CHAPTER 37
Worksheets
NOTE:
These worksheets may be enlarged and reproduced without author permission. Answers are included following the exercises for each skill.
SUPPORT THE FINAL WORD OF EACH LINE (“KICK THE BOX”)
A. Here are the two examples used in the chapter:
Portia: The quality of mercy is not strained; (MV, IV, i)
Romeo: Thou canst not speak of that thou dost not feel. (Rom, III, iii)
B. Here are other speeches with which to practice. The first three examples are from Julius Caesar.
1. Portia speaks to Brutus after the conspirators have left. Kick the box on the last syllable of each line. However, one line has a feminine ending, so kick on the tenth syllable of that line, and there is a trochaic foot in one line.
Portia: You have some sick offense within your mind,
Which by the right and virtue of my place
I ought to know of; and upon my knees
I charm you, by my once-commended beauty,
By all your vows of love, and that great vow
Which did incorporate and make us one, (II, i)
2. Calphurnia speaks to Caesar. Kick on the final syllable of each line. However, one line has a feminine ending, so kick on the tenth syllable of that line. Also, in one line, a one-syllable word must be spoken as two syllables to keep the rhythm, and there is a trochaic foot in one line.
Calphurnia: Caesar, I never stood on ceremonies,
Yet now they fright me. There is one within,
Besides the things that we have heard and seen,
Recounts most horrid sights seen by the watch.
A lioness hath whelped in the streets,
And graves have yawned and yielded up their dead. (II, ii)
3. Here is Mark Antony alone with Caesar’s body. Again, kick on the final syllable of each line. However, once again, one line has a feminine ending, so kick on the tenth syllable of the line. Also, in two different lines, a one-syllable word must be spoken as two syllables to keep the rhythm.
Antony: O, pardon me, thou bleeding piece of earth,
That I am meek and gentle with these butchers!
Thou art the ruin of the noblest man
That ever lived in the tide of times. (III, i)
4. Here is an example from Romeo and Juliet. The Nurse is speaking to Lady Capulet about Juliet’s age.
Nurse: Even or odd, of all days in the year,
Come Lammas Eve at night shall she be fourteen.
Susan and she (God rest all Christian souls!)
Were of an age. Well, Susan is with God;
She was too good for me. But, as I said,
On Lammas Eve at night shall she be fourteen;
That shall she, marry; I remember it well. (I, iii)
In this speech, kick on the tenth and final syllable of each line. However, two of the lines have feminine endings, so in these lines, kick on the tenth syllable. Also, in one line, you must practice elision (combining two words into one—e.g., “I will” into “I’ll,”—or removing a vowel from a word to shorten it, as “int’rest” for “interest”). This is done so that you can read the line with fewer syllables and make the rhythm work. There are more examples of elision in Skill Worksheet #6.
Practice the kick box exercise with any verse lines of Shakespeare. Be sure to check for feminine endings and elision to keep the rhythm, then kick on the tenth syllable.
TIPS AND ANSWERS FOR SKILL WORKSHEET 1
B. 1. You were correct if you selected “beauty” for the feminine ending and kicked on the first syllable of the word.
2. Selecting “ceremonies” as the feminine ending and “whelped” to be spoken with two syllables (“whelp’ed”) would be correct. The fourth foot of line four is a trochee, as “seen” breaks the rhythm.
3. “Butchers” is the feminine ending. Both “ruin” and “lived” must be spoken with two syllables: “ru-in” and “liv’ed.”
4. In this speech, each “fourteen” is a feminine ending. Elide the e from the final syllable of “remember” and combine with “it” to get “re mem b’rit,” eliding from four to three syllables. Now you can keep the rhythm. The line would scan:
SCANSION: EMPHASIZE STRESSED WORDS OR SYLLABLES
A. Here are the three examples used in the chapter. For practice, mark the scansion of these lines as you worked it out on page 242. Circle words that break the rhythm.
Romeo: But soft! What light through yonder window breaks? (Rom, II, ii)
Chorus: Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge, break to new mutiny,
Where civil blood makes civil hands unclean. (Rom, Pro)
Hamlet: To be, or not to be—that is the question. (Ham, III, i)
B. Here are three practice speeches. Mark the scansion of these lines. Most are regular blank verse lines of ten syllables, two syllables per foot.
1. The first is Helena to her companions in A Midsummer Night’s Dream:
Helena: O Spite! O hell! I see you all are bent
To set against me for your merriment.
