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=                            The_Tempest                             =
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                            Introduction
======================================================================
'The Tempest' is a play by William Shakespeare, probably written in
1610-1611, and thought to be one of the last plays that he wrote
alone. After the first scene, which takes place on a ship at sea
during a tempest, the rest of the story is set on a remote island,
where Prospero, a magician, lives with his daughter Miranda, and his
two servants: Caliban, a savage monster figure, and Ariel, an airy
spirit. The play contains music and songs that evoke the spirit of
enchantment on the island. It explores many themes, including magic,
betrayal, revenge, forgiveness and family. In Act IV, a wedding masque
serves as a play-within-a-play, and contributes spectacle, allegory,
and elevated language.

Although 'The Tempest' is listed in the First Folio as the first of
Shakespeare's comedies, it deals with both tragic and comic themes,
and modern criticism has created a category of romance for this and
others of Shakespeare's late plays. 'The Tempest' has been widely
interpreted in later centuries. Its central character Prospero has
been identified with Shakespeare - and Prospero's renunciation of
magic signaling Shakespeare's farewell to the stage. It has also been
seen as an allegory of Europeans colonizing foreign lands.

The play has had a varied afterlife, inspiring artists in many nations
and cultures, on stage and screen, in literature, music (especially
opera), and the visual arts.


                             Characters
======================================================================
* Prospero - the rightful Duke of Milan and a magician
* Miranda - daughter to Prospero
* Ariel - a spirit in service to Prospero
* Caliban - an enslaved servant of Prospero
* Alonso - King of Naples
* Sebastian - Alonso's brother
* Antonio - Prospero's brother, the usurping Duke of Milan
* Ferdinand - Alonso's son
* Gonzalo - an honest old councillor
* Adrian - a lord serving under Alonso
* Francisco - a lord serving under Alonso
* Trinculo - the King's jester
* Stephano - the King's drunken butler
* Juno - Roman goddess of marriage
* Ceres - Roman goddess of agriculture
* Iris - Greek goddess of the rainbow and messenger of the gods
* Master - master of the ship
* Mariners
* Boatswain - servant of the master


Act I
=======
Twelve years before the action of the play, Prospero, formerly Duke of
Milan and a gifted sorcerer, had been usurped by his treacherous
brother Antonio with the aid of Alonso, King of Naples. Escaping by
boat with his infant daughter Miranda, Prospero flees to a remote
island where he has been living ever since.  There he used his magic
to force the island's only inhabitant, Caliban, to protect him and
Miranda. He also frees the spirit Ariel and binds him into servitude.

When a ship carrying his brother Antonio passes nearby, Prospero
conjures up a storm with help from Ariel and the ship is destroyed.
Antonio is shipwrecked, along with Alonso, Ferdinand (Alonso's son and
heir to the throne), Sebastian (Alonso's brother), Gonzalo (Prospero's
trustworthy minister), Adrian, and other court members.


Acts II and III
=================
* Ferdinand, who is rescued by Prospero and Miranda and given shelter.
Prospero successfully manipulates the youth into a romance with
Miranda;
* Trinculo, the king's jester, and Stephano, the king's drunken
butler, who encounter Caliban. Recognizing his miserable state, the
three stage an unsuccessful "rebellion" against Prospero. Their
actions provide the comic relief of the play.
* Alonso, Sebastian, Antonio, Gonzalo, and two attendant lords (Adrian
and Francisco). Antonio and Sebastian conspire to kill Alonso and
Gonzalo so Sebastian can become King; Prospero and Ariel thwart the
conspiracy. Later, Ariel takes the form of a harpy and torments
Antonio, Alonso, and Sebastian, causing them to flee in guilt for
their crimes against Prospero and each other.
* The ship's captain and boatswain, along with the other surviving
sailors, are placed into a magical sleep until the final act.


Act IV
========
Prospero intends that Miranda, now aged 15, will marry Ferdinand, and
he instructs Ariel to bring some other spirits and produce a masque.

The masque will feature classical goddesses, Juno, Ceres, and Iris,
and will bless and celebrate the betrothal. The masque will also
instruct the young couple on marriage, and on the value of chastity
until then.

The masque is suddenly interrupted when Prospero realises he had
forgotten the plot against his life. Once Ferdinand and Miranda are
gone, Prospero orders Ariel to deal with the nobles' plot. Caliban,
Trinculo, and Stephano are then chased off into the swamps by goblins
in the shape of hounds.


Act V and Epilogue
====================
Prospero vows that once he achieves his goals, he will set Ariel free,
and abandon his magic, saying:
I'll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I'll drown my book.
Ariel brings on Alonso, Antonio, and Sebastian. Prospero forgives all
three. Prospero's former title, Duke of Milan, is restored. Ariel
fetches the sailors from the ship, and then Caliban, Trinculo, and
Stephano. Caliban, seemingly filled with regret, promises to be good.
Stephano and Trinculo are ridiculed and sent away in shame by
Prospero. Before the reunited group (all the noble characters with the
addition of Miranda and Prospero) leave the island, Ariel is
instructed to provide good weather to guide the king's ship back to
the royal fleet and then to Naples, where Ferdinand and Miranda will
be married. After this, Ariel is set free.

In an epilogue, Prospero requests that the audience set him free --
with their applause.


Date
======
It is not known for certain exactly when 'The Tempest' was written,
but evidence supports the idea that it was probably composed sometime
between late 1610 to mid-1611. Evidence supports composition perhaps
occurring before, after, or at the same time as 'The Winter's Tale'.
It is considered one of the last plays that Shakespeare wrote alone.
But it was not, as is sometimes claimed, Shakespeare's last play,
since it is post-dated by his collaborations with John Fletcher: Henry
VIII, Cardenio and The Two Noble Kinsmen. Edward Blount entered 'The
Tempest' into the Stationers' Register on 8 November 1623. It was one
of 16 Shakespeare plays that Blount registered on that date.


Sources
=========
There is no obvious single source text for the plot of 'The Tempest':
it appears to have been created by Shakespeare with several sources
contributing.

