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The adverb then stands as one of the most versatile temporal and logical connectors in Elizabethan English, serving functions both chronological and consequential. In the language of Shakespeare, Marlowe, and their contemporaries, then operates along two primary axes: marking sequence in time (”first this, then that”) and signalling logical inference (”if this, then that”). This dual nature made it an essential tool for the dramatic rhetoric of the Elizabethan stage, where characters constantly moved between narrating past events and drawing conclusions from present circumstances.
The word descends from Old English þanne/þonne, cognate with German dann (”then, at that time”) and Dutch dan. In Early Modern English, it retained close connection with than (the comparative particle), and indeed the two were often interchangeable in Elizabethan texts—a spelling and usage distinction that would only fully crystallize in later centuries.
Frequently Asked Question: What does “then” mean in Elizabethan English?
In Elizabethan English, then functions primarily as an adverb indicating: (1) temporal sequence—”at that time,” “afterward,” “next in order”; (2) logical consequence—”in that case,” “therefore,” “accordingly”; and (3) emphatic addition—”also,” “besides,” “moreover.” The word appears in both prose and verse, often at metrically significant positions within the iambic pentameter line.
This lesson presents then across varied syntactic positions and semantic functions, demonstrating its use in temporal narration, conditional reasoning, and rhetorical emphasis. The fifteen examples progress from simple temporal uses through more complex consequential applications.
Key Takeaways -
Then marks both temporal sequence and logical consequence in Elizabethan English -
The word frequently appears in conditional constructions (”if... then”) -
Period pronunciation maintained the voiced dental fricative /ð/ as in modern English -
Then often carries metrical weight at caesura points in blank verse -
The spelling distinction between then (temporal) and than (comparative) remained fluid
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This lesson employs International Phonetic Alphabet (IPA) transcriptions reflecting Early Modern English pronunciation circa 1590-1610. Key features distinguishing Elizabethan from modern pronunciation include:
Vowels (Great Vowel Shift in progress) -
Long /eː/ in words like meat distinct from /iː/ in meet -
Long /aː/ in name not yet fully shifted to modern /eɪ/ -
Long /oː/ in stone still monophthongal, not modern /əʊ/ -
Short vowels largely stable and similar to modern values
The -tion Suffix -
Pronounced /tɪ.ʊn/ or /tsi.ʊn/, NOT modern /ʃən/ -
Two full syllables: na-ti-on = /naː.tɪ.ʊn/ (three syllables) -
This pronunciation explains rhymes like nation/fashion in period verse
Consonants -
/r/ fully rhotic (pronounced in all positions) -
Initial /kn-/, /gn-/, /wr-/ clusters still articulated -
/hw/ in what, when, where distinct from /w/
The Topic Word -
then = /ðɛn/ (virtually identical to modern pronunciation)
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52.1a Then came the messenger.
52.1b Then /ðɛn/ at-that-time came /kaːm/ arrived-PAST the /ðə/ DEF.ART messenger /ˈmɛ.sɪn.dʒər/ carrier-of-tidings
52.2a What then?
52.2b What /ʍat/ what-thing then /ðɛn/ in-that-case
52.3a If he love thee, then rejoice.
52.3b If /ɪf/ COND he /heː/ 3SG.MASC.NOM love /lʊv/ cherish-SUBJ thee /ðiː/ 2SG.ACC then /ðɛn/ consequently rejoice /rɪ.ˈdʒɔɪs/ be-glad-IMP
52.4a First we feast, then we dance.
52.4b First /fɪrst/ initially we /weː/ 1PL.NOM feast /feːst/ banquet-PRES then /ðɛn/ afterward we /weː/ 1PL.NOM dance /daːns/ move-rhythmically-PRES
52.5a Now and then he visits.
52.5b Now /naʊ/ at-present and /and/ CONJ then /ðɛn/ at-other-times he /heː/ 3SG.MASC.NOM visits /ˈvɪ.zɪts/ calls-upon-PRES.3SG
52.6a Till then, I remain thy servant.
