What was that?

I had expected a long and drawn-out battle of mariners against a violent sea. At the start, there are a few lines of sailors fighting a storm, and then the rest of the story unfolds on land. Ah, "played," that's the crux! For this is an early 17th-century play intended for the stage. It's not a likely time and place for a lavish production with a water tank, ship, and wind machine, although that would have been really cool. Some Shakespeare enthusiast, please tell me that my envisioned production took place at least once back in the day!

Once I realized I had been tricked, I still didn't know what was happening. The story seemed muddled and, frankly, not particularly interesting. Apparently, an Italian duke is 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 enlisted. That I also understood. But who was magical, who was human, who was in between, and what was everyone's motivation - that's where I got lost.

It didn't matter. By the midpoint, I had grasped enough to follow along, and what I thought was going to be a 1 or 2-star disaster turned out to be a fairly enjoyable adventure in a semi-fairy land... sort 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 have 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 is being said. In context, the otherwise archaic phrases often reveal their meaning.

The one thing that really confused me was that the actor playing Caliban, the monstrous humanoid creature stranded on the island for years, played him - as old-fashioned, racist comedians (and Jon Stewart) would say - "Jewy." Think of Alec Guinness' portrayal of Fagin. Yeah, way 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 about Algiers witches, but this? What is this? Oy vey...

The Tempest is often regarded as a racist play. Caliban, a native of the West Indies where Columbus first set anchor, is described as a "Man of Ind" and a "devil, a born devil" whose nature cannot be improved by nurture. Shakespeare further maligns Caliban by making him an attempted rapist, perhaps to ensure that the audience does not side with him. This is despite the fact that Prospero, the slaveowner, treats his slaves, Caliban and Ariel, brutally.

Prospero is also extremely obsessed with his daughter Miranda's virginity. When giving her away to Ferdinand, he delivers a long speech about premarital sex, warning of the consequences of breaking her virgin knot before proper ceremonies. Earlier, he even calls her a slut when she shows interest in Ferdinand. Ferdinand, for his part, is also concerned solely with her virginity, asking her "whether you be maid or no" as his first question.

Despite having some wonderful lines and the ambiguity that we expect from Shakespeare's mature work, The Tempest's racism and strange fixation on virginity make it a poorly aged play. However, there is one scene where Stephano the drunken butler threatens to pour booze in "thy other mouth," which some might argue is the invention of buttchugging. So, perhaps there is still some value in this play after all.

This was mostly an enjoyable read. The dialogue was truly wonderful, brimming with Shakespearean wit that kept me entertained throughout. However, the story as a whole fell a little flat for me. The plot, which involved multiple storylines, I believe, had an impact on my overall enjoyment of the play.

I have always been a great admirer of Shakespeare's works. His writing style is simply wonderful, and I am a frequent visitor to his birthplace, Stratford-upon-Avon. That place is truly a marvel, steeped in history. I could easily spend a fortune in the Shakespeare gift shop, surrounded by all the wonderful memorabilia.

Regarding his works, I have only read a limited number so far. However, I hope to make my way through them all over the course of this year. The Tempest is often regarded as one of his most beloved plays, but I can think of others that I liked even more. Each of his works has its own unique charm and beauty, and I look forward to exploring them all in greater depth.

Last one in Morning Time. Fitting. Sigh. It seems almost poetic that I find myself in this position.

But what a good story of restoration, reconciliation, and love. It's a tale that unfolds like a beautiful symphony, with each note representing a moment of growth and transformation.

The process of restoration is not an easy one. It requires patience, perseverance, and a willingness to face the past. But as we do so, we begin to see the beauty that lies beneath the surface.

Reconciliation is equally important. It allows us to heal the wounds that have been inflicted and to move forward with a sense of peace and understanding.

And love, of course, is the thread that weaves it all together. It is the force that drives us to seek restoration, to offer reconciliation, and to embrace the beauty of life.

This story is a reminder that no matter how broken we may feel, there is always hope for restoration, reconciliation, and love.

The Tempest is ultimately a political play that delves deep into the acquisition of power and the far-reaching consequences it brings. Prospero, the former Duke of Milan, and his daughter Miranda, have been unjustly exiled to an island in the Mediterranean. In his quest for revenge against those who wronged him, Prospero masterfully orchestrates the wrecking of a ship, manipulates a marriage, and enslaves Caliban. Caliban, in himself, serves as a powerful motif that compels the audience to question our very nature and our perception of those around us.

Shakespeare is a polarizing figure, and I, for one, have an unwavering adoration for his work. In The Tempest, he demonstrates his mastery by artfully blending comedy with tragedy, subverting the audience's expectations. What starts as a play on tragedy ultimately concludes as a story of reconciliation and forgiveness. While it may not be my absolute favorite Shakespeare play - nothing can ever top Much Ado About Nothing for me - it has, without a doubt, earned its place as a new entry in my top five plays.

