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Shakespeare's Tempest, with Notes, Examination Papers, and Plan of Preparation PDF, ePub eBook


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Title: Shakespeare's Tempest, with Notes, Examination Papers, and Plan of Preparation
Written by: William Shakespeare
ISBN: 9781375589345
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4.6 out of 5

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30 review for Shakespeare's Tempest, with Notes, Examination Papers, and Plan of Preparation

  1. 5 out of 5

    Bill Kerwin

    Simple yet profound, The Tempest is a heartbreakingly sincere piece of elaborate theatrical artifice. Shakespeare is a magician at the height of his powers, so accomplished at his craft that he can reveal the mechanisms of his most marvelous tricks and still astonish us. This time through, I was struck by how closely references to language, freedom, power and transformation are bound up together, and how they all seem to point to some metaphysical resolution, even if they don't finally achieve it Simple yet profound, The Tempest is a heartbreakingly sincere piece of elaborate theatrical artifice. Shakespeare is a magician at the height of his powers, so accomplished at his craft that he can reveal the mechanisms of his most marvelous tricks and still astonish us. This time through, I was struck by how closely references to language, freedom, power and transformation are bound up together, and how they all seem to point to some metaphysical resolution, even if they don't finally achieve it. But perhaps--by the power of Prospero's staff-- they do?

  2. 4 out of 5

    Bookdragon Sean

    It’s so easy to judge Caliban based upon his actions and his violent speech, but he does have some real problems that cause them. He tried to rape Miranda. This is, of course, an absolutely terrible thing; however, does Caliban actually know this? In his life he has only known two people prior to meeting Prospero and Miranda. The first person he knew of was his mother; she was the evil witch who raised him. This doesn’t sound like a fun childhood. The second person he knew was his mother’s slave It’s so easy to judge Caliban based upon his actions and his violent speech, but he does have some real problems that cause them. He tried to rape Miranda. This is, of course, an absolutely terrible thing; however, does Caliban actually know this? In his life he has only known two people prior to meeting Prospero and Miranda. The first person he knew of was his mother; she was the evil witch who raised him. This doesn’t sound like a fun childhood. The second person he knew was his mother’s slave Ariel; he would have witnessed his mother abuse her slave, and he would have seen her imprison him. That’s it. That’s all the life experience Caliban has had. He has had nobody teach him human values or appropriate behaviour. “As wicked dew as e'er my mother brushed With raven's feather from unwholesom fen Drop on you both! A southwest blow on ye And blister you all o'er!” This doesn’t justify his crimes, though it does explain them. I don’t think he fully knows right from wrong. He’s had nobody teach him it. The only other woman he’s ever seen is his mother. He just didn’t know how to behave with other people, and certainly not with other females. He didn’t even have speech till Prospero let Miranda teach him it. I don’t think Caliban is fully responsible for his actions. Prospero should have taught him these things as soon as her arrived on the island; he should have seen Caliban for what he was an aided him his education completley rather than looking down upon him. Indeed, he took control of the island, and used Caliban as his lackey. He wasn’t his slave in the beginning that came after the rape attempt, but he still didn’t fully respect Caliban as an individual. He entered Caliban’s home and made himself ruler of the island. Caliban’s wasn’t considered in this. To him Prospero was a foreign invader. Prospero didn’t have much choice in the matter either, he was exiled after all, but he could have approached the situation with more tact. Caliban is clearly a volatile individual who doesn’t fully understand what it is to be human. You have to live with other humans for that to develop. Caliban has been alone for a long time. Prospero, for all his knowledge, failed to fully comprehend the complexities of the situation. When he looked at Caliban he didn’t perceive how he may receive his coming to the island. Is it any wonder that Caliban becomes even more bitter and twisted? You taught me language; and my profit on't Is, I know how to curse. The red plague rid you For learning me your language! It’s a complex situation. One that becomes even more complex by the arrival of Prospero’s past on the horizon. He sets to dealing with it, but, again, he doesn’t consider Caliban. So, Caliban mistakenly thinks two of the new arrivals are Gods because they carry with them alcohol. This isn’t something he’s seen before, so to him it is a thing of wonderment and real potency. He quickly offers to share with them the secrets of the island, and in doing so enslaves himself once again. This is his problem. Prospero has treated him as a slave so he now identifies himself as a slave, and attempts to take on that same role with a new master. He thinks that is what he is supposed to do. He doesn’t know anything else. Poor Caliban. Out of all the characters in this play, he’s situation is the one that produces the most empathy. Prospero is driven by knowledge, and in his exile he can now seek it. I don’t remotely feel sorry for him. Miranda finds her happiness, so she’s okay. But, Caliban is left alone. He’s left on the island by himself. He now has inherited what was rightfully his, but his story never receives any real closure. I can’t help but think that this situation could, again, happen to the man. If he can mistake a pair of idiots for Gods then who else could he mistake in the future? For me, Caliban steals the stage in this play. I don’t really consider the other characters properly because his situation is the one that is most thought provoking. For me, The Tempest will always be the play that represents the voice of the colonised through the expression of Caliban’s desire to be left alone, and the ability to rule himself. Congratulations Shakespeare: you’ve somehow managed to write a play that pre-dates postcolonial theory by almost 400 years!

  3. 4 out of 5

    Mohammed Arabey

    الجحيم خاو..كل الشياطين هاهنا ماذا أردت أن تقول يا شكسبير بأخر مسرحياتك؟ بأخر تلاعباتك في أقدار شخصيات مسرحياتك ك'بروسبيرو'؟ أرسلت عاصفة تحطم سفينة بها أخيك،لحمك ودمك، لكنه نفيك وأراد أغراقك ليستولي علي حكم وبها الملك الذي اشتراه اخيك بالمال ليبيعك..وأخيه الذي سيبيعه ايضا لأن علي الباغي تدور الدوائر لكنك لم تشأ اهلاكهم، بالسحر ارسلت العاصفة وبالسحر انقذتهم ليصلوا بسلام علي جزيرتك المهجورة فقط لتلقنهم درسا..عن ضعف النفوس والفقدان والتوبة والتكفير.. والاقدار التي تصنعها ايدينا وافعالنا بل والحب العفيف.. الجحيم خاو..كل الشياطين هاهنا ماذا أردت أن تقول يا شكسبير بأخر مسرحياتك؟ بأخر تلاعباتك في أقدار شخصيات مسرحياتك ك'بروسبيرو'؟ أرسلت عاصفة تحطم سفينة بها أخيك،لحمك ودمك، لكنه نفيك وأراد أغراقك ليستولي علي حكم وبها الملك الذي اشتراه اخيك بالمال ليبيعك..وأخيه الذي سيبيعه ايضا لأن علي الباغي تدور الدوائر لكنك لم تشأ اهلاكهم، بالسحر ارسلت العاصفة وبالسحر انقذتهم ليصلوا بسلام علي جزيرتك المهجورة فقط لتلقنهم درسا..عن ضعف النفوس والفقدان والتوبة والتكفير.. والاقدار التي تصنعها ايدينا وافعالنا بل والحب العفيف.. العفة ليس لمجرد شكليات المجتمع وأنما للحفاظ علي جمال العلاقة الزوجية ولتسترجع حقك الذي سلبه منك الجميع في حياتك ثم تتوب بنهايتها عن السحر والتلاعب بأقدار شخصياتك بعد ان ترينا شياطين الجحيم بيننا ... النفوس التي تفعل أي شئ لمصلحتها... حتي خيانة اقرب الناس لها كم من نعدهم "الناس العزاز" قد يبيعوا كل شئ لمصلحة زائلة لحكم دنيوي دنيا وحياة هي أصلا كالحلم الزائل، تبدا بسبات وتنتهي بنوم طويل لترينا ان السحر قد يكون موجودا... ولكنه ليس الحل لمشاكلنا لقد أهمل بروسبيرو حكمه وغفل عنه لدراسته السحر وهذا ما يسر خيانة اخيه والانقلاب عليه كل ذلك صغته يا شكسبير من خلال احداث مسرحيتك ، اخر ماكتبت وحدك كما يزعم الدارسون قدمت بها شخصية بروسبيرو الذي تعلم الدرس... وأراد تعليمه لاعداءه لبدء صفحة جديدة وحياة حالمة كما ينبغي قدمت قصة الحب من خلال ابنته الرقيقة القلب وأن كنت لازلت هنا في تقديمك للمراة بشكل سطحي للغاية ولكنك ايضا -كما فعلت دوما- سخرت من كيوبيد وسهامه العمياء كما سخرت من مكر الخونة واصحاب المصالح وقدمت حوارهم بشكل كوميدي ساخر وانهيت مسرحيتك الاخيرة -وإن لم تكن دراميا القصة بالقوة التي توقعتها- بابهار السحر واستعراض الجنيات والارواح والافراح والطبيعة والنهايات السعيدة بهدوء جميل ..الهدوء الذي لحق بالعاصفة عاصفة شكسبير الأخيرة محمد العربي من 20 يوليو 2017 الي 22 يوليو 2017

