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Immediately on her entrance, she calls out to her tapster Mooncalf for "My chayre, you false faucet you; and my mornings draught, quickly, a botle of Ale, to quench mee, Rascall" (D1v; 2.2.41-42).
The marginal notes also recall the spatial aspect of the stage production, distinguishing between action taking place on- and off-stage through references to noises and voices heard "within" (D1v, I4).
Perkinson (New York: Scholars' Facsimiles & Reprints, 1941), D1v. Curiously, Heywood's adversary, John Greene, offers the same theory about "the Wine leese with which they besmeared their faces, (before that Aeschilus deuised vizors for them) called in Greek [GREEK TEXT NOT REPRODUCIBLE IN ASCII] (I.
Launcelot goes away, presumably through the opposing doorway, after delivering a message from Lorenzo to Jessica: "Mistres looke out at window for all this, / there will come a Christian by / will be worth a Iewes eye" (D1v; 2.5.40-43).
In Q2 after "We haue a trifling foolish banquet towards" Capulet continues: "Is it ene so?" (D1v).
The characters of both Love and Envie, for instance, make a point of talking directly to 'the best' elements of the audience (C4r-v), and at the end of the day's events, Chester gives a final speech publicly inviting 'Each noble worthy, and each worthy Knight / To close their stomacke with a small repast' (D1v).
D1v), (140) suggests that the actor playing the deity occupies the same compartment, above the tiring-house occupied, respectively, by Henry VIII and Butts, Montrevile, and Theodosius.
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