The Tempest (Signet Classic Shakespeare Series) [NOOK Book]

Overview

Prospero, sorcerer and rightful Duke of Milan, along with his daughter Miranda, has lived on an island for many years since his position was usurped by his brother Antonio. Then, as Antonio's ship passes near the island one day, Prospero conjures up a terrible storm...This play, combining elements of both tragedy and comedy, is believed by some to be the last Shakespeare wrote on his own, as well as one of his most fascinating works. The Signet edition also features an overview of Shakespeare's life and times, ...
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The Tempest (Signet Classic Shakespeare Series)

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Overview

Prospero, sorcerer and rightful Duke of Milan, along with his daughter Miranda, has lived on an island for many years since his position was usurped by his brother Antonio. Then, as Antonio's ship passes near the island one day, Prospero conjures up a terrible storm...This play, combining elements of both tragedy and comedy, is believed by some to be the last Shakespeare wrote on his own, as well as one of his most fascinating works. The Signet edition also features an overview of Shakespeare's life and times, commentary by William Strachey, Montaigne, and others, and a stage and screen history, among other special content.









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Product Details

  • ISBN-13: 9781101142295
  • Publisher: Penguin Group (USA)
  • Publication date: 9/1/1998
  • Series: Signet Classic Shakespeare Series
  • Sold by: Penguin Group
  • Format: eBook
  • Pages: 288
  • Sales rank: 259,063
  • File size: 892 KB

Meet the Author

WILLIAM SHAKESPEARE was born at Stratford upon Avon in April, 1564. He was the third child, and eldest son, of John Shakespeare and Mary Arden. His father was one of the most prosperous men of Stratford, who held in turn the chief offices in the town. His mother was of gentle birth, the daughter of Robert Arden of Wilmcote. In December, 1582, Shakespeare married Ann Hathaway, daughter of a farmer of Shottery, near Stratford; their first child Susanna was baptized on May 6, 1583, and twins, Hamnet and Judith, on February 22, 1585. Little is known of Shakespeare’s early life; but it is unlikely that a writer who dramatized such an incomparable range and variety of human kinds and experiences should have spent his early manhood entirely in placid pursuits in a country town. There is one tradition, not universally accepted, that he fled from Stratford because he was in trouble for deer stealing, and had fallen foul of Sir Thomas Lucy, the local magnate; another that he was for some time a schoolmaster.

From 1592 onwards the records are much fuller. In March, 1592, the Lord Strange’s players produced a new play at the Rose Theatre called Harry the Sixth, which was very successful, and was probably the First Part of Henry VI. In the autumn of 1592 Robert Greene, the best known of the professional writers, as he was dying wrote a letter to three fellow writers in which he warned them against the ingratitude of players in general, and in particular against an ‘upstart crow’ who ‘supposes he is as much able to bombast out a blank verse as the best of you: and being an absolute Johannes Factotum is in his own conceit the only Shake-scene in a country.’ This is the first reference to Shakespeare, and the whole passage suggests that Shakespeare had become suddenly famous as a playwright. At this time Shakespeare was brought into touch with Edward Alleyne the great tragedian, and Christopher Marlowe, whose thundering parts of Tamburlaine, the Jew of Malta, and Dr Faustus Alleyne was acting, as well as Hieronimo, the hero of Kyd’s Spanish Tragedy, the most famous of all Elizabethan plays.



In April, 1593, Shakespeare published his poem Venus and Adonis, which was dedicated to the young Earl of Southampton: it was a great and lasting success, and was reprinted nine times in the next few years. In May, 1594, his second poem, The Rape of Lucrece, was also dedicated to Southampton.



There was little playing in 1593, for the theatres were shut during a severe outbreak of the plague; but in the autumn of 1594, when the plague ceased, the playing companies were reorganized, and Shakespeare became a sharer in the Lord Chamberlain’s company who went to play in the Theatre in Shoreditch. During these months Marlowe and Kyd had died. Shakespeare was thus for a time without a rival. He had already written the three parts of Henry VI, Richard III, Titus Andronicus, The Two Gentlemen of Verona, Love’s Labour’s Lost, The Comedy of Errors, and The Taming of the Shrew. Soon afterwards he wrote the first of his greater plays – Romeo and Juliet – and he followed this success in the next three years with A Midsummer Night’s Dream, Richard II, and The Merchant of Venice. The two parts of Henry VI, introducing Falstaff, the most popular of all his comic characters, were written in 1597–8.



