1150 to 1159 of 1169 Entries from All Files for "shakes" in All Fields
... by lexicographers are but modifications of this primary one. In the langauge of Shakespeare, Edward <i>solicited, </i>or <i>moved</i>, heaven by means known to ...
... ra>3847<tab> </tab><b>solicited</b>]</para></cn> <cn> <sigla>1989<tab></tab><i>Shakespeare on Film Newsletter</i> </sigla> <hanging>Kliman: Wajda's <i>Hamlet I ...
... ject of unjustified derision, I follow the suggestion of E.A.J. Honigmann in <i>Shakespeare Survey</i> 29 (1976), 123.”</para></cn> <cn> <sigla>1988<tab> ...
... as a hero, not undeserving the pity of the audience, and because no writer on Shakespeare has taken the pains to point out the immoral tendency of his charact ...
... as a hero, not undeserving the pity of the audience, and because no writer on Shakespeare has taken the pains to point out the immoral tendency of his charact ...
... he hearers pale.' Of course this weak, inanimate stuff could not have come from Shakespeare's pen, but must have been added subsequently, and recited when the t ...
... s Fortinbras; but for the authoritative appearance of such a proven, profound Shakespearean scholar as the old corrector was and perhaps again will be, this ...
... est </i>for <i>sweet prince</i>. The desired illusion, that he placed here with Shakespeare's authority this clever , purposeful emendation and Shakespeare's ow ...
... laced here with Shakespeare's authority this clever , purposeful emendation and Shakespeare's own words, Collier destroys for us, alas, with this note: <i>it s ...
... t</b>] <sc>Anon</sc>. (1856, p. 1221): <p.1221> "More than one student of Shakespeare has addressed us on the new reading of the first 'Hamlet.' We refr ...
... ssadors is necessary merely to complete the story. We may, perhaps, regret that Shakespeare never felt impelled to write the speech of Horatio over the bodies o ...
... >Neil </sc>(ed. 1877, Notes): “Malone thought that I writing these words Shakespeare had in mind the last words of Essex in his prayer on the scaffold, & ...
... to shape his last expressions unconsciusly to himself'—Gerald Massey's <i>Shakespeare's Sonnets</i>, p. 487.” </para></cn> <cn> <sigla>1879<tab> </ ...
... rstood Hamlet better than any one, and his judgment of him doubtlessly exprsses Shakespeare's own estimate,—[cites 3848-49]a ‘noble heart' that ever ...
... rving & Marshall</sc>, ed. 1890): “<i>Crack</i> is used elsewhere by Shakespeare where we should use break. Compare [<i>Cor.</i> 5.3.9 (3356) [a <i>c ...
... afterwards, of a very poor and inanimate character, most unlike the language of Shakespeare, which, it seems, the performer of the part of Horatio was also to d ...
... ng to settie down. For various reasons, in fact, both inaterial and mental, the Shakespearean (and generally the Elizabethan) practice, in tragedy, as critics h ...
... nd as I have elsewhere mainted, the emotional stimulus for his creation came to Shakespeare from the career and personality of the most conspicuous figure in En ...
1153) Commentary Note for line 3851_385: 3851 Why dooes the drum come hether?
3852 Enter Fortenbrasse, {with the Embassadors.} <and the English Ambassador, with Drumme,>
3853 <Colours, and Attendants.>
3854 For. Where is this sight?
... dies on the stage, requiring at least eight men for their simultaneous removal, Shakespeare has good reason to bring on a stage-army. It provides a splendid mil ...
... on gives us only one ambassador, again reflecting the theatre's scaling down of Shakespeare's generous provisions.”</para></cn> <cn> <sigla>1993<tab> </t ...
... ' Até by his side, Cries <i>haock</i>! and lets loose the dogs of war.' <i>Shakespeare</i>.” </para></cn> <cn> <sigla><sc>1765<tab> </tab>john1</sc> ...
... ! Até by his side, Cries <i>haock</i>! and lets loose the dogs of war.' <i>Shakespeare</i>.” </para></cn> <cn> <sigla>1819<tab> </tab>Jackson</sigla ...
... war der Kriegsruf, wenn kein Quartier gegeben wurde. 'To cry havock' kommt bei Shakespeare öfter vor: K. John II, 2: Cry havock, kings; Julius Cæsar ...
... as a battlecry when no quarter would be given. 'To cry havock' appears often in Shakespeare . . . <sc>Johnson</sc> says indeed 'to cry on' is so much as 'to exc ...
... ry</b>] <sc>Clarke</sc> (ed. 1864, Glossary): “A heap of dead game . . . Shakespere makes the soldier use the words ‘his damned quarry' for Macdonw ...
... sary)”To cry on Victory, to cry on Havock, to cry on Murder, are used by Shakespeare; and the verb seems to stand for hailing, invoking, or proclaiming.& ...
... as well as punishment of his hero, who had not courage to shed necessary blood. Shakespeare himself has said this with distinct consciousness. The king asks Lae ...
... 2): “North's Plutarch (1595), p. 764: <i>havoke</i>. Which may have been Shakespeare's spelling?—The meaning of this sentence is still unexplained, ...
... rs [<sc>cln1</sc>] also remark, ‘There are two or three passages in which Shakespeare seems to use the word ‘eternal' as equivalent to ‘infern ...
... auock</b>] <sc>Wilson</sc> (ed. 1934, Glossary): “(it is noteworthy that Shakespeare often asssociates ‘havoc' with the chase even when he is speak ...
... back to the stained field”)), [<i>Cor.</i> 3.1.275 (210). The pecularily Shakespearean use of a hunting metaphor ((cf. <i>quarry</i>)), as also in [<i>JC ...
... of spoil, and so of general spoliation or pillage. In later use (usually after Shakes.) fig., and associated with sense 2.”</para> </cn> <cn> <sigla>200 ...
... t;p. 62>“The following are instances of an inaccurate use of words in Shakespeare, some of them owing to his imperfect scholarship (imperfect, I say, ...
... & Wright</sc> (ed. 1872): “There are two or three passages in which Shakespeare seems to use this word as equivalent to ‘infernal.' See [1.5.2 ...
... word was not so used or misused; or which here is evidence, from a contemporary Shakespearean publication. The propitiatory address to the reader in the ante-na ...
... </sc>. And yet the word is used just as it is in the passages quoted above from Shakespeare, and as the rustic Yankee uses it in ‘<i>tarnal</i>.' In all t ...
... n the sky, where they were to spend their time in feasting and fighting. Though Shakespeare may have known nothing about this pagan creed, the present passage ...
... ilson's conclusion is: “A study of these variants is a lesson at once in Shakespearian diction and in the kind of degradation his verse suffered at the h ...
... e guilty in one common fate, while the sceptre passes to some unlineal hand. As Shakespeare has here entirely departed from the old legend, which made Hamlet, a ...
... Of deaths put on by cunning, and for no cause,' was probably helped a little by Shakespeare's handwriting in which ‘rcd' might resemble ‘rno' if car ...
... d. 1929): “A tragical bill of fare, every item in which may well be pre- Shakespearean. Cp. p. 203 n. 8. [3145n].”</para></cn> <cn> <sigla><sc>199 ...