Never had I read Shakespeare out of fear, out of the fear of not being able to read it like any novel because it is written as a libretto for the theater. But one day I plucked up the courage...not with Romeo and Juliet, not with Hamlet, but with The Tempest. Why? Let's see...witches, imprisoned genies, monsters, evil kings...shut up and take my time!

From what little I know, in Shakespeare's works there are always envious, impulsive, imposing, violent, traitorous and vengeful characters, portraying through his works the character of the human being, his basest passions, his ambition, his fears, his limits. But apart from that, I think this work from the early 17th century also alludes to the expeditions undertaken by many European countries to new worlds and to the conquests, slavery and the importance of forgiveness.

Apart from all that, this work is very funny, short and not at all difficult to read. It offers a unique and captivating world that draws the reader in and makes them want to explore more of Shakespeare's works.

Spoiler alert. Which seems really funny to do with a play over 400 years old.

Shakespeare's works have endured through the ages, and "The Tempest" is no exception. This play is filled with complex characters, rich language, and profound themes.

Prospero, the deposed Duke of Milan, has been through a great deal. Sent out to sea with his young daughter Miranda in a leaky boat, he has managed to survive on an island with the help of a savage, Caliban, and the spirit Ariel. Through his magic, Prospero has taken control of the island and plots his revenge against those who wronged him.

Caliban is an interesting character. He sees himself as the rightful king of the island and resents Prospero's dominance. His relationship with Prospero is complex, and his desire for Miranda adds another layer of tension to the story.

The play also explores themes of power, revenge, and forgiveness. Prospero's thirst for revenge is palpable, but in the end, he chooses to forgive his enemies and break his staff, symbolizing his放弃 of magic and his desire to return to a more peaceful life.

As always with Shakespeare, there is much to analyze and discuss in "The Tempest." The play's language is beautiful and poetic, and the characters are vividly drawn. Whether you are a Shakespeare enthusiast or a newcomer to his works, "The Tempest" is well worth reading and studying.

So, take the time to explore this classic play and see what it has to offer. You may be surprised by what you discover.

What I truly love about The Tempest is the enchanting magical isle. It is filled with airy spirits that seem to dance in the wind, adding an otherworldly charm to the story. And then there is Caliban, the earthy and somewhat brutish character, who brings a different kind of depth.

Moreover, the play offers some remarkable and thought-provoking commentary on various aspects such as politics, colonialism, and the never-ending human ambition. It makes us reflect on the complex nature of power and the consequences of our actions.

However, it's quite easy to forget, when I'm not immersed in reading it, just how much of the play consists of some dudes being rather unpleasant and assholes. Their actions and behavior add a layer of conflict and drama that keeps the story engaging and full of surprises.

Overall, The Tempest is a rich and multi-faceted work that continues to captivate audiences with its unique blend of magic, commentary, and complex characters.

Traditionally, critics praise this last play of the great dramatist Shakespeare for its non-traditional resolution. In the play, instead of bloody revenge, the heroes - the usurper and the former ruler who has lost power and privileges, as well as those who attempted murder and their potential victim - achieve truly Christian forgiveness and peace. Even the wild and fierce Caliban is punished very mildly. In my opinion, this is a simplified interpretation, an interpretation from the position of "legality of power", assuming the inviolability of this right, as well as the right of the stronger to rule new, colonized territories. In my opinion, Shakespeare is completely on the side of Prospero, considering his rights to the Milanese throne and the colonization of the island, and accordingly, the enslavement of Caliban and Ariel is unwavering, so to speak, sacred. It is believed that the basis of this opinion is that, according to many studies of the dramatist's work, the short length of this play was due to its staging at the royal court. Therefore, it can even be assumed that this play has a conjunctural character.

Another confirmation of the opinion that Shakespeare gave Prospero a special right to power, both in Milan and on the island, is that among the human characters, except for Sycorax, only he has the power of magic and has the attributes of a sorcerer, such as a magic cloak. Additionally, none of the heroes, except Prospero, has any influence on anything or anyone. With the power of his supernatural abilities, Prospero drives the entire plot and all the actions of the heroes.

In my opinion, the heroes of this play are rather superficial and unnatural. Can we believe that the usurper, who treacherously stole the throne, easily gives power back to the former ruler, when in the course of the play he prompts Sebastian to kill his brother, that is, his treacherous inclinations have not disappeared anywhere? Can we believe that the former ruler completely forgives the usurper without any doubts and suspicions? In general, does this correspond to human nature?