  4. 5 out of 5

    Ahmad Sharabiani

    The Tempest, William Shakespeare The Tempest is a play by William Shakespeare, believed to have been written in 1610–1611, and thought by many critics to be the last play that Shakespeare wrote alone. It is set on a remote island, where the sorcerer Prospero, rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skillful manipulation. He conjures up a storm, the eponymous tempest, to cause his usurping brother Antonio and the complicit King Alonso The Tempest, William Shakespeare The Tempest is a play by William Shakespeare, believed to have been written in 1610–1611, and thought by many critics to be the last play that Shakespeare wrote alone. It is set on a remote island, where the sorcerer Prospero, rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skillful manipulation. He conjures up a storm, the eponymous tempest, to cause his usurping brother Antonio and the complicit King Alonso of Naples to believe they are shipwrecked and marooned on the island. There, his machinations bring about the revelation of Antonio's lowly nature, the redemption of the King, and the marriage of Miranda to Alonso's son, Ferdinand. تاریخ نخستین خوانش: پنجم ژوئیه سال 1972 میلادی؛ عنوان: طوفان؛ نویسنده: ویلیام شکسپیر؛ مترجم: ابراهیم یونسی؛ تهران، نشر اندیشه، 1351؛ چاپ دوم 1357؛ در 174 ص؛ چاپ دیگر: تهران، دادار، سماط، 1383؛ در 144 ص؛ چاپ دیگر: تهران، نگاه، 1393، در 157 ص؛ شابک: 9786003760110؛ موضوع: نمایشنامه های نویسندگان بریتانیایی - سده 17 م مترجم: اسماعیل دولتشاهی؛ تهران، بدیع، 1374؛ ؛ در 248 ص؛ نمایشنامه در پنج پرده تدوین شده؛ و دارای شانزده شخصیت، و تعدادی سیاهی لشکر است. شخصیتها: پروسپرو: دوک میلان، مردی دانشور، خردمند، آشنا به نجوم و فلسفه، پرهیزگار، و بعدها جادوگری بس نیرومند؛ میراندا: دختر دوک، هرگز چشمش به مردی جز پدرش نیفتاده‌، همچون مرواریدی بیرون از صدف است؛ فردیناند: پسر پادشاه ناپل، میراندا بجز برای او، برای مرد دیگری شوق و آرزو نداشت؛ آریل: روحی در فرمان پروسپرو، حیله گر، نشانه‌ ای از تردستی و قدرت پروسپرو در سحر و جادو، برای تسلط بر عناصر فرادست زمین، همچون: باد و تندر و آتش؛ کالیبان: برده و آلت دست پروسپرو، تخم ریز شیطان، و جادوگری در زمین، نقطه ی مقابل آریل، نشان قدرت پروسپرو در سحر و جادو، برای تسلط بر عناصر فرودست زمین همچون: خاک و آب؛ آلونسو: پادشاه ضعیف‌، و بی اراده ی ناپل؛ سباستین: برادر خائن پادشاه ناپل؛ و آنتونیو؛ گونزالو؛ ترینکولا؛ استفانو؛ آدریان؛ فرانسیسکو؛ آیرس؛ سیریس؛ ژونو؛ ناخدای کشتی؛ حوریان؛ پاروزنان؛ و ملوانان.؛ در جزیره‌ ای زیبا و افسونگر، در دریاهای مناطق گرمسیری، پروسپرو و دخترش میراندا، زندگی می‌کنند. دوازده سال پیشتر، پروسپرو حاکم دوک نشین میلان بوده. ایشان در آن سال‌ها شب و روز سرگرم، و مجذوب مطالعات، پیشگویی، و احضارِ ارواحِ مردگان بوده، و امور دولتی نیز در دستان برادرش آنتونیو بوده؛ آنتونیوی پلید، با زد و بند و کمک آلونسو؛ پادشاه ناپل، رفته رفته دولت، و اموال پروسپرو را غصب کرده؛ و سرانجام او، و دختر خردسالش را، در قایقی بی بادبان، در دریا رها میسازد. آنچه جان آن دو را نجات میدهد، کمک پنهانی گونزالو، دوست خوب، و از مشاوران دیرین پروسپرو است. گونزالو، چون از نقشه خبر داشته، شب پیش از تبعید بی رحمانه ی دوک، دست به کار کمک شده، و افزون بر مهیا کردن وسایل لازم برای قایق، و ذخیره آب و خوراک، عصای سحرآمیز، و بسیاری از کتب خود، درباره ی سحر و جادو را نیز، برای دوک تبعید شده، میگذارد. دوک و فرزندش پس از سرگردانی بسیار در میان امواج، عاقبت در جزیره‌ ای کوچک، و دور افتاده، که متعلق به کالیبان، بچه خوک بی مادر، و جادوگر شرور است، به ساحل میرسند. تلاش‌های فراوان پروسپرو، برای آدم کردن بچه دیو، بیهوده است؛ چون او به گونه‌ ای ارثی، ابلیس زاده است و هیزم شکن. افزون بر آن برده ی خام و خشن، موجود دیگری نیز در آسمان جزیره به خدمت پروسپرو درآمده: او آریل نام دارد، با روحی لطیف و دلپذیر، همچون بادهای آسمانی، و نقطه ی مقابل کالیبان زمینی و حیوانی ست. اکنون سال‌ها بگذشته، پروسپرو، با دانش پیشین خود، و با خواندن کتاب‌های گونزالو، تبدیل به جادوگری چیره دست شده. او از راه سحر و افسون آگاه می‌شود، که جمع دشمنان دیرینش، پس از عروسی شاهزاده خانم ناپل، برای خوشگذرانی، و دوران ماه عسل، با کشتی عازم همان جزیره هستند. پروسپرو به کمک آریل، طوفانی سهمناک برمیانگیزد؛ و کشتی آنان را غرق می‌کند، ولی تمام سرنشینان را به نحوی بر تخته پاره‌ های کشتی شکسته، به صورت گروه‌ های پراکنده، به سواحل جزیره می‌آورد. و ...؛ ا. شربیانی

  5. 4 out of 5

    Jeffrey Keeten

    ****Spoiler alert. Which seems really funny to do with a play over 400 years old.**** ”Our revels now are ended...These our actors, As I fortold you, were all spirits, and Are melted into air, into thin air, And, like the baseless fabric of this vision, The cloud-capped towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which is inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind: we are such stuff As dreams are made on; and our ****Spoiler alert. Which seems really funny to do with a play over 400 years old.**** ”Our revels now are ended...These our actors, As I fortold you, were all spirits, and Are melted into air, into thin air, And, like the baseless fabric of this vision, The cloud-capped towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which is inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind: we are such stuff As dreams are made on; and our little life Is rounded with a sleep…” I’ve read this piece of writing numerous times in my life. I’ve discussed it in college classes. It has been mentioned or referred to several times in other books I’ve read over the years. Yet, I was reading along, caught up in Shakespeare’s prose. By this point in the play, I am as zoned in as if I were a petty thief, or a washerwoman, or a butcher with blood under my fingernails in the pit at The Globe, watching this play unfold before my eyes. Ariel may have even cast a spell on me from beyond the pale. ”We are such stuff as dreams are made on.” With all that exposure to these words, these bloody brilliant words, my eyes still sting with tears as if I am reading them for the first time. Maybe it is the spell of Shakespeare, but I am caught completely unawares. As jaded as I think I am, and life has proved to be less than ideal for me, my reaction to this line tells me that I still have a strand of hope twined round my soul. I still believe in dreams. Prospero, through the treachery of his brother Antonio, is deposed as Duke of Milan. He is sent out in a leaky boat with his child Miranda to die, but he does not die and lands on an island where he raises his daughter. He survives through the help of a savage, a Hag-seed (born of a witch), who shows he and his daughter how to survive on the island. When Caliban is overcome with desire for Miranda (he had dreams of repopulating the island with little Calibans), Prospero reacts as many fathers would, by enslaving Caliban through magic acquired from his command of the spirit Ariel. In this time period, writers believed that magicians became powerful through their dominance over a spirit. Wizards did not have power themselves, but only by commanding a spirit to do their bidding. Caliban is an interesting character. Since he was on the island first, he sees himself as king of the island. His subjugation by Prospero can be interpreted as the same type of subjugation imposed upon indigenous people all over the world. Caliban is brutal, physically strong, mentally weak, and vengeful. He knows what is important to Prospero, even more important possibly than his daughter Miranda. ”First to possess his books; for without them He’s but a sot, as I am; nor hath not One spirit to command: they all do hate him, As rootedly as I. Burn but his books. He has brave utensils--for so he calls them-- Which, when he has a house, he’ll deck withal.” It shows how close Caliban and Prospero once were that Prospero would be sharing such dreams with Caliban. Books are what got Prospero in trouble in the first place. ”Knowing I loved my books, he furnished me From mine own library with volumes that I prize above my dukedom.” Prospero, in other words, had his head buried in books so deeply that he was unprepared for his brother to usurp his place. He was searching for power and, in the process, lost what power he already possessed. Thank goodness the faithful Gonzalo took pity on Prospero and snuck his books on the boat. Nothing worse than being marooned on an island without books. To keep from going mad, I would have to carve what I can remember of the great classics into the bark of wood. ”Call me Ishmael.” Revenge burns bright in the soul of Prospero, and when he gets his chance, he sends Ariel to create a tempest to bring his enemies to him. They just happen to be on a ship passing close to the island. What opportunity be this! King Alonso of Naples, who helped Antonio overthrow his brother, is now on the island. So is his son Ferdinand, his brother Sebastian, and of course, the main focus of vengeance for Prospero, his brother Antonio. Needless to say, treachery abounds among the troop. Antonio actively encourages Sebastian to do as he did and overthrow his brother. What better opportunity than here on an island? Toss him in a bog, or run him through with a sword, or maybe let Caliban eat him. What makes this all very interesting to me is that Prospero, using Ariel, intercedes. When we get to the end of the play and they are all saved by the boat returning, Prospero says: ”I’ll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound I’ll drown my book.” Okay, so Prospero and his lovely daughter Miranda are about to get on a boat with all these other duplicitous, backstabbing, certainly untrustworthy, wickedly ambitious people, and he has just released Ariel from his service and destroyed his ability to summon a protective spirit? So what are the chances that Prospero gets slung off into the ocean to be a tasty treat for a swarm of sharks and Miranda doesn’t marry Ferdinand, but becomes his mistress Mandy? There has also been speculation about whether Caliban gets on the boat to sail back to Italy with them. In my mind, Caliban sees himself as the King of the Island, so why would he leave now that his usurper is leaving? Nice parallel with Antonio overthrowing Prospero, and Prospero overthrowing Caliban. As always with Shakespeare there is much to puzzle on in each and everyone of his plays. I’ve only chosen to discuss a few aspects of the play of most interest to me this time reading it. Next time, it could be several other aspects that catch my attention for discussion. I know there are many who do not appreciate Shakespeare, but he is worth the effort. Read Cliff’s Notes, consult Spark Notes, and read summaries of the plot even before reading the play. The extra work will increase your understanding and enjoyment of any of his plays. Hopefully, once in a while, the Bard will catch you off guard as he does me and touch your reader’s soul with words that lift that weary mantle of cynicism from your shoulders for a brief and beautiful moment. ”My Shakespeare, rise; I will not lodge thee by Chaucer or Spenser, or bid Beaumont lye A little further, to make thee a roome…, Thou art a Moniment, without a tombe, And art alive still, while thy Booke doth live, And we have wits to read, and praise to give. -----Ben Jonson If you wish to see more of my most recent book and movie reviews, visit http://www.jeffreykeeten.com I also have a Facebook blogger page at:https://www.facebook.com/JeffreyKeeten

