Shop now Learn more Shop now Shop All Amazon Fashion Shop Suki Ad Campaign Pieces Cloud Drive Photos Shop now Amazon Fire TV Shop now Halloween Pets Shop now Shop Fire Shop Kindle Voyage Listen in Prime Learn more Shop now
The Tempest (The Annotated Shakespeare) and over 2 million other books are available for Amazon Kindle . Learn more
FREE Delivery in the UK on orders with at least £10 of books.
Usually dispatched within 11 to 12 days.
Dispatched from and sold by Amazon. Gift-wrap available.
The Tempest (The Annotate... has been added to your Basket
+ £2.80 UK delivery
Used: Good | Details
Condition: Used: Good
Comment: Ships from the USA. Please allow 14-21 business days for delivery. Minimal damage to cover and binding. Pages show light use. With pride from the Motor City.
Have one to sell?
Flip to back Flip to front
Listen Playing... Paused   You're listening to a sample of the Audible audio edition.
Learn more
See all 2 images

The Tempest (The Annotated Shakespeare) Paperback – 21 Apr 2006

1 customer review

See all formats and editions Hide other formats and editions
Amazon Price
New from Used from
Kindle Edition
"Please retry"
"Please retry"
£1.64 £0.43
£4.50 FREE Delivery in the UK on orders with at least £10 of books. Usually dispatched within 11 to 12 days. Dispatched from and sold by Amazon. Gift-wrap available.

Special Offers and Product Promotions

  • Save £20 on with the aqua Classic card. Get an initial credit line of £250-£1,200 and build your credit rating. Representative 32.9% APR (variable). Subject to term and conditions. Learn more.

Frequently Bought Together

  • The Tempest (The Annotated Shakespeare)
  • +
  • Paradise Lost (Oxford World's Classics)
  • +
  • Beowulf: A Verse Translation (Norton Critical Editions)
Total price: £17.74
Buy the selected items together

No Kindle device required. Download one of the Free Kindle apps to start reading Kindle books on your smartphone, tablet and computer.

  • Apple
  • Android
  • Windows Phone

To get the free app, enter your e-mail address or mobile phone number.

Start your six-month trial with Amazon Student

Product details

  • Paperback: 192 pages
  • Publisher: Yale University Press (21 April 2006)
  • Language: English
  • ISBN-10: 0300108168
  • ISBN-13: 978-0300108163
  • Product Dimensions: 1.9 x 12.7 x 19 cm
  • Average Customer Review: 1.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 40,259 in Books (See Top 100 in Books)

More About the Authors

Discover books, learn about writers, and more.

Product Description


SHAKESPEARE: Henry the Fourth, Part One & The Tempest "Two of the bard's heavy dramas join Yale's wonderful Annotated Shakespeare series ... [How] can you go wrong?"-Library Journal Library Journal

About the Author

Burton Raffel is Distinguished Professor of Arts and Humanities Emeritus and professor of English emeritus, University of Louisiana at Lafayette. Among his many edited and translated publications are Poems and Prose from the Old English, Cliges, Lancelot, Perceval, Erec and Enide, and Yvain, all published by Yale University Press. Harold Bloom, Sterling Professor of Humanities at Yale University and Berg Professor of English at New York University, is the author of many books, including The Western Canon, Shakespeare: The Invention of the Human, and Where Shall Wisdom Be Found?

Inside This Book

(Learn More)
First Sentence
Boatswain Here, master. What cheer? Read the first page
Explore More
Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt
Search inside this book:

Customer Reviews

1.0 out of 5 stars
5 star
4 star
3 star
2 star
1 star
See the customer review
Share your thoughts with other customers

Most Helpful Customer Reviews

1 of 1 people found the following review helpful By static-sensitive on 4 Mar. 2013
Format: Kindle Edition Verified Purchase
The formatting of the text itself seems fine. On a computer, the annotations are bearable to use. On my Kindle 4, they are unusable. This didn't come as a huge surprise, but without the annotations I'd have to go back to a printed book.

First, to see the annotation you have to navigate to the link (I don't have a Kindle touch) -- this isn't so bad. Then, you have to press the button twice -- not great -- and wait for page refresh -- getting painful now. What kills it stone dead is that the back button doesn't work -- it takes me to a completely different page from where I followed the link (always Raffel's "Finding List" for some reason).

It's possible newer versions of the Kindle software don't have the back button problem -- I bought mine about a year ago and don't connect my kindle to the network, since it's a bad idea for every reader on the planet to trust amazon. So the software on my kindle is about a year old. Googling seems to suggest that others have this problem, though. Even without that problem, it's going to be a fairly unpleasant process if you want to read a lot of annotations, as I do for this text (and remember there are often three annotations on a single short line!). What would be ideal would be to see the notes pop up, as the dictionary definitions do for all books. What you actually get is light years away from that.

