English.
The preposition “on” in Early Modern English functions across several semantic domains, many of which survive into contemporary usage while others have narrowed or shifted.
Primary Uses of “On”
SURFACE CONTACT — The most fundamental meaning indicates physical position upon a surface: “The book lieth on the table.” This usage remains unchanged in Modern English.
TEMPORAL REFERENCE — “On” marks specific points in time: “On the morrow” (tomorrow), “on this day” (today), “on the instant” (immediately). Modern English retains this for days (”on Monday”) but has lost constructions like “on the morrow.”
CONTINUATION — Combined with verbs of motion, “on” indicates persistence: “march on,” “go on,” “press on.” This phrasal use survives intact.
DEPENDENCE OR RELIANCE — “On” expresses figurative attachment: “I depend on thy mercy,” “My hopes rest on this venture.” Modern English preserves this fully.
CONCERNING OR ABOUT — Where Modern English might use “about” or “concerning,” Elizabethans often employed “on”: “What news on this matter?” This usage feels archaic today.
CONDITION — “On pain of death,” “on peril of thy life” express conditional threats. The construction survives in legal and formal registers.
OATH FORMULAS — “On my honour,” “on my life,” “on my troth” reinforce solemn declarations. These remain recognizable but sound formal or archaic.
ATTENDANCE — “To wait on” meant to attend upon or serve, as in “He waits on the queen.” Modern English preserves this in formal contexts.
The Distinction Between “On” and “Upon”
In Elizabethan usage, “on” and “upon” were largely interchangeable, though “upon” carried slightly greater emphasis or formality. Shakespeare uses both freely, sometimes within the same speech for metrical variety. Modern English has developed a stronger distinction, with “upon” feeling more formal or literary.
“On” in Phrasal Constructions
Many Elizabethan phrasal verbs with “on” remain current: go on, carry on, call on, put on, hold on, keep on. Others have become obsolete: “on-looking” (watching), “on-set” (attack), “on-waiting” (attendance).
Common Learner Mistakes
Avoid inserting “on” where Modern English uses “upon” when seeking elevated register—Elizabethans used both freely. Do not assume “on” always sounds more archaic; the choice was often metrical. Remember that “on the morrow” means “tomorrow,” not “in the morning.”
Grammatical Summary
“On” (preposition): pronunciation /ɔn/, governs noun phrases, indicates surface position, temporal reference, continuation, dependence, condition, and attendance. Interchangeable with “upon” in most contexts. Combines with verbs to form phrasal constructions indicating persistence or direction.
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Formal and Informal Usage
The preposition “on” itself carried no social register distinction—it appeared in the speech of monarchs and peasants alike. However, certain constructions involving “on” marked social context. “On my honour” was an oath reserved for gentlemen and nobles; commoners would more likely swear “by my troth” or invoke saints. “To wait on” someone implied a clear hierarchical relationship, with the waiter subordinate to the waited-upon.
“On” in Legal and Official Language
Tudor legal documents relied heavily on conditional “on” constructions: “on pain of forfeiture,” “on penalty of imprisonment,” “on peril of displeasure.” These formulae carried the weight of royal and parliamentary authority. Understanding them was essential for anyone navigating Elizabethan society’s complex legal requirements.
Theatrical Conventions
In the playhouse, “on” frequently appeared in stage directions and actor’s cues. “Enter on the stage,” “stand on the upper level,” “fall on thy sword” directed physical action. The Globe Theatre’s thrust stage meant actors performed “on” three sides of the audience, creating an intimacy modern proscenium staging lacks.
Regional Variations
Pronunciation of “on” varied across England. Southern speakers used /ɔn/, while Northern dialects might favour /ɔːn/ or even /an/. Shakespeare’s company, performing primarily in London, would have used the Southern pronunciation, though actors playing regional characters might adopt dialectal variants for comic or dramatic effect.
Idiomatic Expressions with “On”
“On the face of it” — apparently, at first appearance “On the instant” — immediately “On a sudden” — suddenly “On the hazard” — at risk, in danger “On foot” — walking; also, in progress (”a plot on foot”) “On the wing” — flying; also, departing hastily
Observations on Syntax
Elizabethan English permitted greater flexibility in prepositional placement than Modern English. “On” could follow its object in poetry for metrical convenience: “The table on” for “on the table.” This postpositional use survives only in fixed expressions like “thereon” and “hereon.”
