Publications, Band 30Shakespeare Society, and to be had of W. Skeffington, 1846 |
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... Play of Timon . Now first printed . Edited by Rev. A. Dyce . Nash's Pierce Pennilesse . With Introduction , & c . by ... Play of Richardus Tertius , from a Manuscript . Edited by Barron Field , Esq . The Ghost of Richard the Third . A ...
... Play of Timon . Now first printed . Edited by Rev. A. Dyce . Nash's Pierce Pennilesse . With Introduction , & c . by ... Play of Richardus Tertius , from a Manuscript . Edited by Barron Field , Esq . The Ghost of Richard the Third . A ...
Seite
... Play of Timon . Now first printed . Edited by Rev. A. Dyce . Nash's Pierce Pennilesse . With Introduction , & c . by ... Play of Richardus Tertius , from a Manuscript . Edited by Barron Field , Esq . The Ghost of Richard the Third . A ...
... Play of Timon . Now first printed . Edited by Rev. A. Dyce . Nash's Pierce Pennilesse . With Introduction , & c . by ... Play of Richardus Tertius , from a Manuscript . Edited by Barron Field , Esq . The Ghost of Richard the Third . A ...
Seite vi
... play . The Royal Exchange was then full of shops , like a bazaar . The Fair Maid , Phillis Flower , though her parents are wealthy , is an apprentice to a sempstress in this Ex- change ; and , one night , in company with a female ...
... play . The Royal Exchange was then full of shops , like a bazaar . The Fair Maid , Phillis Flower , though her parents are wealthy , is an apprentice to a sempstress in this Ex- change ; and , one night , in company with a female ...
Seite xi
... play . See Collier's " New Particulars regarding Shakespeare's Works , " page 46 . With the exception of the title - page , dramatis per- sonæ , and prologus , I have modernized the orthography of this play ; and the originals are not ...
... play . See Collier's " New Particulars regarding Shakespeare's Works , " page 46 . With the exception of the title - page , dramatis per- sonæ , and prologus , I have modernized the orthography of this play ; and the originals are not ...
Seite xxi
... play . See Collier's " New Particulars regarding Shakespeare's Works , " page 46 . With the exception of the title - page , dramatis per- sonæ , and prologus , I have modernized the orthography of this play ; and the originals are not ...
... play . See Collier's " New Particulars regarding Shakespeare's Works , " page 46 . With the exception of the title - page , dramatis per- sonæ , and prologus , I have modernized the orthography of this play ; and the originals are not ...
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All's Anth Anthony BARRON FIELD Bernard BOBBINGTON brother Clin Clown comedy Crip Cripple dear dost thou doth Enter PHILLIS Exchange Exeunt Exit FAIR MAID falling bands Farewell father Ferd Ferdinand Fiddle Flow fortunes gallant gentleman give hand hast hath hear heart Heav'n hence here's husband i'faith J. P. Collier John kind leave letter LORD FRANCIS EGERTON marry Master Berry Master Bowdler Master Flower Master Goulding mean Merch methinks Mistress Flower Moll Berry never night old Flower Old Har Old Hard Phil pity porter pounds pray prithee promis'd Purs Rains say'st Scar Scarlet SCENE sirrah soul speak stay sweet tell thee thine THOMAS HEYWOOD thou art thou shalt Trusty John unto vex'd wench What's wife WILLIAM AYRTON William Rowley wilt word Young FORREST your's
Beliebte Passagen
Seite 55 - Romeo; and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun.
Seite 11 - To her is only known my love, Which from the world is hidden. Go, pretty birds, and tell her so, See that your notes strain not too low, For still methinks I see her frown; Ye pretty wantons, warble. Go tune your voices' harmony And sing, I am her lover; Strain loud and sweet, that every note With sweet content may move her: And she that hath the sweetest voice, Tell her I will not change my choice: Yet still methinks I see her frown! Ye pretty wantons, warble.
Seite 11 - Which from the world is hidden. Go, pretty birds, and tell her so; See that your notes strain not too low: For still, methinks, I see her frown ' Ye pretty wantons, warble. Go, tune your voices' harmony, And sing, I am her lover; Strain loud and sweet, that every note With sweet content may move her. And she that hath the sweetest voice, Tell her I will not change my choice ; Yet still, methinks, I see her frown Ye pretty wantons, warble.
Seite vi - Othello's mind in his colour, — whether he did not find something extremely revolting in the courtship and wedded caresses of Othello and Desdemona, and whether the actual sight of the thing did not overweigh all that beautiful compromise which we make in reading. And the reason it should do so is obvious, — because there is just so much reality presented to our senses as to give a perception of disagreement...
Seite ii - Society desire it to be understood that they are not answerable for any opinions or observations that may appear in the Society's publications ; the Editors of the several works being alone responsible for the same.
Seite vi - Othello's colour in his mind. But upon the stage, when the imagination is no longer the ruling faculty, but we are left to our poor unassisted senses, I appeal to every one that has seen Othello...
Seite 11 - Go, pretty birds, about her bower; Sing, pretty birds, she may not lower; Ah, me! methinks I see her frown! Ye pretty wantons, warble. Go, tell her through your chirping bills, As you by me are bidden, To her is only known my love, Which from the world is hidden. Go, pretty birds, and tell her so; See that your notes strain not too low, For still, methinks, I see her frown; Ye pretty wantons, warble. Go, tune your voices...
Seite 55 - Phoebus' mansion : such a waggoner As Phaeton would whip you to the west, And bring in cloudy night immediately.
Seite 55 - I had, — cuts my hatband, and yet it was massy goldsmith's work, cuts my brims, which, by good fortune, being thick embroidered with gold twist and spangles, disappointed the force of the blow : nevertheless, it grazed on my shoulder, takes me away six purls of an Italian cut-work band I wore, cost me three pound in the Exchange but three days before.