The Tempest

( 106 )

Overview

Shakespeare's last play seems unusually elastic, capable of radically different interpretations, which reflect the social, political, scientific or moral concerns of their period. This edition of The Tempest is the first dedicated to its long and rich stage history. Drawing on a wide variety of sources, it examines four centuries of mainstream, regional and fringe productions in Britain (including Dryden and Davenant's Restoration adaptation), nineteenth- and twentieth-century American stagings, and recent ...
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The Tempest

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Overview

Shakespeare's last play seems unusually elastic, capable of radically different interpretations, which reflect the social, political, scientific or moral concerns of their period. This edition of The Tempest is the first dedicated to its long and rich stage history. Drawing on a wide variety of sources, it examines four centuries of mainstream, regional and fringe productions in Britain (including Dryden and Davenant's Restoration adaptation), nineteenth- and twentieth-century American stagings, and recent Australian, Canadian, French, Italian and Japanese productions.

In a substantial, illustrated introduction Dymkowski analyses the cultural significance of changes in the play's theatrical representation: for example, when and why Caliban began to be represented by a black actor, and Ariel became a man's role rather than a woman's. The commentary annotates each line of the play with details about acting, setting, textual alteration and cuts, and contemporary reception.

With extensive quotation from contemporary commentators and detail from unpublished promptbooks, the edition offers both an accessible account of the play's changing meanings and a valuable resource.

Presents the original text of Shakespeare's play side by side with a modern version, with marginal notes and explanations and full descriptions of each character.

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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Prospero-like in their artistry, Spirin's dazzling watercolors dominate this retelling of Shakespeare's final play. Shaped like altar panels fit for a Renaissance church or palace, the illustrations are romantic, regal and magical, richly interpreting the play's themes of betrayal, revenge and all-conquering love. A wispy ethereal air pervades island scenes, beautifully suggesting the atmosphere of enchantment, while Antonio and the King of Naples are pictured in brocade and velvet, the stench of power upon them. The other characters, too, are both otherworldly and very much flesh and blood. Especially well rendered is the monster Caliban, shown here as part man, part beast, part mythical creature, a sense of evil glee lighting his features. While this prose adaptation does not, of course, retain the full magic of the Bard's work, Beneduce nonetheless provides an intelligent, gripping story. Several passages from Shakespeare introduced at key points give a taste of the original. Symbols and small pictures integrated into the text further enhance the lavish presentation. All ages. (Mar.)
VOYA - Roxy Ekstrom
This book is designed to help students read a play written in an English used 350 years ago-but the reader has to get to page 105 among the appendices to learn the book's intended audience. This information would have been more helpful as an introduction, instead of the offbeat one found here. The book's strength lies in its page-by-page notes that explain difficult words, archaic phrases, and historical/literary allusions. An occasional note may be more than the student wants, but most are useful without being dumbed-down. The notes are also helpfully placed alongside the text rather than at the bottom of the page, a feature students might like if they are not put off by the resultant double-column appearance.

While the notes should be useful to students at any grade level, the appended material, both introductory and supplementary, is marked by style and vocabulary making it suitable only for the most advanced and/or interested high school or undergraduate students. Among the appendices is a modern poem with no explanation for its inclusion, and no identification of the poet whose poem does allude to the The Tempest. One gets the impression of a mountain of unrelated three-by-five cards being used, with no effort to bridge them together. A long appendix titled "Classwork and Examination," which is a collection of very good ideas for teachers, is strangely addressed to students.

The cover features a fine color photograph of Sweden's Max Von Sydow as Prospero and Rudi Davies as Miranda, but one wonders if a picture of the young lovers or Caliban the monster would have been more appealing to young readers. Students could make good use of this book by ignoring most of the scholarly appendages and using the excellent footnotes to elucidate one of the most enjoyable of Shakespeare's profound works. Illus. Charts. Source Notes. Further Reading. Chronology. Appendix.

