Getting to Know Shakespeare…
Based on a Guide from Chicago Shakespeare Theater on Navy Pier
The guidelines below are presented to help you work with Shakespearean text, whether you are analyzing it,
performing it, or both.
DEFINTIONS
Know what you are saying at all times—use Lexicons and footnotes. Oh, and LOOK STUFF UP!
VERSE & PROSE—75% Poetic Line Form, 25% Prose Form
The form of writing (verse or prose) indicates clues for characterization. Prose is generally an indication that
the character might be of lower class, comic, or mentally off-center.
HEIGHTENED & DIRECT LANGUAGE
Heightened is a form of speech not usually found in everyday language usage. Metaphors, similes... are
elevated forms found in Shakespeare’s poetry. Direct language is simply what is said: “Here comes the King.”
Both types of language are clues into a character’s state of mind or characterization.
ECPHONESIS O
To cry out with passion (the “O” is a sound of some sort, not the word “oh”)

O Romeo, Romeo, wherefore art thou Romeo?

O that this too, too solid flesh would melt

O for a Muse of Fire that would ascend the brightest Heaven of Invention
REPETITION
By stressing, or treating each repetition differently, whether it be repetition of sounds, words or phrases, the
meaning of the language become clearer, and emotion evolves if you give the word, or phrase, more emphasis
each time you say it. A natural build will occur that will have a strong foundation. Be aware that repetitions
may crop up in scenes, not just individual speeches.
Capulet
Proud, and I thank you, and I thank you not.
Thank me no thankings, nor proud me not prouds…
Cassius
I was born as free as Caesar.
OXYMORON
A statement with two parts which seem contradictory; examples: sad joy, a wise fool, the sound of silence, or
Hamlet’s saying: “I must be cruel only to be kind.”
IRONY
The discrepancy between what is said and what is meant, what is said and what is done, what is expected or
intended and what happens, what is meant or said and what other understand. You know them: situational,
dramatic, and verbal.
PUNCTUATION
Punctuation marks are like notations in music. Punctuation indicates a place for a new thought. How long
breath should last is also determined by punctuation. Shakespeare makes it quite natural. He uses punctuation
and breath for emotional, physical, and dramatic effect. The only time you should not breathe are at commas in
the middle of the verse line and Full Stops (like periods) in the middle of the verse line.
Full Stops
A FULL STOP at the END of the verse line indicates a stop in thought. If it is a question mark, pause as if
expecting an answer. If a period or exclamation point, pause to formulate your next thought before proceeding.
A full breath should be taken at these points during the stop. Take as long as you wish to full your lungs.
Lady Percy Oh my good Lord, why are you thus alone?
For what offense have I this fortnight been
A banish’d woman from my Harry’s bed?
Tell me (sweet Lord) what is it take from thee
FULL STOP punctuation found in the MIDDLE of the verse line is called a MID STOP. Change your energy for the
next thought after this punctuation mark with strong and immediate intent. It signals a change. DO NOT
BREATHE. Make your choice to proceed quickly launching ahead into the next thought found after the
period/exclamation/question mark. The need to continue is great! However, the danger is rushing, and not
completing the first thought.
Lady Percy …and by his Light
Did all the Chevalrie of England move
To do brave Acts. He was (indeed) the Glasse
Wherein the Noble Youth did dress themselves.
Troilus
You understand me not, that tells me so:
I do not speak of flight, of fear, of death,
But dare all imminence that gods and men,
Address their dangers in. Hector is gone:
Who shall tell Priam so? Or Hecuba?
Dolphin
Am I Rome’s slave? What penny hath Rome borne?
What men provided? What munitions sent
To under-prop this Action? Is’t not I
That under-go this charge? Who else but I, …
[here there are repetitions of sounds: az, ē, rrr, c, z]
ASSONANCE
The likeness of vowel sounds indicate emotionality
Lady Anne O would to god the inclusive Verge
Of Golden Mettall, that must round my Brow,
Were red hot Steele, to sear me to the Braines.
I feel the need, the need for speed! (Top Gun)
ALLITERATION
The likeness of sounds at the beginnings of words also indicate emotion
Berowyn
Dread Prince of Placates, King of Codpieces,
Sole Emperator and great general!
Of trotting Parrators (O my little heart).
ANTITHESIS
Finding opposites in the text will help convey meaning. Play these up so the audience will understand the
problem your character is dealing with. People use opposites often to indicate reason, or that they have
otherwise put a lot of thought into what they are saying.
Hamlet
This Spirit dumb to us, will speak to him.
[dumb/speak]
Commas
Commas mark the end of a phrase of thought. They indicate THINKING. If found at the END of the verse line
keep the energy up, take a quick catch-breath in order to propel the next phrase with support. One of the keys
to making Shakespeare interesting is to lift the ends of the verse lines vocally. Remember the drive of a
thought does not end until a FULL STOP. Commas found in the middle of the verse line, like this one, also
demand a lift in tone, keeping the thought driving upward without a breath. You may take a SHORT pause at a
comma when there is a change in thought in the middle of the verse line, but do not take a breath. You may
take a catch-up breath if there is no punctuation at the end of the line IF it does not break up the thru thought.
Lear
To thee, and thine heredity ever,
Remain this ample third of our fair Kingdom,
No less in space, validity, and pleasure
Then that confer’d on Goneril.
Rumor
Open your Ears! For which of you will stop
The vent of Hearing, when loud Rumor speaks?
Colons & Semi-Colons
