The interrogative pronoun what stands among the most versatile and dramatically powerful words in the Elizabethan vocabulary. Where modern English speakers deploy “what” almost mechanically, the playwrights and poets of Shakespeare’s age wielded this humble word as an instrument of revelation, challenge, and philosophical inquiry.
In Elizabethan usage, what (/hwat/) retained its aspirated initial consonant cluster—a voiceless labio-velar fricative /hw/ rather than the simple /w/ of contemporary speech. This pronunciation, still preserved in some Scottish and Irish dialects, gave the word a breathy, emphatic quality that served both genuine questions and rhetorical thunder.
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FAQ: What does “what” mean in Elizabethan English?
The Elizabethan what functions as an interrogative pronoun asking for identification or explanation of things, actions, or circumstances. It also serves as an exclamatory particle expressing surprise, indignation, or emotional intensity. Unlike modern usage, Elizabethan what frequently appears in constructions now archaic: “What ho!” as a call for attention, “What though...” introducing concessive clauses, and “What... but” meaning “why... except.”
The fifteen examples in this lesson demonstrate what in its full Elizabethan range: direct questions, indirect questions, exclamations, rhetorical challenges, and philosophical meditations. The interlinear format allows you to absorb both the word’s grammatical functions and its dramatic weight within authentic period syntax.
Educational Note: This lesson forms part of a systematic 1000-word frequency curriculum designed for autodidactic learners of Early Modern English (c. 1580–1620).
The Elizabethan pronunciation /hwat/ differs markedly from Modern English /wɒt/, preserving the Old English aspirated onset. What functions not merely as an interrogative but as an exclamatory intensifier and rhetorical weapon. Period usage includes now-archaic constructions such as “What ho!” and “What though...” The word carries philosophical weight in Renaissance discourse, particularly in questions of identity and essence. Mastering what unlocks comprehension of dramatic speeches, soliloquies, and Elizabethan prose argumentation.
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Period IPA Conventions:
Elizabethan English (c. 1590–1620) differs substantially from Modern Received Pronunciation. The Great Vowel Shift remained incomplete, and several consonant features now lost were still operative:
Key Features:
The digraph “wh” represents /hw/, a voiceless labio-velar approximant, not modern /w/. The suffix “-tion” sounds as /tiˈoːn/ or /sjən/, not modern /ʃən/. Long vowels retain Middle English qualities: “ee” as /eː/, “oo” as /oː/, “a” in open syllables as /aː/. The letter “r” sounds in all positions (rhotic dialect). Final “-e” after consonants may indicate vowel length or remain silent contextually.
Word-Specific Pronunciations:
what — /hwat/ (with clear aspiration) question — /ˈkwɛstiˌoːn/ (not /ˈkwɛstʃən/) nation — /naːˈtiˌoːn/ (not /ˈneɪʃən/) occasion — /ɔkˈkaːziˌoːn/ affection — /afˈfɛktiˌoːn/
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27.1a What ho, within there!
27.1b What (/hwat/) INTERJ-call ho (/hoː/) INTERJ-attention within (/wɪðˈɪn/) inside there (/ðɛːr/) that-place
27.2a What manner of man art thou?
27.2b What (/hwat/) what-INTERROG manner (/ˈmanər/) kind of (/ɔf/) of man (/man/) man art (/art/) are-2SG thou (/ðaʊ/) you-FAM
27.3a What news from the court?
27.3b What (/hwat/) what-INTERROG news (/njuːz/) tidings from (/frɔm/) from the (/ðə/) the court (/kɔːrt/) royal-court
27.4a Tell me what thou knowest of this matter.
27.4b Tell (/tɛl/) tell-IMP me (/meː/) me-DAT what (/hwat/) what-REL thou (/ðaʊ/) you-FAM knowest (/ˈnoːɪst/) know-2SG of (/ɔf/) concerning this (/ðɪs/) this matter (/ˈmatər/) affair
27.5a What though the mast be now blown overboard?
