caa a22 4500 386319731 CHVBK 20180307111621.0 cr unu---uuuuu 161130e198811 xx s 000 0 eng 10.1017/S0040557400000624 doi S0040557400000624 pii (NATIONALLICENCE)cambridge-10.1017/S0040557400000624 Rozett Martha Tuck "How now Horatio, you tremble and look pale”: Verbal Cues and the Supernatural in Shakespeare's Tragedies [Elektronische Daten] [Martha Tuck Rozett] Barnardo' line "How now Horatio, you tremble and look pale,” delivered just after the ghost's exit in Act I, scene i of Hamlet, is at once a description of Horatio and a thematic statement about the effect of tragedy. By the end of the play, this phrase has come to signify the way amazing, horrifying, and profoundly tragic events affect the spectators: Hamlet addresses the "mutes or audience” to the "act” he, Laertes, Claudius and Gertrude have just performed as "you that look pale, and tremble at this chance” (V, ii, 334). When a character describes another in this way, the utterance constitutes a verbal cue: it tells the audience what is happening on the stage, or how the other characters are reacting to past or present events. A verbal cue can be thought of as a spoken stage direction, to use Raymond Williams' term, one which serves as a signal both to the actors and to the audience. Shakespeare repeatedly resorted to verbal cues in representing the ghosts, witches, and other supernatural visitations that figure prominently in Hamlet, Macbeth, and less prominently, in Richard III and Julius Caesar. Regardless of how they are represented on the stage, supernatural characters are essentially imaginative projections, who exist as much through the speeches and described reactions of others as through what they themselves say and do. Verbal cues thus serve as part of the characterization process; they help to define these creatures in terms of their effects on others. And as a theatrical strategy, the cues employ language to summon up visions in the mind of the spectator, creating images that no stagecraft, however spectacular, could equal. Copyright © American Society for Theatre Research 1988 Theatre Survey Cambridge University Press 29/2(1988-11), 127-138 0040-5574 29:2<127 1988 29 TSY https://doi.org/10.1017/S0040557400000624 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0040557400000624 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Rozett Martha Tuck NATIONALLICENCE 773 0- Theatre Survey Cambridge University Press 29/2(1988-11), 127-138 0040-5574 29:2<127 1988 29 TSY CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge