Hamlet Works

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831 to 840 of 1169 Entries from All Files for "shakes" in All Fields

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831) Commentary Note for line 2750:
2750 There's tricks i'th world, and hems, and beates her hart, 2750

 ... ve jokes. The combination of there is with a plural is not uncommon with Shakespeare. Thus in [3.4.202 (2577+1)]], there's letters sealed, and at ...

832) Commentary Note for line 2751:
2751 Spurnes enuiously at strawes, speakes things in doubt

 ... <sc>Nares</sc> (1822, glossary, enuiously): “enviously is used by Shakespeare for angrily, indignantly [quotes 2750-1].”</para></cn> <cn> < ...

 ... #252;cke, Gehässigkeit, daher ist enviously = erbost.” [With Shakespeare envy often means malice or hatefulness; thus enviously ...

 ... arke</sc> (ed. 1868, rpt. 1878): “As ‘envy' was frequently used in Shakespeare's time for ‘hatred,' ‘malice,' ‘spite,' and &#8216 ...

 ... (in Irving & Marshall, ed. 1890): “i.e. sptefully. In Shakespeare's time envy had not lost its alternative sense of ill-will, h ...

833) Commentary Note for line 2754:
2754 The hearers to collection, they {yawne} <ayme> at it,

 ... b>] <sc>Goggin</sc> (ed. 1913): “'inference'; a fairly common meaning in Shakespeare's time and later; cp. Latin collectio.” ...

834) Commentary Note for lines 2759-61:
2759-60 {Hora.} <Qu.> Twere good she were spoken with, | for shee may strew

2760-1 Dangerous coniectures | in ill breeding mindes,

2761 Let her come in.

 ... s Levity and more Decency. Mistakes are less tolerable from such a Genius as Shakespeare's, and especially in the very Pieces which give us such strong P ...

835) Commentary Note for line 2762:
2762 {Quee.} ‘To my sicke soule, as sinnes true nature is,

 ... the end, of the line.' I quote from that epoch-making book, Mr Percy Simpson's Shakespearian Punctution.1 Mr Simpson does not go into the elocutionary aspect o ...

836) Commentary Note for line 2763:
2763 ‘Each toy seemes prologue to some great amisse,

 ... uch bei Sh.'s Zeitgenossen vor.” [Amiss as noun appears also with Shakespeare's contemporaries.]</para></cn> <cn> <sigla>1856<tab> </tab><sc>hud1< ...

 ... stances of its use as a substantive, see Nares, Steevens, and Concordance to Shakespeare's Poems.”</para></cn> <cn> <sigla>1878<tab> </tab><sc>rlf ...

 ... Marshall, ed. 1890): “The substantive amiss is used elsewhere by Shakespaeare only in two of the Sonnets, xxxv, 7: ‘Myself corrupting, salv ...

837) Commentary Note for line 2766:
2766 {Enter Ophelia.}

 ... o true to the life, that we forget to wonder, and can only weep. It belonged to Shakespeare alone, so to temper such a picture that we can endure to dwell upon ...

 ... tional music of Ophelia's song, see Furness, Hamlet, or E. W. Naylor, Shakespeare and Music, 1896.”</para></cn> <cn> <sigla>1934<sc><tab> < ...

 ... ensoring functions and are set apart from her actual experience. Coleridge (Shakespearean Criticism, ed. T.M. Raysor [London and New York, 1930], Vol. I ...

838) Commentary Note for line 2767:
2767 Oph. Where is the beautious Maiestie of Denmarke?

 ... the truest touches of tenderness and pathos. It is a character which nobody but Shakespeare could have drawn in the way he has done; and to the conception of wh ...

839) Commentary Note for line 2768:
2768 Quee. How now Ophelia? {shee sings.}

 ... rson to whom the songs are sung may also be more than coincidence (cf. Long, Shakespeare's Use of Music, iii.115): the first, about a dead but unmourned ...

 ... (though it does not give the music) is that of P.J. Seng, The Vocal Songs of Shakespeare, pp. 131-56. Though not extant elsewhere, they are clearly all f ...

 ... o which the songs are usually sung, some at least of which descend from airs of Shakespeare's time, were written down early in the 19th century by Wm. Linley an ...

 ... nd Samuel Arnold from actresses who had sung them at Drury Lane. See Linley, Shakespeare's Dramatic Songs, ii.23-4; Chappell, Popular Music of the Old ...

 ... ccordingly given in, among other places, Chas. Knight's Pictorial Edition of Shakespeare, Tragedies i.151-4 (except for Bonny sweet Robin); Furnes ...

 ... nny sweet Robin); Furness; Caulfield, A Collection of the Vocal Music in Shakespeare's Plays, 11.83-9; Naylor, Shakespeare and Music, rev. 193 ...

 ... A Collection of the Vocal Music in Shakespeare's Plays, 11.83-9; Naylor, Shakespeare and Music, rev. 1931, pp. 189-91; Sternfeld, Music in Shakesp ...

 ... or, Shakespeare and Music, rev. 1931, pp. 189-91; Sternfeld, Music in Shakespearean Tragedy, 1963, pp.60-78 (with the most authoritative discussio ...

 ... 63, pp.60-78 (with the most authoritative discussion); Sternfeld, Songs from Shakespeare's Tragedies. 1964 (arranged for modern performance); Long, Sh ...

 ... m Shakespeare's Tragedies. 1964 (arranged for modern performance); Long, Shakespeare's Use of Music. iii. (1971), 124-7.”</para></cn> <cn> <si ...

840) Commentary Note for line 2769:
2769 Oph. How should I your true loue know from another one,

 ... father and brother concerning the dangers to which her honour lay exposed' (Shakespeare Criticism, ed. Raysor, I, 33, 34).”</para><hanging><sc>ki ...

 ... e</sc> (ed. 1939): “These lines resemble the Walsingham song, popular in Shakespeare's time. Cf. the version preserved in the Percy MS.: ‘As yee ca ...

 ... ot only her father's death but her estrangement from Hamlet and his banishment. Shakespeare does not reveal whether she knows that Hamlet killed her father. Her ...

 ... of Polonius. For the music of Ophelia's songs see F.W. Sternfeld's Music in Shakespearean Tragedy (London, 1963).”</para></cn> <cn> <sigla>1997<t ...

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