27.5b What (/hwat/) what-CONCESS though (/ðoː/) although the (/ðə/) the mast (/mast/) mast be (/beː/) be-SUBJ now (/naʊ/) now blown (/bloːn/) blown overboard (/ˈoːvərˌbɔːrd/) over-the-side
27.6a I know not what to say unto thee.
27.6b I (/ɪː/) I know (/noː/) know not (/nɔt/) not what (/hwat/) what-INTERROG to (/tuː/) to say (/saɪ/) say unto (/ˈʊntuː/) to thee (/ðiː/) you-FAM-OBJ
27.7a What a piece of work is a man!
27.7b What (/hwat/) what-EXCLAM a (/a/) a piece (/piːs/) piece of (/ɔf/) of work (/wʊrk/) workmanship is (/ɪz/) is a (/a/) a man (/man/) human-being
27.8a By what authority dost thou these things?
27.8b By (/bɪː/) by what (/hwat/) what-INTERROG authority (/ɔːˈθɔrɪtiː/) authority dost (/dʊst/) do-2SG thou (/ðaʊ/) you-FAM these (/ðiːz/) these things (/θɪŋz/) things
27.9a What is honour? A word.
27.9b What (/hwat/) what-INTERROG is (/ɪz/) is honour (/ˈɔnər/) honour a (/a/) a word (/wʊrd/) word
27.10a I care not what the vulgar sort may think.
27.10b I (/ɪː/) I care (/kɛːr/) care not (/nɔt/) not what (/hwat/) what-REL the (/ðə/) the vulgar (/ˈvʊlgar/) common sort (/sɔːrt/) sort may (/maɪ/) may think (/θɪŋk/) think
27.11a What if this cursèd hand were thicker than itself with brother’s blood?
27.11b What (/hwat/) what-CONDIT if (/ɪf/) if this (/ðɪs/) this cursèd (/ˈkʊrsɪd/) cursed-ADJ hand (/hand/) hand were (/wɛːr/) were-SUBJ thicker (/ˈθɪkər/) thicker than (/ðan/) than itself (/ɪtˈsɛlf/) itself with (/wɪð/) with brother’s (/ˈbrʊðərz/) brother-GEN blood (/blʊːd/) blood
27.12a What lady is that which doth enrich the hand of yonder knight?
27.12b What (/hwat/) what-INTERROG lady (/ˈlaːdiː/) lady is (/ɪz/) is that (/ðat/) that-one which (/hwɪtʃ/) who-REL doth (/dʊθ/) does enrich (/ɛnˈrɪtʃ/) enrich the (/ðə/) the hand (/hand/) hand of (/ɔf/) of yonder (/ˈjɔndər/) that-distant knight (/nɪːt/) knight
27.13a We know what we are, but know not what we may be.
27.13b We (/weː/) we know (/noː/) know what (/hwat/) what-REL we (/weː/) we are (/ar/) are but (/bʊt/) but know (/noː/) know not (/nɔt/) not what (/hwat/) what-REL we (/weː/) we may (/maɪ/) may be (/beː/) become
27.14a What boots it then to think of God or heaven?
27.14b What (/hwat/) what-INTERROG boots (/buːts/) profits-3SG it (/ɪt/) it-EXPLET then (/ðɛn/) then to (/tuː/) to think (/θɪŋk/) think of (/ɔf/) of God (/gɔd/) God or (/ɔːr/) or heaven (/ˈhɛvən/) heaven
27.15a Know’st thou what ‘tis to love and be beloved?
27.15b Know’st (/noːst/) know-2SG thou (/ðaʊ/) you-FAM what (/hwat/) what-INTERROG ‘tis (/tɪz/) it-is to (/tuː/) to love (/lʊːv/) love and (/and/) and be (/beː/) be beloved (/bɪˈlʊvɪd/) loved-PASS
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27.1 What ho, within there! “Ho there, someone inside!”
