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Contract Context Printing 160 characters of context... Expand Context ... d the frequency o f such performances, as Qarton remarks, may have suggested to Shakespere the names of Seneca and Plautus in the passage before us. In that ve ...
... spectively, to 'heavy' and 'light.' This respective construction is frequent in Shakespeare. <i>See</i> Macbeth, I. 3. 60, 61; Hamlet, 3. I. 151; Winter's Tale, ...
... g extempore. The rules are usually taken to imply the three unities, in which Shakespeare, however may have been less interested than his critics. Many, inc ...
... ose him to be contrasting classical and modern ; Ifor Evans (<i>The Language of Shakespeare's Plays</i>, p. 96) even finds 'the whole contrast of classical and ...
... course of these notes, parcels of a few other songs, such as are connected with Shakespeare, or partially found in him: when any such quotations occur, and no a ...
... old ballad, entitled <i>Jephtha, Judge of Israel.</i> A copy of the ballad, as Shakespeare knew it, was reprinted in Evan's <i>Old Ballads, </i>in 1810; the f ...
... old ballad, entitled <i>Jephtha, Judge of Israel.</i> A copy of the ballad, as Shakespeare knew it, was reprinted in Evan's <i>Old Ballads, </i>1810; the first ...
... >, voce <i>Chanson</i>.</para> <para>“Among the arbitrary alterations of Shakespeare's text, made by Rowe, the first modern editor, one of the most adven ...
... ore.' Rowe was in many respects a proper person to be selected for an Editor of Shakespeare, from among the literary men of the year 1707, when there was probab ...
... based on holy writ. This sounds more like a term from a songbook title than a Shakespearean coinage. Attempts to defend the F[olio] <i>Pons Chanson</i> by li ...
... y, at a certain age, become rough and manly. However, the liberal language of Shakespeare, to use a phrase of his own, is well explained, by authorities adduc ...
... and the rest <i>chioppine</i>. Dr. <i>Tathwel</i>, in <i>Grey's</i> notes on <i>Shakespeare</i>, would have <i>choppine</i> to be the true reading, which, he sa ...
... :135): “<i>Chapines</i> (Spanish, and not Italian, as the commentaros on Shakespeare assert) are a kind of clogs with thick cork soles, which the ladies ...
... Italian ladies to add to their height. It is often mentioned in the writers of Shakespeare's age. Ben Johnson, T. Heywood, Dekker, and other dramatists, speak ...
... >, p. 49.”</para></cn> <cn><sigla><sc>1879<tab> </tab><tab> </tab><i>new shakespeare society</i></sc></sigla><hanging><sc>anon</sc></hanging> <para>1472< ...
... ing><sc>anon</sc></hanging> <para>1472<b> chopine</b>] <sc>Anon</sc>. (<i>New Shakespeare Society'sTransactions</i> <i>1877-9</i>, pp.472): “<i>Sappin: ...
467) Commentary Note for lines 1474-7:1475-7 weele | haue a speech straite, come giue vs a tast of your qua|lity,... f falconry was much cultivated in France. In <i>All's Well That Ends Well</i>, Shakespear has introduced an <i>astringer</i> or falconer at the French court. ...
... <i>Works of Sir T. Browne, </i>iii. 297, 299). It is prob. that Southampton, Shakespeare's patron, and the friend of the Earl of Essex who had served with Na ...
... ??): “Mr.<i> Warburton </i>is of opinion, the play here mention'd was <i>Shakespear</i>'s<i> </i>own: composed by him on the model of the <i>Greek </i>dr ...
... more upon this subject, in the 8th vol. <i>of Warburton</i>'s<i> </i>edition of Shakespear, p. 267.”</para></cn> <bwk><cn><sigla><sc>1773<tab> </tab>jen< ...
... /i>:' the addition, with the aid of Polonius, was a dish to their palate, which Shakespeare did not stick to serve up to them; reck'ning (as well he might) on t ...
... <sc>Trench</sc> (1913, pp. 102-3): <p. 102> “Why, it is asked, did Shakespeare here introduce a passage quite different in style from what he usual ...
... 102> <p. 103> The answer is so simple: it is that Hamlet's taste and Shakespeare's differ.” </p.103> </para></cn> <cn> <sigla>1930<tab ...
