Shakespeare, William; Frye, Northrup, editor. (1959). The Tempest. Pelican. pp. 1–10. ISBN 978-0-14-071415-9 Psychoanalytic interpretations have proved more difficult to depict on stage. [111] 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." [113] [114] Ylirotu, Jeremias (2005). "Sibelius: Incidental Music for the Tempest, op. 109" . Retrieved 7 December 2008. Hinman, Charlton (1963). The Printing and Proof Reading of the First Folio of Shakespeare. Oxford University Press. ISBN 978-0-19-811613-4

Ashby, Sylvia (1976). Shining Princess of the Slender Bamboo. I. E. Clark Publications. ISBN 978-0-88680-266-0.Phillips, James E. (1964). " The Tempest and Renaissance Idea of Man". Shakespeare Quarterly. Folger Shakespeare Library. 15 (2): 147–159. doi: 10.2307/2867886. ISSN 1538-3555. JSTOR 2867886. My master through his art foresees the danger That you, his friend, are in, and sends me forth— For else his project dies—to keep them living! [46] Leininger also argues that Miranda's sexualisation is a weapon used against her by her father, stating that Prospero uses Caliban's attempted assault and Ferdinand's romantic overtures to marginalise her, simplifying her into a personification of chastity. In Leininger's analysis, Caliban is treated in a similar fashion, forced into the role of an uncivilised savage without heed for his individual needs and desires—much in the same way that Miranda is expected to marry Ferdinand and reject Caliban's advances simply because her father wishes it. [11] Shakespeare almost certainly read Strachey's account from the original source, according to Charles Mills Gayley. Gayley posits that Shakespeare had access to Strachey's original "Letter to an Excellent Lady", brought to England by Sir Thomas Gates the summer of 1610: "The letter was entrusted by this lady to certain members of the [Virginia Company] council, and one of them, probably Sir Edwin Sandys, incorporated from it such portions as were fitting for the True Declaration issued to the public....The letter was always in the keeping of those vitally concerned until Purchas got hold of it [and published it fifteen years later]. That Shakespeare was allowed to read it and to use certain of its materials for a play, as with just discrimination and due discretion as he did, is illustrative of the closeness of his intimacy with the patriot leaders of the Virginia enterprise." [23]

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. [ citation needed]In the anime series Mobile Suit Gundam: The Witch from Mercury, the main character's mother goes by the name Prospera Mercury. She has sent her daughter, Suletta Mercury, to a piloting school alongside a Gundam named Aerial. 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). 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. The Tempest is a play created in a male dominated culture and society, a gender imbalance the play explores metaphorically by having only one major female role, Miranda. Miranda is fifteen, intelligent, naive, and beautiful. The only humans she has ever encountered in her life are male. Prospero sees himself as her primary teacher, and asks if she can remember a time before they arrived to the island—he assumes that she cannot. When Miranda has a memory of "four or five women" tending to her younger self (1.2.44–47), it disturbs Prospero, who prefers to portray himself as her only teacher, and the absolute source of her own history—anything before his teachings in Miranda's mind should be a dark "abysm", according to him. (1.2.48–50) The "four or five women" Miranda remembers may symbolize the young girl's desire for something other than only men. [12] [73]

Orgel, Stephen (1987). The Tempest. The Oxford Shakespeare. Oxford: Oxford University Press. ISBN 978-0-19-953590-3. Clare Savage, a protagonist of Michelle Cliff's novel No Telephone to Heaven, is frequently seen to be a modernised Miranda. [21] Miranda is featured in the 2019 novella Miranda in Milan, which imagines the events after The Tempest.Critic Jessica Slights creates claims that although many declare that Miranda only reflects the image of an obedient and subservient woman; she argues Miranda's character is independent. Miranda's upbringing shapes her character and the view of the world around her. She is not confined to social constructs as she did not grow up within a conventional society. This leads Miranda to view the world without preconceived ideas. Prospero is the main guardian in her life, but she developed personality traits such as kind-heartedness that are, as many describe, distinct in comparison to Prospero’s. In addition, she challenged the rules of traditional courtship when she pursued Ferdinand. As the moment with Caliban progresses, Miranda rebukes Caliban for the hatred he expresses towards her father: It is not known for certain exactly when The Tempest was written, but evidence supports the idea that it was probably composed sometime between late 1610 to mid-1611. It is considered one of the last plays that Shakespeare wrote alone. [14] [15] Evidence supports composition perhaps occurring before, after, or at the same time as The Winter's Tale. [14] Edward Blount entered The Tempest into the Stationers' Register on 8 November 1623. It was one of 16 Shakespeare plays that Blount registered on that date. [16] Contemporary sources [ edit ] Sylvester Jourdain's A Discovery of the Barmudas Timothy West, 1992 (voice of Prospero in abridged animated production for Shakespeare: The Animated Tales) Vaughan, Virginia Mason; Vaughan, Alden T. (1999). The Tempest. The Arden Shakespeare, Third Series. The Arden Shakespeare. ISBN 978-1-903436-08-0.