Chapter VI

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

used before a singular noun to mean one of a group, when it is not a particular one

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

on the subject of; concerning

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

an ability that has been acquired by training

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

a theatrical performer

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

any handsome young man

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

later than; following

From this reading That it took place, either in 1590, or very soon after that year, must be inferred both from tradition, and from written testimony.

troubled emotionally and usually deeply

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

past form of “allude” — make a more or less disguised reference to

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

expressive of or exciting sexual love or romance

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

the form of “a” used before a word that begins with a vowel sound

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

used to join words or parts of a sentence that go together

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

of or near the head end or toward the front plane of a body

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

one or some or every or all without specification

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

the thing arranged or agreed to

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

accomplishment of an objective

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

at the same time that; because; in the way that

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

appointed to a post or duty

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

plural of “attempt” — earnest and conscientious activity intended to do or accomplish something

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

writes (books or stories or articles or the like) professionally (for pay)

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

the power or right to give orders or make decisions

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

aerobic rod-shaped spore-producing bacterium; often occurring in chainlike formations; found primarily in soil

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

used with a past participle to form the passive, or with -ing for continuous tenses

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

earlier than; in front of

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

in the space, time, or range separating two things

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

the two together, not just one

From this reading That it took place, either in 1590, or very soon after that year, must be inferred both from tradition, and from written testimony.

a degree on the centigrade scale of temperature

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

relating to or arranged according to temporal order

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

light and humorous drama with a happy ending

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

the time at which something is supposed to begin

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

the spatial property resulting from the arrangement of parts in relation to each other and to the whole

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

occurring at or forming an end or termination

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

deem to be

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

characteristic of the present

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

make right or correct

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

a fat-soluble vitamin that prevents rickets

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

the specified day of the month

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

a treatise advancing a new point of view resulting from research; usually a requirement for an advanced academic degree

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

suitable to or characteristic of drama

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

A series of thoughts, images, or emotions during sleep.

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

(comparative and superlative of “early”) more early than; most early

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

earnest and conscientious activity intended to do or accomplish something

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

one or the other of two

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

-ing form of “emanate” — proceed or issue forth, as from a source

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

the state of being employed or having a job

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

derive or receive pleasure from; get enjoyment from; take pleasure in

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

a period marked by distinctive character or reckoned from a fixed point or event

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

a period marked by distinctive character or reckoned from a fixed point or event

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

plural of “error” — a wrong action attributable to bad judgment or ignorance or inattention

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

divisible by two

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

a small being, human in form, playful and having magical powers

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

the month following January and preceding March

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

preceding all others in time or space or degree

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

intended to be given to, or used by, somebody

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

referring to the first of two things or persons mentioned (or the earlier one or ones of several)

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

showing where something starts, or who sent it

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

someone who has exceptional intellectual ability and originality

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

not fake or counterfeit

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

the form of “have” used with he, she, it, or a singular noun

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

used with a past participle to form the perfect tenses

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

a man, boy, or male animal already mentioned, as the subject

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

A person legally or magically entitled to the property or rank of another on that person's death.

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

a unit of inductance in which an induced electromotive force of one volt is produced when the current is varied at the rate of one ampere per second

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

belonging to a man, boy, or male animal already mentioned

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

on condition that; in the event that

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

of the present time and place

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

inside something, or within a place, period, or state

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

inflected form of “infer” — reason by deduction; establish by deduction

From this reading That it took place, either in 1590, or very soon after that year, must be inferred both from tradition, and from written testimony.

third-person singular of “inform” — impart knowledge of some fact, state of affairs, or event to

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

a definite length of time marked off by two instants

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

the creation of something in the mind

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

a thing, animal, or idea already mentioned

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

and nothing more

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

having or showing a tender and considerate and helpful nature; used especially of persons and their behavior

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

prefer or wish to do something

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

creative writing of recognized artistic value

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

the capital and largest city of England; located on the Thames in southeastern England; financial and industrial and cultural center

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

no longer in your possession or control; unable to be found or recovered

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

possessive form of “love” — a strong positive emotion of regard and affection

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

used to say something is possible, or to give permission

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

past form of “mention” — make reference to

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

used to say something is possible but not certain

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

plural of “modification” — the act of making something different (as e.g. the size of a garment)

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

to a great degree or extent

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

used to say something is necessary, or almost certainly true

From this reading That it took place, either in 1590, or very soon after that year, must be inferred both from tradition, and from written testimony.

myths collectively; the body of stories associated with a culture or institution or person

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

not one and not the other of two

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

not any; not one

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

and not; used after a negative to add a second negative

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

used to make a word, phrase, or sentence negative

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

being perceived or observed

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

in the historical present; at this point in the narration of a series of past events

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

plural of “observation” — the act of making and recording a measurement

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

keep busy with

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

inflected form of “occur” — come to pass

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

belonging to, or connected with, somebody or something

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

touching and supported by a surface

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

used to join alternatives or possibilities

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

belonging to the speaker and others

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

have ownership or possession of

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

something determined in relation to something that includes it

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

Athenian statesman whose leadership contributed to Athens' political and cultural supremacy in Greece; he ordered the construction of the Parthenon (died in 429 BC)

