DOCSLIB.ORG

Hamlet Passages Act I

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hamlet Passages Act I Hamlet Passages Taint not thy mind, nor let thy soul contrive Act I - Scene II Against thy mother aught: leave her to heaven And to those thorns that in her bosom lodge, Claudius To prick and sting her. Fare thee well at once! 'Tis sweet and commendable in your nature, Hamlet, The glow-worm shows the matin to be near, To give these mourning duties to your father: And 'gins to pale his uneffectual fire. But, you must know, your father lost a father; That father lost, lost his, and the survivor bound Act II - Scene I In filial obligation for some term To do obsequious sorrow: but to persever Ophelia In obstinate condolement is a course He took me by the wrist and held me hard; Of impious stubbornness; 'tis unmanly grief; Then goes he to the length of all his arm; It shows a will most incorrect to heaven, And, with his other hand thus o'er his brow, Take it to heart? Fie! 'Tis a fault to heaven. He falls to such perusal of my face As he would draw it. Long stay'd he so; Hamlet At last, a little shaking of mine arm O, that this too too solid flesh would melt And thrice his head thus waving up and down, Thaw and resolve itself into a dew! He raised a sigh so piteous and profound Or that the Everlasting had not fix'd As it did seem to shatter all his bulk His canon 'gainst self-slaughter! O God! God! And end his being: that done, he lets me go: How weary, stale, flat and unprofitable, And, with his head over his shoulder turn'd. Seem to me all the uses of this world! Fie on't! ah fie! 'tis an unweeded garden, Act II - Scene II That grows to seed; things rank and gross in nature Possess it merely. That it should come to this! Polonius But two months dead: nay, not so much, not two: This business is well ended. So excellent a king; that was. My liege, and madam, to expostulate What majesty should be, what duty is, Act I - Scene III Why day is day, night night, and time is time, Were nothing but to waste night, day and time. Polonius Therefore, since brevity is the soul of wit, There; my blessing with thee! And tediousness the limbs and outward flourishes, And these few precepts in thy memory I will be brief: your noble son is mad: See thou character. Give thy thoughts no tongue, Mad call I it; for, to define true madness, Nor any unproportioned thought his act. What is't but to be nothing else but mad? Be thou familiar, but by no means vulgar. But let that go. Those friends thou hast, and their adoption tried, Grapple them to thy soul with hoops of steel; Hamlet But do not dull thy palm with entertainment O, what a rogue and peasant slave am I! Of each new-hatch'd, unfledged comrade. Beware Is it not monstrous that this player here, Of entrance to a quarrel, but being in, But in a fiction, in a dream of passion, Bear't that the opposed may beware of thee. Could force his soul so to his own conceit That from her working all his visage wann'd, Polonius Tears in his eyes, distraction in's aspect, Give every man thy ear, but few thy voice; A broken voice, and his whole function suiting Take each man's censure, but reserve thy judgment. With forms to his conceit? and all for nothing! Costly thy habit as thy purse can buy, For Hecuba! What's Hecuba to him, or he to Hecuba, But not express'd in fancy; rich, not gaudy; That he should weep for her? For the apparel oft proclaims the man, And they in France of the best rank and station Hamlet Are of a most select and generous chief in that. Am I a coward? Neither a borrower nor a lender be; Who calls me villain? breaks my pate across? For loan oft loses both itself and friend, Plucks off my beard, and blows it in my face? And borrowing dulls the edge of husbandry. Tweaks me by the nose? gives me the lie i' the throat, This above all: to thine ownself be true. As deep as to the lungs? who does me this? Ha! Act I - Scene V 'Swounds, I should take it: for it cannot be But I am pigeon-liver'd and lack gall Ghost To make oppression bitter, or ere this Brief let me be. Sleeping within my orchard, I should have fatted all the region kites My custom always of the afternoon, With this slave's offal: bloody, bawdy villain! Upon my secure hour thy uncle stole, Remorseless, treacherous, lecherous, kindless villain! With juice of cursed hebenon in a vial, O, vengeance! And in the porches of my ears did pour The leperous distilment; whose effect Hamlet Holds such an enmity with blood of man I'll have these players That swift as quicksilver it courses through Play something like the murder of my father The natural gates and alleys of the body, Before mine uncle: I'll observe his looks; And with a sudden vigour doth posset I'll tent him to the quick: if he but blench, And curd, like eager droppings into milk. I know my course. The spirit that I have seen May be the devil: and the devil hath power Ghost To assume a