Faculty of Arts,
Chulalongkorn University
The Tempest
(c. 1611)
William
Shakespeare
(1564–1616)
Pro.
Awake, deere hart awake, thou hast slept well,
Awake.
Mir.
The strangenes of your story, put
Heauinesse in me.
Pro.
Shake it off: Come on,
Wee'll visit Caliban,
my slaue, who neuer
Yeelds vs kinde answere.
Mir.
'Tis a villaine Sir, I doe not loue to looke on.
Pro.
But as 'tis
We cannot misse him: he do's make our fire,
Fetch in our wood, and serues in Offices
That profit vs: What hoa: slaue: Caliban:
Thou Earth, thou: speake.
Cal. within. There's wood enough
within.
Pro.
Come forth I say, there's other busines for thee:
Come thou Tortoys, when? Enter
Ariel like a water Nymph.
Fine apparition: my queint Ariel,
Hearke in thine eare,
Ar.
My Lord, it shall be done. Exit.
Pro.
Thou poysonous slaue, got by ye diuell himselfe
Vpon thy wicked Dam; come forth. Enter Caliban.
Cal.
As wicked dewe, as ere my mother brush'd
With Rauens feather from vnwholesome Fen
Drop on you both: A Southwest blow on yee,
And blister you all ore.
Pro. For
this be sure, to night thou shalt haue cramps,
Side-stiches, that shall pen thy breath vp, Vrchins
Shall for that vast of night, that they may worke
All exercise on thee: thou shalt be pinch'd
As thicke as hony-combe, each pinch more stinging
Then Bees that made 'em.
Cal.
I must eat my dinner:
This Island's mine by Sycorax
my mother
Which thou tak'st me, & made much of me: woudst giue me
Water with berries in't: and teach me how
To name the bigger Light, and how the lesse
That burne by day, and night: and then I lou'd thee
And shew'd thee all the qualities o'th'Isle,
The fresh Springs, Brine-pits; barren place and fertill,
Curs'd be I that did so: All the Charmes
Of Sycorax: Toades,
Beetles, Batts light on you:
For I am all the Subiects that you haue,
Which first was min owne King: and here you sty-me
In this hard Rocke, whiles you doe keepe from me
The rest o'th'Island.
Pro.
Thou most lying slaue,
Whom stripes may moue, not kindnes: I haue vs'd thee
(Filth as thou art) with humane care, and lodg'd thee
In mine owne Cell, till thou didst seeke to violate
The honor of my childe.
Cal.
Oh ho, oh ho, would't had bene done:
Thou didst preuent me, I had peopel'd else
This Isle with Calibans.
Mir.
Abhorred Slaue,
Which any print of goodnesse wilt not take,
Being capable of all ill: I pittied thee,
Took pains to make thee speak, taught thee each houre
One thing or other: when thou didst not (Sauage)
Know thine owne meaning; but wouldst gabble, like
A thing most brutish, I endow'd thy purposes
With words that made them knowne: But thy vild race
(Tho thou didst learn) had that in't, which good natures
Could not abide to be with; therefore wast thou
Deseruedly confin'd into this Rocke, who hadst
Deseru'd more then a prison.
Cal.
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.
Pros.
Hag-seed, hence:
Fetch vs in Fewell, and be quicke thou'rt best
To answer other businesse: shrug'st thou (Malice)
If thou neglectst, or dost vnwillingly
What I command, I'le racke thee with old Crampes,
Fill all thy bones with Aches, make thee rore,
That beasts shall tremble at thy dyn.
Cal.
No, 'pray thee.
I must obey, his Art is of such pow'r,
It would controll my Dams god Setebos,
And make a vassaile of him.
Pro.
So slaue, hence. Exit
Cal.
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Notes
to The Tempest act 1
scene 2 (Caliban's first appearance)
Tempest:
- tempest (Online
Etymology Dictionary)
"violent storm," late 13c., from Old French tempeste
"storm; commotion, battle; epidemic, plague" (11c.), from
Vulgar Latin *tempesta, from
Latin tempestas "a storm,
commotion; weather, season; occasion, time," related to tempus
"time, season"
Latin sense evolution is from "period of time" to "period of weather,"
to "bad weather" to "storm." Words for "weather" originally were words
for "time" in languages from Russia to Brittany. Figurative sense of
"violent commotion" in English is recorded from early 14c.
