Speak like a Pro: a field guide to Elizabethan English

Some of you may be wondering how we could possibly know what the language sounded like
more than four hundred years ago. After all, even the venerable eight-track had yet to hit the
scene, so recordings of Shakespeare himself muttering over his manuscripts are, in a word,
scarce.

We may not have sound recordings, but we do have examples of the language in another form -
writing. This was a time of explosive creativity, and some of the greatest wordsmiths of the
English language were creating some of the most famous works of written art we have today.

Much of those works are poetry, and not the freeform Beatnik poetry we've come so familiar
with in smoky coffee shops. Elizabethan poets used strict rhyming schemes and crafted poetry
that was as much architecture as literature. As scholars were examining the rhymes, they noticed
words paired together that just didn't rhyme according to how we would them, and realized that
the language must have sounded different. When these strange pairings were compared against
each other, patterns emerged - it seemed that words of similar structures were consistently
paired.

Moreover, the Elizabethan era would have been a haven for those of us not blessed with good
spelling. They didn't have spelling rules, and simply spelled words as they sounded. Hooked on
Phonics would have made a killing!

Basically, we have a really good guess at how they spoke so many years ago. Is it possible we're
completely wrong? Sure! But we've got good evidence that we're at least close.

Also, there's no way that England had one accent across its whole great nation. In America
today, if you go to the four corners of the country, you'll hear people speaking very different
versions of English. You can make a good guess at which neighborhood a Londoner grew up in
by their accent.

Is there any wrong way to speak Elizabethan English? Yes - by not even trying.

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Sounding Funny Is Fun! (No, really, it's actually a blast)
The biggest changes from our modern tongue come in the vowels. You remember kindergarten,
right? A-E-I-O-U and Sometimes Y? In the English language, the vowels are the most flexible
sounds, bending and morphing around the consonants they are framed with. In Elizabethan
English, the vowels are the sounds that are the most different from our modern accent.

Some pronunciations stay the same (we love those!) and some change. Let's start at the top.
We'll give the letter - or the sound - and examples of how that letter sounds in our modern
accent, then explain the differences:

Vowels
A - cat, hat
This version of the a, the short a, is basically the same. It is drawn out a bit, held onto just a
little caaat, haaat.

A - father, walking
This short a changes to a flat a like in "pant". So father rhymes with rather, walk sounds
like whack.

A - take, make, stable

This long a becomes an eh sound. So take sounds like tek, make sounds like mek, stable like
steble. Funny huh?

E - head, dead
The eh sound of these words becomes an ay or ai sound. So head and dead rhyme with
braid.

I and Y - lie, die, my, by

The long i sound becomes an uh-ee sound. If you say my really really slowly, it sounds like
m-ah-ee instead, we're going to say m-uh-ee. This isn't oi like Yiddish! Lie sounds like l-
uh-ee, die sounds like d-uh-ee, my sounds like m-uh-ee, by sounds like b-uh-ee.

I - hit
The short i stays the same (yay!) and rhymes with it.

O - come
This one becomes much darker and rounder almost a u sound. You can almost throw in a
uh sound too. So come becomes coom, of becomes uh-oov.

U - cup, cut
The short u sound combines with the "oo" sound, like "coop". If the short u and the oo
sound had babies, that's what the short u should sound like. So cup becomes coop, cut
becomes coot.

Let's add an R

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 The r in Elizabethan English is more exaggerated, a hard r, but isn't quite the pirate
"ARRRR!", or a rolled r. It's a consonant you can really chew on never be afraid to lean
on it and draw it out a little.

ER - mercy
This sound rhymes with air, and the r is emphasized. Mercy becomes maircy, terse sounds
like tairce, curse becomes cairse.

OR - Lord
This takes on a very round mouth shape and the short o is almost an "oo" sound. Lord
becomes loord, ford becomes foord.

The Diphthong!
Diphthongs are not what happens when women wearing low rise jeans and thong underoos
sit down. Rather, they are vowel combinations In modern English, we usually shorten
diphthongs to one quick sound Elizabethan English usually uses both letters. After all,
why would you put both in if they werent to be used? There is one exception, but that will
be pointed out below.