pleasing shape; yea, and perhaps O, horrible! O, horrible! most horrible! Out of my weakness and my melancholy, If thou hast nature in thee, bear it not; As he is very potent with such spirits, Let not the royal bed of Denmark be Abuses me to damn me: I'll have grounds A couch for luxury and damned incest. More relative than this: the play 's the thing But, howsoever thou pursuest this act, Wherein I'll catch the conscience of the king. Act III - Scene I And, like a man to double business bound, I stand in pause where I shall first begin, Hamlet And both neglect. What if this cursed hand To be, or not to be: that is the question: Were thicker than itself with brother's blood, Whether 'tis nobler in the mind to suffer Is there not rain enough in the sweet heavens The slings and arrows of outrageous fortune, To wash it white as snow? Or to take arms against a sea of troubles, And by opposing end them? To die: to sleep; Act IV - Scene IV No more; and by a sleep to say we end The heart-ache and the thousand natural shocks Hamlet That flesh is heir to, 'tis a consummation Witness this army of such mass and charge Devoutly to be wish'd. To die, to sleep; Led by a delicate and tender prince, To sleep: perchance to dream: ay, there's the rub; Whose spirit with divine ambition puff'd For in that sleep of death, what dreams may come Makes mouths at the invisible event, When we have shuffled off this mortal coil. Exposing what is mortal and unsure To all that fortune, death and danger dare, Hamlet Even for an egg-shell. Rightly to be great Get thee to a nunnery: why wouldst thou be a Is not to stir without great argument, breeder of sinners? I am myself indifferent honest; But greatly to find quarrel in a straw but yet I could accuse me of such things that it When honour's at the stake. were better my mother had not borne me: I am very O, from this time forth, proud, revengeful, ambitious, with more offences at My thoughts be bloody or nothing worth! my beck than I have thoughts to put them in, imagination to give them shape, or time to act them Act IV - Scene V in. What should such fellows as I do crawling between earth and heaven? We are arrant knaves, Ophelia all; believe none of us. Go thy ways to a nunnery. And will he not come again? Where's your father? And will he not come again? No, no, he is dead: Act III - Scene II Go to thy death-bed: He never will come again. Hamlet His beard was as white as snow, Speak the speech, I pray you, as I pronounced it to All flaxen was his poll: you, trippingly on the tongue: but if you mouth it, He is gone, he is gone, as many of your players do, I had as lief the And we cast away moan: town-crier spoke my lines. Nor do not saw the air God ha' mercy on his soul! too much with your hand, thus, but use all gently; And of all Christian souls, I pray God. God be wi' ye. for in the very torrent, tempest, and, as I may say, the whirlwind of passion, you must acquire and beget Act V - Scene I a temperance that may give it smoothness. O, it offends me to the soul to hear a robustious Hamlet periwig-pated fellow tear a passion to tatters, to Alas, poor Yorick! I knew him, Horatio: a fellow very rags, to split the ears of the groundlings. of infinite jest, of most excellent fancy: he hath borne me on his back a thousand times; and now, how Player Queen abhorred in my imagination it is! my gorge rims at Now, what my love is, proof hath made you know; it.
Load more

Recommended publications
  • The Tragedy of Hamlet
    THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf.
    [Show full text]
  • Much Ado About Nothing – Beatrice – Act IV, Scene I
    Much Ado About Nothing – Beatrice – Act IV, Scene I BEATRICE Is he not approved in the height a villain, that hath slandered, scorned, dishonored my kinswoman? Oh, that I were a man! What, bear her in hand until they come to take hands and then, with public accusation, uncovered slander, unmitigated rancor—O God, that I were a man! I would eat his heart in the marketplace. Princes and counties! Surely, a princely testimony, a goodly count, Count Comfect, a sweet gallant, surely! Oh, that I were a man for his sake! Or that I had any friend would be a man for my sake! But manhood is melted into curtsies, valor into compliment, and men are only turned into tongue, and trim ones too. He is now as valiant as Hercules that only tells a lie and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving. Summer 2020 Hamlet, Prince of Denmark – Hamlet – Act III, Scene I HAMLET To be, or not to be? That is the question— Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And, by opposing, end them? To die, to sleep— No more—and by a sleep to say we end The heartache and the thousand natural shocks That flesh is heir to—’tis a consummation Devoutly to be wished! To die, to sleep. To sleep, perchance to dream—ay, there’s the rub, For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause.