The Sea Venture: William Strachey's 'A True Reportory of the Wracke
and Redemption of Sir Thomas Gates, Knight', an eyewitness report of
the real-life shipwreck of the 'Sea Venture' in 1609 on the island of
Bermuda while sailing toward Virginia, may be considered a primary
source for the opening scene, as well as a few other references in the
play to conspiracies and retributions. Although not published until
1625, Strachey's report was first recounted in his "Letter to an
Excellent Lady", a private letter describing the incident and the
earliest account of all. It was dated 15 July 1610, and it is thought
that Shakespeare - who had personal connections with a number of
members of the Virginia Company - may have seen the original sometime
during that year. At around the time Shakespeare could have read
Strachey's letter, another 'Sea Venture' survivor, Silvester Jourdain,
published his account, 'A Discovery of The Barmudas, otherwise Called
the Ile of Divels'. Also there is the Council of Virginia's 1610
pamphlet 'True Declaration of the state of the Colonie in Virginia,
with a confutation of such scandalous reports as have tended to the
disgrace of so worthy an enterprise'. Regarding the influence of
Strachey on the play, Kenneth Muir says that although "there is little
doubt that Shakespeare had read ... William Strachey's 'True
Reportory'" and other accounts, "the extent of the verbal echoes of
[the Bermuda] pamphlets has, I think, been exaggerated. There is
hardly a shipwreck in history or fiction which does not mention
splitting, in which the ship is not lightened of its cargo, in which
the passengers do not give themselves up for lost, in which north
winds are not sharp, and in which no one gets to shore by clinging to
wreckage."

Montagne's 'Of The Canibales:' Gonzalo's description of his ideal
society thematically and verbally echoes Montaigne's essay 'Of the
Canibales', translated into English in a version published by John
Florio in 1603. Montaigne praises the society of the Caribbean
natives: "It is a nation ... that hath no kinde of traffike, no
knowledge of Letters, no intelligence of numbers, no name of
magistrate, nor of politike superioritie; no use of service, of
riches, or of poverty; no contracts, no successions, no dividences, no
occupation but idle; no respect of kinred, but common, no apparrell
but natural, no manuring of lands, no use of wine, corne, or mettle.
The very words that import lying, falsehood, treason, dissimulation,
covetousnes, envie, detraction, and pardon, were never heard of
amongst them."

Ovid's 'Metamorphoses:' A source for Prospero's speech in act five, in
which he bids farewell to magic is an invocation by the sorceress
Medea found in Ovid's poem 'Metamorphoses'. Medea calls out:

Ye airs and winds; ye elves of hills, of brooks, of woods alone,
Of standing lakes, and of the night, approach ye every one,
Through help of whom (the crooked banks much wondering at the thing)
I have compelled streams to run clean backward to their spring.

Shakespeare's Prospero begins his invocation:
Ye elves of hills, brooks, standing lakes and groves,
And ye that on the sands with printless foot
Do chase the ebbing Neptune, and do fly him
When he comes back ...

Other Sources: Other shipwreck narratives probably drawn on by
Shakespeare include those of Antonio Pigafetta contained in Richard
Eden's travel anthologies of 1555 and 1557. And some of the
characters' names may derive from a 1594 'History of Italy'.

'The Tempest' may take its overall structure from traditional Italian
'commedia dell'arte', which sometimes featured a magus and his
daughter, their supernatural attendants, and a number of rustics. The
'commedia' often featured a clown known as Arlecchino (or his
predecessor, Zanni) and his partner Brighella, who bear a striking
resemblance to Stephano and Trinculo; a lecherous Neapolitan hunchback
who corresponds to Caliban; and the clever and beautiful Isabella,
whose wealthy and manipulative father, Pantalone, constantly seeks a
suitor for her, thus mirroring the relationship between Miranda and
Prospero. Other dramatic influences on Prospero's character include
Greene's Friar Bacon, Marlowe's Dr. Faustus and Shakespeare's own Owen
Glendower. Bremo in 'Mucedorus' may have influenced Caliban.

Scholars have debated the influence of Virgil's 'Aeneid', which Robert
Wiltenburg described as "the main source of the play ... not the
source of the plot ... but the work to which Shakespeare is
responding".

Recently, scholars have also identified the influence on the Tempest
of Marston's 'The Malcontent', Beaumont and Fletcher's 'Philaster' and
the anonymous romance 'Primaleon, Prince of Greece'.


                                Text
======================================================================
'The Tempest' first appeared in print in 1623 in the collection of 36
of Shakespeare's plays entitled, 'Mr. William Shakespeare's Comedies,
Histories, & Tragedies; Published according to the True and
Original Copies', which is known as the First Folio. The plays,
including 'The Tempest', were gathered and edited by John Heminges and
Henry Condell.

The Folio text was based on a handwritten manuscript of 'The Tempest'
prepared by Ralph Crane, a scrivener employed by the King's Men. Crane
probably copied from Shakespeare's rough draft, and based his style on
Ben Jonson's Folio of 1616. Crane is thought to have neatened texts,
edited the divisions of acts and scenes, and sometimes added his own
improvements. He was fond of joining words with hyphens, and using
elisions with apostrophes, for example by changing "with the king" to
read: "wi'th' King". The elaborate stage directions in 'The Tempest'
may have been due to Crane; they provide evidence regarding how the
play was staged by the King's Men.

The entire First Folio project was delivered to the blind printer,
William Jaggard, and printing began in 1622. 'The Tempest' is the
first play in the publication. It was proofread and printed with
special care; it is the most well-printed and the cleanest text of the
thirty-six plays. To do the work of setting the type in the printing
press, three compositors were used for 'The Tempest'. In the 1960s, a
landmark bibliographic study of the First Folio was accomplished by
Charlton Hinman. Based on distinctive quirks in the printed words on
the page, the study was able to individuate the compositors, and
reveal that three compositors worked on 'The Tempest', who are known
as Compositor B, C, and F. Compositor B worked on 'The Tempest's'
first page as well as six other pages. He was an experienced
journeyman in Jaggard's printshop, who occasionally could be careless.
In his role, he may have had a responsibility for the entire First
Folio. The other two, Compositors C and F, worked full-time and were
experienced printers.

At the time, spelling and punctuation was not standardized and will
vary from page to page, because each compositor had their individual
preferences and styles. There is evidence that the press run was
stopped at least four times, which allowed proofreading and
corrections. However, a page with an error would not be discarded, so
pages late in any given press run would be the most accurate, and each
of the final printed folios may vary in this regard. This was the
common practice at the time. There is also an instance of a letter (a
metal sort or a type) being damaged (possibly) during the course of a
run and changing the meaning of a word: After the masque Ferdinand
says,

Let me live here ever!
So rare a wondered father and a wise
Makes this place paradise! (4.1.122-124)

The word "wise" at the end of line 123 was printed with the
traditional long "s" that resembles an "f". But in 1978 it was
suggested that during the press run, a small piece of the crossbar on
the type had broken off, and the word should be "wife". Modern editors
have not come to an agreement--Oxford says "wife", Arden says "wise".


