Walter Scott and the greening of Scotland

new garden should be, especially in light of the repression of indigenous people across the Americas by Spanish colonialists, who had ‘conflated the indigenous body with the body of nature’ (123). This attitude is reflected in The Tempest, as Prospero’s treatment of Caliban begs the question of who the real monster is. The director of La Otra Tempestad, a modern adaptation of The Tempest that Day watched in Madrid, responds to the same question about man’s relationship with nature, which remains just as urgent today. The drama serves as a lesson to us all to celebrate and embrace chaotic nature and regard it not as ‘frighteningly other, but as the stuff of our genes, our dreams, and our stories’ (116).