The verb call stands among the most versatile words in Elizabethan English, serving simultaneously as an instrument of summoning, a means of naming, and a form of direct address. In the hands of Shakespeare and his contemporaries, this seemingly simple word carried considerable dramatic weight, appearing in contexts ranging from the supernatural invocation of spirits to the intimate naming of lovers.
In Elizabethan usage, call retained its Germanic roots while acquiring additional Latin-influenced meanings through contact with French. A character might “call upon” the gods, “call out” a coward, “call to mind” a memory, or simply “call” someone by name. The word participates in the period’s rich tradition of performative language—where to call something by name was believed to hold genuine power over its nature.
This lesson explores call through thirty examples that demonstrate its grammatical flexibility and semantic range within Early Modern English. The interlinear construed text format allows autodidact learners to understand each word’s function while absorbing authentic Elizabethan syntax and vocabulary.
Course Index:
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FAQ: What does “call” mean in Elizabethan English?
The verb “call” in Elizabethan English means to summon someone or something by voice, to name or designate, to address by a particular title, to invoke or appeal to, or to visit briefly. It functions as a regular verb with the past tense “called” and past participle “called,” while also appearing in numerous phrasal combinations such as “call upon,” “call forth,” “call to mind,” and “call into question.”
Key Takeaways: -
Call functions as a verb of communication, naming, and summoning -
Elizabethan pronunciation featured rhotic R (pronouncing R after vowels) -
The suffix -tion was pronounced /sɪən/ not modern /ʃən/ -
Many vowels retained continental values closer to Italian or German -
Word stress patterns often differed from modern English -
“Call” participates in numerous idiomatic expressions still used today
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Elizabethan English, also known as Early Modern English or Original Pronunciation (OP), differed significantly from both modern British Received Pronunciation and General American English. Key features include:
Vowels: Long vowels retained more continental values. The word “life” sounded closer to /laɪf/ but with a more central starting point. “Reason” rhymed with “raisin.” “Rome” and “room” were homophones.
R-coloration: All R’s were pronounced, including after vowels. “Heart” was /hɛːɹt/, “more” was /moːɹ/.
The -tion suffix: Pronounced as two syllables /sɪən/ rather than modern /ʃən/. Thus “nation” was /neɪsɪən/, “question” was /kwɛstɪən/.
H-dropping: Initial H was often silent in unstressed positions. “Hour” sounded like “ore.”
The verb “call”: Pronounced /kɔːl/ with a fully rounded back vowel and pronounced final L.
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78.1a Call me not traitor when I speak the truth
78.1b Call /kɔːl/ name-IMPER me /meː/ me-OBJ not /nɔt/ NEG traitor /trɛɪtəɹ/ traitor when /ʍɛn/ when I /əɪ/ I speak /speːk/ speak the /ðə/ the truth /tɹuːθ/ truth
78.2a I shall call upon thee at the morrow
78.2b I /əɪ/ I shall /ʃal/ shall call /kɔːl/ call upon /əpɔn/ upon thee /ðiː/ thee-OBJ at /at/ at the /ðə/ the morrow /mɔɹoː/ morrow
78.3a They call him mad that speaks of love
78.3b They /ðeɪ/ they call /kɔːl/ call him /ɪm/ him mad /mad/ mad that /ðat/ who-REL speaks /speːks/ speaks of /ɔv/ of love /lʊv/ love
78.4a What dost thou call this wondrous apparition
78.4b What /ʍat/ what dost /dʊst/ do-2SG thou /ðaʊ/ thou call /kɔːl/ call this /ðɪs/ this wondrous /wʊndɹəs/ wondrous apparition /apəɹɪsɪən/ apparition