The theatre
=============
'The Tempest' is explicitly concerned with its own nature as a play,
frequently drawing links between Prospero's art and theatrical
illusion. The shipwreck was a spectacle that Ariel performed.
Prospero may even refer to the Globe Theatre when he describes the
whole world as an illusion: "the great globe ... shall dissolve ...
like this insubstantial pageant". Ariel frequently disguises himself
as figures from Classical mythology, for example a nymph, a harpy, and
Ceres, acting as the latter in a masque that Prospero creates.


The masque
============
The masque in 'The Tempest' is not itself a masque; rather, it is a
dramatisation of a masque, while serving the narrative of the drama
that contains it. It is an example of Propsero's magic art: a
performance in which Ariel and his fellows play the roles. In it, the
goddesses Iris, Ceres and Juno celebrate the betrothal of Miranda and
Ferdinand.

The language of the masque is stylized and artificial - to the point
that some twentieth century critics dispraised it or considered it the
work of another writer.

'The Tempest' as a whole contains elements which are derived from the
masque as its leading practitioner, Ben Jonson, was developing it:
specifically a masque is a movement from conflict to harmony, as 'The
Tempest' is, and masques centre on antitheses, as seen - for example -
in the depiction of Ariel and Caliban as exquisite -v- monstrous,
grateful -v- ungrateful or air -v- earth.


Revenge and forgiveness
=========================
The tone of Prospero's speech towards his three enemies Antonio,
Alonso and Sebastian throughout the play is of rage and vengeance.
However in the final act, Prospero tells Ariel "They being penitent,
the sole drift of my purpose doth extend not a frown further." But as
Stephen Orgel notes in his introduction to the Oxford edition of the
play, there is a condition in this speech which is not fulfilled: that
Antonio is given no speech of remorse or contrition at the end of the
play.

Prospero freely forgives Alonso. But in his final speeches towards
Antonio, Prospero's attitude vascillates: "You, brother mine, that
entertained ambition ... I do forgive thee" but then immediately
reverses himself: "Unnatural though thou art!" and reconsiders upon
remembering the conspiracy to kill Alonso: "At this time I will tell
no tales" then almost reverses himself with: "Most wicked sir, whom to
call brother would even infect my mouth" and only then confirms his
forgiveness, while giving Antonio no opportunity to repent: "I do
forgive thy rankest fault - all of them; and require my dukedom of
thee, which perforce I know thou must restore."

The spareness of Shakespeare's writing in the last act give scope to
the actor playing Prospero to decide whether it was always the
intention to forgive his enemies or whether he is influenced by
Ariel's advice to be "tender", and similarly whether the change is
gradual, is sudden, or is forced upon him by shame or expediency.


Chastity
==========
An important aspect of Prospero's project is to secure his dynasty by
marrying his daughter, Miranda, to the heir of Naples, Ferdinand, for
whom she is only a suitable bride if she is a virgin. Chastity had
also become embodied as a royal virtue through the reign of Elizabeth,
the "Virgin Queen".

Miranda is seen as a sexual object by three characters:
*Caliban, who according to Prospero "didst seek to violate the honour
of mine child";
*Stephano, to whom Caliban says "she will become thy bed, I warrant,
and bring thee forth brave brood"; and
*Ferdinand, whose mutual love with Miranda is the most immediate
threat to her chastity.

The latter leads to chastity becoming the primary theme of the masque
in Act IV, prefixed by Prospero's warning to Ferdinand: "But if thou
dost break her virgin-knot before all sanctimonious ceremonies may
with full and holy rite be ministered, no sweet aspersion shall the
heavens let fall to make this contract grow." Venus and Cupid (who, in
the mythology, initiated the abduction of Proserpina) are banished
from the masque, and the songs of Ceres and Juno celebrate chaste
love.


Magic
=======
Prospero has been described as practicing "theurgy", white magic,
known in Shakespeare's time from neo-Platonic writers, and contrasted
with "goety", black magic. Contemporary Dr John Dee regarded himself
as practicing this white magic, but all magic was condemned by the
church and the state: King James in his book 'Daemonologie' having
declared it punishable by death. Early modern plays about magic had
portrayed it negatively: most famously in Marlowe's 'Doctor Faustus',
but also, quite recently at the time 'The Tempest' was written, in
Jonson's satire 'The Alchemist', played by Shakespeare's own company,
The King's Men, in which the central magician character, Subtle, is
merely a con man.

In another more positive interpretation, Prospero's magic is an
extension of science. Francis Bacon (who was at the time King James's
Attorney-General) had written in his 'Magnalia Naturae' of the
possibility of the new philosophy giving humans powers over storms,
seasons, germination and harvests.

Prospero often invokes the language of alchemy but his project is to
transform not metals, but people: especially Caliban, and Prospero's
former enemies Antonio, Sebastian and Alsonso. And he has the
signifiers that Elizabethan audiences would have associated with
magical power: his books, his staff and his robe.

In the end Prospero must abandon his magic. He must free himself from
the temptation to use magic for revenge, and from the distraction from
his ducal duties which had caused his fall from power twelve years
earlier.


Prospero and Sycorax
======================
Related to Prospero's magic is the contrast between himself and the
unseen character Sycorax, Caliban's mother, an Algerian witch who
inhabited the island and died prior to Prospero and Miranda's arrival.
Prospero himself makes much of the distinction between his own magical
skill and that of Sycorax - both in moral terms (his white magic
against her black magic) and in terms of his greater powers -
exemplified by the fact that Sycorax "could not again undo" Ariel's
imprisonment in a cloven pine and "It was mine [Prospero's] art ...
that made gape the pine and let thee out."

Scholar Stephen Orgel concludes that "attitudes towards magic in the
play ... range from the most positive to the most negative" but that
twentieth century criticism emphasised the virtuous aspects of
Propspero's magic: citing Frances Yates and Frank Kermode among those
who praise Propsero's theurgy over the goety of Sycorax. But Orgel
goes on to reject this view as an oversimplification: pointing out
that there is no evidence that the spirits controlled by Sycorax are
any lower than (or, indeed, any other than) those controlled by
Prospero, and also that Ariel is the unwilling servant of both.

The moral superiority of Prospero over Sycorax is also undermined in
Prospero's speech renouncing his magic which many in Shakespeare's
audiences would have known (see "Sources" above) was a quotation from
the witch Medea in Ovid's Metamorphoses.