Without the annotations, I believe the only thing you're getting over the free Project Gutenberg edition is the introductory material. While that's worth having, my main reason for buying this was the annotations.
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again

Most Helpful Customer Reviews on (beta) 21 reviews
33 of 35 people found the following review helpful
Rather like a dream than an assurance 4 July 2010
By E. A Solinas - Published on
Format: Paperback
Many consider "The Tempest" to be the final play that Shakespeare wrote solo, which gives a certain bittersweet flavor to its story -- especially since the main character is a sorcerer who manipulates others to get the ending he desires. Shakespeare juggled a trio of main stories before tying them off in rare style, but it's Prospero and his final speech that are truly intriguing.

For many years, the exiled Duke of Milan Prospero has lived on a remote island with his young daughter Miranda. But when he discovers that his treacherous brother Antonio and his similarly treacherous friends are nearby on a sailing ship, he summons a storm that causes the ship to crash on the island.

And like a puppet-master, Prospero arranges this as he wants -- he sends his servant Ariel to haunt the men who betrayed him, he thwarts the machinations of his evil servant Caliban, and he pretends to treat Alonso's son Ferdinand badly while secretly matchmaking him with Miranda. In the end, everything will be as he desired.

"The Tempest" is a play with two different dimensions. On one hand, we have a simple story about a mage whose power allows him to manipulate everything in his little domain. And on the other, we have the story of a brilliant storyteller who arranges his own little worlds as he sees fit, and bids farewell to his role ("Now my charms are all o'erthrown/And what strength I have's mine own...")

And appreciated on its own, "The Tempest" is a brilliant play -- Shakespeare juggled the three main plotlines nicely, and brought a solid sense of resolution to the story. His rich dialogue is stunning ("But doth suffer a sea-change/Into something rich and strange/Sea-nymphs hourly ring his knell..."), especially during Ariel's songs and Prospero's speeches. Even the insults are brilliant -- just try yelling "A pox o' your throat, you bawling, blasphemous, incharitable dog!" at someone you don't like.

Prospero is a rather unique character -- he rules over his little island with magical powers, sort of like a local demigod. Everything that happens on the island is because he wants it to be so, but he's a sad, benevolent figure rather than a tyrannical one. And Shakespeare sketches up an intriguing cast of characters, both mortal and immortal -- the ethereal, puckish Ariel and grotesque Caliban, the naive Miranda, and the contemptible trio of onetime conspirators.

The annotated edition is a very good one, especially for people who are just starting out on Shakespeare -- a couple of well-written, respectful introductions and extensive annotation that is useful but not intrusive.

"O brave new world, That has such people in't!" cries Miranda at the end of "The Tempest," and while not every character in it deserves a "brave new world," the play itself feels like a weekend trip into a magical world.
9 of 9 people found the following review helpful
read plain text version first 20 Mar. 2013
By P. Garcia - Published on
Format: Kindle Edition Verified Purchase
Read the plain text version first. Kindle doesn't have any different treatment of the footnote text so by the time you're seeing two and three letter superscript notations, you're reading them as words in the text and it's almost impossible to ignore them and just absorb the Shakespeare. You really need to be familiar with the text and be interested in the notes to make this useful. The notes are most often just definitions, not necessarily commentary or analysis.
4 of 4 people found the following review helpful
Ian Myles Slater on: Basic Guide to Prospero's Island 19 Nov. 2012
By Ian M. Slater - Published on
Format: Kindle Edition Verified Purchase
I first encountered the work of Burton Raffel sometimes in the mid-1960s, when his 1963 verse translation of "Beowulf" was the "new kid on the block" in that increasingly crowded neighborhood. It was an early favorite of mine, although displaced in later years by more literal renderings; e.g., Raffel would throw in a phrase now and then which was not to be found anywhere in the Old English text. For those who like the verse style, however, it remains a "good read" (and still available in paperback and Kindle formats).

Raffel's "Annotated" editions of Milton and some of Shakespeare's plays are from a later stage in his career, and in places read like notes toward a translation out of sixteenth and seventeenth-century English into early twenty-first-century American. The annotations are not explanatory or interpretive notes, expansions of metaphors, or identifications of literary or topical allusions, but mainly glosses on words which have changed meaning, acquired or lost meanings, or fallen out of use during the last 350-400 years.

