The Storm (Shakespeare)

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Scene with Miranda and Ferdinand from Der Sturm ; Painting 1782

The storm (Engl. The Tempest ) is a play by William Shakespeare . The work is about the fate of Prosperus and his daughter. As Duke of Milan, he was expelled by his brother, fled to an island, uses magic to overcome his enemies stranded there and, after his honor has been restored, returns to his homeland. The piece was probably completed by mid-1611 at the latest. The first performance is documented for November 1611. The first printed version can be found in the First Folio from 1623. The Tempest is one of the few dramas by Shakespeare for whose plot there is no specific source. Since Dowden's definition it has been counted among the romances along with other pieces from Shakespeare's late work.

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'A Scene from the Tempest, Prospero and Ariel' by Joseph Severn (1793-1879)

Twelve years before the game began, the magician Prospero and his daughter Miranda were stranded on an island . Prospero had previously been Duke of Milan , but had become more and more interested in his magical studies and neglected his duties as a duke. His power-hungry brother Antonio took advantage of this by raising an army with the help of Alonso, king of Naples, moving against Milan and overthrowing Prospero. Prospero had escaped to the island with his daughter in a barely seaworthy boat. He is now the ruler of the island; under him are the air spirit Ariel and the deformed son of the witch Sycorax named Caliban . Sycorax had imprisoned Ariel in a split jaw before her death, in which he would have stayed forever had Prospero not freed him. Out of gratitude, Ariel is now at Prospero's service.

On the way back from a wedding in Tunis, the fleet of the King of Naples sails past the island with the king's brother Sebastian, the king's son Ferdinand and Prospero's brother Antonio. Prospero orders Ariel to leave the king's ship stranded on the island in a storm. While the ship is being driven to the island by the spirit of the air, the rest of the fleet thinks it is lost and heads back to Naples. Ariel puts the crew of the stranded ship into a magical sleep, he lets the other castaways wander around the island. Ariel leads Ferdinand to Prospero and Miranda, who has never seen a man apart from her father and Caliban and immediately falls in love with Ferdinand, just as he falls in love with her.

Meanwhile, Alonso, Antonio, Sebastian and other castaways are looking for the missing Ferdinand on the island. Antonio tries to trick Sebastian into killing his brother so that Sebastian himself could become king. A procession of spirits appears and brings them a feast. Ariel appears in the form of a harpy eagle and accuses Alonso, Antonio and Sebastian of driving Prospero from Milan and leaving him and his child to the sea; because of this sin the powers of nature and the sea would have now taken Ferdinand.

The sailors Trinculo and Stefano meet Caliban, who presents himself as the subject of a tyrant and magician who has betrayed him of the island. Among the three who are overheard by Ariel, the plan arises to kill Prospero and take control of the island. The key is to get hold of Prospero's books on magic, then the deed can be carried out and Stefano can become king of the island.

Prospero gives his blessing to the union of Ferdinand and Miranda. To celebrate, three ghosts appear in the form of Iris, Juno and Ceres to perform a masquerade for Ferdinand and Miranda. Then Prospero remembers that the hour has almost come when Caliban and his co-conspirators will seek his life, and sends the ghosts away with the words: “Our indulgence is now over. These actors of ours, as I predicted, were all ghosts, and they vanished into thin air. And, like the unstable structure of this vision, the towers covered with clouds, the stately palaces, the venerable temples and the great globe itself, yes, and everything that it contains, should dissolve. And as this meager spectacle vanished, they don't leave a scrap behind. We are the stuff of dreams, and our little life is rounded off with a sleep. ”(" Our revels now are ended. These our actors, / As I fortold you, were all spirits, and / Are melted into air, into thin air, / And, like the baseless fabric of this vision, / The cloud-capped towers, the gorgeous palaces, / The solemn temples, the great globe itself, / Yea, all which it inherit, shall dissolve; / And, like this insubstantial pageant faded, / Leave not a rack behind. We are such stuff / As dreams are made on, and our little life / Is rounded with a sleep. "IV.iv.148-158)

When Caliban, Trinculo and Stefano enter, a pack of ghosts in the shape of dogs appear and scare away the intruders. Ariel leads Alonso, Antonio and Sebastian to Prospero's cave, Prospero forgives his brother Antonio, but demands his duchy back from him. After Alonso told Prospero about the missing Ferdinand, Prospero pulls a curtain aside, behind which Ferdinand and Miranda are playing chess. Alonso is overjoyed. The astonished Miranda exclaims: “O miracle! How many fine creatures are there! How beautiful is the human race! O brave new world that has such people! ”(" O, wonder! / How many goodly creatures are there here! / How beautious mankind is! O brave new world / That has such people in't! "; V.iv .184-187)

Ariel brings the remaining crew on the ship as well as Caliban, Trinculo and Stefano. Prospero renounces his magic and declares his intention to return to Milan after releasing both Ariel and Caliban from their servants. Shakespeare leaves open whether the criminal brothers will take him away. In his final monologue, Prospero begs the audience to at least release him by clapping.

