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The verb think stands at the heart of Elizabethan dramatic expression, where characters constantly externalize their interior mental processes through soliloquy and dialogue. In Shakespeare’s English, think carries the same fundamental meaning as in Modern English—to employ the mind, to consider, to suppose, to believe—yet its usage patterns and collocations differ significantly from contemporary practice.
FAQ: What does “think” mean in Elizabethan English?
In Elizabethan English, think (pronounced /θɪŋk/) functions as a mental verb expressing cognition, supposition, and belief. It appears frequently with the dative pronoun methinks (literally “to me it seems”), a construction now archaic. The verb governs both direct objects and subordinate clauses, and often introduces reported thought or opinion.
This lesson presents fifteen examples featuring think in various grammatical constructions, followed by fifteen additional examples in a dramatic monologue genre section. The interlinear format provides word-by-word glossing with period-appropriate IPA pronunciation.
Key Takeaways: -
Think in Elizabethan English functions as cognition verb, supposition marker, and opinion introducer -
The construction methinks (”it seems to me”) represents dative + impersonal verb structure -
Period pronunciation preserves features lost in Modern English, including the two-syllable “-tion” suffix (/ti.ən/) -
Elizabethan vowels often differ from modern values due to the Great Vowel Shift being incomplete -
Second person singular thou think’st uses distinctive verb morphology
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Elizabethan English (c. 1558–1603) represents Early Modern English during the Great Vowel Shift. Key pronunciation features include:
Vowels: -
Long /iː/ in words like life was pronounced closer to /əɪ/ or /ɐɪ/ (like “lafe”) -
Long /uː/ in house retained a pure /uː/ sound (like “hoose”) -
The vowel in love, blood, flood rhymed with prove (/ʊ/ or /uː/)
Consonants: -
Initial /kn/ in know, knight was still pronounced by some speakers -
The /r/ was pronounced in all positions (rhotic) -
/hw/ distinction maintained in which, what
Critical Feature — The “-tion” Suffix: In Elizabethan English, the suffix -tion was pronounced as TWO syllables: /ti.ən/ or /si.ən/, not modern /ʃən/. Thus: -
invention = /ɪn.ˈvɛn.ti.ən/ (four syllables, not three) -
question = /ˈkwɛs.ti.ən/ (three syllables, not two) -
nation = /ˈneɪ.si.ən/ (three syllables)
The word “think”: /θɪŋk/ — essentially unchanged from modern pronunciation, with a clear dental fricative /θ/.
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53.1a I think upon thy words most carefully.
53.1b I /aɪ/ I-NOM think /θɪŋk/ think-1SG.PRES upon /ə.ˈpɒn/ upon-PREP thy /ðaɪ/ thy-POSS.2SG words /wʊrdz/ word-PL most /moːst/ most-ADV.SUPERL carefully /ˈkeːr.fʊl.li/ careful-ADV
53.2a Methinks the lady doth protest too much.
53.2b Methinks /mɪ.ˈθɪŋks/ me.DAT-think-3SG.PRES the /ðə/ the-DEF.ART lady /ˈleɪ.di/ lady-NOM doth /dʌθ/ do-3SG.PRES protest /prə.ˈtɛst/ protest-INF too /tuː/ too-ADV much /mʊtʃ/ much-ADV
53.3a What think you of this strange visitation?
53.3b What /hwɒt/ what-INTERROG think /θɪŋk/ think-2PL.PRES you /juː/ you-NOM.2PL of /ɒv/ of-PREP this /ðɪs/ this-DEM strange /streɪndʒ/ strange-ADJ visitation /ˌvɪ.zɪ.ˈteɪ.si.ən/ visitation-NOM
53.4a Thou think’st thy wit can match mine own.
53.4b Thou /ðaʊ/ thou-NOM.2SG think’st /θɪŋkst/ think-2SG.PRES thy /ðaɪ/ thy-POSS.2SG wit /wɪt/ wit-NOM can /kæn/ can-AUX match /mætʃ/ match-INF mine /maɪn/ my-POSS.1SG own /oːn/ own-ADJ
53.5a He thinks himself a man of great importance.
