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The Tempest Paperback – Oct 13 1998


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Product Details

  • Paperback: 80 pages
  • Publisher: Dover Publications; 1 edition (Oct. 13 1998)
  • Language: English
  • ISBN-10: 048640658X
  • ISBN-13: 978-0486406589
  • Product Dimensions: 20.9 x 13.2 x 0.5 cm
  • Shipping Weight: 68 g
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (33 customer reviews)
  • Amazon Bestsellers Rank: #25,026 in Books (See Top 100 in Books)
  • See Complete Table of Contents

Product Description

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One of Shakespeare's most famous but also enigmatic plays, for many years the story of Prospero's exile from his native Milan, and life with his daughter Miranda on an unnamed island in the Mediterranean, was seen as an autobiographical dramatisation of Shakespeare's departure from the London stage. The Epilogue, spoken by Prospero, claims that "now my charms are all o'erthrown", appeared to reflect Shakespeare's own renunciation of his magical dramatic powers as he retired to Stratford. But The Tempest is far more than this, as recent commentators have pointed out. The dramatic action observes the classical unities of time, place and action, as Prospero uses his "rough magic" to lure his wicked usurping brother, Antonio, and King Alonso of Naples to his island retreat to torment them before engineering his return to Milan.

However, the play is full of extraordinary anomalies and fantastic interludes, including Gonzalo's fantasy of a utopian commonwealth, Prospero's magical servant Ariel, and the "poisonous slave" Caliban. The creation of Caliban has particularly fascinated critics, who have noticed in his creation a colonial dimension to the play. In this respect Caliban can be seen as an American Indian or African slave, who articulates a particularly powerful strain of anti-colonial sentiment, telling Prospero that "this island's mine, by Sycorax my mother,/ Which thou tak'st from me". This has led to an intense reassessment of the play from a post-colonial perspective, as critics and historians have debated the extent to which the play endorses or criticises early English colonial expansion. --Jerry Brotton --This text refers to an alternate Paperback edition.

Review

"David Lindley's Tempest is the best edition on the market. [...] If I were ever again to undertake the editing of a Shakespeare play, I would keep Lindley's edition of The Tempest open beside me."
-Studies in Theatre and Performance (UK)

"[Lindley's] edition meets the high standards of the series in an exemplary manner, offering an especially fine introduction."
-Studies in English Literature

"David Lindley's edition of The Tempest is easily the most outstanding version of this ostensibly straightforward yet hugely teasing play produced over the last thirty years. Its precise and scrupulous commentary notes are careful to the variety of ways the text can be spoken on stage. Its notes on the music and songs are admirably evocative, and its economical account of the huge range of critical views will send thousands of readers out in fruitful chases after the play's own multitudinous interests.
- Andrew Gurr, editor of the forthcoming New Variorum Tempest --This text refers to the Hardcover edition.

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Customer Reviews

3.9 out of 5 stars

Most helpful customer reviews

1 of 1 people found the following review helpful By E. A Solinas HALL OF FAMETOP 50 REVIEWER on June 4 2010
Format: Paperback
Many consider "The Tempest" to be the final play that Shakespeare wrote solo, which gives a certain bittersweet flavor to its story -- especially since the main character is a sorcerer who manipulates others to get the ending he desires. Shakespeare juggled a trio of main stories before tying them off in rare style, but it's Prospero and his final speech that are truly intriguing.

For many years, the exiled Duke of Milan Prospero has lived on a remote island with his young daughter Miranda. But when he discovers that his treacherous brother Antonio and his similarly treacherous friends are nearby on a sailing ship, he summons a storm that causes the ship to crash on the island.

And like a puppet-master, Prospero arranges this as he wants -- he sends his servant Ariel to haunt the men who betrayed him, he thwarts the machinations of his evil servant Caliban, and he pretends to treat Alonso's son Ferdinand badly while secretly matchmaking him with Miranda. In the end, everything will be as he desired.

"The Tempest" is a play with two different dimensions. On one hand, we have a simple story about a mage whose power allows him to manipulate everything in his little domain. And on the other, we have the story of a brilliant storyteller who arranges his own little worlds as he sees fit, and bids farewell to his role ("Now my charms are all o'erthrown/And what strength I have's mine own...")

And appreciated on its own, "The Tempest" is a brilliant play -- Shakespeare juggled the three main plotlines nicely, and brought a solid sense of resolution to the story. His rich dialogue is stunning ("But doth suffer a sea-change/Into something rich and strange/Sea-nymphs hourly ring his knell..."), especially during Ariel's songs and Prospero's speeches.
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By James Yanni on July 9 2002
Format: Paperback
First off, let's clarify one thing: when rating Shakespeare, I'm rating it as opposed to other Shakespeare. Otherwise, the consistent "5 stars" wouldn't tell you much. So when I rate this play five stars, I'm saying it's one of Shakespeare's absolute best.
It's a real shame that the language has changed so much since Shakespeare wrote that his plays are no longer accessable to the masses, because that's who Shakespeare was writing for, largely. (Especially in his comedies.) Granted, there is enough serious philosophizing to satisfy the intelligensia, but the action and bawdy humor would surely satisfy any connouiseur of modern hit movies, if only they understood it. Unfortunately, while the plots are good enough to be lifted and reworked into modern movies (and they frequently are, sometimes more subtly than others) once you change the language, it's no longer Shakespeare, until and unless the rewriter can be found who has as much genius for the modern language as Shakespeare had for his own. So far, that hasn't happened, and I don't expect it to any time soon.
As Shakespearean plays go, "The Tempest" is a fairly easy read. There are a few places where the footnotes are absolutely essential, and a few others where the main thrust can be grasped without them, but a double-entendre might be missed. But by and large, the play is readable for the literate modern reader. Granted, the romance element is as shallow as it usually is in Shakespeare, and there really isn't much drama: there's never any real doubt that Prospero and Ariel have matters well in hand. Still, it's an amusing comic romp, and that's all it was ever really intended to be. Don't try to read too many levels of symbolism and allegory into this play (or any other of Shakespeare's comedies, for that matter). You might as well do serious, in-depth analysis of the deeper meaning of "Men In Black II".
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Format: Mass Market Paperback
'The Tempest' was the last of Shakespeare's plays and contains all of the finest elements of his comedies, tragedies and histories. Indeed, one wonders as to the autobiographical makeup of Prospero, 'The Tempest' coming across as a signatory piece.
The play deals with a shipwreck on an island inhabited by three people - the 'sorcerous' Prospero, his daughter Miranda and the 'beast' Caliban.
As such the play is probably the most thematic of all Shakespeare's plays, there being sub-themes of revenge (Prospero was banished from Milan), slavery (Ariel and Caliban), ridiculous material gain (Trinculo and and Stephano) whilst the main themes are those of innocence, baseness of character and intellectual impartment. Each of these comes into contact with 'civilisation' in the form of the princely shipwreckees with the inevitable innocent Miranda being seduced by Ferdinand and Prospero both separating and sending off the various parties around the island to manipulate the desired outcome. He gets it of course, but the primary focus is on his relationsip to his two 'slaves' Ariel the spirit and Caliban, the beast. The relationships are markedly different, the former being ethereal, intangible; the latter earthy and brutal.
This is certainly Shakespeare's finest play, if not the most poular, simply because it is a microcosm of everything that has gone before. It has romance, brutality, comedy, history, tragedy, pyschology, despair, laughter, the sublime, the ridiculous. None of the rest of the plays are as complete and, to echo George Eliot, you could say that 'The Tempest' was 'performed with [his] own best blood'.
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