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Contract Context Printing 160 characters of context... Expand Context ... #8216;<i>And either</i> curb <i>the devil</i>,' &c.—Sidney Walker (<i>Shakespeare's Versification</i>, &c. p. 75) cites it thus, ‘And either ...
... the right one.' <i>Crit. Examin.</i> &c. vol. I. p. 308. (Walker, in his <i>Shakespeare's Versification</i>, &c. p. 75, cites the line with the same rea ...
... ell as the lection adopted by myself, weak and tautological. I now suppose that Shakespeare wrote: ‘And either <i>usher</i> the devil, or throw him out.' ...
... t. Andrews, certainly one of the most valuable illustrations of the writings of Shakespeare which have lately been produced. Having accidentally omitted to call ...
... advice was given by Lewis Vives in a book which, not improbably, may have been Shakespeare's </p.126><p.127> closet-companion, viz., <i>The Introdu ...
... d the phrase, ‘<i>shame</i> the Devil,' was part of an old proverb, which Shakespeare quotes elsewhere. So in <i>1H4 </i>[3.01.57-60 (1582-5)]: ‘And ...
... ' would not be without precedent. If, however, we can light upon a verb used by Shakespeare himself, albeit elsewhere, in the same connexion, it would come to u ...
... para> <para>“The 4th Quarto has some authority, as it was printed during Shakespeare's life; and <i>master</i> gives good sense. Nor does it present any ...
... of Abbott and others. Metrical criticism was <i>the</i> weakness of that older Shakespearian scholarship, to which our debt in other respects is incalculable.& ...
... tly—by Bailey and Forsyth (<i>N&Q</i>, 3rd ser. <sc>X,</sc> 427-8; <i>Shakespeare: Some Notes</i>, pp.101-4), and read by Chambers (RL) and Sisson, is ...
... ed that the word in itself implies confinement or restriction (e.g. Ingleby, <i>Shakespeare Hermeneutics</i>, pp. 123ff.). Clark and Wright, who suggested it, t ...
... 1 quarto. It may well be that this omission is not the compositor's fault; that Shakespeare had not found the word he wanted before he gave up the passage.  ...
... “Either the compositor has omitted the verb at this point, or, possibly, Shakespeare failed to supply one. Various conjectures as to what it should have ...
... he proverb 'tell truth and shame the devil' (Dent, T566) is used three times by Shakespeare in <i>1H4</i> (3.1.54, 55 and 58); see t.n. for other editorial emen ...
742) Commentary Note for line 2547:2547 And when you are desirous to be blest,... k me blessing I'll kneel down / And ask of thee forgiveness.' In both instances Shakespeare draws on the assumption that it would be normal or proper for a chil ...
743) Commentary Note for line 2549:2549 I doe repent; but heauen hath pleasd it so... sc>Walker</sc> (1860, 2:110): “LXXI. <i>Heaven</i> used as plural. . . . Shakespeare—with a degree of freedom which sometimes perhaps, amounts to l ...
... the singular with the plural; for <i>Heaven</i> is . . . used in this manner by Shakespeare himself and by his contemporaries.”</para></cn> <cn> <sigla>1 ...
... their' should be used in reference to “Heaven,” is accordant with Shakespeare's usage elsewhere. See Note 73, Act i., <i>R2</i> [223].”</pa ...
... en</b>] <sc>Deighton</sc> (ed. 1891): “as a plural occurs frequently in Shakespeare, <i>e.g.</i> <i>R2</i> [1.2.6 (223)], <i>Oth</i>. [4.2.49 (2742)], < ...
... ‘To punish me with this, and this with me;' which is more in the style of Shakespeare than the amendment, nor is any thing wanting to the sense, but the p ...
... <tab> </tab><b>their</b>] <sc>Furness (</sc>ed. 1877): “For instances of Shakespeare's use of <i>Heaven</i> as a plural, see <sc>Walker</sc> <i>Crit</i>. ...
... ilty who are foredoomed to damnation. For some counter-argument see Sisson, <i>Shakespeare's Tragic Justice</i>, pp. 104-6; H. Skulsky, <i>PMLA</i>, <sc>lxxxv< ...
... cessarily opposites. That is not proved; here they are, as R.W. Dent argues (<i>Shakespeare Quarterly </i>29 [1978), pp. 82-84), synonymous or at least point in ...
746) Commentary Note for line 2554:2554 I must be cruell only to be kinde,... p. 162-5): <p.162> “A most thoughtless but outrageous license with Shakespeare seems to have become invariable with the actors of Hamlet in the app ...
... es lines]. Whereas, if we carefully examine the original scene and the order of Shakespeare's language we find that this same couplet does not come in next afte ...
... rd Danes into beasts and hardens grave-diggers into insensibility (elsewhere in Shakespeare, 'customer' means 'whore'), yet [quotes 2544+1-2544+5, That . . . pu ...
... i>bloat</i> used as an adjective suggests further inquiry, as it is peculiar to Shakespeare. To <i>bloat</i> is to dry a fish in the smoke (whence bloater), exa ...
... accuracy of the derivation, it may be interesting, in considering the fact that Shakespeare stands alone in the use of <i>bloat</i> as an adjective, to ask whet ...
749) Commentary Note for line 2559:2559 Pinch wanton on your cheeke, call you his Mouse,... oft vor.” [<i>mouse</i> as a term of endearment appears frequently with Shakespeare's contemporaries.]</para></cn> <cn> <sigla>1856<tab> </tab><sc>hud1 ...
... ouse</b>] <sc>Deighton</sc> (ed. 1891): “a term of endearment common in Shakespeare's day; cp. <i>TN</i> [1.5.62-3 (354-5)], ‘good my <i>mouse</i> ...
... Cf. Edw. Alleyn to his wife, ‘My good sweet mouse', etc. (<i>Memoirs</i>, Shakespeare Soc., pp. 25-6); <i>TN</i> [1.5.62-3 (354-5)]; and Capulet's having ...
... dearment in other texts of the period, usually between husband and wife, though Shakespeare's Rosaline uses it to address another woman, Katherine, at <i>LLL</i ...
... .S. fumatre) from whence our <i>reak</i> and <i>reaking</i>) and signifies with Shakespear <i>sweaty</i> as <i>reechy </i>neck, <i>reechy </i>kisses, or by a me ...
... ter Weise schildern.” [<i>reechy</i> means smokey and sooty. In any case Shakespeare wanted to portray the <i>kisses</i> in the most repulsive way.]</par ...
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