Prospero as Shakespeare
=========================
Thomas Campbell in 1838 was the first to consider that Prospero was
meant to partially represent Shakespeare, but then abandoned that idea
when he came to believe that 'The Tempest' was an early play. Even so,
the idea has persisted in the critical canon that Prospero may be
partly autobiographical.

As it was probably Shakespeare's last solo play, 'The Tempest' has
often been seen as a valedictory for his career, especially in the
passages beginning "Our revels now are ended..." and "Ye elves of
hills...". Of the latter, Shakespeare's biographer Samuel Schoenbaum
has suggested that it is more pertinent to Shakespeare than to
Prospero, since there is nothing to suggested that at Prospero's
command "Graves ... have wak'd their sleepers, ope'd, and let 'em
forth" - something Shakespeare has done, metaphorically, for many an
historical character through his works.

And in the epilogue of the play, Prospero enters into a parabasis (a
direct address to the audience) in which he tells the audience "Let
your indulgence set me free". Because Prospero is often identified
with Shakespeare himself in this final speech, both appear (in the
words of Germaine Greer) to be "[not] so much bidding farewell to the
stage as begging to be released from it".


Genre
=======
Comedy: The Tempest is listed first among the "Comedies" in the 1623
First Folio of Shakespeare's works. The plot contains elements
deriving from the Italian tradition of 'commedia dell'arte'. In
Shakespeare's time, whether a work was classified as comedy was
chiefly defined by the resolution of its plot: typically one ending in
marriage.

Tragicomedy: Although the plot contains similarities to Shakespeare's
early comedies, its darker tone has led some twentieth-century critics
including Joan Hartwig to label it a tragicomedy in the same tradition
as contemporary mixed-mode plays such as the collaborations between
Beaumont and Fletcher. E. M. W. Tillyard argued that the classic
principles of tragedy were divided between two of Shakespeare's late
plays: destruction being explored more fully in 'The Winter's Tale',
and regeneration more fully in 'The Tempest'.

Romance: Four of Shakespeare's late plays - 'Pericles', 'Cymbeline',
'The Winter's Tale' and 'The Tempest' - have become grouped together
as his romances. This places them in a tradition derived from
third-century Greek narratives, and practiced by Elizabethan writers
including Lyly, Lodge, Greene and Sidney. These plays (in the words of
Reginald Foakes) "create a world dominated by chance ... in which we
are attuned to delight in and wonder at the unexpected."


The Classical Unities
=======================
Like 'The Comedy of Errors', 'The Tempest' roughly adheres to the
unities of time, place, and action. Shakespeare's other plays rarely
respected the three unities, taking place in separate locations miles
apart and over several days or even years. Of Shakespeare's other late
romances, for example, 'The Winter's Tale' contains a gap of sixteen
years, and 'Cymbeline's' action veers between Britain and Italy. In
contrast, 'The Tempest's' events unfold in real time before the
audience, taking around three hours. All action is unified into one
basic plot: Prospero's struggle to regain his dukedom; it is also
confined to one place, a fictional island.


Location of Prospero's Island
===============================
The action takes place on an enchanted island ruled by Prospero, which
must be located in the Mediterranean Sea, since it is encountered by
travelers attempting to sail from Tunis to Naples. However it is often
thought of in subsequent criticism as being in the North Atlantic:
partly because of the play's association with the wreck of the Sea
Venture (see "Sources" above) and Ariel's suggestion of its proximity
to the "still-vexed Bermoothes" both of which relate it to Bermuda,
but also because of the colonial context of the play - and the way in
which it subsequently came to be viewed by postcolonial critics -
which suggest a setting in the New World. Also indicative of a New
World setting are the name of Sycorax's god, Setebos, which derives
from South America, and the source of Gonzalo's Utopia in Montaigne's
essay 'Of The Cannibals' (see also "Sources" above).


Prospero as Hero
==================
Throughout the critical history of the play until the mid-twentieth
century, Prospero was generally regarded as an admirable figure:
"prickly but essentially lovable" (in the words of Martin Butler). But
in more recent criticism and performance he has come to be seen as
self-doubting and controlling and his attitude one of (in Martin
Butler's words again) "suspicion, strain and paranoia".

This shift in the attitude of critics is partly due to the absence of
soliloquies in which Prospero can make his feelings known to the
audience. Did he always intend to forgive his enemies, for example, or
is his statement that "the rarer action is in virtue than in
vengeance" a conclusion he reaches during the currency of the play?
But it also reflects changing moral and political assumptions about
the nature of rule, and of family.


Postcolonial
==============
'The Tempest' is one of the plays (alongside 'The Merchant of Venice'
and 'Othello') most analysed in a Postcolonial context, and indeed is
considered to be the work upon which postcolonial studies first took
root. The play has become, in the words of Peter Hulme, "emblematic of
the founding years of England's colonialism". From a postcolonial
perspective, Prospero is seen as having imported to the island the
social and moral structures of Milan (meaning, for early audiences, of
London) by seizing rule, and making slaves of its inhabitants Caliban
and Ariel.

Traditionally, it was common to view 'The Tempest' as an allegory of
artistic creativity, with Prospero as all-knowing and benevolent.
Beginning in about 1950, with the publication of 'Psychology of
Colonization' by Octave Mannoni, postcolonial theorists have
increasingly appropriated 'The Tempest' and reinterpreted it in light
of postcolonial theory. This new way of looking at the text explored
the effect of the "coloniser" (Prospero) on the "colonised" (Ariel and
Caliban). Although Ariel is often overlooked in these debates in
favour of the more intriguing Caliban, he is nonetheless an essential
component of them. So, in the 1960s and 1970s, Caliban's "This
island's mine... which thou tak'st from me" became a rallying-cry for
African and Caribbean intellectuals.

But critics such as Meredith Anne Skura have pointed out the limits of
the postcolonial approach, referencing its projection backwards onto a
play from the 1610s of historical events which happened later, and
stressing the point that, in the story, Prospero does not choose to
colonise the island, but runs aground there after being set adrift.


Feminist
==========
Feminist interpretations of 'The Tempest' consider the play in terms
of gender roles and relationships among the characters on stage, and
consider how concepts of gender are constructed and presented by the
text, and explore the supporting consciousnesses and ideologies, all
with an awareness of imbalances and injustices. Two early feminist
interpretations of 'The Tempest' are included in Anna Jameson's
'Shakespeare's Heroines' (1832) and Mary Clarke's 'The Girlhood of
Shakespeare's Heroines' (1851).