27.2 What manner of man art thou? “What kind of man are you?”
27.3 What news from the court? “What news is there from the royal court?”
27.4 Tell me what thou knowest of this matter. “Tell me what you know about this affair.”
27.5 What though the mast be now blown overboard? “What does it matter if the mast has been blown overboard?”
27.6 I know not what to say unto thee. “I do not know what to say to you.”
27.7 What a piece of work is a man! “What an extraordinary creation is a human being!”
27.8 By what authority dost thou these things? “By what authority do you do these things?”
27.9 What is honour? A word. “What is honour? Merely a word.”
27.10 I care not what the vulgar sort may think. “I do not care what the common people may think.”
27.11 What if this cursèd hand were thicker than itself with brother’s blood? “What if this cursed hand were covered more thickly than its own thickness with a brother’s blood?”
27.12 What lady is that which doth enrich the hand of yonder knight? “Who is that lady whose touch graces the hand of that knight over there?”
27.13 We know what we are, but know not what we may be. “We know our present selves, but not what we might become.”
27.14 What boots it then to think of God or heaven? “What profit is there, then, in thinking of God or heaven?”
27.15 Know’st thou what ‘tis to love and be beloved? “Do you know what it means to love and be loved in return?”
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27.1 What ho, within there!
27.2 What manner of man art thou?
27.3 What news from the court?
27.4 Tell me what thou knowest of this matter.
27.5 What though the mast be now blown overboard?
27.6 I know not what to say unto thee.
27.7 What a piece of work is a man!
27.8 By what authority dost thou these things?
27.9 What is honour? A word.
27.10 I care not what the vulgar sort may think.
27.11 What if this cursèd hand were thicker than itself with brother’s blood?
27.12 What lady is that which doth enrich the hand of yonder knight?
27.13 We know what we are, but know not what we may be.
27.14 What boots it then to think of God or heaven?
27.15 Know’st thou what ‘tis to love and be beloved?
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These are the grammar rules for “what” in Elizabethan English:
1. Interrogative Pronoun (Direct Questions)
In direct questions, what asks for identification of things, qualities, or circumstances. Unlike “who” (which asks about persons), what inquires about the nature, identity, or character of entities:
Direct object position: “What say’st thou?” (What do you say?) Subject position: “What is the cause?” (What is the cause?) Predicative position: “What is honour?” (What is honour?) With prepositions: “By what authority...?” (By what authority...?)
2. Relative Pronoun (Indirect Questions and Relative Clauses)
When introducing subordinate clauses, what functions as a relative pronoun meaning “that which” or “the thing(s) that”:
“Tell me what thou knowest” = Tell me that which you know “I care not what the vulgar think” = I care not [about] that which the common people think “We know what we are” = We know that which we are
3. Exclamatory Function
Elizabethan what powerfully introduces exclamations of wonder, admiration, or dismay. In this usage, it precedes an indefinite article and noun:
“What a piece of work is a man!” — admiration “What fools these mortals be!” — amused contempt “What a falling-off was there!” — dismay
4. Concessive and Conditional Constructions
What though introduces concessive clauses (meaning “even if” or “what does it matter that”):
“What though the mast be blown overboard?” = Even if the mast is blown overboard, what of it?
What if introduces conditional suppositions:
“What if this cursèd hand were thicker with blood?” = Suppose this hand were thicker with blood—what then?
5. Idiomatic Expressions
“What ho!” — A call for attention, especially to summon servants “What boots it?” — What profit or advantage is there? (boots = profits) “What though?” — Even granted that; what does it matter?
Common Mistakes:
Pronouncing what as modern /wɒt/ rather than period /hwat/ loses the emphatic aspiration. Confusing the concessive “what though” with the interrogative “what” misses an important construction. Using “what” for persons (instead of “who” or “whom”) reflects modern colloquial usage not typical of careful Elizabethan prose.
