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Kitaplar O, what a rogue and peasant slave am I ! Is it not monstrous, that this player here,... ile ilgili
" 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... "
The dramatic works of William Shakspeare - Sayfa 44
William Shakespeare tarafından - 1814
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Medicine, Mythology and Spirituality: Recollecting the Past and Willing the ...

Ralph Twentyman - 2004 - 118 sayfa
...play for example, produce profound results? Shakespeare's Hamlet certainly found that this was so: O, what a rogue and peasant slave am I! Is it not...broken voice, and his whole function suiting With forms to his conceit? And all for nothing! For Hecuba! Hamlet (Act 2, Scene ii) When we realize that...
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Rhetoric and Renaissance Culture

Heinrich F. Plett - 2004 - 581 sayfa
...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 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...
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Theatre and Entertainment

Kathy Elgin - 2005 - 32 sayfa
...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...
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The Literary Wittgenstein

John Gibson, John Gibson, Dr, Wolfgang Huemer - 2004 - 356 sayfa
...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 sayfa
...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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The Great Comedies and Tragedies

William Shakespeare - 2005 - 896 sayfa
...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 slave...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 - 2005 - 166 sayfa
...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 sayfa
...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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Separate Theaters: Bethlem ("Bedlam") Hospital and the Shakespearean Stage

Kenneth S. Jackson - 2005 - 309 sayfa
...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...
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Elizabethan Popular Theatre: Plays in Performance

Michael Hattaway - 2004 - 234 sayfa
...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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