If you were civil and knew courtesy,
You would not do me thus much injury. (III, ii)
2. Here is Juliet to the Friar in Romeo and Juliet. One line has a trochaic foot and another foot could be a spondee (both syllables stressed):
Juliet: Conceit, more rich in matter than in words,
Brags of his substance, not of ornament.
They are but beggars that can count their worth;
But my true love is grown to such excess
I cannot sum up sum of half my wealth. (II, vi)
3. In the same play, Mercutio to Romeo, three words break the rhythm:
Mercutio: O, then I see Queen Mab hath been with you.
She is the fairies’ midwife, and she comes
In shape no bigger than an agate stone
On the forefinger of an alderman. (I, iv)
C. The next two examples require more thought. Mark the feet, the stressed words, and any words that break the rhythm.
1. Puck to the Fairies in A Midsummer Night’s Dream:
Puck: The King doth keep his revels here tonight.
Take heed the Queen come not within his sight.
For Oberon is passing fell and wrath,
Because that she, as her attendant, hath
A lovely boy, stolen from an Indian King. (II, i)
In one line, there are twelve syllables without a feminine ending, so you must elide two. See if you can do it. One word breaks the rhythm.
2. Here is Antonio’s opening speech in The Merchant of Venice. One line has an irregular rhythm:
Antonio: In sooth I know not why I am so sad.
It worries me, you say it worries you;
But how I caught it, found it, or came by it,
What stuff ’tis made of, whereof it is born,
I am to learn;
And such a want-wit sadness makes of me
That I have much ado to know myself. (I, i)
One elision is necessary. One word might be emphasized to break the rhythm. One line is a “short line.” See if you can figure out how to read it.
D. Take any of Shakespeare’s verse lines and practice marking the feet, then the stressed syllables, the feminine endings, the words that break the rhythm, and any words that must be elided to keep the rhythm.
TIPS AND ANSWERS FOR SKILL WORKSHEET 2
B. 1. All are regular lines. Each two syllables makes one foot for five feet per line.
2. Most are regular lines, two syllables per foot, five feet, but notice that “Brags” and “true” break the rhythm.
“Brags” is an action verb, more important than “of.” Line 4 can also be read as a regular line, with “true” unstressed. But doesn’t it work better if you stress it? You might also choose to stress “But.”
3. All are regular lines, five feet. Notice that “O,” “Queen,” and “fore” break the rhythm.
C. 1.
To make a ten-syllable line of the final line, elide “stolen” (which also breaks the rhythm) to one syllable (stol’n) and “Indian” to two syllables (“Ind’an”). Now the rhythm works.
2. In line 3, elide “by it” to “by’t.” Line 5 is a “short line” that calls for a pause of three feet (dee dum dee dum dee dum) to complete the rhythm before you read line 6. (Short lines may also be completed by the next speaker, but that isn’t the case here.) In line 3, “came” may break the rhythm, if you choose that reading.
PHRASING: SEPARATE THE THOUGHTS
A. Once readers learn to phrase, they will not rush the language. Many phrases are identified by the punctuation marks. Others must be discovered. Watch for where the thought changes.
Here is the example that was worked out on page 245, as Brutus answers Cassius. For practice, circle the phrases or mark them by use of the caesura (//).
Brutus:What you have said (1)
I will consider; what you have to say (2)
I will with patience hear; and find a time (3)
Both meet to hear and answer such high things. (4)
Till then, my noble friend, chew upon this: (5)
Brutus had rather be a villager (6)
Than to repute himself a son of Rome (7)
Under these hard conditions as this time (8)
Is like to lay upon us. (JC, I, ii) (9)
B. Read the following speeches and mark all phrases. You might also do the complete scansion.
1. The first is Richard III’s opening monologue. Richard is not yet king, but covets the throne. Blocking his way are his two brothers: the present King Edward IV, who has two sons of his own, and Clarence. Yet, with the House of York returned to the throne through war, Richard is closer to his goal than he has ever been.
Richard: Now is the winter of our discontent
Made glorious summer by this son of York;
And all the clouds that lowered upon our house
In the deep bosom of the ocean buried. (RIII, I, i)
Here is the speech broken into phrases by use of the caesura (//), with shorter phrases or breaks within the phrases marked with one /. Too many phrases would be wrong for performance, of course, but can be very right for reading and rehearsal, as the phrases force the reader to separate the thoughts. (Scansion is shown in the Tips and Answers.)