Prospero:
- prosper (Online
Etymology Dictionary)
mid-14c., from Old French prosperer (14c.)
and directly from Latin prosperare "cause
to succeed, render happy," from prosperus
"favorable, fortunate, prosperous," perhaps literally
"agreeable to one's wishes," traditionally regarded as from Old Latin pro spere "according to
expectation, according to one's hope," from pro
"for" + ablative of spes
"hope," from PIE root *spe- "to
flourish, succeed, thrive, prosper" (see speed
(n.)).
dam:
from dame; a human mother (Oxford
Dictionaries)
Fen:
- fen (Online
Etymology Dictionary)
"low land covered wholly or partly by water," Old English fenn
"mud, mire, dirt; fen, marsh, moor," from Proto-Germanic *fanjam- "swamp, marsh" (cognates:
Old Saxon feni, Old Frisian fenne, Middle Dutch venne,
Dutch veen, Old High German fenna, German Fenn
"marsh," Old Norse fen,
Gothic fani "mud"), from PIE
*pen- "swamp" (cognates:
Gaulish anam "water,"
Sanskrit pankah "bog, marsh,
mud," Old Prussian pannean "swampland").
Italian and Spanish fango, Old
French fanc, French fange
"mud" are loan-words from Germanic.
Southwest:
- Lips (Theoi)
Lips was the god of the South-West Wind. On the Tower of the Winds in
Athens he is depicted as a winged man holding the stern of a ship.
- Euenus, Fragment 7 (trans. Gerber, Vol. Greek Elegiac) (Greek elegy
C5th B.C.) :
"Lips Anemos (South-West Wind) quickly brings clouds and quickly a
clear sky"
- "Lips,"
The Eight Winds, Green
Templeton College
(or Livos) was the Greek deity of the south-west wind.
He was often portrayed as a young man holding a ship's stern-post,
because the south-west wind blew straight into the harbour of Piraeus,
preventing ships from sailing.
- Dan Brayton, Shakespeare's Ocean: An Ecocritical
Exploration (Charlottesville: U of Virginia P, 2012)
PWhite the winds figure prominently in The
Tempest, and in a multiplicity of ways, as "airs" or songs, as
howling spirits in trees, and as roaring storms, less obvious is the
fact that winds are also mentioned in terms of their directional
specificity. Prospero accuses Ariel of ingratitude by accusing the
latter, "Think'st it much to tread the ooze of the salt deep, / To run
upon the sharp wind of the north" (1.2.252–54). This mention of the
north wind, Boreas, as if was conventionally labeled by early modern
cartographers, is followed by a reference to a specific place, Algiers,
the home port of Sycorax. Soon thereafter, when Caliban is introduced to
the scene, a different wind is mentioned quite specifically. Caliban
grumbles to Prospero, "A south-west blow on ye / And blister you all
o're" (1.2.323–24). That a southwest wind would be hot and unhealthy is
consistent with the Mediteranean context of Algiers and Naples, but it
also suggest that the magic Prospero wields is in some sense a property
of the island and, thus, contested by Caliban as part of his birthright.
Later, in the third act, Caliban informs his fellow rebels that they
should be "not afeard, the isle is full of noises, / Sounds, and sweet
airs, that give delight and hurt not" (3.2.133–34). Shakespeare takes
pains, thus, to weave together a thematic tapestry of winds and airs
that connect conventional catographic topoi—the north and southwest
winds—with the illusory and baffling meteorology of an island that
cannot be precisely located.
Charmes:
- charm (Online
Etymology Dictionary)
c. 1300, "incantation, magic charm," from Old French charme
(12c.) "magic charm, magic, spell; incantation, song,
lamentation," from Latin carmen "song,
verse, enchantment, religious formula," from canere
"to sing" (see chant
(v.)), with dissimilation of -n-
to -r- before -m-
in intermediate form *canmen.
The notion is of chanting or reciting verses of magical power.
Cell:
- cell (Online
Etymology Dictionary)
early 12c., "small monastery, subordinate monastery" (from Medieval
Latin in this sense), later "small room for a monk or a nun in a
monastic establishment; a hermit's dwelling" (c. 1300), from Latin cella "small room, store room,
hut," related to Latin celare "to
hide, conceal."
