Welcome to Lesson 51 of the Elizabethan English course. Today’s word is now, one of the most dramatically charged temporal adverbs in Shakespeare’s arsenal. This seemingly simple word carries tremendous weight in Early Modern English, marking the pivot points of decision, revelation, and transformation that drive dramatic action.
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FAQ: What does “now” mean in Elizabethan English?
“Now” (pronounced /nʊu/ or /naʊ/ in period speech) functions as a temporal adverb marking the present moment, but in Elizabethan usage, it frequently carries additional force: urgency, rhetorical emphasis, logical consequence, or dramatic turning point. Shakespeare employs “now” to signal moments when characters recognize truth, resolve upon action, or acknowledge transformation. The word appears over 2,700 times across Shakespeare’s works, often at crucial dramatic junctures.
Pronunciation Note on Early Modern English:
This lesson uses period-accurate IPA reflecting c. 1590–1620 London pronunciation. Key differences from modern English include: -
The -tion suffix: pronounced [sɪən] or [tɪ.ən], not modern [ʃən] -
Long vowels still in Great Vowel Shift transition -
Rolled/trilled [r] in all positions -
“Thou/thee” forms distinct from “you/ye” -
Interchangeable short vowels (not/nat, when/whan)
The 15 examples below demonstrate “now” in various Elizabethan constructions: temporal marking, rhetorical emphasis, logical transition, and dramatic revelation.
Key Takeaways: -
“Now” signals present moment but often carries rhetorical or dramatic force -
Period pronunciation: /nʊu/ transitioning to /naʊ/ -
Frequently opens soliloquies and marks turning points -
Often paired with “then” for temporal or logical contrast -
Can function as interjection, intensifier, or discourse marker
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51.1a Now is the winter of our discontent.
51.1b Now /nʊu/ at-this-moment is /ɪz/ exists the /ðə/ DEF.ART winter /ˈwɪn.tər/ cold-season of /ɒv/ POSS our /ʊər/ 1PL.POSS discontent /dɪs.kənˈtɛnt/ dissatisfaction
51.2a Now I am alone.
51.2b Now /nʊu/ at-this-moment I /aɪ/ 1SG.NOM am /am/ be.1SG.PRES alone /əˈlɔːn/ solitary
51.3a Now go we in content.
51.3b Now /nʊu/ at-this-moment go /gɔː/ proceed.IMP we /weː/ 1PL.NOM in /ɪn/ PREP content /kənˈtɛnt/ satisfaction
51.4a What is he now?
51.4b What /ʍat/ INTERROG is /ɪz/ be.3SG.PRES he /heː/ 3SG.MASC.NOM now /nʊu/ at-this-moment
51.5a Now might I do it pat.
51.5b Now /nʊu/ at-this-moment might /mɪçt/ may.PAST.SUBJ I /aɪ/ 1SG.NOM do /duː/ perform it /ɪt/ 3SG.NEUT.ACC pat /pat/ opportunely
51.6a Now cracks a noble heart.
51.6b Now /nʊu/ at-this-moment cracks /kraks/ break.3SG.PRES a /a/ INDEF.ART noble /ˈnoː.bəl/ highborn heart /haːrt/ spirit
51.7a Now thou art come unto a feast of death.
51.7b Now /nʊu/ at-this-moment thou /ðʊu/ 2SG.FAM.NOM art /aːrt/ be.2SG.PRES come /kʊm/ arrive.PAST.PART unto /ˈʊn.tuː/ PREP.toward a /a/ INDEF.ART feast /feːst/ banquet of /ɒv/ POSS death /dɛːθ/ mortality
51.8a Now put it, God, in the physician’s mind.
51.8b Now /nʊu/ at-this-moment put /pʊt/ place.IMP it /ɪt/ 3SG.NEUT.ACC God /gɒd/ deity.VOC in /ɪn/ PREP the /ðə/ DEF.ART physician’s /fɪˈzɪ.sɪənz/ healer.GEN mind /maɪnd/ thought
51.9a I see ‘tis true: now I repent.