78.5a Call forth the spirits that attend on night
78.5b Call /kɔːl/ call-IMPER forth /fɔːɹθ/ forth the /ðə/ the spirits /spɪɹɪts/ spirits that /ðat/ that-REL attend /ətɛnd/ attend on /ɔn/ on night /nəɪt/ night
78.6a She would not call her husband lord and master
78.6b She /ʃeː/ she would /wʊd/ would not /nɔt/ NEG call /kɔːl/ call her /hɛːɹ/ her husband /hʊzbənd/ husband lord /lɔːɹd/ lord and /and/ and master /maːstəɹ/ master
78.7a The trumpet calls us to the battlefield
78.7b The /ðə/ the trumpet /tɹʊmpɪt/ trumpet calls /kɔːlz/ calls us /ʊs/ us to /tuː/ to the /ðə/ the battlefield /batl̩fiːld/ battlefield
78.8a I call heaven to witness my sworn oath
78.8b I /əɪ/ I call /kɔːl/ call heaven /hɛvn̩/ heaven to /tuː/ to witness /wɪtnɪs/ witness my /məɪ/ my sworn /swɔːɹn/ sworn oath /oːθ/ oath
78.9a Men call that virtue which serves their interest
78.9b Men /mɛn/ men call /kɔːl/ call that /ðat/ that virtue /vɛːɹtʃuː/ virtue which /ʍɪtʃ/ which serves /sɛːɹvz/ serves their /ðɛːɹ/ their interest /ɪntɹɪst/ interest
78.10a Call to thy mind the promise thou didst make
78.10b Call /kɔːl/ call-IMPER to /tuː/ to thy /ðəɪ/ thy mind /məɪnd/ mind the /ðə/ the promise /pɹɔmɪs/ promise thou /ðaʊ/ thou didst /dɪdst/ did-2SG make /meːk/ make
78.11a Wherefore doth the physician call this malady incurable
78.11b Wherefore /ʍɛːɹfɔːɹ/ wherefore doth /dʊθ/ does-3SG the /ðə/ the physician /fɪzɪsɪən/ physician call /kɔːl/ call this /ðɪs/ this malady /malədiː/ malady incurable /ɪnkjuːɹəbl̩/ incurable
78.12a They called the council to decide upon the succession
78.12b They /ðeɪ/ they called /kɔːld/ called-PAST the /ðə/ the council /kaʊnsl̩/ council to /tuː/ to decide /dɪsəɪd/ decide upon /əpɔn/ upon the /ðə/ the succession /sʊksɛsɪən/ succession
78.13a The watchman calls the hour through the sleeping town
78.13b The /ðə/ the watchman /wɔtʃmən/ watchman calls /kɔːlz/ calls the /ðə/ the hour /oːɹ/ hour through /θɹuː/ through the /ðə/ the sleeping /sleːpɪŋ/ sleeping town /taʊn/ town
78.14a I will call no man friend that betrays his country
78.14b I /əɪ/ I will /wɪl/ will call /kɔːl/ call no /noː/ no man /man/ man friend /fɹɛnd/ friend that /ðat/ that-REL betrays /bɪtɹeɪz/ betrays his /hɪz/ his country /kʊntɹiː/ country
78.15a Fortune calls the brave unto her wheel
78.15b Fortune /fɔːɹtʃuːn/ Fortune calls /kɔːlz/ calls the /ðə/ the brave /bɹeːv/ brave unto /ʊntuː/ unto her /hɛːɹ/ her wheel /ʍiːl/ wheel
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78.1 Call me not traitor when I speak the truth. “Do not name me traitor when I speak what is true.”
78.2 I shall call upon thee at the morrow. “I will visit you tomorrow.”
78.3 They call him mad that speaks of love. “Those who speak of love are called mad by others.”
78.4 What dost thou call this wondrous apparition? “What do you call this marvelous vision?”
78.5 Call forth the spirits that attend on night. “Summon the spirits that serve the darkness.”
78.6 She would not call her husband lord and master. “She refused to address her husband as lord and master.”
78.7 The trumpet calls us to the battlefield. “The trumpet summons us to war.”
78.8 I call heaven to witness my sworn oath. “I invoke heaven as witness to my solemn vow.”
78.9 Men call that virtue which serves their interest. “People name as virtue whatever benefits themselves.”
78.10 Call to thy mind the promise thou didst make. “Remember the promise you once made.”
78.11 Wherefore doth the physician call this malady incurable? “Why does the doctor declare this illness beyond remedy?”
78.12 They called the council to decide upon the succession. “They convened the council to determine the heir.”
78.13 The watchman calls the hour through the sleeping town. “The night watchman announces the time across the quiet town.”
