The Tempest - wikipedia The Tempest play by William Shakespeare This article is about the Shakespeare play. For other uses, see The Tempest ( disambiguation ). The shipwreck in Act I, Scene 1, in a 1797 engraving by Benjamin Smith after a painting by George Romney The Tempest is a play by William Shakespeare, believed to have been written in 1610 -- 1611, and thought by many critics to be the last play that Shakespeare wrote alone. It is set on a remote island, where the sorcerer Prospero, rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skillful manipulation. He conjures up a storm, the eponymous tempest, to cause his usurping brother Antonio and the complicit King Alonso of Naples to believe they are shipwrecked and marooned on the island. There, his machinations bring about the revelation of Antonio 's lowly nature, the redemption of the King, and the marriage of Miranda to Alonso 's son, Ferdinand. There is no obvious single source for the plot of The Tempest, but researchers have seen parallels in Erasmus 's Naufragium, Peter Martyr 's De orbe novo, and eyewitness reports by William Strachey and Sylvester Jordain of the 1609 shipwreck of the Sea Venture on the islands of Bermuda, and the subsequent conflict between Sir Thomas Gates and Sir George Somers. In addition, one of Gonzalo 's speeches is derived from Montaigne 's essay Of the Canibales, and much of Prospero 's renunciative speech echoes a speech by Medea in Ovid 's poem Metamorphoses. The masque in Act 4 may have been a later addition, possibly in honour of the wedding of Princess Elizabeth and Frederick V in 1613. The play was first published in the First Folio of 1623. The story draws heavily on the tradition of the romance and it was influenced by tragicomedy, the courtly masque and perhaps the commedia dell'arte. It differs from Shakespeare 's other plays in its observation of a stricter, more organised neoclassical style. Critics see The Tempest as explicitly concerned with its own nature as a play, frequently drawing links between Prospero 's `` art '' and theatrical illusion, and early critics saw Prospero as a representation of Shakespeare, and his renunciation of magic as signalling Shakespeare 's farewell to the stage. The play portrays Prospero as a rational, and not an occultist, magician by providing a contrast to him in Sycorax : her magic is frequently described as destructive and terrible, where Prospero 's is said to be wondrous and beautiful. Beginning in about 1950, with the publication of Psychology of Colonization by Octave Mannoni, The Tempest was viewed more and more through the lens of postcolonial theory -- exemplified in adaptations like Aimé Césaire 's Une Tempête set in Haiti -- and there is even a scholarly journal on post-colonial criticism named after Caliban. The Tempest did not attract a significant amount of attention before the ban on the performance of plays in 1642, and only attained popularity after the Restoration, and then only in adapted versions. In the mid-19th century, theatre productions began to reinstate the original Shakespearean text, and in the 20th century, critics and scholars undertook a significant re-appraisal of the play 's value, to the extent that it is now considered to be one of Shakespeare 's greatest works. It has been adapted numerous times in a variety of styles and formats : in music, at least 46 operas by composers such as Fromental Halévy, Zdeněk Fibich and Thomas Adès ; orchestral works by Tchaikovsky, Arthur Sullivan, Jean Sibelius, and Arthur Honegger ; and songs by such diverse artists as Ralph Vaughan Williams, Michael Nyman and Pete Seeger ; in literature, Percy Bysshe Shelley 's poem With a Guitar, To Jane and W.H. Auden 's The Sea and the Mirror ; novels by Aimé Césaire and The Diviners by Margaret Laurence ; in paintings by William Hogarth, Henry Fuseli, and John Everett Millais ; and on screen, ranging through a hand - tinted version of Herbert Beerbohm Tree 's 1905 stage performance, the science fiction film Forbidden Planet in 1956, Peter Greenaway 's 1991 Prospero 's Books featuring John Gielgud as Prospero, to Julie Taymor 's 2010 film version which changed Prospero to Prospera ( as played by Helen Mirren ), and Des McAnuff 's 2010 Stratford Shakespeare Festival production which starred Christopher Plummer. Contents 1 Characters 2 Story 3 Date and sources 3.1 Date 3.2 Contemporary sources 3.3 Other sources 4 Text 5 Themes and motifs 5.1 The Theatre 5.2 Magic 5.3 The soul 6 Criticism and interpretation 6.1 Genre 6.2 Dramatic structure 6.3 Postcolonial 6.4 Feminist 7 Performance history 7.1 Shakespeare 's day 7.2 Restoration and 18th century 7.3 19th century 7.4 20th century and beyond 7.5 Music 7.6 Literature and art 7.7 Screen 8 Scientific etymology 9 Notes and references 9.1 Notes 9.2 References 10 Bibliography 11 Further reading 12 External links Characters Prospero -- the rightful Duke of Milan Miranda -- Prospero 's daughter Ariel -- a sprite in service to Prospero Caliban -- Sycorax 's son, now in service to Prospero Sycorax -- an Algerian sorceress, now dead Alonso -- the King of Naples Sebastian -- Alonso 's brother Antonio -- Prospero 's brother, usurper Duke of Milan Ferdinand -- Alonso 's son Gonzalo -- a kindly Neapolitan courtier Adrian -- a lord serving under Alonso Francisco -- a lord serving under Alonso Trinculo -- the King 's jester and friend of Stephano Stephano -- the King 's drunken butler and friend of Trinculo Juno -- the chief Roman goddess Ceres -- Roman goddess of agriculture Iris -- Greek goddess of the sea and sky Master -- master of the boat carrying Alonso and his court Boatswain -- servant of the master Story Prospero and Miranda from a painting by William Maw Egley ; ca. 1850 The magician, Prospero, rightful Duke of Milan, and his daughter, Miranda, have been stranded for twelve years on an island after Prospero 's jealous brother Antonio ( aided by Alonso, the King of Naples ) deposed him and set him adrift with the 3 - year - old Miranda. Gonzalo, Alonso 's counsellor, had secretly supplied their boat with some food, fresh water, `` rich garments, linens, stuffs and necessaries '', and `` volumes '' ( books ) that Prospero prizes. Possessing magic powers due to his great learning, Prospero is served by a spirit, Ariel, whom Prospero had rescued from a tree in which he had been trapped by the cruel witch, Sycorax, after he had refused to obey her. Prospero maintains Ariel 's loyalty by repeatedly promising to release the `` airy spirit '' from servitude. Sycorax had been exiled from Algiers to the island for wreaking havoc with her magic, and had died before Prospero 's arrival and without releasing Ariel. Sycorax 's son, Caliban, a deformed monster and the only non-spiritual inhabitant before the arrival of Prospero, was initially adopted and raised by him. He taught Prospero how to survive on the island, while Prospero and Miranda taught Caliban religion and their own language. In slavery, Caliban has come to view Prospero as a usurper and has grown to resent him and his daughter. Prospero and Miranda in turn view Caliban with disappointment, contempt and disgust. Prospero only performs one act of magic himself directly on stage : he disarms Ferdinand, causing his nerves to become `` in their infancy again ''. The rest of his magic is through controlling spirits ( or mentioned as happening previously ), which is how magicians of the time were believed to operate. Prospero, having divined that his brother Antonio is on a nearby ship, has raised a tempest that causes the passengers to believe they are shipwrecked and marooned. Also on the ship are Antonio 's friend and fellow conspirator, King Alonso of Naples, Alonso 's brother and son ( Sebastian and Ferdinand, respectively ) and Alonso 's `` trusted counsellor '', Gonzalo. All these passengers are returning from the wedding of Alonso 's daughter Claribel and the King of Tunis. Prospero contrives to separate the shipwreck survivors into four groups by his spells : Prince Ferdinand, who promptly meets inhabitants Prospero and Miranda Trinculo and Stephano, who promptly meet inhabitant Caliban King Alonso, Sebastian, Antonio, Gonzalo, and two attendant lords ( Adrian and Francisco ) The ship 's captain and boatswain, asleep until the final act Miranda by John William Waterhouse Three plots then alternate through the play. In one, Caliban falls in love with Stephano and Trinculo, two drunkards, believing Stephano to be a `` brave god '' who `` bears celestial liquor ''. They attempt to raise a coup against Prospero, which ultimately fails. In another, Prospero works to encourage a romantic relationship between Ferdinand and Miranda ; the two fall immediately in love, but Prospero worries that `` too light winning ( may ) make the prize light '', and compels Ferdinand to become his servant, pretending that he regards him as a spy. In the third subplot, Antonio and Sebastian conspire to kill Alonso and Gonzalo so that Sebastian can become King. Ariel thwarts them, at Prospero 's command. Ariel appears to the `` three men of sin '' ( Alonso, Antonio and Sebastian ) as a harpy, reprimanding them for their betrayal of Prospero. Prospero, who has witnessed this, leaves to visit Ferdinand and Miranda. The three guilty nobles run off, distracted and in a frenzy, and Gonzalo and the attendant lords chase after to prevent them from doing `` what this ecstasy may now provoke them to ''. Prospero then explains that he tested Ferdinand, and betroths a willing Miranda to him. He then asks Ariel to bring some other spirits and create a masque to entertain the young couple. These spirits present a blessing by Iris, Ceres, and Juno, followed by dancing. Prospero suddenly remembers the plot against his life, dismisses the spirits and Miranda and Ferdinand, and sets a trap for Caliban, Trinculo, and Stephano. They are chased offstage by goblins in the shape of hounds. Prospero, all his enemies in his power, discovers that Ariel would pity them if he were `` human '', and decides to forgive the people who tried to kill him. He tells Ariel to fetch the nobles while he breaks his charms. In the conclusion, all the main characters are brought together before Prospero, who forgives Alonso, Antonio and Sebastian. Ariel is charged to prepare the proper sailing weather to guide the King 's ship back to the Royal fleet and then to Naples, where Ferdinand and Miranda will be married. After discharging this task, Ariel will finally be free. Prospero pardons Caliban, who is sent to prepare Prospero 's cell, to which Alonso and his party are invited for a final night