'The Tempest' is a play created in a male dominated culture and
society, a gender imbalance the play explores metaphorically by having
only one major female role, Miranda. Miranda is fifteen, intelligent,
naive, and beautiful. The only humans she has ever encountered in her
life are male. Prospero sees himself as her primary teacher, and asks
if she can remember a time before they arrived to the island--he
assumes that she cannot. When Miranda has a memory of "four or five
women" tending to her younger self (1.2.44-47), it disturbs Prospero,
who prefers to portray himself as her only teacher, and the absolute
source of her own history--anything before his teachings in Miranda's
mind should be a dark "abysm", according to him. (1.2.48-50) The "four
or five women" Miranda remembers may symbolize the young girl's desire
for something other than only men.

Other women, such as Caliban's mother Sycorax, Miranda's mother and
Alonso's daughter Claribel, are only mentioned. Because of the small
role women play in the story in comparison to other Shakespeare plays,
'The Tempest' has attracted much feminist criticism. Miranda is
typically viewed as being completely deprived of freedom by her
father. Her only duty in his eyes is to remain chaste. Ann Thompson
argues that Miranda, in a manner typical of women in a colonial
atmosphere, has completely internalised the patriarchal order of
things, thinking of herself as subordinate to her father.


Shakespeare's day
===================
A record exists of a performance of 'The Tempest' on 1 November 1611
by the King's Men before James I and the English royal court at
Whitehall Palace on Hallowmas night. The play was one of the six
Shakespeare plays (and eight others for a total of 14) acted at court
during the winter of 1612-13 as part of the festivities surrounding
the marriage of Princess Elizabeth with Frederick V, the Elector of
the Palatinate of the Rhine. There is no further public performance
recorded prior to the Restoration; but in his 1669 preface to the
Dryden/Davenant version, John Dryden states that 'The Tempest' had
been performed at the Blackfriars Theatre. Careful consideration of
stage directions within the play supports this, strongly suggesting
that the play was written with Blackfriars Theatre rather than the
Globe Theatre in mind. But the mid-20th century critic Frank Kermode,
while agreeing that 'The Tempest' is a Blackfriars play, argued that
it could easily have been accommodated at The Globe also, as others of
Shakespeare's late romances were.


Restoration and 18th century
==============================
Adaptations of the play, not Shakespeare's original, dominated the
performance history of 'The Tempest' from the English Restoration
until the mid-19th century. Upon the restoration of the monarchy in
1660, Sir William Davenant's 'Duke's Company' had the rights to
perform 'The Tempest'. In 1667 Davenant and John Dryden made heavy
cuts and adapted it as 'The Tempest, or The Enchanted Island'. They
tried to appeal to upper-class audiences by emphasising royalist
political and social ideals: monarchy is the natural form of
government; patriarchal authority decisive in education and marriage;
and patrilineality preeminent in inheritance and ownership of
property. They also added characters and plotlines: Miranda has a
sister, named Dorinda; Caliban also has a sister, named Sycorax. As a
parallel to Shakespeare's Miranda/Ferdinand plot, Prospero has a
foster-son, Hippolito, who has never set eyes on a woman. Hippolito
was a popular breeches role, a man played by a woman, popular with
Restoration theatre management for the opportunity to reveal
actresses' legs. Scholar Michael Dobson has described 'The Tempest, or
The Enchanted Island' by Dryden and Davenant as "the most frequently
revived play of the entire Restoration" and as establishing the
importance of enhanced and additional roles for women.

In 1674, Thomas Shadwell re-adapted Dryden and Davenant as an "opera"
of the same name - meaning a play with sections that were to be sung
or danced. Restoration playgoers appear to have regarded the
Dryden/Davenant/Shadwell version as Shakespeare's: Samuel Pepys, for
example, described it as "an old play of Shakespeares" in his diary.
The opera was extremely popular, and "full of so good variety, that I
cannot be more pleased almost in a comedy" according to Pepys.
Prospero in this version is very different from Shakespeare's: Eckhard
Auberlen describes him as "reduced to the status of a Polonius-like
overbusy father, intent on protecting the chastity of his two sexually
naive daughters while planning advantageous dynastic marriages for
them". The operatic 'Enchanted Island' was successful enough to
provoke a parody, 'The Mock Tempest, or The Enchanted Castle', written
by Thomas Duffett for the King's Company in 1675. It opened with what
appeared to be a tempest, but turned out to be a riot in a brothel.


'The Tempest' was one of the staples of the repertoire of Romantic Era
theatres. John Philip Kemble produced an acting version which was
closer to Shakespeare's original, but nevertheless retained Dorinda
and Hippolito. Kemble was much-mocked for his insistence on archaic
pronunciation of Shakespeare's texts, including "aitches" for "aches".
It was said that spectators "packed the pit, just to enjoy hissing
Kemble's delivery of 'I'll rack thee with old cramps, / Fill all they
bones with aches'."


19th century
==============
It was not until William Charles Macready's influential production in
1838 that Shakespeare's text established its primacy over the adapted
and operatic versions which had been popular for most of the previous
two centuries. The performance was particularly admired for George
Bennett's performance as Caliban; it was described by Patrick
MacDonnell--in his "An Essay on the Play of 'The Tempest'" published
in 1840--as "maintaining in his mind, a strong resistance to that
tyranny, which held him in the thraldom of slavery".

The Victorian era marked the height of the movement which would later
be described as "pictorial": based on lavish sets and visual
spectacle, heavily cut texts making room for lengthy scene-changes,
and elaborate stage effects. In Charles Kean's 1857 production of 'The
Tempest', Ariel was several times seen to descend in a ball of fire.
The hundred and forty stagehands supposedly employed on this
production were described by 'The Literary Gazette' as "unseen ... but
alas never unheard". Hans Christian Andersen also saw this production
and described Ariel as "isolated by the electric ray", referring to
the effect of a carbon arc lamp directed at the actress playing the
role.

In these Victorian productions it was widely accepted that the
spectacle of the opening sea-storm was the highlight of the show, with
the custom developing of dropping Shakespeare's lines from the opening
scene altogether. The next generation of producers, which included
William Poel and Harley Granville-Barker, returned to a leaner and
more text-based style.