AI - fair
In this case, both letters are pronounced. The a is a short a and the i is like the Elizabethan
i. The r is hard, and a little exaggerated (but not rolled or the pirate rrrrrr). So "fair"
becomes fah-ay-err.

AY - say
Pronounce both letters - so saay-ee.

EI - either
This is the diphthong exception. It becomes an "ay" sound, so either becomes ayther.

OU - mouse
Pronounce both letters, so mouse becomes muh-oose. Not "moose" round out the ou
sound and make it darker. House becomes huh-oose.

OW - brown
This is very similar to the OU - the W is afer all, a double u. Brown becomes bruh-oon.

Consonants
Most of the consonants stay the same. There are a few, however, that do change.

C - precious
Modern English has turned the "cious" letter combination into "shun". We're going to turn
the c into an s, and then say the rest of the letters. Precious sounds like preh-see-uhs,
musician sounds like myu-zih-see-un.
G and V - speaking, ever

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The G that appears at the ends of words can be dropped. Likewise, the V in the middle of
words can often be dropped as well. This is especially appropriate for lower class
characters. Speaking becomes speakin', listening becomes listenin', ever becomes e'er, even
becomes e'en. Lower classes might even drop the v in heaven, making hea'en.

H - hoop
Every H is spoken (think Pygmalion, which was retold as My Fair Lady). Hoop is never
oop, but always spoken with the letter H. Hand, heavy, hark, all use the H.

K - knight
Modern English has turned the leading K in words like knight and knife silent. At this time,
it was sometimes spoken, especially by the lower classes. Knight becomes kuh-night, knife
becomes kuh-nife.

R - art
Remember the R from "lord"? Same deal lean on it a little! Chew on it and enjoy it R's
are very fun to say. Arrrt! (Ok, that's a little piratey)

S - compassion
The double S, and sometimes single S, has become a sh sound in modern times. However,
back in the day it was spoken as a hard s instead of compashun, we're going to say comp-
ah-see-ion, and instead of surely pronounced sherly, it becomes soor-ly.

T - righteous
Like the S, sometimes a T isn't a T - it's a CH. Nowadays we say richus, but in Elizabethan
speak we'd say each letter and get ri-tee-ous. Pastures goes from
paschurs to pas-toors.

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No really, how does it sound?
Now that you have seen some explanations of pronunciation, let's see it in action. You'll see
each entry twice - with normal spelling and with phonetic spelling. Remember that the rules
a good guide, but not strict perhaps you might feel that some words could be pronounced a
little different!

An extra O in a word indicates a rounder, darker sound, like when used with OR.

Good provender, labouring horses would have,

good hay and good plenty, plough-oxen do crave;
To hale out thy muck, and to plough up thy ground,
or else it may hinder thee many a pound.
-Thomas Tusser: Five Hundred Points of Good Husbandry, 1557

Goood provender, leh-boour-ing hoorses woould haive,

goood hai and goood plenty, plooough-oxen do crave;
To hehle oout thuh-ee moock, and to ploough oop thuh-ee groound,
or else it mehee hinder thee many a poound.

****

Fatal Hemp, which Denmark doth afford,

doth furnish us with canvas and with cord.
Cables and sails - that winds assisting; either
We may acquaint the east and West together.
- Sylvester, 1520

Feh-tal Hemp, which Denmaark doth affoord,

doth fournish uos with canvas and with coord.
Ceh-bles and sehls - that winds assisting; aither
We meh-ee acq-ueh-nt the East and West togaither.

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Words words words
Ok, great, you have an accent (no, really, with a little practice, you do!). But what to do with it?
I'm sure you've come across some Shakespeare at one point or another, and he sure didn't write
the way we speak today.

Now don't think you've got to be running around talking like the Bard. That man was very likely
the biggest genius of the English language, and he was writing for the purpose of entertainment -
he was deliberately twisting and turning the words in the most creative ways he could. He
certainly wasn't walking down the street talking like his characters did! Use his material as
inspiration, not a road map.

Also, don't think you've got to learn this all in one shot. It comes with time, and practice. You've
got to speak it - annoy your household by yammering at them in your new accent and with your
new words. Pick a few of the sounds and a few of the words to start with, and mix those into
your speech - just a few easy changes can turn ordinary speak into extraordinary magic for our
audience.