78.14 I will call no man friend that betrays his country. “I shall not consider any man a friend who betrays his nation.”
78.15 Fortune calls the brave unto her wheel. “Fate summons the courageous to her turning wheel of chance.”
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78.1 Call me not traitor when I speak the truth.
78.2 I shall call upon thee at the morrow.
78.3 They call him mad that speaks of love.
78.4 What dost thou call this wondrous apparition?
78.5 Call forth the spirits that attend on night.
78.6 She would not call her husband lord and master.
78.7 The trumpet calls us to the battlefield.
78.8 I call heaven to witness my sworn oath.
78.9 Men call that virtue which serves their interest.
78.10 Call to thy mind the promise thou didst make.
78.11 Wherefore doth the physician call this malady incurable?
78.12 They called the council to decide upon the succession.
78.13 The watchman calls the hour through the sleeping town.
78.14 I will call no man friend that betrays his country.
78.15 Fortune calls the brave unto her wheel.
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These are the grammar rules for “call” in Elizabethan English:
The verb call functions as a regular weak verb in Elizabethan English, forming its past tense and past participle with the dental suffix -ed. The conjugation follows standard Early Modern English patterns while preserving archaic second-person forms that have since fallen from use.
Present Tense Conjugation:
First person singular: I call /əɪ kɔːl/ Second person singular familiar: thou callest /ðaʊ kɔːlɪst/ Second person singular formal: you call /juː kɔːl/ Third person singular: he, she, it calleth or calls /kɔːlɪθ/ or /kɔːlz/ First person plural: we call /wiː kɔːl/ Second person plural: you call /juː kɔːl/ Third person plural: they call /ðeɪ kɔːl/
Past Tense Conjugation:
First person singular: I called /əɪ kɔːld/ Second person singular familiar: thou calledst /ðaʊ kɔːlɪdst/ Third person singular: he, she, it called /kɔːld/ All plurals: called /kɔːld/
The Subjunctive Mood:
Elizabethan English retained a living subjunctive mood. With “call,” this appears in wishes, commands, and hypothetical statements: “Heaven call down blessings on thy head” uses the base form “call” without the third-person inflection.
Auxiliary Verb Patterns:
The auxiliary “do” appears in questions and negations: “Dost thou call?” “I do not call.” The auxiliary “doth” serves third-person singular: “He doth call upon the king.”
Phrasal Combinations with Call:
Call upon: to visit or to invoke. “I shall call upon thee” means both “I shall visit you” and “I shall appeal to you.”
Call forth: to summon into presence. “Call forth the spirits” commands supernatural beings to appear.
Call to mind: to remember. “Call to thy mind” instructs recollection.
Call into question: to doubt or challenge. “His honour stands called into question.”
Object Complement Construction:
A distinctive feature of “call” involves the object complement, where the verb takes both a direct object and a predicative complement: “They call him mad” — “him” receives the action while “mad” describes what he is called. This construction survives in modern English.
Common Mistakes for Modern Learners:
The second-person familiar forms (thou callest, thou calledst) follow specific rules. “Thou” takes a distinct verb ending (-est present, -edst past) and cannot be freely substituted for “you” without adjusting the verb form.
The third-person suffix -eth was becoming archaic even in Shakespeare’s time, with -s increasingly dominant in speech. Both forms appear in period texts, often with -eth preferred in formal or biblical registers.
