William Shakespeare's play "The Tempest" has influenced music, literature and art in varied ways in the 400 years since it was written.
Music.
"The Tempest" has more music than any other Shakespeare play, and has proved more popular as a subject for composers than most of Shakespeare's plays. Scholar Julie Sanders ascribes this to the "perceived 'musicality' or lyricism" of the play.
Two settings of songs from "The Tempest" which may have been used in performances during Shakespeare's lifetime have survived. These are "Full Fathom Five" and "Where The Bee Sucks There Suck I" in the 1659 publication "Cheerful Ayres or Ballads", in which they are attributed to Robert Johnson, who regularly composed for the King's Men. It has been common throughout the history of the play for the producers to commission contemporary settings of these two songs, and also of "Come Unto These Yellow Sands".
"The Tempest" has also influenced songs written in the folk and hippie traditions: for example, versions of "Full Fathom Five" were recorded by Marianne Faithfull for "Come My Way" in 1965 and by Pete Seeger for "Dangerous Songs!?" in 1966.
Ludwig van Beethoven's 1802 Piano Sonata No. 17 in D minor, Op. 31, No. 2, was given the subtitle "The Tempest" some time after Beethoven's death because, when asked about the meaning of the sonata, Beethoven was alleged to have said "Read "The Tempest"." But this story comes from his associate Anton Schindler, who is often not trustworthy.
Incidental music.
Among those who wrote incidental music to "The Tempest" are:
Opera.
At least forty-six operas or semi-operas based on "The Tempest" exist. In addition to the Dryden/Davenant and Garrick versions mentioned in the "Restoration and 18th century" section above, Frederic Reynolds produced an operatic version in 1821, with music by Sir Henry Bishop. Other pre-20th-century operas based on "The Tempest" include Fromental Halévy's "La Tempesta" (1850) and Zdeněk Fibich's "Bouře" (1894).
In the 20th century, Kurt Atterberg's "Stormen" premiered in 1948 and Frank Martin's "Der Sturm" in 1955. Michael Tippett's 1971 opera "The Knot Garden" contains various allusions to "The Tempest". In Act 3, a psychoanalyst, Mangus, pretends to be Prospero and uses situations from Shakespeare's play in his therapy sessions. John Eaton, in 1985, produced a fusion of live jazz with pre-recorded electronic music, with a libretto by Andrew Porter. Michael Nyman's 1991 opera "Noises, Sounds & Sweet Airs" was first performed as an opera-ballet choreographed by Karine Saporta. The three vocalists, a soprano, contralto, and tenor, are voices rather than individual characters, with the tenor just as likely as the soprano to sing Miranda, or all three sing as one character.
The soprano who sings the part of Ariel in Thomas Adès's 2004 opera "The Tempest" is stretched at the higher end of the register, highlighting the androgyny of the role.
Luca Lombardi's "Prospero" was premiered in April 2006 at Nuremberg Opera House. Ariel is sung by 4 female voices (S,S,MS,A) and has an instrumental alter ego on stage (flute). There is an instrumental alter ego (cello) also for Prospero.
Kaija Saariaho has set six fragments of "The Tempest" as accompanied arias between 1993 and 2014, and published them as "The Tempest Songbook". The work is not intended as a music theatre piece, but it has been staged for instance by Gotham Chamber Opera at the Metropolitan Museum in 2015, in a collage containing also the incidental music for "The Tempest" attributed to Purcell (Saariaho's work exists in settings for both modern and Baroque instruments).
Choral settings.
Choral settings of excerpts from "The Tempest" include Amy Beach's "Come Unto These Yellow Sands" (SSAA, from "Three Shakespeare Songs"), Matthew Harris's "Full Fathom Five", "I Shall No More to Sea", and "Where the Bee Sucks" (SATB, from "Shakespeare Songs", Books I, V, VI), Ryan Kelly's "The Tempest" (SATB, a setting of the play's Scene I), Jaakko Mäntyjärvi's "Full Fathom Five" and "A Scurvy Tune" (SATB, from "Four Shakespeare Songs" and "More Shakespeare Songs"), Frank Martin's "Songs of Ariel" (SATB), Ralph Vaughan Williams' "Full Fathom Five" and "The Cloud-capp'd Towers" (SATB, from Three Shakespeare Songs), and David Willcocks's "Full Fathom Five" (SSA).
