Julius CaesarPenguin Group USA, Incorporated, 1963 "The First Folio of 1623 is the definitive edition of Shakespeare's plays. It is more often than not the closest we can now get to what Shakespeare actually wrote. But the Folio's antiquated typography and cramped layout make it remote and inaccessible to modern eyes. The Shakespeare Folios on the other hand offer easy access directly to the First Folio by presenting the text in modern type but otherwise unchanged. All the First Folio's idiosyncrasies of layout and spelling, even its obvious errors, have been scrupulously left intact, but the text suddenly becomes as easily legible as the script of any modern play." "As an additional aid to understanding, readers will find, printed opposite each page of the Folio, the very same passage in a modern edition. So, whenever the Folio presents a problem, the reader can refer to this parallel text for a solution, either in the text itself or in the set of notes at the end of the book. These notes draw on the long tradition of Shakespearean scholarship and include full reference to surviving Quarto texts."--BOOK JACKET. |
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Seite xiv
... stage jutting from a wall into the yard or center of the building . The tiers are roofed , and part of the stage is covered by a roof that projects from the rear and is supported at its front on two posts , but the groundlings , who ...
... stage jutting from a wall into the yard or center of the building . The tiers are roofed , and part of the stage is covered by a roof that projects from the rear and is supported at its front on two posts , but the groundlings , who ...
Seite xv
... stage direction in one text- " goeth down . " Some evi- dence suggests that a throne can be lowered onto the plat- form stage , perhaps from the " shadow " ; certainly characters can descend from the stage through a trap or traps into ...
... stage direction in one text- " goeth down . " Some evi- dence suggests that a throne can be lowered onto the plat- form stage , perhaps from the " shadow " ; certainly characters can descend from the stage through a trap or traps into ...
Seite 231
... stage after the actual murder , with a consequent gain in coherency and in the significance of the last act . Glen Byam Shaw's interpretation began at the beginning of the play . The curtain rose on a stage dominated by a larger - than ...
... stage after the actual murder , with a consequent gain in coherency and in the significance of the last act . Glen Byam Shaw's interpretation began at the beginning of the play . The curtain rose on a stage dominated by a larger - than ...
Inhalt
PREFATORY REMARKS | vii |
INTRODUCTION | xxi |
The Tragedy of Julius Caesar | 33 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
Antony's Artemidorus assassination battle bear blood body Brutus and Cassius Caius Calphurnia camp Capitol Casca Cassius Cato character Cicero Cinna Clitus conspiracy conspirators critics crown danger Dardanius dead death Decius doth Dover Wilson Elizabethan enemies Enter Brutus Exeunt Exit fear fell fire Flavius Folio follow Fourth Plebeian friends give gods hand hath hear heart honor ides of March Julius Caesar kill Lepidus liberty Ligarius live London look lord Lucilius Lucius MacCallum Marcus Brutus Mark Antony Marullus matter Messala Metellus Cimber murder night noble Octavius oration Philippi Pindarus play Plutarch political Pompey Pompey's Portia pulpit Roman Rome scene Second Plebeian Senate Servant Shake Shakespeare sick slain soldiers Soothsayer speak speech spirit of Caesar stage stand Strato sword tell theater thee things Third Plebeian thou art Titinius Trebonius unto Volumnius William Shakespeare words York
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