AOS Discovery – Section 4 – Specific Notes on Text – the Tempest Page

HSC English – AOS Discovery – Section 4 – Specific Notes on Text – The Tempest

Summary:

- The play transports us to a mysterious island where humanity’s flaws and qualities are amplified enabling the audience to discover the importance of compassion and reconciliation. o Despite the focus on redemption and reconciliation Shakespeare was a realist who acknowledged that humanity’s propensity for evil will never be suppressed. . This is evident in Antonio’s inability to seek forgiveness, a reminder that evil will continue to plague us. - Shakespeare takes the audience to a position of uncertainty and ambiguity inviting us to a question humanity, ourselves and the world so that we arrive at a deeper understanding of the human condition. - Shakespeare frequently explores how loss can be a catalyst for rediscovering what is important in life resulting in an understanding of how our flaws comprise or morality and our ability to live a life of grace. - The play has an undisputed underlining commentary on the ability of theatre. - The three storylines each offer a different element of theatre to the audience. o Ferdinand and Miranda exhibit the ability for theatre to dabble in the love genre. o Alonso and Antonio’s political storyline express how theatre can deal with more serious issues. o The drunken storyline of Caliban, Trinculo and Stefano shows the theatres potential for humour. - Prospero’s position as presider over all these storylines and their differing natures reflects Shakespeare’s position as master of all these genres in theatre. - The concept of Prospero as a reflection on Shakespeare can be read as his farewell to theatre a reflection on the bard’s on the fluidity of the art form. - Characters are created: o By their actions o By what is said about them o Through their own language.

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- The island is a microcosm of Shakespeare’s Jacobean society, this is reflected in Gonzalo’s line “All torment, trouble, wonder and amazement/Inhabits here…”

Context and Perspectives:

- The play reflects the tension between renaissance humanist philosophy that focused on self-knowledge and an individual’s ability to shape his or her own destiny and providentialism that espoused God’s role in determining humanity’s position in life and ultimate fate. - Prospero is a renaissance man whose quest for greater knowledge and power blinded him to his brother’s usurpation of his power and the discovery that seeking revenge comprises his morality mirrors the Christian humanist views of Shakespeare and Montaigne. o Montaigne was a French philosopher that believed that humanity is so flawed that people will make foolish choices, and even embrace evil to achieve their ambitions unless they are directed by a moral compass and live a life of grace guided by God. - Antonio’s attaining of power through his ambitions and the exploitation of the vulnerabilities and flaws of others demonstrates the influence of 16th century Machiavelli’s political treatise The Prince. o Machiavelli believed the pursuit of power should not be hindered by morality. - The play’s opening with a ship floundering in a raging storm and setting his play on an island were inspired by the age of exploration that had been instigated by Queen Elizabeth who was eager to expand England’s territories and power. o The opening was also inspired by the tragic shipwreck of the Sea Venture in 1906. . The Sea Venture was on its way to Jamestown in the Americas. . The exploration to the Americas saw the British meet the Native Americans, whom they thought of as less than human and not to be trusted. - Gonzalo’s speculation that the island could become a utopia where all were free reflected Montaigne’s assertions that the non-Europeans were “noble savages” and more civilized than the cultured Europeans.

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- The magic in the play represents the occultism that still existed in King James’ reign, despite the fact that so-called witches were being burned at the stake or drowned. o Prospero’s obsession with the dark arts is blamed for the loss of his dukedom and his use of magic to control and punish on the island reveals that he is capable of cruelty.

Form and Structure:

- The Tempest is a hybrid mix of tragedy, romance and comedy. - There are scenes so dark they could be convince the audience they’re watching a tragedy. o An example of this is when Antonio is able to persuade Sebastian to attempt to murder his own brother, the King. - These moments, however, are punctuated by bursts of comedy. o Such as when Stephano and Trinculo encounter Caliban. - Even in these scenes, however, the humour is tempered by the actions of Caliban that parallel Antonio’s evil plans when he urges the men to overthrow Prospero and take his life. - The fusion of tragedy, comedy and romance reflects the bitter sweetness of life and engages the audience actively in the process of discovering the flawed nature of humanity. - His self-reflexive mediation on the art of theatre suspends the dramatic illusion and in doing so sets up a conceptual mirror which illuminates the illusory nature of life. o This stresses the power of introspection that facilitates self-discovery. - Prospero is the director of the action and meta-theatrically reminds the audience that this is just a play. o “These our actors, /as I foretold you, were all spirits and/are melted into air, into thin air: / and, like the baseless fabric of this vision.” - The play employs the five act structure of the tragedy. o This structure captures the process of self-discovery. o It begins with the exposition: the back story (protases).

