 | Brian B. Ritchie - 1999 - 362 sivua
...term the emotional sincerity of the actor in fitting his own emotions to the pathos of his speech: Is it not monstrous that this player here, But in...conceit That from her working all his visage wanned, Tears in his eyes, distraction in's aspect, age which revelled in the potentialities and varieties... | |
 | Brian B. Ritchie - 1999 - 362 sivua
...term the emotional sincerity of the actor in fitting his own emotions to the pathos of his speech: Is it not monstrous that this player here, But in...conceit That from her working all his visage wanned, Tears in his eyes, distraction in's aspect, age which revelled in the potentialities and varieties... | |
 | Valeria Wagner - 1999 - 288 sivua
...the speech, in which Hamlet wonders at the First Player's ability to play his part so convincingly: Is it not monstrous that this player here, But in...conceit That from her working all his visage wanned, Tears in his eyes, distraction in his aspect, A broken voice, and his whole function suiting With forms... | |
 | John Russell Brown - 1999 - 234 sivua
...* * 176 At times Hamlet speaks directly about acting and, in soliloquy, is objectively descriptive: Is it not monstrous that this player here, But in...his own conceit That from her working all his visage wann'd; Tears in his eyes, distraction in's aspect, A broken voice, and his whole function suiting... | |
 | Gail Holst-Warhaft - 2000 - 252 sivua
...Afterthoughts 198 Notes 203 References 213 Index 225 The Cue for Passion Introduction: The Theater of Mourning O, what a rogue and peasant slave am I! Is it not...his own conceit That from her working all his visage wann'd, Tears in his eyes, distraction in his aspect, A broken voice, and his whole function suiting... | |
 | Lawrence Schoen - 2001 - 240 sivua
...Elsinore. Rosencrantz Good my lord! [Exeunt ROSENCRANTZ and GUILDENSTERN] Hamlet Ay, so, God be wi' ye! Now I am alone. O, what a rogue and peasant slave...his own conceit That from her working all his visage wan'd; Tears in his eyes, distraction in's aspect, A broken voice, and his whole function suiting With... | |
 | Dennis Kezar Assistant Professor of English Vanderbilt University - 2001 - 282 sivua
...with almost clinical interest the "monstrous" rehearsal of an apparently delusional speech-act theory: Is it not monstrous that this player here, But in...his own conceit That from her working all his visage wann'd, Tears in his eyes, distraction in his aspect, A broken voice, an' his whole function suiting... | |
 | William Shakespeare - 2001 - 304 sivua
...lord. [Exeunt ROSINCRANCE and GUILDENSTERN] Hamlet Ay, so, God b'wi' you. Now I am alone. Oh, what a rogue and peasant slave am I! Is it not monstrous...a dream of passion, Could force his soul so to his whole conceit That from her working all his visage wann'd, Tears in his eyes, distraction in's aspect,... | |
 | William Shakespeare - 2002 - 244 sivua
...that's villanous, and shows a most pitiful ambition in the fool that uses it. Hamlet— Hamlet III.ii O, what a rogue and peasant slave am I! Is it not...his own conceit That from her working all his visage wann'd, Tears in his eyes, distraction in 's aspect, A broken voice, and his whole function suiting... | |
 | Antonio R. Damasio - 2003 - 372 sivua
...wonder at the player's capability of conjuring up emotion in spite of having no personal cause for it. "Is it not monstrous that this player here, but in...own conceit, that from her working all his visage waned, tears in his eyes, distraction in his aspect, a broken voice, and his whole form suiting with... | |
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O, what a rogue and peasant slave am I ! Is it not monstrous, that this player here, But in a fiction, in a dream of passion, Could force his soul so to his own conceit, That, from her working, all his visage wann'd ; Tears in his eyes, distraction in's... 