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From William Shakespeare’s Hamlet, Act I, Scene 5 (c. 1600)
The Ghost of Hamlet’s father describes his murder, employing “on” in its temporal sense and in the idiomatic expression “on the sudden.”
F-A: INTERLINEAR CONSTRUED TEXT
Sleeping /ˈsliː.pɪŋ/ sleeping within /wɪðˈɪn/ within my /maɪ/ my orchard, /ˈɔr.tʃərd/ orchard my /maɪ/ my custom /ˈkʌs.təm/ custom always /ˈɔːl.weɪz/ always of /ɔv/ of the /ðə/ the afternoon, /ˌaf.tərˈnuːn/ afternoon upon /əˈpɔn/ upon my /maɪ/ my secure /sɪˈkjuːr/ secure hour /aʊr/ hour thy /ðaɪ/ thy uncle /ˈʌŋ.kəl/ uncle stole /stoʊl/ stole with /wɪð/ with juice /dʒuːs/ juice of /ɔv/ of cursed /ˈkər.sɪd/ cursed hebenon /ˈhɛ.bə.nɔn/ hebenon in /ɪn/ in a /ə/ a vial, /ˈvaɪ.əl/ vial and /and/ and in /ɪn/ in the /ðə/ the porches /ˈpɔːr.tʃɪz/ porches of /ɔv/ of my /maɪ/ my ears /ɪːrz/ ears did /dɪd/ did pour /pɔːr/ pour the /ðə/ the leperous /ˈlɛ.pə.rəs/ leperous distilment. /dɪsˈtɪl.mənt/ distilment
F-B: NATURAL TEXT WITH TRANSLATION
Sleeping within my orchard, My custom always of the afternoon, Upon my secure hour thy uncle stole With juice of cursed hebenon in a vial, And in the porches of my ears did pour The leperous distilment.
“While I was sleeping in my garden—my habit always in the afternoon—during my unsuspecting hour, your uncle crept up with the juice of cursed henbane in a small bottle, and into the openings of my ears he poured the disease-causing liquid.”
F-C: ORIGINAL TEXT ONLY
Sleeping within my orchard, My custom always of the afternoon, Upon my secure hour thy uncle stole With juice of cursed hebenon in a vial, And in the porches of my ears did pour The leperous distilment.
F-D: GRAMMAR AND VOCABULARY NOTES
This passage demonstrates the Elizabethan use of “upon” as an intensified variant of “on” in the temporal phrase “upon my secure hour,” meaning “during my unsuspecting moment.” The Ghost employs formal, elevated diction befitting a royal shade. Note “hebenon” (a poison, probably henbane), “porches” (metaphor for the ear openings), “leperous” (causing leprosy-like corruption), and “distilment” (distilled liquid). The syntax “did pour” uses the auxiliary “did” for emphasis rather than simple past “poured.” The phrase “my custom always of the afternoon” inverts modern word order; we would say “always my afternoon custom.”
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A scene between two courtiers discussing dangerous matters at the Elizabethan court.
GENRE SECTION A: INTERLINEAR CONSTRUED TEXT
18.16a Soft! Here comes Thornbury. Speak not on this matter whilst he stands near.
18.16b Soft! /sɔft/ hush Here /hɪːr/ here comes /kʌmz/ comes Thornbury. /ˈθɔrn.bə.rəɪ/ Thornbury Speak /spiːk/ speak not /nɔt/ not on /ɔn/ ON this /ðɪs/ this matter /ˈma.tər/ matter whilst /ʍaɪlst/ while he /hiː/ he stands /standz/ stands near. /nɪːr/ near
18.17a Good morrow, gentlemen. What discourse falls on your tongues this morning?
18.17b Good /guːd/ good morrow, /ˈmɔ.roʊ/ morning gentlemen. /ˈdʒɛn.təl.mɛn/ gentlemen What /ʍat/ what discourse /dɪsˈkɔːrs/ discourse falls /fɔːlz/ falls on /ɔn/ ON your /jɔːr/ your tongues /tʌŋz/ tongues this /ðɪs/ this morning? /ˈmɔːr.nɪŋ/ morning
18.18a We speak on trifles only—the weather, the hunt, the fashion at court.
18.18b We /wiː/ we speak /spiːk/ speak on /ɔn/ ON trifles /ˈtraɪ.fəlz/ trifles only— /ˈoʊn.ləɪ/ only the /ðə/ the weather, /ˈwɛ.ðər/ weather the /ðə/ the hunt, /hʌnt/ hunt the /ðə/ the fashion /ˈfa.ʃɪ.ən/ fashion at /at/ at court. /kɔːrt/ court
18.19a On my life, there seemed more gravity in your conference when I approached.
