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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... usually choose just one complete name per character and stay with it throughout . However , there are certain cases where one full name will not suffice . Some- times F1 will change the prefix for a single character from scene to scene ...
... usually choose just one complete name per character and stay with it throughout . However , there are certain cases where one full name will not suffice . Some- times F1 will change the prefix for a single character from scene to scene ...
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... usually flush against the right hand side of the column . In perfor- mance terms there seems to be a useful distinction between the two , though this is only a rule of thumb . The centred manuscript ( Shakespearean ? ) directions tend ...
... usually flush against the right hand side of the column . In perfor- mance terms there seems to be a useful distinction between the two , though this is only a rule of thumb . The centred manuscript ( Shakespearean ? ) directions tend ...
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... usually reset as ' Calais ' . Mod- ern texts ' correct ' the occasional Elizabethan practice of setting a singular noun with plural verb ( and vice versa ) , as well as the infrequent use of the past tense of a verb to describe a ...
... usually reset as ' Calais ' . Mod- ern texts ' correct ' the occasional Elizabethan practice of setting a singular noun with plural verb ( and vice versa ) , as well as the infrequent use of the past tense of a verb to describe a ...
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... usually reliable compositor A ) have been altered by most mod- ern texts . Most of these changes concentrate on regularising moments where a char- acter is under tremendous upheaval and hardly likely to be speaking pure formal verse at ...
... usually reliable compositor A ) have been altered by most mod- ern texts . Most of these changes concentrate on regularising moments where a char- acter is under tremendous upheaval and hardly likely to be speaking pure formal verse at ...
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... usually the source text for Henry the Fifth and sets the dialogue for Pistoll in prose , most modern texts use the memorial Q version and change his lines to ( at times extraordinarily peculiar ) verse . These texts will set the speech ...
... usually the source text for Henry the Fifth and sets the dialogue for Pistoll in prose , most modern texts use the memorial Q version and change his lines to ( at times extraordinarily peculiar ) verse . These texts will set the speech ...
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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