51.9b I /aɪ/ 1SG.NOM see /seː/ perceive.1SG.PRES ‘tis /tɪz/ it-is true /truː/ verity now /nʊu/ at-this-moment I /aɪ/ 1SG.NOM repent /rɪˈpɛnt/ feel-remorse.1SG.PRES
51.10a But now my lord, what say you to my suit?
51.10b But /bʊt/ CONJ.however now /nʊu/ at-this-moment my /maɪ/ 1SG.POSS lord /lɔːrd/ nobleman.VOC what /ʍat/ INTERROG say /seɪ/ speak.2PL.PRES you /juː/ 2PL.FORM.NOM to /tuː/ PREP my /maɪ/ 1SG.POSS suit /sjuːt/ petition
51.11a Now by my hood, a Gentile and no Jew.
51.11b Now /nʊu/ INTERJ.indeed by /baɪ/ PREP.oath my /maɪ/ 1SG.POSS hood /huːd/ head-covering a /a/ INDEF.ART Gentile /ˈdʒɛn.taɪl/ non-Jew and /and/ CONJ no /nɔː/ NEG Jew /dʒuː/ Hebrew
51.12a Now for the love of Love and her soft hours.
51.12b Now /nʊu/ INTERJ.I-pray for /fɔːr/ PREP.sake the /ðə/ DEF.ART love /lʊv/ affection of /ɒv/ POSS Love /lʊv/ goddess-Venus and /and/ CONJ her /hɛːr/ 3SG.FEM.POSS soft /sɒft/ gentle hours /ʊːrz/ time-periods
51.13a Even now, now, very now, an old black ram is tupping your white ewe.
51.13b Even /ˈeː.vən/ ADV.precisely now /nʊu/ at-this-moment now /nʊu/ at-this-moment very /ˈvɛ.rɪ/ ADV.exact now /nʊu/ at-this-moment an /an/ INDEF.ART old /ɔːld/ aged black /blak/ dark ram /ram/ male-sheep is /ɪz/ be.3SG.PRES tupping /ˈtʊp.ɪŋ/ copulating-with.PROG your /jʊːr/ 2PL.POSS white /ʍaɪt/ pale ewe /juː/ female-sheep
51.14a Now could I drink hot blood.
51.14b Now /nʊu/ at-this-moment could /kʊd/ can.PAST.SUBJ I /aɪ/ 1SG.NOM drink /drɪŋk/ consume.INF hot /hɒt/ heated blood /blʊːd/ vital-fluid
51.15a The question now is of your honesty.
51.15b The /ðə/ DEF.ART question /ˈkwɛs.tɪ.ən/ inquiry now /nʊu/ at-this-moment is /ɪz/ be.3SG.PRES of /ɒv/ PREP.concerning your /jʊːr/ 2PL.POSS honesty /ˈɒn.ɛs.tiː/ integrity
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51.1 Now is the winter of our discontent. At this present moment exists the cold season of our dissatisfaction.
51.2 Now I am alone. At this moment I find myself in solitude.
51.3 Now go we in content. Let us now proceed in satisfaction.
51.4 What is he now? What has he become at this moment?
51.5 Now might I do it pat. At this moment I could accomplish it opportunely.
51.6 Now cracks a noble heart. At this moment a highborn spirit breaks.
51.7 Now thou art come unto a feast of death. At this moment thou hast arrived at a banquet of mortality.
51.8 Now put it, God, in the physician’s mind. At this moment, O God, place it in the healer’s thoughts.
51.9 I see ‘tis true: now I repent. I perceive it is truth: at this moment I feel remorse.
51.10 But now my lord, what say you to my suit? However at this moment, my lord, what is your response to my petition?
51.11 Now by my hood, a Gentile and no Jew. Indeed, I swear by my hood, a non-Jew and not of Hebrew faith.
51.12 Now for the love of Love and her soft hours. I pray, for the sake of Venus’s affection and her gentle time.
51.13 Even now, now, very now, an old black ram is tupping your white ewe. Precisely at this moment, at this very instant, an aged dark ram copulates with your pale sheep.