  6. 5 out of 5

    Leonard Gaya

    The Tempest is one of Shakespeare's last plays, and somehow he probably knew this as he was writing and producing it: while I was rereading this book for the umpteenth time, I realised how strongly this particular play goes over and wraps up all the thirty-five plays that came before it. The plot is intricate, but could be summed up like so: Prospero lives on a remote island, deposed and exiled from his dukedom of Milan (as in King Lear, as in the Duke in As You Like It, or even the Duke in The T The Tempest is one of Shakespeare's last plays, and somehow he probably knew this as he was writing and producing it: while I was rereading this book for the umpteenth time, I realised how strongly this particular play goes over and wraps up all the thirty-five plays that came before it. The plot is intricate, but could be summed up like so: Prospero lives on a remote island, deposed and exiled from his dukedom of Milan (as in King Lear, as in the Duke in As You Like It, or even the Duke in The Two Gentlemen of Verona). With him live Miranda, his young daughter, and two opposite spirits or forces of Nature, the ethereal Ariel (compare with Puck) and the chthonic Caliban, son of a witch (see Aaron, see Macbeth's trio). A ship passes by, returning from Africa (Othello?), is caught in a storm (Lear again), and runs aground. The plot, like the vessel, then splits into three parts: 1) the encounter and apparently complicated love between young prince Ferdinand and Miranda (reminiscent of Romeo and Juliet or the couples in A Midsummer Night's Dream); 2) the regicide plot, in the forest, of treacherous Antonio and Sebastian against Alonso and Gonzalo (Lear once more, Macbeth once more, so on); 3) the washed down jest between Caliban, Stephano and Trinculo (see all the jesters and divine drunkards from Speed to Falstaff). All these have a brush with disaster, but The Tempest, although it looks like a revenge play at first, is, in fact, a play on atonement, forgiveness, reconciliation and, ultimately, a journey home. And Prospero's magic powers (the muse-like Ariel) is a device that allows Shakespeare both to test and to save all his characters, finally gathered together for the last time, before breaking his staff (his quill) and drowning his books (his plays), deeper than did ever plummet sound. A both sad and sweet ending for one of Shakespeare's major plays, that would later inspire a considerable number of thinkers, artists and entertainers, from Defoe's Robinson Crusoe and Swift's Gulliver's Travels to J.J. Abrams' Lost. Edited to add: I just realise that I failed to mention the massive influence this play has had on the Science-Fiction genre (the ship-that-lands-on-an-uncharted-planet business), especially in cinema, from Forbidden Planet (1956) to the Alien franchise (e.g. the plot of Ridley Scott’s recent Prometheus and Covenant). If you can think of any other similar reference, more than welcome to leave a comment.

  7. 4 out of 5

    Henry Avila

    William Shakespeare's last play , that he wrote every word of, the burnt-out, but rich, distinguished gentleman , just wanted to go back to his little, quiet, pretty, home town of Stratford-upon-Avon, and relax, enjoy himself. After more than twenty, strenuous, nevertheless, productive years of writing for the stage, he needs the calm and leave noisy London, far, far, behind. Besides Shakespeare is pushing 50, old for the time, (17th century ) his illustrious career, unmatched, then or now... Th William Shakespeare's last play , that he wrote every word of, the burnt-out, but rich, distinguished gentleman , just wanted to go back to his little, quiet, pretty, home town of Stratford-upon-Avon, and relax, enjoy himself. After more than twenty, strenuous, nevertheless, productive years of writing for the stage, he needs the calm and leave noisy London, far, far, behind. Besides Shakespeare is pushing 50, old for the time, (17th century ) his illustrious career, unmatched, then or now... The Tempest story begins with a terrific storm that drives a ship carrying noblemen on the shore, of an unnamed, small island, off the coast of probably Italy (Shakespeare is vague about the location). The rest of the fleet is scattered around the Mediterranean Sea and the passengers and crews, believe the noble's vessel has, sadly, gone down, unable to survive the gigantic waves...still they were lucky, returning, and had been to a very important wedding in Tunis, North Africa, the royals think it's a deserted isle...not so. Prospero, a sorcerer rules this land, but since only three "people" live there , his attractive, young daughter Miranda, and the deformed slave , son of a witch, Caliban, are the others, the kingdom's value, is very limited, indeed. Prospero a thinly disguised Shakespeare, has learned black magic from obscure, maybe evil books, the former Duke of Milan, who was overthrown by his treacherous brother Antonio , with the help of the equally wicked, King of Naples, Alonso. He and his infant daughter , had narrowly escaped death, the Duke was a bookworm, not the best way to govern, during those tumultuous days, of constant wars ... Both Alonso and Antonio, are not coincidentally , shipwrecked on this land now, being on the doomed ship, Ariel, the magician's servant, one of several supernatural entities, controlled by Prospero, is a powerful, wind spirit, caused the bad weather (at his master's request). Does the mighty sorcerer, seek understandably, sweet revenge? After twelve, excruciating years, stuck on this miserable, bleak place. Ferdinand, the King's son meets Miranda, age 15, she has only seen two men in her life, Caliban, the primitive, and the gentle, Prospero. It's love at first sight, something is strange about their encounter, the father seems happy over the situation, but Alonso is an old enemy. ..Plots of course for power ensue, even here, men always seek to better their lives by killing others, will it ever change? Shakespeare like the enigmatic Prospero, wants peace and tranquility, to enjoy himself in his last , fleeting days. One in Milan , the other Stratford, since they are both the same man, it doesn't matter... the "brief candle" , goes out. ..The author believes, in the meantime, that men, (and women) should be kind to one another.

  8. 5 out of 5

    Lisa

    "Your tale, Sir, would cure deafness!" These words, spoken by the lovely character Miranda, listening to her father Prospero telling her of the political misfortunes of their previous life, apply to almost anything Shakespeare put on stage! Whenever I try to review a favourite play by the Bard, I inevitably have to reread, to ponder, to think. What does this mean to me, at this moment in time? Why to I revisit this play - again? And why do I have to add to the countless words spoken on the words "Your tale, Sir, would cure deafness!" These words, spoken by the lovely character Miranda, listening to her father Prospero telling her of the political misfortunes of their previous life, apply to almost anything Shakespeare put on stage! Whenever I try to review a favourite play by the Bard, I inevitably have to reread, to ponder, to think. What does this mean to me, at this moment in time? Why to I revisit this play - again? And why do I have to add to the countless words spoken on the words spoken by the master? Not to give a scholarly analysis, for sure. There are more than enough already. To summarise the plot, complete with love story, intrigues, magic, early colonialism, happy end? No, it is widely known or to be cherished firsthand without me meddling. Nothing I say can make any difference. Why DOES it matter to me? That is the question I try to answer. In the ocean of thoughts on Shakespeare, there must be a drop of water that is meant for me, me alone, spoken with the aim to make the tempest of my life more bearable! When life plays unfairly, I am thankful that Shakespeare gave me the quote: "Hell is empty, and all the devils are here." When I feel trapped in a situation I cannot change, I feel with the puppy-headed monster Caliban, and am pleased that Shakespeare gave the underdogs of world history speech: "You taught me language, and my profit on't is I know how to curse. The red plague rid you for learning me your language!" The independent soul of Caliban is revealed over and over again, even though his physical dependence on different masters is not changing. He dares to speak his mind: "His spirits hear me and yet I needs must curse!" The Tempest is a place with characters of universal type, and I see my own world illustrated in Trinculo's comical summary of the inhabitants: "The folly of this island! They say there's but five upon this isle. We are three of them; if th'other two be brained like us, the state totters!" Whoever can speak such truth, in such humorous words, must love mankind despite its flaws, must himself believe in Prospero's winged words, that we are "such stuff as dreams are made on", although we more often than not create nightmares. Prospero's daughter Miranda delivers the quote that became a book of its own right, showing where dream and nightmare meet, utopia and dystopia merge and create a "brave new world, that has such people in't!" Where spirits like Ariel sing songs of incredible beauty, starting with the suggestive lines of "Full Fathom Five Thy Father Lies", I will always feel at home, and I feel the spirit's yearning almost physically when she laconically states the only thing she desires for herself: "My liberty!" I will close my love song for Shakespeare with Prospero: "My library was dukedom large enough!" And of course it has to be filled with Shakespeare! "Thought is free!"