53.5b He /hiː/ he-NOM.3SG.MASC thinks /θɪŋks/ think-3SG.PRES himself /hɪm.ˈsɛlf/ he-REFL a /ə/ a-INDEF.ART man /mæn/ man-NOM of /ɒv/ of-PREP great /greɪt/ great-ADJ importance /ɪm.ˈpɔːr.təns/ importance-NOM
53.6a Think not that fortune smiles upon the wicked.
53.6b Think /θɪŋk/ think-IMP.2PL not /nɒt/ not-NEG that /ðæt/ that-CONJ fortune /ˈfɔːr.tjuːn/ fortune-NOM smiles /smaɪlz/ smile-3SG.PRES upon /ə.ˈpɒn/ upon-PREP the /ðə/ the-DEF.ART wicked /ˈwɪ.kɪd/ wicked-ADJ.SUBST
53.7a I cannot think but that he speaks the truth.
53.7b I /aɪ/ I-NOM cannot /ˈkæ.nɒt/ can-AUX.NEG think /θɪŋk/ think-INF but /bʊt/ but-CONJ that /ðæt/ that-CONJ he /hiː/ he-NOM speaks /spiːks/ speak-3SG.PRES the /ðə/ the-DEF.ART truth /truːθ/ truth-NOM
53.8a She thinks upon her father’s dying wish.
53.8b She /ʃiː/ she-NOM.3SG.FEM thinks /θɪŋks/ think-3SG.PRES upon /ə.ˈpɒn/ upon-PREP her /hɛr/ her-POSS.3SG.FEM father’s /ˈfɑː.ðərz/ father-GEN dying /ˈdaɪ.ɪŋ/ die-PRES.PART wish /wɪʃ/ wish-NOM
53.9a Methought I heard a voice cry in the darkness.
53.9b Methought /mɪ.ˈθɔːt/ me.DAT-think-PAST I /aɪ/ I-NOM heard /hɛrd/ hear-PAST a /ə/ a-INDEF.ART voice /vɔɪs/ voice-NOM cry /kraɪ/ cry-INF in /ɪn/ in-PREP the /ðə/ the-DEF.ART darkness /ˈdɑːrk.nəs/ darkness-NOM
53.10a We think it meet to send an embassy.
53.10b We /wiː/ we-NOM.1PL think /θɪŋk/ think-1PL.PRES it /ɪt/ it-ACC meet /miːt/ fitting-ADJ.PRED to /tuː/ to-INF.MARKER send /sɛnd/ send-INF an /æn/ an-INDEF.ART embassy /ˈɛm.bə.si/ embassy-NOM
53.11a Think you the King will grant us audience?
53.11b Think /θɪŋk/ think-2PL.PRES you /juː/ you-NOM.2PL the /ðə/ the-DEF.ART King /kɪŋ/ king-NOM will /wɪl/ will-AUX.FUT grant /grɑːnt/ grant-INF us /ʊs/ we-ACC.1PL audience /ˈɔː.di.əns/ audience-NOM
53.12a They think to overthrow the lawful succession.
53.12b They /ðeɪ/ they-NOM.3PL think /θɪŋk/ think-3PL.PRES to /tuː/ to-INF.MARKER overthrow /ˌoː.vər.ˈθroː/ overthrow-INF the /ðə/ the-DEF.ART lawful /ˈlɔː.fʊl/ lawful-ADJ succession /sək.ˈsɛ.si.ən/ succession-NOM
53.13a I think on thee, and then my state improves.
53.13b I /aɪ/ I-NOM think /θɪŋk/ think-1SG.PRES on /ɒn/ on-PREP thee /ðiː/ thou-ACC.2SG and /ænd/ and-CONJ then /ðɛn/ then-ADV my /maɪ/ my-POSS.1SG state /steɪt/ state-NOM improves /ɪm.ˈpruːvz/ improve-3SG.PRES
53.14a Bethink thee well before thou speakest treason.
53.14b Bethink /bɪ.ˈθɪŋk/ bethink-IMP.2SG thee /ðiː/ thou-REFL.2SG well /wɛl/ well-ADV before /bɪ.ˈfɔːr/ before-CONJ thou /ðaʊ/ thou-NOM.2SG speakest /ˈspiː.kɪst/ speak-2SG.PRES treason /ˈtriː.zən/ treason-NOM
53.15a Let every man think well upon his conscience.
