The Tempest and theatrical reality
in Shakespeare’s storms
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter explores the ways in which the play's opening storm allows for a reading of the weather in the text. In Back To Nature, Robert N. Watson, exploring As You Like It, 'interprets the longing for reunion with the world of nature as a sentimental manifestation of a philosophical problem: the suspicion that our cognitive mechanisms allow us to know things only as we liken them'. The chapter argues that the possibilities and the connotations of the theatrical storm are repeatedly investigated during the play and that this process is part of The Tempest's wider concern with the dramatic representation of nature. William Shakespeare is careful to complement the staging of the storm effects with the dramatic language of his characters. Although the storm is an illusion, the actions and diction of the crew are firmly grounded in Jacobean reality.


All Time Past Year Past 30 Days
Abstract Views 154 47 4
Full Text Views 54 15 3
PDF Downloads 19 11 6