51.14 Now could I drink hot blood. At this moment I could consume heated vital fluid.
51.15 The question now is of your honesty. The inquiry at this moment concerns your integrity.
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51.1 Now is the winter of our discontent.
51.2 Now I am alone.
51.3 Now go we in content.
51.4 What is he now?
51.5 Now might I do it pat.
51.6 Now cracks a noble heart.
51.7 Now thou art come unto a feast of death.
51.8 Now put it, God, in the physician’s mind.
51.9 I see ‘tis true: now I repent.
51.10 But now my lord, what say you to my suit?
51.11 Now by my hood, a Gentile and no Jew.
51.12 Now for the love of Love and her soft hours.
51.13 Even now, now, very now, an old black ram is tupping your white ewe.
51.14 Now could I drink hot blood.
51.15 The question now is of your honesty.
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1. “Now” as Dramatic Pivot
Shakespeare deploys “now” at moments of recognition, decision, or transformation. When Richard III opens with “Now is the winter of our discontent,” the “now” signals both temporal present and narrative turning point—the war is over, a new age begins. Similarly, Hamlet’s “Now I am alone” marks transition from public performance to private revelation.
2. “Now” as Rhetorical Intensifier
The triple repetition in Iago’s “Even now, now, very now” creates urgency and vividness, forcing Brabantio to imagine the action as simultaneously occurring. This use of “now” as dramatic present makes absent action viscerally present.
3. “Now” as Interjection/Oath-Marker
In “Now by my hood,” “now” functions not temporally but as an interjection meaning “indeed” or “I tell you,” often introducing oaths or exclamations. This usage was common in Elizabethan discourse.
4. “Now” with Modal Verbs
“Now might I do it pat” and “Now could I drink hot blood” pair “now” with modal verbs to express present opportunity or capability. The “now” emphasizes the moment’s unique potential for action.
5. “Now” in Questions
“What is he now?” uses “now” to mark changed state—implying “what has he become” rather than simple temporal present. This evaluative use interrogates transformation.
6. Word Order Flexibility
Elizabethan English permitted greater word order variation than modern English. “Now go we in content” (VSO order) and “The question now is of your honesty” (medial placement) show “now” in various syntactic positions, each creating different emphasis.
7. Period Pronunciation Features
Note that words ending in -tion (question, affection) would have been pronounced with [sɪ.ən] rather than modern [ʃən]. Thus “question” = /ˈkwɛs.tɪ.ən/ (four syllables). This affects scansion and rhyme schemes in period verse.
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The Present Tense in Elizabethan Drama
The word “now” carried particular dramatic weight in Elizabethan theatre because of the relationship between stage time and clock time. When an actor said “now,” it referred simultaneously to the fictional moment and the actual present of performance. This double reference created unique opportunities for dramatic irony and audience engagement.
Soliloquy and “Now”
Many famous soliloquies begin with or prominently feature “now,” signaling the shift from public interaction to private thought. “Now I am alone” explicitly marks this transition, inviting the audience into Hamlet’s interior world. The “now” establishes intimacy between speaker and spectators.
Urgency and the Memento Mori Tradition
The Elizabethan preoccupation with time’s passage—reflected in sonnets about aging, mortality, and decay—gave “now” existential weight. To say “now” was to acknowledge the fleeting present against the backdrop of inevitable death. “Now cracks a noble heart” captures this: the moment of death is also a “now,” the final present tense.
“Now” in Rhetoric and Persuasion
Elizabethan rhetoricians recognized “now” as a persuasive device for creating presence—making distant or abstract matters feel immediate and urgent. Iago’s “Even now, now, very now” exemplifies this technique, transforming a possibly false report into vivid present-tense action in Brabantio’s imagination.