53.15b Let /lɛt/ let-IMP every /ˈɛv.ri/ every-DET man /mæn/ man-NOM think /θɪŋk/ think-SUBJUNC well /wɛl/ well-ADV upon /ə.ˈpɒn/ upon-PREP his /hɪz/ his-POSS.3SG.MASC conscience /ˈkɒn.si.əns/ conscience-NOM
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53.1 I think upon thy words most carefully. I consider thy words with great care.
53.2 Methinks the lady doth protest too much. It seems to me the lady objects too strongly.
53.3 What think you of this strange visitation? What is your opinion of this strange visit?
53.4 Thou think’st thy wit can match mine own. You believe your cleverness can equal my own.
53.5 He thinks himself a man of great importance. He considers himself a person of significant standing.
53.6 Think not that fortune smiles upon the wicked. Do not suppose that luck favors the evil.
53.7 I cannot think but that he speaks the truth. I cannot believe otherwise than that he tells the truth.
53.8 She thinks upon her father’s dying wish. She contemplates her father’s final request.
53.9 Methought I heard a voice cry in the darkness. It seemed to me I heard a voice call out in the dark.
53.10 We think it meet to send an embassy. We consider it appropriate to dispatch ambassadors.
53.11 Think you the King will grant us audience? Do you suppose the King will receive us?
53.12 They think to overthrow the lawful succession. They intend to overturn the rightful line of inheritance.
53.13 I think on thee, and then my state improves. I contemplate you, and then my condition betters.
53.14 Bethink thee well before thou speakest treason. Consider carefully before you utter treasonous words.
53.15 Let every man think well upon his conscience. Let each person reflect carefully on his moral sense.
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53.1 I think upon thy words most carefully.
53.2 Methinks the lady doth protest too much.
53.3 What think you of this strange visitation?
53.4 Thou think’st thy wit can match mine own.
53.5 He thinks himself a man of great importance.
53.6 Think not that fortune smiles upon the wicked.
53.7 I cannot think but that he speaks the truth.
53.8 She thinks upon her father’s dying wish.
53.9 Methought I heard a voice cry in the darkness.
53.10 We think it meet to send an embassy.
53.11 Think you the King will grant us audience?
53.12 They think to overthrow the lawful succession.
53.13 I think on thee, and then my state improves.
53.14 Bethink thee well before thou speakest treason.
53.15 Let every man think well upon his conscience.
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Principal Parts: -
Infinitive: think /θɪŋk/ -
Present: think/thinks/think’st -
Past: thought /θɔːt/ -
Past Participle: thought
Present Tense Conjugation:
Person Singular Plural 1st I think we think 2nd thou think’st you/ye think 3rd he/she/it thinks (thinketh) they think
Key Constructions: -
Methinks/Methought — Impersonal construction with dative pronoun -
Methinks = “to me it seems” (present) -
Methought = “to me it seemed” (past) -
The me functions as dative, not nominative -
Think + Infinitive — Expressing intention -
“They think to overthrow” = They intend to overthrow -
Think + Object + Predicate Adjective -
“We think it meet” = We consider it fitting -
Bethink + Reflexive Pronoun — To consider, reflect -
“Bethink thee” = Consider yourself / Reflect -
Think upon/on — To contemplate, meditate on -
“I think on thee” = I contemplate you
Period Pronunciation Notes:
The suffix -tion in Elizabethan English preserved its Latin syllable structure: -
visitation /ˌvɪ.zɪ.ˈteɪ.si.ən/ — five syllables -
succession /sək.ˈsɛ.si.ən/ — four syllables -
question /ˈkwɛs.ti.ən/ — three syllables
This differs significantly from Modern English where -tion is pronounced /ʃən/: -
Modern visitation /ˌvɪz.ɪ.ˈteɪ.ʃən/ — four syllables -
Modern succession /sək.ˈsɛʃ.ən/ — three syllables
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The verb think occupies a privileged position in Shakespeare’s dramatic vocabulary, enabling the externalization of interior consciousness that defines his revolutionary approach to character. Soliloquy—the technology by which a character “thinks aloud”—depends fundamentally on verbs of cognition to establish the audience’s privileged access to mental processes.