Literary templates and cultural references

For The Tempest , unlike most of Shakespeare's other works, no specific source or literary model can be identified. However, Shakespeare uses a number of common romance motifs or comedy elements such as storm and shipwreck, origin puzzles, sorcery and magic, separation and reunification of lovers, surprising coincidences and eventual resolution of conflicts through reconciliation and forgiveness or grace. The farce-like subplot and the remote pastoral setting of the remote island as a setting in which the good could be realized in a transfigured environment beyond the courtly or urban everyday life are also part of the widespread components of this hybrid genre of dramatic romance, which is increasingly emerging in Elizabethan theater , in which various popular and literary as well as narrative and dramatic currents flow together.

The initial situation on which the fable in the play is based, of an illegally deposed and expelled prince who returns to the throne through the use of magic and magic, in which he marries the son of his enemy adversary with his own daughter for reconciliation, is equally found in countless variations . Such a basic situation probably has its origin in folk tales or in popular tales; certain correspondences or references to other works of this period do not therefore imply the conscious use of a selected source by Shakespeare. Parallels to what happened in The Tempest can be found, for example, in Jakob Ayrer's drama Die Schöne Sidea from 1605 or in two Spanish romances from the Espejo de Principes y Caballeros collection by Diego Orunes de Calahorra from 1562, which are titled The Mirruor of Princely Deeds and of Knighthood was translated into English several times from 1578. There are further similarities or equivalents in the novella Noches de Invierno (1609) by Antonio de Eslava, without any direct use as a template for The Tempest . Even William Thomas ' Histoire of Italy or History of Italy from 1549 based on a comparable basic situation with the expulsion and return of Duke Prospero Adorno of Milan; Shakespeare was not only able to find the name of his protagonist here, but also for a majority of the other characters in The Tempest . Most of these names appear in Robert Eden's History of Travaile (1577), from which Shakespeare was able to derive the names of the god Serebos and the witch Sycorax.

The stage world and the storyline of The Tempest are not limited to the use of common romances or comedy elements , which Shakespeare uses in his own way for the composition of his work. In Der Sturm he also refers to numerous contemporary travel reports about adventurous journeys to the New World as well as extensive philosophical-ethical discourses and discussions about noble and bad savages or the political-moral moments of colonization , with which he was thoroughly familiar. Accordingly, the plot about Caliban as the “indigenous native” of the island ruled by Prospero alludes unmistakably to the historical context of the incipient colonialism .

Accordingly, Shakespeare found concrete suggestions for The Tempest in the then current reports from the Bermuda pamphlets about the stranding of the Sea-Adventure , an English colonist ship that stranded in a storm on the coast of the Bermuda Islands on July 29, 1609 and was considered lost , whose passengers, however, survived due to fortunate circumstances and reached Jamestown after wintering in Bermuda in May 1610 . Borrowings from these reports can be found in The Tempest, for example, in St. Elmo's Fire , with which Ariel decorates the stormy storm that he has caused in scene 1.2.197-204. This corresponds to the miraculous rescue of the occupants of the Sea Adventure through divine foresight ( Providence ), according to the belief of the time . Shakespeare used the large number of reports on the shipwreck of the Sea-Adventure as inspiration for his play, probably mainly S. Jourdain's Discovery of the Bermudas (1610) and the handwritten original letter from William Strachey, 15 years later as A True Repertory of the Wrack appeared in print in Purchas His Pilgrimes (1625). Various correspondences or correspondences show with relative certainty that Shakespeare was aware of this letter. With as much certainty can be assumed that Shakespeare also Sylvester Jourdan A Discovery of the Bermuda (1610) and the Declaration of the Estate of the Colony of Virginia of the Council of Virginia , in November 1610 in the register Stationers's been filed and 1611 Pressure appeared, knew.

Shakespeare was able to find further inspiration for The Tempest in the essays by Michel de Montaigne , especially in his essay Of Cannibals . These writings of Montaigne were available from 1603 in the English translation of the language teacher and scholar John Florio , with whom Shakespeare was possibly close friends. For example, Gonzalo's exuberant praise of the utopia of a non-violent community follows the return to a pre-social state of nature without structures of rule, in which people live happily without discord or animosity in harmony with themselves and nature, immediately after his survival from a shipwreck in front of the mocking court society in of the first scene of the second act (2.1.155-160) here and there verbatim Montaigne's essay Of Cannibals .

Prospero's much- vaunted renunciation of his magical art of magic in The Tempest (5.1.33-57) goes back in the wording in almost unchanged form to the translation of a speech by the sorceress Medea from Ovid's Metamorphoses into English by Arthur Golding (7.265-77), whose translation is the Metamorphoses had previously been published in print form in the years 1565 to 1567.

Dating and text history

The Tempest, First Folio (1623).