Grammatical Summary:
The interrogative pronoun what shows no case inflection in Early Modern English. Its function (subject, object, complement) depends on word order and context. When governing a noun, what becomes a determiner: “What manner of man...?” When standing alone, it functions as a substantive pronoun: “What is honour?”
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The Theatre of Inquiry
The Elizabethan stage made what one of the most dramatically charged words in the English language. In an age before electric lighting, when actors played on thrust stages surrounded by audiences on three sides, the interrogative pronoun served as a spotlight—focusing attention, demanding answers, and drawing spectators into the philosophical crux of dramatic action.
Formal and Informal Usage
While what itself showed no register variation, the constructions surrounding it marked social context. “What news?” might pass between equals at court, but “What ho, within there!” commanded servants. The exclamatory “What a...” construction could express either genuine wonder or biting irony depending on delivery and context.
Regional and Social Variation
The /hw/ pronunciation of what remained standard across dialects in Shakespeare’s time, though evidence suggests London speech was beginning the merger that would eventually reduce /hw/ to /w/. Careful speakers and actors preserved the distinction, associating it with educated usage.
Philosophical Weight
Renaissance humanism invested what with epistemological significance. The question “What is man?” echoed through sermons, essays, and drama, connecting Elizabethan inquiry to classical philosophy. When Hamlet asks “What a piece of work is a man,” he invokes this entire tradition—praising human excellence while questioning human purpose.
Idiomatic Expressions Using “What”
“What boots it?” — What advantage or profit is there? (from Old English bōt, remedy or advantage) “What ho!” — A summoning call, often to servants “What though?” — Concessive: even if, granted that “What’s the matter?” — What is the substance/concern? “Come what may” — Whatever happens (subjunctive construction) “What will you?” — What do you want? (formal address)
The Great Chain of Being
Elizabethan questions framed by what often probed a hierarchical worldview. “What manner of man art thou?” asked not merely about identity but about one’s place in cosmic order—gentleman or peasant, virtuous or vicious, aligned with heaven or hell.
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Source: William Shakespeare, Hamlet, Act II, Scene 2 (c. 1600)
F-A: Interlinear Construed Text
What (/hwat/) what-EXCLAM a (/a/) a piece (/piːs/) piece of (/ɔf/) of work (/wʊrk/) workmanship is (/ɪz/) is a (/a/) a man (/man/) human-being how (/haʊ/) how noble (/ˈnoːbəl/) noble in (/ɪn/) in reason (/ˈreːzən/) reason how (/haʊ/) how infinite (/ˈɪnfɪnɪt/) infinite in (/ɪn/) in faculty (/ˈfakəltiː/) faculty in (/ɪn/) in form (/fɔːrm/) form and (/and/) and moving (/ˈmuːvɪŋ/) moving how (/haʊ/) how express (/ɛksˈprɛs/) exact and (/and/) and admirable (/ˈadmɪrəbəl/) admirable in (/ɪn/) in action (/ˈaktiˌoːn/) action how (/haʊ/) how like (/lɪːk/) like an (/an/) an angel (/ˈaɪndʒəl/) angel in (/ɪn/) in apprehension (/apriˈhɛnsiˌoːn/) understanding how (/haʊ/) how like (/lɪːk/) like a (/a/) a god (/gɔd/) god the (/ðə/) the beauty (/ˈbjuːtiː/) beauty of (/ɔf/) of the (/ðə/) the world (/wʊrld/) world the (/ðə/) the paragon (/ˈparəgɔn/) paragon of (/ɔf/) of animals (/ˈanɪməlz/) animals and (/and/) and yet (/jɛt/) yet to (/tuː/) to me (/meː/) me-DAT what (/hwat/) what-INTERROG is (/ɪz/) is this (/ðɪs/) this quintessence (/kwɪnˈtɛsəns/) quintessence of (/ɔf/) of dust (/dʊst/) dust
F-B: Authentic Text with Translation
What a piece of work is a man, how noble in reason, how infinite in faculty, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god: the beauty of the world, the paragon of animals—and yet to me what is this quintessence of dust?
