Lines 438-589: The now invisible Ariel returns singing and playing music. Ferdinand, shipwrecked son of the King of Naples, follows the sounds. Miranda and Ferdinand meet. Each initially thinks the other a divinity from another world. Prospero accuses Ferdinand of being a traitor. Miranda defends him but Prospero remains impervious. Secretly, however, he's delighted that the young people are falling in love and praises Ariel's work. Miranda comforts Ferdinand.
Responses to Prospero and Caliban are crucial in determining overall interpretation of the play: Prospero's language and threats betray his unquestioning assumption of authority as well as his irascible temper, Caliban's stubborn defiance, his sense of injustice and ill-usage. The island is a microcosm which tests its inhabitants socially and morally, posing the issue of nature or nurture as the determinant factor in individual constitution, but this is not an isolated social laboratory; on the contrary, the shadows of the past haunt all the characters who have to resolve ancient inherited contentions.
ACT 2 SCENE 1
The rest of the aristocratic survivors of the storm are together, attempting to come to terms with their situation. The attitude of each to their misadventure defines their character.
Lines 1-146: The elderly courtier Gonzalo and the younger Adrian and Francisco are determined to be positive while Antonio and Sebastian jeer at them from the sidelines. Alonso is griefstricken by the loss, as he believes, of his son, Ferdinand. His brother, Sebastian, however, blames Alonso himself for the disaster by his determination to marry his daughter, Claribel, to the King of Tunis, an African on the far side of the Mediterranean. They were on the return voyage home when the tempest struck. The discussion of the wedding relates to another issue which the play raises: patriarchal control of daughters and the function of marriage in securing dynastic inheritance, a relevant theme in relation to Ferdinand and Miranda.
Lines 147-189: Gonzalo offers his own idealized prescription for sovereignty as he imagines himself as king of the island.
Lines 190-361: Ariel, still invisible, puts everyone to sleep except Antonio and Sebastian. Antonio proposes that they kill Alonso so that Sebastian can become king of Naples. His speech reveals a complete moral bankruptcy as he dismisses Sebastian's objections on the grounds of conscience. They are about to put their plan into action when Ariel intervenes once more to wake the other courtiers.
ACT 2 SCENE 2
Caliban enters carrying wood, still cursing Prospero and complaining of his ill treatment. When he sees Trinculo he believes him to be a spirit sent to torment him and hides himself on the ground. Unable to identify this curious creature, Trinculo nevertheless immediately recognizes his potential for exploitation. If he were in England people would pay good money to see this "strange fish" (l. 27). Trinculo fears another storm and takes shelter with the creature as the storm breaks. The drunken Stephano arrives but Caliban mistakes his tuneless singing for another punishment and begs him to stop. Stephano is bemused by the appearance of the "monster" and he too thinks of taking him back to Naples as a prize for his own profit. He offers Caliban a drink, but, recognizing his friend's voice, Trinculo greets the butler. Stephano is by now thoroughly confused by the two-headed, four-legged monster. He finally disengages Trinculo and the two celebrate their reunion. Caliban, meanwhile, takes him for a god and his liquor for celestial drink. He agrees to serve him and in a reprise of Prospero's arrival immediately offers to show them around the island. Believing that the royal party are all drowned, Stephano suggests that he and Trinculo can now inherit the island. Meanwhile, Caliban is delighted to have exchanged masters and leads them off singing drunkenly.
The attitudes of the two strangers to the island toward its native inhabitants are callous, opportunistic, and self-serving. Caliban, meanwhile, is revealed to be ingenuous and naive.
ACT 3 SCENE 1
Ferdinand enters carrying wood but, in contrast to Caliban, is happy to perform this menial task because of his love for Miranda, despite her father's harshness toward him. She visits him and offers to carry the logs herself. He refuses and asks her name, which, against her father's injunction, she tells him. Ferdinand then confesses his deep admiration and love and she innocently acknowledges her own. Unbeknownst to them both, Prospero has been watching the scene.
