 | Heinrich F. Plett - 2004 - 600 Seiten
...After the rehearsal has taken place, Hamlet explains why the first player's performance was so perfect: 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, and his whole function suiting... | |
 | John Gibson, Wolfgang Huemer - 2004 - 376 Seiten
...passion, Could force his soul so to his whole conceit That from her working all his visage wanned, Tears in his eyes, distraction in 's aspect, A broken...forms to his conceit? And all for nothing. For Hecuba! What's Hecuba to him, or he to Hecuba, That he should weep for her? (3.1.552-62) Hamlet confronts here... | |
 | John Gibson, Wolfgang Huemer - 2004 - 372 Seiten
...mere artor's histrionic intensity and his own culpable passivity: O, what a rogue and peasant slave am I! Is it not monstrous that this player here, But...a dream of passion, Could force his soul so to his whole conceit That from her working a1l his visage wanned, Tears in his eyes, distrartion in 's aspect,... | |
 | Alan Shepard, Stephen David Powell Powell - 2004 - 324 Seiten
...of the players recites a speech for him, play the drama critic: O, what a rogue and peasant slave am I! Is it not monstrous that this player here, But...a dream of passion, Could force his soul so to his whole conceit That from her working all his visage wanned. Tears in his eyes, distraction in 's aspect,... | |
 | William Shakespeare - 2005 - 900 Seiten
...take their leave HAMLET Ay, so, God bye to you! Now I am alone. O, what a rogue and peasant slave am I! Is it not monstrous that this player here, But...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... | |
 | Michael Hattaway - 2005 - 272 Seiten
...player becomes the very figure of the emotion proper to his character, here 'the distracted lover': 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, A broken voice, and his whole function suiting... | |
 | Kathy Elgin - 2005 - 36 Seiten
...the actors' skill. Even uneducated people were accustomed to using their imaginations in this way. Is it not monstrous that this player here, But in...his own conceit That from her working all his visage wann'd. HAMLET, ACT 2, SCENE 2 but: only concert: thing he was imagining visage: face wann'd: went... | |
 | Kenneth S. Jackson - 2005 - 324 Seiten
...follows, Shakespeare calls attention not just to Hamlet's "inaction," but the wonder of "playing": Is it not monstrous that this player here, But in...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... | |
 | Tetsuo Kishi - 2005 - 167 Seiten
...soliloquy (Act II, scene ii), which begins as follows: Now I am alone. O what a rogue and peasant slave am I! Is it not monstrous that this player here, But...a dream of passion, Could force his soul so to his whole conceit That from her working all his visage wanned, Tears in his eyes, distraction in's aspect,... | |
 | Karen Newman - 2005 - 176 Seiten
...Now I am alone. O what a rogue and peasant slave am I! Is it not monstrous that this player here, 545 But in a fiction, in a dream of passion, Could force...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... | |
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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, and his whole function... 
