The Tempest. Dieser Artikel ist nicht verfügbar.The Tempest

The Tempest by William Shakespeare, originally published 1894. Project Gutenberg released this electronic compilation in 1994 after Michael Hart and his Shakespeare-scholar father worked for years to digitize the canon. [Project Gutenberg](https://www.gutenberg.org/help/shakespeare.html). Reading the plays and poems together reveals how Shakespeare repeatedly transforms ambition, jealousy, desire, grief, and mistaken identity by changing genre, setting, and voice. The collection preserves in one compass a body of drama and poetry that continues to shape English expression, theatrical practice, and the portrayal of inward life. This is a Liftable Edition: Clearview caps paper-plus-binding weight at 1 kilogram (2.2 pounds) for every Liftable title, so it stays comfortable to hold and read for extended periods -- a physical accessibility standard most large-print publishers do not set at all. Part of The Complete Works of William Shakespeare: This series is aimed at readers and students who want one play in hand, not the whole canon, set in type built for sustained reading. For collection development: this is a large-print edition intended for low-vision and aging patrons, and for any reader who finds standard trade print tiring over a long sitting. It suits large-print and accessibility collections, adult and young-adult general collections where the text is a standard, and reading-room copies where a durable case binding matters. Each volume is held under 1 kilogram (2.2 pounds) of paper and binding, so it can be read at a table or in a lap without a stand. The text is unabridged and reproduced from a public-domain source without modernisation. Algorithmic Quality Assurance: this edition was checked by 123 deterministic tests covering typography, pagination, colour, cover geometry and metadata, then read by frontier language models for semantic review and holistic evaluation. What was checked, and what those results do and do not mean, is explained in the back of the book. This Clearview Editions hardcover is built on a production standard that significantly exceeds the industry norm for large-print publishing. The body text is set at 18-point Atkinson Hyperlegible Next on 27-point leading, 1.5 line spacing --- the minimum WCAG 2.2 Level AAA Success Criterion 1.4.8 sets for a block of text, and the figure UKAAF's large-print guidance gives as well. The leading North American large-print hardcover imprints typically set their body text at 16 point, and most large-print trade paperbacks release at 14 to 16 point. At 18 point, Clearview Editions offers text that is measurably larger than every other major large-print publisher, specifically for readers with low vision, macular degeneration, glaucoma, diabetic retinopathy, or any visual condition that makes standard trade print frustrating or impossible to read for long stretches. The trim size is equally generous. Clearview Editions is printed on a 7x10-inch page, substantially larger than the 6x9 hardcover that is standard in the large-print industry and roughly 50 percent larger by area than the 5x8 trade paperback trim most legacy large-print paperback imprints use. The extra page area is deliberate: it allows the 18-point body to set at the 50-to-55 character line length that reading-fatigue research identifies as optimal, without the narrow text columns and cramped margins that plague smaller-trim large-print books. The body font, Atkinson Hyperlegible Next, was developed by the Braille Institute of America specifically to maximize letter recognition for readers with low vision, macular degeneration, and visual processing differences.

Among Shakespeare's earliest surviving plays, it holds one piece of theatrical trivia unmatched anywhere else in his other 37 plays: Crab, Launce's ill-behaved dog, is the only named animal character Shakespeare ever wrote. William Shakespeare (1564-1616) is the one author whose place in a library's classics holdings requires no argument, but it is worth stating plainly why: no other writer's vocabulary, plot structures, and character types have been so thoroughly absorbed into English that readers encounter him before they know they are reading him. The comedies and late plays gathered here - Measure for Measure, The Taming of the Shrew, The Tempest, and The Two Gentlemen of Verona - span nearly his entire working life, from an early experiment with a servant-and-dog double act to the sea-change meditation on power and forgiveness that closes his solo career. His canonical weight has never made him a closed text. Each generation restages him against its own concerns - colonialism in The Tempest, consent and coercion in Measure for Measure, the ethics of the taming plot in The Shrew - and university and community-theater productions alike keep finding new grounds for the argument. That argument is part of why he belongs on an active shelf rather than a monument shelf. The inclusion case here is less about representation than access. Shakespeare is assigned, quoted, and performed constantly, and low-vision and aging patrons are routinely locked out of the very texts their book clubs and grandchildren are reading, because standard editions run small type with dense verse-line spacing. This Clearview Editions large-print printing - 18-point Atkinson Hyperlegible Next, ragged-right, no word-division - makes the actual verse legible at a size that does not exist in most library Shakespeare holdings, without resorting to a simplified retelling.