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From William Shakespeare, Richard III, Act I, Scene 1 (c. 1593):
Now is the winter of our discontent Made glorious summer by this sun of York; And all the clouds that lour’d upon our house In the deep bosom of the ocean buried. Now are our brows bound with victorious wreaths; Our bruised arms hung up for monuments; Our stern alarums changed to merry meetings, Our dreadful marches to delightful measures.
This opening speech deploys “now” twice in its first five lines to establish both temporal setting (the present moment after civil war) and Richard’s rhetorical stance. The anaphoric repetition of “Our” that follows creates a false sense of collective celebration, while the audience knows Richard’s private “now” involves plotting fratricide. The contrast between public “now” (peace, celebration) and private “now” (murderous ambition) structures the entire play.
Pronunciation Guide for Citation (Original Pronunciation c. 1593): -
“Now” /nʊu/ -
“winter” /ˈwɪn.tər/ -
“discontent” /dɪs.kənˈtɛnt/ -
“glorious” /ˈglɔː.rɪ.əs/ -
“victorious” /vɪkˈtɔː.rɪ.əs/ (note: -ious = [ɪ.əs]) -
“alarums” /əˈla.rʊmz/ (variant of “alarms”) -
“measures” /ˈmɛː.zərz/ (dances)
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The following dramatic monologue demonstrates “now” across multiple functions in the style of Elizabethan tragedy.
“The Conspirator’s Recognition”
SCENE: A darkened chamber. MARCELLUS enters alone, having just witnessed his confederates arrested.
51.16a Now stands the matter in a different contemplation.
51.16b Now /nʊu/ at-this-moment stands /standz/ exist.3SG.PRES the /ðə/ DEF.ART matter /ˈma.tər/ affair in /ɪn/ PREP a /a/ INDEF.ART different /ˈdɪ.fə.rənt/ altered contemplation /kɒn.tɛm.ˈpleɪ.sɪ.ən/ consideration
51.17a Now must I either fly or face the accusation.
51.17b Now /nʊu/ at-this-moment must /mʊst/ necessity.1SG I /aɪ/ 1SG.NOM either /ˈaɪ.ðər/ one-or-other fly /flaɪ/ flee.INF or /ɔːr/ CONJ.alternative face /feɪs/ confront.INF the /ðə/ DEF.ART accusation /a.kjuːˈzeɪ.sɪ.ən/ charge
51.18a O now I see my situation plain.
51.18b O /ɔː/ INTERJ.alas now /nʊu/ at-this-moment I /aɪ/ 1SG.NOM see /seː/ perceive.1SG.PRES my /maɪ/ 1SG.POSS situation /sɪ.tjuːˈeɪ.sɪ.ən/ circumstance plain /pleɪn/ clearly
51.19a The affection I bore my confederates now proves their ruin.
51.19b The /ðə/ DEF.ART affection /aˈfɛk.sɪ.ən/ love I /aɪ/ 1SG.NOM bore /bɔːr/ carry.PAST my /maɪ/ 1SG.POSS confederates /kənˈfɛ.də.rəts/ allies now /nʊu/ at-this-moment proves /pruːvz/ demonstrate.3SG.PRES their /ðɛːr/ 3PL.POSS ruin /ˈruː.ɪn/ destruction
51.20a Now by heaven, I had rather die with them.
51.20b Now /nʊu/ INTERJ.indeed by /baɪ/ PREP.oath heaven /ˈhɛ.vən/ paradise.ACC I /aɪ/ 1SG.NOM had /had/ have.1SG.PAST rather /ˈra.ðər/ ADV.preferably die /daɪ/ perish.INF with /wɪð/ PREP them /ðɛm/ 3PL.ACC
51.21a What resolution now remains to me?
51.21b What /ʍat/ INTERROG resolution /rɛ.zəˈluː.sɪ.ən/ determination now /nʊu/ at-this-moment remains /rɪˈmeɪnz/ be-left.3SG.PRES to /tuː/ PREP.for me /meː/ 1SG.ACC
51.22a Now let me think: the nation knows not yet my part.