The text of The Tempest was probably completed in the course of 1611 as what is probably the last complete work by Shakespeare. Files from the responsible court office have been preserved for this year. It shows that this piece was performed on November 1, 1611 before King James I in the banquet hall of what was then the palace of Whitehall .

The corresponding entry is:

"By the Kings players: Hallomas nyght was presented att Whitall before ye kinges Maiestie a Play Called the Tempest."

- The Revells Account.

The Master of the Revels , who was responsible for court performances at this time, was George Buck and the entry mentioned is a stroke of luck, as the censors' notes on theater performances at court only for the period from 1571–1589; 1604-1605 and 1611-1612. It is known that the King's Men only performed plays at court that had previously been successfully performed in public theaters. Therefore one suspects that the performance at court is not the world premiere. It is believed that Shakespeare used three sources for the composition of the play that were not available before September 1610. The Tempest must therefore have been completed between the end of 1610 and November 1611 and publicly performed several times. Another celebratory performance at court is documented in the winter of 1612/1613, when the marriage of Princess Elisabeth , daughter of James I , to the German elector Friedrich V of the Palatinate was extensively celebrated in London . Some Shakespeare scholars see this as an indication of the assumption that Shakespeare may have conceived The Tempest from the start as a play for festive performances at court.

Only the print version in the folio edition of 1623, the first complete edition of Shakespeare's works, has survived as an early text version . This print, which is the only authoritative text base for all modern editions of the work, is of extremely high quality and reliable. It is one of the most carefully edited texts in the Shakespeare canon and is hardly a problem for today's editors. In all likelihood, a fair copy of Shakespeare's handwritten manuscript served as the master copy, which Ralph Crane, the traditional scribe of the Shakespeares drama group, might have created especially for the folio edition.

The text also contains unusually numerous and precise stage and stage directions, which, however, may have been added later by the editors, John Heminges and Henry Condell . Although the play is one of the last works Shakespeare wrote in his late creative phase before his retirement from the theater world, it is placed at the beginning in the complete folio edition of 1623. According to numerous Shakespeare scholars, this first placement at the beginning reflects both the popularity of the work at the time and the representative status of the work within the entire Shakespeare canon from the point of view of contemporary recipients.

History of reception and interpretation

In contrast to many other Shakespeare plays, which were long forgotten after the end of Elizabethan-Jacobean theater, The Tempest is one of those works by Shakespeare that was extremely popular not only with contemporary theater audiences during their creation, but also in all later ones Epochs has proven to be a great, albeit not entirely undisputed, stage success in various productions or arrangements and is now on the fixed repertoire of many renowned theaters around the world.

According to Manfred Pfister, one possible reason for the success story of The Tempest lies in the piece's "open perspective structure", which, through its deliberately designed ambiguity or diversity, challenges the recipient to close the existing gaps and to resolve the contradictions, mixed styles and inconsistencies in the Solve statements through an independent interpretation. The Shakespeare expert Ulrich Suerbaum also sees this multiperspectivity of The Tempest , which offers the viewer as well as the reader on several levels different interpretations depending on the viewing angle, as a possible cause for the continuous stage success of this piece, but at the same time emphasizes the associated Reason for the emergence of completely controversial analyzes and interpretations in the history of this work of this short and closed piece, which is comparatively simple, compact for Shakespeare's standards.

Accordingly, the persistence of the appreciation of the work in no way means a uniform appropriation or a consistent understanding of the work, but rather, in terms of reception history, a very different orientation of interpretation and criticism according to the respective zeitgeist or contemporary taste of the various epochs. Up to the present day, Shakespeare research and criticism in the analysis of the work has not succeeded in agreeing, at least in the basics, on an uncontroversial orientation of the different interpretations or even on a common understanding of the fundamental nature of this work.

In the 19th century, the reception of the work was influenced by an autobiographical interpretation practice, which tried to understand a literary work primarily as an expression of the individual personal experiences of the author. Against this background, The Tempest was primarily interpreted as a self-portrait of Shakespeare in his late creative phase. Prospero was accordingly understood as a dramatic figure with whom Shakespeare tried to create a self-portrait as a wise, benevolent poet in old age; Prospero's ultimate renunciation of magic and sorcery was interpretatively equated with Shakespeare's own staging of his retreat from the theater and the associated renunciation of the magic of poetic work. In the center of the interpretation, paradigmatically, not only the magical or wonderful was shifted, but the figure of Prospero was also stylized as the ideal of the poet himself, who, as a powerful magician, seemed to evoke the forces of nature on the stage. This interpretation of the play was introduced in the middle of the 18th century by Alexander Pope , one of the most influential writers and literary critics of neoclassicism . Pope emphasized the sublime poetic imagination of the work ( noblest efforts of [...] sublime and amazing imagination ) and drew the conclusion that Shakespeare had created his play directly from the spirit of the old original poetry.