The company left the Theatre in 1597 owing to disputes over a renewal of the ground lease, and went to play at the Curtain in the same neighbourhood. The disputes continued throughout 1598, and at Christmas the players settled the matter by demolishing the old Theatre and re-erecting a new playhouse on the South bank of the Thames, near Southwark Cathedral. This playhouse was named the Globe. The expenses of the new building were shared by the chief members of the Company, including Shakespeare, who was now a man of some means. In 1596 he had bought New Place, a large house in the centre of Stratford, for £60, and through his father purchased a coat-of-arms from the Heralds, which was the official recognition that he and his family were gentlefolk.



By the summer of 1598 Shakespeare was recognized as the greatest of English dramatists. Booksellers were printing his more popular plays, at times even in pirated or stolen versions, and he received a remarkable tribute from a young writer named Francis Meres, in his book Palladis Tamia. In a long catalogue of English authors Meres gave Shakespeare more prominence than any other writer, and mentioned by name twelve of his plays.



Shortly before the Globe was opened, Shakespeare had completed the cycle of plays dealing with the whole story of the Wars of the Roses with Henry V. It was followed by As You Like it, and Julius Caesar, the first of the maturer tragedies. In the next three years he wrote Troilus and Cressida, The Merry Wives of Windsor, Hamlet, and Twelfth Night.



On March 24, 1603, Queen Elizabeth died. The company had often performed before her, but they found her successor a far more enthusiastic patron. One of the first acts of King James was to take over the company and to promote them to be his own servants, so that henceforward they were known as the King’s Men. They acted now very frequently at Court, and prospered accordingly. In the early years of the reign Shakespeare wrote the more sombre comedies, All’s Well that Ends Well, and Measure for Measure, which were followed by Othello, Macbeth, and King Lear. Then he returned to Roman themes with Antony and Cleopatra and Coriolanus.



Since 1601 Shakespeare had been writing less, and there were now a number of rival dramatists who were introducing new styles of drama, particularly Ben Jonson (whose first successful comedy, Every Man in his Humour, was acted by Shakespeare’s company in 1598), Chapman, Dekker, Marston, and Beaumont and Fletcher who began to write in 1607. In 1608 the King’s Men acquired a second playhouse, an indoor private theatre in the fashionable quarter of the Blackfriars. At private theatres, plays were performed indoors; the prices charged were higher than in the public playhouses, and the audience consequently was more select. Shakespeare seems to have retired from the stage about this time: his name does not occur in the various lists of players after 1607. Henceforward he lived for the most part at Stratford, where he was regarded as one of the most important citizens. He still wrote a few plays, and he tried his hand at the new form of tragi-comedy – a play with tragic incidents but a happy ending – which Beaumont and Fletcher had popularized. He wrote four of these – Pericles, Cymbeline, The Winter’s Tale, and The Tempest, which was acted at Court in 1611. For the last four years of his life he lived in retirement. His son Hamnet had died in 1596: his two daughters were now married. Shakespeare died at Stratford upon Avon on April 23, 1616, and was buried in the chancel of the church, before the high altar. Shortly afterwards a memorial which still exists, with a portrait bust, was set up on the North wall. His wife survived him.



When Shakespeare died fourteen of his plays had been separately published in Quarto booklets. In 1623 his surviving fellow actors, John Heming and Henry Condell, with the co-operation of a number of printers, published a collected edition of thirty-six plays in one Folio volume, with an engraved portrait, memorial verses by Ben Jonson and others, and an Epistle to the Reader in which Heming a

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Chapter 1

list of parts

PROSPERO, the right Duke of Milan MIRANDA, his daughter ALONSO, King of Naples SEBASTIAN, his brother ANTONIO, Prospero's brother, the usurping Duke of Milan FERDINAND, son to the King of Naples GONZALO, an honest old councillor ADRIAN and FRANCISCO, lords TRINCULO, a jester STEPHANO, a drunken butler MASTER, of a ship BOATSWAIN MARINERS CALIBAN, a savage and deformed slave ARIEL, an airy spirit IRIS, CERES, JUNO, spirits commanded by Prospero playing roles of NYMPHS, REAPERS

The Scene: an uninhabited island

Act 1 Scene 1 running scene 1

A tempestuous noise of thunder and lightning heard. Enter a Shipmaster and a Boatswain

MASTER Boatswain!

BOATSWAIN Here, master. What cheer?

