How to Make Sense of Shakespeare's Writing Style

Ever wonder why so many people don’t like Shakespeare? His plots abandon themselves to murder, revenge, love, the supernatural and more emotions in one page than a late afternoon soap opera. What deters many people is Shakespeare’s writing style; the way he uses language feels like you’re riding on the back of a whale. Hold on for dear life and do not let go! Yet, understanding four basic components of Shakespeare’s writing style can make Shakespeare’s plays and sonnets a ride you’ll never forget.

Instructions

Difficulty: Moderate

1. MC (Metaphor of Ceremonies) Shakespeare
   
   But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun.
   
   Okay, ladies cannot be suns. They can’t be roses or have wires
   growing on their heads. But be forewarned. Shakespeare uses
   metaphors like a television newscaster uses hair spray. Each direct
   comparison captures a specific shared detail that the two objects have
   in common. Juliet is bright and beautiful. The world is a stage, and
   each of us a player playing a part. Look for specific comparisons that
   don't use like or as.
2. Inversion
   
   You do I love. What I should think of this?
   
   Get ready for confusion. In fact, spin around in your chair and make
   yourself really dizzy. Inversion is a major puzzle piece when it comes
   to deciphering Shakespeare’s writing style. However, 3 simple words
   will simplify the whole process: Subject, Verb, Object. Most of our
   daily writing follows this grammatical law. That movie was great.
   Not, great was that movie. Read each Shakespearean sentence like it
   was put into a blender. Find the subject, verb and object and place
   them in the correct order. Luck good to you.
3. Weird Words
   
   He hath much talk'd of you. The actors art come hither.
   
   I apologize for calling Shakespeare’s language weird. I meant
   Elizabethan! Yet, when is the last time you said, Thy foot doth
   smelleth. You might need a special dictionary to translate that.
   Better yet, take a closer look at the words that can be identified.
   Many of the words used during Shakespeare’s time are still in use
   today, though the spelling varies. As you read you’ll notice that
   vowels are dropped from words and replaced by apostrophes. Or
   suffixes such as “st” and “eth” are added. However, the words
   remain the same. Once you get the hang of it I thinkest thou shalt
   not protest overmuch.
4. Interruption
   
   I, that am rudely stamp'd, and want love's majesty to strut before a wanton ambling nymph; I, that am curtail'd of this fair proportion, cheated of feature by dissembling nature, deformed, unfinish'd, sent before my time into this breathing world, scarce half made up, and that so lamely and unfashionable that dogs bark at me as I halt by them; why, I, in this weak piping time of peace, have no delight to pass away the time, unless to spy my shadow in the sun and descant on mine own deformity…”
   
   That Richard III sure had a lot to complain about! In the play, this entire sentence consists of 17 lines. Shakespeare puts details between the subject and verb, interrupting the natural grammatical process. Again, this puzzle can be solved by finding those 2 elusive sentence signposts. In this sentence the subject is at the beginning. The verb plays a sneaky game of Hide and Seek. The main verb is “have.” I have no delight. Why not? The rest of the sentence provides details to explain his reasoning.