before their departure. ( It is, however, not made clear whether, after their departure, Caliban will remain on the island or whether he will be taken to Naples. ) Prospero indicates that he intends to entertain them with the story of his life on the island. Prospero has resolved to break and bury his magic staff, and `` drown '' his book of magic, and in his epilogue, shorn of his magic powers, he invites the audience to set him free from the island with their applause. Date and sources A depiction from Nicholas Rowe 's 1709 edition of Shakespeare 's plays of the stage direction of the opening of the 1674 adaptation Date The Tempest is thought by most scholars to have been written in 1610 -- 11, and is generally accepted as the last play that Shakespeare wrote alone, although some have questioned either or both assertions. Scholars also note that it is impossible to determine if the play was written before, after, or at the same time as The Winter 's Tale, the dating of which has been equally problematic. Edward Blount entered The Tempest into the Stationers ' Register on 8 November 1623. It was one of 16 Shakespearean plays that Blount registered on that date. Contemporary sources Sylvester Jourdain 's A Discovery of the Barmudas There is no obvious single origin for the plot of The Tempest ; it seems to have been created out of an amalgamation of sources. Since source scholarship began in the 18th century, researchers have suggested passages from `` Naufragium '' ( `` The Shipwreck '' ), one of the colloquies in Erasmus 's Colloquia Familiaria ( 1518 ), and Richard Eden 's 1555 translation of Peter Martyr 's De orbo novo ( 1530 ). In addition, William Strachey 's A True Reportory of the Wracke and Redemption of Sir Thomas Gates, Knight, an eyewitness report of the real - life shipwreck of the Sea Venture in 1609 on the island of Bermuda while sailing towards Virginia, is considered by most critics to be one of Shakespeare 's primary sources because of certain verbal, plot and thematic similarities. Although not published until 1625, Strachey 's report, one of several describing the incident, is dated 15 July 1610, and critics say that Shakespeare must have seen it in manuscript sometime during that year. E.K. Chambers identified the True Reportory as Shakespeare 's `` main authority '' for The Tempest, and the modern Arden editors say Shakespeare `` surely drew '' on Strachey and Montaigne for specific passages in the play. There has been, however, some scepticism about the alleged influence of Strachey in the play. Kenneth Muir argued that although `` ( t ) here is little doubt that Shakespeare had read... William Strachey 's True Reportory '' and other accounts, `` ( t ) he extent of the verbal echoes of ( the Bermuda ) pamphlets has, I think, been exaggerated. There is hardly a shipwreck in history or fiction which does not mention splitting, in which the ship is not lightened of its cargo, in which the passengers do not give themselves up for lost, in which north winds are not sharp, and in which no one gets to shore by clinging to wreckage '', and goes on to say that `` Strachey 's account of the shipwreck is blended with memories of Saint Paul 's -- in which too not a hair perished -- and with Erasmus ' colloquy. '' Another Sea Venture survivor, Sylvester Jourdain, also published an account, A Discovery of The Barmudas dated 13 October 1610, and Edmond Malone argued for the 1610 -- 11 date on the account by Jourdain and the Virginia Council of London 's A True Declaration of the Estate of the Colonie in Virginia dated 8 November 1610. Other sources The Tempest may take its overall structure from traditional Italian commedia dell'arte, which sometimes featured a magus and his daughter, their supernatural attendants, and a number of rustics. The commedia often featured a clown known as Arlecchino ( or his predecessor, Zanni ) and his partner Brighella, who bear a striking resemblance to Stephano and Trinculo ; a lecherous Neapolitan hunchback who corresponds to Caliban ; and the clever and beautiful Isabella, whose wealthy and manipulative father, Pantalone, constantly seeks a suitor for her, thus mirroring the relationship between Miranda and Prospero. Gonzalo 's description of his ideal society ( 2.1. 148 -- 157, 160 -- 165 ) thematically and verbally echoes Montaigne 's essay Of the Canibales, translated into English in a version published by John Florio in 1603. Montaigne praises the society of the Caribbean natives : `` It is a nation... that hath no kinde of traffike, no knowledge of Letters, no intelligence of numbers, no name of magistrate, nor of politike superioritie ; no use of service, of riches, or of poverty ; no contracts, no successions, no dividences, no occupation but idle ; no respect of kinred, but common, no apparrell but natural, no manuring of lands, no use of wine, corne, or mettle. The very words that import lying, falsehood, treason, dissimulation, covetousnes, envie, detraction, and pardon, were never heard of amongst them. '' In addition, much of Prospero 's renunciative speech ( 5.1. 33 -- 57 ) echoes a speech by Medea in Ovid 's poem Metamorphoses. Text The first page of The Tempest, printed in the First Folio of 1623 The Tempest presents relatively few textual problems in comparison with many of Shakespeare 's other plays. First published in the First Folio in December 1623, the play is first in the volume, leading the section of comedies. The play has more stage directions than any of Shakespeare 's other plays, though they appear to have been written for readers instead of actors. Scholars infer from this that the editors of the volume, John Heminges and Henry Condell, included the directions to aid readers, and they were not necessarily Shakespeare 's. Scholars have also wondered about the masque in Act 4, which some think was an interpolated afterthought, possibly added for the wedding of Princess Elizabeth and Frederick V in 1613. However, other scholars see this as unlikely, arguing that taking the masque out of the play creates more problems than it solves. Themes and motifs The Theatre `` Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air ; And like the baseless fabric of this vision, The cloud - capped towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep. '' -- William Shakespeare, Act 4, Scene 1. The Tempest is explicitly concerned with its own nature as a play, frequently drawing links between Prospero 's art and theatrical illusion ; the shipwreck was a spectacle that Ariel performed, while Antonio and Sebastian are cast in a troop to act. Prospero may even refer to the Globe Theatre when he describes the whole world as an illusion : `` the great globe... shall dissolve... like this insubstantial pageant ''. Ariel frequently disguises himself as figures from Classical mythology, for example a nymph, a harpy, and Ceres, acting as the latter in a masque and anti-masque that Prospero creates. Early critics, such as Thomas Campbell in 1838, saw this constant allusion to the theatre as an indication that Prospero was meant to represent Shakespeare ; the character 's renunciation of magic thus signalling Shakespeare 's farewell to the stage. This theory persists among later critics, and remains solidly within the critical canon. Magic In Protestant England, where Shakespeare wrote The Tempest, magic was taboo. Not all magic, however, was considered evil. Several thinkers took a more rational approach to the study of the supernatural, with the determination to discover the workings of unusual phenomena. The German Henricus Cornelius Agrippa was one such thinker, who published in De Occulta Philosophia ( 1531, 1533 ) his observations of `` divine '' magic. Agrippa 's work influenced Dr. John Dee, an Englishman and student of supernatural phenomena. When King James took the throne, Dee found himself under attack for his beliefs, but was able to defend himself successfully by explaining the divine nature of his profession. However, he died in disgrace in 1608. Ariel ( Fuseli, c. 1800 -- 1810 ) Shakespeare is also careful to make the distinction that Prospero presents himself as a rational, and not an occultist, magician. He does this by providing a contrast to him in Sycorax. Sycorax is said to have worshipped the devil and been full of `` earthy and abhored commands ''. She was unable to control Ariel, who was `` too delicate '' for such dark tasks. Prospero 's rational goodness enables him to control Ariel where Sycorax can only trap him in a tree. Sycorax 's magic is frequently described as destructive and terrible, where Prospero 's is said to be wondrous and beautiful. Prospero seeks to set things right in his world through his magic, and once that is done, he renounces it, setting Ariel free. The soul The Tempest can be interpreted as Shakespeare 's last treatise on the human soul, in particular the Renaissance conception of the tripartite soul divided into vegetative, sensitive, and rational spheres, as described in Plato 's tripartite theory of soul and Christian Philosophy. This was later also described in Sigmund Freud 's id, ego and super-ego which was first linked to The Tempest in the 1956 screenplay for Forbidden Planet by Cyril Hume, Irving Block, and Allen Adler. The film presents Caliban reinterpreted as the ' monster from the Id ', although the theory is dismissed as ' obsolete ' in that imagined future, and was also dismissed by James E Phillips in 1964. Prospero is exiled to an island with a symbol of his baser, ' vegetative ' nature -- Caliban -- and his higher, ' sensitive ' or supernatural side -- Ariel. Some productions have seen the same actor play all three roles, making them symbols of the conflict within a fully actualised or awakened Prospero -- that between crude selfish physicality and a higher, mystical side. According to this theory -- one of many -- for as long as Prospero is battling with these qualities and lost in books, he is banished from Milan. As the play finds its conclusion, he is both able to accept his base, brutal nature ( `` this thing of darkness I acknowledge mine '' he says when taking responsibility for Caliban ) while letting go of his connection with higher, powerful forces ( `` then to the elements be free, and fare thou well '' he says, setting Ariel free ). Abandoning magic and acknowledging the brutal potential of his nature, he is allowed to return to his rightful place as Duke, subject to agreement from the audience : `` as you from crimes would pardon 'd be, let your indulgence set me free. '' Criticism and interpretation Genre The story draws heavily on