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

an amount of time

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

a point located with respect to surface features of some region

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

situated in a particular spot or position

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

participate in games or sport

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

plural of “play” — a dramatic work intended for performance by actors on a stage

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

a composition written in metrical feet forming rhythmical lines

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

a writer of poems (the term is usually reserved for writers of good poetry)

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

literature in metrical form

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

something determined in relation to something that includes it

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

have as an attribute, knowledge, or skill

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

past form of “presume” — take to be the case or to be true; accept without verification or proof

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

just preceding something else in time or order

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

a measure of how likely it is that some event will occur; a number expressing the ratio of favorable cases to the whole number of cases possible

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

continue talking

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

the act or process of producing something

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

the body of people in a learned occupation

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

the institution and conduct of legal proceedings against a defendant for criminal behavior

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

challenge the accuracy, probity, or propriety of

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

plural of “reason” — a rational motive for a belief or action

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

conforming to the established language usage of educated native speakers

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

-ing form of “recollect” — recall knowledge from memory; have a recollection

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

inflected form of “refer” — make reference to

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

1/60 of a minute; the basic unit of time adopted under the Systeme International d'Unites

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

marked by correspondence or resemblance

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

coming next after the fifth and just before the seventh in position

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

in the near future

From this reading That it took place, either in 1590, or very soon after that year, must be inferred both from tradition, and from written testimony.

the place where something begins, where it springs into being

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

following in time or order

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

of a quantity that can fulfill a need or requirement but without being abundant

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

a solemn statement made under oath

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

used to introduce what somebody said, thought, or felt

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

used before a noun that is already known, already mentioned, or the only one of its kind

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

of or relating to the theater

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

used for a person or thing that is near, or that has just been mentioned

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

in spite of the fact that

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

used before the base form of a verb to make the infinitive

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

inflected form of “take” — carry out

From this reading That it took place, either in 1590, or very soon after that year, must be inferred both from tradition, and from written testimony.

an inherited pattern of thought or action

From this reading That it took place, either in 1590, or very soon after that year, must be inferred both from tradition, and from written testimony.

the cardinal number that is the sum of one and one or a numeral representing this number

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

the speaker and others, as the object of a verb or preposition

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

the second nearest planet to the sun

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

precisely as stated

From this reading That it took place, either in 1590, or very soon after that year, must be inferred both from tradition, and from written testimony.

the past form of “be” used with I, he, she, it, or a singular noun

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

the speaker together with one or more other people

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading That it occurred _not_ before this date, may be presumed from recollecting, that, in the first place, the _prosecution_ of his amatory poem and the _acquirement_ of his profession as an actor, might be sufficient to occupy an interval of two years; and, in the second place, that no contemporary previous to 1592, neither Webbe in 1586[256:C], nor Puttenham in 1589[256:D], nor Harrington in February, 1591[257:A], has noticed or even alluded to any theatrical production of our author.

at the time that

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

used to introduce a clause giving more about a thing just mentioned

From this reading PERIOD OF SHAKSPEARE'S COMMENCEMENT AS A DRAMATIC POET— CHRONOLOGICAL ARRANGEMENT OF HIS GENUINE PLAYS—OBSERVATIONS ON _PERICLES_; ON THE _COMEDY OF ERRORS_; ON _LOVE'S LABOUR'S LOST_; ON _HENRY THE SIXTH, PART THE FIRST_; ON _HENRY THE SIXTH, PART THE SECOND_, AND ON _A MIDSUMMER-NIGHT'S DREAM_— DISSERTATION ON THE FAIRY MYTHOLOGY, AND ON THE MODIFICATIONS WHICH IT RECEIVED FROM THE GENIUS OF SHAKSPEARE.

in the company of; together with

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

exert oneself by doing mental or physical work for a purpose or out of necessity

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

set down in writing in any of various ways

From this reading That it took place, either in 1590, or very soon after that year, must be inferred both from tradition, and from written testimony.

a period of time containing 365 (or 366) days

From this reading We have, in a former portion of this work[256:A], assigned our reasons for concluding that, on Shakspeare's arrival in London, about the year 1586 or 1587, his _immediate_ employment was that of an actor; and we now proceed to consider the much agitated question as to the era of his _first_ attempts in _dramatic_ poetry.

a late time of life

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.

but in spite of that

From this reading That this was subsequent to the production of his _Venus and Adonis_, we possess his own authority, when he informs us that the poem just mentioned was _the first heir of his invention_; and though we enjoy no testimony of a like kind, or emanating from a similar source, as to the period of his earliest effort in dramatic literature, yet, if we be correct in referring the composition of his Venus and Adonis to the interval elapsing between the years 1587 and 1590[256:B], the epoch of his _first play_ cannot, with any probability, be placed either much anterior or subsequent to the year 1590.