 | Gail Kern Paster - 2010 - 288 页
...his own recitation, flood himself within and without by emotion and cause bodily alteration. He can force his soul so to his own conceit That from her working all the visage wann'd, Tears in his eyes, distraction in his aspect. But, though it is harder to see, Hamlet... | |
 | William Shakespeare - 2005 - 900 页
...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 am I! Is it not monstrous...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... | |
 | Kenneth S. Jackson - 2005 - 324 页
...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 visage waned. Tears in his eyes, distraction in his aspect, A broken voice, and his whole function suiting With forms to his conceit? And all for nothing?... | |
 | Michael Hattaway - 2005 - 272 页
...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 页
...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... | |
 | Tetsuo Kishi - 2005 - 166 页
...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 I! Is it not monstrous...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,... | |
 | Nicholas Brooke - 2005 - 240 页
...which finally brings all this to bear directly on the play is a commentary on the Pyrrhus speech : Is it not monstrous that this player here, But in a fiction, in a dream of passion . . . (544-5) In a fiction, cause and effect relate directly, and an actor with a cue for passion,... | |
 | Karen Newman - 2005 - 176 页
...through what I have termed a rhetoric of consciousness: Ay, so, God buy to you. 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 soul so to his own conceit That from her... | |
 | Kate Pogue - 2006 - 248 页
...would have left a similar bequest to his friend Augustine Phillips. Rickard BurLage (c. 1571-1619) Is it not monstrous that this player here But in a...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... | |
 | E. Beatrice Batson - 2006 - 198 页
...description of the abuse of this evocative process. "Is it not monstrous," (551) he soon asks himself, "that this player here," But in a fiction, in a dream...his soul so to his own conceit That from her working [the soul's] all his visage wanned, Tears in his eyes, distraction in his aspect, A broken voice, and... | |
| |
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... 
