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Contract Context Printing 160 characters of context... Expand Context 531) Commentary Note for lines 1798-1800:1799-1800 uen you one {face} <pace>, and you make your selfes an|other, you gig {&} <you> am-... 62><p. 463> text, which Dr. Johnson thinks best, though he admits that Shakespeare might have written both. Other very good reasons have been given fo ...
... whoever will reflect on the typographical errors for which the quarto plays of Shakespeare are remarkable, may be disposed to think that the folio editors had ...
... he</i> (first published in 1599), issued in the same year as the first folio of Shakespeare's plays, we have this phrase, ‘O affront above all other affro ...
532) Commentary Note for lines 1804-05:1804-5 but one shall liue, the rest shall keep | as they are: to a {Nunry} <Nunnery,> go. Exit <Hamlet>.... lectrical effect on the house. It explained the character at once (and such as Shakespeare meant it) as one of disappointed hope, of bitter regret, of affectio ...
... <sc>Dodd</sc> (1752, p. 241): “Here is a striking instance<i> </i>of<i> Shakespear</i>'s<i> </i>impropriety in his use of metaphors: the word <i>extasie ...
... #x201C; <i>Music vows</i>. The use of substantives as adjectives is common with Shakespeare. See ‘neighbour room,' III, iv, 213; ‘neighbour air,' <i ...
... In this capricious alteration he is countenanced by some of the commentators on Shakespeare, who, as well as himself, might have spared their pains; since it ap ...
... otherwise unimpaired to a musician with 'a false stringed lute' (p. 38), and in Shakespeare a musician who 'plays false' is 'out of tune' (Gent. IV. ii. 57-8). ...
... s of a 'most consonant and pleasant harmony are put 'out of tune' (p. 250), and Shakespeare uses the same metaphor when Cordelia speaks of Lear's 'untun'd and j ...
... er in musical tunes' (Shakespeare's Europe, ed. C. Hughes, 1903, p. 395). And Shakespeare elsewhere combines out of tune with harsh: see Rom. III. v. 27-8, 'I ...
... pendence of music on correct time was often referred to (cf. III. iv. 142-3). Shakespeare makes Richard II exclaim, 'How sour sweet music is When time is brok ...
536) Commentary Note for line 1816:1816 Blasted with extacie, ô woe is mee... t is now wholly confined to the sense of transport, or rapture. In the suage of Shakespeare, and some others, it stands for every species of alienation of the m ...
537) Commentary Note for line 1823:1823 And I doe doubt, the hatch and the disclose... ;Will be some danger: the brood, when we know what it is. (<i>Disclose</i>, for Shakespeare's audience, would be a pun; the verb meant both ‘hatch' and &# ...
... arlier 4to.—has, ‘which for to prevent,'—a construction which Shakespeare seems solicitously to have avoided. See the Introduction to this pl ...
... t with the players,' says Coleridge, ‘is one of the happiest instances of Shakespeare's power of diversifying the scene while he is carrying the plot.'&#x ...
540) Commentary Note for lines 1849-50:1849-50 Ham. Speake the speech I pray you as I pronoun'd | it to you, trip-... 399, 402): <p. 399> “In <i>Hamlet</i>'s speech to the Players, <i>Shakespear</i> gives his whole Knowledge of the <i>Drama. . . . </i> </p. 39 ...
... the <i>Drama. . . . </i> </p. 399> <p. 402> These Precepts of <i>Shakespear</i> are as valuable, as any thing in him, for indeed thoroughly study ...
... ding good, and are evidently brought in as Lessons for the Players, who were <i>Shakespeare</i>'s Companions, and he thought this a very proper Occasion to anim ...
... ations of his, if one may prove a Thing by a negative Argument, must believe <i>Shakespeare</i> to have been an excellent Actor himself; for we can hardly imag ...
... ] to one Martin both of them supposed by ye contents to be jovial companions of Shakespeare & B— Jonson— In which ye writer gives an account [so ...
... ich ye writer gives an account [some illegible insertions] of a dispute between Shakespeare & Alleyn concerning Hamlets advice to ye Players—the latte ...
... 212;the latter claiming the merit of being the real author of it & charging Shakespeare with stealing it from him in the several conversations wch had passe ...
... ng] It appears from the letter as if this charge of Allen had rather displeased Shakespeare—Ben Jonson interposed in ye most friendly manner & seems t ...
... C;Though there can be no doubt that Allen acted many characters in the plays of Shakespeare B. Jonson & Beaumont & Fletcher yet his name is not to be fo ...
... >. . . <b>it</b>] <sc>Griffith </sc> (1777, 2:287-8): <p.287> “<i>Shakespeare </i> not only affords documents to real life, but supplies them even ...
... (1784, p. 80): "I have always considered the advice of Hamlet to the players as Shakespeare's legacy of love to his fellows, the comedians. Such he called them ...
... express purpose of showing how absolutely sane Hamlet was, could I believe that Shakespere saw the least danger of Hamlet's pretence being mistaken for reality. ...
... . 83> Hamlet's “address to the players is often read as encapsulating Shakespeare's own view of how his plays should be acted. But Hamlet's view of cl ...
... >1849-82 <sc>Jenkins </sc>(ed. 1982): "The excursus on acting no doubt betrays Shakespeare's own concern , but granted that Hamlet's views, as generally suppos ...
... ons, may break into the most violent absurdities.' The 'amiable fiction' that Shakespeare is through Hamlet attacking the acting of Edward Alleyn is well refu ...
... lleyn is well refuted by Wm. Armstrong (SS 7, 82-9). Battenhouse's view that 'Shakespeare's play . . . implies a criticism of ' Hamlet's principles and throug ...
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