The Tragedie of Coriolanus
Classic Books Company, 2001 - 500 Seiten
The First Folio of 1623 was prepared for print by two members of Shakespeare's acting troupe -- John Hemings and Henry Condell -- which included comic actor Will Kemp and the great tragedian Richard Burbage. In a fascinating and detailed introduction, Freeman points out that because Shakespeare and his colleagues wrote from a rhetorical tradition -- a society where the emphasis was on the spoken word -- he wrote with an eye to how he wanted his plays performed, giving as much direction as possible to his actors. Freeman looks at what is known of the printing of that First Folio and analyzes the variations between the First Folio, later Folios, Quarto editions (where available) and modern editions of the plays. He examines the "corrections" made by editors over the centuries that have shaped the way we perceive Shakespeare today -- from the regularization of verse, to the changes from prose to verse (and vice versa) and the standardization of character prefixes.
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Abbott Antium Arden Sh Aufidius Brutus Chambers Warwick Sh character Citizens Coll Collier Cominius Compare conj Corio Coriolanus Coriolanus's Corioli Corrector Cotgrave coverture Craig dramatic Dyce E. K. Chambers edition editors emendation enemy et cet examples Exeunt expression Folio reading Folio Sh gives hath haue heart Henry Henry IV Henry VI honour Huds interpretation Johns Johnson Ktly Lines end Macbeth Malone Marcius meaning Menenius misprint mother nature Neils noble o'the Othello passage Patricians phrase play plebeians Plutarch poet Pope et seq Porter First Folio present line pride quotes reference remarks Roman Rome Rowe et seq says scene Schmidt seems Senate sense Shakespeare Sicin Sicinius Sing speak speech Steev Steevens Student's Sh sword thee Theob Theobald thou tongue tragedy Tribunes Tullus Varr verb verse Virgilia Volsces Volscians Volumnia vpon W. A. Wright Warb Warburton warres word
Seite 426 - I have of late, but wherefore I know not, lost all my mirth, forgone all custom of exercises ; and indeed it goes so heavily with my disposition that this goodly frame, the earth, seems to me a sterile promontory ; this most excellent canopy, the air, look you, this brave o'erhanging firmament, this majestical roof fretted with golden fire, why, it appears no other thing to me than a foul and pestilent congregation of vapours.
Seite 505 - O, that a man might know The end of this day's business, ere it come ! But it sufficeth, that the day will end, And then the end is known.
Seite 246 - And bid them speak for me: but were I Brutus, And Brutus Antony, there were an Antony Would ruffle up your spirits and put a tongue In every wound of Caesar that should move The stones of Rome to rise and mutiny.
Seite 113 - Nay, had she been true, If heaven would make me such another world Of one entire and perfect chrysolite, I'd not have sold her for it.
Seite 575 - O'erflows the measure: those his goodly eyes, That o'er the files and musters of the war Have glow'd like plated Mars, now bend, now turn, The office and devotion of their view Upon a tawny front: his captain's heart, Which in the scuffles of great fights hath burst The buckles on his breast, reneges all temper; And is become the bellows, and the fan, To cool a gipsy's lust.
Seite 421 - All school-days' friendship, childhood innocence ? We, Hermia, like two artificial gods, Have with our needles created both one flower, Both on one sampler, sitting on one cushion, Both warbling of one song, both in one key ; As if our hands, our sides, voices, and minds, Had been incorporate. So we grew together, Like to a double cherry, seeming parted ; But yet a union in partition, Two lovely berries moulded on one stem ; So, with two seeming bodies, but one heart : Two of the first, like coats...
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Seite 360 - Their dearest action in the tented field, And little of this great world can I speak, More than pertains to feats of broil and battle, And therefore little shall I grace my cause In speaking for myself. Yet, by your...