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" 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 aspect, A broken voice, and his whole function... "
The Dramatic Works of William Shakespeare: With Explanatory Notes. To which ... - 1022 ページ
William Shakespeare, Samuel Ayscough 著 - 1807
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Driftwood, Seaweed, and Fallen Leaves

John Cumming - 1863 - 340 ページ
...second we would not, the first we must take up and prosecute at any expense of time, toil, or money. " Is it not monstrous, that this player here, But in...own conceit, That from her working, all his visage wann'd; Tears in his eyes, distraction in his aspect, A broken voice,—and all for nothing! What would...

Public Speaking and Debate: With an Essay on Sacred Eloquence by Henry ...

George Jacob Holyoake - 1863 - 254 ページ
...make you ready. " Aye, so, God be wi' you. — Now I am alone, 0 what a rogue and peasant slave am 1 ! Is it not monstrous that this player here, But in...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...

A Study of Hamlet

John Conolly - 1863 - 220 ページ
...begins — HAM. Ay, so, God be wi' you : — "Now I am alone. 0, what a rogue and peasant slave am I ! Is it not monstrous, that this player here, But...a dream of passion, Could force his soul so to his whole conceit, That from her working, all his visage wann'd ; Tears in his eyes, distraction in 's...

Great Scenes and Monologues for Actors

Michael Schulman, Eva Mekler - 1998 - 370 ページ
...be wi' ye! (ROSENCRANTZ and CUILDENSTERN exit.) Now I am alone. O, what a rogue and peasant slave am I! Is it not monstrous that this player here, But...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...

Footnotes: Six Choreographers Inscribe the Page

Elena Alexander, Douglas Dunn - 1998 - 204 ページ
...through this routine, and I am now thinking . . . No, I will let you in on what Hamlet is thinking: 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 his aspect, A broken voice, and his whole function suiting...

Gender and Literacy on Stage in Early Modern England

Eve Rachele Sanders - 1998 - 288 ページ
...with such apparent feeling, Aeneas' grief and rage in recounting the bloody murder and its aftermath: Is it not monstrous that this player here, But in...passion, Could force his soul so to his own conceit . . . Yeti, A dull and muddy-mettled rascal, peak Like John-a-dreams, unpregnant of my cause, And can...

Shakespeare and the Literary Tradition

Stephen Orgel, Sean Keilen - 1999 - 356 ページ
...is yet surprised when it comes and when it seizes the player: O, what a rogue and peasant slave am I! Is it not monstrous that this player here, But...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...

Marcus is Walking

Joan Ackermann - 1999 - 60 ページ
...of pizza in it is on the passenger seat. GABE. Now I am alone. O, what a rogue and pleasant slave am I! Is it not monstrous that this player here, But...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...

New Sites for Shakespeare: Theatre, the Audience, and Asia

John Russell Brown - 1999 - 234 ページ
...* * 176 At times Hamlet speaks directly about acting and, in soliloquy, is objectively descriptive: 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's aspect, A broken voice, and his whole function suiting...

The Plays of Christopher Marlowe and George Peele: Rhetoric and Renaissance ...

Brian B. Ritchie - 1999 - 362 ページ
...term the emotional sincerity of the actor in fitting his own emotions to the pathos of his speech: 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, age which revelled in the potentialities and varieties...




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