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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... give Juliet's mother the single prefix Lady Capulet throughout ( incorrectly since neither she nor Capulet are named as aristo- crats anywhere in the play ) both Ff and Qq refer to her in a wonderful character- revealing multiplicity of ...
... give Juliet's mother the single prefix Lady Capulet throughout ( incorrectly since neither she nor Capulet are named as aristo- crats anywhere in the play ) both Ff and Qq refer to her in a wonderful character- revealing multiplicity of ...
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... give her momentary pause , and Ferdinand's dis- covery of the name of the woman he adores may do likewise . Or the lines may be spoken one on top of another . At least in F1 the possibility of exploration and choice is present . Modern ...
... give her momentary pause , and Ferdinand's dis- covery of the name of the woman he adores may do likewise . Or the lines may be spoken one on top of another . At least in F1 the possibility of exploration and choice is present . Modern ...
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... give a definitive answer ( see footnote # 1 , at the bottom of p . 62 this text ) . There are no missing lines , though some modern texts follow the late seven- teenth - century practice of transferring a key Miranda speech denouncing ...
... give a definitive answer ( see footnote # 1 , at the bottom of p . 62 this text ) . There are no missing lines , though some modern texts follow the late seven- teenth - century practice of transferring a key Miranda speech denouncing ...
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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