The Tempest

Brinda S. L. Charry is Associate Professor of English at Keene State College in New Hampshire, USA. She is the author of The Arden Guide to Renaissance Drama: An Introduction with Primary Sources (The Arden Shakespeare, 2017) and The Tempest: Language and Writing (The Arden Shakespeare, 2013).

GENERAL EDITORS' PREFACE
PERMISSIONS ACKNOWLEDGEMENTS
I INTRODUCTION
II THE CRITICAL TRADITION

1. EDMOND MALONE, date of composition, 1790
2. WILLIAM TAYLOR, as tragicomedy, 1795
3. GEORGE CHALMERS, New World voyages, 1795
4. EDMOND MALONE, Virginia Voyages,1808
5. AUGUST WILHELM SCHLEGEL, as poetry, 1809-11
6. SAMUEL TAYLOR COLERIDGE, commentary, 1811-12
7. WILLIAM HAZLITT, commentary, 1817
8. EDMOND MALONE, Caliban as savage, 1821
9. CHARLES LAMB, The Tempest staged,1822
10. ANNA JAMESON, on Miranda, 1832
11. SAMUEL TAYLOR COLERIDGE, as romantic drama, 1836
12. THOMAS CAMPBELL, Shakespeare as Prospero, 1838
13. JOSEPH HUNTER, the Mediterranean, 1839
14. WASHINGTON IRVING, The Tempest and America, 1840
15. PATRICK MACDONNELL, on Caliban, 1840
16. CHARLES KNIGHT, commentary, 1843
17. HERMANN ULRICI, the wonderful and the real, 1846
18. W.J. BIRCH, religion, 1848
19. JOHN RUSKIN, slavery, 1872
20. DANIEL WILSON, Caliban as the ‘missing link’, 1873
21. EDWARD DOWDEN, Shakespeare as Prospero, 1875
22. A.C. SWINBURNE, commentary, 1880
23. FRANCES ANNE KEMBLE, commentary, 1882
24. HORACE HOWARD FURNESS, on Caliban, 1895
25. GEORGE BERNARD SHAW, review, 1897
26. RUDYARD KIPLING, commentary, 1898
27. FRANK BRISTOL, The Tempest and America, 1898
28. LUCE MORTON, commentary, 1901
29. ASHLEY THORNDIKE, the influence of Beaumont and Fletcher, 1901
30. EVERETT EDWARD HALE, commentary, 1903
31. W.W. NEWELL, The Tempest and folk tale, 1903
32. MAX BEERBOHM, theater review, 1903
33. A.C. BRADLEY, the transitory nature of things, 1904
34. BROOKE STOPFORD, commentary,1905
35. LYTTON STRACHEY, Shakespeare’s final period, 1906
36. HENRY JAMES, commentary, 1907
37. SIDNEY LEE, The Tempest and America, 1907
38. WALTER RALEIGH, Shakespeare’s last phase, 1907
39. JOHN CHURTON COLLINS, Christian symbolism ,1908
40. F.H. RISTINE, tragi-comedy, 1910
41. SIDNEY LEE, Caliban as a Native American, 1913
42. RACHEL KELSEY, New World influences, 1914
43. ARTHUR QUILLER-COUCH, the first performance, 1917
44. CHARLES GAYLEY, political ideas, 1917
45. JOHN REA, Erasmus’ influence on the storm scene, 1919
46. ERNEST LAW, the Blackfriars Theatre, 1920
47. COLLIN STILL, as allegory, 1921
48. JOSE ENRIQUE RODÓ, Ariel and Caliban as symbols, 1922.
49. RICHARD NOBLE, songs, 1923
50. ENID WELSFORD, the court masque, 1927
51. E.K. CHAMBERS, sources, 1930-31
52. WILSON KNIGHT, tempests and music, 1932
53. E.M.W. TILLYARD, commentary, 1936
54. JOHN MIDDLETON MURRY, nurture and change, 1936
55. F.R. LEAVIS, reality, 1942
56. THEODORE SPENCER, ordering of characters, 1942
57. WILSON KNIGHT, commentary, 1947
58. G.E. BENTLEY, the Blackfriars Theatre, 1948
59. JAMES NOSWORTHY, structure and sources,1948
60. DEREK TRAVERSI, artistic and moral purpose, 1949
61. NEVILL COGHILL, Christian myth, 1950
62. FRANK KERMODE, commentary ,1954

III SELECT BIBLIOGRAPHY
Index