18.19b On /ɔn/ ON my /maɪ/ my life, /laɪf/ life there /ðɛːr/ there seemed /siːmd/ seemed more /mɔːr/ more gravity /ˈgra.vɪ.təɪ/ gravity in /ɪn/ in your /jɔːr/ your conference /ˈkɔn.fə.rəns/ conference when /ʍɛn/ when I /aɪ/ I approached. /əˈproʊtʃt/ approached
18.20a Nay, you mistake us. We but jested on the vanity of certain ladies.
18.20b Nay, /neɪ/ no you /juː/ you mistake /mɪsˈteɪk/ mistake us. /ʌs/ us We /wiː/ we but /bʌt/ only jested /ˈdʒɛs.tɪd/ jested on /ɔn/ ON the /ðə/ the vanity /ˈva.nɪ.təɪ/ vanity of /ɔv/ of certain /ˈsər.tən/ certain ladies. /ˈleɪ.dɪz/ ladies
18.21a I would not have such jests fall on mine own wife’s ears.
18.21b I /aɪ/ I would /wʊd/ would not /nɔt/ not have /hav/ have such /sʌtʃ/ such jests /dʒɛsts/ jests fall /fɔːl/ fall on /ɔn/ ON mine /maɪn/ my own /oʊn/ own wife’s /waɪfz/ wife’s ears. /ɪːrz/ ears
18.22a Fear not. Your lady’s reputation rests on firmer foundation than our idle words.
18.22b Fear /fɪːr/ fear not. /nɔt/ not Your /jɔːr/ your lady’s /ˈleɪ.dɪz/ lady’s reputation /ˌrɛ.pjuːˈteɪ.sɪ.ən/ reputation rests /rɛsts/ rests on /ɔn/ ON firmer /ˈfər.mər/ firmer foundation /faʊnˈdeɪ.sɪ.ən/ foundation than /ðan/ than our /aʊr/ our idle /ˈaɪ.dəl/ idle words. /wərdz/ words
18.23a What think you on the rumour that Walsingham hath new intelligencers at court?
18.23b What /ʍat/ what think /θɪŋk/ think you /juː/ you on /ɔn/ ON the /ðə/ the rumour /ˈruː.mər/ rumour that /ðat/ that Walsingham /ˈwɔːl.sɪŋ.əm/ Walsingham hath /haθ/ has new /njuː/ new intelligencers /ɪnˈtɛ.lɪ.dʒən.sərz/ spies at /at/ at court? /kɔːrt/ court
18.24a On such matters I hold my tongue. Walls have ears, and ears have tongues.
18.24b On /ɔn/ ON such /sʌtʃ/ such matters /ˈma.tərz/ matters I /aɪ/ I hold /hoʊld/ hold my /maɪ/ my tongue. /tʌŋ/ tongue Walls /wɔːlz/ walls have /hav/ have ears, /ɪːrz/ ears and /and/ and ears /ɪːrz/ ears have /hav/ have tongues. /tʌŋz/ tongues
18.25a Wisely spoken. I shall press on you no further on this point.
18.25b Wisely /ˈwaɪz.ləɪ/ wisely spoken. /ˈspoʊ.kən/ spoken I /aɪ/ I shall /ʃal/ shall press /prɛs/ press on /ɔn/ ON you /juː/ you no /noʊ/ no further /ˈfər.ðər/ further on /ɔn/ ON this /ðɪs/ this point. /pɔɪnt/ point
18.26a The queen’s reception begins on the hour. Shall we attend?
18.26b The /ðə/ the queen’s /kwiːnz/ queen’s reception /rɪˈsɛp.sɪ.ən/ reception begins /bɪˈgɪnz/ begins on /ɔn/ ON the /ðə/ the hour. /aʊr/ hour Shall /ʃal/ shall we /wiː/ we attend? /əˈtɛnd/ attend
18.27a I am bound to wait on her majesty, on pain of her displeasure.
18.27b I /aɪ/ I am /am/ am bound /baʊnd/ bound to /tuː/ to wait /weɪt/ wait on /ɔn/ ON her /hər/ her majesty, /ˈma.dʒɪs.təɪ/ majesty on /ɔn/ ON pain /peɪn/ pain of /ɔv/ of her /hər/ her displeasure. /dɪsˈplɛ.ʒər/ displeasure
18.28a Then let us go on together. Safety lies in company at such gatherings.