I believe that the wild Caliban cannot be identified with the colonized population of the island, because he is the son of Sycorax, who was exiled from Algiers, that is, he is a colonizer who preceded Prospero and who has passed from the status of a colonizer with exactly the same claims to the legality of his rights to the island to the status of a slave, and not only does heavy work, but also has a foreign language imposed on him, and is treated harshly, for example, dogs are set on him. Yes, he is uneducated, rough, wild, tried to rape Miranda to "people the island with Calibans", but this does not justify not only physical but also cultural enslavement. Rather, Ariel can be considered a representative of the indigenous population of the island. He was once subjugated by Sycorax, and he is the one who deserves all kinds of sympathy, having been subjugated twice by the colonizers. It turns out that colonization is legitimate for those who have more power.

Shakespeare made Miranda somewhat contradictory. On the one hand, she is completely subordinate to the control and will of her father, and in this lies her subordinate position. He can put her to sleep when he needs to, he sets her the requirement of virginity before marriage, she is unconditionally subordinate to the despotic father. But it is also true that she hints to Ferdinand that he should make her a proposal, encourages him to do so, and she can do traditionally male work, carrying logs. Despite the contradiction of her nature, she is still a naive girl who has not seen life and has fallen in love with the first man she met in her life.

The relationship between Miranda and Caliban was considered by Faulkner in "The Collected Works". After reading "The Tempest", his interpretation does not seem to me to correspond to what is happening in his cult novel. Miranda in Shakespeare is not as experienced and refined as Miranda in Faulkner. It is precisely in Shakespeare that Miranda is "wild", a girl who has not seen men. Miranda in Faulkner knows her worth, she has a very high opinion of herself. Caliban in both Shakespeare and Faulkner is an outcast, but their alienation from society is different. In Caliban, it is imposed from the outside, it is associated not just with the defeat of rights, but with enslavement by the stronger. And in Faulkner, it is associated with society's non-acceptance of the mentally unhealthy inclinations of his nature, with a subconscious fear of him.

A new favorite for me. This was my first time reading this, and I was instantly captivated by it and the atmosphere Shakespeare is creating.

Power and control - perhaps the main themes. The language propels this play forward with elegance.

These are not pleasant themes, mind you. But in the moment, they flow. And there is probably something of a, well not exactly autobiographical, but a sharing of the life as a stage-director. This was one of Shakespeare's last plays (and the first in the First Folio), and it's often regarded as a send-off. Prospero controls everything. He uses magic to control spirits, the weather, the one native on his island, his enemies, even his daughter, Miranda, and at one point the gods themselves. He creates some magnificent things. But everything has to go as planned. (As Harold Bloom put it, time is his only real antagonist). He is, if you look at it this way, the stage director controlling all the other characters. It's rewarding, yet stressful and very frustrating when characters fail to act as he needs them to. And, oddly, it's apparently ultimately unrewarding. Prospero has a change of heart at the end, and maybe, a sense of guilt. Well, tongue-in-cheek guilt, since he gets everything he wants.

Control isn't the only thing that troubles modern viewers. The one native on the island, Caliban, catches the post-colonial, racially sensitive eye. No, he's a big fat finger in that eye. Prospero dominates Caliban like all the others and justifies it with what is essentially a laundry list of Colonialist propaganda against foreign populations. Caliban is impossible. Prospero can educate him, but he can't change his nature, as ugly as his visage, and he can't ever relax his watch. As Caliban unwatched will be lazy, filthy, morally degenerate, quick and obsessive to drink, ready to turn on his master in an instant, and, to cap it all off, once tried to rape Miranda. I felt there was a point where Shakespeare winks and begins to make fun of the colonial stereotype, but I'm not sure. And it's uncomfortable to see this same perspective applied throughout history. I just read James Baldwin‘s No Name in the Street where he is describing his perspective of the then French attitude towards Algerians (in the 1950‘s). The language he cites is disturbing: “unable to civilize”, “couldn‘t trust”, “in a word they were rapists”. It echoes Shakespeare's characterization of Caliban, as does the language of the current American president. It‘s somehow more deeply disheartening with this play in mind.

Not that Harold Bloom minded any of that. I've never read a Harold Bloom essay before this. Here, in the play of most interest regarding this colonial perspective, he simply discards the whole theme as getting away from what Shakespeare meant to say. I know Bloom has big problems, both as a western-centric critic and in his personal life. But, he passed away only last week, just after I read his essay. And so to give him a little credit, I have to say, this essay was excellent. Discarding this element of the play allows him to look into what Shakespeare has done with Caliban, the earth to another character's spirit (Ariel). And he had me rethinking and appreciating this character. Along with Prospero, Caliban makes two distinct and unforgettable characters of Shakespeare's own creation, up there, arguably, with the likes of John Fallstaff, both in this play.

I think it goes without saying that I recommend this one.