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The Power of Naming:
Elizabethan culture inherited from medieval tradition a belief in the magical power of names. To call something by its true name was to exercise a form of control over it. This survives in theatrical superstition: actors famously avoid saying “Macbeth” in a theatre, referring instead to “the Scottish play.” The verb “call” thus carried weight beyond mere communication—it enacted a relationship between speaker and subject.
Thou and You:
The examples above employ both “thou” and “you” in their proper contexts. “Thou” indicated intimacy, informality, or (crucially) condescension. To “thou” a social superior was an insult; to be “thou’d” by a stranger implied either contempt or passionate emotion. The phrase “Call me not traitor” uses the familiar form because it occurs between intimates or equals in conflict.
Calling Cards and Social Visits:
“To call upon” someone meant to pay a social visit—a ritual with strict rules of etiquette. Morning calls occurred in the early afternoon; one “called” on the ill to wish recovery; gentlemen “called upon” ladies only with permission. This usage persisted into the Victorian era.
Theatrical Calling:
In the Elizabethan playhouse, actors were “called” to the stage by the book-keeper. The phrase “call-boy” derives from the servant who summoned actors for their entrances. When a character “calls” another onstage, the metatheatrical resonance was immediately apparent to audiences aware of backstage practices.
Religious Calling:
“The calling” referred to one’s divinely appointed vocation. Protestant theology emphasized that all honest labor, not only priesthood, constituted a holy calling. To be “called” by God meant to receive a summons to salvation or to particular service.
Dialectal Variations:
While the examples reflect the London standard familiar from printed texts, regional dialects would have pronounced “call” differently. Northern speakers retained older vowel qualities; Scots pronunciation diverged further. Shakespeare’s plays occasionally mark dialectal speech for comic or characterizing effect.
The Call of Nature:
Elizabethans used various euphemisms for bodily functions. “To answer nature’s call” appears in period texts, demonstrating the verb’s extension into polite circumlocution.
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From William Shakespeare’s Julius Caesar (c. 1599), Act I, Scene ii:
Cassius speaks to Brutus of the power they hold as Romans to resist tyranny:
F-A: Interlinear Construed Text
Why /ʍəɪ/ why should /ʃʊd/ should that /ðat/ that name /neːm/ name be /biː/ be sounded /saʊndɪd/ sounded more /moːɹ/ more than /ðan/ than yours /juːɹz/ yours
Write /ɹəɪt/ write them /ðɛm/ them together /təgɛðəɹ/ together yours /juːɹz/ yours is /ɪz/ is as /az/ as fair /fɛːɹ/ fair a /ə/ a name /neːm/ name
Sound /saʊnd/ sound them /ðɛm/ them it /ɪt/ it doth /dʊθ/ does become /bɪkʊm/ become the /ðə/ the mouth /maʊθ/ mouth as /az/ as well /wɛl/ well
Weigh /weɪ/ weigh them /ðɛm/ them it /ɪt/ it is /ɪz/ is as /az/ as heavy /hɛviː/ heavy
Conjure /kʊndʒəɹ/ conjure with /wɪð/ with them /ðɛm/ them Brutus /bɹuːtəs/ Brutus will /wɪl/ will start /staːɹt/ start a /ə/ a spirit /spɪɹɪt/ spirit as /az/ as soon /suːn/ as-soon as /az/ as Caesar /siːzəɹ/ Caesar
Now /naʊ/ now in /ɪn/ in the /ðə/ the names /neːmz/ names of /ɔv/ of all /ɔːl/ all the /ðə/ the gods /gɔdz/ gods at /at/ at once /wʊns/ once
Upon /əpɔn/ upon what /ʍat/ what meat /meːt/ meat doth /dʊθ/ does this /ðɪs/ this our /aʊɹ/ our Caesar /siːzəɹ/ Caesar feed /fiːd/ feed
That /ðat/ that he /hiː/ he is /ɪz/ is grown /gɹoːn/ grown so /soː/ so great /gɹeːt/ great