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. This enables the audience to discover why Prospero and Miranda are on the island and enables Shakespeare to start the play in the middle of the action (in medias res.) o This is followed by the rising action and the complications where new and provocative discoveries from different perspectives are evident (epitasis). o The climax then occurs when Antonio and Sebastian try to kill Alonso and are stopped by Ariel. . The audience now discovers how treacherous Antonio can be and the seductive nature of power. o The falling action signals the journey to self-discovery by Prospero and Alonso. o Finally the denouement (the conclusion) ends in self-knowledge for Prospero and transformation. . However, Caliban’s promises sound insincere and Antonio has not atoned for his actions. - The Tempest reflects Aristotle’s assertion that a play should have unity of action if it is to imitate life. o This means it should have one main action. . In the Tempest this is Prospero’s direction. o There should be unity of place. . This is evident in the confined setting of the Island. o There should also be unity of time.

Setting:

- The imaginary setting of the island enables Shakespeare to connect his audience’s interest in the new world with this strange place of deserts, springs, beautiful sounds, natural resources, sprites and exotic animals. - It is a microcosm of the Jacobean world where humanity’s flaws can be intensified. - The island with its synthesis of disparate elements provokes different reactions from characters. o Prospero refers to the island as his “poor cell”, and a place he can exploit to enrich his magic and exact his revenge. o Caliban delights in the beauty of the island that he considers to be his own.

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- The use of the Island setting (far away from England with Italian characters) also enables Shakespeare to make comments about the nature of power and being held accountable to for your ruling ability. o Shakespeare’s distancing from Jacobean England is what facilitates this commentary as it appears as not a comment on his own society or rulers.

Themes:

- Usurpation and treachery o Play includes rebellions, political treachery, mutinies and conspiracies o All challenge authority and are made at all levels (the boat, the island and back in Naples) - Nature versus nurture o 2 views in the tempest . One is that when nature is left alone, nature grows to perfection and is inherently good . Two is that nature is inherently bad and therefore must be controlled and educated in order to become good  Caliban o The contrast between nature and nurture is questioned when Prospero says about Caliban “on whose nature/Nurture can never stick.” This poses the concept that nature is neither good nor bad but whether or not nurture can have an influence on it - Imprisonment and powerlessness o All characters suffer some form of confinement . Exile, unjust punishment, tests of character, the effects of magic, their own conscience  everyone years for freedom - Forgiveness and reconciliation o For most of the play it’s unclear what Prospero wants to do with his enemies o At the end, however, he relents deciding mercy and forgiveness are better guides to human conduct than dominance and revenge - Illusion and magic o The opening tempest is an enchantment o Music is everywhere

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o Strange shapes, fantastic creatures and wonderful illusions o Everything undergoes an alteration - Colonialism and exploration o Tales from explores brought back to England about the ‘new world’ are echoed in the play o Gonzalo’s vision of his ‘commonwealth’ is a stark contrast to the harsh realities of colonialism - Sleep and dreams o Prospero sends Miranda to sleep o Ariel causes Alonso and Gonzalo to sleep o Caliban’s dreams are so wonderful that he longs to sleep again o The island itself has dream like qualities

Characters:

Prospero

- Prospero intrigues the audience with his protean personality: an ambivalent blend of loving father, rancorous brother, powerful magician, tyrant and direct of the play. - He is emblematic of the Renaissance man who sought greater knowledge about the world through the liberal arts. - The Tempest would have been a tragedy if Prospero had not rediscovered and acknowledged his hamartia or flaw. - Prospero’s planned discovery for Miranda of her birthright leads to a rediscovery of his contribution to the loss of his dukedom – “being transported / and rapt in secret studies.” - Shakespeare alerts his audience from the start to the importance of the core value of moderation. o Prospero has pursued ambitiously and relentlessly his “secret studies” at the expense of his ducal duties and his people. . However, even this acknowledgement does not deter him from seeking revenge for his brother and King Alonso’s betrayal. . He cannot forget that he was once “a prince of power”.