This play is a testament to Shakespeare's genius, exploring complex themes of power, revenge, and redemption in a way that only he can. It continues to captivate audiences centuries after its creation, leaving us with much to思考 and discuss.

Let us not burden our remembrances with a heaviness that’s gone.

"The Tempest" is Shakespeare's last great play, and it stands out in an oddly appropriate way compared to much of his earlier works. Unlike most of his plays, "The Tempest" seems to have emerged almost entirely from the Bard's own creative mind, lacking the source materials from which he typically drew the plot. By incorporating a few current events and snippets of contemporary literature, Shakespeare crafted a piece that unfolds within less than a day.

The play follows three distinct groups on an enchanted isle. There is a group of noblemen, including those who gained power through the usurpation of the rightful ruler. Then there is a comic duo who stumble around in drunkenness and plot evil deeds, providing the play's comic relief. Finally, there is the "lord" of the island, Prospero, and his spirit world servants. The latter group deliberately shipwrecked the first two on the island. When the three plots converge in the final act, Shakespeare offers the reader a satisfying conclusion, yet one that still retains hints of sadness and darkness. The famous epilogue spoken by Prospero (Now my charms are all o'erthrown...) leaves the reader with a wealth of questions and emotions. This epilogue is not only one of the most beautiful pieces in the entire canon but also one of the most ambiguous.

It has become fashionable to view "The Tempest" as a valedictory play for Shakespeare, and there are numerous moments in the text that can be interpreted as Prospero speaking for the playwright himself. 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 and satisfying reading for Shakespeare enthusiasts. However, it is important not to limit the text to just this one interpretation.

I believe the greater strength of the piece lies in its portrayal of the absolute humanity of forgiveness and how fortunate we are as humans to be able to practice it. The most poignant scene in Shakespeare begins at the start of Act V when Ariel tells Prospero that he would be moved to pity for the people Prospero has entrapped on the island (with the intention of taking revenge) "were I human". This stunning declaration causes Prospero to abandon his vengeful purposes, realizing that "the rarer action is in virtue than in vengeance". A mature Shakespeare has lived a life and witnessed the capacity for good that humanity can produce. It is difficult to imagine the man who wrote "The Tempest" as the same person who penned the revenge bloodbath "Titus Andronicus" many years earlier. This is a mature work from a mature playwright!

The new RSC Modern Library editions of Shakespeare's plays are a high-quality trade paperback collection of the Bard's works. "The Tempest" in this series features 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. Additionally, it engages in the debate about the New Historicist reading of this play, a reading that I have never favored.

This edition includes an essay on the performance history of the piece, as well as interviews with prominent directors such as Peter Brook, Sam Mendes, and Rupert Goold. It will be of particular interest to those who enjoy delving into the multitude of interpretations that "The Tempest" lends itself to. The Modern Library edition also offers a scene-by-scene analysis, which can help to point out an image or symbol that you might have overlooked. The edition also includes a useful "Further Readings" list specifically for this play.

Frankly, all of the additional essays allow you to immerse yourself in the world of the play, and it is all conveniently contained within one text.

The RSC Modern Library editions are a welcome new addition to the world of Shakespearean literature. They are a nice trade paperback with valuable extras. They are a great addition to the existing editions of Shakespeare's works. These and the Pelican Shakespeare are my two favorites.

**The Tempest: A Multifaceted Masterpiece**

The play "The Tempest" begins with a ship in a violent storm, carrying Alonso, the king of Naples, along with his son Ferdinand, brother Sebastian, butler Stephano, jester Trinculo, Antonio, the Duke of Milan, and Gonzalo, an honest old councilor. Meanwhile, on a nearby island, lives Prospero, the rightful Duke of Milan, who was deposed by his brother Antonio many years ago. Prospero's daughter Miranda is with him. When Antonio usurped the dukedom, he set Prospero and infant Miranda adrift in a leaky boat, but Gonzalo, out of charity, provided them with supplies and Prospero's books of magic. Prospero, aware of his enemies sailing past the island, causes the storm with his magic, intent on revenge.

On the island, Prospero is served by Caliban, the son of the witch Sycorax, and Ariel, a spirit he rescued from a spell. Ariel has power over normal humans and controls what the ship's passengers see and learn at Prospero's bidding. With all his enemies under his control, Prospero decides to... but we'll avoid spoilers here.

