In their Restoration reworking of Shakespeare’s The Tempest (1611), entitled The Tempest, or The Enchanted Island (1667), John Dryden and William Davenant reimagine Prospero’s spectacular spirits as ‘Devils’ who appear on stage in ‘horrid shapes’. The fiends enact a show for Prospero’s enemies that Gonzalo proclaims is ‘a Masque of fatten’d Devils’, in which eight large-sized figures appear onstage to ‘Dance’ and proceed to present a ‘Table’ of food to the shipwrecked men before vanishing. Gonzalo’s remarks about the food they receive from the ‘black Gentleman’ indicate that the White actors performing the devil-spirits on stage would have blacked up to render themselves as phenotypically dark-skinned. Prospero seems to have taken command of these devils from Caliban, who explains to Trinculo that his ‘Mother’ had left to him and his sister in ‘her Will a hundred Spirits to attend us, Devils of all sorts, some great roaring Devils, and some little singing Sprights’. The Enchanted Island’s presentation of the spirits in these terms – as non-human, Black, labouring devils who are transferrable property – would have made them intelligible to contemporary audiences as slaves who serve on the titular Island.