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- His master plan is not to destroy his enemies, but to ensure that they atone for their sins, and the dukedom of Milan is restored rightfully to him. - Prospero’s despotic treatment of Caliban mirrors the way that the European explores attempted to vanquish the people of the places they conquered. o His initial trust in Caliban was destroyed by Caliban’s attempted rape of Miranda, but his treatment of him is cruel and exploitive. o His relentless cruel treatment culminates in Caliban plotting Prospero’s demise, paralleling Antonio’s perfidious actions. - Prospero’s self-discovery leads him to realise that his actions exacerbated Caliban’s predisposition for evil, and he even connects Caliban’s darkness to his own – “this thing of darkness / I acknowledge mine.” - The play ends with Prospero’s discovery of the healing power of love. o Miranda’s innocence and joy reminds him of what matters in our fleeting lives. o He is no longer as trusting as he was when he was duped by his brother, but he was learned not to dwell on the past and he is realistic enough to acknowledge that he is flawed and therefore, could be tempted again to lose sight of his duties as a leader and a father. - His significant self-discovery reflects the Christian renaissance quest for knowing the self before once can live a moral life of grace guided by God. o Prospero’s transformation conveys a significant moral lesson about what defines virtuous behavior – “the rarer action is / in virtue than in vengeance.” - Prospero’s resonant message is that we should not dwell in the past that can consume our minds: o “for this one night; which, part of it, I’ll waste / with such discourse as, I not doubt, shall make it / go quick away; the story of my life” - The epilogue is Prospero’s most significant self-reflexive moment. o He stands alone on the stage, stripped bare of his magic and power and at the mercy of his audience – “now my charms are all o’erthrown, / and what strength I have’s mine own.” o Prospero has come to the realization that he needs the love and support of others.

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Miranda

- From the first encounter her innocence and virtue are obvious. o She pleads with Prospero to save the people on the boat – “o, I have suffered / with those that I saw suffer.” . This reveals her compassion and empathy for others despite having been isolated on an island with her father and Caliban. - Her name in Latin translates to ‘admirable’ reinforcing her role to remind the audience of the innocence they might have lost. - Miranda’s response to the worlds and Ferdinand is one of delight and wonder – “a thing divine: for nothing natural / I ever saw so noble.” - Her discovery of love powerfully contrasts with the treachery and bitterness of other characters. - Miranda does not undergo a transformative self-discovery. - She responds emotionally to all that she discovers. - The only time that she discovers the darkness of humanity is when Caliban attempts to rape her. - Like Ferdinand, Miranda represents the healing power of love.

Alonso

- The audience’s knowledge of Alonso’s betrayal of Prospero is derived from Prospero’s story to Miranda. o However, as the play progresses we discover a gentle man who is innately good. - He is suffering painfully from the supposed loss of his son. o The tragic loss is a catalyst for self-discovery. - At first he descends into madness but he begins to accept his wrongdoings after hearing Ariel’s words of condemnation and accepting that his son has drowned. - When he meets Prospero he entreats him to “pardon me my wrongs.” - Alonso’s redemption and forgiveness by Prospero for his sins represents the main theme of reconciliation.

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- His transformation contrasts with the unwillingness of Antonio to atone for his sins and reminds the audience of humanity’s capacity for redemption.

Antonio

- Antonio represents the Machiavellian man who was prepared to sacrifice his humanity to attain power. - His brother’s naivety and trust enabled him to discover power and unleash in him a willingness to murder to achieve his ambitions. - The audience learns about his actions in the past through Prospero’s story to Miranda so they are already positioned to regard him as evil and immoral. - Upon discovering that the island is isolated from the civilized world Antonio plots to increase his power by persuading Sebastian to commit fratricide – “my strong imagination sees a crown / dropping upon thy head.” o His words echo the actions and words of Macbeth. - Antonio does not undergo a transformation. o His discovery of the opportunity to murder Alonso is yet another chapter in his abuse of the trust of others. - His exposure in the plays denouement has no impact. o He does not seek forgiveness and denies Prospero any satisfaction by being silent. o There is no evidence that Antonio is repentant. - Antonio’s inability to change ensures that the play does not end with complete reconciliation. o Shakespeare uses Antonio as a warning to the audience that humanity is flawed and that they need to be ready to confront evil. - The action and consequently the whole play can be linked back to him o Antonio before the play’s setting usurp his brother which begun the series of events resulting in their habitation of the island. - He is the same person before, during and after the play takes place.

