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 xiv
... nature. It is white or natural magic— that is, esoteric science or theurgy—not black magic or witchcraft like the spells of Sycorax. [But see commentary on V.1.48ff., where Prospero claims that “graves at my command / Have wak'd their ...
... nature. It is white or natural magic— that is, esoteric science or theurgy—not black magic or witchcraft like the spells of Sycorax. [But see commentary on V.1.48ff., where Prospero claims that “graves at my command / Have wak'd their ...
Seite xv
... nature beyond the limits of everyday experience. Eager students of the art abounded, and now and then one of them became eminent, as Prospero was eminent, for his control of the elements and his sovereignty over the human will. Thus The ...
... nature beyond the limits of everyday experience. Eager students of the art abounded, and now and then one of them became eminent, as Prospero was eminent, for his control of the elements and his sovereignty over the human will. Thus The ...
Seite xvi
... nature—any more than the wind has when it drives one ship upon the rocks and wafts another to its desired haven. Ariel has a mind, but no heart; rational and physical sympathies and antipathies, but no conscience and no emotions. Thus ...
... nature—any more than the wind has when it drives one ship upon the rocks and wafts another to its desired haven. Ariel has a mind, but no heart; rational and physical sympathies and antipathies, but no conscience and no emotions. Thus ...
Seite xx
... nature (as Gonzalo would have to do in his ideal commonwealth) but to make it better. Prospero is a meliorist, hopeful he can make things better (melior in Latin), but also enough of a realist to know that he cannot achieve perfection ...
... nature (as Gonzalo would have to do in his ideal commonwealth) but to make it better. Prospero is a meliorist, hopeful he can make things better (melior in Latin), but also enough of a realist to know that he cannot achieve perfection ...
Seite xxi
... nature versus nurture raised in such earlier characters as Prince Hal in the Henry IV plays and Edmund in King Lear. The related theme of the relationship between nature and art, prominent in considerations of the use of magic in The ...
... nature versus nurture raised in such earlier characters as Prince Hal in the Henry IV plays and Edmund in King Lear. The related theme of the relationship between nature and art, prominent in considerations of the use of magic in The ...
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