The Soliloquy Tradition:
When Hamlet declares “To be, or not to be, that is the question” /tuː biː ɔːr nɒt tuː biː ðæt ɪz ðə ˈkwɛs.ti.ən/, he performs deliberative thought before the audience. The word question scans as three syllables in Elizabethan pronunciation, contributing to the feminine ending that captures Hamlet’s characteristic hesitation.
Methinks — The Impersonal Construction:
The construction methinks derives from Old English mē þyncþ (”to me it seems”) and represents a survival of impersonal verb syntax. By Shakespeare’s time, this form was already somewhat archaic, lending elevated or formal register to its usage:
“Methinks I am a prophet new inspired” — Richard II, II.i
Thinking as Transformation:
In Sonnet 29, Shakespeare employs think to mark the volta or turn:
“Yet in these thoughts myself almost despising, / Haply I think on thee, and then my state, / Like to the lark at break of day arising / From sullen earth, sings hymns at heaven’s gate.”
The act of thinking upon the beloved transforms the speaker’s emotional condition—cognition becomes a redemptive act.
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From William Shakespeare’s Hamlet, Act III, Scene i (c. 1600):
HAMLET: To be, or not to be, that is the question: Whether ‘tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, ‘tis a consummation Devoutly to be wish’d. 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.
This soliloquy exemplifies deliberative thinking rendered as dramatic speech. Though the word think does not appear explicitly, the entire passage enacts the process of thought—weighing alternatives, considering consequences, reasoning through philosophical questions about existence itself.
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A nobleman contemplates whether to join a conspiracy against the crown.
53.16a What thoughts are these that trouble my repose?
53.16b What /hwɒt/ what-INTERROG thoughts /θɔːts/ thought-NOM.PL are /ɑːr/ be-3PL.PRES these /ðiːz/ this-DEM.PL that /ðæt/ that-REL trouble /ˈtrʊ.bəl/ trouble-3PL.PRES my /maɪ/ my-POSS.1SG repose /rɪ.ˈpoːz/ rest-NOM
53.17a I think upon the peril of this enterprise.
53.17b I /aɪ/ I-NOM think /θɪŋk/ think-1SG.PRES upon /ə.ˈpɒn/ upon-PREP the /ðə/ the-DEF.ART peril /ˈpɛ.rɪl/ danger-NOM of /ɒv/ of-PREP this /ðɪs/ this-DEM enterprise /ˈɛn.tər.praɪz/ undertaking-NOM
53.18a Methinks ambition speaks with honeyed tongue.
53.18b Methinks /mɪ.ˈθɪŋks/ me.DAT-think-3SG.PRES ambition /æm.ˈbɪ.si.ən/ ambition-NOM speaks /spiːks/ speak-3SG.PRES with /wɪθ/ with-PREP honeyed /ˈhʌ.nid/ honeyed-ADJ tongue /tʊŋ/ tongue-NOM
53.19a Yet I think treason hath a bitter end.
53.19b Yet /jɛt/ yet-CONJ I /aɪ/ I-NOM think /θɪŋk/ think-1SG.PRES treason /ˈtriː.zən/ treason-NOM hath /hæθ/ have-3SG.PRES a /ə/ a-INDEF.ART bitter /ˈbɪ.tər/ bitter-ADJ end /ɛnd/ end-NOM
53.20a They think me bold enough to strike the blow.
53.20b They /ðeɪ/ they-NOM.3PL think /θɪŋk/ think-3PL.PRES me /miː/ I-ACC bold /boːld/ bold-ADJ.PRED enough /ɪ.ˈnʊf/ enough-ADV to /tuː/ to-INF.MARKER strike /straɪk/ strike-INF the /ðə/ the-DEF.ART blow /bloː/ blow-NOM
53.21a Think they I have no love for mine own life?
53.21b Think /θɪŋk/ think-3PL.PRES they /ðeɪ/ they-NOM.3PL I /aɪ/ I-NOM have /hæv/ have-1SG.PRES no /noː/ no-DET love /lʊv/ love-NOM for /fɔːr/ for-PREP mine /maɪn/ my-POSS.1SG own /oːn/ own-ADJ life /ləɪf/ life-NOM
53.22a I think the question asks too much of honour.
