1061 to 1070 of 1169 Entries from All Files for "shakes" in All Fields
... continuity of sentences; the period is the note of abruption & disjunction. Shakespeare had it perhaps in his mind to write, that unless England complied wi ...
... ntences; the <i>Period</i> is the note of <i>abruption</i> and disjunction. <i>Shakespeare</i> had it perhaps in his mind to write. That unless <i>Englnd</i> ...
... en their amities</i>. This is not an easy style; but is it not the style of <i>Shakespeare</i> ?”</para></cn> <cn> <sigla>1773<tab> </tab>v1773</sigla>< ...
... ween them. A <i> co-mere </i> would be a joint <i>landmark </i> ,' &c. <i> Shakespeare Vindicated </i> , &c. p. 268.—<small>But our author's text ...
... is corrupt.</small>”</para> <para> [Here, Dyce clearly uses Singer's <i>Shakespeare Vindicated</i> but to contradict it-HLA]</para></cn> <cn> <sigla>18 ...
... continuity of sentences; the period is the note of abruption & disjunction. Shakespeare had it perhaps in his mind to write, that unless England complied wi ...
... entences; the <i>Period</i> is the note of <i>abruption</i> and disjunction. <i>Shakespeare</i> had it perhaps in his mind to write. That unless <i>England</i> ...
... een their amities</i>. This is not an easy style; but is it not the style of <i>Shakespeare</i> ?”<small> </small></para></cn> <cn> <sigla>1773<tab> </ta ...
... </sc> <sc>john1</sc>; <i>only </i>“The <i>comma </i>is . . . style of <i>Shakespeare</i>”)</hanging><para>3544 <b>Comma</b>]</para></cn> <cn> <sig ...
... entences; the <i>Period</i> is the note of <i>abruption</i> and disjunction. <i>Shakespeare</i> had it perhaps in his mind to write. That unless <small><i>Engla ...
... een their amities</i>. This is not an easy style; but is it not the style of <i>Shakespeare</i> ?” JOHNSON</para></cn> <cn> </cn> <cn> <sigla><sc>1790<t ...
... tuted. It may, very analogically, mean <i> bargain</i> or covenant between two. Shakespare also used to <i> mart</i>, for to traffic. ‘As by the same <i> ...
... b>3544<tab> </tab>Comma</b>]</para></cn> <cn> <sigla>1853<tab> </tab>Singer (<i>Shakespeare Vindicated</i>)</sigla><hanging>Singer : <sc>warb ; han1</sc></hang ...
... as wont to end the strifes and controversies of people in dividing their lands. Shakespeare has the <i> mered </i> question in <i>Antony and Cleopatra </i>[<i>A ...
... n> <sigla>-1855<tab> </tab>mHunter</sigla> <sigla> (<i>Prolegomena and Notes on Shakespeare</i> [BL ADD. MS. 24495 ] : pp. 219-46)</sigla><hanging>mHunter</han ...
... i>between them. A <i>co-mere </i>would be a joint <i>landmark </i>,' &c. <i>Shakespeare Vindicated </i>, &c. p. 268.—But our author's text is not ...
... s much easier to believe that ‘comma' is aa typographical slip than that Shakespeare should have chosen that point as a mark of <i> connection </i> : at ...
... expression. In the only other passage in which the word <i>comma</i> is used by Shakespeare, it signifies part of a sentence, a clause, as <i>period</i> is empl ...
... e word is a compound manufactured for the occasion, and not to be discovered in Shakespeare or elsewhere; secondly, it is difficult to conceive in what sense &# ...
... interpret the line accordingly. We think, however, that in the present passage Shakespeare uses the word in a different sense from the one in which he uses it ...
... t is true that in the only passage in which the word ‘co-mate' occurs in Shakespeare it is accented on the second syllable: ‘Now my co-mates, and b ...
... ier authority than Dryden, but this no way militates against the supposition of Shakespeare having used it, for in much his phraseology was far in advance of hi ...
... mbo</i> than Dryden, but probably it may have been used before his day. Much of Shakespearean phraseology was in advance of the time, and to the great dramatist ...
... in the line, and reads very awkwardly. In the three other only instances where Shakespeare applied the word, it is done naturally and properly; as, ‘burn ...
... para> <para>“‘Calm, calmed, and calmly' are very often employed by Shakespeare in various senses of course. Of this, compare [<i>Tro</i>. 1.3.100 ( ...
... t allusions and metaphors taken from the art of printing were widely popular in Shakespeare's day. Compare, amongst numerous other passages, Marston's Antonio a ...
... n to make proper sense here seems doubtful. <sc>Staunton</sc>'s suggestion that Shakespeare may have written <i>co-mate</i> is a very good one.' Hardly: and wha ...
... is much easier to believe that ‘comma' is a typographical slip than that Shakespeare should have chosen that point as a mark of <i>connection</i>.' He ad ...
... y)), the Doctor's argument fails completely. He says further, [cites “<i>Shakespeare</i> had . . . style of <i>Shakespeare</i>”] Surely not: his s ...
... etely. He says further, [cites “<i>Shakespeare</i> had . . . style of <i>Shakespeare</i>”] Surely not: his style is sometimes rugged, and he indul ...
