King Lear(Applause Books). These popular editions allow the reader and student to look beyond the scholarly reading text to the more sensuous, more collaborative, more malleable performance text which emerges in conjunction with the commentary and notes. Each note, each gloss, each commentary reflects the stage life of the play with constant reference to the challenge of the text in performance. Readers will not only discover an enlivened Shakespeare, they will be empowered to rehearse and direct their own productions of the imagination in the process. |
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Seite 8
CORDELIA ( Aside ] Then poor Cordelia ! And yet not so , since I am sure my love's More ponderouso than my tongue . LEAR To thee and thine hereditary ever Remain this ample third of our fair kingdom , No less in space , validity , ° and ...
CORDELIA ( Aside ] Then poor Cordelia ! And yet not so , since I am sure my love's More ponderouso than my tongue . LEAR To thee and thine hereditary ever Remain this ample third of our fair kingdom , No less in space , validity , ° and ...
Seite 19
231-41 France seems to have heard only Cordelia , and probably speaks to her before addressing his rival in love . So he takes initiative away from Lear , modified by considerations who has to watch the two young men disregard what that ...
231-41 France seems to have heard only Cordelia , and probably speaks to her before addressing his rival in love . So he takes initiative away from Lear , modified by considerations who has to watch the two young men disregard what that ...
Seite 183
Cordelia keeps looking at him , and holding him ; but when she asks if he knows her , it is clear that Lear has relapsed into his dreams or fantasies ( I. 49 ) . ever mistaken , astray 51-57 On the doctor's instruction , Cordelia ...
Cordelia keeps looking at him , and holding him ; but when she asks if he knows her , it is clear that Lear has relapsed into his dreams or fantasies ( I. 49 ) . ever mistaken , astray 51-57 On the doctor's instruction , Cordelia ...
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action actor Albany answer appear arms asks attention audience authority become breaks bring character close comes Cordelia CORNWALL danger daughters death draw duke Edgar Edmund effect Enter Exit eyes face fall father fear feeling fiend follow fool fortune France further give Gloucester Gloucester's gods Goneril hand hath head hear heart hold immediately keep Kent kill king Lear Lear's leaves letter live look lord master means mind move nature never night offer omits once Oswald pain pause performance perhaps play poor probably question Regan response scene seems sense servant Shakespeare silent sister speak speech spoken stage stands storm suffering talk tears thee thing thou thoughts tion tries true turns voice whole