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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... Caliban , Stephano , and , very occasionally , Trinculo , speaking verse as well as prose even within the same speech ( a sure sign of personal striving and inner dis- turbance ) most modern texts readjust the lines to show only Caliban ...
... Caliban , Stephano , and , very occasionally , Trinculo , speaking verse as well as prose even within the same speech ( a sure sign of personal striving and inner dis- turbance ) most modern texts readjust the lines to show only Caliban ...
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... 1987 ) , 612-17 ; for a detailed analysis of the play's contents , see any of the Recommended Modern Texts . 2 Mr. William Shakespeare's Comedies , Histories , & Tragedies , 1623 . and Caliban entries , p . 16 of this script Xxxix XVIII.
... 1987 ) , 612-17 ; for a detailed analysis of the play's contents , see any of the Recommended Modern Texts . 2 Mr. William Shakespeare's Comedies , Histories , & Tragedies , 1623 . and Caliban entries , p . 16 of this script Xxxix XVIII.
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William Shakespeare Neil Freeman. and Caliban entries , p . 16 of this script , and the strange grouping to the opening en- try of Act Three Scene 3 , p . 54 this script . However , it is not always easy to distinguish if a direction is ...
William Shakespeare Neil Freeman. and Caliban entries , p . 16 of this script , and the strange grouping to the opening en- try of Act Three Scene 3 , p . 54 this script . However , it is not always easy to distinguish if a direction is ...
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... Caliban speaking verse to Stephano and Trinculo , yet F1 clearly shows passages where he is unable to support his verse and slips back into prose , again important clues to his development and awareness . HOW MODERN TEXTS HANDLE THE ...
... Caliban speaking verse to Stephano and Trinculo , yet F1 clearly shows passages where he is unable to support his verse and slips back into prose , again important clues to his development and awareness . HOW MODERN TEXTS HANDLE THE ...
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... 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 passage in which ...
... 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 passage in which ...
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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