| Norrie Epstein (1994) | “The Tempest is more than magic and trickery” |
| Cedric Watts (1994) | “The play is structurally tidy” |
| Cedric Watts (1994) | Caliban is “one of the most paradoxical characterisations in Shakespeare’s works.” |
| Cedric Watts (1994) | “Caliban seems wiser than Antonio and Sebastian” |
| Brian Vickers (1994) | “The Tempest is now unfortunately reduced to an allegory of colonialism.” |
| Lorrie Leininger (1980) | “Prospero needs Miranda as sexual bait” |
| Marjory Garber (1974) | “Prospero’s enchanted island… is ultimately a country of the mind.” |
| Anne Barton (1968) | “[The Tempest] will lend itself to almost any interpretation.” |
| Paul MacDonnell (1840) | Caliban is a “resister of tyranny”. |
| Thomas Campbell (1838) | Argues that Prospero may represent Shakespeare. |
| William Hazlitt (1818) | “The Tempest is one of the most original and perfect of Shakespeare’s productions” |
| William Hazlitt (1818) | “The courtship [of] Miranda and Ferdinand is one of the chief beauties of the play” |
| William Hazlitt (1818) | Caliban is the rightful ruler of the isle and Prospero and Miranda are usurpers. |
| William Hazlitt (1818) | Caliban’s ‘be not afear’d speech’ presents him as having “the simplicity of a child”. |
| William Hazlitt (1818) | Caliban speaks in “eloquent poetry” |
| Samuel Taylor Coleridge (1810) | Ariel has a “childlike simplicity” |
| Anita Loomba (2000) | “Miranda is passive and controlled, told to ‘sleep, awake, obey…” |
| Ann Thompson (2000) | “a male-authored canonical text” |
| Stephen Greenblatt (2007) | •”Caliban is anything but a Noble Savage” |
| Brittney Blystone (2012) | “Sycorax’s abscence is an extreme example of women lacking agency and representation” |
| David Lindley (2013) | • “Caliban has…moved from a subhuman animal to an unmistakeably human figure” |
| David Lindley (2013) | • “[In the betrothal masque] marriage is subtly glorified as the foundation of society” |
| David Lindley (2013) | ● “To identify the actor’s race with that of the character…makes problematic the presentation of a black Caliban as ‘really’ monstrous”. |
| David Lindley (2013) | ● arguably about “patriarchal ideology” |
| David Lindley (2013) | “as experimental a play as he ever wrote” |
| David Lindley (2013) | “an aborted revenge tragedy” |
The Tempest – Critics (AO5)
July 5, 2019