The Latin word represents PIE root *kel-
(2) "to cover, conceal" (cognates: Sanskrit cala
"hut, house, hall;" Greek kalia
"hut, nest," kalyptein "to
cover," koleon "sheath," kelyphos "shell,
husk;" Latin clam "secret;"
Old Irish cuile "cellar," celim "hide," Middle Irish cul "defense, shelter;" Gothic hulistr "covering," Old English heolstor "lurking-hole, cave,
covering," Gothic huljan "cover
over," hulundi "hole," hilms "helmet," halja
"hell," Old English hol "cave,"
holu "husk, pod").
Language:
- language (Online
Etymology Dictionary)
late 13c., langage "words,
what is said, conversation, talk," from Old French langage
(12c.), from Vulgar Latin *linguaticum,
from Latin lingua "tongue,"
also "speech, language"
learning:
- learn (Online
Etymology Dictionary)
Old English leornian "to get
knowledge, be cultivated, study, read, think about," from Proto-Germanic
*liznojan (cognates: Old
Frisian lernia, Middle Dutch leeren, Dutch leren,
Old High German lernen, German
lernen "to learn," Gothic lais "I know"), with a base sense
of "to follow or find the track," from PIE *leis-
(1) "track, furrow." Related to German Gleis
"track," and to Old English læst
"sole of the foot" (see last
(n.)).
The transitive sense (He learned me
how to read), now vulgar, was acceptable from c. 1200 until
early 19c., from Old English læran "to
teach" (cognates: Dutch leren,
German lehren "to teach,"
literally "to make known;" see lore),
and is preserved in past participle adjective learned
"having knowledge gained by study."
businesse:
- business (Online
Etymology Dictionary)
Old English bisignes (Northumbrian)
"care, anxiety, occupation," from bisig
"careful, anxious, busy, occupied, diligent" (see busy
(adj.)) + -ness. Middle English
sense of "state of being much occupied or engaged" (mid-14c.) is
obsolete, replaced by busyness.
Sense of "a person's work, occupation" is first recorded late 14c. (in
late Old English bisig (adj.)
appears as a noun with the sense "occupation, state of employment").
Meaning "what one is about at the moment" is from 1590s. Sense of
"trade, commercial engagements" is first attested 1727. In 17c. it also
could mean "sexual intercourse." Modern two-syllable pronunciation is
17c.
pray:
- pray (Online
Etymology Dictionary)
early 13c., "ask earnestly, beg," also (c. 1300) "pray to a god or
saint," from Old French preier "to
pray" (c.900, Modern French prier),
from Vulgar Latin *precare (also
source of Italian pregare),
from Latin precari "ask
earnestly, beg, entreat," from *prex (plural
preces, genitive precis)
"prayer, request, entreaty," from PIE root *prek-
"to ask, request, entreat" (cognates: Sanskrit prasna-,
Avestan frashna- "question;"
Old Church Slavonic prositi,
Lithuanian prasyti "to ask,
beg;" Old High German frahen,
German fragen, Old English fricgan "to ask" a question).
Parenthetical expression I pray you, "please, if you will," attested
from 1510s, contracted to pray 16c.
Art:
- art (Online
Etymology Dictionary)
early 13c., "skill as a result of learning or practice," from Old French
art (10c.), from Latin artem (nominative ars)
"work of art; practical skill; a business, craft," from PIE *ar-ti- (cognates: Sanskrit rtih
"manner, mode;" Greek arti "just,"
artios "complete, suitable," artizein "to prepare;" Latin artus "joint;" Armenian arnam
"make;" German art
"manner, mode"), from root *ar-
"fit together, join" (see arm
(n.1)).
In Middle English usually with a sense of "skill in scholarship and
learning" (c. 1300), especially in the seven sciences, or liberal arts.
This sense remains in Bachelor of Arts, etc. Meaning "human workmanship"
(as opposed to nature) is from late 14c. Sense of "cunning and trickery"
first attested c. 1600. Meaning "skill in creative arts" is first
recorded 1610s; especially of painting, sculpture, etc., from 1660s.
Introduction
Though
it is the first play printed in the First Folio (1623), The
Tempest is probably one of the last Shakespeare wrote. It can be
dated fairly precisely: it uses material that was not available until late
1610, and there is a record of a performance before the king on Hallowmas
Night, 1611. Since Shakespeare retired soon after to Stratford, The
Tempest has seemed to many to be his valedictory to the
theater.
[...]
