Author: William Shakespeare
Publisher: Simon and Schuster
Release Date: 2015-04-14
Putting romance onstage, The Tempest gives us a magician, Prospero, a former duke of Milan who was displaced by his treacherous brother, Antonio. Prospero is exiled on an island, where his only companions are his daughter, Miranda, the spirit Ariel, and the monster Caliban. When his enemies are among those caught in a storm near the island, Prospero turns his power upon them through Ariel and other spirits. The characters exceed the roles of villains and heroes. Prospero seems heroic, yet he enslaves Caliban and has an appetite for revenge. Caliban seems to be a monster for attacking Miranda, but appears heroic in resisting Prospero, evoking the period of colonialism during which the play was written. Miranda’s engagement to Ferdinand, the Prince of Naples and a member of the shipwrecked party, helps resolve the drama. The authoritative edition of The Tempest from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes: -The exact text of the printed book for easy cross-reference -Hundreds of hypertext links for instant navigation -Freshly edited text based on the best early printed version of the play -Full explanatory notes conveniently linked to the text of the play -Scene-by-scene plot summaries -A key to the play’s famous lines and phrases -An introduction to reading Shakespeare’s language -An essay by a leading Shakespeare scholar providing a modern perspective on the play -Fresh images from the Folger Shakespeare Library’s vast holdings of rare books -An annotated guide to further reading Essay by Barbara A. Mowat The Folger Shakespeare Library in Washington, DC, is home to the world’s largest collection of Shakespeare’s printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
Author: William Shakespeare
Publisher: Jazzybee Verlag
Release Date: 2016-04-25
“Der Sturm” ist das letzte Theaterstück, das Shakespeare geschrieben hat. Erzählt wird die Geschichte des Zauberers und Herzogs von Mailand Prospero und dessen Tochter Miranda, die auf einer Insel gestrandet sind. Beide mussten vor Prosperos Bruder Antonio fliehen, der Mailand angegriffen hatte. Nun herrscht Prospero über den Luftgeist Ariel, den er aus einer gespaltenen Kiefer befreite, in die ihn Caliban, der Sohn der Hexe Sycorax, verflucht hatte.
How do you teach Shakespeare in school? This book provides five day lesson plans for over a dozen of Shakespeare’s greatest known plays. Lesson plans include: Julius Caesar, Coriolanus, Othello, As You Like It, Hamlet, Macbeth, Romeo and Juliet, Midsummer's Night Dream, Richard III, Love's Labour's Lost, Anthony and Cleopatra, Henvry V, King Lear, and The Tempest. Each lesson plan may also be purchased separately.
Author: William Shakespeare
Publisher: Simon and Schuster
Release Date: 2011-08-23
Cymbeline tells the story of a British king, Cymbeline, and his three children, presented as though they are in a fairy tale. The secret marriage of Cymbeline’s daughter, Imogen, triggers much of the action, which includes villainous slander, homicidal jealousy, cross-gender disguise, a deathlike trance, and the appearance of Jupiter in a vision. Kidnapped in infancy, Cymbeline’s two sons are raised in a Welsh cave. As young men, they rescue a starving stranger (Imogen in disguise); kill Cymbeline’s stepson; and fight with almost superhuman valor against the Roman army. The king, meanwhile, takes on a Roman invasion rather than pay a tribute. He too is a familiar figure—a father who loses his children and miraculously finds them years later; a king who defeats an army and grants pardon to all. Cymbeline displays unusually powerful emotions with a tremendous charge. Like some of Shakespeare’s other late work—especially The Winter’s Tale and The Tempest—it is an improbable story lifted into a nearly mythic realm. The authoritative edition of Cymbeline from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes: -The exact text of the printed book for easy cross-reference -Hundreds of hypertext links for instant navigation -Freshly edited text based on the best early printed version of the play -Full explanatory notes conveniently placed on pages facing the text of the play -Scene-by-scene plot summaries -A key to the play’s famous lines and phrases -An introduction to reading Shakespeare’s language -An essay by a leading Shakespeare scholar providing a modern perspective on the play -Fresh images from the Folger Shakespeare Library’s vast holdings of rare books -An annotated guide to further reading Essay by Cynthia Marshall The Folger Shakespeare Library in Washington, DC, is home to the world’s largest collection of Shakespeare’s printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
The phrase "all is but Fortune" (The Tempest 5.1) expresses both the hope and the resignation that characterize the Renaissance attitude to Fortune that is illustrated and discussed here. Throughout the medieval centuries, the fickle goddess survived in all sorts of literary and artistic sources, ready to be appropriated in traditional as well as innovative ways by the artists and writers of early modern Europe. Political thinkers like Machiavelli invoked her, as did physicians, playwrights, printers, painters, pamphleteers, even philosophers. This book explores the vast array of allusions to Fortune embedded in the Folger Shakespeare Library's books and manuscripts. Representations of Fortune from classical antiquity to the late Renaissance in England and on the Continent are the main focus. In the evolution of the depiction of Fortune over this period of time it is possible to see how the idea itself changes. The idea that Fortune can be controlled is an important aspect of this study since it is an idea found not only in illustrations but in literature as well. Indeed, Fortune is a central element of many plays, poems, and prose works throughout the Renaissance, which the Folger Library's wide collection makes it possible to bring together here.
