Magic and Illusion
Power and control
Exploitation
Revenge and Forgiveness
Colonization
Supernatural
Wonder/Admiration
Nature vs nurture
Betrayal
Freedom
Betrayal and Forgiveness
Colonization
Fate and Justice
Legitimate Rule and Social Order
Magic (Prospero’s Art)
Slavery and Servitude
Techniques;
Asides
Dramatic
Irony
Soliloquy Spectacle
Stage Directions
Imagery
Literary Devices
A ship at sea;
Stagecraft; Staging the storm (in large groups)
This opening scene is very dramatic; it takes place on a ship at sea during a terrible storm. How can the fury of the waves and wind be shown on stage? In some productions, the scene is played on a bare stage, without props or scenery - the illusion of a ship caught in a tempest is created only by lighting, sounds and the actors' movements. Other productions use an elaborate set to create a realistic ship, a Begin a Director's Journal, in which you write down ideas relating to the play in performance. Try to think like a director, focusing on bringing the words to life. Add to your journal as you read the play. b Consider how you would perform this opening scene. In your group, hold a discussion using the prompts below, then act out the scene. There are six individual speaking parts, and you can have as many sailors as you want;
Gonzalo seems to read the Boatswain's face. deciding that he is not destined to die by drowning but rather by hanging Is Gonzalo trusting to fate, being cynical, or trying to find humour in a desperate situation?
How would you advise the actor playing Gonzalo to deliver these words? Try out different readings,
Write down the ideas that are explored in lines 18-29, considering in particular the themes of fate and chance.
This play is rich in imagery (see 'The language of The Tempest', pp. 164-5). In lines 25-9, Gonzalo uses complex imagery of a hangman's noose beginning to resemble an umbilical cord.
Draw this image in a way that captures the richness of the language and the idea being expressed here.
With others in your class, discuss what is lost and what is gained by turning these words into an image.
Characters
What does the language tell us? (in fours) Look at the language used by the Boatswain and Gonzalo in the script opposite. Compare it to that used by Sebastian and Antonio.
There is complete chaos on stage during the final part of this first scene. In what they believe are their final moments, all the characters behave in different ways. Some call on God's mercy in prayer. Others say farewell to each other.
The Boatswain takes a drink (line 45). Each person takes a character from the script opposite. Prepare a tableau (a 'freeze-frame', like a photograph) of these final moments.
Think carefully about the expression on each character's face – what emotions do you want to portray? Practise your tableau, then show it to the rest of the class. Take it in turns to break out of your tableau and describe - in your own words - how your character feels at this moment.
Visualising Prospero (in pairs)
We learn from Miranda's first speech that her father, Prospero, has the power to create storms and control the seas.
How do you visualise Prospero? With a partner, talk about how he might appear
Look at the ways in which different productions have presented Prospero in the photographs throughout this book. Which one is closest to your own imagining of this character? How would you present him differently? Sketch your own ideas for Prospero's 'look'.
Language in the play
Conjuring the storm (in fours)
Miranda's first speech (lines 1-13) is a vivid description of the storm as it is happening
Take it in turns to read the speech aloud, changing speaker at each punctuation mark. Emphasise the imagery she uses to describe the storm.
Talk together about Miranda's 'storm' imagery. How does it create an atmosphere for the audience? Make some notes and then share your thoughts with other groups.
What does Miranda's language in the script tell us about her character? Draw up a list of adjectives you would use to describe her.
Look at the exchange between Prospero and Miranda in lines 13-21.
Shakespeare uses anaphora - the repetition of words in successive clauses (see p. 167) - in Prospero's words 'No harm'. It is as though he is trying to reassure his daughter that he is benevolent. But what do you think are his motives? Discuss this in your pairs.
What are your first impressions of Prospero and Miranda, and of their relationship? By yourself, write down your thoughts, then swap these notes with your partner. How are your impressions similar? How do they differ?
MINOR CHARACTERS
‘Minor characters play a significant role in the play, The Tempest.’
This question was not based on a theme it was based on an element of the play
In an essay, select ONE of the following characters (Trinculo, Stephano and Boatswain) and examine their relationship with any MAJOR character. Comment on their contribution to the development of the plot. Also, outline how the character selected highlights the comedic element of the play.