This interpretative identification of the main character Prospero with the imaginative personality and the artistic ego of the author, which was more pronounced in English Romanticism , remained at a central point in the mythical, symbolic or allegorical approaches of the 20th century that subsequently predominated, especially in the middle decades decisively determined the interpretation of the work.

For example, George Wilson Knight, who was one of the leading interpreters of Shakespeare's late work at this time, saw in The Tempest above all a visionary, mystical introspection of Shakespeare, in which Shakespeare made his own spiritual experiences in the actions and main characters of the play, especially in the Protagonist Prospero, expressed in dramatic form: " The Tempest [...] is thus an interpretation of Shakespeare's world [...], since the plot is [...] so inclusive an interpretation of Shakespeare's life-work Prospero is controlling not merely a Shakespearian play, but the Shakespearian world. He is hus automatically in the position of Shakespeare himself, and i is accordingly inevitable that he should often speak as with Shakespeare's voice. "

A sudden paradigm shift in the interpretation of The Tempest did not begin until the middle of the 20th century, when it was radically updated and reinterpreted by the Polish literary scholar and writer Jan Kott in his book Shakespeare Today, which was first published in German in 1965 . Kott's drastic reinterpretation of the entire work of Shakespeare is based on his specific concepts, which he believes he can gain from the historical experience of the 20th century and which he unconditionally transfers to Shakespeare's work. For Kott, Shakespeare's basic pattern of all historical processes consists in the cycle of gain and loss of power. Kott believes that this basic historical structure can be found not only in the historical dramas and great tragedies of Shakespeare, but also in The Tempest . According to Kott, Shakespeare shows here the “image of history, of eternal history, of its unalterable mechanism.” According to Kott, in The Tempest this basic structure of all historical processes is not only depicted in a model-like abbreviation on an abstract level, but also repeated with formulaic constancy . For Kott, in contrast to the previous criticism, which believed the piece was a peaceful utopia or an Arcadian idyll , The Tempest represents a world full of power struggles, violence, murder and rebellion as well as terror and conspiracy: “Prospero's story takes up one of the main, basic - almost obsessional - Shakespearean themes: that of a good and a bad ruler, of the usurper who deprives the legal prince of his throne. This is Shakespeare's view of history, eternal history, its perpetual, unchanging mechanism. [...] Prospero's narrative is a description of a struggle for power, violence and conspiracy. [...] On Prospero's island, Shakespeare's history of the world is played out in an abbreviated form. It consists of a struggle for power, murder, revolt and violence. [...] Prospero's island is a scene symbolizing the real world, not a utopia. "

Already almost two decades after Kott's unorthodox reorientation of the reception of the work, which also - although not entirely undisputed - had a pioneering effect on the performance practice of the European theaters, there was another turning point in the literary interpretation of the play from the 1980s. This change of perspective took place in the entire interpretation of Shakespeare, but found its focus primarily in the changing reading of The Tempest .

Against the background of a multitude of new approaches to development, which developed on the basis of Marxist literary theory , the new historicism , post-colonial feminism or cultural materialism and psychoanalytic interpretation , the view of the play from a (post-) colonial perspective became dominant.

The Tempest was understood in the contemporary context of the Elizabethan discourses about the New World and the establishment of colonies that began in Shakespeare's time as an exemplary anticipation of the emerging process of colonization : Prospero as the protagonist was now pejoratively understood as the new colonial ruler; His opponent Caliban, on the other hand, was no longer interpreted as a wild natural being that could not be more precisely defined, but as a complex code for the striving for freedom and the rebellion of the indigenous peoples against the oppression of English or European domination as a whole.

While the new historicism was still trying to show that The Tempest provided a kind of ideological template for colonization in the sense that the taming of the primitive and recalcitrant natives by a benevolent and benevolent new government as a divine or missionary mandate to spread the Christian culture appeared, this reading was disavowed in an alternative interpretation: The superior island ruler Prospero ultimately turns out to be an authoritarian and inhuman white racist from the point of view of the defenseless victim Caliban. The Tempest should therefore be read as an encoded criticism of the colonial expansion of England; Shakespeare and Prospero critically represent the prototype of the imperialist , behind whose apparently paternal demeanor tyrannical forces are hidden.

In the more recent attempts at interpretation and research approaches, this concentration on the question of the post-colonial meaning of the work no longer plays a major role; instead there is a wide range of different detailed analyzes or interpretations without a clearly predominant orientation. The more recent readings of the piece tend to focus more on the conflicts and crises that break out in The Tempest . The harmonies created by Prospero's magic, on the other hand, are generally no longer regarded as the basis for an adequate overall understanding of the work.