In the late 19th and early 20th centuries, Caliban, not Prospero, was
perceived as the star act of 'The Tempest', and was the role which the
actor-managers chose for themselves. Frank Benson researched the role
by viewing monkeys and baboons at the zoo. On stage, described by one
reviewer as "half-monkey, half-coconut", he hung upside-down from a
tree and gibbered.

At Benson's opening performance in 1891 a lecturer appeared before the
play began, to explain the political resonances of the opening scene.
However the actual scene was cut completely, to be replaced by a
performance of Haydn's 'Der Sturm'.


20th century
==============
Continuing the late-19th-century tradition, in 1904 Herbert Beerbohm
Tree wore fur and seaweed to play Caliban, with waist-length hair and
apelike bearing, suggestive of a primitive part-animal part-human
stage of evolution. This "missing link" portrayal of Caliban became
the norm in productions until Roger Livesey, in 1934, was the first
actor to play the role with black makeup. In 1945 Canada Lee played
the role at the Theatre Guild in New York, establishing a tradition of
black actors taking the role, including Earle Hyman in 1960 and James
Earl Jones in 1962.

In 1916, Percy MacKaye presented a community masque, 'Caliban by the
Yellow Sands', at the Lewisohn Stadium in New York. Amidst a huge cast
of dancers and masquers, the pageant centres on the rebellious nature
of Caliban but ends with his plea for more knowledge ("I yearn to
build, to be thine Artist / And 'stablish this thine Earth among the
stars- / Beautiful!") followed by Shakespeare, as a character,
reciting Prospero's "Our revels now are ended" speech.

John Gielgud played Prospero numerous times, and is, according to
Douglas Brode, "universally heralded as ... [the 20th] century's
greatest stage Prospero". Scholar Martin Butler has described his
Propspero as "a vigorous, forceful and intellectually alert
individual, he always dominated the play, but was not easily
likeable."

In spite of the existing tradition of a black actor playing Caliban
opposite a white Prospero, postcolonial interpretations of the play
did not find their way onto the stage until the 1970s. Performances in
England directed by Jonathan Miller and by Clifford Williams
explicitly portrayed Prospero as coloniser.  And later, in 1993, Sam
Mendes directed a 1993 RSC production in which Simon Russell Beale's
Ariel was openly resentful of the control exercised by Alec McCowen's
Prospero. Controversially, in the early performances of the run, Ariel
spat at Prospero, once granted his freedom.

Psychoanalytic interpretations have proved more difficult to depict on
stage. Gerald Freedman's production at the American Shakespeare
Theatre in 1979 and Ron Daniels' Royal Shakespeare Company production
in 1982 both attempted to depict Ariel and Caliban as opposing aspects
of Prospero's psyche, but neither was regarded as wholly successful.
Productions in the late 20th-century have gradually increased the
focus placed on sexual tensions between the characters, including
Prospero/Miranda, Prospero/Ariel, Miranda/Caliban, Miranda/Ferdinand
and Caliban/Trinculo.

Italian director Giorgio Strehler directed a Brecht-inspired version
of the Tempest from 1978 which proved influential in containing the
much-copied image of Prospero at the centre of the play's opening
storm scene, orchestrating the visual effects around him.

Japanese theatre styles have been applied to 'The Tempest'. In 1988
and again in 1992 Yukio Ninagawa brought his version of 'The Tempest'
to the UK. It was staged as a rehearsal of a Noh drama, with a
traditional Noh theatre at the back of the stage, but also using
elements which were at odds with Noh conventions. In 1992, Minoru
Fujita presented a Bunraku (Japanese puppet) version in Osaka and at
the Tokyo Globe.


21st Century
==============
'The Tempest' was performed at the Globe Theatre in 2000 with Vanessa
Redgrave as Prospero, playing the role as neither male nor female, but
with "authority, humanity and humour ... a watchful parent to both
Miranda and Ariel". While the audience respected Prospero, Jasper
Britton's Caliban "was their man" (in Peter Thomson's words), in spite
of the fact that he spat fish at the groundlings, and singled some of
them out for humiliating encounters.

By the end of 2005, 'BBC Radio' had aired 21 productions of 'The
Tempest', more than any other play by Shakespeare.

In 2016 'The Tempest' was produced by the Royal Shakespeare Company.
Directed by Gregory Doran, and featuring Simon Russell Beale as
Prospero, the RSC's version used motion capture to project Ariel in
real time as a "pixelated humanoid sprite" on stage. The performance
was in collaboration with The Imaginarium and Intel, and featured (in
the words of the London Standard's review) "some ... gorgeous, some
interesting, and some gimmicky and distracting" use of light, special
effects, and set design.

In 2019, Mohegan writer Madeline Sayet's solo show 'Where We Belong'
at Shakespeare's Globe engaged in a postcolonial speculation about the
European characters' abandonment of the island ad the play's end:
wondering whether Caliban's native language would return to him.


Music
=======
'The Tempest' has more music than any other Shakespeare play, and has
proved more popular as a subject for composers than most of
Shakespeare's plays. Scholar Julie Sanders ascribes this to the
"perceived 'musicality' or lyricism" of the play.

Two settings of songs from 'The Tempest' which may have been used in
performances during Shakespeare's lifetime have survived. These are
"Full Fathom Five" and "Where The Bee Sucks There Suck I" in the 1659
publication 'Cheerful Ayres or Ballads', in which they are attributed
to Robert Johnson, who regularly composed for the King's Men. It has
been common throughout the history of the play for the producers to
commission contemporary settings of these two songs, and also of "Come
Unto These Yellow Sands".

Among those who wrote incidental music to 'The Tempest' are:
* Arthur Sullivan: his graduation piece, completed in 1861, was a set
of incidental music to "The Tempest". His score was still in use half
a century later to add atmosphere the Old Vic's 1914 production.
* Ernest Chausson: in 1888 he wrote incidental music for 'La tempête',
a French translation by Maurice Bouchor. This is believed to be the
first orchestral work that made use of the celesta.
* Jean Sibelius: his 1926 incidental music was written for a lavish
production at the Royal Theatre in Copenhagen. An epilogue was added
for a 1927 performance in Helsinki. He represented individual
characters through instrumentation choices: particularly admired was
his use of harps and percussion to represent Prospero, said to capture
the "resonant ambiguity of the character".

Ballet sequences have been used in many performances of the play since
Restoration times.