Total 35 marks
Character | Relationship to:
| Contribution to the plot | Highlighting the comedic element |
Stephano | Caliban Not a real friendship but one-sided where Stephano wanted to exploit Caliban. For Stephano, he wanted to be Caliban’s master. It was a master-slave relationship Caliban treated Stephano as a God whereas Stephano saw him as a creature. Caliban worshipped Stephano They got along to the point where they plotted to kill Prospero
| Stephano helps to drive the plot of the play because it highlights the issues of power, control, slavery and colonialism. Stephano aims to be ruler or conqueror. When he first sees Caliban, he wants to keep him in bondage He is similar in mindset to the other major characters such as Antonio and even Prospero. He helps to highlight the idea of colonialism where he wants to rule over the island with Caliban as his subordinate. Through his interaction with Caliban, the audience tends to sympathize with Caliban’s plight. This is because we see Caliban as a character to pity rather than an antagonist. Those around him only see him an uncivilized creature and only seek to take from him rather than help him genuinely. The scenes with Stephano and Caliban also makes Prospero appear as a ruthless and cruel person who seized the island from Caliban. Their plotting to kill Prospero enforces the underlying issue that drives the entire play. Prospero’s main motivator is seeking justice after his trusted brother conspired against him.
| Stephano’s character is a parody to the previous scene with the plot to kill King AlonsoAlonso When Stephano and Trinculo are introduced, they are blatantly drunk which causes a drastic mood change and gives the play a comedic effect.
taking a drink from Caliban's naïveness is comedic in itself, whereby as the reader enfolds the plot, they see the tricks up stephano and trinculo's sleeves
Stephano jokingly describes taking a drink from the bottle as “kissing” the Bible, quote “Here, kiss the Bible and swear. You may swim like a duck, but you look more like a goose.” •Stephano and trinculo are arguable almost entirely for comic effect even having in their own subplot comic in nature ~stephano and trinculo, a butler and a jester don't know what to make of caliban and after stephano gives caliban alcohol,caliban comically
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Trinculo | Caliban Hostile relationship Both insult each other They fight (instigated by Ariel) They don’t like nor trust each other Trinculo keeps calling Caliban a ‘monster’ He also wanted to exploit Caliban He treats him as inferior, uncivilized
| Trinculo helps to develop the plot because he brings the issues of power, control and conspiracy at the forefront. His treatment of Caliban (calling him a monster and a fool) shows how one character asserts his social standing against another. For example this is seen in Prospero’s assertion of power over Caliban Caliban is seen as an object to use at others' will. The audiences sees him as a victim rather than an antagonist
| |
Boatswain | Gonzalo Hostile but it changes to one that is amicable The idea of authority and class differences Gonzalo notices that the Boatswain is commanding the royal party to stay below/get out of the sailor’s way. Boatswain is commanding the King and his courtiers to stay out of their way Gonzalo shows an amount of respect towards the Boatswain because at sea, the sailor is the one in charge The Boatswain is critical of the royal party because they get in his way/obstructing him from doing his duties Gonzalo feels disrespected by the Boatswain who is shouting orders at him The Boatswain explains to him that unless Gonzalo can steer this ship, move aside and let the sailors do their job Gonzalo understands the context has changed and he puts his faith in the Boatswain
| The scene with the Boatswain and Gonzalo highlights social class and hierarchical structure. Those who are in authority assume that they have a right to power and control over others. The Boatswain overthrows this notion when he shows Gonzalo that the situation has changed on the ship On the island, despite being a King or of royalty, the status quo has changed. Prospero has ultimate control over everyone.
|
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Parody(in the terms of the tempest)- Another depiction of the previous scene to highlight the themes of power/control in a comical way.
Trinculo;
Who is also similar to Stephano in the terms that he helps to develop the plot for Caliban’s treatment(as though he is a monster and is uncivilized i.e Prospero)
Caliban is seen as an object to others’ will to gain their desires. Example; how he is tricked easily and willingly bows down to Stephano.
The scene helps to give a sense of the themes in the play: power, control, colonialism, authority etc. Stephano and trinculo help to enforce these themes.
** They also help to see a different side or perspective of Caliban;
Before: curses and always fighting with prospero, and being punished
Now: Caliban is now seen as a victim, as a local who is always exploited by newcomers.
The scene with the boatswain and Trinculo show the difference in social classes and the power struggle. Shows more as to how Prospero’s place as duke of Milan was usurped by his brother.
The trio's main concern was not actually taking over the island but in fact acting drunk and having fun.
Boatswain: -----
Miranda and Ferdinand in Love
“ Although they do not always take centre stage, Ferdinand and Miranda play a significant role in the drama.”
Write an essay in which you describe one incident when Miranda is present and on in which Ferdinand is present. You must also discuss how one character in the play responds to either Ferdinand or Miranda in one of the instances you describe. Finally, you must examine one dramatic technique Shakespeare uses to make the play appealing to the audiences.