the tradition of the romance, a fictitious narrative set far away from ordinary life. Romances were typically based around themes such as the supernatural, wandering, exploration and discovery. They were often set in coastal regions, and typically featured exotic, fantastical locations and themes of transgression and redemption, loss and retrieval, exile and reunion. As a result, while The Tempest was originally listed as a comedy in the First Folio of Shakespeare 's plays, subsequent editors have chosen to give it the more specific label of Shakespearean romance. Like the other romances, the play was influenced by the then - new genre of tragicomedy, introduced by John Fletcher in the first decade of the 17th century and developed in the Beaumont and Fletcher collaborations, as well as by the explosion of development of the courtly masque form by such as Ben Jonson and Inigo Jones at the same time. Dramatic structure The Tempest differs from Shakespeare 's other plays in its observation of a stricter, more organised neoclassical style. The clearest indication of this is Shakespeare 's respect for the three unities in the play : the Unities of Time, Place, and Action. Shakespeare 's other plays rarely respected the three unities, taking place in separate locations miles apart and over several days or even years. The play 's events unfold in real time before the audience, Prospero even declaring in the last act that everything has happened in, more or less, three hours. All action is unified into one basic plot : Prospero 's struggle to regain his dukedom ; it is also confined to one place, a fictional island, which many scholars agree is meant to be located in the Mediterranean Sea. Another reading suggests that it takes place in the New World, as some parts read like records of English and Spanish conquest in the Americas. Still others argue that the Island can represent any land that has been colonised. Postcolonial Ferdinand Lured by Ariel by John Everett Millais, 1850 In Shakespeare 's day, much of the world was still being colonized by European merchants and settlers, and stories were coming back from the Americas, with myths about the Cannibals of the Caribbean, faraway Edens, and distant tropical Utopias. With the character Caliban ( whose name is almost an anagram of Cannibal and also resembles `` Cariban '', the term then used for natives in the West Indies ), Shakespeare may be offering an in - depth discussion into the morality of colonialism. Different views of this are found in the play, with examples including Gonzalo 's Utopia, Prospero 's enslavement of Caliban, and Caliban 's subsequent resentment. Caliban is also shown as one of the most natural characters in the play, being very much in touch with the natural world ( and modern audiences have come to view him as far nobler than his two Old World friends, Stephano and Trinculo, although the original intent of the author may have been different ). There is evidence that Shakespeare drew on Montaigne 's essay Of Cannibals -- which discusses the values of societies insulated from European influences -- while writing The Tempest. Beginning in about 1950, with the publication of Psychology of Colonization by Octave Mannoni, The Tempest was viewed more and more through the lens of postcolonial theory. This new way of looking at the text explored the effect of the coloniser ( Prospero ) on the colonised ( Ariel and Caliban ). Though Ariel is often overlooked in these debates in favour of the more intriguing Caliban, he is nonetheless an essential component of them. The French writer Aimé Césaire, in his play Une Tempête sets The Tempest in Haiti, portraying Ariel as a mulatto who, unlike the more rebellious Caliban, feels that negotiation and partnership is the way to freedom from the colonisers. Fernandez Retamar sets his version of the play in Cuba, and portrays Ariel as a wealthy Cuban ( in comparison to the lower - class Caliban ) who also must choose between rebellion or negotiation. Although scholars have suggested that his dialogue with Caliban in Act two, Scene one, contains hints of a future alliance between the two when Prospero leaves, Ariel is generally viewed by scholars as the good servant, in comparison with the conniving Caliban -- a view which Shakespeare 's audience may well have shared. Ariel is used by some postcolonial writers as a symbol of their efforts to overcome the effects of colonisation on their culture. For example, Michelle Cliff, a Jamaican author, has said that she tries to combine Caliban and Ariel within herself to create a way of writing that represents her culture better. Such use of Ariel in postcolonial thought is far from uncommon ; the spirit is even the namesake of a scholarly journal covering post-colonial criticism. Feminist Prospero, Ariel and sleeping Miranda from a painting by William Hamilton The Tempest has only one female character, Miranda. Other women, such as Caliban 's mother Sycorax, Miranda 's mother and Alonso 's daughter Claribel, are only mentioned. Because of the small role women play in the story in comparison to other Shakespeare plays, The Tempest has attracted much feminist criticism. Miranda is typically viewed as being completely deprived of freedom by her father. Her only duty in his eyes is to remain chaste. Ann Thompson argues that Miranda, in a manner typical of women in a colonial atmosphere, has completely internalised the patriarchal order of things, thinking of herself as subordinate to her father. The less - prominent women mentioned in the play are subordinated as well, as they are only described through the men of the play. Most of what is said about Sycorax, for example, is said by Prospero. Further, Stephen Orgel notes that Prospero has never met Sycorax -- all he learned about her he learned from Ariel. According to Orgel, Prospero 's suspicion of women makes him an unreliable source of information. Orgel suggests that he is sceptical of female virtue in general, citing his ambiguous remark about his wife 's fidelity. However, certain goddesses such as Juno, Ceres, Iris, and sea nymphs are in one scene of the play. Performance history Shakespeare 's day A record exists of a performance of The Tempest on 1 November 1611 by the King 's Men before James I and the English royal court at Whitehall Palace on Hallowmas night. The play was one of the six Shakespearean plays ( and eight others for a total of 14 ) acted at court during the winter of 1612 -- 13 as part of the festivities surrounding the marriage of Princess Elizabeth with Frederick V, the Elector of the Palatinate of the Rhine. There is no further public performance recorded prior to the Restoration ; but in his 1669 preface to the Dryden / Davenant version, John Dryden states that The Tempest had been performed at the Blackfriars Theatre. Careful consideration of stage directions within the play supports this, strongly suggesting that the play was written with Blackfriars Theatre rather than the Globe Theatre in mind. Restoration and 18th century Adaptations of the play, not Shakespeare 's original, dominated the performance history of The Tempest from the English Restoration until the mid-19th century. All theatres were closed down by the puritan government during the English Interregnum. Upon the restoration of the monarchy in 1660, two patent companies -- the King 's Company and the Duke 's Company -- were established, and the existing theatrical repertoire divided between them. Sir William Davenant 's Duke 's Company had the rights to perform The Tempest. In 1667 Davenant and John Dryden made heavy cuts and adapted it as The Tempest, or The Enchanted Island. They tried to appeal to upper - class audiences by emphasising royalist political and social ideals : monarchy is the natural form of government ; patriarchal authority decisive in education and marriage ; and patrilineality preeminent in inheritance and ownership of property. They also added characters and plotlines : Miranda has a sister, named Dorinda ; and Caliban a sister, also named Sycorax. As a parallel to Shakespeare 's Miranda / Ferdinand plot, Prospero has a foster - son, Hippolito, who has never set eyes on a woman. Hippolito was a popular breeches role, a man played by a woman, popular with Restoration theatre management for the opportunity to reveal actresses ' legs. Scholar Michael Dobson has described The Tempest, or The Enchanted Island by Dryden and Davenant as `` the most frequently revived play of the entire Restoration '' and as establishing the importance of enhanced and additional roles for women. Oil sketch of Emma Hart, as Miranda, by George Romney In 1674, Thomas Shadwell re-adapted Dryden and Davenant as an opera of the same name, usually meaning a play with sections that were to be sung or danced. Restoration playgoers appear to have regarded the Dryden / Davenant / Shadwell version as Shakespeare 's : Samuel Pepys, for example, described it as `` an old play of Shakespeares '' in his diary. The opera was extremely popular, and `` full of so good variety, that I can not be more pleased almost in a comedy '' according to Pepys. Prospero in this version is very different from Shakespeare 's : Eckhard Auberlen describes him as `` reduced to the status of a Polonius - like overbusy father, intent on protecting the chastity of his two sexually naive daughters while planning advantageous dynastic marriages for them. '' The operatic Enchanted Island was successful enough to provoke a parody, The Mock Tempest, or The Enchanted Castle, written by Thomas Duffett for the King 's Company in 1675. It opened with what appeared to be a tempest, but turns out to be a riot in a brothel. A playbill for a 1757 production of The Tempest at the Drury Lane Theatre Royal In the early 18th century, the Dryden / Davenant / Shadwell version dominated the stage. Ariel was -- with two exceptions -- played by a woman, and invariably by a graceful dancer and superb singer. Caliban was a comedian 's role, played by actors `` known for their awkward figures ''. In 1756, David Garrick staged another operatic version, a `` three - act extravaganza '' with music by John Christopher Smith. The Tempest was one of the staples of the repertoire of Romantic Era theatres. John Philip Kemble produced an acting version which was closer to Shakespeare 's original, but nevertheless retained Dorinda and Hippolito. Kemble was much - mocked for his insistence on archaic pronunciation of Shakespeare 's texts, including `` aitches '' for `` aches ''. It was said that spectators `` packed the pit, just to enjoy hissing Kemble 's delivery of ' I 'll rack thee with old cramps, / Fill all they bones with aches '. '' The actor - managers of the Romantic Era established the fashion for opulence in sets and costumes which would dominate Shakespeare performances until the late 19th century : Kemble 's Dorinda and Miranda, for example, were played `` in white ornamented with spotted furs ''. In 1757, a year after the debut of his operatic version, David Garrick produced a heavily cut performance of Shakespeare 's script at Drury Lane, and it was revived, profitably, throughout the century. 