please… if you’re going to attempt to speak in “old” english

culmaer:

linneadenvarg:

helaas–pindakaas:

linneadenvarg:

theliteraryarchitect:

veryrarelystable:

gehayi:

lukas-langs:

THOU is the subject (Thou art…)
THEE is the object (I look at thee)
THY is for words beginning in a consonant (Thy dog)
THINE is for words beginning in a vowel (Thine eyes)

this has been a psa

Also, because H was sometimes treated as a vowel when the grammar rules for thou/thee/thy/thine were formed,THINE can also be used for words beginning with H. For example, both “thy heart” and “thine heart” appear in Elizabethan poetry.

For consistency, however, if you’re saying “thine eyes”, make sure you also say “mine eyes” instead of “my eyes”.

Further to the PSA:

Thou/thee/thine is SINGULAR ONLY.

Verbs with “thou” end in -st or -est: thou canst, thou hast, thou dost, thou goest.  Exception: the verbs will, shall, are, and were, which add only -t: thou wilt, thou shalt, thou art, thou wert.

Only in the indicative, though – when saying how things are (“Thou hast a big nose”).  Not in the subjunctive, saying how things might be (“If thou go there…”) nor in the imperative, making instructions or requests (“Go thou there”).

The -eth or -th ending on verbs is EXACTLY EQUIVALENT TO THE -(e)s ENDING IN MODERN ENGLISH.

I go, thou goest, she goeth, we go, ye go, they go.

If you wouldn’t say “goes” in modern English, don’t say “goeth” in Shakespearean English.

“Goeth and getteth me a coffee” NO.  KILL IT WITH FIRE.

Usually with an imperative you put the pronoun immediately after the verb, at least once in the sentence (“Go thou” / “Go ye”).

YE is the subject (Ye are…).  YOU is the object.

Ye/you/your is both for PLURALS and for DEFERENCE, as vous in French.

There’s more, but that’ll do for now.

Oh wow. Reblogging for reference.

OP is confusing Old English with Early Modern English but go off I guess.

“thine eyes” in actual Old English is “þīn ēagan” :p

OP also put “old” in quotations for reason, but go off i guess

I was being facetious. I just like Old English 😁

HENCE is “from here” (from this place)
THENCE is “from there” (from that place)
WHENCE is “from where” (from what place)

thus, “a month hence, it will be over” and NOT “a month *from hence” ;

“thou camest thence” NOT “thou camest *from thence” ;

“I know whence I came, and whither I go”

and NEVER “..*from whence”

HITHER is “to here”
THITHER is “to there”
WHITHER is “to where”

but HITHERTO, THITHERTO and WHITHERTO are also attested in some cases, eg “come hither” vs “hitherto shalt thou come but no further”

HITHERWARD and THITHERWARD mean “towards this/that place”, and WHITHERWARD means “towards where” or “in what direction”

Somebody: There’s one character I don’t like.
Me: That’s fine! Like who you like!
Somebody: It’s Thomas Hamilton.
Me: I don’t know who you are. I don’t know what you want. If you are looking for ransom I can tell you I don’t have money, but what I do have are a very particular set of skills. Skills I have acquired over a very long career. Skills that make me a nightmare for people like you. If you take back what you said about Thomas Hamilton now that’ll be the end of it. I will not look for you, I will not pursue you, but if you don’t, I will look for you, I will find you and I will—

iwt-v:

Edward Teach Memorial Week Favorite relationship: Teach & Vane

I knew right away he was different than the others.
He was so like me when I was a younger man.
And that he and I somehow were fated to matter to one another.
I was consumed with the question of whether our similarities would be a blessing or a curse.

What is black sails about?

lesbianwaves:

off the top of my head:

  • the erasure/disfiguration of gay legacy both from an historical and fictional perspective both of which are represented by the narrative itself (which deconstructs itself for that purpose) and within the narrative (where characters fight to re-appropriate both)
  • a sophisticated and multifaceted discussion on revolution and changing the world for the better had by marginalized people
  • pirates (and that is secondary, but not actually inconsequential, because it’s not merely a cover, a trick of the light concealing the true essence of the show, the show could not ascend to the heights it reaches without the foundation of a setting historically saturated with outcasts whose true nature has been serially mistold)
  • the sacredness and inherent goodness of rightful gay anger
  • love refusing to be shed
  • a gay man who becomes a pirate to honor his boyfriend’s progressive ideals and because he’s had it with homophobia
  • the power of stories we create to fill the manufactured void of us crafted by those in power
  • identity and the delicate balances of it when institutionalized oppression gets in the way
  • gay and black men and women talking of what the world should be, teaming up to make dust of the systemic moulds their trauma came from and make the british empire and its shackles and its shame crumble
  • an overarching quest to get some gold which is nothing but a mean to all mentioned above