53.22b I /aɪ/ I-NOM think /θɪŋk/ think-1SG.PRES the /ðə/ the-DEF.ART question /ˈkwɛs.ti.ən/ question-NOM asks /ɑːsks/ ask-3SG.PRES too /tuː/ too-ADV much /mʊtʃ/ much-ADV of /ɒv/ of-PREP honour /ˈɒ.nər/ honour-NOM
53.23a Methought my father’s ghost did warn me hence.
53.23b Methought /mɪ.ˈθɔːt/ me.DAT-think-PAST my /maɪ/ my-POSS.1SG father’s /ˈfɑː.ðərz/ father-GEN ghost /goːst/ ghost-NOM did /dɪd/ do-PAST.AUX warn /wɔːrn/ warn-INF me /miː/ I-ACC hence /hɛns/ hence-ADV
53.24a What thinks my conscience of this dark intention?
53.24b What /hwɒt/ what-INTERROG thinks /θɪŋks/ think-3SG.PRES my /maɪ/ my-POSS.1SG conscience /ˈkɒn.si.əns/ conscience-NOM of /ɒv/ of-PREP this /ðɪs/ this-DEM dark /dɑːrk/ dark-ADJ intention /ɪn.ˈtɛn.si.ən/ intention-NOM
53.25a I think it cries against so foul a deed.
53.25b I /aɪ/ I-NOM think /θɪŋk/ think-1SG.PRES it /ɪt/ it-NOM cries /kraɪz/ cry-3SG.PRES against /ə.ˈgɛnst/ against-PREP so /soː/ so-ADV foul /faʊl/ foul-ADJ a /ə/ a-INDEF.ART deed /diːd/ deed-NOM
53.26a Think not the crown sits easy on a tyrant’s head.
53.26b Think /θɪŋk/ think-IMP.2SG not /nɒt/ not-NEG the /ðə/ the-DEF.ART crown /kraʊn/ crown-NOM sits /sɪts/ sit-3SG.PRES easy /ˈiː.zi/ easy-ADV on /ɒn/ on-PREP a /ə/ a-INDEF.ART tyrant’s /ˈtaɪ.rənts/ tyrant-GEN head /hɛd/ head-NOM
53.27a I think on those who suffered for such cause.
53.27b I /aɪ/ I-NOM think /θɪŋk/ think-1SG.PRES on /ɒn/ on-PREP those /ðoːz/ that-DEM.PL who /huː/ who-REL suffered /ˈsʊ.fərd/ suffer-PAST for /fɔːr/ for-PREP such /sʊtʃ/ such-DET cause /kɔːz/ cause-NOM
53.28a Bethink thee, fool, what profit lies in blood?
53.28b Bethink /bɪ.ˈθɪŋk/ bethink-IMP.2SG thee /ðiː/ thou-REFL.2SG fool /fuːl/ fool-VOC what /hwɒt/ what-INTERROG profit /ˈprɒ.fɪt/ profit-NOM lies /laɪz/ lie-3SG.PRES in /ɪn/ in-PREP blood /bluːd/ blood-NOM
53.29a I think I shall not join this conspiracy.
53.29b I /aɪ/ I-NOM think /θɪŋk/ think-1SG.PRES I /aɪ/ I-NOM shall /ʃæl/ shall-AUX.FUT not /nɒt/ not-NEG join /dʒɔɪn/ join-INF this /ðɪs/ this-DEM conspiracy /kən.ˈspɪ.rə.si/ conspiracy-NOM
53.30a Let others think me coward; I think me wise.
53.30b Let /lɛt/ let-IMP others /ˈʊ.ðərz/ other-NOM.PL think /θɪŋk/ think-SUBJUNC me /miː/ I-ACC coward /ˈkaʊ.ərd/ coward-NOM I /aɪ/ I-NOM think /θɪŋk/ think-1SG.PRES me /miː/ I-ACC wise /waɪz/ wise-ADJ.PRED
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53.16 What thoughts are these that trouble my repose? What thoughts are these that disturb my rest?