Age /eːdʒ/ age thou /ðaʊ/ thou art /aːɹt/ art shamed /ʃeːmd/ shamed
Rome /ɹuːm/ Rome thou /ðaʊ/ thou hast /hast/ hast lost /lɔst/ lost the /ðə/ the breed /bɹiːd/ breed of /ɔv/ of noble /noːbl̩/ noble bloods /blʊdz/ bloods
When /ʍɛn/ when went /wɛnt/ went there /ðɛːɹ/ there by /bəɪ/ by an /ən/ an age /eːdʒ/ age since /sɪns/ since the /ðə/ the great /gɹeːt/ great flood /flʊd/ flood
But /bʊt/ but it /ɪt/ it was /waz/ was famed /feːmd/ famed with /wɪð/ with more /moːɹ/ more than /ðan/ than with /wɪð/ with one /wʊn/ one man /man/ man
When /ʍɛn/ when could /kʊd/ could they /ðeɪ/ they say /seɪ/ say till /tɪl/ till now /naʊ/ now that /ðat/ that talked /tɔːkt/ talked of /ɔv/ of Rome /ɹuːm/ Rome
That /ðat/ that her /hɛːɹ/ her wide /wəɪd/ wide walls /wɔːlz/ walls encompassed /ɛnkʊmpəsd/ encompassed but /bʊt/ but one /wʊn/ one man /man/ man
Now /naʊ/ now is /ɪz/ is it /ɪt/ it Rome /ɹuːm/ Rome indeed /ɪndiːd/ indeed and /and/ and room /ɹuːm/ room enough /ɪnʊf/ enough
When /ʍɛn/ when there /ðɛːɹ/ there is /ɪz/ is in /ɪn/ in it /ɪt/ it but /bʊt/ but one /wʊn/ one only /oːnliː/ only man /man/ man
F-B: Authentic Text with Translation
Why should that name be sounded more than yours? Write them together, yours is as fair a name; Sound them, it doth become the mouth as well; Weigh them, it is as heavy; conjure with them, Brutus will start a spirit as soon as Caesar. Now, in the names of all the gods at once, Upon what meat doth this our Caesar feed, That he is grown so great? Age, thou art shamed! Rome, thou hast lost the breed of noble bloods! When went there by an age, since the great flood, But it was famed with more than with one man? When could they say till now, that talked of Rome, That her wide walls encompassed but one man? Now is it Rome indeed and room enough, When there is in it but one only man.
“Why should Caesar’s name be spoken more than yours? Write them side by side, your name is as good; speak them, your name sounds as noble; weigh them, yours is as significant; invoke them magically, and Brutus would summon a spirit as quickly as Caesar. Now, by all the gods at once, on what food does this Caesar of ours feed that he has grown so powerful? Our age should be ashamed! Rome, you have lost your lineage of noble heroes! When has there been an era since the ancient flood that was celebrated for only one man? When could anyone speaking of Rome say until now that her vast walls contained only one man? Now Rome truly is ‘room’—and room for only one.”
F-C: Authentic Text Only
Why should that name be sounded more than yours? Write them together, yours is as fair a name; Sound them, it doth become the mouth as well; Weigh them, it is as heavy; conjure with them, Brutus will start a spirit as soon as Caesar. Now, in the names of all the gods at once, Upon what meat doth this our Caesar feed, That he is grown so great? Age, thou art shamed! Rome, thou hast lost the breed of noble bloods! When went there by an age, since the great flood, But it was famed with more than with one man? When could they say till now, that talked of Rome, That her wide walls encompassed but one man? Now is it Rome indeed and room enough, When there is in it but one only man.
F-D: Grammar and Vocabulary Notes
This passage demonstrates the Elizabethan belief in the power of names—that to “conjure with” a name is to invoke genuine magical force. Cassius puns on “name,” “sound,” and “fame,” all relating to vocalization and calling. The climactic pun on “Rome” and “room” was a perfect homophone in Original Pronunciation (/ɹuːm/ for both), making Cassius’s bitter joke land with devastating clarity.
