French, Marilyn. Shakespeare’s Division of Experience. New York: Summit Books, 1981. French sees the play as Shakespeare’s attempt to synthesize themes from his earlier works and finally propound a theory of justice that satisfies the hierarchical imperatives he had previously set out. An examination of gender roles plays a significant part in her attempts to explicate Shakespeare’s universe. Caliban is presented as representative of colonized peoples.
Kermode, Frank. William Shakespeare: The Final Plays. London: Longmans, Green, 1963. Kermode sees this play as the most classically unified of Shakespeare’s late works, and finds a repetition of earlier themes including “guilt and repentance, the finding of the lost, forgiveness, the renewal of the world, [and] the benevolence of unseen powers.”
Lindley, David. “Music, Masque and Meaining in The Tempest.” The Court Masque. Manchester, England: Manchester University Press, 1984. Lindley examines the masque as a unique Renaissance art form and uncovers the role music plays in The Tempest to assert and deny power.
Peterson, Douglas L. Time, Tide, and Tempest: A Study of Shakespeare’s Romances. San Marino, Calif.: Huntington Library, 1973. Places the play in the context of Shakespeare’s romance plays. Explores the themes and motifs of redemption and natural order, which elaborated on Shakespeare’s earlier vision.
Smith, Hallett Darius, ed. Twentieth Century Interpretations of “The Tempest”: A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice-Hall, 1969. Provides viewpoints and interpretations of The Tempest by sixteen critics, including A. C. Bradley and Northrup Frye. Includes a chronology of important dates and a bibliography.
Shakespeare, William. The Riverside Shakespeare, ed. G. Blakemore Evans. Boston: Houghton Mifflin, 1974.
The First Folio of Shakespeare, The Norton Facsimile, ed. Charlton Hinman. New York: W. W. Norton, 1968.
Berger, Karol. “Prospero’s Art,” Shakespeare Studies, Vol. X. New York: Burt Franklin, 1977.
Coleridge, Samuel Taylor. Shakespearean Criticism. London: J. M. Dent and Sons, 1961.
Craig, Hardin. “Magic in The Tempest,” Philological Quarterly, 47 (1968): 8-15.
Cutts, John P. “The Tempest, the Sweet Fruition of Revenge,” Rich and Strange. Washington State University Press, 1968.
Dowden, Edward. Shakespeare: A Critical Study of His Mind and Art. London: Routledge and Kegan Paul, 1875.
Dryden, John. “Prologue to The Tempest,” The Norton Anthology of English Literature, Vol. 1. New York: W. W. Norton, 1968.
Frye, Northrop. A Natural Perspective: The Development of Shakespearean Comedy and Romance. New York: Columbia University Press, 1965.
Godschalk, William Leigh. Patterning in Shakespearean Drama: Essays in Criticism. University of Cincinatti: Mouton-The-Hague-Paris, 1973.
Johnson, Samuel. Johnson’s Notes to Shakespeare. Los Angeles: William Andrews Clark Memorial Library, 1956.
Kermode, Frank. The Arden Shakespeare, The Tempest. London: Methuen, 1969.
Knight, G. Wilson. The Crown of Life: Essays in Interpretation of Shakespeare’s Final Plays. London: Oxford University Press, 1947.
Long, John H. Shakespeare’s Use of Music. Gainesville, Florida: University of Florida Press, 1961.
Lowell, James Russell. The English Poets. London: Kennikat Press, 1888.
Lovejoy, Arthur O. The Great Chain of Being. Cambridge, Massachusetts: Harvard University Press, 1950.
Nuttall, A. D. Two Concepts of Allegory, London: Routledge and Kegan Paul, 1967.
Sisson, C. J. “The Magic of Prospero,” Shakespeare Survey II. London: Cambridge University Press, 1958.
Traversi, Derek. Shakespeare: The Last Phase. Stanford, California: Stanford University Press, 1969.
Virgil. The Aeneid, ed. Moses Hadas. London: Bantam Books, 1965.
Wright, Neil. “Reality and Illusion as a Philosophical Pattern in The Tempest,” Shakespeare Studies, Vol. X. New York: Burt Franklin, 1977.
Zimbardo, Rose A. “Form and Disorder in The Tempest,” Shakespeare Quarterly, 14 (1963): 49-56.