To Start and Stop a Conversation

Greetings and goodbyes were very important in Elizabethan society. The culture was driven
by class structure and community, and taking time to say hello and goodbye was critical
social encounters. However, they used a few different words and phrases - but they're easy
to learn.

If you want to say You can use:

Good morning Give you good morning
Good morning Good morrow
Good day (or morning,
afternoon, evening) God give you a good day
Good day (or morning,
afternoon, evening) Good day; Good den
Good afternoon or evening Good even; Good e'en
Glad to see you! Well met!
How are you doing? How now?

Or if you want to say You can use

See you soon! I shall see you anon
Be well God save you, God keep
you
Be well Fare you well

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Title me this, Batman!
Class structure was much more important to Elizabethan society than in our society today.
Everyone was very aware on what rung of the social ladder they were on, and addressing
people around them with the proper title was important.

When addressing someone, phrase their title with a bit of thought. Make sure you refer to
them with the proper respect to their station, gender, and age. Of course, by referring to
someone by a title above or below their station, or favorably to their age, that title can be
either flattery or an insult. Calling a middle aged woman by a young woman's title can
certainly win favor, and conversely, calling a maid a crone can be quite the dig!

For the Men Folk:

When you're talking to You can use
Nobility, Church Bishops, Important Officials my lord(s), good my lord(s), your worship,
noble sir(s), good gentles (for more than one
person)
Middle Class Craftsman and Merchants, sir, good sir, Well met sir, Good day sir,
Yeoman farmers, Peasants Master, Goodman (used like Mister)

An older peasant Father, Gaffer (grandfather)

A younger man, or close friend Good day, my fine lads
A young boy young lad, little sir, little master
When talking to someone with an obvious Master carpenter, Master musician
profession

When you want to insult a man You can say

Somewhat rude, and obviously Fellow
condescending
You hate the man, and wouldn't mind a fight Sirrah

For the ladies:

If you want to say You can use
The Queen Your Majesty, Your Grace, Your Most
Gracious Majesty
Noblewomen my lady, noble lady, noble madam, good my
lady
Middle class an Yeomen wives mistress, dear mistress, fair mistress, sweet
mistress (mistress is a polite title)

Peasants mistress, dear mistress, fair mistress, sweet

mistress (mistress is a polite title), fair wench,
dear wench, sweet wench (wench just means
girl and wasn't insulting)
An older peasant woman Mother, Gammer (grandmother)
A young girl little lady, little mistress, lass, sweet lass, little
wench, pretty maid
Using their profession Good weaver, good spinner

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Between Hello and Goodbye
Once you've greeted someone, you presumably want to do more than say good bye (well,
usually sometimes all you want to say is goodbye!). There are all sorts of commonly used
words and phrases that you can mix into your language to really take your speech back a few
hundred years!

Remember that just a few easy words mixed into your speech can really transform what you
say to something beatifically archaic. Some of the things we say every day have
translations, and learning a few of those translations shifts your everyday speech into a
different era.

Please
An it pleases you (or thee) (an is an archaic form of "if")
I pray you (or thee), Prithee (short for pray thee), Pray

Thank you
God grant you Mercy, Grant you Mercy, Grammercy
Many good thanks, many and hearty thankings
God yield (or God 'ild) you or thee

Yesses an Noes
We say yes and no every day, in all sorts of situations. Our modern words "yes" and "no"
were used back then, but why not opt for the more exciting Elizabethan versions?

For the word yes, try aye (rhymes with eye) or yea (rhymes with kay, like "ok").

Examples:
Yea, I did get me to the ale house, but I did not see thee there.
Nay, thine pig is not the fattest! But mine were the fattest, yea!

I think, I guess, I daresay - I trow (means believe), I think me, Methinks

I kid you not!

The words "sooth" and "troth" meant truth, so you could say:
In sooth, forsooth, in good sooth, by my troth, in troth

Verily, surely, indeed (means truthfully)

Marry (by Saint Mary)

I vouchsafe (I assure that this is true)

Ok - Good now, good

You know? - Trow you, Know you, Knowest thou

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Coming through, excuse me, pardon
I cry you mercy, I crave your pardon, pray pardon

Maybe, Perhaps - Mayhap, Belike, Perchance, Peradventure

No way! Really?
Go to! Is it even so? Were it even so? E'en so? For sooth? In sooth?