51.22b Now /nʊu/ at-this-moment let /lɛt/ permit.IMP me /meː/ 1SG.ACC think /θɪŋk/ consider.INF the /ðə/ DEF.ART nation /ˈneɪ.sɪ.ən/ realm knows /nɔːz/ be-aware.3SG.PRES not /nɒt/ NEG yet /jɛt/ ADV.still my /maɪ/ 1SG.POSS part /paːrt/ role
51.23a Now creeps temptation to deny my friends.
51.23b Now /nʊu/ at-this-moment creeps /kriːps/ steal.3SG.PRES temptation /tɛmp.ˈteɪ.sɪ.ən/ enticement to /tuː/ PREP.toward deny /dɪˈnaɪ/ disavow.INF my /maɪ/ 1SG.POSS friends /frɛndz/ companions
51.24a O villainous preservation! Now I understand how Judas felt.
51.24b O /ɔː/ INTERJ.alas villainous /ˈvɪ.lə.nəs/ wicked preservation /prɛ.zərˈveɪ.sɪ.ən/ self-saving Now /nʊu/ at-this-moment I /aɪ/ 1SG.NOM understand /ʊn.dərˈstand/ comprehend.1SG.PRES how /hʊu/ INTERROG.manner Judas /ˈdʒuː.das/ betrayer felt /fɛlt/ experience.PAST
51.25a Now comes the question: am I such a coward?
51.25b Now /nʊu/ at-this-moment comes /kʊmz/ arrive.3SG.PRES the /ðə/ DEF.ART question /ˈkwɛs.tɪ.ən/ inquiry am /am/ be.1SG.PRES I /aɪ/ 1SG.NOM such /sʊtʃ/ ADV.so a /a/ INDEF.ART coward /ˈkaʊ.ərd/ craven
51.26a The information against them now lies with the council.
51.26b The /ðə/ DEF.ART information /ɪn.fɔːrˈmeɪ.sɪ.ən/ evidence against /əˈgɛːnst/ PREP.opposing them /ðɛm/ 3PL.ACC now /nʊu/ at-this-moment lies /laɪz/ rest.3SG.PRES with /wɪð/ PREP the /ðə/ DEF.ART council /ˈkaʊn.sɪl/ governing-body
51.27a Now if I speak, my reputation falls.
51.27b Now /nʊu/ at-this-moment if /ɪf/ CONJ.conditional I /aɪ/ 1SG.NOM speak /speːk/ confess.1SG.PRES my /maɪ/ 1SG.POSS reputation /rɛ.pjuːˈteɪ.sɪ.ən/ standing falls /fɔːlz/ collapse.3SG.PRES
51.28a Yet now if I stay silent, my honour dies.
51.28b Yet /jɛt/ CONJ.however now /nʊu/ at-this-moment if /ɪf/ CONJ.conditional I /aɪ/ 1SG.NOM stay /steɪ/ remain.1SG.PRES silent /ˈsaɪ.lənt/ mute my /maɪ/ 1SG.POSS honour /ˈɒ.nər/ integrity dies /daɪz/ perish.3SG.PRES
51.29a Then now I choose: I’ll stand with those I love.
51.29b Then /ðɛn/ CONJ.therefore now /nʊu/ at-this-moment I /aɪ/ 1SG.NOM choose /tʃuːz/ decide.1SG.PRES I’ll /aɪl/ I-will stand /stand/ remain.INF with /wɪð/ PREP those /ðɔːz/ DEM.PL I /aɪ/ 1SG.NOM love /lʊv/ hold-dear.1SG.PRES
51.30a Now fortune, whether good or ill, I meet thee unafraid.
51.30b Now /nʊu/ at-this-moment fortune /ˈfɔːr.tjuːn/ fate.VOC whether /ˈʍɛ.ðər/ CONJ.alternative good /guːd/ favourable or /ɔːr/ CONJ ill /ɪl/ adverse I /aɪ/ 1SG.NOM meet /meːt/ encounter.1SG.PRES thee /ðiː/ 2SG.FAM.ACC unafraid /ʊn.əˈfreɪd/ without-fear
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51.16 Now stands the matter in a different contemplation. At this moment the affair exists in an altered consideration.