Now / is the winter // of our / discontent //
Made / glorious summer // by this / son of York;
And / all the clouds // that lowered / upon our house //
In the deep bosom // of the ocean / buried.
Note that the first phrase, “Now is the winter,” contains two thoughts, not one: “Now” and “is the winter.” When practicing phrasing, consider various possibilities for each thought. For example, “Now” could mean right now at this moment, now as a period of time, now after something else has passed, now as opposed to later, and so on. The phrase “is the winter” could mean winter of the year, the latter part of life, a coldness, a desolate time, the opposite of summer, and so on. Once you have considered the many possibilities for each thought, select one and try it. Then try others until you are satisfied with the reading. What you are doing is determining the possibilities within the language before you decide how to read the line and before you make character decisions. This approach will help you make strong choices.
2. These are Capulet’s orders to Tybalt, who has recognized Romeo in disguise at the Capulet party and wants to challenge him.
Capulet: Content thee, gentle cuz, let him alone.
’A bears him like a portly gentleman,
And, to say truth, Verona brags of him
To be a virtuous and well-governed youth.
I would not for the wealth of all this town
Here in my house do him disparagement.
It is my will, the which if you respect,
Show a fair presence and put off these frowns,
An ill-beseeming semblance for a feast. (Rom, I, iv)
3. In this speech, Romeo asks the Apothecary for poison.
Romeo: Come hither, man. I see that thou art poor.
Hold, there is forty ducats. Let me have
A dram of poison, such soon-speeding gear
As will disperse itself through all the veins
That the life-weary taker may fall dead,
And that the trunk may be discharged of breath
As violently as hasty powder fired
Doth hurry from the fatal cannon’s womb. (Rom, V, i)
4. Here is Brutus (the commander) to Cassius (one of his generals) in the battle that follows the murder of Caesar in Julius Caesar:
Brutus: Remember March; the ides of March remember.
Did not great Julius bleed for justice sake?
What villain touched his body that did stab
And not for justice? What, shall one of us,
That struck the foremost man of all this world
But for supporting robbers—shall we now
Contaminate our fingers with base bribes,
And sell the mighty space of our large honors
For so much trash as may be grasped thus? (IV, iii)
5. In one of Hamlet’s soliloquies, study the four lines without punctuation, and circle the many phrases within them.
Hamlet: To be, or not to be—that is the question:
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles
And by opposing end them. (Ham, III, i)
6. In this final example, mark the phrases as Theseus asks for a play to be performed in A Midsummer Night’s Dream.
Theseus: Come now, what masques, what dances shall we have,
To wear away this long age of three hours
Between our after-supper and bedtime?
Where is our usual manager of mirth?
What revels are in hand? Is there no play
To ease the anguish of a torturing hour? (V, i)
For additional study of phrasing, refer to the index and the appropriate chapters in the main text.
TIPS AND ANSWERS FOR SKILL WORKSHEET 3
B.1.
2. Phrase endings not identified by punctuation: after “him,” line 3; “virtuous,” line 4; “not” and “town,” line 5; “house,” line 6; “presence,” line 7; and “semblance,” line 8. For scansion, in line 4, elide “virtuous” to “virt’ous.” All lines except 8 are regular. “Show” breaks the rhythm.
3. Phrase endings are “gear,” line 3; “itself” and “veins,” line 4; “taker,” line 5; “trunk” and “breath,” line 6; “fired,” line 7. “Hold” and “life” break the rhythm. For scansion, line 7 has twelve syllables. Elide “violently” to “vi’lently” and “fired” to “fir’d,” or let it have a feminine ending. All others are regular lines.
4. Phrase endings are “bleed,” line 2; “body,” line 3; “man” and “world,” line 5; “fingers,” line 7; “space” and “honors,” line 8; and “trash,” line 9. In line 8, “large” breaks the rhythm. For scansion, the second “remember” has a feminine ending, “Julius” is read as two syllables, and “grasped” is pronounced “grasp’ed.” All other lines are regular.
5. Phrase endings include “mind,” line 2; “arrows” and “fortune,” line 3; “arms” and “troubles,” line 4; and “opposing,” line 5. Lines 1–4 have feminine endings. Some actors like to break the rhythm with “that” in line 1. In line 4, “Or” breaks the rhythm.