“What an extraordinary creation is a human being—how noble in his rational faculty, how unlimited in his capabilities, in his bodily form and motion how precise and wonderful, in his deeds how like an angel, in his understanding how like a god: the crowning beauty of the world, the model of all animals—and yet to me, what is this refined essence of mere dust?”
F-C: Authentic Text Only
What a piece of work is a man, how noble in reason, how infinite in faculty, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god: the beauty of the world, the paragon of animals—and yet to me what is this quintessence of dust?
F-D: Grammar and Vocabulary Notes
This celebrated passage demonstrates what in both exclamatory and interrogative functions. The opening “What a piece of work” uses what as an exclamatory determiner expressing wonder. The closing “what is this quintessence” returns to interrogative mode, now tinged with melancholy skepticism.
Vocabulary:
piece of work — a crafted object; here, a created being express — exact, precisely formed (from Latin expressus) apprehension — understanding, mental grasp quintessence — the fifth and purest essence in Renaissance natural philosophy; the refined substance of something paragon — model of excellence (from Italian paragone, touchstone)
Pronunciation notes:
action — /ˈaktiˌoːn/ (period) vs. /ˈækʃən/ (modern) apprehension — /apriˈhɛnsiˌoːn/ (period) vs. /æprɪˈhɛnʃən/ (modern) quintessence — /kwɪnˈtɛsəns/ preserves Latin stress pattern
The passage’s rhetorical structure builds through anaphoric “how” clauses before pivoting on the final what, which transforms wonder into existential doubt—the characteristic Hamlet move from praise to questioning.
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Two gentlemen, EDMUND and WALTER, meet by chance at the Mermaid Tavern in Cheapside.
PART A: Interlinear Construed Text
27.16a What ho, Edmund! What wind blows thee to London?
27.16b What (/hwat/) INTERJ-call ho (/hoː/) INTERJ-attention Edmund (/ˈɛdmənd/) Edmund what (/hwat/) what-INTERROG wind (/wɪnd/) wind blows (/bloːz/) blows thee (/ðiː/) you-FAM-OBJ to (/tuː/) to London (/ˈlʊndən/) London
27.17a I know not what to answer, for I came upon a whim.
27.17b I (/ɪː/) I know (/noː/) know not (/nɔt/) not what (/hwat/) what-REL to (/tuː/) to answer (/ˈansər/) answer for (/fɔːr/) for I (/ɪː/) I came (/kaːm/) came upon (/əˈpɔn/) upon a (/a/) a whim (/hwɪm/) whim
27.18a What news then from the country? Doth thy father yet live?
27.18b What (/hwat/) what-INTERROG news (/njuːz/) news then (/ðɛn/) then from (/frɔm/) from the (/ðə/) the country (/ˈkʊntriː/) country doth (/dʊθ/) does thy (/ðaɪ/) your-FAM father (/ˈfaːðər/) father yet (/jɛt/) still live (/lɪːv/) live
27.19a He doth, and asks what business keeps his son so long from home.
27.19b He (/hiː/) he doth (/dʊθ/) does and (/and/) and asks (/asks/) asks what (/hwat/) what-INTERROG business (/ˈbɪznɪs/) business keeps (/kiːps/) keeps his (/hɪz/) his son (/sʊn/) son so (/soː/) so long (/lɔŋ/) long from (/frɔm/) from home (/hoːm/) home
27.20a What a question! The playhouses keep me, and the company of wits.
