 | William Shakespeare - 1999 - 324 страници
...FJsinore. ROSENCRANTZ Good my lord. 500 Exeunt Rosencrantz and Guildenstern HAMLET Ay so, God bye to you. Now I am alone. O what a rogue and peasant slave...passion, Could force his soul so to his own conceit 505 That from her working all his visage wanned, Tears in his eyes, distraction in's aspect, A broken... | |
 | Tom Lutz - 2001 - 358 страници
...dramatic art and the riddle of human empathy as well, in one of the play's best-known soliloquies: O what a rogue and peasant slave am I! Is it not monstrous...soul so to his own conceit That from her working all the visage wann'd, Tears in his eyes, distraction in his aspect, A broken voice, an' his whole function... | |
 | John Russell Brown - 1999 - 228 страници
...remain so. At times Hamlet speaks directlv about acting and, in soliloquy, is objectively descriptive: Is it not monstrous that this player here, But in...from her working all his visage wann'd; Tears in his eves, distraction in's aspect, A broken voice, and his whole function suiting With forms to his conceit?... | |
 | Joan Ackermann - 1999 - 60 страници
...a slice of pizza in it is on the passenger seat. GABE. Now I am alone. O, what a rogue and pleasant slave am I! Is it not monstrous that this player here,...his own conceit That from her working all his visage waned, Tears in his eyes, distraction in his aspect, A broken voice, and his whole function suiting... | |
 | Brian B. Ritchie - 1999 - 362 страници
...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...his own 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 страници
...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...his own 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 страници
...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...his own 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... | |
 | Gail Holst-Warhaft - 2000 - 252 страници
...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 visage wann'd, Tears in his eyes, distraction in his aspect, A broken voice, and his whole function suiting With forms to his conceit? And all for... | |
 | Lawrence Schoen - 2001 - 240 страници
...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 страници
...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 visage wann'd, Tears in his eyes, distraction in his aspect, A broken voice, an' his whole function suiting With forms to his conceit? And all for... | |
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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 aspect, A broken voice,... 