MASTER Good: speak to th'mariners. Fall to't yarely, or we run ourselves aground! Bestir, bestir! Exit

Enter Mariners

BOATSWAIN Heigh, my hearts! Cheerly, cheerly, my hearts! Yare, yare! Take in the topsail. Tend to th'master's whistle.- Blow, till thou burst thy wind, if room enough.

Enter Alonso, Sebastian, Antonio, Ferdinand, Gonzalo and others

ALONSO Good boatswain, have care. Where's the master? Play the men.

BOATSWAIN I pray now, keep below.

ANTONIO Where is the master, boatswain?

BOATSWAIN Do you not hear him? You mar our labour. Keep your cabins! You do assist the storm.

GONZALO Nay, good, be patient.

BOATSWAIN When the sea is. Hence! What cares these roarers for the name of king? To cabin! Silence! Trouble us not.

GONZALO Good, yet remember whom thou hast aboard.

BOATSWAIN None that I more love than myself. You are a counsellor: if you can command these elements to silence, and work the peace of the present, we will not hand a rope more: use your authority. If you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap.- Cheerly, good hearts!- Out of our way, I say.

Exeunt [Boatswain with Mariners, followed by Alonso, Sebastian, Antonio and Ferdinand]

GONZALO I have great comfort from this fellow: methinks he hath no drowning mark upon him: his complexion is perfect gallows. Stand fast, good Fate, to his hanging: make the rope of his destiny our cable, for our own doth little advantage. If he be not born to be hanged, our case is miserable. Exit

Enter Boatswain

BOATSWAIN Down with the topmast! Yare! Lower, lower! Bring her to try with main course. (A cry within) A plague upon this howling! They are louder than the weather or our office.

Enter Sebastian, Antonio and Gonzalo

Yet again? What do you here? Shall we give o'er and drown? Have you a mind to sink?

SEBASTIAN A pox o'your throat, you bawling, blasphemous, incharitable dog!

BOATSWAIN Work you then.

ANTONIO Hang, cur! Hang, you whoreson, insolent noisemaker! We are less afraid to be drowned than thou art.

GONZALO I'll warrant him for drowning, though the ship were no stronger than a nutshell and as leaky as an unstanched wench.

BOATSWAIN Lay her ahold, ahold! Set her two courses off to sea again! Lay her off!

Enter Mariners, wet

MARINERS All lost! To prayers, to prayers! All lost!

BOATSWAIN What, must our mouths be cold?

GONZALO The king and prince at prayers: let's assist them, for our case is as theirs.

SEBASTIAN I'm out of patience.

ANTONIO We are merely cheated of our lives by drunkards. This wide-chopped rascal: would thou mightst lie drowning, the washing of ten tides!

GONZALO He'll be hanged yet,
Though every drop of water swear against it And gape at wid'st to glut him. [Exeunt Boatswain and Mariners]

A confused noise within

[VOICES OFF-STAGE] Mercy on us! - We split, we split! - Farewell, my wife and children! - Farewell, brother! - We split, we split, we split!

ANTONIO Let's all sink wi'th'king.

SEBASTIAN Let's take leave of him. Exeunt [Antonio and Sebastian]

GONZALO Now would I give a thousand furlongs of sea for an acre of barren ground: long heath, brown furze, anything. The wills above be done! But I would fain die a dry death.

Exit


Act 1 Scene 2 running scene 2

Enter Prospero and Miranda

MIRANDA If by your art, my dearest father, you have Put the wild waters in this roar, allay them.
The sky, it seems, would pour down stinking pitch,
But that the sea, mounting to th'welkin's cheek,
Dashes the fire out. O, I have suffered With those that I saw suffer: a brave vessel -
Who had, no doubt, some noble creature in her -
Dashed all to pieces. O, the cry did knock Against my very heart. Poor souls, they perished.
Had I been any god of power, I would Have sunk the sea within the earth, or ere It should the good ship so have swallowed, and The fraughting souls within her.

PROSPERO Be collected:
No more amazement. Tell your piteous heart There's no harm done.

MIRANDA O, woe the day!

PROSPERO No harm:
I have done nothing but in care of thee -
Of thee, my dear one, thee, my daughter - who Art ignorant of what thou art: nought knowing Of whence I am, nor that I am more better Than Prospero, master of a full poor cell,
And thy no greater father.

MIRANDA More to know Did never meddle with my thoughts.