Caliban

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- “This thing of darkness” is one of Shakespeare’s most fascinating characters. - He is a complex and enigmatic; a monster who delivers some of the most mellifluous and lyrical lines in the play. - Shakespeare has created Caliban as an amalgam of Montaigne’s “noble savage” and the European view that the natives of America were uncivilized savages. - His name is an anagram of “cannibal”. - Shakespeare regularly employed foils and parallel stories in his plays. o Caliban, like Prospero, has had his power and authority taken from him. o Just as Prospero finds it challenging to forgive a brother he loved and trusted for his treachery, Caliban shares the same sentiment: . “This island’s mine, by Sycorax my mother, / which thou takes from me.” o He feels he has been exploited and betrayed by Prospero, a man that he loved. (“and then I loved thee”) - Caliban’s connection with the island is evident. o He knows all of its resources and its beautiful qualities. - When he reassures Stephano and Trinculo that there is nothing to be afraid of on the island, his language with its visceral and auditory imagery and fricative sibilance is moving. o The audience discovers a very different side to this “monster”. . “The isle is full of noises, / sounds and sweet airs, that give delight and hurt not. / sometimes a thousand twangling instruments / will hum about mine ears” - When Caliban discovers Trinculo and Stephano he believes he has found a way to exact revenge. - In contrast to the lyricism to of his speech about the island, his words marked by plosive constants and the imperative verbs are aggressive and brutal – “batter his skull, or paunch him with a stake, / or cut his wezand with thy knife.” - The evil plot to overthrow Prospero and murder him parallels with the actions of Antonio and Stephano. - When Caliban is exposed by Ariel and Prospero he appears to be repentant and wise – “I’ll be wise hereafter / and seek for grace.”

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o Perhaps Caliban will not be so foolish to trust and show others how to survive on the island.

Key Ideas

Discovery of how easily power and authority are usurped

- Much of The Tempest is about the usurpation of power and authority and the struggle to maintain and acquire power. - The opening scene immediately challenges traditional power structures. o The Boatswain who is desperately trying to control his boat in the fierce tempest and save the lives of is men and passengers, orders Alonso and the noblemen below the deck. o He hierarchy of Jacobean England is challenged and the audience is provoked to question the accepted line of authority. - When Prospero tells Miranda about his brother’s usurpation of his authority and power, the audience would be sympathetic with Prospero whose right to rule had been wrongfully denied but they are made aware of how he contributed to his demise by neglecting his power. - Prospero has usurped Caliban’s control of the island – “this island’s mine by Sycorax.” o His actions mirror that of his brother’s. - The theme of usurpation continues with Sebastian’s decision under Antonio’s tutelage to murder his own brother and seize his crown. - Prospero’s books symbolize how knowledge is power. o Prospero uses knowledge contained in the books to strengthen his control of the island, Caliban and Ariel. o Caliban recognizes this when he tells Stephano and Trinculo that they must burn all “but his books.” - The denouement of The Tempest has Prospero handing over his power to the audience. o He demonstrated his willingness to abrogate his magical powers by breaking his staff and drowning his books.

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- We are left with the message that forgiveness and compassion are far more powerful than the acquisition of power.

Self-discovery of the importance of compassion and reconciliation

- The resounding message of The Tempest is the importance of compassion and reconciliation. - When the characters are consumed by bitterness and anger their relationships with others are compromised. - Miranda and Gonzalo personify love, pity and compassion. o From the start of the play Miranda begs her father to have pity for the poor souls on the boat. o Even after she’s been told of Alonso’s betrayal of her father, she accepts and loves Ferdinand. - The loss of a beloved son forces Alonso to rediscover his wrongdoings and “suffer a sea-change / into something rich and strange.” - Prospero forgives Alonso and even begrudgingly his brother. o He realizes that “the reare action is / in virtue than in vengeance”.

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