 | Henry Sussman - Philosophy - 1997 - 338 pages
...his own conceit That from her working all the visage wanned, Tears in her eyes, distraction in his aspect, A broken voice, and his whole function suiting...for passion That I have? He would drown the stage with tears And cleave the general ear with horrid speech, Make mad the guilty and appal the free, Confound... | |
 | Richard Halpern - Criticism - 1997 - 308 pages
...her working all the visage wann'd, Tears in his eyes, distraction in his aspect, A broken voice, an' his whole function suiting With forms to his conceit?...for passion That I have? He would drown the stage with tears, And cleave the general ear with horrid speech, Make mad the guilty, and .appall the free,... | |
 | Moses Mendelssohn - Philosophy - 1997 - 370 pages
...his whole 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...he the motive and the cue for passion That I have? . . . - Hamlet, Act II, Scene n What a masterstroke! Experience teaches that dejected souls find a... | |
 | Elena Alexander, Douglas Dunn, Marjorie Gamso, Jill Johnston, Ishmael Houston-Jones, Yvonne Meier, Sarah Skaggs - Choreographers - 1998 - 204 pages
...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...nothing, For Hecuba! What's Hecuba to him, or he to Hecuba, too young to have engaged in any war maneuvers and entrusted to Polymestor, a supposed family... | |
 | Stephen Orgel, Sean Keilen - Literary Criticism - 1999 - 356 pages
...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...he the motive and the cue for passion That I have? [2.2.534-46] Hamlet makes the point that dances before us in every scene. Dramatic, rhetorical motive... | |
 | Joan Ackermann - Drama - 1999 - 60 pages
...arm, waving on a car.) Go, go, go. Get thee, get thee, get thee. (Sinks back into character.) What's Hecuba to him, or he to Hecuba, That he should weep...for passion That I have? He would drown the stage with tears And cleave the general ear with horrid speech Get off my ass, buddy. (Looking in the rearview... | |
 | Brian B. Ritchie - Drama - 1999 - 358 pages
...highlight the power of this rhetoric, and in the end increases the theatrical awareness of his audience. A broken voice, and his whole function suiting With...him, or he to Hecuba, That he should weep for her? (2. 2. 552) On the links between character fashioning andpronunciatio as taught in the schools see... | |
 | Brian B. Ritchie - Drama - 1999 - 358 pages
...highlight the power of this rhetoric, and in the end increases the theatrical awareness of his audience. A broken voice, and his whole function suiting With...him, or he to Hecuba, That he should weep for her? (2. 2. 552) On the links between character fashioning andpronunciatio as taught in the schools see... | |
 | Tom Lutz - Crying - 2001 - 358 pages
...her working all the visage wann'd, Tears in his eyes, distraction in his aspect, A broken voice, an' his whole function suiting With forms to his conceit?...him, or he to Hecuba, That he should weep for her? Hamlet finds it "monstrous" that the actor can simulate the full bodily array of emotional expression... | |
 | James M. Welsh, John C. Tibbetts, Professor John C Tibbetts - Performing Arts - 1999 - 320 pages
...fiction, in a dream of passion; Could force his soul so to her own conceit That from her working all his visage wann'd, Tears in his eyes, distraction...forms to his conceit? and all for nothing! For Hecuba! The vital yet often marginalized role of the Player, is essential if the dramatic irony of Hamlet's... | |
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What's Hecuba to him, or he to Hecuba, That he should weep for her? What would he do, Had he the motive and the cue for passion That I have? 
