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" 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: King Lear. Romeo and Juliet ... - Página 306
por William Shakespeare - 1851 - 38 páginas
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Dreams of the burning child : sacrificial sons and the father's witness

David Lee Miller - 2003 - 268 páginas
...go backward." Later in the same scene Hamlet marvels at the transformative powers of make-believe: 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, an' his whole function suiting...
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The Kendall/Hunt Anthology: Literature to Write About

K. H. Anthol - 2003 - 344 páginas
...Guildenstern.] Ham. Ay, so, God buy ye. — Now I am alone. O, what a rogue and peasant slave am I! 576 Is it not monstrous that this player here, But in...[own] conceit That from her working all his visage [wann'd], 580 Tears, in his eyes, distraction in 's aspect, A broken voice, and his whole function...
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Medicine, Mythology, and Spirituality: Recollecting the Past and Willing the ...

Ralph Twentyman - 2004 - 136 páginas
...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...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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Theatre and Entertainment

Kathy Elgin - 2005 - 40 páginas
...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...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...
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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 - 324 páginas
...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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Rhetoric and Renaissance Culture

Heinrich F. Plett - 2004 - 600 páginas
...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...
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The Literary Wittgenstein

John Gibson, Wolfgang Huemer - 2004 - 372 páginas
...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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The Great Comedies and Tragedies

William Shakespeare - 2005 - 900 páginas
...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...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 With forms...
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Shakespeare in Japan

Tetsuo Kishi - 2005 - 166 páginas
...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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Elizabethan Popular Theatre: Plays in Performance

Michael Hattaway - 2005 - 272 páginas
...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...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 With forms...
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