 | Jacqueline Reich, Piero Garofalo - 2002 - 390 sider
...Intimations of Neorealism in the Fascist Ventennio Ennio Di Nolfo For anything so o'erdone is from the purpose of playing, whose end, both at the first...and now, was and is, to hold as 'twere the mirror up to nature: to show virtue her feature, scorn her own image, and the very age and body of the time... | |
 | Jacqueline Reich, Piero Garofalo - 2002 - 388 sider
...InIiniaIions o( Neorealism io I6e FascisI Venfetioio Ennio Di Nolfo For anything so o'erdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold as 'twere the mirtor up to nature: to show virtue her feature, scorn her ovvn image, and the very aiie and hudy of... | |
 | Leonid Livak - 2003 - 332 sider
...about the novel as a mirror of life, Hamlet had discoursed before a group of itinerant actors about "the purpose of playing, whose end, both at the first...and now, was and is, to hold, as 'twere, the mirror up to nature" (Hamlet, I090). Nabokov was surely no less aware than Gide of the esthetic "aberration"... | |
 | Wystan Hugh Auden - 2003 - 156 sider
...spoken of the conjured spectacle as 'a mirror held up to nature": Cf. Hamlet's address to the players: "the purpose of playing, whose end, both at the first...and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the... | |
 | Frank Barrie - 2003 - 136 sider
...this special observance, that you o'erstep not the modesty of nature. For anything so overdone is from the purpose of playing, whose end, both at the first and now, was and is to hold as twere the mirror up to nature Hamlet act 3 scene 2 Termagant' and 'Herod' were characters in Medieval Mystery Plays... | |
 | 2004 - 428 sider
...our players do, I had as life the town-crier spoke my lines.(...) for any thing so o'erdone is from the purpose of playing, whose end, both at the first...and now, was and is, to hold as 'twere the mirror up to (II, ii, 1-4,22-24) a (£-i£ , ^^-# ' 1-4 ' 22-24 If) Queen : Sweets to the sweet, farewell!... | |
 | Stephen Unwin - 2004 - 256 sider
...this special observance, that you o'erstep not the modesty of nature: for anything so overdone is from the purpose of playing, whose end, both at the first...and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the... | |
 | Dorle Dracklé, Iain R. Edgar - 2004 - 278 sider
...this special observance that you o'erstep not the modesty of nature. For any thing so o'erdone is from the purpose of playing, whose end, both at the first...and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her feature, scorn her own image, and the very age and body of the time... | |
 | Heinrich F. Plett - 2004 - 600 sider
...this special observance, that you o'erstep not the modesty of nature. For anything so o'erdone is from the purpose of playing, whose end, both at the first and now, was and is to hold as 'twere the mirror up to nature; to show virtue her feature, scorn her own image, and the very age and body of the time... | |
 | Kathy Elgin - 2005 - 40 sider
...and lost treasures are found. 0 'erstep not the modesty of nature. For anything so o'erdone is from the purpose of playing, whose end both at the first and now, was and is to hold as t'were the mirror up to nature. HAMLET, ACT 3, SCENE 2 O'erstep: exceed modesty: discipline, moderation from: remote... | |
| |
... twere, the mirror up to nature ; to show virtue her own feature, scorn her own image, and the very age and body of the time, his form and pressure. 
