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a wealth of theatrical beauty; but the success of the acted play has been most conspicuous when the scenic embellishment has been reduced to the simplicity of what is known as the 'Elizabethan manner.' The effectiveness of such a simple presentation was well illustrated by the performance at the Century Theatre, New York, in 1915. Here the attention was not for ever diverted from the action and the poetry of the drama by the gorgeousness of its setting.

One of the most interesting evidences of the vitality of Shakespeare's subject is afforded by the numerous works based upon or suggested by it. The material has fascinated the creative imagination from the days of Dryden down to our own time. Mr. Mackaye has been scarcely more successful than the Restoration dramatists in recapturing the delicate charm of the original. Those authors have succeeded best who have deliberately employed the material for purposes wholly different from Shakespeare's. Thus Renan, in Caliban, a drame philosophique,' used the situation created by Shakespeare as the vehicle for the most brilliant political and social satire. Browning, in Caliban upon Setebos, a dramatic monologue, uses Caliban's religion as an interpretation of primitive anthropomorphism.



S. T. Coleridge, 'Notes on the Tempest,' in Notes and Lectures upon Shakespeare (1849).

J. R. Lowell, 'Shakespeare once more,' in Among my Books, First Series (1870).

Stopford A. Brooke, On Ten Plays of Shakespeare, chapter 10, 'The Tempest.' (1905.)

Ernest Renan, Caliban, suite de la Tempête, drame philosophique (1878).

Robert Browning, 'Caliban upon Setebos or, Natural Theology in the Island,' in Dramatis Personce (1864).



The text of the present volume is, by permission of the Oxford University Press, that of the Oxford Shakespeare, edited by the late W. J. Craig, except for the following deviations:

1. The stage-directions of the first Folio have been restored as far as possible, with necessary modern additions in square brackets.

2. The spelling of a few words is altered, as boatswain for boson; bowsprit for boresprit; burthen for burden; mo for more; o' for of; th’ for the; farther for further; villainous for villanous.

3. A number of unnecessary commas have been omitted.

4. The following passages. [Craig's readings are placed after the colon.]

I. ii. in creature: creatures

146 butt: boat
173 princess: princes
248 made thee no: made no
285 he, that: he that
327 Shall, for that vast of night that they may

work,: Shall forth at vast of night, that

they may work
381 Burthen dispersedly: 'Bow, wowo:

[Burden: Bow, wow, dispersedly. (And so 141-142 The fault's your own: the fault's Your own.

similarly in similar cases.) 485 II. i. 99 Gon, Ay: Alon. Ay?

nor: or

170 it: its
175 'Save: Save
251 doubt: doubts
258 She that from whom: she that, from whom?

307 them: thee II. ii. 62 ha?: Ha!

66 at: at's

163 when's: when his III. i. 15 busy lest: busiest

53 skilless: skill less

64 you,: you III. ii. 46 again to the: again the

made to: made IV.i,3 third: thrid

4. who: whom
93 Paphos,: Paphos

190 all, all lost: are all lost V. i. 81 shore: shores

82 lies: lie 216 is: are

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