18.28b Then /ðɛn/ then let /lɛt/ let us /ʌs/ us go /goʊ/ go on /ɔn/ ON together. /tuːˈgɛ.ðər/ together Safety /ˈseɪf.təɪ/ safety lies /laɪz/ lies in /ɪn/ in company /ˈkʌm.pə.nəɪ/ company at /at/ at such /sʌtʃ/ such gatherings. /ˈga.ðə.rɪŋz/ gatherings
18.29a On your honour, will you speak well of me to Lord Burghley?
18.29b On /ɔn/ ON your /jɔːr/ your honour, /ˈɔ.nər/ honour will /wɪl/ will you /juː/ you speak /spiːk/ speak well /wɛl/ well of /ɔv/ of me /miː/ me to /tuː/ to Lord /lɔrd/ Lord Burghley? /ˈbər.ləɪ/ Burghley
18.30a If occasion fall on me to do so, I shall commend thy loyalty without reservation.
18.30b If /ɪf/ if occasion /əˈkeɪ.ʒɪ.ən/ occasion fall /fɔːl/ fall on /ɔn/ ON me /miː/ me to /tuː/ to do /duː/ do so, /soʊ/ so I /aɪ/ I shall /ʃal/ shall commend /kəˈmɛnd/ commend thy /ðaɪ/ thy loyalty /ˈlɔɪ.əl.təɪ/ loyalty without /wɪðˈaʊt/ without reservation. /ˌrɛ.zərˈveɪ.sɪ.ən/ reservation
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GENRE SECTION B: NATURAL SENTENCES
18.16 Soft! Here comes Thornbury. Speak not on this matter whilst he stands near. “Hush! Here comes Thornbury. Do not speak of this matter while he stands nearby.”
18.17 Good morrow, gentlemen. What discourse falls on your tongues this morning? “Good morning, gentlemen. What conversation occupies your tongues this morning?”
18.18 We speak on trifles only—the weather, the hunt, the fashion at court. “We speak only of trivial matters—the weather, hunting, court fashions.”
18.19 On my life, there seemed more gravity in your conference when I approached. “Upon my life, there seemed more seriousness in your conversation when I approached.”
18.20 Nay, you mistake us. We but jested on the vanity of certain ladies. “No, you misunderstand us. We merely joked about the vanity of certain ladies.”
18.21 I would not have such jests fall on mine own wife’s ears. “I would not want such jokes to reach my own wife’s ears.”
18.22 Fear not. Your lady’s reputation rests on firmer foundation than our idle words. “Do not worry. Your lady’s reputation rests on a firmer foundation than our idle words.”
18.23 What think you on the rumour that Walsingham hath new intelligencers at court? “What do you think about the rumour that Walsingham has new spies at court?”
18.24 On such matters I hold my tongue. Walls have ears, and ears have tongues. “Concerning such matters, I remain silent. Walls have ears, and ears have tongues.”
18.25 Wisely spoken. I shall press on you no further on this point. “Wisely said. I shall press you no further on this matter.”
18.26 The queen’s reception begins on the hour. Shall we attend? “The queen’s reception begins at the top of the hour. Shall we attend?”
18.27 I am bound to wait on her majesty, on pain of her displeasure. “I am obliged to attend upon her majesty, under threat of her displeasure.”
18.28 Then let us go on together. Safety lies in company at such gatherings. “Then let us proceed together. Safety lies in companionship at such gatherings.”
18.29 On your honour, will you speak well of me to Lord Burghley? “Upon your honour, will you speak favourably of me to Lord Burghley?”
18.30 If occasion fall on me to do so, I shall commend thy loyalty without reservation. “If the opportunity presents itself to me, I shall commend your loyalty unreservedly.”