51.17 Now must I either fly or face the accusation. At this moment necessity compels me either to flee or confront the charge.
51.18 O now I see my situation plain. Alas, at this moment I perceive my circumstance clearly.
51.19 The affection I bore my confederates now proves their ruin. The love I carried for my allies at this moment demonstrates their destruction.
51.20 Now by heaven, I had rather die with them. Indeed, I swear by paradise, I would preferably perish alongside them.
51.21 What resolution now remains to me? What determination at this moment is left for me?
51.22 Now let me think: the nation knows not yet my part. At this moment permit me to consider: the realm is not yet aware of my role.
51.23 Now creeps temptation to deny my friends. At this moment enticement steals toward me to disavow my companions.
51.24 O villainous preservation! Now I understand how Judas felt. O wicked self-saving! At this moment I comprehend how the betrayer experienced it.
51.25 Now comes the question: am I such a coward? At this moment arrives the inquiry: am I so craven?
51.26 The information against them now lies with the council. The evidence opposing them at this moment rests with the governing body.
51.27 Now if I speak, my reputation falls. At this moment if I confess, my standing collapses.
51.28 Yet now if I stay silent, my honour dies. However at this moment if I remain mute, my integrity perishes.
51.29 Then now I choose: I’ll stand with those I love. Therefore at this moment I decide: I will remain alongside those I hold dear.
51.30 Now fortune, whether good or ill, I meet thee unafraid. At this moment, O fate, whether favourable or adverse, I encounter thee without fear.
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51.16 Now stands the matter in a different contemplation.
51.17 Now must I either fly or face the accusation.
51.18 O now I see my situation plain.
51.19 The affection I bore my confederates now proves their ruin.
51.20 Now by heaven, I had rather die with them.
51.21 What resolution now remains to me?
51.22 Now let me think: the nation knows not yet my part.
51.23 Now creeps temptation to deny my friends.
51.24 O villainous preservation! Now I understand how Judas felt.
51.25 Now comes the question: am I such a coward?
51.26 The information against them now lies with the council.
51.27 Now if I speak, my reputation falls.
51.28 Yet now if I stay silent, my honour dies.
51.29 Then now I choose: I’ll stand with those I love.
51.30 Now fortune, whether good or ill, I meet thee unafraid.
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1. Soliloquy Structure and “Now”
This original composition demonstrates the Shakespearean pattern of using “now” to structure a soliloquy. The speech moves from recognition (51.16-18) through moral struggle (51.19-28) to resolution (51.29-30), with “now” marking each turning point. Fifteen of the seventeen instances serve dramatic rather than merely temporal functions.
2. Period Pronunciation of -tion/-sion Words
The soliloquy deliberately features many -tion words to illustrate period pronunciation:
Word Modern IPA Elizabethan IPA contemplation /ˌkɒn.təm.ˈpleɪ.ʃən/ /kɒn.tɛm.ˈpleɪ.sɪ.ən/ accusation /ˌæk.jʊ.ˈzeɪ.ʃən/ /a.kjuː.ˈzeɪ.sɪ.ən/ situation /ˌsɪ.tʃʊ.ˈeɪ.ʃən/ /sɪ.tjuː.ˈeɪ.sɪ.ən/ affection /ə.ˈfɛk.ʃən/ /a.ˈfɛk.sɪ.ən/ preservation /ˌprɛ.zə.ˈveɪ.ʃən/ /prɛ.zər.ˈveɪ.sɪ.ən/ temptation /tɛmp.ˈteɪ.ʃən/ /tɛmp.ˈteɪ.sɪ.ən/ question /ˈkwɛs.tʃən/ /ˈkwɛs.tɪ.ən/ information /ˌɪn.fə.ˈmeɪ.ʃən/ /ɪn.fɔːr.ˈmeɪ.sɪ.ən/ reputation /ˌrɛp.jʊ.ˈteɪ.ʃən/ /rɛ.pjuː.ˈteɪ.sɪ.ən/ resolution /ˌrɛ.zə.ˈluː.ʃən/ /rɛ.zə.ˈluː.sɪ.ən/ nation /ˈneɪ.ʃən/ /ˈneɪ.sɪ.ən/
This pronunciation adds syllables to many words, affecting verse scansion significantly.