19th century Miranda and Ferdinand by Angelica Kauffman, 1782 It was not until William Charles Macready 's influential production in 1838 that Shakespeare 's text established its primacy over the adapted and operatic versions which had been popular for most of the previous two centuries. The performance was particularly admired for George Bennett 's performance as Caliban ; it was described by Patrick MacDonnell -- in his An Essay on the Play of The Tempest published in 1840 -- as `` maintaining in his mind, a strong resistance to that tyranny, which held him in the thraldom of slavery ''. The Victorian era marked the height of the movement which would later be described as `` pictorial '' : based on lavish sets and visual spectacle, heavily cut texts making room for lengthy scene - changes, and elaborate stage effects. In Charles Kean 's 1857 production of The Tempest, Ariel was several times seen to descend in a ball of fire. The hundred and forty stagehands supposedly employed on this production were described by the Literary Gazette as `` unseen... but alas never unheard ''. Hans Christian Andersen also saw this production and described Ariel as `` isolated by the electric ray '', referring to the effect of a carbon arc lamp directed at the actress playing the role. The next generation of producers, which included William Poel and Harley Granville - Barker, returned to a leaner and more text - based style. In the late 19th and early 20th centuries, Caliban, not Prospero, was perceived as the star act of The Tempest, and was the role which the actor - managers chose for themselves. Frank Benson researched the role by viewing monkeys and baboons at the zoo ; on stage, he hung upside - down from a tree and gibbered. 20th century and beyond A charcoal drawing by Charles Buchel of Herbert Beerbohm Tree as Caliban in the 1904 production. Continuing the late - 19th - century tradition, in 1904 Herbert Beerbohm Tree wore fur and seaweed to play Caliban, with waist - length hair and apelike bearing, suggestive of a primitive part - animal part - human stage of evolution. This `` missing link '' portrayal of Caliban became the norm in productions until Roger Livesey, in 1934, was the first actor to play the role with black makeup. In 1945 Canada Lee played the role at the Theatre Guild in New York, establishing a tradition of black actors taking the role, including Earle Hyman in 1960 and James Earl Jones in 1962. In 1916, Percy MacKaye presented a community masque, Caliban by the Yellow Sands, at the Lewisohn Stadium in New York. Amidst a huge cast of dancers and masquers, the pageant centres on the rebellious nature of Caliban but ends with his plea for more knowledge ( `` I yearn to build, to be thine Artist / And ' stablish this thine Earth among the stars - / Beautiful ! '' ) followed by Shakespeare, as a character, reciting Prospero 's `` Our revels now are ended '' speech. John Gielgud played Prospero numerous times, and is, according to Douglas Brode, `` universally heralded as... ( the 20th ) century 's greatest stage Prospero ''. His first appearance in the role was in 1930 : he wore a turban, later confessing that he intended to look like Dante. He played the role in three more stage productions, lastly at the Royal National Theatre in 1974. Derek Jacobi 's Prospero for The Old Vic in 2003 was praised for his portrayal of isolation and pain in ageing. Peter Brook directed an experimental production at the Round House in 1968, in which the text was `` almost wholly abandoned '' in favour of mime. According to Margaret Croydon 's review, Sycorax was `` portrayed by an enormous woman able to expand her face and body to still larger proportions -- a fantastic emblem of the grotesque... ( who ) suddenly... gives a horrendous yell, and Caliban, with black sweater over his head, emerges from between her legs : Evil is born. '' In spite of the existing tradition of a black actor playing Caliban opposite a white Prospero, colonial interpretations of the play did not find their way onto the stage until the 1970s. Performances in England directed by Jonathan Miller and by Clifford Williams explicitly portrayed Prospero as coloniser. Miller 's production was described, by David Hirst, as depicting `` the tragic and inevitable disintegration of a more primitive culture as the result of European invasion and colonisation ''. Miller developed this approach in his 1988 production at the Old Vic in London, starring Max von Sydow as Prospero. This used a mixed cast made up of white actors as the humans and black actors playing the spirits and creatures of the island. According to Michael Billington, `` von Sydow 's Prospero became a white overlord manipulating a mutinous black Caliban and a collaborative Ariel keenly mimicking the gestures of the island 's invaders. The colonial metaphor was pushed through to its logical conclusion so that finally Ariel gathered up the pieces of Prospero 's abandoned staff and, watched by awe - struck tribesmen, fitted them back together to hold his wand of office aloft before an immobilised Caliban. The Tempest suddenly acquired a new political dimension unforeseen by Shakespeare. '' Psychoanalytic interpretations have proved more difficult to depict on stage. Gerald Freedman 's production at the American Shakespeare Theatre in 1979 and Ron Daniels ' Royal Shakespeare Company production in 1982 both attempted to depict Ariel and Caliban as opposing aspects of Prospero 's psyche. However neither was regarded as wholly successful : Shakespeare Quarterly, reviewing Freedman 's production, commented, `` Mr. Freedman did nothing on stage to make such a notion clear to any audience that had not heard of it before. '' In 1988, John Wood played Prospero for the RSC, emphasising the character 's human complexity, in a performance a reviewer described as `` a demented stage manager on a theatrical island suspended between smouldering rage at his usurpation and unbridled glee at his alternative ethereal power ''. Japanese theatre styles have been applied to The Tempest. In 1988 and again in 1992 Yukio Ninagawa brought his version of The Tempest to the UK. It was staged as a rehearsal of a Noh drama, with a traditional Noh theatre at the back of the stage, but also using elements which were at odds with Noh conventions. In 1992, Minoru Fujita presented a Bunraku ( Japanese puppet ) version in Osaka and at the Tokyo Globe. Sam Mendes directed a 1993 RSC production in which Simon Russell Beale 's Ariel was openly resentful of the control exercised by Alec McCowen 's Prospero. Controversially, in the early performances of the run, Ariel spat at Prospero, once granted his freedom. An entirely different effect was achieved by George C. Wolfe in the outdoor New York Shakespeare Festival production of 1995, where the casting of Aunjanue Ellis as Ariel opposite Patrick Stewart 's Prospero charged the production with erotic tensions. Productions in the late 20th - century have gradually increased the focus placed on sexual tensions between the characters, including Prospero / Miranda, Prospero / Ariel, Miranda / Caliban, Miranda / Ferdinand and Caliban / Trinculo. Caliban rants at Prospero while Ariel looks on, in a 2014 production by OVO theatre company, St Albans, UK The Tempest was performed at the Globe Theatre in 2000 with Vanessa Redgrave as Prospero, playing the role as neither male nor female, but with `` authority, humanity and humour... a watchful parent to both Miranda and Ariel. '' While the audience respected Prospero, Jasper Britton 's Caliban `` was their man '' ( in Peter Thomson 's words ), in spite of the fact that he spat fish at the groundlings, and singled some of them out for humiliating encounters. By the end of 2005, BBC Radio had aired 21 productions of The Tempest, more than any other play by Shakespeare. In 2016 The Tempest was produced by the Royal Shakespeare Company. Directed by Gregory Doran, and featuring Simon Russell Beale, the RSC 's version used performance capture to project Ariel in real time on stage. The performance was in collaboration with The Imaginarium and Intel, and featured `` some gorgeous ( and ) some interesting '' use of light, special effects, and set design. Music Caliban, Stephano and Trinculo dancing, detail of a painting by Johann Heinrich Ramberg The Tempest has more music than any other Shakespeare play, and has proved more popular as a subject for composers than most of Shakespeare 's plays. Scholar Julie Sanders ascribes this to the `` perceived ' musicality ' or lyricism '' of the play. Two settings of songs from The Tempest which may have been used in performances during Shakespeare 's lifetime have survived. These are `` Full Fathom Five '' and `` Where The Bee Sucks There Suck I '' in the 1659 publication Cheerful Ayres or Ballads, in which they are attributed to Robert Johnson, who regularly composed for the King 's Men. It has been common throughout the history of the play for the producers to commission contemporary settings of these two songs, and also of `` Come Unto These Yellow Sands ''. The Tempest has also influenced songs written in the folk and hippie traditions : for example, versions of `` Full Fathom Five '' were recorded by Marianne Faithfull for Come My Way in 1965 and by Pete Seeger for Dangerous Songs ! ? in 1966. Michael Nyman 's Ariel Songs are taken from his score for the film Prospero 's Books. Among those who wrote incidental music to The Tempest were : Arthur Sullivan : his graduation piece, completed in 1861, was a set of incidental music to `` The Tempest ''. Revised and expanded, it was performed at The Crystal Palace in 1862, a year after his return to London, and was an immediate sensation. Ernest Chausson : in 1888 he wrote incidental music for La tempête, a French translation by Maurice Bouchor. This is believed to be the first orchestral work that made use of the celesta. Jean Sibelius : his 1926 incidental music was written for a lavish production at the Royal Theatre in Copenhagen. An epilogue was added for a 1927 