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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... "
The Dramatic Works of William Shakespeare: With Explanatory Notes. To which ... - Seite 1020
von William Shakespeare, Samuel Ayscough - 1807
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Driftwood, seaweed and fallen leaves, Band 1

John Cumming - 1863
...second we would not, the first we must take up and prosecute at any expense of time, toil, or money. " Is it not monstrous, that this player here, But in...own conceit, That from her working, all his visage wann'd; Tears in his eyes, distraction in his aspect, A broken voice,—and all for nothing! What would...
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Public Speaking and Debate: With an Essay on Sacred Eloquence by Henry ...

George Jacob Holyoake - 1863 - 234 Seiten
...make you ready. " Aye, so, God be wi' you. — Now I am alone, 0 what a rogue and peasant slave am 1 ! Is it not monstrous that this player here, But in...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...
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A Study of Hamlet

John Conolly - 1863 - 209 Seiten
...begins — HAM. Ay, so, God be wi' you : — "Now I am alone. 0, 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 wann'd ; Tears in his eyes, distraction in 's...
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Great Scenes and Monologues for Actors

Michael Schulman, Eva Mekler - 1998 - 330 Seiten
...be wi' ye! (ROSENCRANTZ and CUILDENSTERN exit.) 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 wann'd; Tears in his eyes, distraction in 's aspect, A broken voice, and his whole function suiting...
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Footnotes: Six Choreographers Inscribe the Page

Elena Alexander, Douglas Dunn, Marjorie Gamso, Jill Johnston, Ishmael Houston-Jones, Kenneth King, Yvonne Meier, Sarah Skaggs - 1998 - 169 Seiten
...through this routine, and I am now thinking . . . No, I will let you in on what Hamlet is thinking: 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...
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Gender and Literacy on Stage in Early Modern England

Eve Rachele Sanders, Jackson Eli Reynolds Professor of Humanities Stephen Orgel - 1998 - 260 Seiten
...with such apparent feeling, Aeneas' grief and rage in recounting the bloody murder and its aftermath: Is it not monstrous that this player here, But in...passion, Could force his soul so to his own conceit . . . Yeti, A dull and muddy-mettled rascal, peak Like John-a-dreams, unpregnant of my cause, And can...
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Shakespeare and the Literary Tradition

Stephen Orgel, Sean Keilen - 1999 - 344 Seiten
...is yet surprised when it comes and when it seizes the player: 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...
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Marcus is Walking

Joan Ackermann - 1999 - 53 Seiten
...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, But...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...
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New Sites for Shakespeare: Theatre, the Audience, and Asia

John Russell Brown - 1999 - 211 Seiten
...* * 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...
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The Plays of Christopher Marlowe and George Peele: Rhetoric and Renaissance ...

Brian B. Ritchie - 1999 - 358 Seiten
...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...
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