It's ominous: you never quite escape the sense of a looming threat.

What distinguishes between good and bad people, though, is the way in which this 'alter ego' manifests itself to both the rest of mankind and to oneself....

They've lived this way for twelve years in relative pea...

Dylan swiftly denied these rumors, in his typically sardonic fashion, telling , “Shakespeare’s last play was called The Tempest. It wasn’t called just plain Tempest. The name of my record is just plain Tempest.” Fair enough. Whether or not the title itself was influenced by Shakespeare in other ways we will likely not know until Dylan releases Chronicles Volume Two, the long-anticipated follow-up to his 2004 memoirs. After 35 studio albums, many live performances and bootlegs—and a tremendous collection of material released just in the past 15 years—it does lead one to wonder where Dylan continues to find the sources of inspiration that drive his imaginative and creative forces.

Nurture in William Shakespeare’s The Tempest

Inhabiting the island is a spirit named Ariel and an ugly monster named Caliban.

It is as if Shakespeare, through Prospero, has assembled a representative sample of divided humanity, and brought them together deliberately to re-enact the oldest of rituals and the most insistent themes of history and of psycholo...

Thematic imagery connects to the underlining message in a work....

Come on. What else could you possibly expect from the play that capped the career of a guy so talented in the play-penning department that he’s known simply as The Bard?

The Tempest, it is clear, features an experiment by Prospero.

At the time 'The Tempest' was first preformed, 1611, Britain had begun to lay claim to North America and the smaller Caribbean isles, a fact the King was no doubt proud of and, similarly to his addition of the supernatural (a subject that fascinated James), aimin...

We see a semi-virtuous hero in the character of Prospero.

The artists of France, (including duchies such as Burgundy) were often associated with courts, providing illuminated manuscripts and portraits for the nobility as well as devotional paintings and altarpieces. Among the most famous were the Limbourg brothers, Flemish illuminators and creators of the Très Riches Heures du Duc de Berry. Jean Fouquet, painter of the royal court, visited Italy in 1437 and reflects the influence of Florentine painters such as Paolo Uccello. Although best known for his portraits such as that of Charles VII of France Fouquet also created illuminations, and is thought to be the inventor of the portrait miniature. There were a number of artists at this date who painted famed altarpieces, that are stylistically quite distinct from both the Italian and the Flemish. These include two enigmatic figures, Enguerrand Quarton to whom is ascribed the Pieta of Villeneuve-lès-Avignon, and Jean Hey, otherwise known as "the Master of Moulins" after his most famous work, the Moulins Altarpiece. In these works realism and close observation of the human figure, emotions and lighting are combined with a Medieval formality, which includes gilt backgrounds.

It can be seen as allegory examining the growth of the human spirit.

Through a cleverly worded dialogue between Antonio and Sebastian, Antonio convinces him to kill his brother, the king of Naples, in order to attain the throne.

The Tempest investigates marriage, love, culture.

Colonialism was a subject easily related to by Shakespeare's contemporary audience; with James on the throne the British Empire was beginning to thrive and would soon become the largest in not only the 17th Century world, but one of the largest in history.