27.20b What (/hwat/) what-EXCLAM a (/a/) a question (/ˈkwɛstiˌoːn/) question the (/ðə/) the playhouses (/ˈplaɪˌhaʊzɪz/) playhouses keep (/kiːp/) keep me (/meː/) me and (/and/) and the (/ðə/) the company (/ˈkʊmpəniː/) company of (/ɔf/) of wits (/wɪts/) clever-men
27.21a By what means dost thou sustain thyself? Hast thou employment?
27.21b By (/bɪː/) by what (/hwat/) what-INTERROG means (/miːnz/) means dost (/dʊst/) do-2SG thou (/ðaʊ/) you-FAM sustain (/sʊsˈtaɪn/) sustain thyself (/ðaɪˈsɛlf/) yourself-FAM hast (/hast/) have-2SG thou (/ðaʊ/) you-FAM employment (/ɛmˈplɔɪmənt/) employment
27.22a I write verses for what gentlemen will pay, and plays for the common stage.
27.22b I (/ɪː/) I write (/rɪːt/) write verses (/ˈvɛrsɪz/) verses for (/fɔːr/) for what (/hwat/) what-REL gentlemen (/ˈdʒɛntəlmən/) gentlemen will (/wɪl/) will pay (/paɪ/) pay and (/and/) and plays (/plaɪz/) plays for (/fɔːr/) for the (/ðə/) the common (/ˈkɔmən/) common stage (/staɪdʒ/) stage
27.23a What though thy father disapprove? Thou hast found thy calling.
27.23b What (/hwat/) what-CONCESS though (/ðoː/) though thy (/ðaɪ/) your-FAM father (/ˈfaːðər/) father disapprove (/dɪsəˈpruːv/) disapprove-SUBJ thou (/ðaʊ/) you-FAM hast (/hast/) have-2SG found (/faʊnd/) found thy (/ðaɪ/) your-FAM calling (/ˈkɔːlɪŋ/) calling
27.24a I care not what the world may say of poets and players.
27.24b I (/ɪː/) I care (/kɛːr/) care not (/nɔt/) not what (/hwat/) what-REL the (/ðə/) the world (/wʊrld/) world may (/maɪ/) may say (/saɪ/) say of (/ɔf/) of poets (/ˈpoːɪts/) poets and (/and/) and players (/ˈplaɪərz/) players
27.25a Tell me what play is toward. I would see it this afternoon.
27.25b Tell (/tɛl/) tell-IMP me (/meː/) me-DAT what (/hwat/) what-INTERROG play (/plaɪ/) play is (/ɪz/) is toward (/ˈtoːwərd/) in-preparation I (/ɪː/) I would (/wʊld/) would see (/siː/) see it (/ɪt/) it this (/ðɪs/) this afternoon (/aftərˈnuːn/) afternoon
27.26a At the Globe they give a tragedy. What is the title, I have forgot.
27.26b At (/at/) at the (/ðə/) the Globe (/gloːb/) Globe they (/ðaɪ/) they give (/gɪːv/) give a (/a/) a tragedy (/ˈtradʒɪdiː/) tragedy what (/hwat/) what-INTERROG is (/ɪz/) is the (/ðə/) the title (/ˈtɪːtəl/) title I (/ɪː/) I have (/hav/) have forgot (/fɔrˈgɔt/) forgotten
27.27a What if we cross the river together and take our chances?
27.27b What (/hwat/) what-CONDIT if (/ɪf/) if we (/weː/) we cross (/krɔs/) cross the (/ðə/) the river (/ˈrɪvər/) river together (/təˈgɛðər/) together and (/and/) and take (/taɪk/) take our (/aʊr/) our chances (/ˈtʃaːnsɪz/) chances
27.28a What manner of tragedy is it? I have no stomach for blood today.
27.28b What (/hwat/) what-INTERROG manner (/ˈmanər/) manner of (/ɔf/) of tragedy (/ˈtradʒɪdiː/) tragedy is (/ɪz/) is it (/ɪt/) it I (/ɪː/) I have (/hav/) have no (/noː/) no stomach (/ˈstʊmək/) stomach for (/fɔːr/) for blood (/blʊːd/) blood today (/tʊˈdaɪ/) today
27.29a Fear not. I know not what it contains, but Will doth temper horror with wit.