3. Modal Verb Patterns
“Now must I either fly” demonstrates the modal + subject inversion common in Elizabethan English when “now” or other adverbs precede the verb. This construction emphasizes necessity and immediacy.
4. “Now” + Conditional Structures
The parallel construction “Now if I speak... Yet now if I stay silent” uses “now” to frame a moral dilemma. Both conditions exist simultaneously in the present moment, creating dramatic tension.
5. Antithesis and Resolution
The soliloquy employs Shakespearean antithesis: speak/silent, reputation/honour, good/ill. The final “now” (51.30) resolves these oppositions through acceptance rather than choice, a characteristic Elizabethan tragic gesture.
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Key Phonological Features (c. 1590–1620)
Vowels (Great Vowel Shift in Progress):
Spelling Modern RP Elizabethan OP Example now, how /aʊ/ /nʊu/, /hʊu/ now /nʊu/ time, mine /aɪ/ /əɪ/ or /ɛɪ/ time /təɪm/ see, meet /iː/ /iː/ see /siː/ name, take /eɪ/ /ɛː/ or /eː/ name /nɛːm/ love, blood /ʌ/ /ʊ/ love /lʊv/ good, hood /ʊ/ /uː/ good /guːd/ boat, know /əʊ/ /oː/ know /noː/
Consonants:
Feature Description Example /r/ Trilled or rolled in all positions heart /haːrt/ /ʍ/ Distinct from /w/ what /ʍat/ vs. wait /weɪt/ kn-, gn- Both consonants pronounced knight /knɪçt/, gnaw /gnɔː/ -tion Pronounced [sɪən] or [tɪən] nation /ˈneɪ.sɪ.ən/
Syllable Count Differences:
Many words had additional syllables in Elizabethan English: -
“fire” = two syllables /ˈfaɪ.ər/ -
“hour” = two syllables /ˈaʊ.ər/ -
“heaven” = two syllables /ˈhɛ.vən/ -
“question” = three syllables /ˈkwɛs.tɪ.ən/
This affects verse scansion significantly. Shakespeare’s iambic pentameter was calibrated to period pronunciation.
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This Elizabethan English course follows the Latinum Institute methodology for autodidacts. The approach employs interlinear construed text, allowing learners to access the grammar and vocabulary of Early Modern English through systematic word-by-word glossing.
Each lesson presents a single high-frequency word from the 1000-word core vocabulary, illustrated through authentic Shakespearean examples and original compositions in period style. The interlinear format makes even complex dramatic verse immediately accessible, while the graduated difficulty of examples builds comprehension progressively.
Course Resources: -
Course Index: https://latinum.substack.com/p/index -
Latinum Institute Reviews: https://uk.trustpilot.com/review/latinum.org.uk
The Latinum Institute has been creating language learning materials for autodidacts since 2006, specializing in methods that make historical languages accessible to independent learners.
Benefits of the Construed Text Approach:
The interlinear method allows learners to: -
See grammatical relationships word by word -
Understand syntax without memorizing paradigms first -
Build vocabulary through contextual exposure -
Appreciate literary style while learning structure -
Progress at their own pace with immediate comprehension support
Why Learn Elizabethan English?
Understanding Shakespeare in his original linguistic context reveals meanings, puns, and dramatic effects invisible to modern readers. Period pronunciation restores rhymes, clarifies scansion, and recovers the sonic texture of Early Modern poetry. This course equips learners to read, hear, and appreciate English Renaissance literature as its original audiences experienced it.
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END OF LESSON 51
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