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49. The Tempest by William Shakespeare
editor: Burton Raffel (also has an essay by Harold Bloom)
originally performed: 1611 (this edition is 2006)
format: Hardcover
acquired: Library
read: Sep 6 – Oct 13
time reading: 5 hr 33 min, 1.8 min/page
rating: 5

The play "The Tempest" is truly a remarkable work that encompasses a wide range of elements. It has the perfect blend of comedy, tragedy, betrayal, magic, and forgiveness. While it may not be my all-time favorite Shakespeare play, it is still a very engaging and worthwhile read or listen.

The Naxos audiobook recording of "The Tempest" is outstanding, especially with the brilliant Sir Ian McKellen in the role of Prospero. This is my second experience with Shakespeare through the medium of audiobook, and overall, I found it a bit easier compared to my encounter with "Macbeth". However, I did sometimes get the various voices confused, mainly because there are so many men with British accents!

Fortunately, the Royal Shakespeare Company's scene-by-scene summary, which can be found on their website, was extremely helpful in keeping all the characters straight. It has now become my go-to tool for listening to Shakespeare.

All in all, I would rate "The Tempest" 4.25 stars, rounded down. Although it doesn't quite reach the heights of "Macbeth" for me, it is still a delightful and captivating play that I would highly recommend.

Hurricane

A fantasy exhibition that makes use of mythical stories

The story is the very story of the confrontation between good and evil. But with an attractive form and, of course, the excellent translation of Mr. Naziri that has made reading very appealing

Given the type of language and the fact that for the meaning of some words, it is necessary to refer to the end of the book or the Internet

Reading requires a bit more patience

It will be enjoyable at the right time

The island is full of rumors, noises, and sweet scents that delight and do not harm. Sometimes I hear a thousand strings vibrating in a scrape, sometimes voices that, even if I had awakened from a long sleep, would make me fall asleep again...

"The Tempest" tells the story of Prospero, the former duke of Milan, who, having been tricked and left for dead, becomes a kind of magician and master of an island on which his enemies are shipwrecked. Among them are Alonso, the king of Naples, and his brother Antonio. What I liked most were the different romantic, playful, suspenseful, and traitorous actions that follow one another in the work, which, as always when it comes to Shakespeare, are spectacularly assembled at the end of the play. It gives way to tell the story of the island inhabited by the monstrous Caliban, a small romance that I did not entirely like, the loyalty of the good Ariel, and the perfidy of some. An excellent story that perhaps lacks the necessary strength of a tragedy but is still entertaining to read and even more so to perform.

June 9, 2023, 9 pm

I have now completed both the reading and the watching of this play. My overall impression remains somewhat the same. It's not exactly my favorite, but perhaps I'm lacking in some understanding that I should have gained from the reading. However, I do have a great appreciation for all those famous bits of dialogue!

The performance I watched truly delighted me. Roddy McDowall was an outstanding Ariel, and Richard Burton's portrayal of Caliban was a pleasant surprise. To be honest, I had expected him to play Prospero. I'm sure he had a great time in this role, despite the very unusual costume he wore. Oh my, those floppy ears and that huge nose! I would never have recognized him if not for his voice.

Another unexpected delight was Tom Poston as Trinculo. Listed in my character list as a jester, he was played with exaggerated lisping and swooshiness. I only remember Poston as the bumbling handyman on that Bob Newhart show set in Vermont. In this 1960 version of the play, his performance may not have been entirely politically correct, and I highly doubt anyone would play the character in the same way nowadays, but he was truly hilarious.

I've included the link to the play at the bottom of this review. It's well worth taking a look, even if you only watch long enough to catch a glimpse of Caliban!

June 6, 2023

It's time for a reread as part of my little Project Shakespeare. I'll be reading the same edition at Gutenberg and then watching a YouTube link of a television production from the 1960s, with Roddy McDowall as Ariel and Richard Burton as... well, I'm not exactly sure who Sir Richard played yet, but I'll find out soon enough!

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My first reading of The Tempest was a pleasant experience. I was delighted to finally encounter Prospero, Ariel, and even Caliban, having seen their names mentioned in so many other books I've read over the years.

I also enjoyed uncovering the source of famous phrases such as:

We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep.

I particularly liked Ariel, who had served Prospero so well and reminded him of it in this way:

Remember I have done thee worthy service; Told thee no lies, made thee no mistakings,
served Without grudge or grumblings...

I can't say this is my absolute favorite Shakespeare play, but it was nice. And the edition I found at Project Gutenberg had wonderful full-color illustrations by Edmund Dulac. Anytime I read this in the future, whether it's the same edition or a different one, I will picture all the characters as Dulac portrayed them, without a doubt.

Link to this edition at Gutenberg http://www.gutenberg.org/files/47518/...