  9. 4 out of 5

    Dolors

    Shakespeare’s last play is a stroke of a genius. Defying categorization, The Tempest is the hybrid result of merging tragedy, comedy and fantasy that condenses The Bard's genius in the symbolical representation of the world through the demirugical elements of Greek mythology. The setting takes place on an exotic island where Prospero and his astonishingly beautiful daughter Miranda have lived in exile for the last twelve years. Overthrown by his treacherous brother, Prospero has crowned himself r Shakespeare’s last play is a stroke of a genius. Defying categorization, The Tempest is the hybrid result of merging tragedy, comedy and fantasy that condenses The Bard's genius in the symbolical representation of the world through the demirugical elements of Greek mythology. The setting takes place on an exotic island where Prospero and his astonishingly beautiful daughter Miranda have lived in exile for the last twelve years. Overthrown by his treacherous brother, Prospero has crowned himself ruler of the island making use of his supernatural powers and has usurped it from its native inhabitants, who are embodied in the slave Caliban. Aided by the spirit Ariel, who owes loyalty to Prospero; he invokes a turbulent storm that causes the vessel carrying his brother and his retinue to shipwreck on the reefs of his wild domains. A peculiar adventure ensues from destruction and loss and, almost as if by divine providence, the dead resurrect to be given a second chance in the realms of songs and imagination. The moral process of the characters echoes the interconnectedness of the natural elements -earth, water, wind and fire- in the never-ending circle of life; pagan symbols coexist with Christian imagery, enhancing the procreative forces. With death comes rebirth, and also the generational replacement of the old being lost in the new. Prospero forgives and abandons his schemes for revenge, and as proof of his good will, he renounces to his magic, becoming the virtuous master that Montaigne celebrates in his essays and also a mere mortal who will be eroded by the inescapable passage of time. Thus, the emphasis is not in the promise of eternal life but in the transience of a fading world that continuously changes shape alternating reality and illusion. Prospero’s benign treatment of his lifelong enemies contrasts with his brutish manners with Caliban, a fact that has been interpreted as an allegory of colonialism or even racial bigotry, but that would simplify the complexity of a play that brings the game of scenes and characters to the supreme limit of what words can express. Musical alliterations, rhymes and riddles infuse the language of this dreamland where the reader is torn between reason and mysticism. Words are the true “rough magic”, the “art” that rule in Prospero’s kingdom and in dropping them, the inevitable question arises: is Prospero’s resignation a metaphor for the playwright’s definite retirement and therefore, is the The Tempest a valedictory play as many critics and scholars have presumed? An answer could be extracted from the Epilogue: “Gentle breath of yours my sails Must fill, or else my project fails, Which was to please. Now I want Spirits to enforce, art to enchant, And my ending is despair, Unless I be relieved by prayer, Which pierces so that it assaults Mercy itself and frees all faults. As you from crimes would pardoned be, Let your indulgence set me free.” The author begs for applause and appeals to the audience’s forbearance, for his aim was to entertain, and mimicking a religious prayer, he bids farewell and hopes that his masters will follow Prospero’s selfless deed and grant him freedom. And we do, of course we do, but, as if by some magic spell, his presence is still hovering around, lurking in the corner of every page we turn, talking back at us and shaking his head, an indulgent smile on his lips, not very different from that of a father who has finally become resigned to the foibles of his children.

  10. 4 out of 5

    Sr3yas

    "Your tale, sir, would cure deafness." The first time I read Shakespeare was when I was around ten years old. I borrowed a collected edition of translated Shakespearian plays from my library just because I heard someone talk about him. I read around half a dozen of his famous plays like a pro.... and everything I read went over my head. There were merchants, betrayal, ghosts, blood, somebody's skull! What's happening? But Tempest was an exception. My younger version loved that play because it "Your tale, sir, would cure deafness." The first time I read Shakespeare was when I was around ten years old. I borrowed a collected edition of translated Shakespearian plays from my library just because I heard someone talk about him. I read around half a dozen of his famous plays like a pro.... and everything I read went over my head. There were merchants, betrayal, ghosts, blood, somebody's skull! What's happening? But Tempest was an exception. My younger version loved that play because it had MAGIC, a sorcerer, a beautiful princess, a funny angel, and a huge ship getting wrecked in a tempest! And now, after more than a decade, I decided to read the grand play again! We are dropped in the middle of an island where the sorcerer, Prospero has been living in exile with his only daughter for twelve years. He used to be a Duke of Milan, but he was betrayed by his own brother which forced him to leave his home on a small boat. After a tough journey, The boat had reached an Island ruled by an Algerian witch who had imprisoned the angels of that Island. After an epic battle between the Witch and Prospero which ended the reign of the witch, Prospero became the master of the Island. Of course, we don't get to see any of these awesome scenes. For us, the story begins at the dawn of Prospero's ultimate PG-13 version of the revenge. As the ship carrying his enemies passes trough the sea near to his Island, the sorcerer conjures a tempest which brings the visitors to his Island. With the help of his angel, Ariel, he puts his plan in motion. While reading this play for the second time, I found many things which my younger self appropriately overlooked. I found that the mighty Sorcerer is a bit of a douche, the beautiful princess was being used as a pawn by her father, the funny angel was a slave, and the huge ship wrecking was not so huge after all. Yet I found it mesmerizing. I loved the Caliban scenes! And I've always loved Shakespearian prose, especially the insults. Poor worm, thou art infected! ---------------------------- Shakesperian First Dates FERDINAND: Oh god! You are beautiful! Are you a spirit? Miranda: I am certainly a woman. FERDINAND: If you are not committed to anyone, I shall marry you! Miranda: Oh my dear Ferdinand! FERDINAND: Oh my...uh... What is your name? And you are a Virgin, aren't you? Prospero: Dude! I am her father and I am standing right here!

  11. 4 out of 5

    James

    Book Review 3 of 5 stars to The Tempest, a play written around 1610 by William Shakespeare. Ever wonder where the word prosperous came from? Or did Shakespeare name the lead character in this play Prospero as a nod to the word prosperous? They are one in the same... sort of. Prospero's been cast off onto an island and wants to restore a life for his daughter. Thru trickery and imagination, he succeeds in a manner of speaking, and though it's a troubled path, he learns his lessons in the end. Book Review 3 of 5 stars to The Tempest, a play written around 1610 by William Shakespeare. Ever wonder where the word prosperous came from? Or did Shakespeare name the lead character in this play Prospero as a nod to the word prosperous? They are one in the same... sort of. Prospero's been cast off onto an island and wants to restore a life for his daughter. Thru trickery and imagination, he succeeds in a manner of speaking, and though it's a troubled path, he learns his lessons in the end. I really do like this play. I've seen it on stage and it was well-produced. It's one of his somewhat-more-famous plays, but it's not as well-liked in popularity, if that makes sense. As always, its highly creative, but to me, it's a bit of a compilation of all his other plays over the years. Written in the last 5 years of his life, it's one of his final pieces, which may explain why. The characters are vivid. The action is mostly clear. But I felt it lacked a driving force like the others. I didn't so much care whether he was successful until the end. I think because it is more ethereal and aesthetic than full of huge substance, I might have been in the middle. I only read this one once, so I'm due for another read. About Me For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on Goodreads, and then I send it on over to my WordPress blog at https://thisismytruthnow.com, where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by.

  12. 5 out of 5

    Sana

    Well this was okay?? - my funeral is in a month, i hope to see y'all there. cause of death: reading this boring shit in class

  13. 5 out of 5

    Tadiana ✩Night Owl☽

    Prospero manipulates his daughter Miranda, the prince Ferdinand, his father (the King of Naples), Ariel, Caliban, and the rest of the cast! But in the end **spoiler warning here, if anyone actually needs it** he sets his slaves free and forgives those who've wronged (tried to murder) him, and also has some really excellent lines, so it's all good. Review to come. Initial comments: The "book from the 1600s" space is one of the last few that need to be filled in on my 2016 Classics Bingo card. I tri Prospero manipulates his daughter Miranda, the prince Ferdinand, his father (the King of Naples), Ariel, Caliban, and the rest of the cast! But in the end **spoiler warning here, if anyone actually needs it** he sets his slaves free and forgives those who've wronged (tried to murder) him, and also has some really excellent lines, so it's all good. Review to come. Initial comments: The "book from the 1600s" space is one of the last few that need to be filled in on my 2016 Classics Bingo card. I tried and failed to get into Milton's Paradise Lost, but The Tempest is going down a lot easier. :)

