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' PREFACEPERMISSIONS ACKNOWLEDGEMENTSI INTRODUCTIONII THE CRITICAL TRADITION1. 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, 184618. 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 ,1954III SELECT BIBLIOGRAPHYIndex

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' PREFACEPERMISSIONS ACKNOWLEDGEMENTSI INTRODUCTIONII THE CRITICAL TRADITION1. 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, 184618. 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 ,1954III SELECT BIBLIOGRAPHYIndex

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' PREFACEPERMISSIONS ACKNOWLEDGEMENTSI INTRODUCTIONII THE CRITICAL TRADITION1. 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, 184618. 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 ,1954III SELECT BIBLIOGRAPHYIndex