VOYA Codes: 2Q 2P S (Better editing or work by the author might have warranted a 3Q, For the YA rea

Children's Literature - Susie Wilde
Shakespeare comes to picture books beautifully when Ann Beneduce retells the complex story of The Tempest in a way that's understandable to children. She's helped by the very classic looking illustrations of Gennady Spirin, who captures the magic of spirits and beasts.
Children's Literature - Marilyn Courtot
The Tempest becomes accessible to children through the retelling skill of Bruce Coville and the glowing illustrations of Sanderson. This fairy tale of magic and love, demons and spirits, has much to attract today's children and to introduce them to the works of the master.
Children's Literature - Uma Krishnaswami
With clever interplay of original dialogue and adapted text, the bard's immortal work is here transformed into a charming "once-upon-a-time" tale. Purists might bemoan the deletion of lines, verses, even whole scenes, but no one can complain that the spirit of the play has not been faithfully transmitted. It has been transmitted with grace and elegance, moreover, and with an acute perception of a young reader's capabilities. Spirin's illustrations are exquisite.
Children's Literature - Rebecca Joseph
Shipwrecks, storms at sea, magicians, sorcerers, revenge, love, all these and more take place in Shakespeare's play The Tempest which John Escott brings to life for young people. Readers will come to understand Propsero, the former Duke of Milan, who was cast out to sea with his young daughter by Antonio. They arrived at a mysterious island filled with magical characters. Prospero causes a tempest that shipwrecks Antonio and his young son Ferdinand on the same island that has been Prospero and daughter Miranda's home. Through the pages of this beautiful adaptation, we watch Prospero take revenge, but in the end come to terms with his magic and those who had done him wrong. Accompanied with exquisite pictures of the different characters and the conflicts, The Tempest comes alive in this version.
Library Journal
Two of the bard's heavy dramas join Yale's wonderful "Annotated Shakespeare" series. Along with a heavily annotated text, each volume includes a scholarly introduction plus notes on the annotations. All that for the price of a Happy Meal; how can you go wrong? Copyright 2006 Reed Business Information.
School Library Journal
Gr 3 Up-The play is set circa 1610. Spirin expands Beneduce's retelling by basing his lavish watercolors on Italian Renaissance paintings. Though the pages are carefully framed, highly ornate, and formally structured, there is plenty of leeway for individual imagination to make itself felt. Ariel is a decorative Renaissance angel. Caliban is given piscine characteristics and expressions that evoke the longing as much as the brutishness in his character. And the human characters have the complexity of portraits. Spirin's illustrations highlight the fantastic while Ruth Sanderson's landscapes for Bruce Coville's version of the play Doubleday, 1994 focus on the effects of nature. Both are valid. Coville's simpler retelling is easier to follow. Beneduce, too, eliminates some of the subplots in order to avoid confusion, but her fuller text manages to incorporate most of the romantic, magical, and political elements. Within the main text, she modernizes the dialogue. This works smoothly for the most part, though it's hard to see how "What a wonderful new world I am about to enter..." is an improvement over "O brave new world..." A few passages of original text are set off in isolated frames, for a sense of the poetry. Readers and potential playgoers will need to see the play performed to experience the comic scenes of Caliban and his cronies. Brief appendixes explain the context in which the play was written and the reteller's choices and give an overview of Shakespeare's life. This is a case in which an acceptably graceful text plays a supporting role to the illustrations. They are worth the price of admission.-Sally Margolis, formerly at Deerfield Public Library, IL
Kirkus Reviews
Beneduce (A Weekend With Winslow Homer, 1993, etc.) retells Shakespeare's play in a text that reads like a fairy tale.

This version emphasizes first the love story between Miranda and Ferdinand and then Prospero's forgiveness of his enemies. Some of the subplots have been eliminated (for reasons given in a careful author's note), but several songs and speeches have been folded into the story, much of which is told in dialogue. Spirin's beautiful watercolors are done in the manner of Renaissance paintings, even to the effect of old varnish affecting the tones. The scenes echo the narrative's focus on the enchantments of the play, presenting beasts worthy of Hieronymous Bosch and gentle spirits to rival the angels of Botticelli. This gorgeous picture book will be particularly useful in high school collections, for the story in the art sets the stage for this Renaissance drama. Recommended for public and school libraries: Not only does it work as a read-alone story but will prepare theatergoers for a performance of the full play.

