730 to 739 of 743 Entries from All Files for "shakespeare " in All Fields
... this later corruption. The explanation, we have seen1, of that misprint is that Shakespeare employed the not uncommon spelling ‘leue' for ‘liue', a ...
... Osrick at this point. But it doesn't appear that he has left the stage. Perhaps Shakespeare meant him to go to the door as if to investigate, then return?ȁ ...
... is given consistently in the First Folio. It is conceivable that at this point Shakespeare simply decided to change the character's name to something more nobl ...
... 01D; </p. 25></para> <bwk> <para>1931 Bradby, G[eoffrey] F[ox]. <i>About Shakespeare ad his Plays.</i> London: Oxford UP, 1926. No index. Includes a chro ...
... 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 ...
... 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, & ...
... 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 ...
... 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 ...
736) 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 ...
... 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 ...
... 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 ...
... 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 ...
... & 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 ...
... 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 ...
... 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 ...