52.6b Till /tɪl/ until then /ðɛn/ that-time I /aɪ/ 1SG.NOM remain /rɪ.ˈmeːn/ continue-PRES thy /ðaɪ/ 2SG.POSS servant /ˈsɛr.vant/ one-who-serves
52.7a The sun set, and then the stars appeared.
52.7b The /ðə/ DEF.ART sun /sʊn/ daystar set /sɛt/ descend-PAST and /and/ CONJ then /ðɛn/ afterward the /ðə/ DEF.ART stars /staːrz/ celestial-lights appeared /a.ˈpiːrd/ became-visible-PAST
52.8a If thou art wise, then speak not.
52.8b If /ɪf/ COND thou /ðaʊ/ 2SG.NOM art /aːrt/ be-PRES.2SG wise /waɪz/ possessing-wisdom then /ðɛn/ in-that-case speak /speːk/ utter-IMP not /nɒt/ NEG
52.9a From then onwards, fortune smiled upon him.
52.9b From /frɒm/ starting-at then /ðɛn/ that-moment onwards /ˈɒn.wərdz/ forward-in-time fortune /ˈfɔːr.tjuːn/ fate smiled /smaɪld/ favoured-PAST upon /ʊ.ˈpɒn/ on him /hɪm/ 3SG.MASC.ACC
52.10a He was young then, and full of hope.
52.10b He /heː/ 3SG.MASC.NOM was /wɒz/ be-PAST.3SG young /jʊŋ/ in-early-years then /ðɛn/ at-that-time and /and/ CONJ full /fʊl/ replete of /ɒv/ with hope /hoːp/ expectation
52.11a Every now and then the cock doth crow.
52.11b Every /ˈɛv.ri/ each now /naʊ/ present-moment and /and/ CONJ then /ðɛn/ passing-moment the /ðə/ DEF.ART cock /kɒk/ rooster doth /dʊθ/ do-PRES.3SG.EMPH crow /kroː/ call-aloud
52.12a If love be blind, then jealousy hath a thousand eyes.
52.12b If /ɪf/ COND love /lʊv/ affection be /biː/ be-SUBJ blind /blaɪnd/ sightless then /ðɛn/ by-contrast jealousy /ˈdʒɛ.lʊ.zi/ suspicious-love hath /haθ/ have-PRES.3SG a /a/ INDEF.ART thousand /ˈθaʊ.zand/ 1000 eyes /aɪz/ organs-of-sight
52.13a There was silence; then came a terrible cry.
52.13b There /ðɛːr/ in-that-place was /wɒz/ exist-PAST silence /ˈsaɪ.lɛns/ absence-of-sound then /ðɛn/ suddenly-thereafter came /kaːm/ arrive-PAST a /a/ INDEF.ART terrible /ˈtɛ.rɪ.bl/ dreadful cry /kraɪ/ exclamation
52.14a What sayst thou then to this accusation?
52.14b What /ʍat/ what-thing sayst /seːst/ say-PRES.2SG thou /ðaʊ/ 2SG.NOM then /ðɛn/ therefore to /tuː/ in-response-to this /ðɪs/ DEM.PROX accusation /a.kju.ˈzaː.tɪ.ʊn/ charge-against
52.15a Now I see thy purpose; then shall I act accordingly.
52.15b Now /naʊ/ at-this-moment I /aɪ/ 1SG.NOM see /seː/ perceive-PRES thy /ðaɪ/ 2SG.POSS purpose /ˈpʊr.pʊs/ intention then /ðɛn/ consequently shall /ʃal/ will-FUT.1SG I /aɪ/ 1SG.NOM act /akt/ proceed accordingly /a.ˈkɔːr.dɪŋ.li/ in-accordance
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52.1 Then came the messenger. “At that moment, the messenger arrived.”