  14. 5 out of 5

    Bram

    Knowing that The Tempest is most likely Shakespeare's final play, it's hard to avoid noticing the hints of retirement in the text. Toward the end of the final act, Prospero solemnly describes the conclusion of his practice of the magic arts, just as Shakespeare might describe the end of his writing career: Have I given fire and rifted Jove's stout oak With his own bolt; the strong-based promontory Have I made shake and by the spurs pluck'd up The pine and cedar: graves at my command Have waked their Knowing that The Tempest is most likely Shakespeare's final play, it's hard to avoid noticing the hints of retirement in the text. Toward the end of the final act, Prospero solemnly describes the conclusion of his practice of the magic arts, just as Shakespeare might describe the end of his writing career: Have I given fire and rifted Jove's stout oak With his own bolt; the strong-based promontory Have I made shake and by the spurs pluck'd up The pine and cedar: graves at my command Have waked their sleepers, oped, and let 'em forth By my so potent art. But this rough magic I here abjure, and, when I have required Some heavenly music, which even now I do, To work mine end upon their senses that This airy charm is for, I'll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound I'll drown my book. Beyond this connection, it’s fun if idly fruitless to try to expand the Prospero-as-Shakespeare angle. For example, Prospero, the Duke of Milan, was usurped by his brother. Was Shakespeare replaced as the king’s or the populace’s most favored playwright? Perhaps he was eclipsed by or had a falling out with Ben Jonson, who felt confident enough to be the first to publish a written collection of his plays (something Shakespeare never did) and who mocked Shakespeare and his Tempest subject matter in one of his own plays, Bartholomew Fair. As I said, it’s idle speculation, particularly when engaged in by someone unfamiliar with the time period. But the text does seem to encourage some autobiographical reading, and it’s certainly fun to consider the possibilities. One thing that continues to impress me about Shakespeare is his refusal to create blameless heroes. Even if we end up feeling very sympathetic toward someone, there's always something to nag us and remind us that this character isn’t irreproachable. In the Richard II—Henry IV—Henry V cycle, Hal has a remarkable and redemptive character arc, but he must abandon his rowdy friends most cruelly to achieve this. As someone who wants to love and celebrate Hal unreservedly, this fact is like a thorn that pokes me every time I cheer too loudly during the St. Crispin's Day speech. Like Hal, Prospero has a troubling relationship that mars his character. As mentioned above, he was usurped. But then he became the usurper, enslaving an 'uninhabited' island's sole inhabitant (and therefore the ruler of sorts), Caliban, and treating him harshly. (For the record, Caliban's witch mother usurped the original fairies of the Island, Ariel et al., when she was dropped off by some sailors while pregnant.) The story of the enslavement is morally complicated, it's true. Caliban was apparently well-treated, if still usurped, before he attempted to rape Prospero's daughter, thus leading to the mistreatment and his begrudging service as we encounter them during the three hours of the play (side note: Before Jack Bauer and 24, Shakespeare had already created a drama where the play length occurs in real time). There's also the troubling distinction between Prospero's two slaves, Caliban and Ariel. Caliban, a hideous semi-human monster, is rude and bitter and therefore 'deserves' his slave state and cruel treatment, while obedient Ariel is set free at the story's end. But because Prospero is leaving the island to return to Milan at the conclusion, even Caliban can look forward to freedom once again. And so in the end, Prospero wins us over with his capacity for forgiveness and his desire to do everyone a good turn, while only desiring to finish off his days in Milan “where/Every third thought shall be my grave.” While he spends much of the play spooking those who’d wronged him with spirit visitations and magical scenes, he eventually leaves anger and vengeance behind. Interestingly, it’s the nonhuman spirit slave Ariel who encourages Prospero to be humane and compassionate: ARIEL Your charm so strongly works 'em That if you now beheld them, your affections Would become tender. PROSPERO Dost thou think so, spirit? ARIEL Mine would, sir, were I human. PROSPERO And mine shall. Hast thou, which art but air, a touch, a feeling Of their afflictions, and shall not myself, One of their kind, that relish all as sharply, Passion as they, be kindlier moved than thou art? Though with their high wrongs I am struck to the quick, Yet with my nobler reason 'gainst my fury Do I take part: the rarer action is In virtue than in vengeance. Perhaps this suggestion had to come from a nonhuman since treating kindly those who’ve wronged us can seem most unnatural. Shakespeare seems to recognize that this type of forgiveness, especially offered to those who have intentionally affected one’s life for the worse, is exceptionally difficult to bestow. But he also seems to recognize that overcoming this difficulty is well worth it, perhaps more for the sake of the forgiver than that of the forgiven.

  15. 4 out of 5

    Virginia Ronan ♥ Herondale ♥

    “Hell is empty, and all the devils are here!” Because of Warner! <3

  16. 4 out of 5

    Kenny

    THE TEMPEST is my favorite of of all of William Shakespeare's works. THE TEMPEST is a marvel on several levels chiefly among them is the playwright's talent had not waned in all the years he had written for the stage. This is Shakespeare's farewell to the stage and to public life. It is brilliant. "Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air;" Prospero, (Act IV, Scene i) My take on THE TEMPEST is quite different from many ot THE TEMPEST is my favorite of of all of William Shakespeare's works. THE TEMPEST is a marvel on several levels chiefly among them is the playwright's talent had not waned in all the years he had written for the stage. This is Shakespeare's farewell to the stage and to public life. It is brilliant. "Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air;" Prospero, (Act IV, Scene i) My take on THE TEMPEST is quite different from many others. I look at this work not as a reader, or even a theatre goer, but as a director. Sir Peter Hall described THE TEMPEST as "The most blasphemous play Shakespeare wrote, THE TEMPEST is about a man on an island who's allowed to play God and who doesn't just dabble in witchcraft but actually performs it." There has to be a quality of the fantastic about THE TEMPEST to make it successful, something to provoke a sense of wonder. I view Prospero not as a regal duke who attains God-like stature, but a man who has lived in nature for many and has grown disillusioned with life. He is reluctant to take his dukedom back and leaves his island not triumphantly, but reluctantly. Prospero knows that everyone here, himself included, is beyond redemption except for Miranda and Ferdinand. Prospero is the controller of both the tempest, and THE TEMPEST. He is a very troubled man. Prospero is engaged in a race against time. This is the crux of his dispute with Ariel and his demand for freedom. Prospero has been exiled for 12 years. Over this time he has lost his princely virtures and has instead become a savage ~~ look at his treatment of both Ariel, and Caliban, and to a lesser extent, Miranda. Prospero is not tolerant; many of his speeches are more akin to outbursts. Antonio is the negative pole of THE TEMPEST. There is no forgiveness between the brothers, they are irreconcilable. But this is not the biggest blow to Prospero. Ariel's leaving Prospero ~~ deserting him ~~ is the biggest blow Prospero suffers. Ariel is the love of Prospero's life. They are THE TEMPEST's power couple. The love between Prospero and Ariel one of the most compelling relationships that Shakespeare ever imagined. This is the real love story of THE TEMPEST. Let's be clear, Ariel is a slave. However for a slave Ariel also has tremendous power over Prospero. Ariel’s relationship with Prospero in the play is necessarily marked by his identity as Prospero’s slave. He must obey. But he wants more than this master-slave relationship. He wants to be loved: Before you can say 'come' and 'go,' And breathe twice and cry 'so, so,' Each one, tripping on his toe, Will be here with mop and mow. Do you love me, master? No? Ariel, (Act IV, Scene i) To be clear on another point, Ariel is a male sprite. He was written as a male and is meant to be portrayed by a male actor. Too often, Ariel is cast as a woman and it weakens the play in general and the relationship between Prospero and Ariel in particular. Their love is homoerotic, but in Shakespeare's time it was what it was. Ariel’s feelings for Prospero are complex. Proud to be of use to Prospero, impatient to be free, yet desirous of praise the relationship has something of love, something of servitude, something of rebellion. Should one imagine Prospero as a father figure? Or, is he Ariel's Daddy? And what of Caliban? Prospero enslaves Caliban and keeps him subjugated by the use of magic to frighten or subdue him. However his need to do this may stem from his fear of Caliban, a virile young male whose sexuality is focused on his daughter. A figure of physical strength who Prospero knows would overthrow or kill him if he could. Prospero may be ‘brains’ but Caliban is ‘brawn’ and brawn at that who knows how to survive in the harsh island environment. The major theme of THE TEMPEST is reconciliation -- not forgiveness -- reconciliation. In the end, Prospero is reconciled with his brother and the king, but true forgiveness evades them all. At THE TEMPEST's close, Prospero renounces magic, pledging to break his staff and "drown" his books. He frees his lover Ariel, makes peace with the threatening Caliban, and reconciles with his usurping brother Antonio, the Duke of Milan, who conspired to banish him. In his final soliloquy, the play's epilogue, Prospero considers the diminishing of his powers and the ravages of encroaching age: "Now my charms are all o'erthrown, And what strength I have's mine own, Which is most faint." Prospero, (Epilogue I) Finally, he asks the audience for their applause, drawing the performance to a close and freeing him from his "project... Which was to please": "But release me from my bands With the help of your good hands... As you from crimes would pardon'd be, Let your indulgence set me free."" Prospero, (Epilogue I) Ultimately, i interpret THE TEMPEST as a farewell to the theatre, the broken staff a perfect metaphor for the writer laying aside his pen.

  17. 4 out of 5

    Marie

    As part of the Book Riot Read Harder Challenge, I needed to read a play and what better play to read than “The Tempest” having recently read and adored Margaret Atwood’s retelling in “Hag-Seed.” I have an even greater appreciation of “Hag-Seed” having read the original again. It had been more than twenty years since I’ve read Shakespeare. I found it simultaneously difficult to navigate the Old English and thematically extremely relevant to modern day. There is so much complexity within this brie As part of the Book Riot Read Harder Challenge, I needed to read a play and what better play to read than “The Tempest” having recently read and adored Margaret Atwood’s retelling in “Hag-Seed.” I have an even greater appreciation of “Hag-Seed” having read the original again. It had been more than twenty years since I’ve read Shakespeare. I found it simultaneously difficult to navigate the Old English and thematically extremely relevant to modern day. There is so much complexity within this brief play, that it is no wonder that people study Shakespeare to such lengths! This play takes place on an Island where the magician, Prospero, and his daughter Miranda have been living the last 12 years, since Prospero’s exile from his position as Duke of Milan. The only other person on the Island during this time is Calaban, son of the evil witch, Sycorax, who used to live there as well. Ariel is a fairy who does the bidding of Prospero. Calaban is also enslaved to Prospero, having attempted to rape Miranda. Prospero creates a tempest which bring his enemies by shipwreck to his Island. He scatters them across the Island such that Ferdinand the King’s son is separated from all others and will encounter Miranda, both falling in love with each other under Ariel’s spell. Gonzalo, Alonso, Antonio, and Sebastian are landed together. During their time on the Island, Antonio and Sebastian plot against the king’s (Alonso’s) life, assuming that Ferdinand has perished. Caliban, Trinculo and Stephano develop an alliance that intends to murder Prospero, so that they can take over the island. Finally, all come together. Prospero, with urging from Ariel, forgives all and all is calm. Prospero, a thinly disguised Shakespeare, asks for applause to end his imprisonment. There is much duality of humanity and the world represented within this play. Themes of good versus evil, magical vs earthly, land versus sea, honest versus dishonest, free versus imprisoned, sober versus drunk pervade this play. I loved the infusion of music, poetry and magic within this play. There is obvious brilliance to the themes and the structure of the play. I thoroughly enjoyed reading this and found many unique characteristics setting it apart from some of Shakespeare’s other works that I’ve read.

