| Barton | the storm contains no hint of the marvelous or extraordinary |
| Barton | the normal social responses have been dislocated |
| Coleridge | a lively commencement of the story |
| Coleridge | never puts habitual scorn into the mouths of other than bad men |
| Todd | Trinculo’s role is combining with Stephano in providing comic releif |
| Todd | Prospero takes pleasure in Ariel’s successes |
| Todd | Prospero controls the destiny of the other characters |
| Todd | Only Caliban’s body is enslaved |
| Todd | Miranda’s outward beauty is a reflection of her inner merit |
| Todd | Alonso emerges from the experience as purified and repentant |
| Todd | Stephano’s murder plot is based on folly rather than evil |
| Riga | Prospero can be viewed as a beneficent kindly figure |
| Kozinsky | Prospero is a selfish and venegful tyrant |
| Westlund | Prospero is a deeply subjective character |
| O’Toole | Caliban’s language is that of a slave who binds himself to his master |
| Mason | Shakespeare is indicating alternatives to traditional power models |
| Beck | Prospero is an all knowing character with the perfect plan in place |
| Jaimeson | Areil and Caliban represent two sides of Prospero’s perosnality |
| Tanner | all the venom on Prospero’s island is secreted by men |
| Tanner | Miranda’s pitty must be innate since their is no-one to teach it to her |
| Tanner | The real monsters of the island are Sebastian and Antonio |
| Adams | Stephano and Trinculo are comic and incompetent |
| Garbar | A place where reality is transformed |
| Chaudhury | Caliban appeals to Stephano to achieve his desired end |
| Delvin | Caliban is master of the situation |
| Haddon | Stephano is the real monster |
| Moseley | [reference to the anti-masque] ‘despite this harmony, there is still discord on the island |
| Moseley | The purity of the masque juxtaposed with the impure conspiracy to seize power |
| Moseley | Stephano and Trinculo are far more repulsive than Caliban |
| Moseley | A masque is ‘a means of saying the unsayable’ |
| Moseley | Prospero presents the idea of a Good Marriage’ |
| Moseley | It is an elaborate way for Prospero to pronounce his blessing on the couple |
| Moseley | An example of how the play concerns itself with education |
| Andrew green power | Prospero is the major source of power within the tempest |
| Andrew green composer | He can be seen as the composer of the events of the play |
| Andrew green magical | they find themsleves helpless in the face of his magical arts |
| Andrew green orchestra | the mighty storm is thus a thunderously orchestrated work of art |
| Andrew green sadistic | at times the music and sounds prospero invokes take on a sadistic quality |
| Andrew green power struggle | ugly nature of power-struggle within politics |
| Andrew green confusion | the strange power of music to control adds to the sense of mystery and confusion |
| Andrew green melancholy | remains a figure of strange melancholy (prospero) |
| Bradshaw transformation | the tempest is his story , his psychic journey of self-transformation |
| Mcdonald | to listen to the tempest’s language is to become deeply sceptical about the operation of all kinds of power – poetic. political and critical too |
| Sir Peter hall | the most blasphemous play that shakespeare ever wrote…is about a man on an island who is allowed to play God and who doesn’t just dabble in witchcraft, but actually performs it |
| De Grazia | not only are their histories similar and their powers interchangeable but both sorceress and magician are driven by the same passion – anger |
The Tempest Critics
July 14, 2019