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The Perception & Influence of Sound in Shakespeare's the Tempest Student Publications Student Scholarship Winter 2013 ‘An Isle Full of Noises’: The eP rception & Influence of Sound in Shakespeare’s The eT mpest Paul A. Di Salvo Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the Dramatic Literature, Criticism and Theory Commons, Reading and Language Commons, and the Theatre History Commons Share feedback about the accessibility of this item. Di Salvo, Paul A., "‘An Isle Full of Noises’: The eP rception & Influence of Sound in Shakespeare’s The eT mpest" (2013). Student Publications. 67. https://cupola.gettysburg.edu/student_scholarship/67 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution Cupola permanent link: https://cupola.gettysburg.edu/student_scholarship/ 67 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. ‘An Isle Full of Noises’: The eP rception & Influence of Sound in Shakespeare’s The eT mpest Abstract Since the play’s authorship in 1610, actor-managers and directors alike have struggled over staging the opening scene of William Shakespeare’s The Tempest. The hp ysical presence of the ship, the sounds and lighting effects of thunder and lightning, the dialogue of the actors, and the use of music have varied from the early 17th century to the present in an effort to appeal to the audience. The presentation of these elements, especially sound cues and music, prepares audiences to understand the dynamics of Prospero’s powers and transformation as a character. Depending on how sound and stage technologies were implemented in performance, directors have been able to present audiences with a Prospero that is depicted as either more or less of a sympathetic character. Keywords The eT mpest, Shakespeare, noise, environment, sound Disciplines Dramatic Literature, Criticism and Theory | Reading and Language | Theatre History This student research paper is available at The uC pola: Scholarship at Gettysburg College: https://cupola.gettysburg.edu/ student_scholarship/67 ‘An Isle Full of Noises’: The Perception & Influence of Sound in Shakespeare’s The Tempest Paul A. Di Salvo, Class of 2013 THA 203 & ENG 211 Spring 2012 & Fall 2012 Dr. Susan F. Russel and Dr. Christopher D’Addario Introduction “On a ship at sea: a tempestuous noise of thunder and lightning heard. Enter Mariners wet.” (I.i.sd). A Boatswain and his crew scurry around the deck of a large 17 th century ship, frantically attempting to batten down the hatches and furl the sails. Waves pound up against the vessel, knocking it close to the point of tipping. Rain streams down from the dark storm clouds above, intermittent lightning provides the only source of light, and thunder shocks the mariners through their cold, wet clothes. “A confused noise within ” (I.i.sd) is heard and before they can fathom what it is, the boat is split in two and the crew is plunged into the choppy ocean waves. And this is just the first scene of our play. Since the play’s authorship in 1610, actor-managers and directors alike have struggled over staging the opening scene of William Shakespeare’s The Tempest (Dymkowski 3). The physical presence of the ship, the sounds and lighting effects of thunder and lightning, the dialogue of the actors, and the use of music have varied from the early 17 th century to the present in an effort to appeal to the audience. The presentation of these elements, especially sound cues and music, prepares audiences to understand the dynamics of Prospero’s powers and transformation as a character. Depending on how sound and stage technologies were implemented in performance, directors have been able to present audiences with a Prospero that is depicted as either more or less of a sympathetic character. Literary Analysis Act I.i opens with a shipmaster, boatswain, and crew attempting to safely get their ship through a treacherous thunder and lightning storm that has begun to brew out on the high seas. The crew rushes about the vessel trying to maneuver the rigging and sails in order to prevent the 1 shop from sinking. As the storm brews, a “noise is heard within,” indicating that the boat has been torn to pieces and the crew is cast into the water. The tempest in the opening scene leads the main characters to end up on an island controlled by Prospero’s sorcery through his servant, Ariel, for the remainder of the play (Dymkwoski 113). By starting the play with a tumultuous storm in Act I.i, Shakespeare cleverly trains the audience to respect and appreciate the powers that Prospero has, including the powers he has through Ariel’s manipulations. Shakespeare achieves this respect from the audience by relying on an audio cue to signal when Prospero will use his supernatural wrath to teach a moral or to control the other characters on the island. For example, in the opening scene, a “ confused noise within ” (I.i.sd) is the first indication to the audience that the ship has been split in two. It is revealed in the next scene that Ariel was sent by Prospero to orchestrate the shipwreck in order to put into motion a plan to take revenge on Antonio for usurping Prospero’s right to be the Duke of Milan. Therefore, the “confused noise” is an indicator that Prospero is going to use the upcoming stage action to seek justice. Beginning the play with a major demonstration of powerful brutality sets the stage for a drastic transformation of tone throughout The Tempest . Because this harsh image is immensely enhanced by sound, such as rain, waves, thunder, and destruction of the vessel, the audience makes an association between sound and Prospero’s manipulations of those around him. Therefore, whenever music and sound effects are heard or when a character alludes to the storm later in the play, the audience’s mind is triggered to recall the immense power that Prospero has displayed and to anticipate him using his sorcery to teach the characters a moral and achieve his own desires. This idea is enforced when Ariel places Ferdinand, Antonio’s son, separate from the rest of the mariners and entices him to follow Ariel’s singing to where Miranda is standing: 2 Come unto these yellow sands, And then take hands; Curtsied when you have, and kissed The wild waves whist, Foot it featly here and there, And sweet sprites bear The burden. Hark, hark! (I.ii.374-380) Ariel is signaling to the audience that he is about to use the power with which Prospero has entrusted him to somehow influence Ferdinand so that he may become a pawn in Prospero’s large scheme to cause pain to Antonio. By using song, Ariel effectively extends an invitation to the crew to feel welcomed by the yellow sands. He further comforts them by metaphorically taking hold of their hands, which reassures Ferdinand of the island’s safety. The use of music to do this further lulls Ferdinand into a false sense of security because of the melodic tones. The sweet sounds strongly contrast the thunderous storm noises that Ferdinand last heard before washing up on shore and present him with a moment of peace to ease his feelings of vulnerability. Furthermore, by having music, Shakespeare is giving a clue to the audience to help them suspect that an element of revenge is soon to come since the last time they heard sound it was the breaking of the ship. The boat was the main device that assisted Prospero in getting Alonso and his crew to the island so that he may enact his revenge plot. If Shakespeare’s insertion of song in this scene is any indication of what is to become of Ferdinand, one can assume that he is about to be heavily manipulated and is not safe in his venture inland. 3 As Ariel sings on, he mentions that the waves from the storm are being curtsied and kissed into silence. Not only do these lyrics further reassure Ferdinand by extending him a helping hand, but they also introduce a subtle sexual undertone which foreshadows the interaction between Ferdinand and Miranda. The idea of curtsying indicates a first-time introduction to a woman and the action of kissing hints at this newly formed relationship becoming an intimate, loving relationship. Ariel is clearly using the imagery of female sexuality to play to the weaknesses of man and use a real manipulation, rather than a magical one, to reach his desired end. Ariel’s song also raises the question of how Ariel and Prospero perceive themselves and how they use their supernatural powers. The end of this verse indicates that Ariel believes he is kindly carrying the burden behind wooing Miranda to fall in love with Ferdinand. Ariel furthers the thought through the double meaning of “burden” by using it to signify the chorus or refrain of a song. The musical definition enhances the imagery of Ariel carrying out his orders by using sound as one of his magical powers. However, by saying to Ferdinand that he merely has to walk at ease towards Ariel’s voice, Ariel assumes that Ferdinand wants to fall in love with Miranda, someone whom he has never met. The difference between how Ferdinand and Antonio were brought to the island demonstrates Prospero’s lack of consideration for the characters emotions and instead emphasizes his motives.
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