Text output

Text editions in German, bilingual
  • William Shakespeare: The Tempest . English-German study edition. German prose version, remarks, introduction and commentary by Margarete and Ulrich Suerbaum . Stauffenburg, Tübingen 2004, ISBN 3-86057-564-3 .
  • William Shakespeare: The Storm . Bilingual edition. German by Frank Günther . (Arden 1954) German paperback publisher. 3rd edition 2008. Munich. ISBN 978-3-423-12487-4
Text editions in English
  • William Shakespeare: The Tempest . The Arden Shakespeare. Third Series. Edited by Virginia Mason Vaughan and Alden T. Vaughan. 1999. ISBN 978-1-903436-08-0 .
  • William Shakespeare: The Tempest . The Arden Shakespeare. Third Series. Revised Edition. Edited by Virginia Mason Vaughan and Alden T. Vaughan. 2011. ISBN 978-1-4081-3347-7
  • William Shakespeare: The Tempest . The Oxford Shakespeare. Oxford Worlds Classics. Edited by Stephen Organ. 1987. ISBN 978-0-19-953590-3
  • William Shakespeare: The Tempest . NCS The New Cambridge Shakespeare. Edited by David Lindley. CUP 2002. Updated Edition 2013. ISBN 978-1-107-02152-5
  • William Shakespeare: The Tempest . Series: The Annotated Shakespeare. Edited by Burton Raffel. Yale University Press 2008, ISBN 978-0-300-13830-6 . (available online for a fee via De Gruyter Online)

literature

Lexicons

Overview representations

Investigations on individual topics

  • Dagmar Dreyer: Between the Old and the New World. Shakespeare's Storm. In: Frauke Reitemeier (Ed.): "Look here, at this painting and at this ..." - For dealing with pictures from John Boydell's Shakespeare Gallery. Göttinger Schriften zur Englischen Philologie, Volume 2. Universitätsverlag Göttingen 2009, ISBN 978-3-941875-02-9 , pp. 55–77.

Web links

Commons : Der Sturm  - Collection of images, videos and audio files
Wikiquote: The Storm  - Quotes
literature
Film adaptations