6. Phrase endings are “age” and “hours,” line 2; “play,” line 5; and “anguish,” line 6. “Come” and “age” break the rhythm. Elide “usual” to “us’al” and “torturing” to “tort’ring.”
BREATHE ONLY AT THE PUNCTUATION MARKS
A. This is the example that was used in the text on page 246. Circle the breathing places (the punctuation marks), separate the phrases, and mark the stressed words. Underline those words that break the rhythm. Read the speech aloud, breathing only at the correct places.
Because of the Witches’ prophesy that Banquo’s children will be heirs to the throne, Macbeth, now King, contemplates killing Banquo.
Macbeth: To be thus is nothing, but to be safely thus—
Our fears in Banquo stick deep,
And in his royalty of nature reigns that
Which would be feared. ‘Tis much he dares;
And to that dauntless temper of his mind
He hath a wisdom that doth guide his valour
To act in safety. There is none but he
Whose being I do fear; and under him
My genius is rebuked, as it is said
Mark Antony’s was by Caesar. (Mac, III, i)
B. Here are practice speeches. Circle the breathing places. Then practice reading the speeches aloud, breathing only at the correct places. Don’t forget to identify the phrases, mark the stresses, and underline words that break the rhythm. Work out any necessary elisions.
1. Helena, frustrated because both Lysander and Demetrius profess love to her, speaks of Hermia in A Midsummer Night’s Dream:
Helena: Lo, she is one of this confederacy.
Now I perceive they have conjoined all three
To fashion this false sport in spite of me. (III, ii)
2. The imprisoned King Richard II, overthrown by Bolingbroke and sensing his death, begins his famous monologue like this:
Richard: I have been studying how I may compare
This prison where I live unto the world;
And, for because the world is populous,
And here is not a creature but myself,
I cannot do it. Yet I’ll hammer it out. (RII, V, i)
3. Prince Escalus condemns the riotous families after the act I brawl in Romeo and Juliet:
Prince:What, ho! You men, you beasts,
That quench the fire of your pernicious rage
With purple fountains issuing from your veins!
On pain of torture, from those bloody hands
Throw your mistemp’red weapons to the ground
And hear the sentence of your moved prince. (I, i)
4. Here are Juliet’s words as she paces and waits for the Nurse to bring news of Romeo.
Juliet: Give me my Romeo; and, when he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun. (III, ii)
5. Brutus chastises Cassius for stealing from the poor to support his army in Julius Caesar. In this speech, practice speaking four lines on one breath.
Brutus:I did send to you
For certain sums of gold, which you denied me;
For I can raise no money by vile means.
By heaven, I had rather coin my heart
And drop my blood for drachmas than to wring
From the hard hands of peasants their vile trash
By any indirection. (IV, iii)
TIPS AND ANSWERS FOR SKILL WORKSHEET 4
A. While this speech is a good breathing exercise, it is difficult to scan. You may or may not wish to work on the scansion. If you are leading a class through these exercises, you might assign it to some exceptional students and let them enjoy working it out.
T’be thus / is noth / ing, but / t’be safe / ly thus—
(You must elide each “to be” if you want ten syllables, although the first and fourth feet can be anapests, and the line reads effectively as twelve syllables.)
Our fears / in Ban / quo (silent beat) / stick deep (dee dum)
(A short line with a silent beat. A caesura would precede “stick,” which breaks the rhythm.)
And in / his roy / al ty /of nat’re (an extra syllable) / reigns that
(It does not hurt this line to have three syllables in the fourth foot. “Reigns” breaks the rhythm. A caesura precedes “reigns.”)
Which would / be feared. / ’Tis much / he dares; / (dee dum)
(Another short line.)
And to / that daunt / less tem / per of / his mind
He hath / a wis / dom that / doth guide / his val /our
(A feminine ending.)
To act / in safe / ty. There / is none / but he
Whose be / ing I / do fear; / and un / der him
My gen’ / us is / re buked, / as it / is said
(Elide “genius” to “gen’us.”)
Mark Ant / ’ny’s was / by Caesar. (an extra syllable) / He chid / the sis / ters
(Elide “Antony’s” to “Ant’ny’s” The third foot has an extra syllable which does not hurt the line. The complete line has a feminine ending).
Macbeth continues the line with “He chid the sisters” for a feminine ending. Phrase endings include “nature,” line 3; “mind,” line 5; “valour,” line 6; “he,” line 7; and “him,” line 8.
