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TABLE OF CONTENTS
Preface
The Tempest 3
A Note on the Text 78
Sources and Contexts
Magic and Witchcraft 85
[Medea] 85
Oration on the Dignity of Man 86
[Friar Bacon's Magical Exploits] 88
[An English Conjuror on the High Seas] 89
[How to Enclose a Spirit] 89
Politics and Religion 91
Isaiah XXIX 91
Virginia's Verger 93
[Master Strokes of State] 95
Geography and Travel 97
Primaleon of Greece 97
[A Mediterranean Storm] 99
A Map of Tunis and Carthage 101
[A Voyage to the Patagonians] 102
[An Atlantic Storm] 105
[The Cannibals of Brazil] 107
[Storms and Strife in Bermuda] 110
The Seaman's Dictionary 115
Criticism
[The Character of Caliban] 119
[The Magic of The Tempest] 119
Notes on The Tempest 121
Shakespeare's Treatment of the Marvellous 125
[Some Notes on The Tempest] 127
[Surrendering to The Tempest] 131
Shakespeare's Final Period 134
[Prospero's Lonely Magic] 137
A Chart of Shakespeare's Dramatic Universe 141
[Art vs. Nature] 142
A Monster, a Child, a Slave 148
Prospero, Agrippa, and Hocus Pocus 168
Music, Masque, and Meaning in the Tempest 187
Prospero's Wife 201
Shakespeare's Virginian Masque 215
Prospero and Caliban 233
The Tempest's Tempest at Blackfriars 250
Conquering Islands: Contextualizing The Tempest 265
The Blue-Eyed Witch 286
Rewritings and Appropriations
Drama and Film
The Sea Voyage 301
The English Traveller 305
The Enchanted Island 308
The Mock-Tempest 312
Raising the Wind 315
A Tempest 321
Prospero's Books 325
Poems
With a Guitar. To Jane 332
Caliban upon Setebos; or Natural Theology in the Island 335
At the Top 337
The Spirit Ariel 338
By Avon River 339
Snapshots of Caliban 342
Calypso for Caliban 343
Go Ariel 347
Ariel Freed 348
Setebos 349
Selected Bibliography 351
Ã¥¼Ò°³
Shakespeare's last play seems unusually elastic, capable of radically different interpretations, which reflect the social, political, scientific or moral concerns of their period. This edition of The Tempest is the first dedicated to its long and rich stage history. Drawing on a wide variety of sources, it examines four centuries of mainstream, regional and fringe productions in Britain (including Dryden and Davenant's Restoration adaptation), nineteenth- and twentieth-century American stagings, and recent Australian, Canadian, French, Italian and Japanese productions.
In a substantial, illustrated introduction Dymkowski analyses the cultural significance of changes in the play's theatrical representation: for example, when and why Caliban began to be represented by a black actor, and Ariel became a man's role rather than a woman's. The commentary annotates each line of the play with details about acting, setting, textual alteration and cuts, and contemporary reception.
With extensive quotation from contemporary commentators and detail from unpublished promptbooks, the edition offers both an accessible account of the play's changing meanings and a valuable resource.
--- FROM THE PUBLISHER
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