    [Show full text]
  • Assignment: to Be Or Not to Be
    Assignment: To Be or Not to Be This is Hamlet’s famous soliloquy about life or death. He is contemplating suicide. Now, that is not what I want any of you to think about, so we will give this soliloquy a twist. Look back at Hamlet’s soliloquy To Be or Not To Be. As you read through this soliloquy, note the variations within the passage: First 10 lines: Live or die. Deal with life’s misfortunes or end them through death. Dying is really like sleeping, so let’s sleep to end all this pain. Sleeping makes one dream. To be, or not to be, that is the question, Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, 'tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep: perchance to dream: ay, there's the rub; Next ten lines: But what if nightmares come? One can never control what they dream of, and in death that is something to worry about. And who wants to deal with all of life’s humiliations: abusive superiors, rejection, rudeness, lawlessness in the legal system—maybe killing one’s self is a better solution. For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there's the respect That makes calamity of so long life; For who would bear the whips and scorns of time, The oppressor's wrong, the proud man's contumely, The pangs of despised love, the law's delay, The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? Last section: Who would choose to sweat through life in hard work in pain, unless they feared the afterlife? No one knows what death is like and who knows what happens.
    [Show full text]
  • STUDY GUIDE Introductiontable of Contentspg
    STUDY GUIDE IntroductionTABLE OF CONTENTSPg. 3 Pg. 4 Top Ten Things to Know About Going to the Theatre Cast and Creative Team Credits Pg. 5 Mysterious Shakespeare Pg. 6 Inside Vertigo Theatre- An Interview with Anna Cummer Pg. 8 Pre-Show Projects and Discussion Questions Pg. 10 Ghostly Appearances It's Time To Soliloquize Your Burning Questions Pre-Show Activities- To Get You Up On Your Feet Pg. 15 Making Up Meter The Dumbshow Post Show Discussion Questions Pg. 20 The Art of The Theatre Review Pg. 21 About Vertigo Theatre Pg.22 Vertigo Theatre is committed to creating a welcoming atmosphere for schools and to assisting teachers and parent chaperones with that process. It is our wish to foster and develop our relationship with our student audience members. It is our intention to create positive theatre experiences for young people by providing study guides and post-show talk backs with our actors and theatre personnel, in order to enrich students’ appreciation of theatre as an art form and enhance their enjoyment of our plays. IntroductionWelcome to the Study Guide for Vertigo Theatre's, The Shakespeare Company and Hit & Myth's production of Hamlet: A Ghost Story by William Shakespeare, adapted by Anna Cummer. In this guide you will find information about this new adaptation of Hamlet and Shakespeare’s connection to mystery theatre. It also includes information about the creative team and performers involved in the production, as well as a variety of activities to do with your class before and after the show. There are topics suitable for class discussion, individual writing projects, as well as games and exercises that get students moving around and learning on their feet.
    [Show full text]
  • To Be Or Not to Be Soliloquy
    Name: Class: 'To Be Or Not To Be' Soliloquy By William Shakespeare c. 1599 William Shakespeare (1564-1616) was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world’s pre-eminent dramatist. Hamlet is one of Shakespeare’s most famous tragedies. The play dramatizes the revenge Prince Hamlet is instructed to enact on his uncle Claudius, who murdered Hamlet’s father. In this soliloquy from Act III, Scene I, a despondent Prince Hamlet contemplates death and suicide while waiting for Ophelia, his love interest. As you read, make notes about the way Shakespeare describes life and death. [1] HAMLET: To be, or not to be — that is the question: Whether ‘tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to take arms against a sea of troubles [5] And by opposing end them. To die, to sleep — No more — and by a sleep to say we end The heartache, and the thousand natural shocks That flesh is heir to. ‘Tis a consummation1 Devoutly to be wished. To die, to sleep — [10] To sleep — perchance to dream: ay, there’s the rub, For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause. There’s the respect That makes calamity2 of so long life. [15] For who would bear the whips and scorns of time, Th’ oppressor’s wrong, the proud man’s contumely3 The pangs of despised love, the law’s delay, The insolence4 of office, and the spurns That patient merit of th’ unworthy takes, 5 "Hamlet, The Philosopher" by Andrew Smith is licensed under CC [20] When he himself might his quietus make BY-SA 2.0.
