This document discusses Shakespeare's invented expressions and archaic words, providing examples of expressions still used today and words that are no longer common. It also examines Shakespeare's less strict sentence structure compared to modern English and his use of iambic pentameter, noting he could rearrange words from subject-verb-object and use ten syllables with stress on every second syllable for his famous rhythmic lines.

1. Shakespeare wasn’t just the master of inventing new words; he is also
credited with having invented new expressions as well, many of which
we still use today without realizing where they originated. Below is a
brief list of Shakespeare’s invented expressions:

2. Unfortunately, not all of Shakespeare’s words and expressions are as easily recognizable.
Some of his other words or expressions have become archaic, which means they are no
longer in everyday use. Here is a list of the most common Shakespearean words that we
no longer use today:
Shakespearean Word Modern Version Example
Thou You (Subject) Thou (You) art a scoundrel!
Thee You (Object) I bid thee (you) good day.
Thy Your Thy (Your) pipes are leaking.
Thine Yours I shall be thine (yours) forever.
Thyself Yourself Kill thyself (yourself).
Hast Have Thou hast (have) ruined
everything.
Hath has He hath not been here all night.
Dost Do Dost (Do) thou love me?
Doth Does No, he doth (does) not.
Didst Did Didst (Did) thou say something?
Art Are Art (Are) thou insane?
Ye You (Formal) Ye (You) are a fool.
Hence Away from here I most go hence.
Henceforth From now on Henceforth, I shall be king.
Thence From there I come from thence.
Whence Which place/what place Go back from whence you came
Hither Here Come hither (here)!
Hitherto Up till now I have accompanied you hitherto.
Hitherward To here They move hitherward.
Thither To that place The king has sent me thither.
Thitherward In that direction He was walking thitherward.
Whither To which place/for which purpose 1. Whither goest thou?
2. Whither wouldst thou send
for me?
Somewhither Somewhere I must go somewhither
(somewhere)

3. Shakespearean Word Modern Version Example
‘tis it is Tis for nothing.
Ere before She wants to speak with you ere
you go to bed.
Marry by (the virgin) Mary Marry, sir, I am helping you.
Withal with I’ll tell you who time ambles
withal.
Begone Disappear Begone, love.
Forsworn falsely swear Which can make gods forsworn?
Woo win over one’s love Leave me alone to woo him.
Anon Soon/Shortly/Presently I'll be with you anon.
Lest unless/or else Leave the lion’s den, lest he tear
you to pieces.
Fain gladly That murdered me. I would forget
it fain.
Fie An exclamation of disgust Fie! Are you mad!
Hark Listen! Hark! The herald angels sing!
Hie Hurry Hie thee hence, or lose your life!
Ho! Hey! Brutus, ho!
Mark pay attention to Mark my words!
Prithee Polite way of asking something I prithee answer the question
Sirrah Like “Sir” for inferiors Sirrah, come over here.
Saucy Sassy/Cheeky Hence, thou saucy boy!
Foe enemy Faithful friend from flattering
foe

4. Shakespeare’s Sentence Structure
The vocabulary in Shakespeare’s time isn’t the only thing that has changed.
The methods he used to construct his sentences were much less strict than
they are today. In Modern English, sentences follow this basic structure:
Subject + Verb + Object (S+V+O).
For example, suppose we wanted to express the fact that the chalkboard
was wiped clean by the student. We would write that idea as the following
sentence:
“The student wiped the chalkboard.”
( S + V + O )
In this case, the subject of the sentence is “The student”, the verb is “wiped”,
and the object is “the chalkboard.” However, if this sentence were to be
written using Early Modern English (the English Shakespeare used), then the
order may or may not be the same.
Shakespeare COULD have used the same sentence structure as we do, but
grammar wasn’t as strict in his time. Instead of using S+V+O, he could have
just as easily used S+O+V, which would look like:
“The student the chalkboard wiped.”
( S + O + V )
Alternatively, Shakespeare could have also used the order O+S+V, which
looks something like:
“The chalkboard the student wiped.”
( O + S + V )

5. Activity 3: For each of the following examples, rewrite the sentences by
changing the order of the words as Shakespeare would have done.
A. Love is a many-splendored thing.
1. _________________________________________
2. _________________________________________
B. The girl with the dragon tattoo lived a very sad life.
1. _________________________________________
2. _________________________________________
C. Parting is such sweet sorrow.
1. _________________________________________
2. _________________________________________
D. I shall say goodnight till it be morrow.
1. _________________________________________
2. _________________________________________
E. A fool thinks himself to be wise, but a wise man knows himself to be a fool.
1. _________________________________________
2. _________________________________________

6. Shakespeare’s Rhythm and the Iambic Pentameter
In order to understand what Shakespeare was doing when he wrote, you first need
to understand a few basic terms of poetry.
Foot/Feet/Meter: Don’t get confused because the name is normally given to a
measure of distance! In poetry, feet and meter are the same things. Both of them
refer to a unit of rhythm in poetry, or in other words, the pattern of the beats.
Each foot has a certain number of syllables (usually two or three). The difference in
types of meter depends on which syllables have stress, and which syllables do not.
Stress: Words can be broken down into syllables, and syllables can either be
stressed on unstressed. In poetry, stress is the emphasis that falls on certain
syllables. Take the words “discus” and “discuss”. Both of these words look like they
can be pronounced the same way, but they are not because we place stress on
different parts of the word. The stressed syllable is the one you say slightly louder
and slightly longer.
In the first picture, emphasis is placed on the DIS, whereas in the second picture, the
emphasis is placed on the CUSS. Notice how the stress being placed on different
syllables creates a difference in pronunciation between the two words.

7. Why is this important? Shakespeare wrote in something called the iambic
pentameter.
Iambic: a type of foot or meter, where the first syllable is unstressed and the
second syllable is stressed.
Penta: Greek prefix representing the number five.
Iambic Pentameter: A line which contains TEN SYLLABLES, with every second
syllable being stressed.
Take these very famous lines from “Romeo & Juliet”. Stress needs to be placed on
every second syllable:
“But, soft! what light through yonder window breaks?
It is the east, and Juliet’s the sun.”
The rhythm created by reading the lines this way was meant to mimic the sound of
the beating heart. This is why only people who are romantically involved or of a
higher station spoke this way.

8. Activity 4: This is one of Shakespeare’s most iconic passages. Place a checkmark
on every line that is written in the iambic pentameter. (Hint: Count the syllables)
Once you’re done, try and figure out the meaning of the passage.
All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse's arms.
Then, the whining school-boy with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then, a soldier,
Full of strange oaths, and bearded like the pard,
Jealous in honour, sudden, and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then, the justice,
In fair round belly, with a good capon lined,
With eyes severe, and beard of formal cut,
Full of wise saws, and modern instances,
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
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