... realm of mist and Tartarean gloom. ‘Comma' is not the legitimate issue of Shakespeare's genius, but a bastard slip of a copyist, whose eye deceived him, b ...
... iscovering with—I had almost said, <i>certainty</i> the actual word which Shakespeare inserted. Let it be granted—no very extravagant concessionR ...
... has been displaced, and to restore ‘peace,' if not to the members of the Shakespeare Societies, at any rate to the ghost of Shakespeare and to the text.& ...
... if not to the members of the Shakespeare Societies, at any rate to the ghost of Shakespeare and to the text.</p. 319> <p. 320></para> <para>“ ...
... les, so explains <i>comma</i> in the only other instance in which it is used by Shakespeare--<i> Tim. </i> 1.1. 48 (63-4): ‘No levelled malice Infects one ...
... 's <i>cicatrice looks raw and red|After the Danish sword</i> ((IV.3.62-3)), and Shakespeare could hardly have been ignorant of the terrible conflicts between th ...
... </i> and continuity of sentences'. Alexander, in accordance with his theory of Shakespearean punctuation (cf. II.ii. 304-6 LN), believes that Shakespeare's own ...
... th his theory of Shakespearean punctuation (cf. II.ii. 304-6 LN), believes that Shakespeare's own practice with the comma shows ‘how he came to use it as ...
... suggest that it is here a metaphor for a ‘harmonious connection' (<i>The Shakespeare Key </i>, p. 443n.); Dowden reminds us that a comma in its original ...
... one of least significance. This accords with the only other use of the word in Shakespeare: when the Poet in <i>Timon </i> says ‘no levell'd malice Infec ...
... of great &c.; Fs; such like assis. An ein Wortspiel mit 'as' und 'ass' hat Shakespeare wohl kaum gedacht, wiewohl sich ein solches in Twelfth Night II, 3 f ...
... ' refers to the use of <i>As</i> three times in the preceding lines</small>. In Shakespeare's time <i>as</i> and <i>that</i> were often used interchangeable. <s ...
... n ‘asses' and the plural of ‘as' the conjunction. Now it seems that Shakespeare, as not infrequently happened, wrote the final </p. 129> <p ...
... a and the divided word tell us that more than mere misreading is here involved. Shakespeare's ‘assis' might have been misread ‘assir' but could not ...
... tered to ‘—<i>and knowling these contents</i>.' But see Walker's <i>Shakespeare's Versification</i>, &c. where, p. 119, this line is cited as co ...
... pted by<sc> Collier</sc>. For the use of ‘knowing' as a monosyllable, see Shakespeare's Versification by<sc> S. Walker</sc>, p. 119.”</para></cn> < ...
... t also see <i>vbl. n. </i>4c. Something known, an experience. <i>Obs</i>. 1605 SHAKES. Macb. II. iv. 4 This sore Night Hath trifled former knowings.] </para> ...
... nts; the brutal behavior of hamlet to Ophelia may be perhaps accounted for from Shakespeare thinking of the novel and / the history by Saxo Grammaticus; where I ...
... teevens is responsible, has drawn forth many able and indignant vindications of Shakespeare's favourite here; but while unable to agree with any of Steevens' de ...
... all kinds of errors, and should be utterly unable to form any true estimate of Shakespeare's work.</para> <para>“It is useless to deny that in the play ...
... it wore an apearance of an exquisitely ironical punishment. It is possible that Shakespeare meant to mark, as strongly as he could, the hatred of a noble, hones ...
... teevens is responsible, has drawn forth many able and indignant vindications of Shakespeare's favourite here; but while unable to agree with any of Steevens' de ...
... loss (1872) 150 To thir our Literis of Bailziaries..our signet is affixed. 1603 SHAKES. Meas. for M. IV. ii. 209 Heere is the hand and Seale of the Duke: you kn ...
... ‘Abbild', namentlich ‘verkleinertes Abbild.' [ <i>Model</i> is for Shakespeare often an image/likeness, namely a smaller image.]</para></cn> <cn> < ...
... x201D; [“<i>model</i>, which word from the Latin cognate <i>modulus</i>, Shakespeare modified from the process of the Romance languages perhaps in the me ...
... son of thee, of which Mercators globe is a perfecter modell than thou art? 1597 SHAKESPEARE Richard II I. ii. 28 Thou doost consent In some large measure to thy ...
... uent, 1): “<i>a</i>. [<i>sequens</i>, Lat.] 1. Following; succeeding. <i>Shakespeare, Milton</i>.”</para></cn> <cn> <sigla><sc>1765<tab> </tab>joh ...
... lost 'Ur-Hamlet'—Hamlet rids himself of Rosencrantz and Guildenstern (as Shakespeare was to call them) by a neat and simple stratagem. As he marches betw ...
... laim be made good, he has no right to complain.—These are things in which Shakespeare knows no jesting, because he is so great an expounder of the Law, th ...
... uction that this, with a passage in Hamlet's next speech, was part of a crucial Shakespearean revision. See pp. 14-19.”</para> <para>3560<tab> </tab><sc> ...
... Horatio which are also found only in the Folio . . . it seems very likely that Shakespeare revised this passage. If so the new line, ‘Why man, they did m ...