 | Mark Balnaves, Peter Caputi - Mathematics - 2001 - 276 pages
...with words. And fall a-cursing like a very drab, A scullion! Fie upon't! foh! - About, my brain! l have heard That guilty creatures, sitting at a play,...presently They have proclaim'd their malefactions; With most miraculous organ. 1'll have these players Play something like the murder of my father Before... | |
 | Lawrence Schoen - Fiction - 2001 - 240 pages
...with words, And fall a-cursing like a very drab, A scullion ! Fie upon't! foh ! — About, my brain ! I have heard That guilty creatures, sitting at a play,...Been struck so to the soul that presently They have proclaim 'd their malefactions; For murder, though it have no tongue, will speak With most miraculous... | |
 | William Shakespeare - Drama - 2001 - 212 pages
...demonstrates the process Hamlet intends to apply to Claudius. The principle has folkloric support: I have heard that guilty creatures sitting at a play...Been struck so to the soul that presently They have proclaimed their malefactions. (II.2.528-31) Yet "guilty" or not, Hamlet himself has also been "sitting... | |
 | James Bednarz - Literary Criticism - 2001 - 358 pages
...Death" deftly fulfills the dream of academic humanism. Through it the players prove Hamlet's theory that . . . guilty creatures sitting at a play Have...presently They have proclaim'd their malefactions. (2.2.589-92) But while "The Murder of Gonzago" in Hamlet prompts the guilty King Claudius to plot a... | |
 | Dennis Kezar Assistant Professor of English Vanderbilt University - Literary Criticism - 2001 - 282 pages
...include the poet and his audience, for instance, in Hamlet's model of representation and accountability? I have heard that guilty creatures sitting at a play...Been struck so to the soul that presently They have proclaimed their malefactions; For murder, though it have no tongue, will speak With most miraculous... | |
 | Terence Hawkes - Art - 2002 - 182 pages
...can 'make mad the guilty and appal the free' (2.2.558) does not lack confidence, and his assurance I have heard That guilty creatures sitting at a play...no tongue, will speak With most miraculous organ. (2.2.584-90) - reflects a playwright's self-interest in connecting the performance of The Mousetrap... | |
 | Terence Hawkes - Art - 2002 - 180 pages
...can 'make mad the guilty and appal the free' (2.2.5581 does not lack confidence, and his assuranceI have heard That guilty creatures sitting at a play...no tongue, will speak With most miraculous organ. (2.2.584-901 - reflects a playwright's self-interest in connecting the performance of The Mousetrap... | |
 | Amy Benjamin - Cognitive styles in children - 2002 - 184 pages
...or censorship issues. Why do some performances evoke actual riots? * Think about what Hamlet says: "I have heard/ that guilty creatures sitting at a.../Been struck so to the soul that presently /They have confessed their malefactions." What does this mean? Why would this be so? * Find out about some interesting... | |
 | Kenneth Muir - Drama - 2002 - 260 pages
...deceit-therapy - that the truth is not sufficiently impressive of itself and needs the help of art. I have heard That guilty creatures, sitting at a play,...Been struck so to the soul that presently They have proclaimed their malefactions. (Hamlet, n, ii, 584-8) So the play's the thing wherein to catch the... | |
 | Julie Sanders - Drama - 2001 - 274 pages
...Prince uses the staging of 'The Murder of Gonzago' by visiting players to determine his uncle's guilt: I have heard that guilty creatures sitting at a play...Been struck so to the soul that presently They have proclaimed their malefactions; (2.2.566-9) Here, as in Hamlet, we have ghosts and guilt. But the expectations... | |
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I have heard That guilty creatures, sitting at a play, Have by the very cunning of the scene Been struck so to the soul that presently They have proclaim'd their malefactions; For murder, though it have no tongue, will speak With most miraculous organ. 
