The TempestHal Leonard Corporation, 1998 - 86 Seiten This joyous play, the last comedy of Shakespeare's career, sums up his stagecraft with a display of seemingly effortless skill. Prospero, exiled Duke of Milan, living on an enchanted island, has the opportunity to punish and forgive his enemies when he raises a tempest that drives them ashore--as well as to forestall a rebellion, to arrange the meeting of his daughter, Miranda, with an eminently suitable young prince, and, more important, to relinquish his magic powers in recognition of his advancing age. Richly filled with music and magic, romance and comedy, the play's theme of love and reconciliation offers a splendid feast for the senses and the heart. |
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... Ariel For a detailed examination , see Stanley Wells and Gary Taylor , eds . , William Shakespeare : A Textual Companion ( Oxford : Clarendon Press , 1987 ) , 612-17 ; for a detailed analysis of the play's contents , see any of the ...
... Ariel For a detailed examination , see Stanley Wells and Gary Taylor , eds . , William Shakespeare : A Textual Companion ( Oxford : Clarendon Press , 1987 ) , 612-17 ; for a detailed analysis of the play's contents , see any of the ...
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... Ariel's exit before Prospero reawakens Miranda , p . 15 of this script . Others , while on a separate line , are caught halfway between centred and flush to the right - hand side of the column . This happens with the description of ...
... Ariel's exit before Prospero reawakens Miranda , p . 15 of this script . Others , while on a separate line , are caught halfway between centred and flush to the right - hand side of the column . This happens with the description of ...
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... Ariel has infused the whole passage with his invisible ( to them ) presence and music . Most modern texts set the complete section as prose . The sec- ond passage involves Sebastian's and Anthonio's barbed commentary on the rest of the ...
... Ariel has infused the whole passage with his invisible ( to them ) presence and music . Most modern texts set the complete section as prose . The sec- ond passage involves Sebastian's and Anthonio's barbed commentary on the rest of the ...
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... Ariel , and Caliban . This can be eas- ily illustrated as Prospero first brings onstage the spirit Ariel ; the line rhythmically breaks down as I am READY NOW , apPROACH my Ariel a magic line of eleven syllables , even though the ...
... Ariel , and Caliban . This can be eas- ily illustrated as Prospero first brings onstage the spirit Ariel ; the line rhythmically breaks down as I am READY NOW , apPROACH my Ariel a magic line of eleven syllables , even though the ...
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... Ariel is actually doing to Prospero , apart from dressing him . Or the magic in the song can enhance the situa- tion , as with Ariel's first onstage enticement of Ferdinand : COME unTO these YELLOW SANDS ( 1.2.450 , this script , p . 18 ) ...
... Ariel is actually doing to Prospero , apart from dressing him . Or the magic in the song can enhance the situa- tion , as with Ariel's first onstage enticement of Ferdinand : COME unTO these YELLOW SANDS ( 1.2.450 , this script , p . 18 ) ...
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action actors againe allow Alonso altered Anthonio appearance Ariel begins bring brother Caliban changes character choice compositor copy correct created Elizabethan ENTER entry especially example Exit eyes Father Ferdinand Ff set Folio follow footnote give Gonzalo hand hath heare heere indicate Island King letter looke Lord magic major mark Master meaning Millaine Miranda modern texts set Monster Naples needs occasionally offer once original passage pause period play possible prepared present printed problem prose Prospero punctuation Quarto reader reading referred rhetoric scene script Sebastian seen selfe sentence separate Shakespeare short lines single sometimes speaking speech Spirit split lines stage directions Stephano strange structure suggesting syllables tell Tempest Theatre theatrical thee thing thou thought Trinculo usually verse