B. 1. Lines 2 and 3 should be read with one breath. Scansion is like this:
Phrase endings include “there,” line 2, and “sport,” line 3.
2. The first two lines should be read with one breath. Scansion is like this:
Phrase endings include “studying” and “compare,” line 1, and “live,” line 2.
3. The previous line begins and completes the short line that opens this selection.
Phrase endings include “fire” and “rage,” line 2; “fountains,” line 3; “hands,” line 4; “ground,” line 5; and “sentence,” line 6.
4. The scansion is regular, except as indicated.
Phrase endings include “fine,” line 3; “night,” line 4; and “worship,” line 5.
5. The scansion is regular, except as noted.
Phrase endings include “you,” line 1; “money,” line 3; “heart,” line 4; “drachmas,” line 5; and “peasants,” line 6.
MORE ADVANCED STUDY: SKILL WORKSHEET 5
ANTITHESIS
According to Webster, “Antithesis is the placing of a sentence or one of its parts against another to which it is opposed to form a balanced contrast of ideas” (e.g., “Give me liberty or give me death”). Shakespeare frequently uses antithetical words, phrases, or thoughts, and you will be a better reader (or actor) of the language if you can identify them and allow the listener to hear them. For a more extended explanation of antithesis, see chapter 8.
Playing one antithetical word, phrase, or thought against another can be as simple as this example: “Rather than go to town, let’s stay on the farm.” When reading the line, play “go” against “stay,” and “town” against “farm.” Then, simultaneously play the entire first phrase, “Rather than go to town,” against the second phrase, “let’s stay on the farm,” which is antithetical to it in thought. Read the line aloud a few times, and practice giving emphasis to the antithetical ideas.
A. Here are examples of antithesis in a Shakespearean speech.
1. First, Brutus to Cassius in Julius Caesar:
Brutus:What you have said (1)
I will consider; what you have to say (2)
I will with patience hear; and find a time (3)
Both meet to hear and answer such high things. (4)
Till then, my noble friend, chew upon this: (5)
Brutus had rather be a villager (6)
Than to repute himself a son of Rome (7)
Under these hard conditions as this time (8)
Is like to lay upon us. (I, ii) (9)
Dig out the antithetical words, phrases, and thoughts in this speech, so you can play them against each other.
Now read the entire speech, and play the antithetical words or thoughts against each other. Notice how everything becomes clearer.
2. In this next example, Romeo talks of love with his cousin, Benvolio, then notices that a street fight has taken place.
Benvolio: Alas, that love, so gentle in his view, (1)
Should be so tyrannous and rough in proof! (2)
Romeo: Alas, that love, whose view is muffled still, (3)
Should without eyes see pathways to his will! (4)
Where shall we dine? O me! What fray was here? (5)
Yet tell me not, for I have heard it all. (6)
Here’s much to do with hate, but more with love: (7)
Why, then, O brawling love! O loving hate! (8)
O any thing, of nothing first create! (9)
O heavy lightness! serious vanity! (10)
Mis-shapen chaos of well-seeming forms! (11)
Feather of lead, bright smoke, cold fire, sick health! (12)
Still-waking sleep, that is not what it is! (13)
This love feel I, that feel no love in this. (14)
Dost thou not laugh? (15)
Benvolio:No, cuz, I rather weep. (Rom, I, i) (16)
Find the antithetical words, phrases or thoughts. Now read the speech aloud and play all the antithetical possibilities.
3. In Richard II, after having King Richard murdered, Bolingbroke, who will become the new king, condemns the killer, Exton.
Bolingbroke: They love not poison that do poison need,
Nor do I thee. Though I did wish him dead,
I hate the murderer, love him murdered.
The guilt of conscience take thou for thy labor,
But neither my good word nor princely favor.
With Cain go wander through the shade of night,
And never show thy head by day nor light. (V, vi)
Dig out the antithesis in this speech. Note the elision of “murderer” to “murd’rer” and the three syllables for “mur-der-’ed.” (For line 6, I have used the Folio. The Pelican edition prefers “through shades of night.”)
If you wish to work on the skill of digging out antithesis in more detail, use the complete book from which this worksheet is taken, and practice the many other examples to be found there.
