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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Seite 3
... action of the play . What the First Folio sets on paper will be the basis for what you see . In the body of the play - text that follows , the words ( including spellings and capitalisations ) , the punctuation ( no matter how ...
... action of the play . What the First Folio sets on paper will be the basis for what you see . In the body of the play - text that follows , the words ( including spellings and capitalisations ) , the punctuation ( no matter how ...
Seite 4
... action of the play , that is , the scene is affected by the action the direction demands , whereas the Playhouse directions ( to the side of the text ) serve to underscore what is already taking place . ( If a word is needed to ...
... action of the play , that is , the scene is affected by the action the direction demands , whereas the Playhouse directions ( to the side of the text ) serve to underscore what is already taking place . ( If a word is needed to ...
Seite 8
... of these texts . THE HIGHLIGHTING OF THE MAJOR PUNCTUATION IN THESE TEXTS A second key element of rhetoric encoded into the Ff / Qq texts clearly shows 6 the characters ' mind in action . The encoding xviii General Introduction IX.
... of these texts . THE HIGHLIGHTING OF THE MAJOR PUNCTUATION IN THESE TEXTS A second key element of rhetoric encoded into the Ff / Qq texts clearly shows 6 the characters ' mind in action . The encoding xviii General Introduction IX.
Seite 9
William Shakespeare Neil Freeman. 6 the characters ' mind in action . The encoding lies in the remaining punctuation which , unlike much modern punctuation , serves a double function , one dealing with the formation of the thought , the ...
William Shakespeare Neil Freeman. 6 the characters ' mind in action . The encoding lies in the remaining punctuation which , unlike much modern punctuation , serves a double function , one dealing with the formation of the thought , the ...
Seite
... action ( see p . ix ) . ( The visual difference in the two sets of directions can quickly point the reader to an unexpected aspect of an entry or exit . Occasionally an entry is set alongside the text , rather than on a separate line ...
... action ( see p . ix ) . ( The visual difference in the two sets of directions can quickly point the reader to an unexpected aspect of an entry or exit . Occasionally an entry is set alongside the text , rather than on a separate line ...
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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