Before his [Prospero's] exile, the island had been the realm of the "damned
witch Sycorax," who was banished there "for mischiefs manifold and sorceries
terrible" (1.2.265–66). The legitimacy of Prospero's power, including power
over his slave Caliban, Sycorax's son, depends on his moral authority, but
for one disturbing moment it is difficult to see the difference between
"foul witch" and princely magician. Small wonder that as soon as he has
disclosed that he has trafficked with the dead, Prospero declares that he
abjures his "rough magic" (5.5.50).
[...]
Shakespeare adapted Gonzalo's utopian speculations from a passage in "Of the
Cannibals" (1580), a remarkably free-spirited essay by the French humanist
Michel de Montaigne. The Brazilian Indians, Montaigne admiringly writes (in
John Florio's 1603 translation), have "no kind of traffic, no knowledge of
letters, no intelligence of numbers, no name of magistrate nor of politic
superiority, no use of service, of riches or of poverty, no contracts, no
successions...no occupation but idle, no respect of kindred but common, no
apparel but natural, no manuring of lands, no use of wine, corn, or metal."
For Montaigne, the European adventurers and colonists, confident in their
cultural superiority, are the real barbarians, while the American natives,
with their cannibalism and free love, live in accordance with nature.
The
issues raised by Montaigne, and more generally by New World voyages, may
have been particularly interesting to The
Tempest's early audiences as news reached London of the
extraordinary adventures of the Virginia Company's colony at Jamestown.
Shakespeare seems to have read a detailed account of these adventures in a
letter written by the colony's secretary, William Strachey; though the
letter was not printed until 1625, it was evidently circulating in
manuscript in 1610. [...]
With
the possible exception of some phrases from Strachey's description of the
storm and a few scattered details, The
Tempest does not directly use any of this vivid narrative.
Prospero's island is evidently in the Mediterranean, and the New World is
only mentioned as a far-off place, "the still-vexed Bermudas" (1.2.230),
where the swift Ariel flies to fetch dew. Yet Shakespeare's play seems
constantly to echo precisely the issues raised by the Bermuda shipwreck
and its aftermath. What does it take to survive? HOw do men of different
classes and moral character react during a state of emergency? What is the
proper relation between theoretical understanding and practical experience
or between knowledge and power? Is obedience to authority willing or
forced? How can those in power protect themselves from the conspiracies of
malcontents? Is it possible to detect a providential design in what looks
at first like a sucession of accidents? If there are natives to contend
with, how should colonists establish friendly and profitable relations
with them? What is to be done if relations turn sour? How can those who
rule prevent and alliance between hostile natives and disgruntled or
exploited colonists? And—Montaigne's more radical questions—what is the
justification of one person's rule over another? Who is the civilized man
and who is the barbarian?
The
unregenerate nastiness of Antonio and Sebastian, conjoined with the
goodness of Gonzalo, might seem indirectly to endorse Montaigne's critique
of the Europeans and his praise of the cannibals, were it not for the
menacing presence in The Tempest
of the character whose name is almost an anagram for "cannibal," Caliban.
Caliban, whose god Setebos is mentioned in accounts of Magellan's voyages
as a Patagonian deity, is anything but a noble savage. Shakespeare does
not shrink from the darkest European fantasies about the Wild Man. Indeed,
he exaggerates them: Caliban is deformed, lecherous, evil smelling,
treacherous, naive, drunken, lazy, rebellious, violent, and devil
worshipping. According to Prospero, he is not even human: "A devil, a born
devil, on whose nature / Nurture can never stick" (4.4.488–89). [...]
Caliban
enters the play cursing, grumbling, and above all disputing Prospero's
authority: "This island's mine, by Sycorax my mother, / Which thou tak'st
from me" (1.2.334–35). By the close, his attempt to kill Prospero foiled
and his body racked with cramps and bruises, Caliban declares that he will
"be wise hereafter, / And seek for grace" (5.1.298–99). Yet it is not his
mumbled reformation but his vehement protests that leave an indelible mark
on The Tempest. The play may
depict Caliban, in Prospero's ugly term, as "filth," but it gives him a
remarkable, unforgettable eloquence. [...] It is not only in cursing,
however, that Caliban is gifted: in richly sensuous poetry, he speaks of
the island's natural resources and of his dreams. Caliban can be beaten
into submission, but the master cannot eradicate his slave's desires, his
pleasures, and his inconsolable pain. And across the vast gulf that
divides the triumphant prince and the defeated savage, there is a
momentary, enigmatic glimpse of a hidden bond: "This thing of darkness,"
Prospero says of Caliban, "I / Acknowledge mine" (5.1.278–79). The words
need only be a claim of ownership, but they seem to hint at a deeper, more
disturbing link between father and monster, legitimate ruler and savage,
judge and criminal. Perhaps the link is only an illusion, a trick of the
imagination on a strange island, but as Prospero leaves the island, it is
he who begs for pardon.
