Four Comedies: The Taming of the Shrew, A Midsummer Night's Dream, The Merchant of Venice, Twel fth NightRandom House Publishing Group, 26.08.2009 - 736 Seiten The Taming of the Shrew Robust and bawdy, The Taming of the Shrew captivates audiences with outrageous humor as Katharina, the shrew, engages in a contest of wills–and love–with her bridegroom, Petruchio, in a comedy of unmatched theatrical brilliance, filled with visual gags and witty repartee. A Midsummer Night's Dream Fairy magic, love spells, and an enchanted wood turn the mismatched rivalries of four young lovers into a marvelous mix-up of desire and enchantment, all touched by Shakespeare’s inimitable vision of the intriguing relationship between dreams and the waking world. The Merchant of Venice This dark comedy of love and money contains one of the truly mythic figures in literature–Shylock, the Jewish moneylender. The “pound of flesh” he demands as payment of Antonio’s debt has become a universal metaphor for vengeance. Here, pathos and farce combine with moral complexity and romantic entanglements, to display the extraordinary power and range of Shakespeare at his best. Twelfth Night Set in a topsy-turvy world like a holiday revel, this comedy juxtaposes a romantic plot involving separated twins and mistaken identity with a more satiric one about the humiliation of a pompous killjoy. The hilarity is touched with melancholy, and the play ends, not with laughter, but with a clown’s plaintive song. Each Edition Includes: • Comprehensive explanatory notes • Vivid introductions and the most up-to-date scholarship • Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English • Completely updated, detailed bibliographies and performance histories • An interpretive essay on film adaptations of the play, along with an extensive filmography |
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Seite dxxiv
... Orsino and Olivia have not yet learned when the play commences. Although suited to one another in rank, wealth, and attractiveness, they are unable to overcome their own willful posturing in the elaborate charade of courtship. Like ...
... Orsino and Olivia have not yet learned when the play commences. Although suited to one another in rank, wealth, and attractiveness, they are unable to overcome their own willful posturing in the elaborate charade of courtship. Like ...
Seite dxxv
... Orsino's selfcongratulatory suffering. She appears to derive satisfaction from the power she holds over Orsino, a power of refusal. And she must know that she looks stunning in black. Olivia's household reflects, in part, her mood of ...
... Orsino's selfcongratulatory suffering. She appears to derive satisfaction from the power she holds over Orsino, a power of refusal. And she must know that she looks stunning in black. Olivia's household reflects, in part, her mood of ...
Seite dxxvi
... Orsino, 511е exposes with disarming candor the willfully ritualistic quality of Olivia's existence. Viola discards the flowery set speech she had prepared and memorized at Orsino's behest; despite her charmingly conceited assertion that ...
... Orsino, 511е exposes with disarming candor the willfully ritualistic quality of Olivia's existence. Viola discards the flowery set speech she had prepared and memorized at Orsino's behest; despite her charmingly conceited assertion that ...
Seite dxxvii
... Orsino's deep fondness for a seeming young man (“Cesario”), which matures into Sexual love, raise delicate suggestions of love between members of the Same sex, as in As You Like It. Once again, the ambiguities of disguise point toward ...
... Orsino's deep fondness for a seeming young man (“Cesario”), which matures into Sexual love, raise delicate suggestions of love between members of the Same sex, as in As You Like It. Once again, the ambiguities of disguise point toward ...
Seite dxxviii
... Orsino's pure affection in a friendship nominally devoid of sexual interest, since both seemingly are men. Friendship must come first; the Renaissance generally accorded a higher value to friendship than to erotic passion. Yet ...
... Orsino's pure affection in a friendship nominally devoid of sexual interest, since both seemingly are men. Friendship must come first; the Renaissance generally accorded a higher value to friendship than to erotic passion. Yet ...
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Four Comedies: The Taming of the Shrew/a Midsummer Night's Dream/the ... William Shakespeare Keine Leseprobe verfügbar - 1988 |
Häufige Begriffe und Wortgruppen
actors Antonio Athens audience BAPTISTA Bassanio Bianca BIONDELLO BOTTOM Christian comedy daughter Demetrius director doctor of laws doth Duke Egeus Enter Exeunt Exit eyes FABIAN fair fairies father FESTE film fool friends gentleman give GOBBO GRATIANO GREMIO hast hath hear heart Helena Hermia Hippolyta HORTENSIO husband Jessica Julina Kate KATHARINA lady Lancelot lion look lord LORENZO lovers Lucentio Lysander madam MALVOLIO MARIA marriage marry master Merchant of Venice Midsummer Night’s Dream mistress moon Nerissa never o’er Oberon OLIVIA ORSINO PETRUCHIO play’s PORTIA pray production Puck Pyramus and Thisbe Queen QUINCE SALERIO Sebastian servant Shakespeare Shakespeare’s play Shrew Shylock Signor Ansaldo Signor Giannetto Silla Silvio SIR ANDREW SIR TOBY sleep SOLANIO speak stage swear sweet Taming tell theater thee There’s THESEUS thou art Thou shalt Titania TRANIO Twelfth Night unto Vincentio VIOLA What’s wife young апс1