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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... syllables each ) suggest a minute pause between them as Juliet hesitates before asking the all important second line ( with its key second part 5 Richard Flatter , Shakespeare's Producing Hand ( London : Heinemann , 1948 , reprint ) ...
... syllables each ) suggest a minute pause between them as Juliet hesitates before asking the all important second line ( with its key second part 5 Richard Flatter , Shakespeare's Producing Hand ( London : Heinemann , 1948 , reprint ) ...
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... syllable word , versus ' spirit ' . A potential problem occurs in A Midsummer Nights Dream , where provided the modern texts set Q1's ' thorough ' , the scansion pattern of elegant magic can be established , whereas F1's more plebeian ...
... syllable word , versus ' spirit ' . A potential problem occurs in A Midsummer Nights Dream , where provided the modern texts set Q1's ' thorough ' , the scansion pattern of elegant magic can be established , whereas F1's more plebeian ...
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... syllables . These changes are equally troublesome , for there is a highly practical theatrical rule of thumb guideline to such irregularities , viz .: if lines are slightly longer than pentameter , then the characters so involved have ...
... syllables . These changes are equally troublesome , for there is a highly practical theatrical rule of thumb guideline to such irregularities , viz .: if lines are slightly longer than pentameter , then the characters so involved have ...
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... syllable counts per line as set both by F1 and by the altered modern texts , often with a brief suggestion as to how the original structural ' irregularity ' might reflect onstage ac- tion . FINALLY , A BRIEF WORD ABOUT THE COMPOSITORS ...
... syllable counts per line as set both by F1 and by the altered modern texts , often with a brief suggestion as to how the original structural ' irregularity ' might reflect onstage ac- tion . FINALLY , A BRIEF WORD ABOUT THE COMPOSITORS ...
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... where some prose demonstrates rhythms somewhat akin to verse , and some verse , especially for characters under stress , that varies far from iambic pentameter , not only in rhythm but also in syllable xl Introduction to THE TEMPEST.
... where some prose demonstrates rhythms somewhat akin to verse , and some verse , especially for characters under stress , that varies far from iambic pentameter , not only in rhythm but also in syllable xl Introduction to THE TEMPEST.
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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