Please email me Erin Salona at esalona1@ccs.k12.in.us if you would like to download this presentation.

1. Shakespeare’s Language Romeo & Juliet By Erin Salona

3. Shakespeare wrote in Early Modern English.

5. There were no dictionaries.

6. Shakespeare is credited by the Oxford English Dictionary with the introduction of nearly 3,000 words into the language.

8. Addiction

9. Admirable

10. Assassination

11. Bloodstained

12. Cold-blooded

13. Coldhearted

14. Deafening

15. Disgraceful

16. To drug

17. Excitement

18. Fashionable

19. Fortune-teller

20. Gloomy

21. Mimic

23. Be-all and the end-all

24. Break the ice

25. Eaten me out of house and home

26. Elbow room

27. Fool's paradise

28. For goodness' sake

29. Full circle

30. Good riddance

31. It was Greek to me

32. Heart of gold

33. In a pickle

34. Kill with kindness

35. Lie low

36. Love is blind

38. The most common simple sentence in modern English follows a familiar pattern: Subject (S), Verb (V), Object (O). (Will caught the ball).

39. However, Shakespeare was much more at liberty to switch these three basic components

41. Shakespeare could effectively place the metrical stress wherever he needed it most by switching word order

43. Inverted Word Order “Thou hast by moonlight at her window sung.” Translation: You have sung at her window in the moonlight. From A Midsummer Night’s Dream

45. Prose

46. Rhymed Verse

48. Prose is often used by Shakespeare for lower-class characters in his plays

49. Prose lacks meter and rhyme and is informal

51. Characters– especially of the higher classes--speak in poetic form

52. Their words have form, meter, and rhyme

54. Iambic Pentameter has:

55. Ten syllables in each line

56. Five pairs of alternating unstressed and stressed syllables

58. If mu- / -sic be / the food / of love, / play on

59. Is this / a dag- / -gerI / see be- / fore me?

62. resembles prose in that the final words of the lines do not rhyme in any regular pattern

63. There is meter: a recognizable rhythm in a line of verse consisting of a pattern of regularly recurring stressed and unstressed syllables.

65. Rather than prose, blank verse may suggest a refinement of character.

67. Prose, Rhymed Verse or Blank Verse? Juliet: Wilt thou be gone? It is not yet near day. It was the nightingale, and not the lark, That pierced the fearful hollow of thine ear; Nightly she sings on yond pomegranate tree Believe me, love, it was the nightingale.

68. Blank Verse

69. Prose, Rhymed Verse or Blank Verse? Abraham: Do you bite your thumb at us, sir? Sampson: No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir. Gregory: Do you quarrel, sir? Abraham: Quarrel, sir? No, sir.

70. Prose

71. Prose, Rhymed Verse or Blank Verse? Full fathom five thy father lies Of his bones are coral made Those are pearls that were his eyes Nothing of him that doth fade But doth suffer a sea change Into something rich and strange.

72. Rhymed Verse

73. Prose, Rhymed Verse or Blank Verse? NURSE: He was a merry man—took up the child. “Yea,” quoth he, “Dost thou fall upon thy face? Thou wilt fall backward when thou hast more wit, Wilt thou not, Jule?” and, by my holy dame, The pretty wretch left crying and said “ay.”

74. Blank Verse

75. Prose, Rhymed Verse or Blank Verse? ROMEO: Oh, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like a rich jewel in an Ethiope's ear, Beauty too rich for use, for earth too dear.

76. Rhymed Verse

77. Prose, Rhymed Verse or Blank Verse? ROMEO Have not saints lips, and holy palmers too? JULIET Ay, pilgrim, lips that they must use in prayer. ROMEO O, then, dear saint, let lips do what hands do. They pray; grant thou, lest faith turn to despair.

78. Rhymed Verse

79. Prose, Rhymed Verse or Blank Verse? ROMEO Here's goodly gear. BENVOLIO A sail, a sail! MERCUTIO Two, two—a shirt and a smock.

80. Prose