At least forty-six operas or semi-operas based on 'The Tempest' exist.
Michael Tippett's 1971 opera 'The Knot Garden' contains various
allusions to 'The Tempest'. In Act 3, a psychoanalyst, Mangus,
pretends to be Prospero and uses situations from Shakespeare's play in
his therapy sessions. Michael Nyman's 1991 opera 'Noises, Sounds &
Sweet Airs' was first performed as an opera-ballet choreographed by
Karine Saporta. The three vocalists, a soprano, contralto, and tenor,
are voices rather than individual characters, with the tenor just as
likely as the soprano to sing Miranda, or all three sing as one
character.

The soprano who sings the part of Ariel in Thomas Adès's 2004 opera
'The Tempest' is stretched at the higher end of the register,
highlighting the androgyny of the role. Luca Lombardi's 'Prospero' was
premiered in April 2006 at Nuremberg Opera House. Ariel is sung by 4
female voices (S,S,MS,A) and has an instrumental alter ego on stage
(flute). There is an instrumental alter ego (cello) also for Prospero.

Stage musicals derived from 'The Tempest' have been produced. A
production called 'The Tempest: A Musical' was produced at the Cherry
Lane Theatre in New York City in December 2006, with a concept
credited to Thomas Meehan and a script by Daniel Neiden (who also
wrote the songs) and Ryan Knowles. Neiden had previously been
connected with another musical, entitled 'Tempest Toss'd'. In
September 2013, The Public Theater produced a new large-scale stage
musical at the Delacorte Theater in Central Park, directed by Lear
deBessonet with a cast of more than 200.

'The Tempest' has also influenced songs written in the folk and hippie
traditions: for example, versions of "Full Fathom Five" were recorded
by Marianne Faithfull for 'Come My Way' in 1965 and by Pete Seeger for
'Dangerous Songs!?' in 1966.


Literature
============
Percy Bysshe Shelley was one of the earliest poets to be influenced by
'The Tempest'. His "With a Guitar, To Jane" identifies Ariel with the
poet and his songs with poetry. The poem uses simple diction to convey
Ariel's closeness to nature and "imitates the straightforward beauty
of Shakespeare's original songs". Following the publication of
Darwin's ideas on evolution, writers began to question mankind's place
in the world and its relationship with God. One writer who explored
these ideas was Robert Browning, whose poem "Caliban upon Setebos"
(1864) sets Shakespeare's character pondering theological and
philosophical questions. The French philosopher Ernest Renan wrote a
closet drama, 'Caliban: Suite de La Tempête' ('Caliban: Sequel to The
Tempest'), in 1878. This features a female Ariel who follows Prospero
back to Milan, and a Caliban who leads a coup against Prospero, after
the success of which he actively imitates his former master's virtues.
W. H. Auden's long poem 'The Sea and the Mirror' is in three parts,
Prospero's farewell to Ariel referring to the matters unresolved at
the end of the play; a reflection by each of the supporting characters
on their experiences and intentions; then a prose narrative "Caliban
to the Audience" which takes a Freudian viewpoint, seeing Caliban as
Prospero's libidinous secret self.

The book 'Brave New World' by Aldous Huxley references 'The Tempest'
in the title, and explores genetically modified citizens and the
subsequent social effects. The novel and the phrase from 'The
Tempest', Barclay"brave new world", have since been associated with
public debate about humankind's understanding and use of genetic
modification, in particular with regards to humans.

Postcolonial ideas influenced late 20th-century writings. Aimé Césaire
of Martinique, in his 1969 French-language play 'Une Tempête' sets
'The Tempest' in a colony suffering unrest, and prefuiguring black
independence. The play portrays Ariel as a mulatto who, unlike the
more rebellious black Caliban, feels that negotiation and partnership
is the way to freedom from the colonisers. Roberto Fernandez Retamar
sets his version of the play in Cuba, and portrays Ariel as a wealthy
Cuban (in comparison to the lower-class Caliban) who also must choose
between rebellion or negotiation. Barbadian poet E. P. Kamau
Brathwaite in his 1969 poem "Caliban" identifies the character with
the history of colonialism, between the first voyage of Columbus
through to the Cuban Revolution. Jamaican-American author Michelle
Cliff's 'No Telephone to Heaven' has a protagonist who identifies with
both Caliban and Miranda. And the figure of Caliban influenced
numerous works of African literature in the 1970s, including Ngũgĩ wa
Thiong'o of Kenya's 'A Grain of Wheat', and David Wallace of Zambia's
'Do You Love Me, Master?' In 1995, Sierra Leonean Lemuel Johnson's
'Highlife for Caliban' imagined Caliban as king of his own kingdom.

A similar phenomenon occurred in relation to feminist ideas in late
20th-century Canada, where several writers produced works inspired by
Miranda, including 'The Diviners' by Margaret Laurence, 'Prospero's
Daughter' by Constance Beresford-Howe and 'The Measure of Miranda' by
Sarah Murphy. Other writers have feminised Ariel (as in Marina
Warner's novel 'Indigo') or Caliban (as in Suniti Namjoshi's sequence
of poems 'Snapshots of Caliban').


Art
=====
From the mid-18th century, Shakespeare's plays, including 'The
Tempest', began to appear as the subject of paintings. In around 1735,
William Hogarth produced his painting 'A Scene from The Tempest': "a
baroque, sentimental fantasy costumed in the style of Van Dyck and
Rembrandt". The painting is based upon Shakespeare's text, containing
no representation of the stage, nor of the (Davenant-Dryden centred)
stage tradition of the time. Henry Fuseli, in a painting commissioned
for the Boydell Shakespeare Gallery (1789) modelled his Prospero on
Leonardo da Vinci. These two 18th-century depictions of the play
indicate that Prospero was regarded as its moral centre: viewers of
Hogarth's and Fuseli's paintings would have accepted Prospero's wisdom
and authority. John Everett Millais's 'Ferdinand Lured by Ariel'
(1851) is among the Pre-Raphaelite paintings based on the play. In the
late 19th century, artists tended to depict Caliban as a Darwinian
"missing-link", with fish-like or ape-like features, as evidenced in
Joseph Noel Paton's 'Caliban', and discussed in Daniel Wilson's book
'Caliban: The Missing Link' (1873).

Charles Knight produced the 'Pictorial Edition of the Works of
Shakespeare' in eight volumes (1838-43). The work attempted to
translate the contents of the plays into pictorial form. This extended
not just to the action, but also to images and metaphors: Gonzalo's
line about "mountaineers dewlapped like bulls" is illustrated with a
picture of a Swiss peasant with a goitre. In 1908, Edmund Dulac
produced an edition of 'Shakespeare's Comedy of The Tempest' with a
scholarly plot summary and commentary by Arthur Quiller-Couch,
lavishly bound and illustrated with 40 watercolour illustrations. The
illustrations highlight the fairy-tale quality of the play, avoiding
its dark side. Of the 40, only 12 are direct depictions of the action
of the play: the others are based on action before the play begins, or
on images such as "full fathom five thy father lies" or "sounds and
sweet airs that give delight and hurt not".