  18. 4 out of 5

    Lyn

    “Hell is empty and all the devils are here.” Believed to have been written in 1611, this may have been one of his last plays. The mature bard, he would have been 47 at this time and with only 5 more years left in this world, created in my humble opinion one of his finest plays. “...and then, in dreaming, / The clouds methought would open and show riches / Ready to drop upon me, that when I waked / I cried to dream again.” Telling the tale of shipwrecked Prospero, the sorcerer Duke of Milan, and his “Hell is empty and all the devils are here.” Believed to have been written in 1611, this may have been one of his last plays. The mature bard, he would have been 47 at this time and with only 5 more years left in this world, created in my humble opinion one of his finest plays. “...and then, in dreaming, / The clouds methought would open and show riches / Ready to drop upon me, that when I waked / I cried to dream again.” Telling the tale of shipwrecked Prospero, the sorcerer Duke of Milan, and his daughter Miranda and his spiritualistic (but wholly Shakespearean opportunistic) machinations to restore his family to their rightful place. “O, wonder! How many goodly creatures are there here! How beauteous mankind is! O brave new world, That has such people in't!” Of course, the island is also home to Calaban, and here is where Shakespeare’s genius is shown. Calaban is the earthly foil to Prospero and Ariel, providing a historic off stage depth to the narrative. "a southwest wind blow on ye and blister ye o'er". Complete and tightly wound yet entertaining throughout. Prospero may be one of the most complicated and interesting of all of Shakespeare's characters, and his relationships with Miranda, Ariel and Caliban make for literary legend. Very entertaining. Finally, this is simply, beautifully written and a joy to behold. “Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp’d towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep.”

  19. 5 out of 5

    Jason Koivu

    What was that? I expected a long drawn out battle of mariners versus a violent sea. There's a few lines of sailors fighting a storm at the start and then the rest is played out on land. Ah, "played," there's the nub! For this is an early 17th century play meant for the stage. Not a likely time and place for a lavish production with a water tank, ship and wind machine, though that would've been hella cool. Some Shakespeareanophile tell me my envisioned production went down at least once back in th What was that? I expected a long drawn out battle of mariners versus a violent sea. There's a few lines of sailors fighting a storm at the start and then the rest is played out on land. Ah, "played," there's the nub! For this is an early 17th century play meant for the stage. Not a likely time and place for a lavish production with a water tank, ship and wind machine, though that would've been hella cool. Some Shakespeareanophile tell me my envisioned production went down at least once back in the day, please! Once I figured out I'd been duped, I still didn't know what was going on. The story felt muddled and frankly not particularly intriguing. Apparently an Italian duke is trying to trying to get revenge on those who ousted him by marrying off his daughter to one of the plotters. That I understood. To make this happen, magical spirits are prevailed upon. That I understood. But who was magical, who was human, who was in between, and what was everyone's motivation, that's where I got lost. Didn't matter. By the midpoint I'd grasped enough to follow along and what I thought was going to be a 1 or 2 star catastrophe turned out to be a fairly enjoyable romp in a semi-fairy land...kind of a mix between Macbeth or Othello and A Midsummer Night's Dream. I listened to an audio version for this reading. I prefer to hear Shakespeare when I get the chance. I may have received a 4.0 in my Shakespeare class in college (a little more impressive than my 4.0 in my mountain hiking class), but that doesn't mean I understand half of what's being said. Put into context, the otherwise archaic phrases often will reveal their meaning. The one thing that really perplexed me was that the actor playing Caliban, the monstrous humanoid creature stranded for years on the island, played him - as old timey, racist comedians (and Jon Stewart) would say - "Jewy". Think Alec Guinness' rendition of Fagin. Yeah, heavily over the top. Was Caliban Jewish? I thought his mom - the only person he was stranded on the island with - was a witch from Algiers. Now, I don't know from Algiers witches, but this? What is this? Oy vey...

  20. 4 out of 5

    Manuel Antão

    If you're into stuff like this, you can read the full review. On this re-reading I noticed that the word "brave" was used a few times in the movies that I watched (Taymor, 2010 & Jarman 1979). I like this word. It generates a very good feeling in my heart. This word often makes me think of someone who has a quality to face something difficult with the strength of heart / mind / body... Does not take me much to feel a respect and admiration for this person... I also come to know that the word "b If you're into stuff like this, you can read the full review. On this re-reading I noticed that the word "brave" was used a few times in the movies that I watched (Taymor, 2010 & Jarman 1979). I like this word. It generates a very good feeling in my heart. This word often makes me think of someone who has a quality to face something difficult with the strength of heart / mind / body... Does not take me much to feel a respect and admiration for this person... I also come to know that the word "brave" describes something wonderful, admirable in appearance... And I just got curious to see how often the word "brave" was used in "The Tempest". And I started reading the play to look for the word "brave" and "bravely", and every time I found one of these words, I put a post-it note to the page to keep track of it... No, I did not use any fancy software to sort out the words or count the words... The work was done manually... Though I tried to be as faithful and accurate as possible, there might be a few occasions that I missed finding these words... It looks like there are 11 occasions that the words "Brave" or "Bravely" were mentioned... The rest of this review can be found elsewhere.

  21. 4 out of 5

    Foad

    از بی مزه ترین کمدی های شکسپیر بود! به غیر از چند بخش کوتاه، واقعاً نکته ی طنزآمیزی نداشت، مگر این که توی زبان انگلیسی بازی با الفاظ هایی کرده باشه که توی ترجمه همه از دست رفته. تنها دلیلی که می تونم برای "کمدی" نامیده شدن این نمایشنامه سراغ بگیرم، اینه که اون دوره ژانرها به شکل امروزی گسترده نبودن، و هر نمایشنامه ای که پایان فاجعه آمیز نداشته باشه رو "کمدی" می نامیدن. (مثل "کمدی الهی" دانته، که به هیچ وجه طنزآمیز نیست.) با خوندنش، متوجه شدم دلیلی داشته که نمایشنامه های نامعروف شکسپیر، معروف نشدن از بی مزه ترین کمدی های شکسپیر بود! به غیر از چند بخش کوتاه، واقعاً نکته ی طنزآمیزی نداشت، مگر این که توی زبان انگلیسی بازی با الفاظ هایی کرده باشه که توی ترجمه همه از دست رفته. تنها دلیلی که می تونم برای "کمدی" نامیده شدن این نمایشنامه سراغ بگیرم، اینه که اون دوره ژانرها به شکل امروزی گسترده نبودن، و هر نمایشنامه ای که پایان فاجعه آمیز نداشته باشه رو "کمدی" می نامیدن. (مثل "کمدی الهی" دانته، که به هیچ وجه طنزآمیز نیست.) با خوندنش، متوجه شدم دلیلی داشته که نمایشنامه های نامعروف شکسپیر، معروف نشدن! نمایشنامه هایی معروف شدن که خوب بودن. نمایشنامه هایی که خوب نبودن، معروف نشدن. قصد داشتم چندتا از نمایشنامه های نامعروف دیگه ش رو هم بخونم (آنتونی و کلئوپاترا، و داستان زمستان) ولی با این تجربه، به این نتیجه رسیدم که دیگه کافیه!

  22. 4 out of 5

    Sarah

    Prospero, the rightful king of Milan, was overthrown by his brother Alonso and cast onto the open sea with his toddler daughter, Miranda. Alonso expected the two to drown, but by some fortune or providence they wash up safe on a distant island instead. They find the island uninhabited save by the recently deceased witch Sycorax, her son Caliban (called “monstrous” in appearance, but never described in any concrete detail), and an “airy spirit” named Ariel who was trapped in a cloven pine by Sycor Prospero, the rightful king of Milan, was overthrown by his brother Alonso and cast onto the open sea with his toddler daughter, Miranda. Alonso expected the two to drown, but by some fortune or providence they wash up safe on a distant island instead. They find the island uninhabited save by the recently deceased witch Sycorax, her son Caliban (called “monstrous” in appearance, but never described in any concrete detail), and an “airy spirit” named Ariel who was trapped in a cloven pine by Sycorax when he refused to obey her. Prospero is himself an accomplished magician. He frees Ariel with his magic, and the spirit happily serves him in gratitude. Caliban also does Prospero’s bidding, but it rankles him. By his own admission he tried to rape Miranda at one point, causing Prospero to treat him harshly. Thus life continues among these four, and the other spirits occasionally summoned by Prospero, until, many years after the mage and his daughter landed there, another shipwreck occurs on the island. The titular Tempest was raised by Prospero, and when the numerous survivors came ashore, Ariel passed among them unseen, confusing each group so they miss each other and believe themselves to be the only survivors. Among these are Alonso the Usurper, who gets separated from his son, Ferdinand, who is handsome and just of marriageable age. Miranda has just become nubile herself, and sparks immediately fly between the prince and the isolated girl who turns out to be his first cousin (this was not considered incest in Shakespeare’s day, apparently—certainly no one in the play objects to their engagement). Alonso believes his son and heir has died, and Ferdinand likewise believes that “full fathom five [his] father lies”… Meanwhile Caliban, nursing his wounds, stumbles upon two drunken fools, Stephano and Trinculo. He ingratiates himself to them with an ostentatious display of servility, and convinces them to help him overthrow Prospero… As always, this Shakespeare play is full of evocative phrases that could apply in many contexts beyond its own story. Seemingly inspired by both explorers’ tales of the Western Hemisphere (it was written ca. 1610, at the beginning of the colonial period) and an ancient tradition of weird sea adventures that stretches back to The Odyssey , it adheres to its audience’s familiar world of monarchy and conquest, but also hints at what Miranda calls a “brave new world” where those constructs might turn out to be very fluid indeed. Even on the surface level, it is a visually rich story whose figures and tableaux have found their way into countless later works. The whole episode on Ramandu’s Island in The Voyage of the Dawn Treader borrows heavily from it—an elderly magician who waits to be restored to his proper place, isolated on a remote island with his young daughter who is courted by a prince/young king, a creature of the air who serves the magician, a table laden with enchanted food and three lost lords fixed at said table for infractions against its provider, a relic of an evil witch long dead—it’s all there. I also wonder if the characterization of Luke Skywalker in the Star Wars sequel trilogy drew any inspiration from Prospero. Again we have a mage of great pedigree marooned on an island (on a hard-to-find planet, no less), who only grudgingly uses his magic these days, trying to protect a young woman who is both coveted by a monster (for whom the magician feels somewhat responsible) and romantically pursued by a handsome prince—Kylo/Ben being an interesting fusion of Caliban and Ferdinand. Luke in The Last Jedi could easily have shared the sentiments Prospero expresses in the epilogue of the play. In the link below, Loreena McKennitt has adapted those haunting words to a fittingly eerie melody: https://www.youtube.com/watch?v=WOaBU... The play intrigues on multiple levels and is a great illustration of Shakespeare’s powers, with more at stake than A Comedy of Errors or A Midsummer Night’s Dream, but happier and easier to digest than, say, Coriolanus or Hamlet. I’m very glad I read it.