performance in Helsinki. He represented individual characters through instrumentation choices : particularly admired was his use of harps and percussion to represent Prospero, said to capture the `` resonant ambiguity of the character ''. Malcolm Arnold, Lennox Berkeley, Hector Berlioz, Arthur Bliss, Engelbert Humperdinck, Willem Pijper and Henry Purcell. At least forty - six operas or semi-operas based on The Tempest exist. In addition to the Dryden / Davenant and Garrick versions mentioned in the `` Restoration and 18th century '' section above, Frederic Reynolds produced an operatic version in 1821, with music by Sir Henry Bishop. Other pre-20th - century operas based on The Tempest include Fromental Halévy 's La Tempesta ( 1850 ) and Zdeněk Fibich 's Bouře ( 1894 ). In the 20th century, Kurt Atterberg 's Stormen premiered in 1948 and Frank Martin 's Der Sturm in 1955. Michael Tippett 's 1971 opera The Knot Garden contains various allusions to The Tempest. In Act 3, a psychoanalyst, Mangus, pretends to be Prospero and uses situations from Shakespeare 's play in his therapy sessions. John Eaton, in 1985, produced a fusion of live jazz with pre-recorded electronic music, with a libretto by Andrew Porter. Michael Nyman 's 1991 opera Noises, Sounds & Sweet Airs was first performed as an opera - ballet by Karine Saporta. This opera is unique in that the three vocalists, a soprano, contralto, and tenor, are voices rather than individual characters, with the tenor just as likely as the soprano to sing Miranda, or all three sing as one character. The soprano who sings the part of Ariel in Thomas Adès 's 21st - century opera is stretched at the higher end of the register, highlighting the androgyny of the role. Mike Silverman of the Associated Press commented, `` Adès has made the role of the spirit Ariel a tour de force for coloratura soprano, giving her a vocal line that hovers much of the time well above high C. '' Luca Lombardi 's Prospero was premiered 2006 at Nuremberg Opera House. Ariel is sung by 4 female voices ( S, S, MS, A ) and has an instrumental alter ego on stage ( flute ). There is an instrumental alter ego ( cello ) also for Prospero. Choral settings of excerpts from The Tempest include Amy Beach 's Come Unto These Yellow Sands ( SSAA, from Three Shakespeare Songs ), Matthew Harris 's Full Fathom Five, I Shall No More to Sea, and Where the Bee Sucks ( SATB, from Shakespeare Songs, Books I, V, VI ), Ryan Kelly 's The Tempest ( SATB, a setting of the play 's Scene I ), Jaakko Mäntyjärvi 's Full Fathom Five and A Scurvy Tune ( SATB, from Four Shakespeare Songs and More Shakespeare Songs ), Frank Martin 's Songs of Ariel ( SATB ), Ralph Vaughan Williams ' Full Fathom Five and The Cloud - capp 'd Towers ( SATB, from Three Shakespeare Songs ), and David Willcocks 's Full Fathom Five ( SSA ). Orchestral works for concert presentation include Pyotr Ilyich Tchaikovsky 's fantasy The Tempest ( 1873 ), Fibich 's symphonic poem Bouře ( 1880 ), John Knowles Paine 's symphonic poem The Tempest ( 1876 ), Benjamin Dale 's overture ( 1902 ), Arthur Honegger 's orchestral prelude ( 1923 ), Felix Weingartner 's overture `` Der Sturm '', Heorhiy Maiboroda 's overture, and Egon Wellesz 's Prosperos Beschwörungen ( five works 1934 -- 36 ). Ballet sequences have been used in many performances of the play since Restoration times. A one - act ballet of The Tempest by choreographer Alexei Ratmansky was premiered by American Ballet Theatre set to the incidental music of Jean Sibelius on 30 October 2013 in New York City. Ludwig van Beethoven 's 1802 Piano Sonata No. 17 in D minor, Op. 31, No. 2, was given the subtitle `` The Tempest '' some time after Beethoven 's death because, when asked about the meaning of the sonata, Beethoven was alleged to have said `` Read The Tempest ''. But this story comes from his associate Anton Schindler, who is often not trustworthy. Stage musicals derived from The Tempest have been produced. A production called The Tempest : A Musical was produced at the Cherry Lane Theatre in New York City in December 2006, with a concept credited to Thomas Meehan and a script by Daniel Neiden ( who also wrote the songs ) and Ryan Knowles. Neiden had previously been connected with another musical, entitled Tempest Toss 'd. In September 2013, The Public Theater produced a new large - scale stage musical at the Delacorte Theater in Central Park, directed by Lear deBessonet with a cast of more than 200. Literature and art `` Miranda '' by Frederick Goodall, from the Graphic Gallery of Shakespeare 's Heroines Percy Bysshe Shelley was one of the earliest poets to be influenced by The Tempest. His `` With a Guitar, To Jane '' identifies Ariel with the poet and his songs with poetry. The poem uses simple diction to convey Ariel 's closeness to nature and `` imitates the straightforward beauty of Shakespeare 's original songs ''. Following the publication of Darwin 's ideas on evolution, writers began to question mankind 's place in the world and its relationship with God. One writer who explored these ideas was Robert Browning, whose poem `` Caliban upon Setebos '' ( 1864 ) sets Shakespeare 's character pondering theological and philosophical questions. The French philosopher Ernest Renan wrote a closet drama, Caliban : Suite de La Tempête ( Caliban : Sequel to The Tempest ), in 1878. This features a female Ariel who follows Prospero back to Milan, and a Caliban who leads a coup against Prospero, after the success of which he actively imitates his former master 's virtues. W.H. Auden 's `` long poem '' The Sea and the Mirror takes the form of a reflection by each of the supporting characters of The Tempest on their experiences. The poem takes a Freudian viewpoint, seeing Caliban ( whose lengthy contribution is a prose poem ) as Prospero 's libido. In 1968 Franco - Caribbean writer Aimé Césaire published Une Tempête, a radical adaptation of the play based on its colonial and postcolonial interpretations, in which Caliban is a black rebel and Ariel is mixed - race. The figure of Caliban influenced numerous works of African literature in the 1970s, including pieces by Taban Lo Liyong in Uganda, Lemuel Johnson in Sierra Leone, Ngũgĩ wa Thiong'o in Kenya, and David Wallace of Zambia 's Do You Love Me, Master ?. A similar phenomenon occurred in late 20th - century Canada, where several writers produced works inspired by Miranda, including The Diviners by Margaret Laurence, Prospero 's Daughter by Constance Beresford - Howe and The Measure of Miranda by Sarah Murphy. Other writers have feminised Ariel ( as in Marina Warner 's novel Indigo ) or Caliban ( as in Suniti Namjoshi 's sequence of poems Snapshots of Caliban ). William Hogarth 's painting of The Tempest ca. 1735. From the mid-18th century, Shakespeare 's plays, including The Tempest, began to appear as the subject of paintings. In around 1735, William Hogarth produced his painting A Scene from The Tempest : `` a baroque, sentimental fantasy costumed in the style of Van Dyck and Rembrandt ''. The painting is based upon Shakespeare 's text, containing no representation of the stage, nor of the ( Davenant - Dryden centred ) stage tradition of the time. Henry Fuseli, in a painting commissioned for the Boydell Shakespeare Gallery ( 1789 ) modelled his Prospero on Leonardo da Vinci. These two 18th - century depictions of the play indicate that Prospero was regarded as its moral centre : viewers of Hogarth 's and Fuseli 's paintings would have accepted Prospero 's wisdom and authority. John Everett Millais 's Ferdinand Lured by Ariel ( 1851 ) is among the Pre-Raphaelite paintings based on the play. In the late 19th century, artists tended to depict Caliban as a Darwinian `` missing - link '', with fish - like or ape - like features, as evidenced in Noel Paton 's Caliban. Charles Knight produced the Pictorial Edition of the Works of Shakespeare in eight volumes ( 1838 -- 43 ). The work attempted to translate the contents of the plays into pictorial form. This extended not just to the action, but also to images and metaphors : Gonzalo 's line about `` mountaineers dewlapped like bulls '' is illustrated with a picture of a Swiss peasant with a goitre. In 1908, Edmund Dulac produced an edition of Shakespeare 's Comedy of The Tempest with a scholarly plot summary and commentary by Arthur Quiller - Couch, lavishly bound and illustrated with 40 watercolour illustrations. The illustrations highlight the fairy - tale quality of the play, avoiding its dark side. Of the 40, only 12 are direct depictions of the action of the play : the others are based on action before the play begins, or on images such as `` full fathom five thy father lies '' or `` sounds and sweet airs that give delight and hurt not ''. Fantasy writer Neil Gaiman based a story on the play in one issue of his comics series The Sandman. The comic stands as a sequel to the earlier Midsummer Night 's Dream issue. This issue follows Shakespeare over a period of several months as he writes the play, which is named as his last solo project, as the final part of his bargain with the Dream King to write two plays celebrating dreams. The story draws many parallels between the characters and events in the play and Shakespeare 's life and family relationships at the time. It is hinted that he based Miranda on his daughter Judith Shakespeare and Caliban on her suitor Thomas Quiney. As part of Random House 's Hogarth Shakespeare series of contemporary reimaginings of Shakespeare plays by contemporary writers, Margaret Atwood 's 2016 novel Hag - Seed is based on The Tempest. Screen Play media The Tempest ( 1908 ) Fyodor Paramonov as Caliban, Maly Theatre ( Moscow ), 1905 The Tempest first appeared on the screen in 1905. Charles Urban filmed the opening storm sequence of Herbert Beerbohm Tree 's version at Her Majesty 's Theatre for a ​ 2 ⁄ - minute flicker, whose individual frames were hand - tinted, long before the invention of colour film. In 1908, Percy Stowe directed a Tempest running a little over ten minutes, which is now a part of the British Film Institute 's compilation Silent Shakespeare. Much of its action takes place on Prospero 's island before the storm which opens Shakespeare 's play. At least two other silent versions, one from 1911 by Edwin Thanhouser, are known to have existed, but have been lost. The plot was adapted for the Western Yellow Sky, directed by William A. Wellman, in 1946. The 1956 science fiction film Forbidden Planet set the story on a planet in space, Altair IV, instead of an island. Professor Morbius and his daughter Altaira ( Anne Francis ) are the Prospero