The phrase “in the names of all the gods” shows “call” operating implicitly—to speak the gods’ names is to call upon them. “That talked of Rome” uses the relative “that” rather than “who,” a common Elizabethan construction.
“Doth become the mouth” employs “doth” as the auxiliary for third-person singular, the formal variant competing with “does.” “Thou hast” and “thou art” demonstrate the familiar second person addressing Rome directly, personified as a declining matron who has lost her noble offspring.
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A young apprentice is taught by an elderly alchemist how to call spirits properly. The scene explores the mystical dimensions of “calling” in Elizabethan thought.
Part A: Interlinear Construed Text
78.16a Master I know not how to call these spirits forth
78.16b Master /maːstəɹ/ master-VOC I /əɪ/ I know /noː/ know not /nɔt/ NEG how /haʊ/ how to /tuː/ to call /kɔːl/ call these /ðiːz/ these spirits /spɪɹɪts/ spirits forth /fɔːɹθ/ forth
78.17a Thou must call them by their proper names boy
78.17b Thou /ðaʊ/ thou must /mʊst/ must call /kɔːl/ call them /ðɛm/ them by /bəɪ/ by their /ðɛːɹ/ their proper /pɹɔpəɹ/ proper names /neːmz/ names boy /bɔɪ/ boy-VOC
78.18a And what if they will not answer when I call
78.18b And /and/ and what /ʍat/ what if /ɪf/ if they /ðeɪ/ they will /wɪl/ will not /nɔt/ NEG answer /anszəɹ/ answer when /ʍɛn/ when I /əɪ/ I call /kɔːl/ call
78.19a Then thou hast not called them rightly for they must come
78.19b Then /ðɛn/ then thou /ðaʊ/ thou hast /hast/ hast not /nɔt/ NEG called /kɔːld/ called-PAST them /ðɛm/ them rightly /ɹəɪtliː/ rightly for /fɔːɹ/ for they /ðeɪ/ they must /mʊst/ must come /kʊm/ come
78.20a Call softly at the first then raise thy voice
78.20b Call /kɔːl/ call-IMPER softly /sɔftliː/ softly at /at/ at the /ðə/ the first /fəɪɹst/ first then /ðɛn/ then raise /ɹeːz/ raise thy /ðəɪ/ thy voice /vɔɪs/ voice
78.21a The calling of a spirit requireth patience and learning
78.21b The /ðə/ the calling /kɔːlɪŋ/ calling-GERUND of /ɔv/ of a /ə/ a spirit /spɪɹɪt/ spirit requireth /ɹɪkwəɪɹɪθ/ requires patience /peːsɪəns/ patience and /and/ and learning /lɛːɹnɪŋ/ learning
78.22a I have called upon the moon but she heeds me not
78.22b I /əɪ/ I have /hav/ have called /kɔːld/ called-PAST upon /əpɔn/ upon the /ðə/ the moon /muːn/ moon but /bʊt/ but she /ʃeː/ she heeds /hiːdz/ heeds me /meː/ me not /nɔt/ NEG
78.23a The moon is not to be called she calls thee
78.23b The /ðə/ the moon /muːn/ moon is /ɪz/ is not /nɔt/ NEG to /tuː/ to be /biː/ be called /kɔːld/ called-PASS she /ʃeː/ she calls /kɔːlz/ calls thee /ðiː/ thee
78.24a How shall I know when she hath called me master