27.29b Fear (/fiːr/) fear-IMP not (/nɔt/) not I (/ɪː/) I know (/noː/) know not (/nɔt/) not what (/hwat/) what-REL it (/ɪt/) it contains (/kənˈtaɪnz/) contains but (/bʊt/) but Will (/wɪl/) Will doth (/dʊθ/) does temper (/ˈtɛmpər/) temper horror (/ˈhɔrər/) horror with (/wɪð/) with wit (/wɪt/) wit
27.30a Then let us go. What ho, drawer! Bring the reckoning!
27.30b Then (/ðɛn/) then let (/lɛt/) let us (/ʊs/) us go (/goː/) go what (/hwat/) INTERJ-call ho (/hoː/) INTERJ-attention drawer (/ˈdrɔːər/) tavern-servant bring (/brɪŋ/) bring-IMP the (/ðə/) the reckoning (/ˈrɛkənɪŋ/) bill
PART B: Natural Sentences
27.16 What ho, Edmund! What wind blows thee to London? “Hey there, Edmund! What brings you to London?”
27.17 I know not what to answer, for I came upon a whim. “I don’t know what to say, for I came on impulse.”
27.18 What news then from the country? Doth thy father yet live? “What news from the countryside, then? Is your father still living?”
27.19 He doth, and asks what business keeps his son so long from home. “He is, and he asks what business keeps his son away from home so long.”
27.20 What a question! The playhouses keep me, and the company of wits. “What a question to ask! The theatres keep me here, and the company of clever men.”
27.21 By what means dost thou sustain thyself? Hast thou employment? “How do you support yourself? Do you have work?”
27.22 I write verses for what gentlemen will pay, and plays for the common stage. “I write poems for whatever gentlemen will pay, and plays for the public theatre.”
27.23 What though thy father disapprove? Thou hast found thy calling. “Even if your father disapproves, what of it? You have found your vocation.”
27.24 I care not what the world may say of poets and players. “I don’t care what the world may say about poets and actors.”
27.25 Tell me what play is toward. I would see it this afternoon. “Tell me what play is being prepared. I would like to see it this afternoon.”
27.26 At the Globe they give a tragedy. What is the title, I have forgot. “At the Globe they are performing a tragedy. I have forgotten what the title is.”
27.27 What if we cross the river together and take our chances? “What if we cross the river together and take our chances?”
27.28 What manner of tragedy is it? I have no stomach for blood today. “What kind of tragedy is it? I have no appetite for bloodshed today.”
27.29 Fear not. I know not what it contains, but Will doth temper horror with wit. “Don’t worry. I don’t know what it contains, but Will [Shakespeare] balances horror with cleverness.”
27.30 Then let us go. What ho, drawer! Bring the reckoning! “Then let us go. Hey there, waiter! Bring the bill!”
PART C: Elizabethan Text Only
27.16 What ho, Edmund! What wind blows thee to London?
27.17 I know not what to answer, for I came upon a whim.
27.18 What news then from the country? Doth thy father yet live?
27.19 He doth, and asks what business keeps his son so long from home.
27.20 What a question! The playhouses keep me, and the company of wits.
27.21 By what means dost thou sustain thyself? Hast thou employment?
27.22 I write verses for what gentlemen will pay, and plays for the common stage.
27.23 What though thy father disapprove? Thou hast found thy calling.
27.24 I care not what the world may say of poets and players.
27.25 Tell me what play is toward. I would see it this afternoon.
27.26 At the Globe they give a tragedy. What is the title, I have forgot.
27.27 What if we cross the river together and take our chances?
27.28 What manner of tragedy is it? I have no stomach for blood today.
27.29 Fear not. I know not what it contains, but Will doth temper horror with wit.
27.30 Then let us go. What ho, drawer! Bring the reckoning!
PART D: Grammar Notes for Genre Section
This dialogue demonstrates what across its full Elizabethan range:
Exclamatory hailing: “What ho!” (27.16, 27.30) — the standard call for attention, particularly to servants or to announce one’s presence.