and Miranda figures ( both Prospero and Morbius having harnessed the mighty forces that inhabit their new homes ). Ariel is represented by the helpful Robby the Robot, while Sycorax is replaced with the powerful race of the Krell. Caliban is represented by the dangerous and invisible `` monster from the id '', a projection of Morbius ' psyche born from the Krell technology instead of Sycorax 's womb. In the opinion of Douglas Brode, there has only been one screen `` performance '' of The Tempest since the silent era, he describes all other versions as `` variations ''. That one performance is the Hallmark Hall of Fame version from 1960, directed by George Schaefer, and starring Maurice Evans as Prospero, Richard Burton as Caliban, Lee Remick as Miranda, and Roddy McDowall as Ariel. It cut the play to slightly less than ninety minutes. Critic Virginia Vaughan praised it as `` light as a soufflé, but... substantial enough for the main course. '' A 1969 episode of the television series Star Trek, `` Requiem for Methuselah '', again set the story in space on the apparently deserted planet Holberg 917 - G. The Prospero figure is Flint ( James Daly ), an immortal man who has isolated himself from humanity and controls advanced technology that borders on magic. Flint 's young ward Rayna Kapec ( Louise Sorel ) fills the Miranda role, and Flint 's versatile robotic servant M4 parallels Ariel. In 1979, Derek Jarman produced a homoerotic Tempest that used Shakespeare 's language, but was most notable for its deviations from Shakespeare. One scene shows a corpulent and naked Sycorax ( Claire Davenport ) breastfeeding her adult son Caliban ( Jack Birkett ). The film reaches its climax with Elisabeth Welch belting out Stormy Weather. The central performances were Toyah Willcox ' Miranda and Heathcote Williams ' Prospero, a `` dark brooding figure who takes pleasure in exploiting both his servants ''. Several other television versions of the play have been broadcast ; among the most notable is the 1980 BBC Shakespeare production, virtually complete, starring Michael Hordern as Prospero. Paul Mazursky 's 1982 modern - language adaptation of The Tempest, with Philip Dimitrius ( Prospero ) as a disillusioned New York architect who retreats to a lonely Greek island with his daughter Miranda after learning of his wife Antonia 's infidelity with Alonzo, dealt frankly with the sexual tensions of the characters ' isolated existence. The Caliban character, the goatherd Kalibanos, asks Philip which of them is going to have sex with Miranda. John Cassavetes played Philip, Raul Julia Kalibanos, Gena Rowlands Antonia and Molly Ringwald Miranda. Susan Sarandon plays the Ariel character, Philip 's frequently bored girlfriend Aretha. The film has been criticised as `` overlong and rambling '', but also praised for its good humour, especially in a sequence in which Kalibanos ' and his goats dance to Kander and Ebb 's New York, New York. John Gielgud has written that playing Prospero in a film of The Tempest was his life 's ambition. Over the years, he approached Alain Resnais, Ingmar Bergman, Akira Kurosawa, and Orson Welles to direct. Eventually, the project was taken on by Peter Greenaway, who directed Prospero 's Books ( 1991 ) featuring `` an 87 - year - old John Gielgud and an impressive amount of nudity ''. Prospero is reimagined as the author of The Tempest, speaking the lines of the other characters, as well as his own. Although the film was acknowledged as innovative in its use of Quantel Paintbox to create visual tableaux, resulting in `` unprecedented visual complexity '', critical responses to the film were frequently negative : John Simon called it `` contemptible and pretentious ''. The Swedish - made 1989 animated film Resan till Melonia ( directed by Per Åhlin ) is an adaptation of the Shakespeare play, focusing on ecological values. Resan till Melonia was critically acclaimed for its stunning visuals drawn by Åhlin and its at times quite dark and nightmare - like sequences, even though the film was originally marketed for children. Closer to the spirit of Shakespeare 's original, in the view of critics such as Brode, is Leon Garfield 's abridgement of the play for S4C 's 1992 Shakespeare : The Animated Tales series. The 29 - minute production, directed by Stanislav Sokolov and featuring Timothy West as the voice of Prospero, used stop - motion puppets to capture the fairy - tale quality of the play. Disney 's animated feature Pocahontas has been described as a `` politically corrected '' Tempest. Another `` offbeat variation '' ( in Brode 's words ) was produced for NBC in 1998 : Jack Bender 's The Tempest featured Peter Fonda as Gideon Prosper, a Southern slave - owner forced off his plantation by his brother shortly before the Civil War. A magician who has learned his art from one of his slaves, Prosper uses his magic to protect his teenage daughter and to assist the Union Army. Scientific etymology Tiny crustacean creatures collected from Bermuda were named Quadrimaera ariel, Quadrimaera caliban, Quadrimaera ceres and Quadrimaera miranda, after characters in The Tempest, because the play was inspired by a shipwreck on Bermuda in the 16th century. Notes and references Shakespeare portal All references to The Tempest, unless otherwise specified, are taken from the Folger Shakespeare Library 's Folger Digital Editions texts edited by Barbara Mowat, Paul Werstine, Michael Poston, and Rebecca Niles. Under their referencing system, 4.1. 165 means act 4, scene 1, line 165. Notes Jump up ^ In 1606, William Burton published Seven dialogues both pithie and profitable with translations into English of seven of the Colloquia ; among them `` Naufragium A pittifull, yet pleasant Dialogue of a Shipwracke, shewing what comfort Popery affoordeth in time of daunger ''. References ^ Jump up to : Orgel 1987, pp. 63 -- 4. Jump up ^ Vaughan & Vaughan 1999, p. 1. Jump up ^ Pollard 2002, p. 111. Jump up ^ Coursen 2000, p. 7. Jump up ^ Bullough 1975, pp. 334 -- 339. Jump up ^ Kermode 1958, pp. xxxii -- xxxiii. ^ Jump up to : Vaughan & Vaughan 1999, p. 287. Jump up ^ Chambers 1930, pp. 490 -- 4. Jump up ^ Muir 2005, p. 280. Jump up ^ Malone 1808. Jump up ^ Vaughan & Vaughan 1999, p. 12. Jump up ^ Vaughan & Vaughan 1999, p. 61. Jump up ^ Vaughan & Vaughan 1999, pp. 26, 58 -- 59, 66. Jump up ^ Coursen 2000, pp. 1 -- 2. Jump up ^ The Tempest, 4.1. 165 -- 175. Jump up ^ Gibson 2006, p. 82. Jump up ^ Vaughan & Vaughan 1999, p. 254. Jump up ^ Orgel 1987, p. 27. Jump up ^ Orgel 1987, pp. 1, 10, 80. ^ Jump up to : Hirst 1984, pp. 23 -- 5. Jump up ^ Phillips 1964. Jump up ^ Hirst 1984, pp. 13 -- 16, 35 -- 8. Jump up ^ Vaughan & Vaughan 1999, pp. 14 -- 17. Jump up ^ Hirst 1984, pp. 34 -- 5. Jump up ^ The Tempest, 5.1. 1 -- 7. Jump up ^ Vaughan & Vaughan 1999, p. 262n. Jump up ^ Vaughan & Vaughan 1999, p. 4. Jump up ^ Vaughan & Vaughan 1999, pp. 98 -- 108. Jump up ^ Orgel 1987, pp. 83 -- 5. Jump up ^ Carey - Webb & 1993, pp. 30 -- 5. ^ Jump up to : Cartelli 1995, pp. 82 -- 102. Jump up ^ Nixon 1987, pp. 557 -- 78. Jump up ^ Dolan 1992, pp. 317 -- 40. Jump up ^ Coursen 2000, pp. 87 -- 8. Jump up ^ Orgel 1984. Jump up ^ Chambers 1930, p. 343. Jump up ^ Dymkowski 2000, p. 5n. Jump up ^ Gurr 1989, pp. 91 -- 102. Jump up ^ Vaughan & Vaughan 1999, pp. 6 -- 7. ^ Jump up to : Vaughan & Vaughan 1999, p. 76. Jump up ^ Marsden 2002, p. 21. Jump up ^ Vaughan & Vaughan 1999, p. 77. Jump up ^ Marsden 2002, p. 26. Jump up ^ Dobson 1992, pp. 59 -- 60. Jump up ^ Vaughan & Vaughan 1999, pp. 76 -- 7. Jump up ^ Auberlen 1991. Jump up ^ Vaughan & Vaughan 1999, p. 80. ^ Jump up to : Vaughan & Vaughan 1999, pp. 82 -- 3. Jump up ^ The Tempest, 1.2. 444 -- 445. Jump up ^ Moody 2002, p. 44. Jump up ^ Moody 2002, p. 47. Jump up ^ Vaughan & Vaughan 1999, p. 89. Jump up ^ Schoch 2002, pp. 58 -- 9. Jump up ^ Schoch 2002, p. 64. Jump up ^ Schoch 2002, pp. 67 -- 8. Jump up ^ Halliday 1964, pp. 486 -- 7. ^ Jump up to : Vaughan & Vaughan 1999, pp. 93 -- 5. ^ Jump up to : Vaughan & Vaughan 1999, p. 113. Jump up ^ The Tempest, 4.1. 163 -- 180. Jump up ^ Vaughan & Vaughan 1999, pp. 96 -- 8. ^ Jump up to : Brode 2001, p. 229. Jump up ^ Dymkowski 2000, p. 21. Jump up ^ Spencer 2003. Jump up ^ Croyden 1969, p. 127. Jump up ^ Vaughan & Vaughan 1999, pp. 113 -- 14. Jump up ^ Hirst 1984, p. 50. ^ Jump up to : Vaughan & Vaughan 1999, p. 114. Jump up ^ Billington 1989. Jump up ^ Saccio 1980. Jump up ^ Vaughan & Vaughan 1999, pp. 114 -- 15. Jump up ^ Coveney 2011. Jump up ^ Vaughan & Vaughan 1999, p. 116. Jump up ^ Dawson 2002, pp. 179 -- 81. Jump up ^ Vaughan & Vaughan 1999, pp. 116 -- 17. Jump up ^ Vaughan & Vaughan 1999, pp. 121 -- 3. Jump up ^ Gay 2002, pp. 171 -- 2. Jump up ^ Thomson 2002, p. 138. Jump up ^ Greenhalgh 2007, p. 186. ^ Jump up to : Hitchings 2016. Jump up ^ Sanders 2007, p. 42. Jump up ^ Vaughan & Vaughan 1999, pp. 18 -- 20. Jump up ^ Sanders 2007, p. 31. Jump up ^ Sanders 2007, p. 189. Jump up ^ Jacobs 1986, p. 24. Jump up ^ Lawrence 1897. Jump up ^ Sullivan 1881. Jump up ^ Blades & Holland 2003. Jump up ^ Gallois 2003. Jump up ^ Ylirotu 2005. Jump up ^ Sanders 2007, p. 36. Jump up ^ Wilson 1992. Jump up ^ Vaughan & Vaughan 1999, p. 112. Jump up ^ Tuttle 1996. Jump up ^ Sanders 2007, p. 99. Jump up ^ Halliday 1964, pp. 410, 486. Jump up ^ Sanders 2007, p. 60. Jump up ^ Tovey 1931, p. 285. Jump up ^ McElroy 2006. Jump up ^ Avery 2006. Jump up ^ La Rocco 2013. Jump up ^ Simon 2013. Jump up ^ Vaughan & Vaughan 1999, pp. 87 -- 8. Jump up ^ Vaughan & Vaughan 1999, p. 91. ^ Jump up to : Vaughan & Vaughan 1999, p. 92. Jump up ^ Vaughan & Vaughan 1999, pp. 110 -- 11. Jump up ^ Vaughan & Vaughan 1999, p. 107. Jump up ^ Vaughan & Vaughan 1999, p. 109. Jump up ^ Vaughan & Vaughan 1999, pp. 109 -- 10. ^ Jump up to : Orgel 2007, p. 72. Jump up ^ Orgel 2007, pp. 72 -- 3. Jump up ^ Orgel 2007, p. 76. Jump up ^ Vaughan & Vaughan 1999, pp. 83 -- 5. Jump up ^ Vaughan & Vaughan 1999, pp. 83 -- 4. Jump up ^ Orgel 2007, p. 81. Jump up ^ Orgel 2007, pp. 85 -- 8. Jump up ^ Cowdrey 2016. ^ Jump up to : Brode 2001, pp. 222 -- 3. Jump up ^ Howard 2000, p. 296. Jump up ^ Vaughan & Vaughan 1999, pp. 111 -- 12. Jump up ^ Pilkington 2015, p. 44. Jump up ^ Morse 2000, pp. 168, 170 -- 171. Jump up ^ Vaughan & Vaughan 1999, pp. 118 -- 19. Jump up ^ Brode 2001, pp. 224 -- 6. ^ Jump up to : Vaughan & Vaughan 1999, p. 118. Jump up ^ Brode 2001, pp. 227 -- 8. Jump up ^ Jordison 2014. Jump up ^ Rozakis 1999, p. 275. Jump up ^ Howard 2003, p. 612. Jump up ^ Forsyth 2000, p. 291. Jump up ^ Brode 2001, pp. 229 -- 31. Jump up ^ Brode 2001, p. 232. Jump up ^ Howard 2000, p. 309. Jump up ^ Brode 2001, pp. 231 -- 2. Jump up ^ Ruffo, Krapp & Gable 2000, p. 13. Bibliography Auberlen, Eckhard ( 1991 ). `` The Tempest and the Concerns of the Restoration Court : A Study of The Enchanted Island and the Operatic Tempest ''. Restoration : Studies in English Literary Culture, 1660 -- 1700. 