ANSWERS AND TIPS FOR SKILL WORKSHEET 5
A. 1. Lines 1/2: “have said” is antithetical to “have to say”
Line 4: “hear” and “answer” are antithetical
Lines 3/4/5: “find a time/Both meet to hear and answer” (lines 3/4) is antithetical to “Till then . . . chew upon this” (line 5)
Lines 6/7: “a villager” and “son of Rome” are antithetical, as are “be” and “repute”
2. Line 1/2: “gentle in his view” and “tyrannous and rough in proof” are antithetical
Line 4: “without eyes” and “see pathways”
Line 6: “tell me not” and “have heard it all”
Line 7: “hate” and “love”
Line 8: “brawling” and “loving,” “love” and “hate”
Line 9: “any thing” and “nothing”
Line 10: “heavy” and “lightness,” “serious” and “vanity”
Line 11: “Mis-shapen chaos” and “well-meaning forms”
Line 12: All four phrases
Line 13: “still-waking” and “sleep,” “is not” and “is”
Line 14: “love” and “no love”
Lines 15/16: “laugh” and “weep”
Also, the thought in line 13—“That’s not what it [love] is” is antithetical to the type of “love” expressed in lines 7–12.
3. Line 1: The first phrase is antithetical to the second phrase—one might not love killing, but will do it anyway.
Line 2/3: “wish him dead” and “hate the murderer”—he had to die, but how could you kill such a fine king?
Line 3: “hate” and “love,” “murderer” and “murdered”
Lines 4/5: “guilt of conscience” and “good word nor princely favor”—your reward for killing him is not my praise nor money, but guilt.
Lines 6/7: “wander” and “show”—wander around, never show up here “shade of night” and “day nor light”—your existence is forever changed from light to darkness.
ELISION
Put simply, elision means either to shorten a word by omitting a vowel—as “int’rest” for “interest” or “virt’ous” for “virtuous”—or to combine two words into one by eliding a letter or letters—as “I’d” for “I had” or “I’ve” for “I have.” Elision is used to shorten words, when necessary, so that fewer syllables are spoken to achieve the ten-syllable rhythm.
A. 1. Here are some examples.
Brutus: I had rather be a dog and bay the moon, (JC, IV, iii)
The line has eleven syllables, and the rhythm is lost if you read the first foot “I had.” Therefore, you elide “I had” to “I’d,” and the first foot becomes “I’d rath.” And the line scans like this:
In an eleven or twelve-syllable line, before eliding, you must decide if the final syllable is a feminine ending. If it is not, then find the word or words to elide.
2. Here’s another example of an eleven-syllable line.
Helena: Wherefore was I to this keen mockery born? (MND, II, ii)
“Born” is obviously not a soft-ending word; it requires stress. Therefore, something has to be elided. Try eliding “mockery” (which has three syllables) to “mock’ry” (which has only two), and the rhythm works.
3. However, note this example from The Merchant of Venice:
Portia: The quality of mercy is not strained;
It droppeth as the gentle rain from heaven
Upon the place beneath. (IV, i)
In line 2, there are eleven syllables. But the “en” in “heaven” can be a feminine ending (the word is pronounced with stress on the first syllable), so the rhythm works without elision. You would not want to stress “en,” as that would make the word sound very strange. Try it and see.
B. The next three examples are from Twelfth Night. Try this eleven-syllable line, and decide whether to elide one word or to have a feminine ending.
Captain: A virtuous maid, the daughter of a count. (I, ii)
2. Here is an eleven-syllable line of the Duke. Choose between elision or a feminine ending.
Duke:I have unclasped
To thee the book even of my secret soul. (I, iv)
3. And here is Antonio’s line to Sebastian—eleven syllables, same choice:
Antonio: To-morrow, sir; best first go see your lodging. (III, iii)
(A hint: feminine endings are often “tion,” “en,” or “ing.”)
For additional work, obtain the complete book from which this worksheet is taken, and begin on part one. If you become interested in the study of Shakespeare, you will find advanced work exciting and stimulating. It will turn on your brain and challenge your talent. Enjoy!
TIPS AND ANSWERS FOR SKILL WORKSHEET 6
B. 1. You must elide “virtuous” to “virt’ous,” as “count” would not be a feminine ending.
2. You must elide “even” to “e’en,” pronounced as one syllable and stressed.
3. The “ing” on “lodging” is not stressed, so it can be a feminine ending. Try saying “lodging” by stressing the “ing.” That’s probably not what you want!