—Stephen Greenblatt, "The Tempest," The
Norton Shakespeare (New York: W. W. Norton, 1997): 3047, 3048–49,
3051–52, 3053.
Text
[...] The Tempest was the first
text that the blind printer, William Jaggard, assigned to his compositors in
February 1622 when work began on John Heminge and Henry Condell's collection
of thirty-six dramas by their late theatrical colleague. After nearly two
years of labour, with William Jaggard's son Isaac by then in charge after
his father's death, Mr. William
Shakespeares Comedies, Histories, & Tragedies. Published according to
the True Originall Copies was available to the public for
approximately fifteen shillings unbound and perhaps a pound for a copy in
calf binding (Blayney, Folio,
25–32).
[...]
Three compositors worked on The Tempest. Hinman's 'Compositor B',
an experienced but sometimes careless journeyman in Jaggard's shop, who
may have been given special responsibility for the entire volume, set the
opening page and six more (Blayney, Folio,
11). The play's other compositors, Hinman's C and F, were also full-time
employees and experienced printers. Each worked from his own type case
[...]
[...]
Ralph
Crane's manuscript
The manuscript used by the
compositors has been identified as one of six prepared in the early 1620s
by the legal scrivener Ralph Crane specifically, it seems certain, for the
Folio project. [...] Crane probably copied from Shakespeare's own rough
draft, or possibly a copy of it, rather than from prompt copy, which would
have been more helpful to actors than to readers (Jowett, 109). Prompt
copy, with its barely legible insertions, deletions and impromptu stage
directions would have posed serious problems for the typesetters.
[...]
[...] Crane apparently sought to impose regularity upon the
texts—Shakespeare's and others'—that he copied. [...]
Crane's tidying of (presumably)
Shakespeare's rough manuscripts is perhaps reflected in the division of
the texts into acts and scenes [...]
[...]
Whether The Tempest's stage
directions were written by Shakespeare or a prompter, or were interpolated
later by Crane, they represent the earliest evidence we have of how the play
was staged by the King's Company.
Editorial
practices
Because the Folio's The
Tempest is necessarily the basic text for this edition, our
editorial interventions are less numerous and problematic than they would
be for plays with one or more quarto editions. Yet even the relatively
well-printed and carefully proofread Folio version, like any early
seventeenth-century text, presents innumerable peculiarities to the modern
eye.
—Virginia Mason Vaughan and Alden T.
Vaughan, "Introduction," The Tempest
(London: Arden Shakespeare, 2011): 125–30.
The only authoritative printed text of The
Tempest is the First Folio of 1923 (F), where it appears as the
first play, at the head of the comedies.
—The
Norton Shakespeare (New York: W. W. Norton, 1997): 3053.
Yet
Caliban is no "cannibal," and some of his lines—as when he reminds
Prospero that once he "lov'd thee, / And show'd thee all the qualities
o'th'isle, / The fresh springs, brine-pits, barren place and fertile"—are
some of the most poetic in the play. At the same time, he is versatile
enough to speak in bantering prose with the "jester" Trinculo and with
Stephano, a "drunken butler," who contemplate taking the island over as
theirs. Shakespeare's own ability to move back and forth between stunning
poetry and prosaic wit distinguishes almost his entire dramatic canon, as
he draws for his characters on extremely diverse segments of society and
convincingly creates a world through their language; Elizabethans said
they would go to hear, not see, a play, and this emphasis on the ear
suggests for us the power that the dramatic word could have.
—The
Longman Anthology of World Literature, vol. 3: The Early Modern
Period, 2nd ed., Eds. David Damrosch and David L. Pike (New
York: Pearson/Longman, 2009): 613.
Study Questions
- How does Prospero speak of Caliban to
Miranda and to Caliban himself? What difference do you see
in the description of his "slave" to his daughter out of
Caliban's hearing compared to the description he gives in
Caliban's hearing?