15 : 71 -- 88. ISSN 1941 - 952X. Avery, Susan ( 1 May 2006 ). `` Two Tempests, Both Alike : Shakespearean indignity ''. New York Magazine. Retrieved 22 February 2015. Billington, Michael ( 1 January 1989 ). `` In Britain, a Proliferation of Prosperos ''. The New York Times. Retrieved 20 December 2008. Blades, James ; Holland, James ( 2003 ). `` Celesta ''. In Sadie, Stanley ; Tyrrell, John. The New Grove Dictionary of Music and Musicians. 5. Oxford : Oxford University Press. ISBN 978 - 0 - 19 - 517067 - 2. Brode, Douglas ( 2001 ). Shakespeare in the Movies : From the Silent Era to Today. New York : Berkley Boulevard Books. ISBN 0 - 425 - 18176 - 6. Bullough, Geoffrey ( 1975 ). Romances : Cymbeline, The Winter 's Tale, The Tempest. Narrative and Dramatic Sources of Shakespeare. Routledge and Kegan Paul. ISBN 9780710078957. Carey - Webb, Allen ( 1993 ). `` Shakespeare for the 1990s : A Multicultural Tempest ''. The English Journal. National Council of Teachers of English. 82 ( 4 ) : 30 -- 5. doi : 10.2307 / 820844. ISSN 0013 - 8274. JSTOR 820844. OCLC 1325886 -- via JSTOR. ( Subscription required ( help ) ). Cartelli, Thomas ( 1995 ). `` After The Tempest : Shakespeare, Postcoloniality, and Michelle Cliff 's New, New World Miranda ''. Contemporary Literature. University of Wisconsin Press. 36 ( 1 ) : 82 -- 102. doi : 10.2307 / 1208955. ISSN 0010 - 7484. JSTOR 1208955. OCLC 38584750 -- via JSTOR. ( Subscription required ( help ) ). Chambers, Edmund Kerchever ( 1930 ). William Shakespeare : A Study of Facts and Problems. 2. Oxford : Clarendon Press. Coursen, Herbert ( 2000 ). The Tempest : A Guide to the Play. Westport : Greenwood Press. ISBN 0 - 313 - 31191 - 9. Coveney, Michael ( 11 August 2011 ). `` Obituary : John Wood : Ferociously intelligent actor who reigned supreme in Stoppard and Shakespeare ''. The Guardian. p. 34. Cowdrey, Katherine ( 23 February 2016 ). `` Margaret Atwood reveals title and jacket for Hag - Seed ''. The Bookseller. Croyden, Margaret ( 1969 ). `` Peter Brook 's Tempest ''. The Drama Review. 13 ( 3 ) : 125 -- 8. doi : 10.2307 / 1144467. JSTOR 1144467. Dawson, Anthony ( 2002 ). `` International Shakespeare ''. In Wells, Stanley ; Stanton, Sarah. The Cambridge Companion to Shakespeare on Stage. Cambridge : Cambridge University Press. pp. 174 -- 93. ISBN 0 - 521 - 79711 - X. Dobson, Michael ( 1992 ). The Making of the National Poet : Shakespeare, Adaptation and Authorship, 1660 -- 1769. Oxford : Oxford University Press. ISBN 978 - 0 - 19 - 818323 - 5. Dolan, Frances E. ( 1992 ). `` The Subordinate ( 's ) Plot : Petty Treason and the Forms of Domestic Rebellion ''. Shakespeare Quarterly. Johns Hopkins University Press. 43 ( 3 ) : 317 -- 340. doi : 10.2307 / 2870531. ISSN 0037 - 3222. JSTOR 2870531. OCLC 39852252. Dymkowski, Christine ( 2000 ). The Tempest. Cambridge : Cambridge University Press. ISBN 978 - 0 - 521 - 78375 - 0. Forsyth, Neil ( 2000 ). `` Shakespeare the Illusionist : Filming the Supernatural ''. In Jackson, Russell. The Cambridge Companion to Shakespeare on Film. Cambridge : Cambridge University Press. pp. 274 -- 94. ISBN 0 - 521 - 63975 - 1. Gallois, Jean ( 2003 ). `` Ernest Chausson ''. In Sadie, Stanley ; Tyrrell, John. The New Grove Dictionary of Music and Musicians. 5. Oxford : Oxford University Press. ISBN 978 - 0 - 19 - 517067 - 2. Gay, Penny ( 2002 ). `` Women and Shakespearean Performance ''. In Wells, Stanley ; Stanton, Sarah. The Cambridge Companion to Shakespeare on Stage. Cambridge : Cambridge University Press. pp. 155 -- 73. ISBN 0 - 521 - 79711 - X. Gibson, Rex ( 2006 ). The Tempest. Cambridge Student Guides. Cambridge : Cambridge University Press. ISBN 0 - 521 - 53857 - 2. Gielgud, John ( 2005 ). Mangan, Richard, ed. Sir John Gielgud : A Life in Letters. Arcade Publishing. ISBN 978 - 1 - 55970 - 755 - 8. Greenhalgh, Susanne ( 2007 ). `` Shakespeare overheard : performances, adaptations, and citations on radio ''. In Shaughnessy, Robert. The Cambridge Companion to Shakespeare and Popular Culture. Cambridge : Cambridge University Press. pp. 175 -- 98. ISBN 978 - 0 - 521 - 60580 - 9. Gurr, Andrew ( 1989 ). `` The Tempest 's Tempest at Blackfriars ''. Shakespeare Survey. Shakespeare Survey. Cambridge University Press. 41 : 91 -- 102. doi : 10.1017 / CCOL0521360714. 009. ISBN 0 - 521 - 36071 - 4. Halliday, F.E. ( 1964 ). A Shakespeare Companion 1564 -- 1964. Baltimore : Penguin. ISBN 0 - 7156 - 0309 - 4. Hirst, David L. ( 1984 ). The Tempest : Text and Performance. Macmillan. ISBN 978 - 0 - 333 - 34465 - 1. Hitchings, Henry ( 18 November 2016 ). `` The Tempest : Theatre 's traditional virtues endure in tech - heavy show ''. Evening Standard. Howard, Tony ( 2000 ). `` Shakespeare 's Cinematic Offshoots ''. In Jackson, Russell. The Cambridge Companion to Shakespeare on Film. Cambridge : Cambridge University Press. ISBN 0 - 521 - 63975 - 1. Howard, Tony ( 2003 ). `` Shakespeare on Film and Video ''. In Wells, Stanley ; Orlin, Lena Cowen. Shakespeare : An Oxford Guide. Oxford : Oxford University Press. pp. 607 -- 619. ISBN 0 - 19 - 924522 - 3. Jackson, Russell, ed. ( 2000 ). The Cambridge Companion to Shakespeare on Film. Cambridge : Cambridge University Press. ISBN 0 - 521 - 63975 - 1. Jacobs, Arthur ( 1986 ). Arthur Sullivan -- A Victorian Musician. Oxford : Oxford University Press. ISBN 0 - 19 - 282033 - 8. Jordison, Sam ( 24 April 2014 ). `` The Tempest Casts Strange Spells at the Cinema ''. The Guardian. Kennedy, Michael ( 1992 ). The Works of Ralph Vaughan Williams. Oxford : Oxford University Press. ISBN 0 - 19 - 816330 - 4. Kermode, Frank, ed. ( 1958 ). The Tempest. The Arden Shakespeare, second series. Methuen. OL 6244436M. La Rocco, Claudia ( 10 September 2013 ). `` On a Diverse Island, a Play About a Magical One ''. The New York Times. p. C3. Lawrence, Arthur H. ( 1897 ). `` An illustrated interview with Sir Arthur Sullivan ''. The Strand Magazine. Vol. xiv no. 84. Archived from the original on 13 December 2014. Malone, Edmond ( 1808 ). An Account of the Incidents, from which the Title and Part of the Story of Shakespeare 's Tempest were derived, and its true date ascertained. London : C. and R. Baldwin, New Bridge - Street. Marsden, Jean I. ( 2002 ). `` Improving Shakespeare : from the Restoration to Garrick ''. In Wells, Stanley ; Stanton, Sarah. The Cambridge Companion to Shakespeare on Stage. Cambridge : Cambridge University Press. pp. 21 -- 36. ISBN 0 - 521 - 79711 - X. McElroy, Steven ( 24 November 2006 ). `` A New Theater Company Starts Big ''. Arts, Briefly. The New York Times. p. E2. Moody, Jane ( 2002 ). `` Romantic Shakespeare ''. In Wells, Stanley ; Stanton, Sarah. The Cambridge Companion to Shakespeare on Stage. Cambridge : Cambridge University Press. pp. 37 -- 57. ISBN 0 - 521 - 79711 - X. Morse, Ruth ( 2000 ). `` Monsters, Magicians, Movies : The Tempest and the Final Frontier ''. Shakespeare Survey. Cambridge University Press. 53, Shakespeare and Narrative : 164 -- 174. doi : 10.1017 / CCOL0521781140. 014. ISBN 9781139052740. ISSN 0080 - 9152 -- via Cambridge Core. ( Subscription required ( help ) ). Muir, Kenneth ( 2005 ). The Sources of Shakespeare 's Plays. Routledge Library Editions -- Shakespeare. Routledge. ISBN 0 - 415 - 35299 - 1. Nixon, Rob ( 1987 ). `` Caribbean and African Appropriations of The Tempest ''. Critical Inquiry. The University of Chicago Press. 13 ( 3 ) : 557 -- 78. doi : 10.1086 / 448408. ISSN 0093 - 1896. OCLC 37521707. Orgel, Stephen ( 1984 ). `` Prospero 's Wife ''. Representations. 8 ( October ) : 1 -- 13. doi : 10.1525 / rep. 1984.8. 1.99 p00753. Orgel, Stephen ( 1987 ). The Tempest. The Oxford Shakespeare. Oxford : Oxford University Press. ISBN 978 - 0 - 19 - 953590 - 3. Orgel, Stephen ( 2007 ). `` Shakespeare Illustrated ''. In Shaughnessy, Robert. The Cambridge Companion to Shakespeare and Popular Culture. Cambridge : Cambridge University Press. pp. 67 -- 92. ISBN 978 - 0 - 521 - 60580 - 9. Phillips, James E. ( 1964 ). `` The Tempest and Renaissance Idea of Man ''. Shakespeare Quarterly. Folger Shakespeare Library. 15 ( 2 ) : 147 -- 59. doi : 10.2307 / 2867886. ISSN 1538 - 3555. JSTOR 2867886. Pilkington, Ace G. ( 2015 ). `` Forbidden Planet : Aliens, Monsters and Fictions of Nuclear Disaster ''. In Kapell, Matthew Wilhelm ; Pilkington, Ace G. The Fantastic Made Visible : Essays on the Adaptation of Science Fiction and Fantasy from Page to Screen. McFarland & Company. pp. 43 -- 59. ISBN 978 - 0786496198. Pollard, Alfred W. ( 2002 ). Shakespeare folios and quartos : a study in the bibliography of Shakespeare 's plays, 1594 -- 1685 ( reprint ed. ). Martino. ISBN 978 - 1 - 57898 - 300 - 1. Rozakis, Laurie ( 1999 ). The Complete Idiot 's Guide to Shakespeare. New York : Alpha Books. ISBN 0 - 02 - 862905 - 1. Ruffo, Sandra ; Krapp, Traudl ; Gable, Michael F. ( 2000 ). `` The genus Maera ( Crustacea : Amphipoda : Nelitidae ) from Bermuda '' ( PDF ). Postilla ( 221 ) : 1 -- 35. Archived ( PDF ) from the original on 29 June 2016. Saccio, Peter ( 1980 ). `` American Shakespeare Theatre, Stratford, Connecticut ''. Shakespeare Quarterly. Johns Hopkins University Press. 31 ( 2 ) : 187 -- 191. doi : 10.2307 / 2869526. ISSN 0037 - 3222. JSTOR 2869526. Sadie, Stanley, ed. ( 1992 ). The New Grove Dictionary of Opera. Oxford : Oxford University Press. ISBN 978 - 0 - 19 - 522186 - 2. Sadie, Stanley ; Tyrrell, John, eds. ( 2003 ). The New Grove Dictionary of Music and Musicians. Oxford : Oxford University Press. ISBN 978 - 0 - 19 - 517067 - 2. Sanders, Julie ( 2007 ). Shakespeare and Music : Afterlives and Borrowings. Cambridge : Polity Press. ISBN 978 - 0 - 7456 - 3297 - 1. Schoch, Richard W. ( 2002 ). `` Pictorial Shakespeare ''. In Wells, Stanley ; Stanton, Sarah. The Cambridge Companion to Shakespeare on Stage. Cambridge : Cambridge University Press. pp. 58 -- 75. ISBN 0 - 521 - 79711 - X. Shaughnessy, Robert, ed. ( 2007 ). The Cambridge Companion to Shakespeare and Popular Culture. Cambridge : Cambridge University Press. ISBN 978 - 0 - 521 - 60580 - 9. Simon, Lizzie ( 2 September 2013 ). `` The Teeming Tempest ''. New York Culture. The Wall Street Journal. Spencer, Charles ( 23 January 2003 ). `` A Most Magical Prospero ''. The Telegraph. Sullivan, Arthur ( 27 October 1881 ). `` English Composers and Musicians ''. The Times ( 30336 ). p. 8, col. C. Archived from the original on 19 March 2015. Retrieved 4 April 2012. Thomson, Peter ( 2002 ). `` The Comic Actor and Shakespeare ''. In Wells, Stanley ; Stanton, Sarah. The Cambridge Companion to Shakespeare on Stage. Cambridge : Cambridge University Press. pp. 137 -- 54. ISBN 0 - 521 - 79711 - X. Tovey, Donald Francis ( 1931 ). A Companion to Beethoven 's Pianoforte Sonatas. Ams Pr. ISBN 978 - 0 - 404 - 13117 - 3. Tuttle, Raymond ( 1996 ). `` Michael Nyman : Noises, Sounds & Sweet Airs ''. Retrieved 21 December 2008. Vaughan, Virginia Mason ; Vaughan, Alden T. ( 1999 ). The Tempest. The Arden Shakespeare, Third Series. The Arden Shakespeare. ISBN 978 - 1 - 903436 - 08 - 0. Vaughan, Alden T. ( 2008 ). `` William Strachey 's `` True Reportory '' and Shakespeare : A Closer Look at the Evidence ``. Shakespeare Quarterly. Johns Hopkins University Press. 