By Charles R. Forker

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Extra info for Fancy’s images : contexts, settings, and perspectives in Shakespeare and his contemporaries

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187–195) Page 24 O my poor father, wert thou such an eye­sore That nine the greatest princes of the earth Must be confederate in thy tragedy?  .  Peter's chair, Though clad in all his pontificalibus. 256–269) I am content to suck my sorrows up, And with dull patience will attend the time, Gaping for every opportunity That may present the least occasion, Although each minute multiply mine anguish, And to my view present a thousand forms Of senseless bodies in my father's shape, Yelling with open throat for just revenge.

Produce the devil; let your Strotzo come.  With what?  These, these Must, will, can only quit my heart of guilt. 35), represent only the most violent of the play's assaults upon speech as a viable medium.  Set in a Gothic atmosphere of thunder and lightning, bleak seascapes, caves, sepulchral hermitages, and dismal groves, where cadavers are hung up in chains until their flesh rots off, the play mounts a crescendo of dissimulations and killings that ends only in the final moments when the violence recoils upon Hoffman and his treacherous accomplice Lorrique.

You'd be lost for words.  You'd be tongue­tied.  Like a mute in a monologue.  Like a nightingale at a Roman feast.  Your diction will go to pieces.  Your lines will be cut.  To dumbshows.  And dramatic pauses.  That Stoppard should have employed the grim joke of the extirpated tongue, at the same time invoking the image of "a Roman feast," is richly suggestive of Hamlet's less celebrated predecessor on the boards. 338–342). 125–128). 73]), and even after his return from the sea journey when much of the inner tension seems to have been resolved, we are aware of painful silences.

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