Both of these punctuations mark the end of a phrase of thought, but do not mark the conclusion of the main
idea. Only a full stop tells the actor to end. Colons and semi-colons tell the actor that a new phrase of thought
is coming and he or she will need a shift in energy to make that thought clear and separate from the previous
thought. Take a quick breath at this point and you will accomplish the change. Think of it as gear shifting from
thought to thought, propelling the ideas forward, with supporting breath, toward their destination at the end of
the complete sentence. The breath you take should be a short, “thinking” breath.
Hamlet
To be, or not to be, that is the Question:
Whether ‘tis Nobler in the mind to Suffer…
Duke
…: therefore I pre’thee
Supply me with the habit, and instruct me
How I may formally in person bear
Like a true Friar: More reasons for this action
At our more leisure, shall I render you;
Only, this on: Lord Angelo is precise,
Stands at guard with envy: scarce confesses
That his blood flows: or that his appetite
Is more to bread then stone: hence shall we see
If power change purpose: …
Parenthetical Phrases
The text shows the character having a thought, changing that thought to a new thought, then returning to the
old thought. The parenthetical thought is a diversion or digression. They “color” a sentence. It is most
interesting to the audience if you Change the pitch or speed of your voice when introducing the new thought
found within parenthetical punctuation. Parenthetical phrases also qualify an expression or are used as an
after-thought. Parenthetical phrases can be indicated by ( ), or commas. Sometimes they are not punctuated
at all. For the actor a parenthetical phrase means change: vocal change in speech, pitch and attitude. For
clarity take a catch-up breath before or after the punctuation. Always look for the thru-thought to make sense
of parenthetical phrasing.
Don Armado
I do affect the very ground (which is base) where she shoe (which is baser)
Guided by her foot (which is basest) doth tread.
Horatio
At least the whisper goes so: Our last King,
Whose image even but not appear’d to us,
Was (as you know) by Fortinbras of Norway,
(Thereto prick’d on by a most emulated Pride)
Dar’d to the Combate. In which, our Valiant Hamlet,
(For so this side of our known world esteem’s him)
Did slay this Fortinbras: who by a Seal’d Compact,
Well ratified by Law, and Heraldry,
Did forfeit (with his life) all those his Lands
Which he stood seiz’d on, to the Conqueror: …
Hyphens
Hyphens (—) in Shakespeare indicate that the character is changing who s/he is speaking to. The changes for
an actor are similar to those needed with parenthetical statements. Always look to understand the new thought
in connection to the thru-thought or thought that comes before the dash.
SHARED LINES
Serve up the last line of your speech to your scene partner and that actor then picks up the energy by jumping
on his or her first line. Understanding shared lines involves simple knowledge of iambic pentameter. Ten
syllables to a verse line is the norm.
Isabella
Angelo
IAMBIC PENTAMETER
Shakespeare wrote, as his basis for rhythm, ten syllables to the verse line. This is the natural rhythm of the
English language.
The “iamb” foot is a two-syllable unit of rhythm where the second syllable gets the emphasis. Examples of
words that are iambic appear below. Consider how you would say them. Where does your voice naturally rise
in pitch, strengthen, or get louder? That’s the syllable that is emphasized.
alone
prepared
below
respect
away
condemn
around
within
forget
alas
surprise
content
When you put 5 iambic feet together (that’s pairs of syllables), that’s “pentameter” (5 feet). Guess how many
total syllables make up a line of 5 iambic feet? That’s right, 10, which brings us back to the point we started
with: Shakespeare wrote, as his basis for rhythm, ten syllables to the verse line.
[Note: In the example text below, look for shared lines and short lines.)
Angelo
Your Brother is a forfeit of the Law,
And you but waste your words.
Isabella
Alas, alas:
Why all the souls that were, were forfeit once
And he that might the vantage best have took
If he, which is the top of Judgment, should
But judge you, as you are? Oh, think on that,
And mercy then will breathe within your lips
Like man new made.
Angelo
Be you content (fair Maid)
It is the Law, not I condemn your brother,
Were he my kinsman, brother or my son,
It should be thus with him; he must die tomorrow.
Isabella
Tomorrow? Oh, that’s sodaine,
Spare him, spare him:
He’s not prepared for death; even for our kitchen
We kill the fowl of season: shall we serve heaven
With less respect then we do minister
To our gross selves? Good, good, my Lord, bethink you;
There’s many have committed it.
MONOSYLLABIC WORDS, PHRASES, OR LINES
Monosyllabic words and phrases usually tell the actor to slow down thoughts because the ideas you are using, or
thoughts you are working through, are important.
Hamlet
To be, or not to be, that is the Question:
Constance I trust I may not trust thee for thy word.
SMALL WORDS (and, yet, but, or, therefore)
Always indicate a change of thought. They are words of logic.
RHYMES
Allow the character to enjoy his or her own cleverness, usually indicating the end of a speech. It is very easy to
get into a downward inflection with rhymes. Avoid that.
Katherine
An mercy then will breathe within your lips
Like Man new made.
Be you content (fair Maid)…
Then vale your stomachs, for it is no boot,
And place your hands below your husband’s foot:
In token of which duty, if he please,
My hand is ready, may it do him ease.
DOUBLE ENTENDRE
Shakespeare used sexual puns to amuse and titillate his audiences.
SHORT LINES (incomplete lines of verse)
A pause before or after a short line can indicate time for though or a physical stage direction.

Spare him, spare him.

Here comes the King.
Parolles
Man setting down before you, will undermine you, and blow you up.