ACT 3 SCENE 2
Caliban, Stephano, and Trinculo are drunk. Caliban and Trinculo quarrel. Stephano, however, defends Caliban and threatens to hang Trinculo. Caliban then relates his own history and tells them about Prospero and Miranda. He details plans for Prospero's murder, dwelling on the need to destroy his books (ll. 86-91). The interventions of the invisible Ariel lead to further contention. Again Stephano restores peace and they set off to kill Prospero and make Stephano king of the island and Miranda his queen. The sound of Ariel's music instills fear in the others, but in a passage of arresting poetry Caliban reassures them about the island and its "noises, / Sounds and sweet airs" (ll. 131-139). They follow the music offstage.
ACT 3 SCENE 3
The courtiers are tired and weary of wandering around the island seeking Ferdinand. They rest while Antonio and Sebastian in asides reiterate their plan to murder Alonso at the next opportunity.
Meanwhile Prospero, now invisible, enters accompanied by the sounds of music and by "strange shapes" who set out a banquet. The courtiers are amazed but prepare to eat when they are interrupted by thunder and lightning. Ariel enters as a harpy this time and causes the banquet to vanish. He addresses Alonso, Sebastian, and Antonio as "three men of sin" (l. 64). As they draw their swords Prospero tells them that he and his fellows are invulnerable and goes on to relate his real concern, their part in Prospero's overthrow many years before, for which reason they are now being punished and Alonso is "bereft" of his son (l. 87). Ariel vanishes in another clap of thunder and the shapes reenter to remove the table. Prospero congratulates Ariel on his performance and the fact that his enemies are now in his power. Alonso is deeply affected by the experience, wishing only to join his son (ll. 107-114). Gonzalo fears that the "great guilt" of the three will make them desperate.
ACT 4 SCENE 1
The fourth act comprises one long running scene.
Lines 1-65: Prospero explains to Ferdinand that his harsh treatment was designed as a test of his character and love. Having passed the test he is rewarded by being given Miranda in marriage, with the warning that any premarital sex would curse their union. Ferdinand reassures him that his thoughts are chaste. He tells them to sit and calls for Ariel, who is now to bring "the rabble" to that place. In the meantime Prospero plans a demonstration of his magical arts for the pair.
Lines 66-177: He stages a nuptial masque of the goddesses Iris, Juno, and Ceres to celebrate "a contract of true love." Ferdinand is impressed by the spectacle: the goddesses are then joined by a group of pastoral rustics and they dance gracefully together until Prospero suddenly remembers Caliban's plot to kill him. The masque figures vanish instantly. Prospero attempts to disguise his fury before Ferdinand and Miranda in a speech that has been regarded by some critics as a rehearsal of Shakespeare's own symbolic farewell to the theater, "Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air" (ll. 161-171). He tells Ferdinand and Miranda to retire to his cell.
Lines 178-269: Ariel describes how he has led Caliban and his companions into a foul pool. Prospero praises him and orders him to fetch fine clothing. Meanwhile, Prospero complains of Caliban's inherent wickedness and threatens further punishment. Ariel returns with the clothes. Caliban warns Stephano and Trinculo to be wary but they are disgruntled by their recent drubbing. As soon as they see the finery, they want to put it on, despite Caliban's efforts to concentrate their minds on murder. He is disgusted by their frivolity but Stephano threatens banishment from the island, which he regards as his kingdom, if Caliban refuses to carry the clothes back to his wine store.
Lines 270-282: A noise is heard and spirits enter as dogs and hounds who chase
the three, while Prospero threatens further punishments. Now all his enemies are at his mercy and his labors nearly ended. Ariel is promised his freedom very soon.
ACT 5 SCENE 1
Again, one long scene in which all the characters finally assemble and many of the confusions and issues are resolved.
