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 126
Foot Cry you mercy , I took you for a joint stool . ° LEAR And here's another , whose warped looks proclaim What storeo her heart is made on . Stop her there ! Arms , arms , sword , fire ! Corruption in the place !
Foot Cry you mercy , I took you for a joint stool . ° LEAR And here's another , whose warped looks proclaim What storeo her heart is made on . Stop her there ! Arms , arms , sword , fire ! Corruption in the place !
Seite 191
... to hide the letter before reading any of it , his acceptance of Edmund's orders and the brevity of his verbal response will be less remarkable ; but they must give , at least , an impression of reserve towards his comrade in arms .
... to hide the letter before reading any of it , his acceptance of Edmund's orders and the brevity of his verbal response will be less remarkable ; but they must give , at least , an impression of reserve towards his comrade in arms .
Seite 219
15 bare arms arms II.iv.2 messenger Messengers 9 man's man 18-19 [ F omits ] 30 panting painting 33 whose those 83 , S.D. ( after line 81 F ] 84 They're ... they're They are ... they are 125 mother's Mother 178 , S.D. ( at line 176 F ) ...
15 bare arms arms II.iv.2 messenger Messengers 9 man's man 18-19 [ F omits ] 30 panting painting 33 whose those 83 , S.D. ( after line 81 F ] 84 They're ... they're They are ... they are 125 mother's Mother 178 , S.D. ( at line 176 F ) ...
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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