    [Show full text]
  • Hamlet by William Shakespeare Speaking and Listening Assessment: Shakespeare Passage (May
    Hamlet by William Shakespeare As we study this Shakespearean tragedy, we will be responsible for activities for each of the language arts strands. When the play concludes, we will participate in a full class discussion (a version of the Socratic seminar). Speaking and Listening Assessment: Shakespeare Passage (May 15) Choose one passage from the list below to prepare. We will recite (hopefully, from memory), it as our weekly speech on the due date. Claudius (Act I-Scene II) Hamlet (Act II-Scene II) 'Tis sweet and commendable in your nature, Hamlet, I'll have these players To give these mourning duties to your father: Play something like the murder of my father But, you must know, your father lost a father; Before mine uncle: I'll observe his looks; That father lost, lost his, and the survivor bound I'll tent him to the quick: if he but blench, In filial obligation for some term I know my course. The spirit that I have seen To do obsequious sorrow: but to persever May be the devil: and the devil hath power In obstinate condolement is a course To assume a pleasing shape; yea, and perhaps Of impious stubbornness; 'tis unmanly grief; Out of my weakness and my melancholy, It shows a will most incorrect to heaven, As he is very potent with such spirits, Take it to heart? Fie! 'Tis a fault to heaven. Abuses me to damn me: I'll have grounds More relative than this: the play 's the thing Wherein I'll catch the conscience of the king.
    [Show full text]
  • And Everything Else You Should Know from Shakespeare Free
    FREE TO BE OR NOT TO BE: AND EVERYTHING ELSE YOU SHOULD KNOW FROM SHAKESPEARE PDF Liz Evers | 192 pages | 14 Oct 2010 | Michael O'Mara Books Ltd | 9781843174622 | English | London, United Kingdom To Be Or Not To Be? Which Shakespeare Quotes Represent Your ? General Education. In this comprehensive guide, we give you the full text of the Hamlet "To be or not to be" soliloquy and discuss everything there is to know about it, from what kinds of themes and literary devices it has to its cultural impact on society today. It is 35 lines long. To be, or not to be, that is the question, Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh To be or Not to be: And Everything Else You Should Know from Shakespeare heir to, 'tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep: perchance to dream: ay, there's the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there's the respect That makes calamity of so long life; For who would bear the whips and scorns of time, The oppressor's wrong, the proud man's contumely, The pangs of despised love, the law's delay, The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.
    [Show full text]
  • STUDY GUIDE to Producing Excellent Shakespeare Productions and Education Access When the Words Lived Only on the Page
    THE MISSION OF THE PHILADELPHIA SHAKESPEARE THEATRE IS “TO BE A WORLD-CLASS SHAKESPEARE COMPANY, AND TO BRING OUR EDUCATION PROGRAMS TO EVERY HIGH SCHOOL STUDENT IN THE REGION.” Each year, our education program, The Open Door Project, SCHOOL TOUR reaches 5,000–6,000 students in over 70 campuses in the Greater Our school tour brings live theatre into auditoriums, cafeterias, Philadelphia area. In the last twenty years over 80,000 high school and gymnasiums. Our 75-minute adaptations of Hamlet and HAMLET and middle school students have been served. Our curriculum is Macbeth are performed by four professional actors and are approved by 10 area school districts and complies with the common followed by a discussion with the actors. Many students say core curriculum. The Theatre received a Resolution from the City seeing the play performed live helps them to not only understand Council of Philadelphia honoring the theatre for its commitment the plot and language, but to feel emotions that they could not STUDY GUIDE to producing excellent Shakespeare productions and education access when the words lived only on the page. programming, and making both accessible to all. We also received the Excellence in Theatre Education and Community Service Award, TEACHER WORKSHOP sponsored by the Virginia and Harvey Kimmel Arts Education Fund Each fall (November) we partner with The Folger Shakespeare for The Open Door Project. Library to present The Shakespeare Set Free Workshop to demonstrate a new way of teaching Shakespeare and offer a wealth STUDENT MATINEES of practical resources for teachers. The workshop provides teachers Each school year, we offer 50 full-scale matinee performances with ACT 48 Credits, free tickets to our shows, a Page to Stage (Spring and Fall productions) complete with original music, sets Handbook, DVDs, and a flash drive loaded with teaching resources.
    [Show full text]
  • Tis Nobler in the Mind to Suffer the Slings and Arrows of Outrageous Fortune Or to Take up Arms Against a Sea of Troubles.”