PROSPERO 'Tis time I should inform thee further. Lend thy hand And pluck my magic garment from me. So:
Lie there, my art. Wipe thou thine eyes, have his magic cloak comfort.
The direful spectacle of the wreck, which touched The very virtue of compassion in thee,
I have with such provision in mine art So safely ordered that there is no soul -
No, not so much perdition as an hair Betid to any creature in the vessel Which thou heard'st cry, which thou saw'st sink. Sit down, [Miranda sits]
For thou must now know further.

MIRANDA You have often Begun to tell me what I am, but stopped And left me to a bootless inquisition,
Concluding 'Stay: not yet.'

PROSPERO The hour's now come,
The very minute bids thee ope thine ear:
Obey, and be attentive. Canst thou remember A time before we came unto this cell?
I do not think thou canst, for then thou wast not Out three years old.

MIRANDA Certainly, sir, I can.

PROSPERO By what? By any other house or person?
Of any thing the image, tell me, that Hath kept with thy remembrance.

MIRANDA 'Tis far off,
And rather like a dream than an assurance That my remembrance warrants. Had I not Four or five women once that tended me?

PROSPERO Thou hadst; and more, Miranda. But how is it That this lives in thy mind? What see'st thou else In the dark backward and abysm of time?
If thou rememb'rest aught ere thou cam'st here,
How thou cam'st here thou mayst.

MIRANDA But that I do not.

PROSPERO Twelve year since, Miranda, twelve year since,
Thy father was the Duke of Milan and A prince of power.

MIRANDA Sir, are not you my father?

PROSPERO Thy mother was a piece of virtue, and She said thou wast my daughter; and thy father Was Duke of Milan, and his only heir And princess, no worse issued.

MIRANDA O the heavens!
What foul play had we, that we came from thence?
Or blessèd wast we did?

PROSPERO Both, both, my girl.
By foul play - as thou say'st - were we heaved thence,
But blessedly holp hither.

MIRANDA O, my heart bleeds To think o'th'teen that I have turned you to,
Which is from my remembrance. Please you, further.

PROSPERO My brother and thy uncle, called Antonio -
I pray thee, mark me - that a brother should Be so perfidious - he whom next thyself Of all the world I loved, and to him put The manage of my state, as at that time Through all the signories it was the first,
And Prospero the prime duke, being so reputed In dignity, and for the liberal arts Without a parallel; those being all my study,
The government I cast upon my brother And to my state grew stranger, being transported And rapt in secret studies. Thy false uncle -
Dost thou attend me?

MIRANDA Sir, most heedfully.

PROSPERO Being once perfected how to grant suits,
How to deny them, who t'advance and who To trash for over-topping, new created The creatures that were mine, I say, or changed 'em,
Or else new formed 'em; having both the key Of officer and office, set all hearts i'th'state To what tune pleased his ear, that now he was The ivy which had hid my princely trunk And sucked my verdure out on't.- Thou attend'st not.

MIRANDA O good sir, I do.

PROSPERO I pray thee, mark me:
I, thus neglecting worldly ends, all dedicated To closeness and the bettering of my mind With that, which but by being so retired,
O'er-prized all popular rate, in my false brother Awaked an evil nature, and my trust,
Like a good parent, did beget of him A falsehood in its contrary, as great As my trust was, which had indeed no limit,
A confidence sans bound. He being thus lorded,
Not only with what my revenue yielded,
But what my power might else exact: like one Who having into truth, by telling of it,
Made such a sinner of his memory To credit his own lie, he did believe He was indeed the duke, out o'th'substitution And executing th'outward face of royalty With all prerogative: hence his ambition growing -
Dost thou hear?

MIRANDA Your tale, sir, would cure deafness.

PROSPERO To have no screen between this part he played,
And him he played it for, he needs will be Absolute Milan. Me - poor man - my library Was dukedom large enough: of temporal royalties He thinks me now incapable. Confederates -
So dry he was for sway - wi'th'King of Naples To give him annual tribute, do him homage,
Subject his coronet to his crown, and bend The dukedom yet unbowed - alas, poor Milan -
To most ignoble stooping.

MIRANDA O the heavens!

PROSPERO Mark his condition and th'event, then tell me If this might be a brother.

MIRANDA I should sin To think but nobly of my grandmother:
Good wombs have borne bad sons.

PROSPERO Now the condition.
This King of Naples, being an enemy To me inveterate, hearkens my brother's suit,
Which was, that he, in lieu o'th'premises Of homage, and I know not how much tribute,
Should presently extirpate me and mine Out of the dukedom, and confer fair Milan,
With all the honours, on my brother: whereon,
A treacherous army levied, one midnight Fated to th'purpose, did Antonio open The gates of Milan, and i'th'dead of darkness The ministers for th'purpose hurried thence Me and thy crying self.

