![]() ![]() And I was fascinated by the mysteriousness of Prospero at the center of it all, stager of spectacle, manipulator of action, simultaneously professing love and inflicting cruelty. I loved the idea of invisible spirits, and of an island threaded through with magic so beautiful that the island’s noises made its inhabitants cry. I loved the idea of exile on an island, of water all around and isolated magic at the center, and the way that the plot pooled and intensified in a single place rather than ranging out across landscape and time. ![]() More than any other, though, I was drawn to The Tempest. I was particularly drawn to the plots that trafficked in magic: A Midsummer Night’s Dream and Macbeth, for example. I was a big reader of fairy tales, even at the late age of eleven or twelve, and the play summaries had the same kind of pared down power that I found in the Brother’s Grimm. ![]() When I was a kid, I found a book in the library that summarized every one of Shakespeare’s plays. ![]()
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