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
... scene sums up events, which by Shakespeare's usual method would have been dramatized. Contrast The Winter's Tale, in which the last two acts are separated from the first three by an interval of sixteen years. Impatient and vagarious ...
... scene sums up events, which by Shakespeare's usual method would have been dramatized. Contrast The Winter's Tale, in which the last two acts are separated from the first three by an interval of sixteen years. Impatient and vagarious ...
Seite xv
... 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 Discovery of the Barmudas, 1610 ...
... 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 Discovery of the Barmudas, 1610 ...
Seite xix
... scene of Act III we shift gears from winter to spring, from sorrow to joy, best expressed in the shepherd's words to his son: “Now bless thyself: thou met'st with things dying, I with things new born” (III.3.113–114). In Acts IV and V ...
... scene of Act III we shift gears from winter to spring, from sorrow to joy, best expressed in the shepherd's words to his son: “Now bless thyself: thou met'st with things dying, I with things new born” (III.3.113–114). In Acts IV and V ...
Seite xx
... scene of the play provides a verbal parallel to the visual and audio pyrotechnics of the opening.3 We recognize Prospero's need to come fully awake from the nightmare. Although, as another twentieth-century fictional character claims ...
... scene of the play provides a verbal parallel to the visual and audio pyrotechnics of the opening.3 We recognize Prospero's need to come fully awake from the nightmare. Although, as another twentieth-century fictional character claims ...
Seite xxiii
... scene, the harpy and banqueting scene, the masque, and the ubiquitous music. The special combination of these elements culminates in Shakespeare's brilliant (and last solo) theatrical creation. As diverse as its special effects is its ...
... scene, the harpy and banqueting scene, the masque, and the ubiquitous music. The special combination of these elements culminates in Shakespeare's brilliant (and last solo) theatrical creation. As diverse as its special effects is its ...
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