78.24b How /haʊ/ how shall /ʃal/ shall I /əɪ/ I know /noː/ know when /ʍɛn/ when she /ʃeː/ she hath /haθ/ hath called /kɔːld/ called-PAST me /meː/ me master /maːstəɹ/ master
78.25a Thy heart will tell thee for it trembles at her calling
78.25b Thy /ðəɪ/ thy heart /haːɹt/ heart will /wɪl/ will tell /tɛl/ tell thee /ðiː/ thee for /fɔːɹ/ for it /ɪt/ it trembles /tɹɛmbl̩z/ trembles at /at/ at her /hɛːɹ/ her calling /kɔːlɪŋ/ calling-GERUND
78.26a Some call this art forbidden and ungodly
78.26b Some /sʊm/ some call /kɔːl/ call this /ðɪs/ this art /aːɹt/ art forbidden /fɔːɹbɪdn̩/ forbidden and /and/ and ungodly /ʊngɔdliː/ ungodly
78.27a Let them call it what they will I call it wisdom
78.27b Let /lɛt/ let them /ðɛm/ them call /kɔːl/ call it /ɪt/ it what /ʍat/ what they /ðeɪ/ they will /wɪl/ will I /əɪ/ I call /kɔːl/ call it /ɪt/ it wisdom /wɪzdəm/ wisdom
78.28a Now call upon the eastern wind and bid him enter
78.28b Now /naʊ/ now call /kɔːl/ call-IMPER upon /əpɔn/ upon the /ðə/ the eastern /iːstəɹn/ eastern wind /wɪnd/ wind and /and/ and bid /bɪd/ bid him /ɪm/ him enter /ɛntəɹ/ enter
78.29a I call thee Eurus spirit of the dawn come forth
78.29b I /əɪ/ I call /kɔːl/ call thee /ðiː/ thee Eurus /juːɹəs/ Eurus spirit /spɪɹɪt/ spirit of /ɔv/ of the /ðə/ the dawn /dɔːn/ dawn come /kʊm/ come-IMPER forth /fɔːɹθ/ forth
78.30a See the candle flickers he hath heard thy calling
78.30b See /siː/ see-IMPER the /ðə/ the candle /kandl̩/ candle flickers /flɪkəɹz/ flickers he /hiː/ he hath /haθ/ hath heard /hɛːɹd/ heard thy /ðəɪ/ thy calling /kɔːlɪŋ/ calling-GERUND
Part B: Natural Sentences
78.16 Master, I know not how to call these spirits forth. “Teacher, I do not know how to summon these spirits.”
78.17 Thou must call them by their proper names, boy. “You must summon them using their true names, lad.”
78.18 And what if they will not answer when I call? “But what if they refuse to respond to my summoning?”
78.19 Then thou hast not called them rightly, for they must come. “Then you have not summoned them correctly, for they are bound to appear.”
78.20 Call softly at the first, then raise thy voice. “Begin by calling quietly, then gradually speak louder.”
78.21 The calling of a spirit requireth patience and learning. “Summoning a spirit demands patience and knowledge.”
78.22 I have called upon the moon, but she heeds me not. “I have appealed to the moon, but she ignores me.”
78.23 The moon is not to be called; she calls thee. “The moon cannot be summoned; she is the one who summons you.”
78.24 How shall I know when she hath called me, master? “How will I recognize when she has summoned me, teacher?”
78.25 Thy heart will tell thee, for it trembles at her calling. “Your heart will inform you, for it quakes at her summons.”