Link to the 1960 television production on YouTube https://www.youtube.com/watch?v=4qheH...

Knowing that The Tempest is most likely Shakespeare's final play, it's hard not to notice the hints of retirement within the text. Toward the end of the final act, Prospero solemnly describes the conclusion of his practice of the magic arts, much like Shakespeare might describe the end of his writing career. He has used his magic to great effect, but now he abjures it, breaks his staff, and drowns his book. This connection between Prospero and Shakespeare is an interesting one, and it's fun to speculate about the similarities between the two.

Beyond this, Shakespeare's refusal to create blameless heroes is also evident in The Tempest. Prospero, like many of Shakespeare's characters, has a complex and flawed personality. He was usurped by his brother, but then he became the usurper himself, enslaving Caliban and treating him harshly. The relationship between Prospero and Caliban is morally complicated, and it raises questions about power, race, and colonialism.

Despite his flaws, however, Prospero ultimately wins us over with his capacity for forgiveness and his desire to do good. He leaves anger and vengeance behind and chooses to return to Milan, where he can spend his days in peace. This message of forgiveness and redemption is a powerful one, and it is one that Shakespeare seems to be emphasizing in his final play. Perhaps he is suggesting that, even in the face of great wrongs, it is possible to find peace and forgiveness within oneself.

This was a truly beautiful play that delved deep into the complex themes of the push and pull between good and evil, revenge and forgiveness, as well as reality and magic. At first, it seemed to progress rather slowly for me, but then it suddenly reeled me in completely, captivating my attention until the very end. The ending, in particular, was superb, leaving a lasting impression. It was reminiscent of a Greek play, yet instead of the traditional Gods, there was the presence of magic and spirits.

Prospero, a God-like figure, rules the Island he inhabits and the surrounding sea with his fantastical magic. He wields ultimate power over everyone who enters or resides on the Island. For a significant portion of the time, other than Miranda, the characters were not initially likable. However, as they underwent various changes throughout the story, some of them gradually grew on me.

I initially started with an audible version through certain channels, but unfortunately, I remained confused until the end. I'm not suggesting that it was a bad recording overall, but it simply didn't suit my preferences. I'm easily distracted, and there were just too many sound effects and other distractions that made it difficult for me to keep track of who was speaking. I believe that the men were all read by the same actor, which further added to the confusion. Airel, the spirit servant, was presented in a strange demonic type of voice that was hard for me to understand. Miranda, on the other hand, was the only person whose words I could consistently comprehend.

Thankfully, when I read the play myself, everything became much clearer. Prospero was revealed to be a Duke who had lost his dukedom largely due to his insatiable quest for knowledge, which had caused him to lose sight of the real world around him. During his 12 years of isolation, he utilized magic to create a beautiful world for himself and his daughter. Even his monstrous, despicable, and mistreated slave was ultimately able to speak of the Island with beautiful poetry. When the people responsible for Prospero's downfall came sailing near, he became consumed by the desire for revenge.

The play was filled with numerous great magical scenes that were lyrically poetic. I truly loved the audio for the music and songs, which added an extra layer of charm. I had an even greater appreciation for them when I was able to remember them while reading. Although Prospero is the main character, the lives of many of the other characters are also of key importance. Ariel and Caliban have fascinating back stories, having endured long and arduous journeys. The other characters, too, have shorter but still significant journeys.

For me, it was ultimately a story about the necessity of human companionship and the importance of experiencing real life with all its imperfections. It also showed how a difficult journey can make one more appreciative. In that journey, however, the power of imagination and its magic can serve as a source of healing.

As with other GR friends, I have been engaged in reading - or perhaps re-reading - certain of Shakespeare's plays. This is in anticipation of delving into the modern novel versions that have emerged around the 400th anniversary of his death. Notably, but not solely, the Hogarth Shakespeare series comes to mind.

Obviously, I have nothing of great merit to contribute to the hundreds of years of literary criticism that already exists. Nevertheless, I will jot down my subjective impressions.

While some plays have been truly revelatory - Hamlet being a prime example - I must confess that The Tempest has not been my favorite among those I have read. Its multiple storylines, when combined with its relatively short length, do not permit the same level of psychological detail as other plays. The action leans too heavily on the deus-ex-machina of Prospero's magic and Ariel's enchantments. Moreover, given the treachery of various characters, the forgiveness at the play's end seems a bit too neatly packaged.

However, I should perhaps take Prospero's advice: "Do not infest your mind with beating on the strangeness of this business."

It will indeed be fascinating to see what Margaret Atwood does with it in Hag-Seed. This is especially so as I was not a fan of her most recent novel. I am curious to observe how she will reimagine and reinterpret The Tempest in her own unique way.