MIRANDA Alack, for pity!
I, not rememb'ring how I cried out then,
Will cry it o'er again: it is a hint That wrings mine eyes to't.

PROSPERO Hear a little further,
And then I'll bring thee to the present business Which now's upon's: without the which, this story Were most impertinent.

MIRANDA Wherefore did they not That hour destroy us?

PROSPERO Well demanded, wench:
My tale provokes that question. Dear, they durst not,
So dear the love my people bore me: nor set A mark so bloody on the business: but With colours fairer, painted their foul ends.
In few, they hurried us aboard a barque,
Bore us some leagues to sea, where they prepared A rotten carcass of a butt, not rigged,
Nor tackle, sail, nor mast: the very rats Instinctively have quit it. There they hoist us,
To cry to th'sea that roared to us; to sigh To th'winds, whose pity sighing back again,
Did us but loving wrong.

MIRANDA Alack, what trouble Was I then to you!

PROSPERO O, a cherubin Thou wast that did preserve me. Thou didst smile,
Infusèd with a fortitude from heaven,
When I have decked the sea with drops full salt,
Under my burden groaned, which raised in me An undergoing stomach, to bear up Against what should ensue.

MIRANDA How came we ashore?

PROSPERO By providence divine.
Some food we had, and some fresh water, that A noble Neapolitan, Gonzalo,
Out of his charity - who being then appointed Master of this design - did give us, with Rich garments, linens, stuffs and necessaries,
Which since have steaded much. So, of his gentleness,
Knowing I loved my books, he furnished me From mine own library with volumes that I prize above my dukedom.

MIRANDA Would I might But ever see that man.

PROSPERO Now I arise: Prospero stands Sit still, and hear the last of our sea-sorrow.
Here in this island we arrived, and here Have I, thy schoolmaster, made thee more profit Than other princes can that have more time For vainer hours, and tutors not so careful.

MIRANDA Heavens thank you for't. And now, I pray you,
sir,
For still 'tis beating in my mind: your reason For raising this sea-storm?

PROSPERO Know thus far forth:
By accident most strange, bountiful Fortune -
Now my dear lady - hath mine enemies Brought to this shore: and by my prescience I find my zenith doth depend upon A most auspicious star, whose influence If now I court not, but omit, my fortunes Will ever after droop. Here cease more questions:
Thou art inclined to sleep. 'Tis a good dullness,
And give it way: I know thou canst not choose.- Miranda Come away, servant, come. I am ready now. sleeps Approach, my Ariel, come.

Enter Ariel

ARIEL All hail, great master! Grave sir, hail! I come To answer thy best pleasure; be't to fly,
To swim, to dive into the fire, to ride On the curled clouds: to thy strong bidding task Ariel and all his quality.

PROSPERO Hast thou, spirit,
Performed to point the tempest that I bade thee?

ARIEL To every article.
I boarded the king's ship: now on the beak,
Now in the waist, the deck, in every cabin,
I flamed amazement: sometime I'd divide And burn in many places; on the topmast,
The yards and bowsprit would I flame distinctly,
Then meet and join. Jove's lightning, the precursors O'th'dreadful thunderclaps, more momentary And sight-outrunning were not; the fire and cracks Of sulphurous roaring, the most mighty Neptune Seem to besiege and make his bold waves tremble,
Yea, his dread trident shake.

PROSPERO My brave spirit!
Who was so firm, so constant, that this coil Would not infect his reason?

ARIEL Not a soul But felt a fever of the mad and played Some tricks of desperation. All but mariners Plunged in the foaming brine and quit the vessel,
Then all afire with me: the king's son, Ferdinand,
With hair up-staring - then like reeds, not hair -
Was the first man that leaped; cried 'Hell is empty And all the devils are here.'

PROSPERO Why, that's my spirit!
But was not this nigh shore?

ARIEL Close by, my master.

PROSPERO But are they, Ariel, safe?