52.2 What then? “What of it? / What happens next?”
52.3 If he love thee, then rejoice. “If he loves you, then be glad.”
52.4 First we feast, then we dance. “First we eat, afterward we dance.”
52.5 Now and then he visits. “Occasionally he pays a visit.”
52.6 Till then, I remain thy servant. “Until that time, I remain your servant.”
52.7 The sun set, and then the stars appeared. “The sun went down, and afterward the stars became visible.”
52.8 If thou art wise, then speak not. “If you are wise, then do not speak.”
52.9 From then onwards, fortune smiled upon him. “From that time forward, luck favored him.”
52.10 He was young then, and full of hope. “He was young at that time, and full of hope.”
52.11 Every now and then the cock doth crow. “From time to time the rooster crows.”
52.12 If love be blind, then jealousy hath a thousand eyes. “If love is blind, then jealousy has a thousand eyes.”
52.13 There was silence; then came a terrible cry. “There was silence; suddenly afterward came a terrible cry.”
52.14 What sayst thou then to this accusation? “What do you say therefore to this charge?”
52.15 Now I see thy purpose; then shall I act accordingly. “Now I understand your intention; therefore I shall act accordingly.”
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52.1 Then came the messenger.
52.2 What then?
52.3 If he love thee, then rejoice.
52.4 First we feast, then we dance.
52.5 Now and then he visits.
52.6 Till then, I remain thy servant.
52.7 The sun set, and then the stars appeared.
52.8 If thou art wise, then speak not.
52.9 From then onwards, fortune smiled upon him.
52.10 He was young then, and full of hope.
52.11 Every now and then the cock doth crow.
52.12 If love be blind, then jealousy hath a thousand eyes.
52.13 There was silence; then came a terrible cry.
52.14 What sayst thou then to this accusation?
52.15 Now I see thy purpose; then shall I act accordingly.
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The Functions of “Then” in Elizabethan English
The adverb then operates across three primary semantic domains in Early Modern English, each with distinct syntactic patterns:
1. Temporal Sequence (”at that time,” “afterward”)
When marking temporal sequence, then typically appears in clause-initial position (subject-verb inversion often follows) or clause-finally for emphasis: -
Then came the messenger — Inverted word order (Verb-Subject) following fronted adverb -
He was young then — Clause-final position for temporal specification -
The sun set, and then the stars appeared — Coordinating temporal sequence
The construction from then onwards uses then nominally as the object of a preposition, referring to a specific point in time.
2. Logical Consequence (”in that case,” “therefore”)
In conditional constructions, then introduces the apodosis (result clause) following if: -
If he love thee, then rejoice — Note the subjunctive love (without -s) in the protasis -
If thou art wise, then speak not — The then explicitly marks the logical connection
Elizabethan writers frequently omitted then from conditional constructions where modern usage would include it, but its presence always adds emphatic clarity.
3. Interrogative/Responsive (”what of it?” “in response”)
The construction what then? functions as a rhetorical question, challenging the relevance or significance of a previous statement. Similarly, then in questions like What sayst thou then? carries the sense “in light of this” or “therefore.”
Idiomatic Expressions -
Now and then / every now and then — Occasionally, from time to time -
Till then — Until that time (temporal) -
What then? — What of it? So what? (dismissive or challenging) -
Then and there — At that very moment and place
Syntactic Position and Metre
In blank verse, then frequently appears at metrically significant positions. As a monosyllable, it can fill either an unstressed or stressed position in the iambic line: -
If LOVE be BLIND, then JEAL-ou-SY hath EYES (then in unstressed position) -
THEN came the MES-sen-GER with TID-ings DIRE (then in stressed position, triggering inversion)
Then vs. Than
In Elizabethan texts, then and than were not yet fully distinguished orthographically. Printers and scribes often used them interchangeably, and the reader must infer from context: -
He is wiser then his father — Here then = comparative than -
If he be wise, then shall he prosper — Here then = consequential adverb
Modern editions typically normalize the spelling, but original texts show fluid usage.
