Add to ORKGThe Tempest is unusual in its epilogue. Instead of the actor stepping forward to discard his role and ask approving applause, he maintains his role as Prospero and draws the audience into the fictional realm of the play. It is the audience who will decide what happens next: they can keep Prospero on the island or send him on to Naples. Because he has pardoned his deceiving enemy he claims that it would be unjust ' to dwell in this bare island by [the audience's] spell' (5.1.326). He asks for release
At the beginning of Book 3 of John Milton's English Christian epic Paradise Lost, God is depicted si...
Christian values permeated all aspects of human activity in sixteenth century England; the basic tru...
This dissertation argues that William Shakespeare\u27s The Tempest is a dramatic exploration of the ...
At the end of The Tempest, Prospero (or, perhaps, the actor playing him) urges the audience, ‘As you...
Prospero in Shakespeare's last play, The Tempest, written around 1611 and first published seven year...
The Tempest is often regarded, and rightly so, as Shakespeare’s last great play. Many scholars argue...
The plays Shakespeare produced in the second half of his career, from Hamlet (1600) through The Temp...
The Tempest has spawned many widely divergent interpretations because its elusive, open-ended nature...
Hence Prospero’s magical powers are that of a God like creator who seeks not to imprison and merely ...
In Elizabethan drama treason was a dramatic device of paramount importance. Most of Shakespeare’s wo...
Graceful Symmetry explores the relationship between grace and political agency in the work of Willia...
In this essay, I argue that Psalm 23 serves as a thematic rubric through which to understand how Pro...
Humiliation has a powerful presence in Shakespeare's tragedies and late plays. With an unusual abili...
This thesis investigates the capacity of the verbal music of Shakespeare’s poetry in The Tempest, to...
Though its supernatural spectacles might seem to suit it to the magical technologies of cinema, The ...
At the beginning of Book 3 of John Milton's English Christian epic Paradise Lost, God is depicted si...
Christian values permeated all aspects of human activity in sixteenth century England; the basic tru...
This dissertation argues that William Shakespeare\u27s The Tempest is a dramatic exploration of the ...
At the end of The Tempest, Prospero (or, perhaps, the actor playing him) urges the audience, ‘As you...
Prospero in Shakespeare's last play, The Tempest, written around 1611 and first published seven year...
The Tempest is often regarded, and rightly so, as Shakespeare’s last great play. Many scholars argue...
The plays Shakespeare produced in the second half of his career, from Hamlet (1600) through The Temp...
The Tempest has spawned many widely divergent interpretations because its elusive, open-ended nature...
Hence Prospero’s magical powers are that of a God like creator who seeks not to imprison and merely ...
In Elizabethan drama treason was a dramatic device of paramount importance. Most of Shakespeare’s wo...
Graceful Symmetry explores the relationship between grace and political agency in the work of Willia...
In this essay, I argue that Psalm 23 serves as a thematic rubric through which to understand how Pro...
Humiliation has a powerful presence in Shakespeare's tragedies and late plays. With an unusual abili...
This thesis investigates the capacity of the verbal music of Shakespeare’s poetry in The Tempest, to...
Though its supernatural spectacles might seem to suit it to the magical technologies of cinema, The ...
At the beginning of Book 3 of John Milton's English Christian epic Paradise Lost, God is depicted si...
Christian values permeated all aspects of human activity in sixteenth century England; the basic tru...
This dissertation argues that William Shakespeare\u27s The Tempest is a dramatic exploration of the ...