Tales from Shakespeare — Edition Insights
Edition facts
Tales from Shakespeare — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 106,337 words, 7 hr 43 min estimated reading time, and 8 detected text sections.
The text analysis averages about 34.7 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Shakespeare, William, 1564-1616 -- Adaptations,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
There was a certain island in the sea, the only inhabitants of which were an old man, whose name was Prospero, and his daughter Miranda, a very beautiful young lady. She came to this island so young, that she had no memory of having seen any other human face than her father's.
They lived in a cave or cell, made out of a rock; it was divided into several apartments, one of which Prospero called his study; there he kept his books, which chiefly treated of magic, a study at that time much affected by all learned men: and the knowledge of this art he found very useful to him; for being thrown by a strange chance upon this island, which had been enchanted by a witch called Sycorax, who died there a short time before his arrival, Prospero, by virtue of his art, released many good spirits that Sycorax had imprisoned in the bodies of large trees, because they had refused to execute her wicked commands. These gentle spirits were ever after obedient to the will of Prospero. Of these Ariel was the chief.
The lively little sprite Ariel had nothing mischievous in his nature, except that he took rather too much pleasure in tormenting an ugly monster called Caliban, for he owed him a grudge because he was the son of his old enemy Sycorax. This Caliban, Prospero found in the woods, a strange misshapen thing, far less human in form than an ape: he took him home to his cell, and taught him to speak; and Prospero would have been very kind to him, but the bad nature which Caliban inherited from his mother Sycorax, would not let him learn anything good or useful: therefore he was employed like a slave, to fetch wood, and do the most laborious offices; and Ariel had the charge of compelling him to these services.
When Caliban was lazy and neglected his work, Ariel (who was invisible to all eyes but Prospero's) would come slily and pinch him, and sometimes tumble him down in the mire; and then Ariel, in the likeness of an ape, would make mouths at him. Then swiftly changing his shape, in the likeness of a hedgehog, he would lie tumbling in Caliban's way, who feared the hedgehog's sharp quills would prick his bare feet. With a variety of suchlike vexatious tricks Ariel would often torment him, whenever Caliban neglected the work which Prospero commanded him to do.
Having these powerful spirits obedient to his will, Prospero could by their means command the winds, and the waves of the sea. By his orders they raised a violent storm, in the midst of which, and struggling with the wild sea-waves that every moment threatened to swallow it up, he showed his daughter a fine large ship, which he told her was full of living beings like themselves. 'O my dear father,' said she, 'if by your art you have raised this dreadful storm, have pity on their sad distress. See! the vessel will be dashed to pieces. Poor souls! they will all perish. If I had power, I would sink the sea beneath the earth, rather than the good ship should be destroyed, with all the precious souls within her.'
'Be not so amazed, daughter Miranda,' said Prospero; 'there is no harm done. I have so ordered it, that no person in the ship shall receive any hurt. What I have done has been in care of you, my dear child. You are ignorant who you are, or where you came from, and you know no more of me, but that I am your father, and live in this poor cave Can you remember a time before you came to this cell? I think you cannot for you were not then three years of age.'
'Certainly I can, sir,' replied Miranda.
'By what?' asked Prospero; 'by any other house or person? Tell me what you can remember, my child.'
Miranda said: 'It seems to me like the recollection of a dream. But had I not once four or five women who attended upon me?'
Prospero answered: 'You had, and more. How is it that this still lives in your mind? Do you remember how you came here?'
'No, sir,' said Miranda, 'I remember nothing more.'
The Lambs' preface to Tales from Shakespeare is unusually candid about the compromises involved in adapting Shakespeare for children. Charles and Mary Lamb describe their work as 'faint and imperfect stamps of Shakespeare's matchless image,' acknowledging that the beauty of his language is 'too frequently destroyed' by the need to turn verse into prose. They admit that in the comedies, dialogue appears 'too frequently' because they could not easily convert Shakespeare's words into narrative form. This self-awareness sets the tone for a collection that is both reverent and practical.
A Deliberate Method for Tragedies and Comedies
The preface draws a sharp distinction between the Lambs' treatment of tragedies and comedies. In tales taken from the tragedies, they claim that 'Shakespeare's own words, with little alteration, recur very frequently in the narrative as well as in the dialogue.' For comedies, however, they found themselves 'scarcely ever able to turn his words into the narrative form,' resulting in more dialogue. This structural difference is visible in the excerpt from All's Well That Ends Well, where the narrative carries much of the plot, and key lines—such as Helena's 'It is but the shadow of a wife you see, the name and not the thing'—are embedded in the prose. The Lambs also note that they sometimes leave blank verse unaltered, hoping 'from its simple plainness to cheat the young reader into the belief that they are reading prose.'
The Challenge of Simplifying Complex Plots
The excerpt from All's Well That Ends Well demonstrates how the Lambs compress a convoluted plot into a linear narrative. Helena's ring, Bertram's denial, Diana's testimony, and the king's suspicion are all retained, but the prose moves quickly from one event to the next. The Lambs preserve the emotional beats—the countess's 'silent grief,' the king's 'dismal thinking,' and Helena's joyful reading of Bertram's letter—while omitting subplots and minor characters. The preface acknowledges that the subjects of many plays made simplification 'a very difficult task,' especially when trying to give 'the histories of men and women in terms familiar to the apprehension of a very young mind.'
Intended Audience and Gendered Reading
The preface explicitly addresses its intended readership: 'For young ladies too, it has been the intention chiefly to write.' The Lambs explain that boys 'generally permitted the use of their fathers' libraries at a much earlier age than girls are' and often know Shakespeare's best scenes 'by heart' before their sisters are allowed to read the originals. This remark reveals a 19th-century assumption about gendered access to literature. The Lambs request the 'kind assistance' of young gentlemen in explaining the tales to their sisters, positioning the book as a bridge for female readers who might otherwise be excluded from Shakespeare's 'manly book.'
Readers approaching Tales from Shakespeare should attend to the Lambs' own warnings about their method. The tales are not substitutes for the plays but deliberate simplifications, shaped by the authors' sense of what young minds—especially young female minds—could grasp. Noticing where the Lambs insert dialogue, where they paraphrase, and where they retain Shakespeare's exact words can reveal their priorities and the constraints they faced.
That Lamb preface made me think how some stories only feel right when someone older takes you by the hand through them. I remember finishing The Heritage of the Sioux — Edition Insights and just sitting with it, the way The Heritage of the Sioux — Edition Insights leaves a quiet ache for a place you’ve never been. It lingered, like a familiar voice in another room.
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