Common Learner Errors -
Confusing temporal and consequential functions in translation -
Missing the subjunctive mood that often accompanies conditional then -
Over-regularizing word order (Elizabethan English permits more fronting and inversion) -
Applying modern then/than distinctions to period texts
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“Then” in Elizabethan Rhetoric and Drama
The adverb then held particular significance in Elizabethan dramatic practice, where temporal and logical relationships drove both plot and character revelation. On the Elizabethan stage, characters constantly reasoned aloud, drawing conclusions for the audience’s benefit, and then served as the pivot between premise and consequence.
Frequency and Register
Then appears with extraordinary frequency across all registers of Early Modern English—from royal proclamations to tavern dialogue, from sermons to sonnets. Its versatility made it indispensable: -
In legal documents: marking procedural sequence -
In chronicles: ordering historical events -
In drama: signalling plot developments and character reasoning -
In verse: providing metrical flexibility
The Rhetoric of Consequence
Elizabethan education emphasized classical rhetoric, and the if... then construction mapped onto the logical syllogism inherited from Aristotelian tradition. When Hamlet reasons through his dilemmas or when Lady Macbeth plots her course, the then marks the moment of logical conclusion—the point where thought becomes action.
Temporal Consciousness in Early Modern England
The Elizabethan age was acutely aware of time’s passage. The memento mori tradition, the emphasis on legacy and succession, the uncertainty of life in an era of plague and political upheaval—all contributed to a heightened sensitivity to temporal sequence. Words like then, now, when, and ere carried existential weight.
Stage Direction Implicit in Dialogue
On the bare Elizabethan stage, then in dialogue often functioned as implicit stage direction, signalling to actors (and audiences) that one action had concluded and another was commencing: -
Then came the messenger — The messenger enters -
There was silence; then came a terrible cry — Sound cue follows pause
Regional Variation
While then was universal across English dialects, its exact phonetic realization varied. The voiced dental fricative /ð/ was standard in educated London speech, but dialectal forms with /d/ existed in some regions. The playwright’s choice to write then rather than den (which appears in representations of lower-class or rustic speech) carries social information.
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From William Shakespeare’s Hamlet, Act III, Scene i (c. 1600)
The following passage, from Hamlet’s most famous soliloquy, demonstrates then in its consequential function within a sustained meditation on existence:
F-A: Interlinear Analysis
To die, to sleep—
To /tuː/ in-order-to die /daɪ/ cease-living-INF to /tuː/ in-order-to sleep /sleːp/ rest-INF
No more—and by a sleep to say we end
No /noː/ nothing more /moːr/ further and /and/ CONJ by /baɪ/ through a /a/ INDEF.ART sleep /sleːp/ rest to /tuː/ INF.MARKER say /seː/ assert we /weː/ 1PL.NOM end /ɛnd/ conclude-PRES
The heartache and the thousand natural shocks
The /ðə/ DEF.ART heartache /ˈhaːrt.eːk/ heart-pain and /and/ CONJ the /ðə/ DEF.ART thousand /ˈθaʊ.zand/ 1000 natural /ˈna.tju.ral/ nature-derived shocks /ʃɒks/ blows
That flesh is heir to—’tis a consummation
That /ðat/ REL.PRO flesh /flɛʃ/ mortal-body is /ɪz/ be-PRES.3SG heir /ɛːr/ inheritor to /tuː/ of ‘tis /tɪz/ it-is a /a/ INDEF.ART consummation /kɒn.sʊ.ˈmaː.tɪ.ʊn/ completion
Devoutly to be wished. To die, to sleep—
