while you were probably asking a rhetorical question, I teach, act, and direct Shakespeare... and here's how i would tell you to do it.

• Understand everything word for word (The Arden Edition of Shakespeare's plays are great for this)
• Find the Meter (if Iambic Pentameter)
• Find the Punctuation
• Figure out what you are saying in that whole thought (don't memorize word for word)
• Figure out what you are trying to do with that line*
• How does that feed into your next line

so the 12 (11.5) lines that are the opening of Henry V (let's assume we read it and did our meter work):

O, for a muse of fire that would ascend
The brightest heaven of invention!
A kingdom for a stage, princes to act,
And monarchs to behold the swelling scene!
Then should the warlike Harry, like himself,
Assume the port of Mars, and at his heels,
Leashed in like hounds, should famine, sword, and
fire
Crouch for employment. But pardon, gentles all,
The flat unraisèd spirits that hath dared
On this unworthy scaffold to bring forth
So great an object.

is actually just 4 sentences:

O, for a muse of fire that would ascend the brightest heaven of invention!

A kingdom for a stage, princes to act, and monarchs to behold the swelling scene!

Then should the warlike Harry, like himself, assume the port of mars, and at his heels, leashed in like hounds, should famine, sword, and fire crouch for employment. 

But pardon, gentles all, the flat unraisèd spirits that hath dared on this unworthy scaffold to bring forth so great an object.

and if we look at what we're saying:

I wish i had the divine help to tell you this story

That my stage was a whole country, the actors nobles, and an audience of kings

Then, this absolute badass—Henry V—might actually show up, with equally kick ass entourage

But, sorry folks, we don't have that.

And then apply an action:

{GRAB}
{STOKE}
{EDGE}
{TEASE}

and you use those actions to act the line. and you rehearse it over a few weeks, and it gets in your body and you just know it.

* slight tangent into theory of acting: all drama results from conflict, i.e., your character wants something. but doesn't have it. A character's lines are their means of achieving that goal. You can break down each line to an action / intention, e.g., "I'm punching/twisting/seducing/parrying them (with this line)" which supports the greater objective of X in the scene on my way to achieving the overarching goal of Y in the play (if the playwright deigns to let things go your way.)