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" I'll leave you till night: you are welcome to Elsinore. Ros. Good my lord ! [Exeunt Rosencrantz and Guildenstern. Ham. Ay, so, God be wi' you : — Now I am alone. O, what a rogue and peasant slave am I ! Is it not monstrous, that this player here, But... "
The Plays and Poems of Shakespeare,: According to the Improved Text of ... - Strana 75
autor/autoři: William Shakespeare - 1844
Úplné zobrazení - Podrobnosti o knize

Theatre and Entertainment

Kathy Elgin - 2005 - 32 str.
...in this way. In the floor of the stage was a trap-door, through which devils or ghosts could appear. Is it not monstrous that this player here, But in...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 pale ft...
Omezený náhled - Podrobnosti o knize

The Literary Wittgenstein

John Gibson, John Gibson, Dr, Wolfgang Huemer - 2004 - 356 str.
...struck by the discrepancy between the mere artor's histrionic intensity and his own culpable passivity: O, what a rogue and peasant slave am I! Is it not...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,...
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Fantasies of Troy: Classical Tales and the Social Imaginary in Medieval and ...

Victoria University (Toronto, Ont.). Centre for Reformation and Renaissance Studies - 2004 - 306 str.
...gaze when he has Hamlet, after one of the players recites a speech for him, play the drama critic: O, what a rogue and peasant slave am I! Is it not...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,...
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Introduction to Dramatherapy: Person and Threshold

Salvo Pitruzzella - 2004 - 196 str.
...merits particular attention, and will be further explored in the next section. ACTOR AND CHARACTER Is it not monstrous that this player here, But in...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,...
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Introduction to Dramatherapy: Person and Threshold

Salvo Pitruzzella - 2004 - 196 str.
...merits particular attention, and will be further explored in the next section. ACTOR AND CHARACTER Is it not monstrous that this player here, But in...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,...
Omezený náhled - Podrobnosti o knize

Shakespeare and Marx

Gabriel Egan - 2004 - 176 str.
...pipe?' (3.2.357—8). Yet he is mightily impressed with the effect of a performance upon the performer: Is it not monstrous that this player here, But in...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,...
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The Great Comedies and Tragedies

William Shakespeare - 2005 - 896 str.
...night. You are welcome to Elsinore. 530 ROSENC'Z Good my lord. [they take their leave HAMLET Ay, so, God bye to you! Now I am alone. O, what a rogue and peasant...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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Shakespeare in Japan

Tetsuo Kishi, Graham Bradshaw - 2005 - 153 str.
...about Fukuda's translation5 of Hamlet's second soliloquy (Act II, scene ii), which begins as follows: Now I am alone. O what a rogue and peasant slave am...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,...
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Theater and Entertainment

Kathy Elgin - 2005 - 32 str.
...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...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 pale In...
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Elizabethan Popular Theatre: Plays in Performance

Michael Hattaway - 2004 - 234 str.
...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...
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