Lines 1-37: Prospero sees his project "gather to a head." Ariel tells him that Alonso, Alonso's brother Sebastian, and Prospero's brother Antonio are all prisoners, paralyzed by enchantment until he releases them. The others, meanwhile, weep over their fate. Ariel though tells Prospero that he believes if he were to see them for himself, he too would feel pity for them, as he would himself if he were human. Prospero is struck by the irony of the nonhuman Ariel feeling human sympathy for these creatures. The lesson in humanity chastens him and he vows that he will indeed take pity on them. He tells Ariel to release them and he will restore them to their senses.
Lines 38-108: As Ariel departs Prospero conjures for the last time, resolving to give up all his charms and spells: "But this rough magic / I here abjure" (ll. 55-56), to break his staff and drown his book. Ariel returns with the courtiers, who enter Prospero's magic circle. He addresses each in turn: quieting Alonso's distress, blessing Gonzalo's kindness, and even forgiving his brother, Antonio. They don't recognize him dressed as he is, so he sends Ariel for his hat and rapier, and then sends him to rouse the mariners, safe asleep on the ship.
Lines 109-245: Prospero, now in his courtly garments, turns to the nobles again and tells them who he is. Alonso, at first incredulous, begs forgiveness for past wrongdoing. Prospero embraces Gonzalo and forgives Antonio, who, on a disturbing note in the general atmosphere of harmony and reconciliation, fails to respond. Alonso asks for particulars of his story and how he arrived on this shore where he fears his son has been lost. Prospero explains that he too has lost a daughter, which leads Alonso to exclaim that he wishes they were both alive and King and Queen of Naples. Prospero says that his story will have to be told another day, but leads Alonso to his cell, where he reveals Ferdinand and Miranda together playing chess. Miranda accuses Ferdinand of cheating. He exclaims that he would not do such a thing, but with a surprising touch of realpolitik, Miranda suggests that "for a score of kingdoms you should wrangle, / And I would call it fair play" (ll. 192-193). Alonso and Ferdinand are reunited, even Sebastian is touched and Miranda amazed by the sight of so many new faces: "O brave new world, That has such people in't" (ll. 205-206). Ferdinand tells his father that Miranda is to be his wife. Alonso is immediately reconciled and questions whether the events might not record the workings of a providential design: "Was Milan thrust from Milan that his issue Should become kings of Naples?" (ll. 233-234).
Lines 246-289: Ariel appears followed by the ship's Master and Boatswain, who announces that all are safe and the ship is ready to sail. Alonso is convinced that all these events are unnatural. Prospero endeavors to set his mind at rest. He praises Ariel and asks him finally to bring Caliban, Stephano, and Trinculo to him.
Lines 290-339: They appear still in their finery. Caliban recognizes that Prospero too is in his finery and fears that he will be punished. Prospero identifies Caliban to the other nobles and tells them about the plot to murder him. They must know who the other two are, but Caliban he finally acknowledges as belonging to him, "this thing of darkness I / Acknowledge mine" (ll. 311-312). He tells Caliban to go to his cell with his companions and prepare it for the company. Caliban now realizes his folly in worshipping the pair and promises to "seek for grace" (l. 333) in the future.
Lines 340-380: Prospero invites the whole company to his cell to rest for one night during which he will relate the events of his life and how he came to the island. He will then accompany them all to Naples for the marriage of Ferdinand and Miranda. Afterward he will retire to Milan to contemplate old age and death. He promises them a good voyage and finally releases Ariel.
As the other characters leave the stage, Prospero delivers the Epilogue in which he tells the audience that he has no more magic, only his own strength. He must therefore be confined to the island unless they release him by the power of their breath and hands, and begs indulgence for his sins as the audience too would wish to be pardoned. This metatheatrical conclusion seems to round off the play on a positive note, but a brief reflection reveals that the most complex problems have been left unresolved and the future for many of the characters is far from clear. The departing spectator is left wondering if Antonio is really reconciled to his brother's return, exactly what Prospero means when he has said that "Every third thought" will be his "grave," where Ariel will go now that he is free, and what will happen to Caliban--is he to remain on the island, its lonely king once more, or will he accompany Prospero to Milan?