Devoutly /dɪ.ˈvaʊt.li/ earnestly to /tuː/ INF.MARKER be /biː/ be-INF wished /wɪʃt/ desired-PAST.PART to /tuː/ in-order-to die /daɪ/ cease-living to /tuː/ in-order-to sleep /sleːp/ rest
To sleep, perchance to dream—ay, there’s the rub,
To /tuː/ in-order-to sleep /sleːp/ rest-INF perchance /pər.ˈtʃaːns/ perhaps to /tuː/ INF.MARKER dream /dreːm/ experience-visions ay /aɪ/ yes-INTERJ there’s /ðɛːrz/ there-is the /ðə/ DEF.ART rub /rʊb/ obstacle
For in that sleep of death what dreams may come,
For /fɔːr/ because in /ɪn/ within that /ðat/ DEM.DIST sleep /sleːp/ rest of /ɒv/ GEN death /dɛːθ/ mortality what /ʍat/ which dreams /dreːmz/ visions may /meː/ might-MOD come /kʊm/ arrive
When we have shuffled off this mortal coil,
When /ʍɛn/ at-the-time-that we /weː/ 1PL.NOM have /hav/ AUX.PERF shuffled /ˈʃʊ.fld/ cast-PAST.PART off /ɒf/ away this /ðɪs/ DEM.PROX mortal /ˈmɔːr.tal/ subject-to-death coil /kɔɪl/ turmoil
Must give us pause—there’s the respect
Must /mʊst/ necessity-MOD give /gɪv/ cause-INF us /ʊs/ 1PL.ACC pause /paʊz/ hesitation there’s /ðɛːrz/ there-is the /ðə/ DEF.ART respect /rɪ.ˈspɛkt/ consideration
That makes calamity of so long life.
That /ðat/ REL.PRO makes /meːks/ cause-PRES.3SG calamity /ka.ˈla.mɪ.ti/ misfortune of /ɒv/ GEN so /soː/ such long /lɒŋ/ extended life /laɪf/ existence
F-B: Natural Text with Translation
To die, to sleep— No more—and by a sleep to say we end The heartache and the thousand natural shocks That flesh is heir to—’tis a consummation Devoutly to be wished. To die, to sleep— To sleep, perchance to dream—ay, there’s the rub, For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause—there’s the respect That makes calamity of so long life.
“To die, to sleep—nothing more—and by sleeping to say we end the heartache and the thousand natural troubles that our mortal bodies inherit—that is an outcome devoutly to be wished. To die, to sleep—to sleep, perhaps to dream—yes, there lies the obstacle, for in that sleep of death, whatever dreams may come after we have cast off this turmoil of mortality must make us hesitate—there is the consideration that makes us endure the calamity of such a long life.”
F-C: Elizabethan English Only
To die, to sleep— No more—and by a sleep to say we end The heartache and the thousand natural shocks That flesh is heir to—’tis a consummation Devoutly to be wished. To die, to sleep— To sleep, perchance to dream—ay, there’s the rub, For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause—there’s the respect That makes calamity of so long life.
F-D: Vocabulary and Grammar Notes -
consummation /kɒn.sʊ.ˈmaː.tɪ.ʊn/ — Note the period pronunciation of -tion as /tɪ.ʊn/, yielding five syllables, not modern four -
perchance — “Perhaps,” from Anglo-Norman par chance (”by chance”) -
rub — A bowling term: an obstacle that deflects the ball from its course -
mortal coil — The turmoil and bustle of mortal existence; coil here means “commotion” -
respect — “Consideration,” not modern sense of “esteem” -
calamity of so long life — The misery of enduring such a long life
F-E: Literary Commentary
This passage, though it does not contain the word then, demonstrates the logical structure that then typically makes explicit. Hamlet’s reasoning proceeds through conditional stages: if death is like sleep, then it ends suffering; but if sleep includes dreams, then death may bring unknown terrors. The implicit then at each juncture marks the passage as a sustained syllogistic meditation.
Shakespeare’s rhetorical mastery shows in how he delays the logical consequence, building suspense through the accumulating subordinate clauses before arriving at the must give us pause—the consequence that Hamlet’s reasoning demands but that remains unspoken until the thought has fully unfolded.