Orchestral works.
Orchestral works for concert presentation include Pyotr Ilyich Tchaikovsky's fantasy "The Tempest" (1873), Fibich's symphonic poem "Bouře" (1880), John Knowles Paine's symphonic poem "The Tempest" (1876), Benjamin Dale's overture (1902), Arthur Honegger's orchestral prelude (1923), Felix Weingartner's overture "Der Sturm", Heorhiy Maiboroda's overture, and Egon Wellesz's "Prosperos Beschwörungen" (five works 1934–36).
Ballet.
Ballet sequences have been used in many performances of the play since Restoration times. A one-act ballet of "The Tempest" by choreographer Alexei Ratmansky was premiered by American Ballet Theatre set to the incidental music of Jean Sibelius on 30 October 2013 in New York City.
Stage musicals.
Stage musicals derived from "The Tempest" have been produced. A production called "The Tempest: A Musical" was produced at the Cherry Lane Theatre in New York City in December 2006, with a concept credited to Thomas Meehan and a script by Daniel Neiden (who also wrote the songs) and Ryan Knowles. Neiden had previously been connected with another musical, entitled "Tempest Toss'd". In September 2013, The Public Theater produced a new large-scale stage musical at the Delacorte Theater in Central Park, directed by Lear deBessonet with a cast of more than 200.
Heavy metal.
In August 2010, the renowned Brazilian heavy metal music band Angra released the album Aqua, conceptually based on Shakespere's The Tempest. The album has 10 tracks and tells the journey of Prospero as he passes through the entire work. 
According to the band's guitarist and founder, Rafael Bittencourt, the album adopts the element of water as the focus of the most diverse transformations in life, which is represented by Prospero's desires and actions against his enemies: 
Literature.
Percy Bysshe Shelley was one of the earliest poets to be influenced by "The Tempest". His "With a Guitar, To Jane" identifies Ariel with the poet and his songs with poetry. The poem uses simple diction to convey Ariel's closeness to nature and "imitates the straightforward beauty of Shakespeare's original songs". Following the publication of Darwin's ideas on evolution, writers began to question mankind's place in the world and its relationship with God. One writer who explored these ideas was Robert Browning, whose poem "Caliban upon Setebos" (1864) sets Shakespeare's character pondering theological and philosophical questions. The French philosopher Ernest Renan wrote a closet drama, "Caliban: Suite de La Tempête" ("Caliban: Sequel to The Tempest"), in 1878. This features a female Ariel who follows Prospero back to Milan, and a Caliban who leads a coup against Prospero, after the success of which he actively imitates his former master's virtues. W. H. Auden's long poem "The Sea and the Mirror" is in three parts, Prospero's farewell to Ariel referring to the matters unresolved at the end of the play; a reflection by each of the supporting characters on their experiences and intentions; then a prose narrative "Caliban to the Audience" which takes a Freudian viewpoint, seeing Caliban as Prospero's libidinous secret self.
The book "Brave New World" by Aldous Huxley references "The Tempest" in the title, and explores genetically modified citizens and the subsequent social effects. The novel and the phrase from "The Tempest", "brave new world", has itself since been associated with public debate about humankind's understanding and use of genetic modification, in particular with regards to humans.
