William Shakespeare’s The Tempest : An Introduction by Brian Yablon

William Shakespeare’s The Tempest: An Introduction by Brian Yablon

Sources • We think this is the only truly original work by Shakespeare. • Inspired by Italian Commedia Dell’Arte stories of shipwrecked sailors. • Recounts 1609 shipwreck in Bermuda of Virginia-bound colonists.

The Text • Written late 1610 or 1611. • First published in the First Folio, 1623. • We think it came from a Prompt-Book or Foul Papers. • Elaborate stage directions.

Theatrical History • First recorded performance was for King James 1 on November 1, 1611. • Also staged as part of the party for Princess Elizabeth’s wedding in February 1613. • No public theater performances are recorded.

Act 1, Scene 1 • As a ship is sinking into the ocean, the Boatswain curses at his passengers: Antonio, Sebastian, King Alonso, and Gonzalo. • Everyone is arrogant except for calm Gonzalo.

Act 1, Scene 2 • Miranda and her father, Prospero, talk. She is upset by the ship’s sinking. • He assures her that everyone is safe. • Then he tells her his story…

Continued • He was once the Duke of Milan. • He preferred magic to politics and his double-crossing brother Antonio -- with help from King Alonso -- get rid of him/them.

And then… • Miranda, age two, and Prospero are put in a boat and abandoned at sea. • Good Gonzalo loads the boat with supplies and Propero’s magic books.

And still… • They land on an island. • Through magic, he begins the storm to bring his old enemies toward him. • He puts Miranda to sleep and summons Arial, his sprite.

Their conversation • Ariel tells Prospero that he has dispersed the ship’s passengers around the island. • Ariel complains to Prospero, who then reminds him of how he freed Ariel from a magical confinement.

The promise • He promises Ariel to free him if his plan works. • Ariel leaves and Prospero’s slave, Caliban, enters and complains also. • Prospero blames Caliban for his enslavement, reminding him how he attacked Miranda in the past.

Enter the boy… • Ariel, invisible, leads Ferdinand (son of King Alonso) toward them -- and this is the first young man she has ever seen. • Both she and Ferdinand are smitten.

Acting like a dad • Prospero observes that the two are already in love, but he pretends to be stern. • He imprisons Ferdinand over Miranda’s objections.

Act 2, Scene 1 • Gonzalo tries to cheer up King Alonso by assuring him that his son, Ferdinand, must be alive. • Arial appears and puts Gonzalo and Alonso to sleep.

Sneaky, sneaky • Antonio suggests that he and Sebastian (Alonso’s brother) kill the sleeping men and make Sebastian king. • Sebastian agrees, and they take out their swords. • Ariel awakens the men and all of them continue their search for Ferdinand.

Act 2, Scene 2 • Caliban hides from some of the ship’s survivors. • Trinculo hides under Caliban’s cloak. • Drunken Stephano thinks he sees a monster and gives Caliban his first wine, hoping to tame him. • Trinculo and Stephano reunite. • Caliban pledges his service to them in exchange for wine.

Act 3, Scene 1 • Ferdinand is moving a pile of wood. Although a noble, he doesn’t complain because he knows Miranda is nearby. • She enters, they confess their love and pledge to get married. • Prospero overhears and is happy about that.

Act 3, Scene 2 • Caliban, Stephano, and Trinculo are now drunk. • Caliban suggests that Stephano kill Prospero, steal his magic books, and make himself king of the island. • Stephano agrees, but Ariel leads them away.

Act 3, Scene 3 • Prospero plays a trick on Alonso, Sebastian, and Antonio, fooling them with disappearing food. • A disguised Ariel tells them they have been punished and will suffer until they atone and live without sin.

And then… • Alonso leaves, saying he’ll die next to his dead son. • Sebastian and Antonio angrily say they’ll fight the island’s spirits. • Gonzalo chases after them to protect them -- from themselves.

Act 4, Scene 1 • Prospero happily agrees to Miranda and Ferdinand’s engagement and has Ariel provide entertainment. • Spirits arrive and entertain.

But he’s not done yet • Prospero has Ariel trick Caliban, Stephano, and Trinculo with some nice clothing. • Of course, they’re caught in Prospero’s trap and are chased away. • Prospero muses that he’s got everyone where he wants them.

Act 5, Scene 1 • Arial reports that Alonso, Sebastian, and Antonio are nuts; Gonzalo is sad. • Prospero agrees to be merciful and sends Ariel to gather them.

The beginning of the restoration • Prospero muses that he’ll give up magic. • He changes from magician’s clothes to Duke of Milan clothes. • The three enemies wake up and recognize him.

Forgiveness • Prospero forgives them for what they did to him and Miranda. • They return him to his post as Duke. • Alonso mourns Ferdinand, but Prospero reveals Ferdinand and Miranda.

L’Chaim! • Miranda is delighted to see so many people while Ferdinand reunites with his father, Alonso. • The future marriage and succession to the throne of Naples is announced.

To begin to return • The Boatswain and Master report that the ship has been restored. • Ariel gets Caliban, Stephano, and Trinculo; Prospero tells them to bring back his clothes.

At last… • Prospero invites Alonso and the others to hear about his time on the island. • He commands Ariel to prepare good sailing winds. • He sets Ariel free!

Things to consider • Forgiveness and reconciliation is a big theme, but does Prospero truly forgive and reconcile with his enemies? • Although Caliban is “savagely innocent,” Prospero has not mercy or forgiveness for him.

Magic • Belief in magic and witchcraft was a given in Shakespeare’s time. • Few attempted to argue against it. • We have no reason to suppose Shakespeare believed in magic or astrology (consider Sonnet 14)

continued • 1583, Howard, Earl of Northampton, published “Defensative against the Poyson of Supposed Prophecies” • 1584, Reginald Scot published “Discoverie of Witchcraft” • King James ordered these books to be burned. • 1603, King James published “Daemonologie”

Prospero’s Magic • Prospero belongs to a much higher order of magicians (white magic). • He commands services of beings rather than merely being an instrument of Satan.

Romances • Shakespeare’s late romances include Pericles, Prince of Tyre; Cymbeline; The Winter’s Tale; The Tempest; and The Two Noble Kinsmen. • They differ from comedies.

Romance Features: • Plot with redemption, happy ending, reuniting of family. • Magic and the fantastical. • A deus ex machina often seen as a Roman god. • Both civilized and pastoral scenes. • More lyrical poetry, as in earlier plays.

Versification • Blank verse used. • As in other later plays, the verse does not tend to end at the end of a line. It is more flexible. • Prose is used by low characters.

Ariel and Caliban • Ariel is an air spirit, Caliban is an earth spirit. • Ariel seems unlimited; Caliban is self-limited.

Miranda and Ferdinand • Miranda is the ideal maiden brought up in an ideal manner. • She is entirely innocent. • Ferdinand is the flower of courtly life.

Overarching Ideas • Man versus monster. • Colonization • Masters and servants • Water, drowning. • Noises • Chess

William Shakespeare’s The Tempest : An Introduction by Brian Yablon