The pronunciation note on consummation illustrates why period pronunciation matters: the word fills a specific metrical space in the line, and modern pronunciation would disrupt the verse rhythm.
— William Shakespeare, Hamlet, Act III, Scene i (c. 1600)
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The following original dramatic monologue, composed in the Elizabethan style, demonstrates then in its characteristic function within villainous self-revelation—the convention whereby antagonists explain their schemes directly to the audience.
52.16a So then, the matter stands thus.
52.16b So /soː/ thus then /ðɛn/ therefore the /ðə/ DEF.ART matter /ˈma.tər/ affair stands /standz/ remain-PRES.3SG thus /ðʊs/ in-this-manner
52.17a If I betray him not, then he betrays me.
52.17b If /ɪf/ COND I /aɪ/ 1SG.NOM betray /bɪ.ˈtreː/ deceive-PRES him /hɪm/ 3SG.MASC.ACC not /nɒt/ NEG then /ðɛn/ consequently he /heː/ 3SG.MASC.NOM betrays /bɪ.ˈtreːz/ deceive-PRES.3SG me /miː/ 1SG.ACC
52.18a What then remains but that I strike first?
52.18b What /ʍat/ what-thing then /ðɛn/ therefore remains /rɪ.ˈmeːnz/ be-left-PRES.3SG but /bʊt/ except that /ðat/ COMP I /aɪ/ 1SG.NOM strike /straɪk/ attack-SUBJ first /fɪrst/ before-him
52.19a I loved him once; but that was then.
52.19b I /aɪ/ 1SG.NOM loved /lʊvd/ cherish-PAST him /hɪm/ 3SG.MASC.ACC once /wʊns/ formerly but /bʊt/ however that /ðat/ DEM.DIST was /wɒz/ be-PAST.3SG then /ðɛn/ at-that-past-time
52.20a Then was I fool enough to trust.
52.20b Then /ðɛn/ at-that-time was /wɒz/ be-PAST.3SG I /aɪ/ 1SG.NOM fool /fuːl/ simpleton enough /ɪ.ˈnʊf/ sufficiently to /tuː/ INF.MARKER trust /trʊst/ believe-INF
52.21a Now wisdom teaches me; then shall I act.
52.21b Now /naʊ/ at-present wisdom /ˈwɪz.dəm/ prudence teaches /ˈteː.tʃɪz/ instruct-PRES.3SG me /miː/ 1SG.ACC then /ðɛn/ therefore shall /ʃal/ will-FUT.1SG I /aɪ/ 1SG.NOM act /akt/ take-action
52.22a If gold moves men, then gold shall move mine enemies.
52.22b If /ɪf/ COND gold /goːld/ money moves /muːvz/ motivate-PRES.3SG men /mɛn/ people then /ðɛn/ consequently gold /goːld/ money shall /ʃal/ will-FUT move /muːv/ motivate mine /maɪn/ 1SG.POSS enemies /ˈɛ.nə.miːz/ foes
52.23a I shall bribe the guard, then slip within.
52.23b I /aɪ/ 1SG.NOM shall /ʃal/ will-FUT.1SG bribe /braɪb/ pay-off the /ðə/ DEF.ART guard /gaːrd/ watchman then /ðɛn/ afterward slip /slɪp/ enter-stealthily within /wɪ.ˈðɪn/ inside
52.24a Then, when he sleeps, I strike the blow.
52.24b Then /ðɛn/ at-that-moment when /ʍɛn/ at-the-time-that he /heː/ 3SG.MASC.NOM sleeps /sleːps/ slumber-PRES.3SG I /aɪ/ 1SG.NOM strike /straɪk/ deliver-PRES the /ðə/ DEF.ART blow /bloː/ fatal-stroke
52.25a If conscience prick, then I shall drown it in wine.
