The Tempest - Brossura

Shakespeare, William

Brossura

ISBN 10: 1501130013 ISBN 13: 9781501130014

Casa editrice: Simon & Schuster, 2015

Riassunto

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:

-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 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.

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Informazioni sull?autore

William Shakespeare was born in April 1564 in the town of Stratford-upon-Avon, on England’s Avon River. When he was eighteen, he married Anne Hathaway. The couple had three children—an older daughter Susanna and twins, Judith and Hamnet. Hamnet, Shakespeare’s only son, died in childhood. The bulk of Shakespeare’s working life was spent in the theater world of London, where he established himself professionally by the early 1590s. He enjoyed success not only as a playwright and poet, but also as an actor and shareholder in an acting company. Although some think that sometime between 1610 and 1613 Shakespeare retired from the theater and returned home to Stratford, where he died in 1616, others believe that he may have continued to work in London until close to his death.

Barbara A. Mowat is Director of Research emerita at the Folger Shakespeare Library, Consulting Editor of Shakespeare Quarterly, and author of The Dramaturgy of Shakespeare’s Romances and of essays on Shakespeare’s plays and their editing.

Paul Werstine is Professor of English at the Graduate School and at King’s University College at Western University. He is a general editor of the New Variorum Shakespeare and author of Early Modern Playhouse Manuscripts and the Editing of Shakespeare and of many papers and articles on the printing and editing of Shakespeare’s plays.

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The Tempest

An Introduction to This Text

The Tempest was first printed in the 1623 collection of Shakespeare’s plays now known as the First Folio. The present edition is based directly upon that printing.I For the convenience of the reader, we have modernized the punctuation and the spelling of the Folio. Sometimes we go so far as to modernize certain old forms of words; for example, when a means “he,” we change it to he; we change mo to more, and ye to you. But it is not our practice in editing any of the plays to modernize words that sound distinctly different from modern forms. For example, when the early printed texts read sith or apricocks or porpentine, we have not modernized to since, apricots, porcupine. When the forms an, and, or and if appear instead of the modern form if, we have reduced and to an but have not changed any of these forms to their modern equivalent, if. We also modernize and, where necessary, correct passages in foreign languages, unless an error in the early printed text can be reasonably explained as a joke.

Whenever we change the wording of the First Folio or add anything to its stage directions, we mark the change by enclosing it in superior half-brackets (< >). We want our readers to be immediately aware when we have intervened. (Only when we correct an obvious typographical error in the First Folio does the change not get marked.) Whenever we change either the First Folio’s wording or its punctuation so that meaning changes, we list the change in the textual notes at the back of the book, even if all we have done is fix an obvious error.

We regularize a number of the proper names, as is the usual practice in editions of the play. For example, the Folio once names the Boatswain the “Boson,” a form that is interesting for its reproduction of the word’s pronunciation; nevertheless, we regularize this spelling to boatswain. The Folio often employs the spelling Anthonio for Antonio in stage directions and speech headings, but this edition is consistent in using only Antonio.

This edition differs from many earlier ones in its efforts to aid the reader in imagining the play as a performance rather than as a series of actual events. Thus stage directions are written with reference to the stage. For example, many earlier editions add the following stage direction to the play’s last scene to describe an important piece of stage business: “Prospero draws a magic circle with his staff.” Because, in a stage production, the circle drawn by the actor is, of course, not “magic” at all, we instead print the following stage direction: “Prospero draws a large circle on the stage with his staff.” Whenever it is reasonably certain, in our view, that a speech is accompanied by a particular action, we provide a stage direction describing the action. (Occasional exceptions to this rule occur when the action is so obvious that to add a stage direction would insult the reader.) Stage directions for the entrance of characters in mid-scene are, with rare exceptions, placed so that they immediately precede the characters’ participation in the scene, even though these entrances may appear somewhat earlier in the early printed texts. Whenever we move a stage direction, we record this change in the textual notes. Latin stage directions (e.g., Exeunt) are translated into English (e.g., They exit).

We expand the often severely abbreviated forms of names used as speech headings in early printed texts into the full names of the characters. We also regularize the speakers’ names in speech headings, using only a single designation for each character, even though the early printed texts sometimes use a variety of designations. Variations in the speech headings of the early printed texts are recorded in the textual notes.

In the present edition, as well, we mark with a dash any change of address within a speech, unless a stage direction intervenes. When the -ed ending of a word is to be pronounced, we mark it with an accent. Like editors for the past two centuries we print metrically linked lines in the following way:

PROSPERO

    But are they, Ariel, safe?

ARIEL                                       Not a hair perished.

                                                         (1.2.257–58)

However, when there are a number of short verse lines that can be linked in more than one way, we do not, with rare exceptions, indent any of them.

The Explanatory Notes

The notes that appear in the commentary linked to the text are designed to provide readers with the help they may need to enjoy the play. Whenever the meaning of a word in the text is not readily accessible in a good contemporary dictionary, we offer the meaning in a note. Sometimes we provide a note even when the relevant meaning is to be found in the dictionary but when the word has acquired since Shakespeare’s time other potentially confusing meanings. In our notes, we try to offer modern synonyms for Shakespeare’s words. We also try to indicate to the reader the connection between the word in the play and the modern synonym. For example, Shakespeare sometimes uses the word head to mean “source,” but, for modern readers, there may be no connection evident between these two words. We provide the connection by explaining Shakespeare’s usage as follows: “head: fountainhead, source.” On some occasions, a whole phrase or clause needs explanation. Then we rephrase in our own words the difficult passage, and add at the end synonyms for individual words in the passage. When scholars have been unable to determine the meaning of a word or a phrase, we acknowledge the uncertainty.

I. We have also consulted the computerized text of the First Folio provided by the Text Archive of the Oxford University Computing Centre, to which we are grateful.

Dettagli dell?edizione

• Editore: Simon & Schuster
• Data di pubblicazione: 2015
• Lingua: Inglese
• ISBN 10: 1501130013
• ISBN 13: 9781501130014
• Rilegatura: Copertina flessibile
• Numero di pagine: 304
• Contatto del produttore: non disponibile
• Persona responsabile: Simone Casetta; 0039 275422215; casetta@mondadori.it; ; Via Mondadori 1,; Segrate Milano; 20090; Italia