The Tempest

Another enchanted-space comedy where a controlling figure (Oberon/Prospero) manipulates lovers and servants; but Oberon's mischief is amoral where Prospero's control has moral stakes

Another aging ruler who relinquishes power — but Lear does it foolishly and is destroyed; Prospero plans the relinquishment and survives it. Compare the two endings for Shakespeare's differing visions of abdication

Postcolonial rewriting of The Tempest for a Black Caribbean context (1969), in which Caliban is the hero and Prospero the oppressor. Essential companion text for any serious engagement with the original

Takes its title directly from Miranda's line — and inverts its meaning. What Miranda sees as wonderful, Huxley's world reveals as dystopia. The connection is explicit and thematic

The ur-colonial narrative — an Englishman takes an island, civilizes it, acquires a servant named Friday. Read alongside Caliban's scenes to see what happens when the colonial framework is accepted rather than questioned

Auden's verse commentary on The Tempest (1944), in which each character speaks after the play ends — including Caliban's extraordinary prose address to the audience, one of the greatest pieces of Tempest criticism ever written