53.17 I think upon the peril of this enterprise. I contemplate the danger of this undertaking.
53.18 Methinks ambition speaks with honeyed tongue. It seems to me that ambition speaks sweetly and deceptively.
53.19 Yet I think treason hath a bitter end. Yet I believe treachery leads to a harsh conclusion.
53.20 They think me bold enough to strike the blow. They consider me brave enough to deliver the fatal strike.
53.21 Think they I have no love for mine own life? Do they suppose I have no regard for my own existence?
53.22 I think the question asks too much of honour. I believe the matter demands too great a sacrifice of integrity.
53.23 Methought my father’s ghost did warn me hence. It seemed to me my father’s spirit cautioned me away from this.
53.24 What thinks my conscience of this dark intention? What does my moral sense judge regarding this evil plan?
53.25 I think it cries against so foul a deed. I believe it protests against so wicked an action.
53.26 Think not the crown sits easy on a tyrant’s head. Do not suppose the crown rests comfortably on an oppressor’s brow.
53.27 I think on those who suffered for such cause. I reflect upon those who endured punishment for similar reasons.
53.28 Bethink thee, fool, what profit lies in blood? Consider, you fool, what gain exists in bloodshed?
53.29 I think I shall not join this conspiracy. I believe I will not participate in this plot.
53.30 Let others think me coward; I think me wise. Let others consider me a coward; I consider myself prudent.
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53.16 What thoughts are these that trouble my repose?
53.17 I think upon the peril of this enterprise.
53.18 Methinks ambition speaks with honeyed tongue.
53.19 Yet I think treason hath a bitter end.
53.20 They think me bold enough to strike the blow.
53.21 Think they I have no love for mine own life?
53.22 I think the question asks too much of honour.
53.23 Methought my father’s ghost did warn me hence.
53.24 What thinks my conscience of this dark intention?
53.25 I think it cries against so foul a deed.
53.26 Think not the crown sits easy on a tyrant’s head.
53.27 I think on those who suffered for such cause.
53.28 Bethink thee, fool, what profit lies in blood?
53.29 I think I shall not join this conspiracy.
53.30 Let others think me coward; I think me wise.
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Soliloquy as Dramatic Thinking:
The genre section presents a dramatic monologue in which a character deliberates whether to join a conspiracy. This form exemplifies how Elizabethan drama externalized the process of thought itself. Key grammatical features include:
1. Inversion for Questions: -
“Think they I have no love...” — Subject-verb inversion without auxiliary do -
“What thinks my conscience...” — Interrogative with what as subject
2. The “-tion” Suffix in Period Pronunciation: -
question /ˈkwɛs.ti.ən/ — three syllables (modern: two) -
intention /ɪn.ˈtɛn.si.ən/ — four syllables (modern: three) -
ambition /æm.ˈbɪ.si.ən/ — four syllables (modern: three) -
conspiracy /kən.ˈspɪ.rə.si/ — five syllables (unchanged)
3. Impersonal Methinks/Methought: These constructions continue throughout, maintaining elevated register appropriate to the nobleman’s status and the gravity of his contemplation.
4. Double Accusative with Think: -
“They think me bold” — me as accusative + bold as predicate adjective -
“I think me wise” — reflexive use with predicate adjective
5. Vocative Address: -
“Bethink thee, fool” — The speaker addresses himself in second person, a theatrical convention representing internal conflict
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The Latinum Institute Elizabethan English Course provides autodidact learners with systematic instruction in the language of Shakespeare, Marlowe, and their contemporaries. Using the proven interlinear construed text method employed successfully since 2006 for Latin, Greek, and other languages, this course makes Early Modern English accessible to modern readers.
Course Features: -
Frequency-based vocabulary: 1000 words organized by frequency of occurrence -
Interlinear glossing: Word-by-word translation with grammatical annotation -
Period-accurate pronunciation: IPA transcription reflecting Elizabethan phonology -
Literary context: Authentic citations from Shakespeare and contemporaries -
Genre-specific practice: Extended passages in dramatic, poetic, and prose styles
The Construed Text Advantage:
The interlinear format allows learners to process unfamiliar language patterns while maintaining reading flow. Each word receives individual attention, building pattern recognition that transfers to independent reading of original texts.
Resources: -
Course Index: https://latinum.substack.com/p/index -
Reviews: https://uk.trustpilot.com/review/latinum.org.uk
Acknowledgments:
Pronunciation guidance informed by the research of David Crystal and Ben Crystal on Original Pronunciation (OP), as well as historical linguistic scholarship on the Great Vowel Shift and Early Modern English phonology.
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Lesson 53 Complete
✓ Elizabethan English Lesson 053 — THINK — Complete
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