The TempestHackett Publishing, 19.02.2019 - 144 Seiten George Lyman Kittredge's perceptive editions have endured in part because of his eclecticism, his diversity of interests, and his wide-ranging accomplishments—all of which are reflected in the valuable notes in each volume. The plays in the New Kittredge Shakespeare series retain the original Kittredge notes and introductions, changed or augmented only when some modernization seems necessary. These new editions also include introductory essays by contemporary editors, notes on the plays as they have been performed on stage and film, and additional student materials. |
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Seite xiii
... Ariel the ship is not dashed to pieces upon the rocks, but makes her way into a “deep nook” or cove, where she rides in safety. Shakespeare's handling of the vessel shows an accurate knowledge of seamanship, which he cannot have learned ...
... Ariel the ship is not dashed to pieces upon the rocks, but makes her way into a “deep nook” or cove, where she rides in safety. Shakespeare's handling of the vessel shows an accurate knowledge of seamanship, which he cannot have learned ...
Seite xv
... Ariel, a. 4. The little masque-like scene in which Hymen marries the lovers (As You Like It, V.4.114 ff.) is the germ of the great masque of Juno and the rest who bless and glorify the marriage of Ferdinand and Miranda. 5. Jourdan, A ...
... Ariel, a. 4. The little masque-like scene in which Hymen marries the lovers (As You Like It, V.4.114 ff.) is the germ of the great masque of Juno and the rest who bless and glorify the marriage of Ferdinand and Miranda. 5. Jourdan, A ...
Seite xvi
... Ariel, a spirit of the pure air. Ariel is a rational being; the “meaner ministers”—whether of earth or air, of water or fire—are not rational beings, but mere blind forces. And neither Ariel nor his subordinates have a moral nature—any ...
... Ariel, a spirit of the pure air. Ariel is a rational being; the “meaner ministers”—whether of earth or air, of water or fire—are not rational beings, but mere blind forces. And neither Ariel nor his subordinates have a moral nature—any ...
Seite xix
... Ariel, Prospero is still using magic—and Ariel—at the close. How else guarantee such an “expeditious” (Prospero's word) return to Italy? Shakespeare uses the word tempest forty-eight times in his plays. The word appears three times in ...
... Ariel, Prospero is still using magic—and Ariel—at the close. How else guarantee such an “expeditious” (Prospero's word) return to Italy? Shakespeare uses the word tempest forty-eight times in his plays. The word appears three times in ...
Seite xx
... Ariel; the half-human world of Caliban; the world (family, if you will) that Miranda and Ferdinand create; the world of the wedding masque; and the world of magic itself. Some have noted that Prospero's name suggests that he seeks to ...
... Ariel; the half-human world of Caliban; the world (family, if you will) that Miranda and Ferdinand create; the world of the wedding masque; and the world of magic itself. Some have noted that Prospero's name suggests that he seeks to ...
Inhalt
1 | |
How to Read Shakespeares The Tempest as Performance | 89 |
The Tempest Timeline | 97 |
Questions for Discussion and Further Study | 99 |
Bibliography and Filmography | 103 |
Back Cover | 113 |
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Häufige Begriffe und Wortgruppen
action Alon Alonso Antonio Ariel audience bear become begins Bermuda brave bring brother Caliban characters common creatures daughter devil direction dost Duke effect elements Enter Exit eyes father feel Ferdinand figure Folio follow give Gonzalo grace hand hast hath head hear hour human I’ll island Italy John kind King light live look lord magic masque master means Milan mind Miranda monster Naples nature opening original performance person play play’s plot present production Pros Prospero provides reason refers scene Sebastian sense Shakespeare shape ship sleep speak speech spirit stage stand Stephano storm strange suggests Tale tell Tempest thee thine thing thou thought Trin Trinculo true