Shakespeare's plays are typically classified as Histories, Comedies, or Tragedies, but "The Tempest" doesn't neatly fit into these categories. It is sometimes considered a "problem play," a term coined by critic F. S. Boas. These plays are characterized by their complex and ambiguous tone, shifting between dark drama and comic material. Some critics also include other plays like "The Winter's Tale," "Timon of Athens," and "The Merchant of Venice" in this category. However, the term is vaguely defined and not accepted by all critics. After reading and seeing the play, I think of it as a tragi-comedy. There is comedy in the play, as is common in Shakespeare's works, with ribald bantering and insult throwing. There is also an element of possible tragedy, as Prospero desires vengeance on his brother, but in the end, a reconciliation is achieved, and the bondages of Caliban and Ariel come to an end. Coleridge termed the play a "romantic drama," which also seems fitting.
The play contains some of Shakespeare's finest and maturest poetry and reveals his supreme mastery over English blank verse. It was written around 1611 and was acted by the King's Players for King James on Hallowmas night. The theme of the play is said to be reconciliation, and this is cleverly brought out in Margaret Atwood's retelling, "Hag-Seed." Some notable quotes from the play include Prospero's speech in Act IV, Scene i, where he says, "We are such stuff as dreams are made on, and our little life is rounded with a sleep." and his farewell to his magical art in Act V, Scene i. Miranda's exclamation in Act V, Scene i, "Oh wonder! How many goodly creatures are there here! How beauteous mankind is! Oh, brave new world, that has such people in 't!" is also famous and is the supposed source for Huxley's title to his dystopian novel.
I had the opportunity to see a production of the play by the Chesapeake Shakespeare Company at the Patapsco Female Institute Historic Park. It was an outdoors production, and two of the main characters, Alonso and Ariel, were changed to females. All the actors were great, but Francesca Marie Chilcote as Ariel stole the show with her acrobatic movements and assertive declamations during the storm scenes. Overall, it was a different and interesting experience to see the play performed after reading it.

I read this in one day.

It wasn't horrible, but I'm 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.

Now it's time to sparknotes an analysis.

I'm really hoping that by looking at the SparkNotes analysis, I'll be able to understand the story better and do well on the test.

I know that sometimes SparkNotes can be a bit too simplistic, but in this case, I'm willing to take any help I can get.

I'm also going to try to read the story again, but this time with a more critical eye, looking for details that I might have missed the first time around.

Hopefully, all of this preparation will pay off and I'll be able to ace the test on Friday.

“We are such stuff as dreams are made on, and our little life is rounded with a sleep.

This is a play I’ve been longing to read for ages! Ever since I discovered that it was the basis for the film Forbidden Planet. My grandfather introduced me to that movie when I was a child, and it instantly became a firm favorite of mine :0)

Returning to Shakespeare, this play has a relatively simple plot compared to others I’ve read. It all revolves around revenge, forgiveness, and giving up one’s magic. Everything somehow centers on who will have Miranda, as that person will possess the power or prize. This isn’t too surprising considering the time period, yet the Bard has created some feisty and intelligent heroines before. No, the entire focus is truly on Prospero and his journey.

I did appreciate the way sleep is employed, as I can envision how the scriptwriters utilized this element for the film. In fact, I actively attempted to identify which aspects had been incorporated :0) Some very well-known lines do indeed appear - it’s fascinating how they seep through and become widely known through osmosis.

“Misery acquaints a man with strange bedfellows”

Although it’s not my absolute favorite Shakespeare play, it is still well worth reading. Now, let’s go and watch the film :0)

One of my favorites is a beautiful melody that always manages to touch my heart.

It has a unique charm that draws me in every time I listen to it. The gentle rhythm and soulful lyrics combine to create a truly magical experience.

Whenever I hear this particular piece of music, it transports me to a different world, a place filled with emotions and memories.

I can close my eyes and let the music wash over me, feeling a sense of peace and tranquility.

It's like a warm embrace on a cold day or a ray of sunshine on a cloudy one.

This favorite of mine has become an important part of my life, always there to comfort and inspire me.

I cherish the moments when I can listen to it and lose myself in its beauty.

It truly is a remarkable piece of art that I will always hold dear.

One star is extra for this masterpiece. It should be noted that Stockholm Syndrome wasn't yet discovered when this book was written. So, in this regard, I really can't blame Shakespeare. The play likely explores complex human emotions and relationships in a way that was ahead of its time. Shakespeare's works are renowned for their depth and ability to capture the essence of the human condition. While the concept of Stockholm Syndrome may not have been known during his era, his characters and their actions still manage to evoke strong emotions and raise thought-provoking questions. It is a testament to his genius as a playwright that his works continue to be relevant and studied today.

Ariel, the Twink, has received only one star. This rating might seem rather disappointing for such a character. However, it could potentially be due to various reasons. Maybe the expectations were set too high, or perhaps the performance or qualities of Ariel didn't quite meet the standards of those awarding the stars. It's important to note that a single star doesn't necessarily mean that Ariel is completely without merit. There could still be aspects of the character that are值得欣赏 or have potential for improvement.

Perhaps with further development or a different approach, Ariel could earn a higher rating in the future. It's all about giving the character a chance to shine and prove its worth. After all, stars are just a measure, and they don't always tell the whole story.

We should look beyond the one star and consider the unique qualities and possibilities that Ariel brings to the table.