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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... 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 Ferdinand on p . 21 of ...
... 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 Ferdinand on p . 21 of ...
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... Prospero How came we a shore ? By providence divine Some food , we had , and some fresh water , Choose to pair the first and second short lines , and the line left isolated directs the reader towards Prospero's reflection on ...
... Prospero How came we a shore ? By providence divine Some food , we had , and some fresh water , Choose to pair the first and second short lines , and the line left isolated directs the reader towards Prospero's reflection on ...
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... Prospero's treacherous usurping brother , pp . 31–35 in this text , II . 2.1.209–336 . If all nineteen of the modern split line assessments are fol- lowed , as well as the occasional modern metric restructurings of F1's apparent ir ...
... Prospero's treacherous usurping brother , pp . 31–35 in this text , II . 2.1.209–336 . If all nineteen of the modern split line assessments are fol- lowed , as well as the occasional modern metric restructurings of F1's apparent ir ...
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... Prospero , 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 ...
... Prospero , 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 ...
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... 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 ) which allows the ...
... 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 ) which allows the ...
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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