Word: prosperoous
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...enough, The Tempest itself is one of Shakepeare's most difficult plays to understand. Attempts at interpretation invariably fail, explaining one-aspect of the story at the expense of some equally important part, Calling The Tempest a comedy, though it is humorous in parts, ignores the gripping with which Prospero works out his revenge against his brother Antonio, who usurped the dukedom of Milan from Prospero...
THIS exaggeration of the action fills the lines of dialogue with meaning-in the second act, as Prospero tells Miranda how and why they were exiled, the rest of the cast mimes the story, thereby illustrating the lines and introducing the audience to the characters. But the superfluous movement (superfluous to Shakespeare) detracts from the subtleties of the verse and characterization. As a result, Robert A. Morse as Prospero, who by his magic has gained control of the island, plays his part a bit superficially, failing to communicate the tension that Prospero must feel at giving up his magic...
Betty Byrne, as Ariel, the "light and airy spirit" who does Prospero's bidding, is active and agile in the part, and Roxana Proser, as Caliban, creates a growling, beastly slave. Kaarel Kaljot, who plays both Antonio and Stephano, the King of Naples' drunken butler is particularly expressive and imaginative in both roles, prancing and reeling as Stephano and striding somberly as Antonio...
...route, some of the characters perish by fire, water and air?fleeting reminders of a return to elemental states. Age comes finally. Time reasserts itself. As the artifice is revealed, one almost expects to hear the snap of Prospero's wand. For this is Nabokov's autumnal fairy tale. Though not his finest book, it is certainly his most brilliant attempt yet to ransack the images and thoughts of his own past and shape them into a glittering now of the imagination...
...when a clubwoman asked him what butterflies were for. Nevertheless, certain deductions can be drawn from Nabokov's writing. In Bend Sinister, he composed a picture of crude, lumpish evil-in-power, and he put Yeats' much quoted "rough beast" into a Bolshevik or Nazi Bethlehem. Thus Prospero-Nabokov always knew Caliban, whether he was known as Hitler or Stalin or by some other name...