Wow! Sweet! Awesome!

Marry (By Saint Mary), Now by my faith! I'faith! (short for In faith)

Oh no! Too bad!

God-a-mercy (God have mercy), God's me!, Od's me! (God save me), Alas, Well a day

Cursing
Yes, Elizabethans cursed too. Men cursed more then women, and when women cursed, they
tended to be a bit more genteel.

Some exclamations are:

Alack!
Alackaday!
Alas!
Fie!
Fie me!
Out upon it!

Now, a word about Fie. There is another word in our modern language starting with the same
letter you all know the word of which I speak. Fie is not That Word! Fie can be used in the
same context but it does not mean the same thing Fie is Latin for "faith" (any of you
recognize the term Semper Fi?). That Word is not appropriate for faire. As a note, That
Word was used, but it was not naughty, and was a simple verb. If you should find yourself
needing to use a word that means the same thing, try swive. It is also not a naughty word.

Am I here, or there?
Here, there, and over there have alternatives.
Here, where you are, is hither.
There, close by, is thither.
Over there, is yon.
Way over there is yonder.

For example:
Bring yon barrel, the barrel from yonder town, hither.
Means: Bring that barrel over there, the barrel from that distant town, over here.

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How words work together - grammar and syntax
Elizabethans had a very loose way of speaking, especially peasants. Grammar relates to what
words mean, and their proper usage, and syntax relates to how words are strung together. The
great thing about Elizabethan grammar and syntax is that it is easy, because it's a little lazy.

I do love the way you do that!

You can throw do (or did) before all the verbs you use.
For example:
I do walk me down the road e'ry mornin' for me health.
I did scold Misstress Mary for bein' late.

To be, or not to be?

The verb "to be" can be used and abused in many different ways it's one of the more
common verbs, in all it's forms, so it experienced the most alteration and general misuse.
Furthermore, past and present tense was used rather loosely.
For example:
Those men about the well all be peasants.
I were walking down the road. (This can mean either, "I am walking down the road" or "I
was walking down the road".)

The 'ed', sort of like the id, but not.

To make a word past tense, Elizabethans added "ed" just like we do today. They also
changed the spelling of words to indicate past tense (instead of speak, you can use "spoke" or
"spake" - as in, "He spake a great deal last e'en about his flock.")

The "ed" was often fully pronounced, instead of today's modern convention of tacking a
quick "d" sound at the end of a word. So walked sounds like walk-ed.

When one is not enough.

Aside from adding an "s" to the end of a word to make it plural, Elizabethans added "n".
This was a hold over from earlier Old English. So house could be either housen or houses.
You may recognize some words we still

When it's more better, don't not do it!

A superlative is a word that expresses degrees for example, when something is more or
less than something else. We're taught early on that things can't be "more better", which is
an example of a double superlative. A negative is a word that the dictionary unhelpfully
defines as "expressing, containing, or consisting of a negation" - however I think we all
know what one is. We also know we're not supposed to double them up, turning them into
the dreaded double negative.

Elizabethans, however, had no fear of doubling either the superlative or the negative,
especially if they were lower class.

Ergo, we get to say all those gems our school teacher taught out of us:
That goose girl does not have no sense.

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 I did not want me no soup.
His singing were more better than thine!
The most smallest pig has the most biggest ears.

Contractions
Contractions come about when you mash two words together with a little apostrophe and get
a whole new, if shorter, word. Don't, won't, can't, isn't, all contractions. They were used in
the day of Good Queen Bess, but not nearly as commonly as they are today. Those I already
listed should generally be avoided, along with as ain't, aren't, or the like. Rather, say both
words, do not, will not, can not, is not, etc.

There were some contractions that were common though, and you should spice your
language up with them. Generally, if there's an it before a word, you can drop the I and
scrunch the t in with the other word. 'Tis for it is, 'twas for it were, 'twere for it were, etc.