Individual evidence

  1. ↑ See Walter Pache: The Tempest. In: interpretations. Shakespeare's Dramas. Philipp Reclam jun., Stuttgart 2000, ISBN 3-15-017513-5 , p. 369. See also Ulrich Suerbaum : Der Shakespeare-Führer. Reclam, Stuttgart 2006, 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , p. 212, and Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. Kröner, 5th, revised and supplemented edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 473.
  2. ↑ Cf. Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. Kröner, 5th, revised and supplemented edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , pp. 473f. See also Anthony Davies and Will Sharpe: The Tempest. In: Michael Dobson , Stanley Wells (Eds.): The Oxford Companion to Shakespeare. Oxford University Press, Oxford 2001, 2nd rev. Edition 2015, ISBN 978-0-19-870873-5 , p. 348.
  3. ↑ See Ulrich Suerbaum : The Shakespeare Guide. Reclam, Stuttgart 2006, 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , p. 212, and Hans-Dieter Gelfert : William Shakespeare in his time. CH Beck Verlag, Munich 2014, ISBN 978-3-406-65919-5 , p. 393. See also Anthony Davies and Will Sharpe: The Tempest. In: Michael Dobson , Stanley Wells (Eds.): The Oxford Companion to Shakespeare. Oxford University Press, Oxford 2001, 2nd rev. Edition 2015, ISBN 978-0-19-870873-5 , p. 348. See also Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. Kröner, 5th, reviewed and supplemented edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 474. On the references to the beginning colonial era, see also Walter Pache: The Tempest. In: interpretations. Shakespeare's Dramas. Philipp Reclam jun., Stuttgart 2000, ISBN 3-15-017513-5 , pp. 385ff., And Dagmar Dreyer: Between Old and New World. Shakespeare's Storm. In: Frauke Reitemeier (Ed.): "Look here, at this painting and at this ..." - For dealing with pictures from John Boydell's Shakespeare Gallery. Göttinger Schriften zur Englischen Philologie, Volume 2. Universitätsverlag Göttingen 2009, ISBN 978-3-941875-02-9 , pp. 55-77, here in particular pp. 59-66. See also for details Virginia Mason Vaughan and Alden T. Vaughan (Eds.): William Shakespeare: The Tempest . The Arden Shakespeare. Third Series. Revised Edition 2011, ISBN 978-1-4081-3347-7 , Introduction , pp. 36-47. The historical models mentioned so far, however, were by no means purely documentary factual reports on contemporary events, but, as Howard Felperin has pointed out in detail, theologically and symbolically exaggerated allegories. Felperin's The Tempest therefore does not simply take up or mirror elements from the travel literature of the early Renaissance, but rather an ironic commentary. See Howard Felperin: Shakespearean Romance. Princeton University Press 1972, reprint 2015, ISBN 978-1-4008-6830-8 , here PART III: The Romances , here Chapter 8: Undream'd Shores: The Tem-pest , pp. 250-274. (Retrieved from De Gruyter Online).
  4. ↑ See on the literal adaptations from Montaigne's essay Walter Pache: The Tempest. In: interpretations. Shakespeare's Dramas. Philipp Reclam jun., Stuttgart 2000, ISBN 3-15-017513-5 , p. 385 f. See also Manfred Pfister : Utopian drafts. In: In: Hans Ulrich Seeber (Hrsg.): Englische Literaturgeschichte . 4th ext. Edition. JB Metzler, Stuttgart 2004, ISBN 3-476-02035-5 , pp. 72-75, here p. 74. See also Ina Schabert (Ed.): Shakespeare-Handbuch on the references to Montaigne in Florio's translation . Time, man, work, posterity. Kröner, 5th, reviewed and supplemented edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 474, as well as Ulrich Suerbaum : Der Shakespeare-Führer. Reclam, Stuttgart 2006, 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , p. 212, and Hans-Dieter Gelfert : William Shakespeare in his time. CH Beck Verlag, Munich 2014, ISBN 978-3-406-65919-5 , p. 393.
  5. ↑ See Anthony Davies and Will Sharpe: The Tempest. In: Michael Dobson , Stanley Wells (Eds.): The Oxford Companion to Shakespeare. Oxford University Press, Oxford 2001, 2nd rev. Edition 2015, ISBN 978-0-19-870873-5 , p. 348. See also Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. Kröner, 5th, reviewed and supplemented edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 474. See also Dagmar Dreyer: Between Old and New World. Shakespeare's Storm. In: Frauke Reitemeier (Ed.): "Look here, at this painting and at this ..." - For dealing with pictures from John Boydell's Shakespeare Gallery. Göttinger Schriften zur Englischen Philologie, Volume 2. Universitätsverlag Göttingen 2009, ISBN 978-3-941875-02-9 , p. 60
  6. ↑ See Walter Pache: The Tempest. In: interpretations. Shakespeare's Dramas. Philipp Reclam jun., Stuttgart 2000, ISBN 3-15-017513-5 , p. 374. See also Anne Righter (Anne Barton) (Ed.): William Shakespeare * The Tempest. New Penguin Shakespeare, Penguin Books, Harmondsworth 1968, reprint 1977, Introduction , pp. 22f. See also Burton Raffel (Ed.): William Shakespeare: The Tempest . Series: The Annotated Shakespeare. Yale University Press 2008, ISBN 978-0-300-13830-6 , Introduction , p. 1. (Retrieved from De Gruyter Online). Raffel names the probable date of origin for this probably last play completely written by Shakespeare in the historical context of the Shakespeare canon as the period from 1610 to 1611.
  7. ^ EK Chambers. William Shakespeare. A Study of Facts and Problems . Oxford 1903. Vol. 2 p. 342.
  8. ^ Dobson Oxford Companion> Michael Dobson and Stanley Wells: The Oxford Companion to Shakespeare. OUP 2001. p. 377, article: "Revels Office and accounts".
  9. ^ William Shakespeare: The Tempest Bilingual Edition. Edited, translated and commented by Margarete and Ulrich Suerbaum. Stauffenberg Publishing House. Tübingen 2004. p. 13.
