 | Moses Mendelssohn - Philosophy - 1997 - 370 pages
...wanned, Tears in his eyes, distraction in 's aspect, A broken 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 for her? What would he do Had he the motive and the cue for passion That I have? . . .... | |
 | Michael Schulman, Eva Mekler - Drama - 1998 - 370 pages
...wann'd; Tears in his eyes, distraction in 's aspect, A broken 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 for her? What would he do, Had he the motive and the cue for passion That I have? He would... | |
 | Elena Alexander, Douglas Dunn - Choreographers - 1998 - 204 pages
...wanned. 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, 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... | |
 | Michael Schulman, Eva Mekler - Drama - 1998 - 370 pages
...his conceit? and all for nothing! For Hecuba! 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? He would drown the stage with tears And cleave the general ear with horrid speech,... | |
 | Brian B. Ritchie - Drama - 1999 - 362 pages
...increases the theatrical awareness of his audience. A broken 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 for her? (2. 2. 552) On the links between character fashioning andpronunciatio as taught... | |
 | Brian B. Ritchie - Drama - 1999 - 362 pages
...increases the theatrical awareness of his audience. A broken 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 for her? (2. 2. 552) On the links between character fashioning andpronunciatio as taught... | |
 | Stephen Orgel, Sean Keilen - Literary Criticism - 1999 - 356 pages
...wanned, 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, For...Hecuba! 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? [2.2.534-46]... | |
 | Tom Lutz - Psychology - 2001 - 358 pages
...wann'd, Tears in his eyes, distraction in his aspect, A broken 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 for her? Hamlet finds it "monstrous" that the actor can simulate the full bodily array... | |
 | John Hort, Leela Hort - 1999 - 72 pages
...such a pretence of passion that his voice falters, his face turns pale and tears come into his eyes! And all for nothing! For Hecuba! What's Hecuba to him or he to Hecuba that he should weep for her? Imagine what he would do if he had wv cause for passion! He would flood the stage... | |
 | Joan Ackermann - Drama - 1999 - 60 pages
...thee, get thee. (Sinks back into character.) 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? He would drown the stage with tears And cleave the general ear with horrid speech... | |
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Tears in his eyes, distraction in 's aspect, A broken 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 for her! 
