Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Introduction
- 24 Early Modern English: The Language
- 25 Pronunciation and OP on the Modern Stage
- 26 Shakespeare’s Grammar
- 27 Shakespeare’s Forms of Address
- 28 Foreign Languages and Foreign-Language Learning
- 29 John Florio and the Early Modern Dictionary
- 30 Shakespeare Using Early Modern Translations
- 31 Dialects in the Plays of Shakespeare
- 32 Rhetoric
- 33 Figures of Speech (Including Puns)
- 34 Language: Key to Authorship
- 35 Shakespeare and the OED
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
27 - Shakespeare’s Forms of Address
from Part III - Language
Published online by Cambridge University Press: 17 August 2019
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Introduction
- 24 Early Modern English: The Language
- 25 Pronunciation and OP on the Modern Stage
- 26 Shakespeare’s Grammar
- 27 Shakespeare’s Forms of Address
- 28 Foreign Languages and Foreign-Language Learning
- 29 John Florio and the Early Modern Dictionary
- 30 Shakespeare Using Early Modern Translations
- 31 Dialects in the Plays of Shakespeare
- 32 Rhetoric
- 33 Figures of Speech (Including Puns)
- 34 Language: Key to Authorship
- 35 Shakespeare and the OED
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
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- The Cambridge Guide to the Worlds of Shakespeare , pp. 192 - 198Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Barber, Charles. “‘You’ and ‘thou’ in Shakespeare’s Richard III.” Leeds Studies in English 12 (1983): 273–81.Google Scholar
Calvo, Clara. “Pronouns of Address and Social Negotiation in As You Like It.” Language and Literature 1.1 (1992): 5–7.CrossRefGoogle Scholar
Draudt, M. G. C. Shakespeare’s Use of You and Thou: The Subtext of “Love’s Labour’s Lost.” Vienna: Braunmuller, 1984.Google Scholar
Hargrave, Francis, ed. A Complete Collection of State Trials and Proceedings for High Treason and other Crimes and Misdemeanours from the Reign of King Richard II to the Reign of King George I. Vols. 1 and 4. 2nd ed. London: 1730.Google Scholar
Hope, Jonathan. “Second Person Singular Pronouns in Records of Early Modern ‘Spoken’ English.” Neuphilologische Mitteilungen 1 (1993): 83–100.Google Scholar
Linfield, N. “You and Thou in Shakespeare’s Othello.” Iowa State Journal of Research 57.2 (November 1982): 163–78.Google Scholar
Stansbury, Joan. “Characterisation of the Young Lovers in A Midsummer Night’s Dream.” Shakespeare Survey 35 (1982): 57–63.Google Scholar
Wales, Kathleen M. “‘Thou’ and ‘you’ in Early Modern English: Brown and Gilman Reappraised.” Studia Linguistica 37.2 (1983): 107–25.CrossRefGoogle Scholar
Williams, Charles. “The Use of the Second Person in Twelfth Night.” English 9 (1953): 125–28.Google Scholar
Further reading
Freedman, Penny. Power and Passion in Shakespeare’s Pronouns: Interrogating ‘you’ and ‘thou.’ Aldershot: Ashgate, 2007.Google Scholar
Lass, Roger, ed. The Cambridge History of the English Language. Vol. 3: 1476–1776. Cambridge: Cambridge University Press, 1999.Google Scholar