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Contract Context Printing 160 characters of context... Expand Context ... ondensation, and the transmutation of the participle into a substantive is very Shakespearian. ‘The thankings of a king;' ‘Strewings for graves,' &a ...
... antive. It may well be thought, that by the omission the language becomes more Shakespearian, without any loss of eloquence. But the passage, as it stands, is ...
... antive. It may well be thought that by the omission the language becomes more Shakespearian, without any loss of eloquence. But the passage, as it stands, is ...
... amber With golden cherubins is fretted.' 'Fret' is an architectural term which Shakespeare employs in a looser sense. Bacon, in the following passage, uses it ...
... t any qualification. The higher authority is with Q2 as believed printed from Shakespeare's autograph, and F's handling of the punctuation in general entitles ...
... ss image' of Hebrews I. 3) and shows indeed a turn of thought characteristic of Shakespeare, who joins 'form' and 'pressure' at I. v. 100 and III. ii. 24. Fro ...
... nds' (<i>MND</i> V. i. 5ff.) and which links with the creative imagination. Shakespeare is of course drawing on a common stock of ideas and terms (cf. Brigh ...
... qu's read <i>coted</i>. The 3d q. and the fo's read, <i>coated</i>. Perhaps <i>Shakespeare</i> wrote <i>quoted</i>. <i>Accosted</i> is R's emendation.”< ...
... presently <i>coted</i> and outsript them.' Furness quotes from an article, New Shakespearian Interpretations, in the Edinburgh Review, October, 1872: ‘< ...
... (ed. 1982): "See B. Nicholson, <i>N&Q</i>, 4th ser. VIII, 62 ; Ingleby, <i>Shakespeare Hermeneutics</i>, pp. 71 ff. Corrupted in both F and Q1, this phra ...
... humours of children.' We have most decisive evidence that the company to which Shakespeare belonged, did occasionally leave London and <i>travel</i>, in the ti ...
... entation of popular stories, which approaches nearer to the drama of the age of Shakespeare. There seem to have been companies of persons who made the stage, su ...
... rsons who belonged to the London theatres.</para> <para>“It is said that Shakespeare was once performing at Edinburgh, but no one has yet been able to pr ...
... in his explanation, but it seems to be rather too refined, and I think that if Shakespeare intended the allusion he mentions, he would have expressed himself m ...
... place would produce anything nobler <small>or even</small> attraction. Perhaps Shakespeare wrote it to put down the aiery of young eyases. No play has been so ...
... he Stage</i>, p. 305, 312, 353. Quotes Thomas Kenney, <i>The Life and Genius of Shakespeare</i>, p. 374. ‘The passage, which stands thus in quarto 1603, & ...
... her convenient places. The Blackfriars Theatre belonged to the company of which Shakespeare was a member, formerly the Lord Chamberlain's, and at this time His ...
... the word no formal ‘inhibition' was used issued. If by ‘inhibition' Shakespeare merely meant, as we think most probable, that the actors were practi ...
... ecture we have not lost sight of the fact that after all, remembering how chary Shakespeare is of contemporary allusions, no special occurrence may be hinted at ...
... e children became “the Children of her Majesty's Revels”; in 1603 Shakespeare's company became the King's servants. It was inexpedient that the K ...
... e suggestion as to the ‘inhibition' is, that it refers to the disgrace of Shakespeare's company at court in 1601, owing to the share they had taken, by a ...
... nce of <i>Richard II</i>., in the conspiracy of Essex. See S. Lee's <i>Life of shakespeare</i>, pp. 213-217.”</para></cn> <cn> <sigla>1926<tab></tab><i> ...
... ' and 'insurrection', and this is also the unmistakable sense in the only other Shakespearean instances, <i>Oth</i>. II. iii. 36 and <i>Sir Thomas More</i>, MSR ...
... ion' implies a past and particular rather than a continuing event (cf. Boas, <i>Shakespeare and the Universities</i>, p. 23n.).</para> <para>“The further ...
... e to some contemporary happening. Dover Wilson (NCS, p. 177) and Chambers (<i>Shakespearean Gleanings</i>, p. 69) confidently take this to be the Essex rebell ...
... ' of child actors are unconvincing. So, I think, is Harbage's supposition (<i>Shakespeare and the Rival Traditions</i>, pp. 114-15) that broils occasioned by ...
... should have been brought in if no more was to be made of it ; but as I see it, Shakespeare, in need of an explanation for the players' travelling, referred it ...
447) Commentary Note for line 1380:1380 innouasion.... >]<sc> Neil</sc> (ed. 1877): “Agrees with J. Monck Mason<i>, Comments on Shakespeares Plays</i>, p. 381.”</para> </cn> <cn> <sigla>1982 <tab></ta ...
448) Commentary Note for lines 1386-7:1387 <Yases, that crye out on the top of question; and>... <para>“I have been particular in this Recital, to shew you how nicely <i>Shakespear</i> judg'd of the Consequence; for this Gentleman [Nathan Field] was ...
... ot to cavil about a Word, and with a Man who has done such excellent Service to Shakespeare, I will give my own Opinion, and leave it to the Candid to judge as ...
... <para>“The Meaning of the Word <i>Question</i> seems to be determined by Shakespeare himself in this Play. In a Scene of the third Act, Hamlet, in his In ...
... t straining, we may fairly infer, that by <i>crying out at Top of Question</i>, Shakespeare meant that in Place of representing a Passion according to Nature, a ...
... ed flourish among the writing masters of the elder time for this word question. Shakespeare compares the Children of Pauls here meant to the Little Eyases of th ...
... n general.</para> <para>“We might say that there are twenty allusions in Shakespeare to the art </f. 227v><228>of penmanshif. And it is prett ...
... something which a sober judgment would regard as a fault. To <i>top</i>, in <i>Shakespeare</i>, is generally to <i>surpass</i>; as in <i>Coriolanus</i>, ii. 1: ...
... heir profession, </i>who are most talked about as having surpassed all others. Shakespeare uses <i>cry out on, </i>or <i>cry on, </i>nearly if not quite always ...
... force ('making them expert till they cry it up in <i>the top of question'</i>, Shakespeare Soc., 1842, p. 55) ; but this, like other phrases in the same work, ...
... these Children, who so berattled the common Stages. What greater Affront could Shakespeare put upon his Audience, than to suppose any of them were of such tame ...
... sc>Roberts</sc> (1729, p. 40): “I remark'd before how prophetically <i>Shakespeare</i> spoke of these Children coming to the <i>Common Stages</i> and t ...
... ra>1389 <b>be-ratled</b>] <sc>Heath</sc> (1765, p. 535): "Mr. Theobald, in his Shakespear restored, p. 66. conjectures, I think with great probability, that th ...
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