Some contractions were less a mashing of words and more a dropping of them For
instance, instead of I will go to bed soon, try I will to bed soon, or instead of I'll have none of
that, try I'll none of that.

O' the matter of of

Ever wonder where we got that silly little o in front of the word o'clock? Ok, perhaps not,
but it came from the old convention of dropping the F from the word of. For example, It
were one o' the clock, demonstrates the longer form o'clock. It were bread made o' barley is
another example.

Yoda, oh Yoda
The great character Yoda was not entirely original in his funny speech patterns.
Elizabethans also mixed their syntax around, so you finally have an opportunity to talk like
Yoda in public (in case you werent already)!
For example:
Instead of He is a difficult nave, most true, try A most difficult nave he were, in sooth!
Instead of I will go to the tavern anon, try Anon, to the tavern I will get me.

This word, that word, what's the difference?

Why must a verb always be a verb? Or an adjective an adjective? Elizabethans certainly
didn't feel that a word must be banished to one type.

When a noun can be a verb:

Do guest your friends and feast them heartily.
When a noun is an adjective:
That cow woman applied her stampede tongue most viciously.
When an adjective is a verb:
Fierce me not so readily, I beg you gentle me instead.
When an adjective is an adverb:
Sudden do you sneak upon me, ready with harsh words.

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Go ahead and listen to yourself talk
Never use one word when five will do! Since the primetime TV lineup during Elizabeth's
reign was even worse than it is today, the people used their words as entertainment.
Language was a thing to wound, to cheer, to woo, to vent, and wherever possible you should
embellish your speech with exuberance.

Instead of:
I was walking down the road.
Try:
Yea it were true, down the road I did walk me well, upon my two feets most ready for the
task.

Instead of:
You have a pretty mouth.
Try:
Upon thine visage I see a coral blush so fine, as a rose before the bloom, seated daintly
above thine chin and below such a divinely sculpted nose as e'en to turn an angel green
about the face and neck.

Instead of:
Hand me my bag, quick.
Try:
Do you not see that satchel o'er yon upon that fine stout table? Do but hand it this way, as I
were needin' it upon my person. After all a lass must ha'e her things about her lest she find
herself wantin'. Get to it, you lay about excuse for a man, I do ha'e me most urgent and
important things to apply my considerable value upon. Why, my verbosity alone is surely
now being missed in some place, in some how.

Thou isn't just misspelling though

If you've ever tried learning a Romance language, you've probably come across formal and
informal versions of you, your, us, etc. One would never address a married French woman
as mademoiselle (meaning young girl, or young woman), nor a young girl as madame
(meaning mature woman, not just in age) in polite conversation. French, like the rest of the
Romance languages, have formal and informal versions of you, your, etc. By purposely
misusing the formal or informal version, you could flatter or insult (referring to someone of
slightly higher class with the informal version implies that they are low, and that you may
see them as lower status than you them's fightin' words)

English used to have formal and informal versions too, but somewhere along the way we
narrowed it down to just one. Hollywood would have us think that saying thee and thou was
the old and only way of speaking, even the royal way of speaking, but that's just not the case.
In Good Queen Bess's time, thou was informal, and you was formal. Read on, gentle
readers, for an explanation.

The formal version in English is you. This was used to address people of higher social
status, strangers, or people you wanted to flatter (by implying they had higher status than

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 you). If one were a peasant, one would use you when addressing someone of middle or
upper class. If one were middle class, one would use you when dealing with nobles. One
would use you when addressing one's boss. Horses are also addressed with you since they
are such noble creatures.

The informal version in English is thou. This was for your friends or family, or your social
inferiors. When one addresses their brother or best friend, one says thou. When one is a
noble addressing a peasant, one says thou. When one addresses an animal that is not a horse,
one says thou.

There are two schools of thought on how to use you and thou since we have an audience.
The kind patrons of our event really expect us to say thou across the board but history
dictates that we use your sometimes How do you handle that? Some lean towards using
thou in most situations because as much as we are here to breath life into history, we are also
here to entertain. It is up to you, and your best judgment, on how to handle it.

So how do you use thee and thou?

Oh, it's so easy, gentle readers.

If the person is the subject of a sentence (it's all about them!), use thou:
Thou art a swine and a rogue! What dost thou want?