... do</i>, which also gives 'Aeneas' tale to Dido' (see ll. 442-3), but from which Shakespeare's version is not taken (see ll. 448-514 LN). This is still true ev ...
... e's version is not taken (see ll. 448-514 LN). This is still true even though Shakespeare may have been influenced by the prominence <i>Dido</i> gives to the ...
... d epigram, we find the word forming four syllables, and accented, as written by Shakespere:--- ‘And caveare, but it little boots.' This preparation of th ...
... of sturgeon's roe: and the taste for is was considered a mark of refinement in Shakespeare's day: thus Mercury, in "<i>Cynthia's Revels</i>," Act. II. Sc. 1, d ...
... 0):<i>Caviare</i> seems to have been an object of wonder and almost of dread in Shakespeare's day. Elze quotes Cartwright, The Ordinary, ii. 1: Twelve yards of ...
... owe it upon a better friend, that can better tell how to use it'. Harbage (<i>Shakespeare and the Rival Traditions</i>, p. 292) comments that <i>caviare to th ...
470) Commentary Note for lines 1493-4:1494 sable Armes,... and Mr. <i>Pope</i>, in his note on this place, have concurred in thinking that Shakespeare produced this long passage with design to ridicule and expose the bo ...
... fy both these observations.</para> <para>But if any one will still say, that <i>Shakespear</i> intended to represent a player unnaturally and fantastically affe ...
... r unnaturally and fantastically affected, we must appeal to Hamlet, that is, to Shakespeare himself in this matter; who, on the reflection he makes upon the pla ...
... een a very improper circumstance to spur him to his purpose.</para> <para>As <i>Shakespear</i> has here shewn the effects which a fine description of nature, he ...
... equence, without any of the affecting notices of humanity. Such is the man whom Shakespeare has judiciously chosen to represent the false taste of that audience ...
... ra> <para>Now whether these be bombast or not, is not the question; but whether Shakespeare esteemed them so. That he did not so esteem them appears from his ha ...
... I think then it appears, from what has been said, that the play in dispute was Shakespeare's own: and that this was the occasion of writing it. He was desirous ...
... d his tears were ready at a slight solicitation. It is by no means proved, that Shakespeare has <i>employed the same thoughts cloathed in the same expressions, ...
... und in any instance to be exactly true, what can we infer from thence, but that Shakespeare was sometimes wrong in spite of conviction, and in the hurry of writ ...
... s? Dr. Warburton is inconsistent in his assertions concerning the literature of Shakespeare. In a note on <i>Troilus and Cressida</i>, he affirms, that his want ...
... ied to that perfection which the Roman poet had conceived</i>.</para> <para>Had Shakespeare made one unsuccessful attempt in the manner of the ancients (that he ...
... nd posthumous applause is always to be had on easy conditions. Happy it was for Shakespeare, that he took nature for his guide, and, engaged in the warm pursuit ...
... gh few people, I beliee, will be found agreeing in Dr. Warburton's notion, that Shakespeare had any thoughts of writing a play on the model of the Greek drama, ...
... bast. I am pretty clearly of opinion, that the piece in question is the work of Shakespeare himself, and a good deal of it does him no discredit: but he seems t ...
... same proportion that the theatrical elevation does above simple nature. Hence Shakespeare has composed the play in Hamlet altogether in sententious rhymes, fu ...
... Hamlet's reaction to a real one. Even more remarkably, though less remarked, Shakespeare takes the opportunity of the Player's speech to introduce in another ...
... It is strange that distinguished critics have ever seriously maintained that Shakespeare lifted from some old tragedy, his own or another's, a speech so mani ...
... f course the clue to its much-debated style. Dryden, who declined to think it Shakespeare's objected to its metaphorical excesses (<i>Essays</i>, ed. Ker, i. ...
... of subject does not conceal an essential difference of purpose : the speech in Shakespeare has to stand out from the drama which surrounds it and which is alre ...
... an to the dramatist's. For detailed examination of the speech see Bradley, <i>Shakespearean Tragedy</i>, pp. 413-19; Levin, <i>The Question of Hamlet</i>, pp. ...
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