from The American Heritage® Dictionary of the English Language, 4th Edition
- Shakespeare, William 1564-1616. English playwright and poet whose body of works is considered the greatest in English literature. His plays, many of which were performed at the Globe Theater in London, include historical works, such as Richard II, comedies, including Much Ado about Nothing and As You Like It, and tragedies, such as Hamlet, Othello, and King Lear. He also composed 154 sonnets. The earliest collected edition of his plays, the First Folio, contained 36 plays and was published posthumously (1623).
from Wiktionary, Creative Commons Attribution/Share-Alike License
- proper n. A surname.
- proper n. William Shakespeare, an English playwright and poet of the late sixteenth and early seventeenth centuries
- proper n. His works or media adaptations of his works.
- n. Eloquent language, especially English; poetry.
- n. A playwright of the standing of William Shakespeare
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. English poet and dramatist considered one of the greatest English writers (1564-1616)
Sorry, no etymologies found.
V. i.545 (143,6) General Observation The novel of Cynthio Giraldi, from which Shakespeare is supposed to have borrowed this fable, may be read in _Shakespeare illustrated_, elegantly translated, with remarks which will assist the enquirer to discover how much absurdity Shakespeare has admitted or avoided.
Pope's edition of Shakespeare was completed by 1725, and in the following year Theobald made the poet his implacable enemy when he issued his _Shakespeare Restored_, which demolished Pope's pretensions as an editor by offering some two hundred corrections.
SHAKESPEARE ALBUM; a Series of One Hundred and Seventy Illustrations from the Plates to Boydell's Edition of Shakespeare, as published to the
SHAKESPEARE ALBUM; a Series of One Hundred and Seventy Illustrations from the Plates to Boydell's Edition of Shakespeare, as published to the Edition edited by Valpy.
To go no further, he was, as we have seen, destitute of humour; the powers of comedy evidently had no place in him; and these powers are indispensable to the production of high tragedy: a position affirmed as long ago as the days of Plato; sound in the reason of the thing; and, above all, made good in the instance of Shakespeare; who was _Shakespeare_, mainly because he had _all_ the powers of the human mind in harmonious order and action, and _used_ them all, explicitly or implicitly, in every play he wrote.
That last term was a reminting of the Late Latin *mussario, which sounds like a word Shakespeare could have used for an Italian character in one of his plays.
She was a Persse—a form of the name Shakespeare calls Percy—descended from some Duke of Northumberland; her family had settled in the seventeenth century somewhere in the midlands, but finding, the legend declares, the visits of Lord Clanricarde, going and returning between his estate and Dublin, expensive, they had moved that they might be no longer near the high road and bought vast tracts of Galway land.
And in the broader sense of the term Shakespeare's form was precisely proportionate to his genius, though it is seen rather in the transcendence of his poetry and the management by which his persons are swept along on their own characters than in those more obvious elements of form -- structure of plot, the subservience of dialogue and incident to the dramatic purpose, and all the minor probabilities and proprieties.
When we seek to analyze what we mean by the term Shakespeare, to endeavor to define wherein he was distinct from all others and easily pre-eminent, to know why to us he ever grows wiser as we grow wise, we find that his especial characteristic was an unequalled power of observation and an ability accurately to chronicle his impressions.
The title Shakespeare: If Music Be… leaves the impression that the show must be about, well, music.
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