78.26 Some call this art forbidden and ungodly. “Some people name this practice forbidden and irreligious.”
78.27 Let them call it what they will; I call it wisdom. “Let them name it as they please; I call it understanding.”
78.28 Now call upon the eastern wind and bid him enter. “Now summon the east wind and invite him inside.”
78.29 I call thee, Eurus, spirit of the dawn—come forth! “I summon you, Eurus, spirit of the morning—appear!”
78.30 See, the candle flickers; he hath heard thy calling. “Look, the candle wavers; he has heard your summons.”
Part C: Elizabethan Text Only
78.16 Master, I know not how to call these spirits forth.
78.17 Thou must call them by their proper names, boy.
78.18 And what if they will not answer when I call?
78.19 Then thou hast not called them rightly, for they must come.
78.20 Call softly at the first, then raise thy voice.
78.21 The calling of a spirit requireth patience and learning.
78.22 I have called upon the moon, but she heeds me not.
78.23 The moon is not to be called; she calls thee.
78.24 How shall I know when she hath called me, master?
78.25 Thy heart will tell thee, for it trembles at her calling.
78.26 Some call this art forbidden and ungodly.
78.27 Let them call it what they will; I call it wisdom.
78.28 Now call upon the eastern wind and bid him enter.
78.29 I call thee, Eurus, spirit of the dawn—come forth!
78.30 See, the candle flickers; he hath heard thy calling.
Part D: Grammar Notes for Genre Section
This dialogue demonstrates several advanced uses of “call” within Elizabethan dramatic convention:
The Gerund “Calling”: Examples 78.21, 78.25, and 78.30 use “calling” as a verbal noun. “The calling of a spirit” treats the action as a thing; “at her calling” uses it as the object of a preposition; “thy calling” shows possession of the action.
Passive Voice: In 78.23, “The moon is not to be called” employs the passive infinitive, a construction emphasizing that the moon resists being the object of the verb.
Double “Call” for Contrast: In 78.27, “Let them call it what they will; I call it wisdom,” the verb appears twice with different subjects and objects, creating rhetorical balance and philosophical opposition.
Direct Address with Vocatives: 78.16 “Master” and 78.17 “boy” show the vocative case—calling someone by their role or status. The master-apprentice relationship is encoded in how they address each other.
Imperative Mood: 78.20, 78.28, and 78.29 use imperative “call” for commands. “Call softly” directs the manner; “call upon” specifies the target; “I call thee, Eurus” shifts to declarative performative—saying “I call” performs the act of calling.
Pronouns Throughout: The dialogue carefully maintains thou/thee for the apprentice (intimate, lower status) while the apprentice addresses his master with respectful distance. The spirits receive “they/them” until named individually (Eurus becomes “he”).
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Key Pronunciations with IPA:
call /kɔːl/ — rounded back vowel, fully pronounced final L called /kɔːld/ — past tense with dental suffix calling /kɔːlɪŋ/ — gerund/present participle callest /kɔːlɪst/ — second person singular familiar calleth /kɔːlɪθ/ — third person singular (formal/archaic)
Words with Period -tion Pronunciation:
apparition /apəɹɪsɪən/ — four syllables, not three succession /sʊksɛsɪən/ — three syllables question /kwɛstɪən/ — stressed first syllable
Common Pronunciation Errors for Modern Learners:
Modern speakers tend to drop the R in words like “forth” /fɔːɹθ/, “heart” /haːɹt/, and “master” /maːstəɹ/. Elizabethan English was fully rhotic—all R’s were pronounced.
The word “hour” had H-dropping: /oːɹ/, homophonous with “ore.” This explains Shakespeare’s “hour/whore” puns.
“Thou” is /ðaʊ/, not /θaʊ/—the initial sound is voiced TH as in “the,” not voiceless TH as in “think.”
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This Elizabethan English course follows the Latinum Institute methodology, which has been creating language-learning materials since 2006. The construed interlinear text format—presenting each word with its pronunciation and grammatical function—allows autodidact learners to absorb vocabulary and syntax simultaneously.
Early Modern English, while ancestral to our modern tongue, presents genuine challenges for contemporary readers. The archaic pronoun system (thou/thee/thy versus you/your), the verb inflections (-est, -eth), and the unfamiliar vocabulary all require systematic study. This course treats Elizabethan English as a living language to be learned through immersion in authentic patterns.
The Latinum Institute Approach:
Each lesson focuses on a single high-frequency word, presenting it in multiple contexts through thirty examples. The interlinear glossing removes the barrier between reader and text, while the natural sentence translations provide idiomatic guidance. The literary citations demonstrate authentic period usage.
Why Learn Elizabethan English?
Shakespeare’s works remain central to English literary culture. Understanding Early Modern English unlocks not only the plays and sonnets but also the King James Bible, Christopher Marlowe, Edmund Spenser, John Donne, and the entire Renaissance corpus. The language shaped modern English idiom—countless phrases we use daily originated in this period.
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Course Index:
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✓ Lesson 78 Elizabethan English complete
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