In 2015 Charmaine Lurch's installation 'Revisiting Sycorax' gave a
physical form to a figure only spoken about in Shakespeare's play, and
intended to draw attention to the discrepancy between the presence of
African women in the world and the way they are spoken of in European
male dialogue.


Screen
========
'The Tempest' first appeared on the screen in 1905. Charles Urban
filmed the opening storm sequence of Herbert Beerbohm Tree's version
at Her Majesty's Theatre for a -minute 'flicker', whose individual
frames were hand-tinted, long before the invention of colour film. In
1908 Percy Stow directed 'The Tempest' running a little over ten
minutes, which is now a part of the British Film Institute's
compilation 'Silent Shakespeare'. It portrays a condensed version of
Shakespeare's play in a series of short scenes linked by intertitles.
At least two other silent versions, one from 1911 by Edwin Thanhouser,
are known to have existed, but have been lost.

The plot was adapted for the Western 'Yellow Sky', directed by William
A. Wellman, in 1946. The 1956 science fiction film 'Forbidden Planet'
set the story on a planet in space, Altair IV, instead of an island.
Professor Morbius (Walter Pidgeon) and his daughter Altaira (Anne
Francis) are the Prospero and Miranda figures, whose lives are
disrupted by the arrival of a spaceship from Earth. Ariel is
represented by the helpful Robby the Robot. Caliban is represented by
the dangerous and invisible "monster from the id", a
technologically-enhanced projection of Morbius' psyche.

Writing in 2000, Douglas Brode expressed the opinion that there had
only been one screen "performance" of 'The Tempest' since the silent
era: he describes all other versions as "variations". That one
performance is the Hallmark Hall of Fame version from 1960, directed
by George Schaefer, and starring Maurice Evans as Prospero, Richard
Burton as Caliban, Lee Remick as Miranda, and Roddy McDowall as Ariel.
It cut the play to slightly less than ninety minutes. Critic Virginia
Vaughan praised it as "light as a soufflé, but ... substantial enough
for the main course".

In 1979, Derek Jarman produced the homoerotic film 'The Tempest' that
used Shakespeare's language, but was most notable for its deviations
from Shakespeare. One scene shows a corpulent and naked Sycorax
(Claire Davenport) breastfeeding her adult son Caliban (Jack Birkett).
The film reaches its climax with Elisabeth Welch belting out "Stormy
Weather". The central performances were Toyah Willcox's Miranda and
Heathcote Williams's Prospero, a "dark brooding figure who takes
pleasure in exploiting both his servants".

Paul Mazursky's 1982 modern-language adaptation 'Tempest', with Philip
Dimitrius (the Prospero character, played by John Cassavetes) as a
disillusioned New York architect who retreats to a lonely Greek island
with his daughter Miranda after learning of his wife Antonia's
infidelity with Alonzo, dealt frankly with the sexual tensions of the
characters' isolated existence. The Caliban character, the goatherd
Kalibanos, asks Philip which of them is going to have sex with
Miranda.

John Gielgud wrote that playing Prospero in a film of 'The Tempest'
was his life's ambition. Eventually, the project was taken on by Peter
Greenaway, who directed 'Prospero's Books' (1991) featuring "an
87-year-old John Gielgud and an impressive amount of nudity". Prospero
is reimagined as the author of 'The Tempest', speaking the lines of
the other characters, as well as his own. Although the film was
acknowledged as innovative for its "unprecedented visual complexity",
critical responses were frequently negative: John Simon called it
"contemptible and pretentious".

Closer to the spirit of Shakespeare's original, in the view of critics
such as Brode, is Leon Garfield's abridgement of the play for S4C's
1992 'Shakespeare: The Animated Tales' series. The 29-minute
production, directed by Stanislav Sokolov and featuring Timothy West
as the voice of Prospero, used stop-motion puppets to capture the
fairy-tale quality of the play. Another "offbeat variation" (in
Brode's words) was produced for NBC in 1998: Jack Bender's 'The
Tempest' featured Peter Fonda as Gideon Prosper, a Southern
slave-owner forced off his plantation by his brother shortly before
the Civil War. A magician who has learned his art from one of his
slaves, Prosper uses his magic to protect his teenage daughter and to
assist the Union Army.

Director Julie Taymor's 2010 adaptation 'The Tempest' starred Helen
Mirren as Prospera, a female Prospero character: with the text adapted
to establish a different backstory between Prospera and Antonio. The
film was praised for its powerful visual imagery used in place of
Shakespearean language.


References
============
References to 'The Tempest' are to the Arden Third Series edition
(i.e. 'Vaughan and Vaughan 1999'). Under its numbering system 4.1.148
means act 4, scene 1, line 148; and 5.E.20 means the epilogue
following act 5, line 20.


                           External links
======================================================================
* [http://www.bl.uk/works/the-tempest 'The Tempest']  at the British
Library
*
*
*
[https://web.archive.org/web/20140816064016/http://internetshakespeare.uvic.ca/Library/facsimile/bookplay/Bran_F1/Tmp/
The entire First Folio owned by Brandeis University] at 'Internet
Shakespeare Editions'
* [http://www.shakespeare-navigators.com/tempest/ 'The Tempest'
Navigator] , including annotated text, line numbers, scene summaries,
and text search
*
[https://web.archive.org/web/20101128131847/http://records.viu.ca/~johnstoi/eng366/lectures/tempest.htm
Printed introductory lecture on 'The Tempest' by Ian Johnston of
Malaspina-University College]
*
[https://web.archive.org/web/20070629160829/http://www.webenglishteacher.com/tempest.html
Lesson plans for 'The Tempest'] at Web English Teacher
* An [http://www.virtualjamestown.org/TR%20original.doc
original-spelling version] (.doc format) of William Strachey's 'True
Reportory of the Wracke and Redemption of Sir Thomas Gates, Knight',
hosted by Virtual Jamestown
* [http://collections.shakespeare.org.uk/ Shakespeare Birthplace Trust
web site]
*
* [https://decameron.puppetco-op.org/pgtempest.htm Animated version of
'The Tempest'], The Puppeteers Cooperative


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