Author: Barbara A. Mowat
Release Date: 2011-04-01
Cymbeline, The Winter's Tale, and The Tempest—three of Shakespeare's final plays diverge from Shakepeare's usual standards. Generically, stylistically, and dramatically, they each embrace hauntingly familiarShakespearean themes and incidents. However, with comic devices colliding with tragic passions, mimetic actions that give way to spectacle, and drama that yields to narrative, everything Shakespearean has undergone a puzzling transformation. Barbara A. Mowat argues that when a dramatist selects a genre, a theatrical style, a narrative or dramatic mode, he is consciously choosing a way of creating a certain kind of experience. Thus, by confronting the comic form with the tragic, the realistic with the artificial, the dramatic with the narrative, Shakespeare makes meaning in a new way. He creates a kind of play that frees romance from the traditional bounds of his early dramas.
The Library of Congress. William Shakespeare's "The Tempest" A condensed version produced and directed by Arnold Moss at the quadricentenary of Shakespeare's birth, under the auspices of The Gertrude Clarke Whittall Poetry and Literature Fund. Costumes designed by William A. Henry. Production stage manager, John Holden.
Poetry's relevancy as a tool for social and political change continues to be overlooked in a global context. Looking to writers as diverse as Derek Walcott, Paul Muldoon, and Daljit Nagra, Hena shows that poets throughout the world have reinvigorated older poetic traditions to address political realities and the sweeping pressures of modernity.
"Published in conjunction with the exhibition Shakespeare in American Life presented at the Folger Shakespeare Library, Washington, DC, from 8 March through 18 August 2007, in celebration of the Library's 75th anniversary"-- back of title page.
Author: John Burnside
Publisher: Albrecht Knaus Verlag
Release Date: 2011-11-24
Eine Geschichte von alttestamentarischer Wucht – John Burnsides großer Text über seinen Hass auf den Vater Am Ende wünscht John Burnside seinem Vater nur noch den Tod. Er hat für den Mann, der über Jahre die Familie terrorisiert, der lügt und säuft, einzig Hass übrig. Doch er verbirgt seine Gefühle und schweigt. Bis die Begegnung mit einem Fremden ihn zwingt, sich seinen Erinnerungen zu stellen und diese Geschichte von alttestamentarischer Wucht zu erzählen. Der Vater war ein Nichts. Als Säugling auf einer Türschwelle abgelegt. Zeitlebens erfindet er sich in unzähligen Lügen eine Herkunft, will Anerkennung und Bedeutung. Er ist brutal, ein Großmaul, ein schwerer Trinker, ein Tyrann. Seine Verachtung zerstört alles, die Mutter, die Familie, John. Dieser hat als junger Mann massivste Suchtprobleme, landet in der Psychiatrie und erkennt in den eigenen Exzessen den Vater. Erst die Entdeckung der Welt der Literatur eröffnet ihm eine Perspektive. Nur einem Autor vom Kaliber John Burnsides kann es gelingen, eine solche, auch noch autobiographische Geschichte in Literatur zu überführen. So ist dieses Buch ein radikal wahrer Blick in die menschlichen Abgründe und zugleich eine Feier der Sprache.
In this study, Erin Minear explores the fascination of Shakespeare and Milton with the ability of music–heard, imagined, or remembered–to infiltrate language. Such infected language reproduces not so much the formal or sonic properties of music as its effects. Shakespeare's and Milton's understanding of these effects was determined, she argues, by history and culture as well as individual sensibility. They portray music as uncanny and divine, expressive and opaque, promoting associative rather than logical thought processes and unearthing unexpected memories. The title reflects the multiple and overlapping meanings of reverberation in the study: the lingering and infectious nature of musical sound; the questionable status of audible, earthly music as an echo of celestial harmonies; and one writer's allusions to another. Minear argues that many of the qualities that seem to us characteristically 'Shakespearean' stem from Shakespeare's engagement with how music works-and that Milton was deeply influenced by this aspect of Shakespearean poetics. Analyzing Milton's account of Shakespeare's 'warbled notes,' she demonstrates that he saw Shakespeare as a peculiarly musical poet, deeply and obscurely moving his audience with language that has ceased to mean, but nonetheless lingers hauntingly in the mind. Obsessed with the relationship between words and music for reasons of his own, including his father's profession as a composer, Milton would adopt, adapt, and finally reject Shakespeare's form of musical poetics in his own quest to 'join the angel choir.' Offering a new way of looking at the work of two major authors, this study engages and challenges scholars of Shakespeare, Milton, and early modern culture.