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 xviii
... grace over and over again in contexts that suggest the Christian meaning of the word. The Tempest is not so ready with Judeo-Christian references, but Prospero speaks of “providence divine” (I.2.159) and Ferdinand refers to “immortal ...
... grace over and over again in contexts that suggest the Christian meaning of the word. The Tempest is not so ready with Judeo-Christian references, but Prospero speaks of “providence divine” (I.2.159) and Ferdinand refers to “immortal ...
Seite xxii
... grace” (V.1.294–295). While it is clear that Shakespeare intends his audience to reflect on the potentially negative as well as positive consequences of such settlements as Jamestown in Virginia, he also invites us to consider such age ...
... grace” (V.1.294–295). While it is clear that Shakespeare intends his audience to reflect on the potentially negative as well as positive consequences of such settlements as Jamestown in Virginia, he also invites us to consider such age ...
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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