59 ( 3 ) : 245. doi : 10.1353 / shq. 0.0017. ISSN 1538 - 3555. Wells, Stanley ; Stanton, Sarah, eds. ( 2002 ). The Cambridge Companion to Shakespeare on Stage. Cambridge : Cambridge University Press. ISBN 0 - 521 - 79711 - X. Wells, Stanley ; Orlin, Lena Cowen, eds. ( 2003 ). Shakespeare : An Oxford Guide. Oxford : Oxford University Press. ISBN 0 - 19 - 924522 - 3. Wilson, Christopher R. ( 1992 ). `` William Shakespeare ''. In Sadie, Stanley. The New Grove Dictionary of Opera. 4. Oxford : Oxford University Press. ISBN 978 - 0 - 19 - 522186 - 2. Ylirotu, Jeremias ( 2005 ). `` Sibelius : Incidental Music for the Tempest, op. 109 ''. Retrieved 7 December 2008. Further reading Bowling, Lawrence E. ( 1951 ). `` The Theme of Natural Order in The Tempest ''. College English. National Council of Teachers of English. 12 ( 4 ) : 203 -- 9. doi : 10.2307 / 372626. ISSN 0010 - 0994. JSTOR 372626 -- via JSTOR. ( Subscription required ( help ) ). Buchanan, Judith ( 2005 ). Shakespeare on Film. Harlow : Pearson. ISBN 0 - 582 - 43716 - 4. Buchanan, Judith ( 2009 ). Shakespeare on Silent Film : An Excellent Dumb Discourse. Cambridge : Cambridge University Press. ISBN 0 - 521 - 87199 - 9. Cantor, Paul A. ( 1980 ). `` Shakespeare 's The Tempest : The Wise Man as Hero ''. Shakespeare Quarterly. Folger Shakespeare Library. 31 ( 1 ) : 64 -- 75. doi : 10.2307 / 2869370. ISSN 0037 - 3222. JSTOR 2869370 -- via JSTOR. ( Subscription required ( help ) ). Gilman, Ernest B. ( 1980 ). `` ' All eyes ' : Prospero 's Inverted Masque ''. Renaissance Quarterly. The University of Chicago Press. 33 ( 2 ) : 214 -- 230. doi : 10.2307 / 2861118. ISSN 0034 - 4338. JSTOR 2861118. OCLC 37032182 -- via JSTOR. ( Subscription required ( help ) ). Graff, Gerald ; Phelan, James, eds. ( 2008 ). The Tempest : A Case Study in Critical Controversy ( 2nd ed. ). London : Bedford / St. Martin 's. ISBN 978 - 0312457525. Grant, Patrick ( 1976 ). `` The Magic of Charity : A Background to Prospero ''. The Review of English Studies. Oxford University Press. XXVII ( 105 ) : 1 -- 16. doi : 10.1093 / res / XXVII. 105.1. ISSN 1471 - 6968. Knight, G. Wilson ( 1984 ). Shakespearean Dimensions. Harvester. ISBN 978 - 0710806284. Sagar, Keith ( 2005 ). `` The Crime Against Caliban ''. Literature and the Crime Against Nature. London : Chaucer Press. Yates, Frances A. ( 1975 ). Shakespeare 's Last Plays : A New Approach. London : Routledge & Kegan Paul. ISBN 978 - 0710081001. Yates, Frances A. ( 1979 ). The Occult Philosophy in the Elizabethan Age. London : Routledge & Kegan Paul. ISBN 978 - 0415254090. Zimbardo, Rose Abdelnour ( 1963 ). `` Form and Disorder in The Tempest ''. Shakespeare Quarterly. Folger Shakespeare Library. 14 ( 1 ) : 49 -- 56. doi : 10.2307 / 2868137. ISSN 0037 - 3222. JSTOR 2868137 -- via JSTOR. ( Subscription required ( help ) ). Macaulay, Alastair ( 2013 ). `` American Ballet Theater Opens Its Fall Season ''. The New York Times. External links Find more aboutThe Tempestat Wikipedia 's sister projects Definitions from Wiktionary Media from Wikimedia Commons Quotations from Wikiquote Texts from Wikisource Textbooks from Wikibooks The Tempest at the British Library The original - spelling text of The Tempest at Internet Shakespeare Editions The Tempest Navigator, including annotated text, line numbers, scene summaries, and text search Introductory Lecture on The Tempest Lesson plans for The Tempest at Web English Teacher An original - spelling version (. doc format ) of William Strachey 's True Reportory of the Wracke and Redemption of Sir Thomas Gates, Knight, hosted by Virtual Jamestown The Tempest Audio Book -- a free recorded performance of The Tempest by the Universal Shakespeare Broadcasting Company. The Tempest public domain audiobook at LibriVox William Shakespeare Plays Tragedies Antony and Cleopatra Coriolanus Hamlet Julius Caesar King Lear Macbeth Othello Romeo and Juliet Timon of Athens Titus Andronicus Troilus and Cressida Comedies All 's Well That Ends Well As You Like It The Comedy of Errors Cymbeline Love 's Labour 's Lost Measure for Measure The Merchant of Venice The Merry Wives of Windsor A Midsummer Night 's Dream Much Ado About Nothing Pericles, Prince of Tyre * The Taming of the Shrew The Tempest Twelfth Night The Two Gentlemen of Verona The Two Noble Kinsmen * The Winter 's Tale Histories King John Edward III * Richard II Henry IV Henry V Henry VI 1 * Richard III Henry VIII * See also Problem plays Late romances Characters A -- K L -- Z Ghost character Chronology Performances Settings Scenes Quarto publications First Folio Second Folio Poems Shakespeare 's sonnets comparison to Petrarch A Lover 's Complaint The Phoenix and the Turtle The Rape of Lucrece Venus and Adonis Apocrypha Plays Arden of Faversham The Birth of Merlin Cardenio * Double Falsehood Edmund Ironside Fair Em Locrine The London Prodigal Love 's Labour 's Won The Merry Devil of Edmonton Mucedorus The Puritan The Second Maiden 's Tragedy Sejanus His Fall Sir John Oldcastle Sir Thomas More * The Spanish Tragedy Thomas Lord Cromwell Thomas of Woodstock Vortigern and Rowena A Yorkshire Tragedy Poems The Passionate Pilgrim To the Queen Life and works Birthplace and childhood home Bibliography Complete Works of William Shakespeare Translations Early editions Editors English Renaissance theatre Globe Theatre Handwriting Lord Chamberlain 's Men / King 's Men The Theatre Curtain Theatre New Place Portraits Religious views Sexuality Spelling of his name Stratford - upon - Avon Style Will Legacy Attribution studies Authorship question Influence Memorials Screen adaptations Shakespeare Birthplace Trust Folger Shakespeare Library Shakespeare Quarterly Shakespeare 's Globe ( replica ) Bardolatry Titles of works taken from Shakespeare Family Anne Hathaway ( wife ) Susanna Hall ( daughter ) Hamnet Shakespeare ( son ) Judith Quiney ( daughter ) Elizabeth Barnard ( granddaughter ) John Shakespeare ( father ) Mary Arden ( mother ) Gilbert Shakespeare ( brother ) Joan Shakespeare ( sister ) Edmund Shakespeare ( brother ) Richard Shakespeare ( grandfather ) John Hall ( son - in - law ) Thomas Quiney ( son - in - law ) Thomas Nash ( grandson - in - law ) * Shakespeare and other authors Lost William Shakespeare 's The Tempest Characters Prospero Miranda Ariel Caliban Sycorax Ferdinand Gonzalo Stephano Sources A True Reportory of the Wracke and Redemption of Sir Thomas Gates, Knight Decades of the New World Montaigne 's Essays Ovid 's Metamorphoses Erasmus 's Naufragium Commedia dell'arte Sea Venture Films 1911 1963 1979 1980 Adaptations Music Three Shakespeare Songs ( Vaughan Williams ) The Tempest ( Sullivan ) The Tempest ( Sibelius ) The Tempest ( Tchaikovsky ) The Tempest ( ballet ) ( Nordheim ) `` Do n't Pay the Ferryman '' ( 1982 ) Screen Yellow Sky ( 1948 ) Forbidden Planet ( 1956 ) Tempest ( 1982 ) The Journey to Melonia ( 1989 ) Prospero 's Books ( 1991 ) Painting Scene from Shakespeare 's The Tempest ( Hogarth ) Ferdinand Lured by Ariel ( Millais ) Musicals Beach Blanket Tempest Return to the Forbidden Planet Amaluna Plays The Tempest ( Dryden ) The Sea Voyage The Mock Tempest ( 1674 Duffet ) Une Tempête ( 1969 Césaire ) The Sea ( play ) ( 1973 ) I 'll Be The Devil ( 2008 ) Opera The Tempest ( 1756 Smith ) Die Geisterinsel ( libretto 1796 ) Die Geisterinsel ( 1798 Reichardt ) Die Geisterinsel ( 1805 Zumsteeg ) Der Sturm ( 1955 Martin ) Noises, Sounds & Sweet Airs ( 1991 Nyman ) The Tempest ( Adès 2004 ) The Enchanted Island ( 2011 Sams ) Poetry and prose fiction `` Caliban upon Setebos '' ( Browning ) `` The Sea and the Mirror '' ( Auden ) Indigo ( Warner ) A Midsummer Tempest ( Anderson ) Island ( Rogers ) Hag - Seed ( Atwood ) Phrases `` Ariel 's Song '' `` Brave new world '' `` Ding Dong Bell '' `` Full fathom five '' `` Sea change '' `` What 's past is prologue '' Sculpture The Tempest ( 1966 ) BNF : cb11936513n ( data ) GND : 4099371 - 1 LCCN : n80052873 SUDOC : 027291022 VIAF : 310216967 Retrieved from `` https://en.wikipedia.org/w/index.php?title=The_Tempest&oldid=856918165 '' Categories : 1611 plays Shakespearean comedies English Renaissance plays Plays set in Italy Bermuda in fiction Fantasy theatre British plays adapted into films Plays adapted into operas Plays adapted into radio programs Plays adapted into television programs Invisibility in fiction Castaways in fiction Hidden categories : Articles with short description Use British English from July 2018 Use dmy dates from July 2018 Articles with attributed pull quotes All articles with unsourced statements Articles with unsourced statements from November 2015 All articles with failed verification Articles with failed verification from August 2018 Pages containing links to subscription - only content CS1 : Julian -- Gregorian uncertainty Articles with LibriVox links Good articles Wikipedia articles with BNF identifiers Wikipedia articles with GND identifiers Wikipedia articles with LCCN identifiers Wikipedia articles with SUDOC identifiers Wikipedia articles with VIAF identifiers Talk Contents About Wikipedia Wikiquote Wikisource Afrikaans বাংলা Български Brezhoneg Català Čeština Cymraeg Dansk Deutsch Ελληνικά Español Esperanto فارسی Français Frysk 한국어 Bahasa Indonesia Íslenska Italiano עברית ಕನ್ನಡ Latina Magyar Македонски മലയാളം Malti Nederlands 日本 語 Norsk Occitan Polski Português Română Русский Scots Simple English Slovenčina Slovenščina Српски / srpski Suomi Svenska தமிழ் ไทย Türkçe Українська Tiếng Việt 中文 39 more Edit links This page was last edited on 28 August 2018, at 11 : 10 ( UTC ). Text is available under the Creative Commons Attribution - ShareAlike License ; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia ® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. About Wikipedia

Question: what is the genre of the play the tempest
Answer: romance