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Contract Context Printing 160 characters of context... Expand Context ... ara>393<tab> </tab><b>stately</b>] <sc>Hibbard</sc> (ed. 1987): "majestically. Shakespeare's only use of <i>stately</i> as an adverb."</para></cn> <cn><sigla> ...
... b><b>distil'd</b> . . . <b>feare</b>] <sc>Warburton</sc> (ed. 1747): “<i>Shakespear</i> could never write so improperly as to call the <i>passion of fear ...
... e</b>] <sc>Browne </sc>(ms. notes, 1747-60, BL Ms 0.12.575): “Warb. says Shakespeare could never write so improperly as to call the passion of Fear the A ...
... f it were proper to be rigorous in examining trifles, it might be replied, that Shakespeare would write more erroneously, if he wrote by the direction of this c ...
... ession—‘My senses would have <i>cool'd </i>To hear a night-shriek.' Shakespeare probably knew that ‘jelly' was <i>gelu</i>, ice. But ‘di ...
... chill'd to jelly': it is jelly because it has been ‘bechill'd.' Besides, Shakespeare himself never uses ‘distilled' (often as it occurs in his play ...
... stillation from ‘cursed hebenon.' Therefore, we feel morally certain that Shakespeare's word here was ‘bechill'd'; but there is hardly any extremity ...
... t indisputable emendation from the source of so much improvement in the text of Shakespeare.” </para></cn> <cn><hanging><sc>col</sc>3: analogues</hangin ...
... words are neither of them strictly English, and are not to be found anywhere in Shakespeare.</para> <para>“The first of them—<i>bestill'd</i>— ...
... adjective or present participle. [quotes Collier from his <i>Seven Lectures on Shakespeare and Milton</i>, Preface, p. lxxviii] </p. 46> <p. > [quo ...
... any passion are chiefly in view, it is the blood which is usually described by Shakespeare as the seat of the refrigeration.</para> <para>“Thus in [<i>S ...
... fashion, <i>bethrill'd,</i> than in <i>bechill'd</i>; for it is observable that Shakespeare in several other places describes the operation of passion, especial ...
... genuine reading.” </p. 49></para> <para><n45> “* That Shakespeare was acquainted with the various domestic operations of which distill ...
183) Commentary Note for line 406:406 Ham. Did you not speake to it?... d in defence of Mr. Kemble is much more strongly corroborated by the very words Shakespeare put into the mouth of Horatio. </p. 11> </n*></para></cn ...
184) Commentary Note for line 409:409 It lifted vp it head, and did addresse... e</sc> (ed. 1868): “One of the rare instances when ‘its' occurs in Shakespeare's writing. See [<i>WT </i>1.2.151 (230), n. 57]. The Folio prints th ...
... e for ‘its' (as the modern editors seem to think), but the older form. In Shakespeare's time use had not yet decided for <i>its. </i> See [3410].”< ...
... in the Authorized Version of the Bible, and is said to have been rarely used in Shakespeare's time. It is, however, very common in Florio's [1553?-1625] Monta ...
... 1872): “The earlier quartos and folios read ‘it,' and so doubtless Shakespeare wrote. In the Cambridge and Globe editions we printed ‘its' (t ...
... ton, has ‘his.' <small>which was the usual form of the possessive case in Shakespeare's time. ‘Its' was however coming into use, and occurs ten time ...
... r. W. J. Rolfe, of Cambridge, has ascertained, by a very close inspection, that Shakespeare has <i>its</i> ten times, but in nine of these it is printed with an ...
... e; <i>it</i>, a compromise form. Of these <i>his</i> is by far the commonest in Shakespeare. Cf. [5.1.222 (3410)]." </para> <br/> <hanging><sc>kit2</sc>: standa ...
... ive form of 'it' was 'his' (see note to [127]) but 'it' is occasionally used by Shakespeare, and less frequently 'its'."</para></cn> <cn><sigla>1987<tab> </tab> ...
... . 2006): “The more usual possessives would have been 'its' or 'his', but Shakespeare sometimes uses the older, uninflected genitive <i>it</i> as in 'The ...
... a note, as every reader does not know. that <i>motiom.</i>in the language of <i>Shakespeare</i>'s days, </p. Hh7v> <p. Hh8r> signifies <i>puppet. < ...
... er by <i>His </i>or by <i>Thereof. </i>[. . .] <i>Its</i>, however, is found in Shakespeare. There is one instance [and only one, according to <sc>Rolfe</sc>, ...
... >As</b>, like ‘an' (§ 102), appears to be (though it is not) used by Shakespeare for <i>as if </i>. . . . the ‘if' is implied in the subjuncti ...
186) Commentary Note for line 411:411 But euen then the morning Cock crewe loude,... ong time and <i>still </i>continues, the emphasis being laid on ‘now.' In Shakespeare the emphasis is often to be laid on ‘even,' and ‘<i>even ...
... /tab>And vanisht from our sight.</para> </ehline> <cn> <sigla>2005<tab></tab><i>Shakespeare.</i> Journal of the British Shakespeare Association</sigla> <hanging ...
... </ehline> <cn> <sigla>2005<tab></tab><i>Shakespeare.</i> Journal of the British Shakespeare Association</sigla> <hanging>Holderness </hanging> <para>413 <tab> < ...
... with hesitation that I set out [419-42], as verse [i.e. staggering lines]; for Shakespeare clearly makes no sustained attempt to fit short speeches into pentam ...
... ion, as in 420, 422, 424, and 437, is unclear. </p. 122><p. 123> Shakespeare's haste could have caused inexplicit <i>All </i>and <i>Both </i>SPs. ...
... 437; so that F's variation of the speech-headings shows no systematic purpose. Shakespeare presumably intended a full chorus.” </para></cn> <cn><sigl ...
189) Commentary Note for line 426:426 Hora. O yes my Lord, he wore his beauer vp.... ath the more freely.' On this passage, Mr. Malone had also before remarked that Shakespeare confounded the <i>beaver </i>and <i>visor</i>; for in <i>Hamlet </i> ...
... t his countenance was not exposed. Such. however, is clearly not the meaning of Shakespeare here.” </para></cn> <cn><sigla>1843-<tab> </tab>m<sc>col</sc> ...
... 19): “Some say it ought to be ‘he wore his bever <i>down</i>;' but Shakespeare has the authority of one who ought to know something concerning what ...
... hinges near the cheeks [ . . .]. Changes in design over the years mean that in Shakespeare's plays, a beaver can be ‘up,' ‘down,' or just ‘on ...
... x201C;Malone quotes the following line, <small>very much in point, </small>from Shakespeare's [Son. 12]: — ‘And sable curls, all silver'd o'er with ...
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