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GENRE SECTION C: ELIZABETHAN TEXT ONLY
18.16 Soft! Here comes Thornbury. Speak not on this matter whilst he stands near.
18.17 Good morrow, gentlemen. What discourse falls on your tongues this morning?
18.18 We speak on trifles only—the weather, the hunt, the fashion at court.
18.19 On my life, there seemed more gravity in your conference when I approached.
18.20 Nay, you mistake us. We but jested on the vanity of certain ladies.
18.21 I would not have such jests fall on mine own wife’s ears.
18.22 Fear not. Your lady’s reputation rests on firmer foundation than our idle words.
18.23 What think you on the rumour that Walsingham hath new intelligencers at court?
18.24 On such matters I hold my tongue. Walls have ears, and ears have tongues.
18.25 Wisely spoken. I shall press on you no further on this point.
18.26 The queen’s reception begins on the hour. Shall we attend?
18.27 I am bound to wait on her majesty, on pain of her displeasure.
18.28 Then let us go on together. Safety lies in company at such gatherings.
18.29 On your honour, will you speak well of me to Lord Burghley?
18.30 If occasion fall on me to do so, I shall commend thy loyalty without reservation.
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GENRE SECTION D: GRAMMAR NOTES
This theatrical dialogue demonstrates the preposition “on” in multiple Elizabethan functions:
CONCERNING/ABOUT: “Speak not on this matter” (18.16), “speak on trifles” (18.18), “on such matters” (18.24) — where Modern English would typically use “about” or “of.”
OATH FORMULA: “On my life” (18.19), “On your honour” (18.29) — binding declarations invoking sacred or personal integrity.
TEMPORAL: “on the hour” (18.26) — indicating a specific time point.
CONDITIONAL: “on pain of her displeasure” (18.27) — expressing consequence or threat.
CONTINUATION: “go on together” (18.28), “press on you” (18.25) — phrasal verb constructions.
RECEIVING ACTION: “fall on mine own wife’s ears” (18.21), “occasion fall on me” (18.30) — “on” marking the recipient of an action or event.
FOUNDATION: “rests on firmer foundation” (18.22) — figurative support or basis.
Note the period-accurate pronunciation of “-tion” endings: “reputation” /ˌrɛ.pjuːˈteɪ.sɪ.ən/, “reception” /rɪˈsɛp.sɪ.ən/, “reservation” /ˌrɛ.zərˈveɪ.sɪ.ən/, “occasion” /əˈkeɪ.ʒɪ.ən/. These reflect the Early Modern English pronunciation where the suffix had not yet palatalized to modern /ʃən/.
The dialogue also illustrates pronoun usage: “thy” and “mine own” appear in intimate or emphatic contexts, while “your” serves for polite address. The historical reference to Sir Francis Walsingham (Elizabeth I’s spymaster) and Lord Burghley (her chief minister) grounds the scene in authentic Elizabethan court politics.
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Key Elizabethan Pronunciations in This Lesson
The preposition “on”: /ɔn/ — open-o vowel, fully rhotic environment
The suffix “-tion” in words like: -
affection: /aˈfɛk.sɪ.ən/ -
succession: /sʌkˈsɛ.sɪ.ən/ -
contemplation: /ˌkɔn.tɛmˈpleɪ.sɪ.ən/ -
suspicion: /sʌsˈpɪ.sɪ.ən/ -
reputation: /ˌrɛ.pjuːˈteɪ.sɪ.ən/ -
reception: /rɪˈsɛp.sɪ.ən/ -
reservation: /ˌrɛ.zərˈveɪ.sɪ.ən/
Final “-y” in words like: -
gravity: /ˈgra.vɪ.təɪ/ -
vanity: /ˈva.nɪ.təɪ/ -
majesty: /ˈma.dʒɪs.təɪ/ -
loyalty: /ˈlɔɪ.əl.təɪ/
Rhotic /r/ pronounced in all positions: -
honour: /ˈɔ.nər/ -
further: /ˈfər.ðər/ -
courtier: /ˈkɔːr.tɪ.ər/
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This Elizabethan English course forms part of the Latinum Institute’s language learning programmes, which have been creating materials for autodidacts since 2006. The Latinum method employs frequency-based vocabulary instruction combined with interlinear construed text, allowing learners to absorb grammatical patterns naturally through extensive reading.
For testimonials and course reviews, visit: https://uk.trustpilot.com/review/latinum.org.uk
The construed text approach—presenting each word with its pronunciation and gloss—enables learners to read authentic Early Modern English texts without constant dictionary consultation. By working through sentences word-by-word, students internalize Elizabethan syntax, vocabulary, and idiom. The interlinear format makes the language accessible while preserving its authentic character.
This course proves valuable for students of Shakespeare, Marlowe, Jonson, and other Elizabethan dramatists; for historians studying Tudor and Jacobean England; for actors preparing for classical theatre roles; and for anyone wishing to read original Early Modern texts with fluency and comprehension.
Course Index: https://latinum.substack.com/p/index
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✓ Lesson 18 Elizabethan English complete
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