52.25b If /ɪf/ COND conscience /ˈkɒn.ʃi.əns/ moral-sense prick /prɪk/ sting-SUBJ then /ðɛn/ consequently I /aɪ/ 1SG.NOM shall /ʃal/ will-FUT.1SG drown /draʊn/ submerge it /ɪt/ 3SG.NEUT.ACC in /ɪn/ within wine /waɪn/ drink
52.26a What then is murder but a word?
52.26b What /ʍat/ what-thing then /ðɛn/ after-all is /ɪz/ be-PRES.3SG murder /ˈmʊr.dər/ unlawful-killing but /bʊt/ except a /a/ INDEF.ART word /wʊrd/ mere-term
52.27a Words hang no man; then let them call me villain.
52.27b Words /wʊrdz/ terms hang /haŋ/ execute-PRES no /noː/ NEG man /man/ person then /ðɛn/ therefore let /lɛt/ allow-IMP them /ðɛm/ 3PL.ACC call /kaːl/ name me /miː/ 1SG.ACC villain /ˈvɪ.lən/ scoundrel
52.28a First I plot, then I execute, then I prosper.
52.28b First /fɪrst/ initially I /aɪ/ 1SG.NOM plot /plɒt/ scheme-PRES then /ðɛn/ next I /aɪ/ 1SG.NOM execute /ˈɛk.sɪ.kjuːt/ carry-out-PRES then /ðɛn/ afterward I /aɪ/ 1SG.NOM prosper /ˈprɒs.pər/ thrive-PRES
52.29a Till then, I wear the mask of friendship.
52.29b Till /tɪl/ until then /ðɛn/ that-time I /aɪ/ 1SG.NOM wear /wɛːr/ display-PRES the /ðə/ DEF.ART mask /mask/ false-face of /ɒv/ GEN friendship /ˈfrɛnd.ʃɪp/ amity
52.30a So then, to work—for night comes swiftly on.
52.30b So /soː/ thus then /ðɛn/ therefore to /tuː/ unto work /wʊrk/ action for /fɔːr/ because night /naɪt/ darkness comes /kʊmz/ approach-PRES.3SG swiftly /ˈswɪft.li/ rapidly on /ɒn/ forward
52.16 So then, the matter stands thus. “So therefore, the situation is as follows.”
52.17 If I betray him not, then he betrays me. “If I do not betray him, then he will betray me.”
52.18 What then remains but that I strike first? “What therefore remains except that I attack first?”
52.19 I loved him once; but that was then. “I loved him formerly; but that was in the past.”
52.20 Then was I fool enough to trust. “At that time I was foolish enough to believe.”
52.21 Now wisdom teaches me; then shall I act. “Now prudence instructs me; therefore I shall take action.”
52.22 If gold moves men, then gold shall move mine enemies. “If money motivates people, then money shall motivate my enemies.”
52.23 I shall bribe the guard, then slip within. “I shall pay off the watchman, then sneak inside.”
52.24 Then, when he sleeps, I strike the blow. “At that moment, when he is asleep, I deliver the fatal stroke.”
52.25 If conscience prick, then I shall drown it in wine. “If my moral sense troubles me, then I shall suppress it with drink.”