  23. 5 out of 5

    Brian

    “Let us not burden our remembrances with a heaviness that’s gone.” "The Tempest" is Shakespeare's last great play, and in an oddly appropriate manner it is very different from much of his earlier efforts. Unlike most of Shakespeare's work, "The Tempest" seems to have come mostly from the Bard's own mind, and does not have source materials from which Shakespeare lifted the plot. Pulling from a few current events and bits and pieces of the literature of the day Shakespeare constructed a piece that “Let us not burden our remembrances with a heaviness that’s gone.” "The Tempest" is Shakespeare's last great play, and in an oddly appropriate manner it is very different from much of his earlier efforts. Unlike most of Shakespeare's work, "The Tempest" seems to have come mostly from the Bard's own mind, and does not have source materials from which Shakespeare lifted the plot. Pulling from a few current events and bits and pieces of the literature of the day Shakespeare constructed a piece that takes place in less than one day. The play takes the form of following three separate groups on an enchanted isle. A group of noblemen, which contains individuals who gained power through the usurpation of the rightful ruler, a comic duo who stumble about in drunkenness and plot evil deeds (the play's comic relief) and the "lord" of the island (Prospero) and his spirit world servants. The latter group shipwrecked the first two on the island on purpose. When the three plots converge in the final act of the text, Shakespeare gives the reader a satisfying conclusion, but one that still has shades of sadness and darkness to it. The famous epilogue of the play spoken by Prospero (Now my charms are all o'erthrown...) leaves the reader with a plethora of questions and emotions. This epilogue is one of the most beautiful pieces in the entire canon. And one of the most ambiguous. It has become fashionable to make "The Tempest" a valedictory play for Shakespeare, and there are many moments in the text that can be read as Prospero speaking for Shakespeare. At the play's conclusion Prospero frees his trusty servant Ariel (some say his muse), acknowledges the half-human Caliban as "mine own" (some say his own dark nature) and gives up his magic powers (his talent). This is an appropriate reading, and a satisfying one for lovers of Shakespeare. Just be careful not to limit the text to just that interpretation. I think the greater strength in the piece is its portrayal of the absolute humanity of forgiveness, and how lucky we as humans are to be able to practice it. The most poignant scene in Shakespeare begins at the beginning of Act V when Ariel tells Prospero that he would be moved to pity for the people that Prospero has entrapped on the island (with the plan of taking revenge) "were I human". This stunning declaration causes Prospero to recant his vengeful purposes, "the rarer action is in virtue than in vengeance." A grown up Shakespeare has lived a life and seen the capacity for good that humanity can engender. It is hard to imagine the man who wrote "The Tempest" as the same man who wrote the revenge blood fest "Titus Andronicus" so many years earlier. A mature work, from a mature playwright! The new RSC Modern Library editions of the plays of Shakespeare are a quality trade paperback edition of the works of the Bard. “The Tempest” in the series contains an engaging Introduction by Jonathan Bate. It explores some similarities between Shakespeare’s work and Marlowe’s “Dr. Faustus” that I had never before considered. In addition, it engages the debate about the New Historicist reading of this play, a reading I have never favored. This edition includes an essay on the performance history of the piece, and interviews with a prominent directors (Peter Brook, Sam Mendes and Rupert Goold). It will be of special interest to those who enjoy exploring the multitude of interpretations “The Tempest” lends itself to. The Modern Library edition also includes a scene-by-scene analysis, which can help point out an image or symbol you might have missed. The edition also includes a nice “Further Readings” list specifically for this play. Frankly, all of the extra essays allow you to dive into the world of the play, and it is all included in one text. The RSC Modern Library editions are a nice new trade paperback with worthwhile extras. They are a good addition to the editions of Shakespeare out there. These and the Pelican Shakespeare are my two favorites.

  24. 5 out of 5

    Manny

    I might as well admit I don't understand what it's about - it's still absolutely gorgeous to listen to. Here are my three favourite bits. Bronze goes to what's generally considered Shakespeare's farewell to the dramatic arts:... Now I want Spirits to enforce, art to enchant, And my ending is despair, Unless I be relieved by prayer, Which pierces so that it assaults Mercy itself and frees all faults. As you from crimes would pardon'd be, Let your indulgence set me free.Silver to the following, surely on I might as well admit I don't understand what it's about - it's still absolutely gorgeous to listen to. Here are my three favourite bits. Bronze goes to what's generally considered Shakespeare's farewell to the dramatic arts:... Now I want Spirits to enforce, art to enchant, And my ending is despair, Unless I be relieved by prayer, Which pierces so that it assaults Mercy itself and frees all faults. As you from crimes would pardon'd be, Let your indulgence set me free.Silver to the following, surely one of the most brilliant lyrical passages in the English language:Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself, Ye all which it inherit, shall dissolve And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep.And I'm afraid I have to give gold to my all-time favorite stage direction:PROSPERO discovers FERDINAND and MIRANDA playing at chess.I know that isn't very rational. But The Tempest isn't a very rational play.

  25. 5 out of 5

    Yani

    Relectura septiembre 2017* Reseña de 2014 "No tengáis miedo; la isla está/ llena de ruidos,/ sonidos y aires dulces, deliciosos,/ que no lastiman./ Algunas veces tañen/ mil instrumentos y me ronronean/al oído; otras me vienen voces [...]" Siento que cuando reseño a Shakespeare me vuelvo repetitiva. Cada obra es interesante, única, atrapante… Y sí, “desopilante” también, sobre todo si tomamos en cuenta que hasta en las tragedias hay escenas en donde los payasos de la obra hacen de las suyas. Relectura septiembre 2017* Reseña de 2014 "No tengáis miedo; la isla está/ llena de ruidos,/ sonidos y aires dulces, deliciosos,/ que no lastiman./ Algunas veces tañen/ mil instrumentos y me ronronean/al oído; otras me vienen voces [...]" Siento que cuando reseño a Shakespeare me vuelvo repetitiva. Cada obra es interesante, única, atrapante… Y sí, “desopilante” también, sobre todo si tomamos en cuenta que hasta en las tragedias hay escenas en donde los payasos de la obra hacen de las suyas. The Tempest es un entrecruce definitivo (digo "definitivo" porque recuerdo lo que sucede en Hamlet, por ejemplo) entre la realidad de una Corte y lo sobrenatural que interrumpe. En este caso, la magia es crucial. Todo ocurre en una isla. Hay un barco que naufraga por culpa de una tormenta que no se desató naturalmente, sino que fue conjurada por un mago llamado Prospero, que habita la ya mencionada isla junto con su hija Miranda, el esclavo Caliban y otros seres curiosos. Prospero tiene un particular interés por un grupo de los tripulantes del barco, formado por el rey de Nápoles y el duque de Milán, entre otros. Los motivos no los contaré, a pesar de que se dan al principio, porque la explicación que da el propio hechicero es muy linda. Deja varios temas para pensar, como la condición de Caliban, el poder, el amor y la renuncia. No se tratan de la misma manera en todas las obras de Shakespeare, según mi parecer, y se nota que es una de las últimas que creó. El lenguaje tiene mucho peso, al igual que las acciones en sí mismas. Los personajes (que son quienes las llevan a cabo, a veces involuntariamente) de The Tempest pueden no caer bien, pero se prestan para el análisis y a mí me encanta todo aquello que me dé algo para hablar. Me hubiera gustado la presencia de más personajes femeninos, aunque debo reconocer que el contraste entre Miranda y Sycorax resulta de lo más interesante. Y si en esta calificación falta una estrella, la culpa es de algunos personajes con interacciones que no me causaron gracia (y creo que hasta sobraban…) y de un argumento que no me fascinó del todo. Una relectura podría servir. The Tempest se reúne con otras obras de Shakespeare en el pedestal de las mejores, pero confieso que, de las que leí este año, me gustaron más Julius Caesar y Hamlet. Aun así, cumplió con mis expectativas. (*) Le tuve que agregar una estrella a la calificación porque me gustó muchísimo más que antes. Puede que no sea perfecta o maree con sus personajes (algunos no sé ni para qué están), pero no me importó.

