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 4
... choice , especially when a Q and F ver- sion of the same play show a different reading for the same line and either choice is valid - even more so when both versions are offered by different modern texts . Juliet's ' When I shall die ...
... choice , especially when a Q and F ver- sion of the same play show a different reading for the same line and either choice is valid - even more so when both versions are offered by different modern texts . Juliet's ' When I shall die ...
Seite 5
... choices in these dubious passages : readers are invited to explore The Tempest within this series , especially the footnotes , as a the- atrical vindication of the original F1 setting but rhetoric . One of rhetoric's many strengths is ...
... choices in these dubious passages : readers are invited to explore The Tempest within this series , especially the footnotes , as a the- atrical vindication of the original F1 setting but rhetoric . One of rhetoric's many strengths is ...
Seite 6
... choice is possible , and dramatically valid . And readers should be allowed to make their own choice , which automatically means each reader should able to see the possibility of such choices when they occur . The problem magnified by ...
... choice is possible , and dramatically valid . And readers should be allowed to make their own choice , which automatically means each reader should able to see the possibility of such choices when they occur . The problem magnified by ...
Seite 7
... choice . Indeed , at the beginning of the twentieth century , Richard Flatter ' suggested that what modern commentators consider to be split lines may not be split lines at all . He offers two other suggestions : pauses and hesitations ...
... choice . Indeed , at the beginning of the twentieth century , Richard Flatter ' suggested that what modern commentators consider to be split lines may not be split lines at all . He offers two other suggestions : pauses and hesitations ...
Seite 10
... choice / correction exists . Readers are forced into a rather cumbersome four - step process . First , they have to search through the bottom of the page where the footnotes are crammed together , often in very small print , to find a ...
... choice / correction exists . Readers are forced into a rather cumbersome four - step process . First , they have to search through the bottom of the page where the footnotes are crammed together , often in very small print , to find a ...
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