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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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