  26. 5 out of 5

    Puck

    “We are such stuff as dreams are made on, and our little life is rounded with a sleep.” The last time I read a Shakespearean play was in High School: not because I had to for class, but because the author gave a character in one of his plays my name (and oh joy: Puck the Fae was as small and twiggy as I was in my teens). This time the bad autumn weather was the reason for me picking up Shakespeare again, and where Richard III and Macbeth are filled with dramatic tension, the Tempest surprised “We are such stuff as dreams are made on, and our little life is rounded with a sleep.” The last time I read a Shakespearean play was in High School: not because I had to for class, but because the author gave a character in one of his plays my name (and oh joy: Puck the Fae was as small and twiggy as I was in my teens). This time the bad autumn weather was the reason for me picking up Shakespeare again, and where Richard III and Macbeth are filled with dramatic tension, the Tempest surprised me by its humoristic situations and interesting themes. The Tempest is a busy play: after a heavy storm (created by Prospero, magical man of mystery and the true duke of Naples) drops a boat packed with lots of characters on a tiny island, everyone sets out to reach their own goals. Prospero wants to get revenge on his usurping brother and the Royal Court, Ferdinand wants to woo this girl he just met, Stephano and Trinculo want to get roaring drunk, and Caliban…Caliban and Ariel want to be free, god damnit! Being a (magical) slave for twelve years to an authoritarian, self-centered wizard is no one's idea of fun. So many people, so many wishes: hilarious misunderstandings and sneaky schemes are bound to happen. Besides that this play has, as we know from Shakespeare, great characters, witty dialogues and wordplay, and some very interesting themes playing in the background. Themes such as betrayal, forgiveness, and the bond between master and slave. Only look at the relationship between Ariel, Prospero, and Caliban. Prospero is the human master of the spirit Ariel and the ‘savage’ Caliban, but the last two behave more in a human manner than their master. And since Prospero loves to study so much and to teach his daughter, and the audience, about the important things in life, why doesn’t he educate his servants in the same way? Is it any wonder that Caliban and Ariel grow so bitter and rebellious? The older this play gets, the more colonial or Darwinian interpretations of the Tempest come up, making this a fascinating play to discuss with your class, theatre friends, or reading group. So while the Tempest isn’t as thoughtful or dramatic as Macbeth or Hamlet, the questions the play raises are serious enough. Still, those heavy questions never get the upper hand so that we can freely laugh about the adventures Prospero, Ferdinand, and Stephano get into. Overal I'd give the play 3,5 stars, but since I enjoyed reading it so much, I round it up to 4.

  27. 4 out of 5

    Whitney Atkinson

    I read this in one day. It wasnt horrible, im just nervous because I have a test over it on friday and I have noooo clue what the theme or anything is because it seemed kinda flat. time to sparknotes an analysis

  28. 5 out of 5

    Fernando

    “La tempestad” es la última obra que escribió William Shakespeare. Se estrenó en 1611, cinco años antes de morir a los 52 años de edad. Sólo tengo cuatro de sus libros, “Macbeth” (mi preferido), “Hamlet”, “Rey Lear” y éste y están en mi biblioteca precisamente por el tipo de temáticas que tocan. Sus comedias no me llaman mucho la atención y tal vez sólo leería “Sueño de una noche de verano” u “Otelo”, pero nada más. Amén de esto, es obvio que me deshago en elogios ante semejante genio literario. Est “La tempestad” es la última obra que escribió William Shakespeare. Se estrenó en 1611, cinco años antes de morir a los 52 años de edad. Sólo tengo cuatro de sus libros, “Macbeth” (mi preferido), “Hamlet”, “Rey Lear” y éste y están en mi biblioteca precisamente por el tipo de temáticas que tocan. Sus comedias no me llaman mucho la atención y tal vez sólo leería “Sueño de una noche de verano” u “Otelo”, pero nada más. Amén de esto, es obvio que me deshago en elogios ante semejante genio literario. Esta obra contiene todos los elementos del cuento fantástico que tantos autores escribieron siglos después que él, porque posee intriga, conspiraciones, traiciones, hechicería y humor. Me encanta el personaje de Próspero. Me recuerda al Dr. Strange de los Avengers con sus poderes de hechicero, capaz de convocar espíritus (como el de Ariel) y de manejar la realidad de los otros personajes a su voluntad. Además, me siento identificado con él a nivel personal. Lo que le sucede tan pronto comienza la historia también lo sufrí yo. En el medio, desfilan una serie de pintorescos y extraños personajes como Trínculo, Caliban y Estéfano, y por supuesto, aparecen los villanos como Antonio, Alonso y Sebastián. De este libro surgen algunas de las frases más hermosas de Shakespeare como "¡El Infierno está vacío y todos los demonios están aquí!" y "Somos del material del que están hechos lo sueños, y a nuestra poca vida la rodea un dormir." Y de un diálogo del personaje de Miranda surge la frase "Brave new world" de donde Aldous Huxley toma el título de su libro conocido en español como "Un mundo feliz". En resumidas cuenta, “La tempestad” es una agradabilísima obra de Shakespeare a quien nunca se le puede puntuar por debajo de las cinco estrellas.

  29. 4 out of 5

    Luís C.

    Frankly the title has long pushed me to read this play, I expected to find stories of the kind where the storm rises and sailors must simply face it... The storm here is an entity to full respect of the past that rises from the ashes of this that moves as the storm itself and the future which is the sum of a thirst for revenge and the interpellation to indulgence... Behind the tempest hides a story, that of Master Prospero, master because he is not only the supreme chief of the island but he is Frankly the title has long pushed me to read this play, I expected to find stories of the kind where the storm rises and sailors must simply face it... The storm here is an entity to full respect of the past that rises from the ashes of this that moves as the storm itself and the future which is the sum of a thirst for revenge and the interpellation to indulgence... Behind the tempest hides a story, that of Master Prospero, master because he is not only the supreme chief of the island but he is also the possessor of nature, he dominates over beings and spirits, to generate a storm, in complicity of his humble servant Ariel, a spirit can incarnate in any visible or invisible thing. Behind this tempest, Prospero is the master of the game, he pulls the strings as he pleases, he moves the men, the spirits the waves like pawns that must all fall into his basket of vengeance. Banished with his daughter from Milan by his own brother and thrown like a traitor in a makeshift boat at sea, Prospero entrenched himself in this isolated island where he waged a fierce struggle with the winner Sycorax Island... While the king's ship, with all its subjects is at sea, Prospero raises a storm and let the ship be wrecked so find themselves shipwrecked on his island and he starts to run all his plans designed with delicacy... Prospero, the master of the game, divides the shipwrecked according to his objectives, in particular trains each to reveal his true nature, so one discovers of the treachery, the evil spirit of the crime, the history of the banishment of Prospero ... love too ... everything is revealed before the king ... like all the games of our master allowed each character to look in a mirror and make a retrospection.

  30. 4 out of 5

    Geoff

    I've not written much of anything about Shakespeare's individual plays for GR, mostly because the in-depth reading I did of them was a long time ago (my senior dissertation in college was on Hamlet)- but I can't let such a wondrous piece of writing as The Tempest go unremarked upon. It is thought to have been written around 1610, that is, around 400 years ago, and also thought to be Shakespeare's final play- there are subtle textual biddings-adieu from the Bard throughout- and to my mind, it is, I've not written much of anything about Shakespeare's individual plays for GR, mostly because the in-depth reading I did of them was a long time ago (my senior dissertation in college was on Hamlet)- but I can't let such a wondrous piece of writing as The Tempest go unremarked upon. It is thought to have been written around 1610, that is, around 400 years ago, and also thought to be Shakespeare's final play- there are subtle textual biddings-adieu from the Bard throughout- and to my mind, it is, centuries on, one of the most beautiful and profound documents of what might be accomplished with the English language. It is a play situated between worlds- between ocean and land, between dream and waking, between magic and realism, between the New World and the Old (copious metaphors dealing with the emerging idea of America, as it morphs into a Thing in the European consciousness, can be found punctuating everywhere the text)- it is a play about the simplest, most broad subjects, which, nicely for playwrights, are yet the most complex- love, family, mortality, political intrigue, the mystery of undiscovered places, the shadowy regions of the world and the imagination, the reckoning with the unknown- it contains grotesqueries such as Caliban and Sycorax, as well as beauties such as Miranda and Ferdinand, there is the tree-sprite Ariel (whom I think of often whenever I walk in the woods), whose purpose is to make games of our low human destinies, and there is Prospero, lord and sorcerer of our island, which is of course our stage, and he the Bard of it, and there is even a most famously minimal appearance by a Boatswain- showing that even those minor players make their worldly impact. Mostly, there is Magic, Fate, Time, Destiny, Freedom- the eternal riddles, summed and totaled forever in the body of work of Shakespeare, a body of work timeless and inexhaustible, that found its last place of dwelling here, washed up on the shores of a weather-beaten island where the wicked and the virtuous enact one more fantastical drama, which ends, so appropriately, with a gradual convergence of all souls, with all being released from the bonds which have shackled their existences in this desolate place, and the promise of departure to New Lands, or departures home, and the drowning of a Book coupled with the promise of another story yet to be told, offstage. It is an example of metafiction, which has always been with us, as you well see. It reckons with the darkness or goodness of our souls, and how that moves within us and makes us live, and comes to the unspeakably important conclusion that in the end it is forgiveness that allows us to move unfettered toward the ones we love, toward the places we might yet be free, even if they be across storm-wracked oceans of time...

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