From the Publisher
Review of the first edition: 'If you are looking for a model edition - by which I mean one that is concerned to honour the text and to explain the processes involved in editing - this is it. If I were ever again to undertake the editing of a Shakespeare play, I would keep Lindley's edition of The Tempest open beside me.' Peter Thompson

Review of the first edition: 'David Lindley's [The] Tempest is the best edition on the market and the paperback is a snip.' Studies in Theatre and Performance

Review of the first edition: 'Lindley aims both to represent and to explain the range of readings given the play in its theatrical and critical afterlives. His edition meets the high standards of the series in an exemplary manner, offering an especially fine introduction that focuses on the elusiveness of The Tempest, a feature that has made it central to late-twentieth-century criticism.' Barbara Hodgdon, Studies in English Literature

Review of the first edition: 'David Lindley's edition of The Tempest is easily the most outstanding version of this ostensibly straightforward yet hugely teasing play produced over the last thirty years. Its precise and scrupulous commentary notes are careful to the variety of ways the text can be spoken on stage. Its notes on the music and songs are admirably evocative, and its economical account of the huge range of critical views will send thousands of readers out in fruitful chases after the play's own multitudinous interests.' Andrew Gurr, editor, New Variorum 'Tempest'

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Product Details

  • ISBN-13: 9781139109369
  • Publisher: Cambridge University Press
  • Publication date: 5/28/2013
  • Edition number: 2

Meet the Author

Alden Vaughan is a professor at Columbia University.
 
Virginia Vaughan is a professor at Clark University.

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Read an Excerpt

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

Preface
The Tempest 3
A Note on the Text 78
Sources and Contexts
Magic and Witchcraft 85
[Medea] 85
Oration on the Dignity of Man 86
[Friar Bacon's Magical Exploits] 88
[An English Conjuror on the High Seas] 89
[How to Enclose a Spirit] 89
Politics and Religion 91
Isaiah XXIX 91
Virginia's Verger 93
[Master Strokes of State] 95
Geography and Travel 97
Primaleon of Greece 97
[A Mediterranean Storm] 99
A Map of Tunis and Carthage 101
[A Voyage to the Patagonians] 102
[An Atlantic Storm] 105
[The Cannibals of Brazil] 107
[Storms and Strife in Bermuda] 110
The Seaman's Dictionary 115
Criticism
[The Character of Caliban] 119
[The Magic of The Tempest] 119
Notes on The Tempest 121
Shakespeare's Treatment of the Marvellous 125
[Some Notes on The Tempest] 127
[Surrendering to The Tempest] 131
Shakespeare's Final Period 134
[Prospero's Lonely Magic] 137
A Chart of Shakespeare's Dramatic Universe 141
[Art vs. Nature] 142
A Monster, a Child, a Slave 148
Prospero, Agrippa, and Hocus Pocus 168
Music, Masque, and Meaning in the Tempest 187
Prospero's Wife 201
Shakespeare's Virginian Masque 215
Prospero and Caliban 233
The Tempest's Tempest at Blackfriars 250
Conquering Islands: Contextualizing The Tempest 265
The Blue-Eyed Witch 286
Rewritings and Appropriations
Drama and Film
The Sea Voyage 301
The English Traveller 305
The Enchanted Island 308
The Mock-Tempest 312
Raising the Wind 315
A Tempest 321
Prospero's Books 325
Poems
With a Guitar. To Jane 332
Caliban upon Setebos; or Natural Theology in the Island 335
At the Top 337
The Spirit Ariel 338
By Avon River 339
Snapshots of Caliban 342
Calypso for Caliban 343
Go Ariel 347
Ariel Freed 348
Setebos 349
Selected Bibliography 351
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See All Sort by: Showing 1 – 20 of 112 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.

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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.

    2 out of 2 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!!

    2 out of 2 people found this review helpful.

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  • 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 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.]

    0 out of 1 people found this review helpful.

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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

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 7, 2014

    @

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

    0 out of 1 people found this review helpful.

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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..."

    0 out of 1 people found this review helpful.

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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.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 7, 2014

    A tomcat

    Looks at the beautiful white shecat and kept himself hidden

    0 out of 1 people found this review helpful.

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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.

    0 out of 1 people found this review helpful.

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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.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 9, 2014

    Deathheart

    Hisses, unsheathing claws.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 6, 2014

    Sweet

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

    0 out of 1 people found this review helpful.

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See All Sort by: Showing 1 – 20 of 112 Customer Reviews

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