- How much is Prospero's behavior toward
Caliban an act? What purpose does this bluff or bluster
serve?
- In Caliban's exchange with Prospero in
act 1 scene 2, we are presented with versions of stories
from the perspective or point of view of three speakers.
What parts from each character's offerings do you feel
yourself sympathizing with? Why? What in the stories
appealed to you?
- Aside from giving us different accounts
of themselves and their rights to the island, both
Prospero and Caliban exchange much abuse toward each
other. How would you characterize their curses? What ill
wishes does Prospero invoke on Caliban and vice versa?
What do the curses reveal about the characters?
- Look closely at the words used in
Caliban's and Prospero's cursing and accounts. How does
each side hurt or has hurt the other? Consider the kinds
of pain one inflicts on the other. What pain does Prospero
feel is effective on Caliban? Why is it significant?
- What is Caliban's value to Prospero and
what is Prospero's value to Caliban? How reciprocal is the
relationship?
- When are the lines in iambic pentameter
and when do they break that pattern?
- What do the characters say to each
other and what do they say to the audience?
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Vocabulary
blank verse
meter
backstory
character
characterization
motive
rhetoric
diction
pun
idioms; expressions
overstatement
point of view
contrast
irony
contradictions
imagery
logic
humor
comedy
textual analysis
typography
language
knowledge
authority
resistance
slave
slavery
imprisonment
history
exploration
the New World
colonial encounter
Sample
Student
Response to William Shakespeare's The
Tempest
Response 1:
Student
2202234
Introduction to the Study of English Literature
Acharn
Puckpan Tipayamontri
June
15, 2009
Reading
Response 1
Title
Text
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Links
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1609 Sea Venture Shipwreck
The New World
Authorship
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Productions
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- The Tempest,
Central Washington University Theatre Ensemble (2012; 1 h.
35:05 min.)
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- The
Tempest, St. Louis Shakespeare (2010)
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- The Tempest,
Utah Valley University (2010; 1 h. 39:39 min.)
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Other
Performances
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- The Tempest, by
Thomas Adès, dir. Robert Lepage, perf. Simon Keenlyside,
Isabel Leonard, and Alek Shrader, Metropolitan Opera
(2012)
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- The Tempest,
dir. Stanislav Sokolov, Shakespeare: The Animated Tales,
BBC (1992; 25:42 min., episodes 1,
2,
3,
4,
5,
6,
7,
and 8)
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- The Tempest,
dir. Julie Taymor, perf. Helen Mirren, Felicity Jones, and
Djimon Hounsou (2010 film; 1 h. 51:32 min.)
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Documentaries
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- "Shakespeare: Original Pronunciation,"
Open University (10:21 min.)
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Lectures
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- William Carroll, "400 Years Later:
Shakespeare's The
Tempest and Early America, Boston University
(2011; 1 hr. 6:52 min.)
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- David Bevington, "Shakespeare's The Tempest,"
Scholars at Wright
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- Marjorie Garber, Lecture 12:
"Shakespeare After All: The Later Plays," Harvard
University (2007; 1 hr. 50:40 min.)
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- Shakespeare
Uncovered Panel Discussion (2013; 33:39 min.)
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Reference
Shakespeare, William. The
Tempest. Ed. John Dover Wilson. 1921. Cambridge: Cambridge UP,
2009. Cambridge Dover Wilson Shakespeare 33.
Further
Reading
Vaughan, Alden T., and Virginia
Mason Vaughan, eds. The Tempest: A
Critical Reader. London: Bloomsbury, 2014. Print.
Neville, John D. "John
White." Eds. lebame houston and Wynne Dough. Fort
Raleigh. National Park Service.
Shaeffer, Matthew. "John
White (ca.1540–1593)." North
Carolina History Project.
Strachey, William. "A
true reportory of the wracke, and redemption of Sir Thomas Gates Knight;
vpon, and from the Ilands of the Bermudas: his coming to Virginia, and
the estate of that Colonie then, and after, vnder the gouernment of the
Lord La Warre, Iuly 15. 1610." 1610.
Selections from Early American Writers
1607–1800. Ed. William B. Cairns. New York: Macmillan,
1909. Print.
Virginia Reader: A Treasury of Writings
from the First Voyages to the Present. Ed. Francis Coleman
Rosenberger. New York: E. P. Dutton, 1948. Print.
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Last updated March 2, 2016