    To be or not to be, that is the question. Whether ‘tis nobler in the mind to suffer the slings and arrows of outrageous fortune or to take up arms against a sea of troubles.” Many of us recognize these lines from Hamlet. Perhaps some of us have pondered them quite often or at least wondered at the depth of emotion that would bring a man to the brink of suicide. But they may also have a Masonic significance. For one thing, they are part of a longer soliloquy that is the source for the ‘undiscovered country’ reference in the Fellowcraft lecture on the level. Also, in these lines, Hamlet raises two important issues, which I think are at the core of Masonry: · What is the relationship between life and death? · How should we live our lives? Masonry is often defined as a system of morality, veiled in allegory and illustrated with symbols. Let’s take a look at this definition for a moment. I think at its core, a system of morality means a code by which to live life. That is, it is a way to govern one’s actions and relationships with the external environment. The allegory referred to is the life and death of Hiram Abiff in the Master Mason degree and the building of King Solomon’s Temple referred to in all three degrees. This allegory is illustrated, perhaps even unveiled somewhat, by the symbols used in all three degrees. Now if the analysis above is correct, then Hamlet’s soliloquy is very much relevant to Freemasonry.
    [Show full text]
  • Hamlet Quotes
    Hamlet Quotes Act 1, Scene 2: "Frailty, thy name is woman!" Hamlet is speaking about _______________ Act 1, Scene 3: “Neither a borrower nor a lender be.” “This above all: to thine own self be true” Polonius is speaking to _________________ Act 1, Scene 4: “Something is rotten in the state of Denmark.” Marcellus is speaking to _______________. Act 2, Scene 2: “Brevity is the soul of wit.” Polonius is speaking to _________________ “Though this be madness, yet there is method in't.” Polonius is speaking about _______________. “What a piece of work is a man! How noble in reason! how infinite in faculty! in form, in moving, how express and admirable! in action how like an angel! in apprehension how like a god! the beauty of the world! the paragon of animals! And yet, to me, what is this quintessence of dust?” Hamlet is speaking to ____________________. “The play's the thing, wherein I'll catch the conscience of the King.” Hamlet is talking about ________. Act 3, Scene 1: “To be, or not to be: that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, 'tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep: perchance to dream: ay, there's the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there's the respect That makes
    [Show full text]
  • Ham. to Be, Or Not to Be, That Is the Question: Whether 'Tis Nobler in The
    Ham. To be, or not to be, that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, (5) And by opposing, end them. To die, to sleep – No more, and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to; 'tis a consummation Devoutly to be wish'd. To die, to sleep – (10) To sleep, perchance to dream – ay, there's the rub; For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause; there's the respect That makes calamity of so long life: (15) For who would bear the whips and scorns of time, Th’ oppressor's wrong, the proud man's contumely1, The pangs of despis’d love, the law's delay, The insolence of office, and the spurns That patient merit of th’ unworthy takes, (20) When he himself might his quietus2 make With a bare bodkin3; who would fardels4 bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover'd country, from whose bourn (25) No traveller returns, puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all; And thus the native hue of resolution (30) Is sicklied o'er with the pale cast of thought, And enterprises of great pitch and moment With this regard their currents turn awry, And lose the name of action.
    [Show full text]
  • Travel, Identity, Mortality in the Work of Robert Dessaix
    This Mortal Coil: Travel, Identity, Mortality in the Work of Robert Dessaix By Adam Ouston BA (Hons) Tasmania Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy University of Tasmania January 2014 Declaration of Originality This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. Signed, Adam Ouston Authority of Access This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. Signed, Adam Ouston ii Table of Contents Note on Abbreviation of Titles v Abstract vi Acknowledgements viii Introduction. “The Diver”: Somewhere between Life and Death 1 Other Voices: Career, Style and Reception 5 Dessaix’s Travel Performances in Context 12 Absence 17 Placelessness 21 Mortality 27 PART ONE: ABSENCE 1. The Absent Centre: Dessaix’s Will to Essentialism Introduction 40 A Shaft of Silence: Essentialism versus Anti-Essentialism 42 “Some things are surely given”: The Quest for Essence 45 “My spiralling moment”: Dessaix’s Essential Absence 58 With Nothing at its Core: Pure Land and Adopting “Dessaix” 67 2. Vanishing Acts: A Journey Through “A Landscape of Forgetting” Introduction 79 The Homoerotics of Orientalism 81 Dessaix’s Gide and the “Landscape of Forgetting” 85 Cliché, Silence and the Self-in-Crisis 100 Humanising the Orient 115 PART TWO: PLACELESSNESS 3.
    [Show full text]