 | Richard Halpern - 1997 - 308 Seiten
...voice, an' his whole function suiting With forms to his conceit? And all for nothing, For Hecuba! What's Hecuba to him, or he to Hecuba, That he should weep...general ear with horrid speech, Make mad the guilty, and .appall the free, Confound the ignorant, and amaze indeed The very faculties of eyes and ears. Yet... | |
 | Moses Mendelssohn - 1997 - 370 Seiten
...voice, and his whole function suiting With forms to his conceit? and all for nothing! For Hecuba! What's Hecuba to him, or he to Hecuba, That he should weep...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 - 1998 - 204 Seiten
...goods he'd plundered was her last remaining child, her daughter Cassandra, he might have an emoThat he should weep for her? What would he do Had he the...general ear with horrid speech, Make mad the guilty and appall the free, Confound the ignorant, and amaze indeed The very faculty of eyes and ears. (II, ii,... | |
 | Silvia Anspach - 1998 - 232 Seiten
...own conceit; [...]Whatwouldhe Had he the motive and the cue for passion That l have? He would dmwn the stage with tears And cleave the general ear with...Confound the ignorant, and amaze, indeed, the very faculty of eyes and ears. (Shakespeare, 1970a, Il, ii, 959 - grifos nossos) A paixão assola os sentidos,... | |
 | Joan Ackermann - 1999 - 60 Seiten
...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...tears And cleave the general ear with horrid speech Get off my ass, buddy. (Looking in the rearview mirror.) Get off my ass. Make mad the guilty and appall... | |
 | William Shakespeare - 1999 - 324 Seiten
...and his whole function suiting With forms to his conceit? And all for nothing? For Hecuba! 510 What's Hecuba to him, or he to Hecuba, That he should weep...tears, And cleave the general ear with horrid speech, 515 497 Macready rearranged the sequence of exits so that the First Player is the last of the players... | |
 | Valeria Wagner - 1999 - 288 Seiten
...the "time" that is "out of ^Hamlet is here taking the place of the player in H.ii, of whom he says: What would he do Had he the motive and the cue for...tears And cleave the general ear with horrid speech, Confound the ignorant, and amaze indeed The very faculties of eyes and ears. <n.ii. 557-63) He is also... | |
 | Stephen Orgel, Sean Keilen - 1999 - 356 Seiten
...voice, and his whole function suiting With forms to his conceit? And all for nothing, For Hecuba! What's Hecuba to him, or he to Hecuba, That he should weep...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... | |
 | Tom Lutz - 2001 - 358 Seiten
...as his grief at his father's death has still found no expression. "What would he do," he continues, "Had he the motive and the cue for passion/ That I have? He would drown the stage with tears." The various motivations for tears — performative, expressive, and empathetic — are intertwined... | |
 | Robert Weimann - 2000 - 324 Seiten
...of this speech, the speaker's awareness of play and the reference to the (First) Player looms large. What would he do Had he the motive and [the cue] for...tears, And cleave the general ear with horrid speech (2.2.560-563) As the traveling player's capacity for rousing, piercing speech and action is imaginatively... | |
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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? 
