In revealing patterns of you/thou use in Shakespeare's plays, this study highlights striking and significant shifts from one to the other. Penelope Freedman demonstrates that understanding of the implications of you/thou use in early modern English has been bedevilled by overconcern with issues of power and status, and her careful research, analysing all the plays, reveals how a fuller understanding of Shakespeare's usage can provide a key to unlock puzzles of motive and character, and a glass to clarify relationships and emotions. The work focuses particularly on dialogue between men and women, and sheds new light on male and female language use. The scholarship presented in this volume is augmented with tables and a glossary of linguistic terms.

Romeo and Juliet always use ‘thou’ to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ‘thou’, but no man ever does. Why? When characters address the dead, they use ‘thou’ – except for Hamlet, who addresses Yorick as ‘you’. Why? Shakespeare’s contemporaries would have known the answers to these questions because they understood what ‘thou’ signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ‘trulls’ and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating lèse-majesté, Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author’s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

Romeo and Juliet always use ‘thou’ to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ‘thou’, but no man ever does. Why? When characters address the dead, they use ‘thou’ – except for Hamlet, who addresses Yorick as ‘you’. Why? Shakespeare’s contemporaries would have known the answers to these questions because they understood what ‘thou’ signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ‘trulls’ and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating lèse-majesté, Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author’s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

Romeo and Juliet always use ''thou'' to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ''thou'', but no man ever does. Why? When characters address the dead, they use ''thou'' except for Hamlet, who addresses Yorick as ''you''. Why? Shakespeare''s contemporaries would have known the answers to these questions because they understood what ''thou'' signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ''trulls'' and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating l se-majest , Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author''s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

Romeo and Juliet always use ''thou'' to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ''thou'', but no man ever does. Why? When characters address the dead, they use ''thou'' except for Hamlet, who addresses Yorick as ''you''. Why? Shakespeare''s contemporaries would have known the answers to these questions because they understood what ''thou'' signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ''trulls'' and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating l se-majest , Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author''s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

In revealing patterns of you/thou use in Shakespeare''s plays, this study highlights striking and significant shifts from one to the other. Penelope Freedman demonstrates that understanding of the implications of you/thou use in early modern English has been bedevilled by overconcern with issues of power and status, and her careful research, analysing all the plays, reveals how a fuller understanding of Shakespeare''s usage can provide a key to unlock puzzles of motive and character, and a glass to clarify relationships and emotions. The work focuses particularly on dialogue between men and women, and sheds new light on male and female language use. The scholarship presented in this volume is augmented with tables and a glossary of linguistic terms.

In revealing patterns of you/thou use in Shakespeare's plays, this study highlights striking and significant shifts from one to the other. Penelope Freedman demonstrates that understanding of the implications of you/thou use in early modern English has been bedevilled by overconcern with issues of power and status, and her careful research, analysing all the plays, reveals how a fuller understanding of Shakespeare's usage can provide a key to unlock puzzles of motive and character, and a glass to clarify relationships and emotions. The work focuses particularly on dialogue between men and women, and sheds new light on male and female language use. The scholarship presented in this volume is augmented with tables and a glossary of linguistic terms.

Romeo and Juliet always use ‘thou’ to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ‘thou’, but no man ever does. Why? When characters address the dead, they use ‘thou’ – except for Hamlet, who addresses Yorick as ‘you’. Why? Shakespeare’s contemporaries would have known the answers to these questions because they understood what ‘thou’ signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ‘trulls’ and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating lèse-majesté, Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author’s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

Romeo and Juliet always use ‘thou’ to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ‘thou’, but no man ever does. Why? When characters address the dead, they use ‘thou’ – except for Hamlet, who addresses Yorick as ‘you’. Why? Shakespeare’s contemporaries would have known the answers to these questions because they understood what ‘thou’ signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ‘trulls’ and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating lèse-majesté, Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author’s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

Romeo and Juliet always use ''thou'' to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ''thou'', but no man ever does. Why? When characters address the dead, they use ''thou'' except for Hamlet, who addresses Yorick as ''you''. Why? Shakespeare''s contemporaries would have known the answers to these questions because they understood what ''thou'' signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ''trulls'' and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating l se-majest , Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author''s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

Romeo and Juliet always use ''thou'' to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ''thou'', but no man ever does. Why? When characters address the dead, they use ''thou'' except for Hamlet, who addresses Yorick as ''you''. Why? Shakespeare''s contemporaries would have known the answers to these questions because they understood what ''thou'' signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ''trulls'' and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating l se-majest , Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author''s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

In revealing patterns of you/thou use in Shakespeare''s plays, this study highlights striking and significant shifts from one to the other. Penelope Freedman demonstrates that understanding of the implications of you/thou use in early modern English has been bedevilled by overconcern with issues of power and status, and her careful research, analysing all the plays, reveals how a fuller understanding of Shakespeare''s usage can provide a key to unlock puzzles of motive and character, and a glass to clarify relationships and emotions. The work focuses particularly on dialogue between men and women, and sheds new light on male and female language use. The scholarship presented in this volume is augmented with tables and a glossary of linguistic terms.