Direct interrogative: “What wind blows thee?” (27.16), “What news?” (27.18), “What manner of tragedy?” (27.28) — straightforward questions expecting informative answers.
Indirect interrogative: “I know not what to answer” (27.17), “asks what business keeps...” (27.19), “I know not what it contains” (27.29) — what introducing subordinate question clauses.
Relative/indefinite: “for what gentlemen will pay” (27.22), “I care not what the world may say” (27.24) — what meaning “whatever” or “that which.”
Concessive: “What though thy father disapprove?” (27.23) — the archaic “what though” construction meaning “even if” or “granted that, so what?”
Conditional: “What if we cross the river?” (27.27) — introducing a hypothetical scenario.
Vocabulary notes:
drawer — a tavern servant who draws drinks from barrels reckoning — the bill or tally of charges toward — in preparation, about to happen give a tragedy — perform a tragedy (theatrical term) Will — familiar reference to William Shakespeare
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Key Words in This Lesson:
what — /hwat/ (with voiceless labio-velar approximant /hw/) question — /ˈkwɛstiˌoːn/ (period) — note the /tiˌoːn/ suffix action — /ˈaktiˌoːn/ (period) vs. /ˈækʃən/ (modern) apprehension — /apriˈhɛnsiˌoːn/ (period) honour — /ˈɔnər/ (with silent “h” in many speakers) authority — /ɔːˈθɔrɪtiː/ tragedy — /ˈtradʒɪdiː/ quintessence — /kwɪnˈtɛsəns/
Common Pronunciation Errors for Modern Speakers:
Reducing /hw/ to /w/ in “what” — preserve the aspiration. Pronouncing “-tion” as /ʃən/ rather than period /tiˌoːn/ or /sjən/. Using modern vowel values for words affected by the Great Vowel Shift. Dropping “r” in postvocalic position (Elizabethan English was fully rhotic).
Audio Reference Suggestions:
Original Pronunciation (OP) Shakespeare recordings by David Crystal and Ben Crystal provide authentic period sound. The Globe Theatre’s OP productions demonstrate how period pronunciation changes rhythm and rhyme.
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This Elizabethan English course forms part of the Latinum Institute’s systematic language curricula, developed using the same construed-text methodology that has served Latin and Greek students since 2006.
Course Index:
https://latinum.substack.com/p/index
Reviews: https://uk.trustpilot.com/review/latinum.org.uk
The Autodidact Methodology:
The Latinum Institute approach treats each lesson as a self-contained unit accessible to independent learners. The interlinear construed text format—presenting each word with its pronunciation and grammatical gloss—allows you to absorb both vocabulary and syntax simultaneously, bypassing the traditional memorization-then-application sequence.
Benefits of the Construed Text Approach:
Immediate comprehension of complex sentences without prior vocabulary drilling. Grammatical patterns absorbed through repeated exposure rather than rule memorization. Authentic period texts accessible from early lessons. Pronunciation guidance integrated directly into reading practice.
Why Elizabethan English?
Shakespeare’s language stands roughly equidistant between Chaucer and contemporary English—close enough to be partially comprehensible, yet different enough to reward systematic study. Mastering Early Modern English unlocks not only Shakespeare but the King James Bible, Marlowe, Jonson, Donne, and the entire literary heritage of England’s golden age.
This 1000-word frequency curriculum builds from the most common function words through the vocabulary that powers dramatic speech, philosophical discourse, and poetic expression. By Lesson 100, you will read period texts with confidence; by Lesson 500, with fluency.
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✓ Lesson 27 Elizabethan English complete
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