If the person is the object, and thee receives or modifies or modifies the action:
I would sit with thee and spake. Whence I have received from thee the papers, I shall be
ready to move on.

It's not yours, it's MINE, ALL MINE!!!

Thy and thine are the possessive forms of the informal thee or thou. Thee and thine mean the
same thing - you use thine before a word that starts with a vowel (just like a and an - a car,
an elephant).
For example:
Thine elegant speech is most pleasing.
Thy cat were a most corpulent creature, barreled about middle.

My and mine are used the same way; in front of a vowel use mine, otherwise my.
For example:
Mine excellent judgment suggests thy face could be improved by the application of my fist.

Possessive form of you (your) stays the same.

When is st not a street?

No, not a saint, I'll get to those later. St is a verb ending. When using thee and thou, you
should alter you verbs just a bit. We do the same thing in our modern tongue In the
sentence, "He goes that way," the verb is go, but it becomes goes. The Elizabethan way of
speech alters its verbs similarly, though it uses different endings.
When one uses thou with, for example, the verbs talk, eat, love:

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 thou talkest, thou eatest, though lovest
When one uses he, she, it, we, or they, verbs can end in -th:
we talketh, we eateth, we loveth

These can seem hard start slow with them. The thou verb forms are generally easier
start with those and work up.

When you love to hate, and hate to love

Boy did Elizabethans love language. When insulting or wooing, the more flowery and
extravagant the phrases the better

In the realm of cursing and insults, our modern speech offers a disappointingly narrow - and
theatrically inappropriate - set of words. Fortunately, Elizabethans were not satisfied by a
short list of four letter verbiage to express their discontent. They utilized every juicy word
they could get their little hands on
Thou art a swollen and a festering nave, dim of wit and slow of tongue!
Sirrah, your deficiency of even the commonest of sense is only outweighed by your lack of
good taste in all things aesthetic.

One technique used in the formation of insults uses the power of three two adjectives and
a noun. What on earth am I talking about you might say?
Try:
Thou
frothy dog-eared doorknob.
sucking vapid harpy.
mindless lack-luster cow-patty.

Some great techniques to use are repetition (Thou art a dim witted, slow, mindless lay-about!)
and alliteration (Thou art a backless, buck-tooth, beardless little boy!).

Swearing isn't just for Christmas any more

Today we often say swearing to mean cursing, but in this case we're talking about oaths. As
in, "As God is my witness, I will never starve again!", or "By the power of Grayskull!"
Elizabethans called upon higher powers to give emphasis to statements or assertions. There
are all sorts of things they swore upon, including things of a religious nature, classical
literary references, and more. Men swore more than women, and when women swore they
tended to be more genteel and avoid religious themes.

God's wounds! S'wounds!

God's little toe!
God's teeth! S'teeth!
By my faith!
By my honor!
By my plough!

Saints!

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 If you've been reading this packet through, you may remember a note about saints and
getting to them later. And now we're there! Though England was technically protestant at
this point, there were still a few conventions held over from being Catholic. One of those
things was swearing upon saints if you know your saints, and what each stood for, you can
call on them in the realm of their expertise to lend your words weight. If you don't know
your saints, there are many great references - essentially saint's dictionaries - available.

Sweet, sweet words

Like insults, words of flattery were heavily embellished. They compared their subject with
many great and divine things, exaggerated their charms. One might flatter a mature woman
by commenting on how young and fair she was, or a small man by referencing how strong
and vibrant he was. When you're in a comic situation, never underestimate the power of the
wildly out of place compliment - if someone is being small minded, compliment them on
how wise they are.

Instead of:
Thou art a good cook.
Try:
Thy culinary skills are both boundless and artful, each dish like unto art in flavor and
presentation and a treat for both eye and tongue!

Instead of:
I think I do like thee.
Try:
Thou art my muse, inspiration for mine every breath and bringer of laughter and song unto
mine heart, an angel fair gracing me with the divine light of the heavens.

Endearing Qualities
Well, endearing words anyway. Elizabethans did not use words like honey, babe, sugar pie
for their near and dear. Instead they used words like:
my dearest
my darling
sweetin'
sweetheart
sweetest

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