52.26 What then is murder but a word? “What after all is murder but a mere term?”
52.27 Words hang no man; then let them call me villain. “Words execute no one; therefore let them call me a scoundrel.”
52.28 First I plot, then I execute, then I prosper. “First I scheme, next I carry out the plan, afterward I thrive.”
52.29 Till then, I wear the mask of friendship. “Until that time, I display the false face of amity.”
52.30 So then, to work—for night comes swiftly on. “So therefore, to action—for darkness approaches rapidly.”
52.16 So then, the matter stands thus.
52.17 If I betray him not, then he betrays me.
52.18 What then remains but that I strike first?
52.19 I loved him once; but that was then.
52.20 Then was I fool enough to trust.
52.21 Now wisdom teaches me; then shall I act.
52.22 If gold moves men, then gold shall move mine enemies.
52.23 I shall bribe the guard, then slip within.
52.24 Then, when he sleeps, I strike the blow.
52.25 If conscience prick, then I shall drown it in wine.
52.26 What then is murder but a word?
52.27 Words hang no man; then let them call me villain.
52.28 First I plot, then I execute, then I prosper.
52.29 Till then, I wear the mask of friendship.
52.30 So then, to work—for night comes swiftly on.
The Villain’s Soliloquy Convention
This monologue exemplifies the Elizabethan convention of the self-revealing villain, familiar from characters like Iago, Richard III, and Edmund. The adverb then drives the logical machinery of self-justification: -
52.17 presents the false dilemma: If I betray him not, then he betrays me -
52.18 offers the rhetorical question that permits only one answer -
52.26-27 demonstrate sophistic reasoning: What then is murder but a word?
Temporal vs. Consequential “Then” Distribution
The monologue uses both functions in alternation: -
Temporal: 52.19 (that was then), 52.20 (Then was I fool), 52.23-24 (sequence), 52.29 (Till then) -
Consequential: 52.16 (So then), 52.17-18, 52.21-22, 52.25-27, 52.30
This alternation creates the effect of a mind moving between memory and calculation—characteristic of the Machiavellian villain type.
Subjunctive Mood in Conditionals
Note the subjunctive forms: If conscience prick (52.25) uses the uninflected base form prick rather than pricks, marking the hypothetical nature of the condition. This was standard in Elizabethan conditional clauses.
Word Order Inversion
Then was I fool enough to trust (52.20) shows typical Elizabethan inversion after fronted adverb. Modern English would say “Then I was fool enough to trust,” but the period preferred Subject-Verb inversion following temporal or locative adverbs in initial position.
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The Topic Word: “Then”
Spelling IPA (Elizabethan) IPA (Modern RP) Notes then /ðɛn/ /ðɛn/ Virtually unchanged
Key Vocabulary from This Lesson
Word Elizabethan IPA Modern RP Period Feature accusation /a.kju.ˈzaː.tɪ.ʊn/ /ˌæk.juːˈzeɪ.ʃən/ -tion = /tɪ.ʊn/ consummation /kɒn.sʊ.ˈmaː.tɪ.ʊn/ /ˌkɒn.səˈmeɪ.ʃən/ 5 syllables fortune /ˈfɔːr.tjuːn/ /ˈfɔː.tʃuːn/ /tj/ not yet /tʃ/ messenger /ˈmɛ.sɪn.dʒər/ /ˈmes.ɪn.dʒə/ Rhotic /r/ purpose /ˈpʊr.pʊs/ /ˈpɜː.pəs/ Rhotic, rounded natural /ˈna.tju.ral/ /ˈnætʃ.rəl/ /tj/ preserved jealousy /ˈdʒɛ.lʊ.zi/ /ˈdʒel.ə.si/ Short /ʊ/
The -tion Suffix in Detail
In Elizabethan pronunciation, words ending in -tion retained the /t/ sound and formed a distinct syllable: -
nation = /ˈnaː.tɪ.ʊn/ (3 syllables, rhymes with fashion) -
question = /ˈkwɛs.tɪ.ʊn/ (3 syllables) -
portion = /ˈpɔːr.tɪ.ʊn/ (3 syllables)
This explains period rhymes that seem imperfect to modern ears.
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This Elizabethan English course follows the Latinum Institute methodology, designed for autodidact learners seeking access to the language of Shakespeare, Marlowe, and their contemporaries. The course employs a frequency-based vocabulary progression of 1000 words, with each lesson built around a single target word explored through interlinear construed text, natural sentences, and extensive grammatical and cultural commentary.
The interlinear format—presenting the Elizabethan text with word-by-word glosses and period-accurate IPA pronunciation—makes Early Modern English accessible to any English speaker, regardless of prior experience with historical linguistics. By encountering each word in multiple contexts across a graded progression of difficulty, learners develop intuitive familiarity with Elizabethan syntax, vocabulary, and idiom.
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END OF LESSON 52
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