Compared to Old English (Anglo-Saxon) and Middle English, the language of Shakespeare and Milton is definitely "Modern" -- but already archaic by the eighteenth century, and dramatically farther still from both colloquial and formal English of the twentieth century. In this volume Raffel deals with a play which first appeared in print as the first play in the (posthumous) First Folio collection of Shakespeare's plays, and which is, by Elizabethan and Jacobean standards, fairly unproblematic (only a few words and sentences are so corrupt as to baffle scholars).

"The Tempest" seems to have premiered in 1610 or, more likely, 1611, and a court performance is recorded in the latter year. It is probably the last play wholly by Shakespeare, and also the most tightly plotted. It is one of the most fantastic: if one leaves aside merely far-fetched improbabilities in, for example, "The Winter's Tale," the only rival is "A Midsummer Night's Dream."

It is also strikingly original, in one sense -- it is the only play for which Shakespeare seems to have had no main source, although points of detail can be traced back to the Roman poet Ovid (and ultimately Homer) on the one hand, and to the contemporary colonizations of Jamestown and Bermuda on the other.

It is also the least original, in that the major characters, although given individuality by Shakespeare's genius, are variations on stock figures, especially those in traditional "fairy tales." The testy Old Magician (Prospero) with the Beautiful Daughter (Miranda), the mysterious island (or mountain, or valley), the handsome young hero (Prince Ferdinand) and other lost travelers, not all of them trustworthy (Prospero's brother, Ferdinand's uncle), the Magician's non-human servants (Ariel and Caliban), the comic-relief stooges (Stefano and Trinculo), all are familiar types to lovers of story. Which basic familiarity is probably just as well, since back-story exposition in the second scene covers material with which Shakespeare could have filled three or four acts!

The same stock figures are still around, in popular fiction, (with some displacement of relationships, see Ian Fleming's "Dr. No") in overt fantasy fiction, and in a lot of older science fiction, where, not so very long ago, Mad Scientists with Beautiful Daughters, alien or robotic servants, and gallant heroes used to abound, as enshrined in the 1956 film "Forbidden Planet," with its open allusions to "The Tempest." (And with Walter Pidgeon in the Prospero role, Anne Francis as the Miranda figure, Leslie Nielson as the Prince -- well, Spaceship Captain -- and Robbie the Robot as both Ariel and Caliban.)

Raffel's treatment of the vocabulary was originally made up of foot-of-page glosses, and a final comprehensive glossary (in which additional uses of repeated terms could be found, cutting down on repetitious footnotes). In the Kindle edition, this is abandoned for hyperlinked glosses (the glossary is retained, although not hyperlinked).

The Kindle links work very well (at least on Kindle for Macs), but they do have the disadvantage of pulling the attention away from the play for longer than necessary. For first-time readers of the play, I would suggest a straight-through reading to get the main action and characterization straight, and then a re-reading, methodically checking the vocabulary to make sure of getting the details right.

Inevitably, some of Raffel's definitions are judgment-calls as to likelihood, but his choices seem to me plausible, and most often he is probably -- or certainly -- correct.

As Raffel says, he offers little explicit help for more advanced interpretations of the play, or its imagery -- but then, the first step is always to know what is actually said. The accompanying essay by Harold Bloom is interesting, but on a number of points out of step with more recent scholarship (was Shakespeare really alluding to the death of Christopher Marlowe in a passage in "As You Like It"?) He does make some interesting points worth considering, such as the relationship of the names of "Faustus" and "Prospero," both suggesting good fortune (e.g., prosperity); but I remain to be convinced that "The Tempest" is to be considered a long-delayed "reply" to Marlowe's "Dr. Faustus." (Hey, what about Greene's "Friar Bacon and Friar Bungay"?)
1 of 1 people found the following review helpful
yes, but its difficult to read the annotations on the kindle edition 15 July 2013
By Stanley Lippman - Published on
Format: Kindle Edition Verified Purchase
a friend of mine is performing in the tempest here in seattle and environs and i wanted a version of the play to read and like an academic version -- the problem is, the annotations are small aa, ab, ac, ba, bb, that are next to the word being expanded on, or phrase, and it is hard for my fingers to always get the annotation and not the turn page rather response and i don't enjoy the hopping back and forth that happens. it's a smart choice -- it only cost 95 cents, which is a real bargain. bloom, the great and possibly last great english professor, contributes to it. it is simply a bit awkward as an ebook.
1 of 1 people found the following review helpful
Annotations are helpful but the formatting is clumsy and distracting 16 May 2014
By Jimbo - Published on
Format: Kindle Edition Verified Purchase
The edition contains an a long, helpful, and interesting introduction and the plays itself is packed full of annotations that offer helpful translations of tricky phrases and passages. However, the formatting is terrible and the Kindle Edition making the play difficult to read. Best to get a simpler edition.
Were these reviews helpful? Let us know