THE TEMPEST IN
PERFORMANCE:
THE RSC AND BEYOND
The best way to understand a Shakespeare play is to see it or ideally to participate in it. By examining a range of productions, we may gain a sense of the extraordinary variety of approaches and interpretations that are possible--a variety that gives Shakespeare his unique capacity to be reinvented and made "our contemporary" four centuries after his death.
We begin with a brief overview of the play's theatrical and cinematic life, offering historical perspectives on how it has been performed. We then analyze in more detail a series of productions staged over the last half century by the Royal Shakespeare Company. The sense of dialogue between productions that can only occur when a company is dedicated to the revival and investigation of the Shakespeare canon over a long period, together with the uniquely comprehensive archival resource of promptbooks, program notes, reviews, and interviews held on behalf of the RSC at the Shakespeare Birthplace Trust in Stratford-upon-Avon, allows an "RSC stage history" to become a crucible in which the chemistry of the play can be explored.
Finally, we go to the horse's mouth. Modern theater is dominated by the figure of the director. He, or sometimes she (like musical conducting, theater directing remains a male-dominated profession), must hold together the whole play, whereas the actor must concentrate on his or her part. The director's viewpoint is therefore especially valuable. Shakespeare's plasticity is wonderfully revealed when we hear directors of highly successful productions answering the same questions in very different ways.
FOUR CENTURIES OF THE TEMPEST: AN OVERVIEW
The Tempest's first recorded performance was at the court of James I on Hallowmass Night, 1 November 1611.1 In 1613 it was performed at court again, this time as one of fourteen plays chosen to celebrate the marriage of James I's daughter Elizabeth to the Elector Palatine.2 These performances and the masque in Act 4 have sometimes suggested a special association with the Jacobean court. However, the effects called for in the masque--descents, ascents, and the use of a trapdoor--all suggest performance in the public theaters used by the King's Men, the Globe and the smaller indoor Blackfriars Theatre.
This was one of the first of Shakespeare's plays to be revived after the Restoration and the reopening of the theaters. Samuel Pepys saw the first performance in 1667:
at noon resolve with Sir W. Penn to go see The Tempest, an old play of Shakespeare's acted here the first day ... the most innocent play that ever I saw.... The play is no great wit; but yet good, above ordinary plays.3
The "old play of Shakespeare's" described by Pepys was not, however, Shakespeare's Tempest but an adaptation by Sir William Davenant and John Dryden called The Tempest, or The Enchanted Island, which developed the plot to suit Restoration tastes and capitalized on the newly permitted presence of women onstage by inventing a sister for Miranda called Dorinda, together with the cross-dressed "breeches" part of Hippolito, Prospero's ward. Sycorax became Caliban's sister and even Ariel had a female consort, Milcha. Whereas scholars were busy recovering Shakespeare's text for published editions from the early eighteenth century, this adaptation, and a revised operatic version by Thomas Shadwell with music by Henry Purcell dating from 1674, supplanted Sha
kespeare's on the stage for more than a century and a half. They had machinery, elaborate effects, spectacular staging and music, and proved immensely profitable and popular with London theatergoers. The highlight seems to have been the storm scene, which was moved to Act 2 in order to accommodate latecomers. This adaptation in turn spawned Thomas Duffett's obscene burlesque, The Mock Tempest, or the Enchanted Castle, in which Miranda and Dorinda feature as prostitutes.
David Garrick had briefly presented Shakespeare's original play, with some cuts, in the mid-eighteenth century, but in the next generation John Philip Kemble returned to the Restoration version. When Shakespeare's text was finally restored by William Charles Macready in 1838, the spectacular staging of the storm scene and the masque were fixed theatrical traditions, which Macready retained, together with much of the music. By the end of the nineteenth century two contrasting production modes were evident--the elaborate spectacle, exemplified by directors such as Herbert Beerbohm Tree in London and Augustin Daly in New York, which offered scenic staging and pantomimic action with a full orchestral score versus the innovatory pared-down productions by F. R. Benson at Stratford and William Poel's Elizabethan Stage Society, which used a bare set on an open stage.