  10. ^ Stanley Wells and Gary Taylor: William Shakespeare: A Textual Companion. Oxford 1987. p. 132.
  11. ↑ As an indication of this, the spectacular magical illusion or magic effects are seen, which could only be presented in a theater with stage technology that was highly developed for the time. The masquerade as a play in the game was also seen as further evidence that Shakespeare wrote The Tempest primarily for a festive court performance. A performance at the Globe Theater is not documented. However, there is no conclusive proof of this assumption: The Blackfriars Theater , in the Shakespeare drama troupe that played King'Men as well as in the large popular theaters with less elaborate stage technology, offered similar possibilities for illusions. See Anne Righter (Anne Barton) (Ed.): William Shakespeare * The Tempest. New Penguin Shakespeare, Penguin Books, Harmondsworth 1968, reprint 1977, Introduction , p. 23, and Walter Pache: The Tempest. In: interpretations. Shakespeare's Dramas. Philipp Reclam jun., Stuttgart 2000, ISBN 3-15-017513-5 , p. 374. Cf. also Ulrich Suerbaum : Der Shakespeare-Führer. Reclam, Stuttgart 2006, 3rd rev. 2015 edition, ISBN 978-3-15-020395-8 , pp. 210-212, and Anthony Davies and Will Sharpe: The Tempest. In: Michael Dobson , Stanley Wells (Eds.): The Oxford Companion to Shakespeare. Oxford University Press, Oxford 2001, 2nd rev. Edition 2015, ISBN 978-0-19-870873-5 , p. 352. See also the detailed critical examination of this hypothesis in Stephen Orgel in: William Shakespeare: The Tempest . The Oxford Shakespeare. Oxford Worlds Classics. Edited by Stephen Organ. 1987. ISBN 978-0-19-953590-3 , Introduction , pp. 2ff.
  12. ↑ Anthony Davies and Will Sharpe: The Tempest. In: Michael Dobson , Stanley Wells (Eds.): The Oxford Companion to Shakespeare. Oxford University Press, Oxford 2001, 2nd rev. Edition 2015, ISBN 978-0-19-870873-5 , p. 348. See also Ulrich Suerbaum : Der Shakespeare-Führer. Reclam, Stuttgart 2006, 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , p. 213, and Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. Kröner, 5th, revised and supplemented edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 473. See also Anne Righter (Anne Barton) (ed.): William Shakespeare * The Tempest. New Penguin Shakespeare, Penguin Books, Harmondsworth 1968, reprint 1977, An Account of the Text. , P. 179.
  13. ↑ Anthony Davies and Will Sharpe: The Tempest. In: Michael Dobson , Stanley Wells (Eds.): The Oxford Companion to Shakespeare. Oxford University Press, Oxford 2001, 2nd rev. Edition 2015, ISBN 978-0-19-870873-5 , p. 348. See also Walter Pache: The Tempest. In: interpretations. Shakespeare's Dramas. Philipp Reclam jun., Stuttgart 2000, ISBN 3-15-017513-5 , p. 374, and Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. Kröner, 5th, reviewed and supplemented edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 473. See also in detail Stephen Orgel (Ed.): Various Shakespeare scholars and interpreters see in this prominent placement in The first folio edition even provides evidence of their assumption that Shakespeare expressed his own departure from the stage in The Tempest in a dramatic form and regard the play on this background as a poetic testament of Shakespeare. See for example Hans-Dieter Gelfert : William Shakespeare in his time. CH Beck Verlag, Munich 2014, ISBN 978-3-406-65919-5 , pp. 393 and 396. See also the introduction by Stephen Orgel in: William Shakespeare: The Tempest . The Oxford Shakespeare. Oxford Worlds Classics. Edited by Stephen Organ. 1987. ISBN 978-0-19-953590-3 , Introduction , pp. 2 and pp. 58-63. See also Anne Righter (Anne Barton) (ed.): William Shakespeare * The Tempest. New Penguin Shakespeare, Penguin Books, Harmondsworth 1968, reprint 1977, An Account of the Text. , P. 179. See also Burton Raffel (Ed.): William Shakespeare: The Tempest . Series: The Annotated Shakespeare. Yale University Press 2008, ISBN 978-0-300-13830-6 , Introduction , p. 2. (Retrieved from De Gruyter Online).
  14. ↑ See Virginia Mason Vaughan and Alden T. Vaughan (eds.): William Shakespeare: The Tempest . The Arden Shakespeare. Third Series. Revised Edition 2011, ISBN 978-1-4081-3347-7 , Introduction , pp. 1ff.
  15. ↑ See for example Walter Pache: The Tempest. In: interpretations. Shakespeare's Dramas. Philipp Reclam jun., Stuttgart 2000, ISBN 3-15-017513-5 , p. 374. Pache refers to Manfred Pfister's groundbreaking dissertation from 1972: Studies on the Change in Perspective Structure in Elizabethan and Jacobean Comedies. Published in book form by Fink Verlag, Munich 1974. See also Anne Righter (Anne Barton) (Ed.): William Shakespeare * The Tempest. New Penguin Shakespeare, Penguin Books, Harmondsworth 1968, Reprint 1977, Introduction , pp. 14-19, and Virginia Mason Vaughan and Alden T. Vaughan (Eds.): William Shakespeare: The Tempest . The Arden Shakespeare. Third Series. Revised Edition 2011, ISBN 978-1-4081-3347-7 , Introduction , pp. 1f. See also Ulrich Suerbaum : The Shakespeare Guide. Reclam, Stuttgart 2006, 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , pp. 213-216. Suerbaum sees the attractiveness of this piece primarily in its brevity of only 2283 lines and the extremely small stage company, the uniform setting of the island, which emerges solely through its singularity, and in the extremely short time span of the dramatic events of just under three hours without the otherwise usual romance-typical Justified time leaps. Even the simple plot with three groups of people and the course of the plot without major actions, the results of which are all predictable for the viewer, together with additional interludes such as the mask play with nymphs, goddesses, singing and dancing as