Postcolonial ideas influenced late 20th-century writings. Barbadian George Lamming's 1960 "The Pleasures of Exile" reflects upon Caliban in the context of the author's feelings of alienation. Aimé Césaire of Martinique, in his 1969 French-language play "Une Tempête" sets "The Tempest" in a colony suffering unrest, and prefuiguring black independence. The play portrays Ariel as a mulatto who, unlike the more rebellious black Caliban, feels that negotiation and partnership is the way to freedom from the colonisers. Roberto Fernandez Retamar sets his version of the play in Cuba, and portrays Ariel as a wealthy Cuban (in comparison to the lower-class Caliban) who also must choose between rebellion or negotiation. Barbadian poet E. P. Kamau Brathwaite in his 1969 poem "Caliban" identifies the character with the history of colonialism, between the first voyage of Columbus through to the Cuban Revolution. Jamaican-American author Michelle Cliff's "No Telephone to Heaven" (which is also a literary response to "Jane Eyre") has a protagonist who identifies with both Caliban and Miranda. And the use of Ariel in postcolonial thought is far from uncommon: the spirit is even the namesake of a scholarly journal covering post-colonial criticism. The figure of Caliban influenced numerous works of African literature in the 1970s, including pieces by Taban Lo Liyong in Uganda, Lemuel Johnson in Sierra Leone, Ngũgĩ wa Thiong'o of Kenya's "A Grain of Wheat", and David Wallace of Zambia's "Do You Love Me, Master?" In 1995, Sierra Leonean Lemuel Johnson's "Highlife for Caliban" imagined Caliban as king of his own kingdom.
A similar phenomenon occurred in relation to feminist ideas in late 20th-century Canada, where several writers produced works inspired by Miranda, including "The Diviners" by Margaret Laurence, "Prospero's Daughter" by Constance Beresford-Howe and "The Measure of Miranda" by Sarah Murphy. Other writers have feminised Ariel (as in Marina Warner's novel "Indigo") or Caliban (as in Suniti Namjoshi's sequence of poems "Snapshots of Caliban").
As part of Random House's Hogarth Shakespeare series of contemporary reimaginings of Shakespeare plays by contemporary writers, Margaret Atwood's 2016 novel "Hag-Seed" is based on "The Tempest". The 2019 novella Miranda in Milan by Katharine Duckett also reimagines the events which might occur after the end of the play.
Visual art.
From the mid-18th century, Shakespeare's plays, including "The Tempest", began to appear as the subject of paintings. In around 1735, William Hogarth produced his painting "A Scene from The Tempest": "a baroque, sentimental fantasy costumed in the style of Van Dyck and Rembrandt". The painting is based upon Shakespeare's text, containing no representation of the stage, nor of the (Davenant-Dryden centred) stage tradition of the time. Henry Fuseli, in a painting commissioned for the Boydell Shakespeare Gallery (1789) modelled his Prospero on Leonardo da Vinci. These two 18th-century depictions of the play indicate that Prospero was regarded as its moral centre: viewers of Hogarth's and Fuseli's paintings would have accepted Prospero's wisdom and authority. John Everett Millais's "Ferdinand Lured by Ariel" (1851) is among the Pre-Raphaelite paintings based on the play. In the late 19th century, artists tended to depict Caliban as a Darwinian "missing-link", with fish-like or ape-like features, as evidenced in Joseph Noel Paton's "Caliban", and discussed in Daniel Wilson's book "Caliban: The Missing Link" (1873).
Charles Knight produced the "Pictorial Edition of the Works of Shakespeare" in eight volumes (1838–43). The work attempted to translate the contents of the plays into pictorial form. This extended not just to the action, but also to images and metaphors: Gonzalo's line about "mountaineers dewlapped like bulls" is illustrated with a picture of a Swiss peasant with a goitre. In 1908, Edmund Dulac produced an edition of "Shakespeare's Comedy of The Tempest" with a scholarly plot summary and commentary by Arthur Quiller-Couch, lavishly bound and illustrated with 40 watercolour illustrations. The illustrations highlight the fairy-tale quality of the play, avoiding its dark side. Of the 40, only 12 are direct depictions of the action of the play: the others are based on action before the play begins, or on images such as "full fathom five thy father lies" or "sounds and sweet airs that give delight and hurt not".
In 2015 Charmaine Lurch's installation "Revisiting Sycorax" gave a physical form to a figure only spoken about in Shakespeare's play, and intended to draw attention to the discrepancy between the presence of African women in the world and the way they are spoken of in European male dialogue.
Citations.
References.
References to "The Tempest" are to the Arden Third Series Edition (i.e. "Vaughan and Vaughan 1999"). Under its numbering system 4.1.148 means act 4, scene 1, line 148; and 5.E.20 means the epilogue following act 5, line 20.