ARIEL Not a hair perished:
On their sustaining garments not a blemish,
But fresher than before: and, as thou bad'st me,
In troops I have dispersed them 'bout the isle.
The king's son have I landed by himself,
Whom I left cooling of the air with sighs In an odd angle of the isle, and sitting,
His arms in this sad knot. [Folds his arms]

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Table of Contents

Samuel Taylor Coleridge: From The Lectures of 1811- 1812, Lecture IX E. M. W. Tillyard: The Tragic Pattern: 'The Tempest'
Bernard Knox: 'The Tempest' and the Ancient Comic Tradition Lorie Jerrell Leininger: The Miranda Trap: Sexism and Racism in Shakespeare's 'Tempest'
Sylvan Barnet: 'The Tempest' on the Stage

NEWLY ADDED ESSAY:
Stephen Greenblatt: The Use of Salutary Anxiety in 'The Tempest'

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Customer Reviews

Average Rating 4
( 106 )
Rating Distribution

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(13)

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(11)

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See All Sort by: Showing 1 – 20 of 111 Customer Reviews
  • Anonymous

    Posted December 26, 2011

    First Shakespeare I ever read.

    The reason I read this play was because of personal reasons. My ancestor Stephen Hopkins was aboard the Sea Venture in which influenced this play. Good read. Derek D

    2 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 10, 2011

    I highly recommend it!

    I personally feel that of all of Shakespeare's works, the language in The Tempest is one of the easiest to understand. That being said, the notes and meanings given on the left-hand pages helped immensely while reading. I will ALWAYS buy Barnes and Noble Shakespeare.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted September 15, 2006

    Brilliant

    William Shakespeare's play The Tempest, is one of the best play i have read so far. In this play, Shakespeare conveys numerous things that relates to the real world. This play is not a easy play to understand. It takes time to know what's happening in each scene. Moreover, the reader needs to analyze each line carefully so he/she can understand what each line means.Over all, The tempest is a great play to read, and i am really sure that once your finished with the play, you would want to read another play by shakespeare.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 5, 2001

    great book, take your time with it and understand it!!!!!

    You need to take your time because if you rush into it you will not get the full effect as you will if you would take your time and understand. I think that you should read this and act out some of your favorite scenes!!! Just have FUN!!

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 13, 2014

    A pitteris heard

    A kit bag with a black with red fur scattered around him is at the entrance. There is a note saying,"Please take him." He mews softly and sleeps randomly.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 10, 2014

    Cynder

    [It's 3:00 where I live]
    <p>
    The dark tabby padded in, a plump snowhare dangling from her jaws. ~Cynder

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 18, 2014

    Brokenstar

    I am sorry, but I have had to quit RP due to snooping mom. The next leader will be Cry. You have my blessing. She meowed and bounded out of camp. ~Brokenstar

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 8, 2014

    Paris

    "Thank you," she says quietly, padding to a secluded area of camp, quiet. She sighs gently and looks around. [Otay.]

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  • Anonymous

    Posted May 8, 2014

    To princess

    Her kit pushes around.

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  • Anonymous

    Posted May 8, 2014

    The tomcat

    "Well..well..well. if it isnt my beautiful slave."*he laughs evily. He then traps her to the ground and then lays on her. He ran hi toungue up her throat. He then circled his tail on her sweet spot. He then gets off and then pounces on her aain and starts to hump her

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  • Anonymous

    Posted May 7, 2014

    @

    A pair of golden eyes watches from the shadows...

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  • Anonymous

    Posted May 8, 2014

    Vix to Frost

    (( True feelings come out! DX ))

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  • Anonymous

    Posted May 7, 2014

    A white cat

    Sits in the shadows. She has one black paws and stunning crystal blue eyes

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  • Anonymous

    Posted May 13, 2014

    Vix

    She frowned slightly, gazing at her new leader with a nod." Of course..."

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  • Anonymous

    Posted May 7, 2014

    A wolf

    Smells the small kit and sees her lying motionless and he darts forwrd and chomps down hard on her back leg and dragged her away.

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  • Anonymous

    Posted May 7, 2014

    A tomcat

    Looks at the beautiful white shecat and kept himself hidden

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  • Anonymous

    Posted May 9, 2014

    Princess

    She lays on the ground.....still in pain. Her eyes flickered quickly.....then slowly close. Her breathing is very weak.

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  • Anonymous

    Posted May 6, 2014

    Paradox and stuff

    "I'll be here for now." She simply walked in and sat down. No asking, but she was BloodClan already, technically.

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  • Anonymous

    Posted May 9, 2014

    Deathheart

    Hisses, unsheathing claws.

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  • Anonymous

    Posted May 6, 2014

    Sweet

    The small silver wolf ran in ready to fight the alse bloodclan

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