well as the spectacular appearance of ghosts or ghost dogs, he says a high entertainment value, which also conveyed through the implementation of moments of the courtly game culture was able to arouse the interest of a socially diverse theater audience again and again. In addition, there is an abundance of entertaining scene elements such as the stage storm, sorcery or magic, as well as a variety of other theatrical or fantastic effects, such as the captivating stage storm in the opening scene or the impressive magical moments in Prospero's magic scenes. In addition, the fundamental dramatic subject complexes, such as the behavior of people in existential crisis situations or the problem of the steadfastness or fragility of hierarchy and authority or of chaos and order or turmoil and dependence on higher powers, take up elementary, time-spanning problems. The multi-layered nature of the piece is already evident in the dramatic initial communication of the main characters, which is effective on several levels, and in particular in the ambiguous interplay of the dazzling but shady protagonist Prospero and his opponent Caliban. In addition, the ambiguity of the piece can also be seen in the various utopian approaches presented here, the synthesis of which is entirely up to the recipient. Furthermore, the open outcome of the piece can also be understood quite ambiguously. See in detail Walter Pache: The Tempest. In: interpretations. Shakespeare's Dramas. Philipp Reclam jun., Stuttgart 2000, ISBN 3-15-017513-5 , p. 376f., P. 380-384 and p. 386ff. See also Howard Felperin 's analysis of the incongruent utopian approaches: Shakespearean Romance. Princeton University Press 1972, reprint 2015, ISBN 978-1-4008-6830-8 , here PART III: The Romances , here Chapter 8: Undream'd Shores: The Tem-pest , pp. 279-283. (Retrieved from De Gruyter Online). See also Virginia Mason Vaughan and Alden T. Vaughan (eds.): William Shakespeare: The Tempest on the mentioned multi-perspectives of the play . The Arden Shakespeare. Third Series. Revised Edition 2011, ISBN 978-1-4081-3347-7 , Introduction , pp. 74ff.
  16. ↑ Cf. Ulrich Suerbaum : The Shakespeare Guide. Reclam, Stuttgart 2006, 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , pp. 217f. See also Walter Pache: The Tempest. In: interpretations. Shakespeare's Dramas. Philipp Reclam jun., Stuttgart 2000, ISBN 3-15-017513-5 , p. 390. Cf. also Virginia Mason Vaughan and Alden T. Vaughan (eds.): William Shakespeare: The Tempest . The Arden Shakespeare. Third Series. Revised Edition 2011, ISBN 978-1-4081-3347-7 , Introduction , pp. 88f. See also Anthony Davies and Will Sharpe: The Tempest. In: Michael Dobson , Stanley Wells (Eds.): The Oxford Companion to Shakespeare. Oxford University Press, Oxford 2001, 2nd rev. Edition 2015, ISBN 978-0-19-870873-5 , p. 352. See also the interpretation approach in Roma Gill (ed.): William Shakespeare: The Tempest . Oxford School Shakespeare, Oxford University Press, 2nd rev. Edition 2006, reprint 2010, ISBN 978-0-19-832500-0 , Characters - Magician and playwright , p. 118.
  17. ↑ See G. Wilson Knight: The Shakespearean Superman (1947). Republished in: DJ Palmer (Ed.): Shakespeare - The Tempest. A casebook. The Macmillan Press Ltd, London and Basingstoke 1977 (first edition 1968), ISBN 0-333-01375-1 , pp. 130-152, here pp. 131 and 135. See also Virginia Mason Vaughan and Alden T. Vaughan (eds. ): William Shakespeare: The Tempest . The Arden Shakespeare. Third Series. Revised Edition 2011, ISBN 978-1-4081-3347-7 , Introduction , pp. 84ff. Cf. also Ulrich Suerbaum : The Shakespeare Guide. Reclam, Stuttgart 2006, 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , p. 218.
  18. ↑ See Jan Kott: Prospero's Staff (1964). Reprinted in: DJ Palmer (Ed.): Shakespeare - The Tempest. A casebook. The Macmillan Press Ltd, London and Basingstoke 1977 (first edition 1968), ISBN 0-333-01375-1 , pp. 244-258, here pp. 245f., Pp. 251, and p. 255. See the German translation also Jan Kott: Porospero's staff. In: ders .: Shakespeare today. 3rd edition, ed. by Alexander Wewerka. Alexander Verlag, Berlin and Cologne, ISBN 978-3-89581-313-9 , pp. 350-406. See also Jan Kott: Shakespeare today. Translated from Polish by Peter Lachmann. Extended new edition, Pieper, Munich 1970, ISBN 978-3-492-01823-4 , here mainly pp. 299 and 309f. See also Ulrich Suerbaum : The Shakespeare Guide for Kott's approach to interpretation . Reclam, Stuttgart 2006, 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , pp. 218f.
  19. ↑ See in summary Ulrich Suerbaum : The Shakespeare Guide. Reclam, Stuttgart 2006, 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , pp. 219f., As well as more detailed Walter Pache: The Tempest. In: interpretations. Shakespeare's Dramas. Philipp Reclam jun., Stuttgart 2000, ISBN 3-15-017513-5 , p. 386ff. See also the detailed account of the history of interpretation in Virginia Mason Vaughan and Alden T. Vaughan (eds.): William Shakespeare: The Tempest . The Arden Shakespeare. Third Series. Revised Edition 2011, ISBN 978-1-4081-3347-7 , Introduction , pp. 39-54 and pp. 89-110. On the postcolonial reading of The Tempest, see also the overview by Tobias Döring: The postcolonial cultures - The Tempest as a paradigm. In: Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. Kröner, 5th, revised and supplemented edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , pp. 683-687.
  20. ↑ See Ulrich Suerbaum : The Shakespeare Guide. Reclam, Stuttgart 2006, 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , pp. 220f. Cf. also Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. Kröner, 5th, revised and supplemented edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , pp. 476f.