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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... magic can be established , whereas F1's more plebeian ' through ' sets up a much more awkward and clumsy moment . These texts will set the F1 reading , and footnote where the modern texts ' sub- stitution of a different word formation ...
... magic can be established , whereas F1's more plebeian ' through ' sets up a much more awkward and clumsy moment . These texts will set the F1 reading , and footnote where the modern texts ' sub- stitution of a different word formation ...
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... magic ( trochaic and seven sylla- bles ) a name modern texts have changed or corrected for easier recognition F1 words or phrases substituted for a Qq oath or blasphemy passage , line , or word modern texts omit or suggest omitting ...
... magic ( trochaic and seven sylla- bles ) a name modern texts have changed or corrected for easier recognition F1 words or phrases substituted for a Qq oath or blasphemy passage , line , or word modern texts omit or suggest omitting ...
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... magic ( trochaic and seven sylla- bles ) alterations to F1's punctuation by modern and / or contemporary texts matters concerning songs , poems , or doggerel where , because of question marks within the passage , the final choice as to ...
... magic ( trochaic and seven sylla- bles ) alterations to F1's punctuation by modern and / or contemporary texts matters concerning songs , poems , or doggerel where , because of question marks within the passage , the final choice as to ...
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... MAGIC AND RITUAL This is also highly affected by the more free - flowing rhythms of this last play . In the earlier plays A Midsommer Nights Dreame ( # 20 ) , Macbeth ( # 30 ) , and even Measure for Measure ( # 26 ) , the verse patterns ...
... MAGIC AND RITUAL This is also highly affected by the more free - flowing rhythms of this last play . In the earlier plays A Midsommer Nights Dreame ( # 20 ) , Macbeth ( # 30 ) , and even Measure for Measure ( # 26 ) , the verse patterns ...
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... magic or ritual line would read as STRONG - weak , STRONG - weak , STRONG - weak , STRONG ( WHEN shall WE three MEET a - GAIN ) In the earlier plays , the magic / ritual almost always begins at the start of the line , and thus , with a ...
... magic or ritual line would read as STRONG - weak , STRONG - weak , STRONG - weak , STRONG ( WHEN shall WE three MEET a - GAIN ) In the earlier plays , the magic / ritual almost always begins at the start of the line , and thus , with a ...
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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