MIRANDA:
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FERDINAND: Ferdinand is the son of the king of Naples. During the storm, he is separated from the rest of the king’s party. Ferdinand, an honest, caring and hardworking boy tries to prove his love and loyalty to Prospero, for he is an honourable match for Miranda, sharing many of the same qualities as her.
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The RelationShip:
Miranda and Ferdinand’s relationship in the tempest represents the innocent love at first sight, despite Prospero’s desire to control their relationship, their love and affection towards each other remains untouched, unaffected and pure. In this relationship, Miranda finds herself and is able to love another man other than her father, as he was the only man she has ever seen.
Comedy in the Tempest:
→ There is a varied element of comedy throughout Shakespeare's The Tempest. The main characters and plot reflect a subtler, sarcastic comicality. The humor’s indirect style helps to maintain the seriousness of the play’s mood, whilst still keeping the audience captivated. In contrast to the main comedy of the play, From Act II Scene II to the midpoint of Act III, the comedic feel of the play undertakes a drastic change in mood from the subtle, to the blatant with the introduction of the drunken duo of Stephano and Trinculo. The pair of sailors’ retorts at the other characters showcases another way of capturing the audience’s attention, with a sheer disregard of respect for the other characters. Together the two forms of comedy give the play an interesting feel amongst the turmoil of the events of the play.
→ The Tempest is an undeniably amazing play, but even though it is classified as a comedy, its humor is not forth standing. The play is at first glance much more reminiscent of Shakespearean drama rather than a comedy, however when examined further the underlying elements come out in the form of subtle touches of wit in the dialogue.
There is also at times a very blunt humor deployed during the play, and while not Shakespeare’s finest, this method does still manage to invoke laughter. This thought out precise comedic effect sets The Tempest apart from many of Shakespeare’s other comedies such as Much Ado About Nothing, and the blatant wisecracks of the drunkards only hinders the script in a minor way, making The Tempest an excellent culmination of an incredible playwright.
→ The subtler side of the comedy in The Tempest is shown by the main characters, namely Prospero, his daughter Miranda, and Ferdinand. Out off all the characters in the play Prospero is the one who exhibits the most comedic aptitude, as he takes up a common sight in Shakespearean comedies, self-deception.
In this case, Prospero’s self-deception is the act of doing one thing, typically the wrong thing, and deceiving yourself into believing it is the right action to take. Prospero often orders his companions to do one thing as he himself does another, and then criticizes them for not following his example when things inevitably go wrong.
In similar fashion to her father, Miranda, daughter of Prospero takes to self-deception as well, but it is in a different manner. Miranda often deceives herself in believing her father’s choices are right when they are often cruel. She forces herself to follow Prospero in an almost hysterical act of loyalty to her father, despite her feelings for Ferdinand.
Miranda does show distaste when following her father however, often through a bit of wit such as when she states to her father, “Your tale sir, would cure deafness,” (Miranda in Act I Scene I of Shakespeare’s The Tempest) as he explains his actions. It is only later in the play that Miranda breaks free and follows her own will, leaving Prospero’s care and seeking her true love, Ferdinand.
→ The drunken sailors, Stephano and Trinculo, introduce the more blatant comedic element in The Tempest. In Scene II Act II the pair come into the play and due to their deceitful nature instantly befriend Caliban, the plotting servant of Prospero, and seek to help him gain control of the island.
Even as the sailors are formulating the plot with Caliban however, they still do not take the matter seriously and instead choose to spew slander as they wander through the story throwing insults.
Even as serious confrontations – take place around them Stephano and Trinculo choose to demean their adversaries, rather than confront them. The conniving ways of the sailors portray a well-known way of humor in showing no respect or understanding, only witticisms such as in the following tune:
The master, the swabber, the boatswain, and I, The gunner, and his mate, Lov'd Mall, Meg, and Marian, and Margery, But none of us car'd for Kate, For she had a tongue with a tang, Would cry to a sailor Go hang! She lov'd not the savour of tar nor of pitch, Yet a tailor might scratch her where'er she did itch. Then to sea, boys, and let her go hang! This is a scurvy tune too; but here's my comfort. (Drinks) (Stephano in Act II Scene II of Shakespeare’s, The Tempest)
→ Throughout The Tempest there are varied features of comedy, from the drunkards Stephano and Trinculo to the self-deception of Prospero and his daughter. While the play takes the overall shape of a drama, the comedy there is, is well done.
Throughout the story I was kept at attention as I searched through the dialogue, every time experiencing the play with a different view on the subtle comedy of its main characters, while finding ever another way to enjoy the ranting of the drunken sailors in The Tempest, the crowning achievement of the greatest playwright ever known.
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