The Tempest Unit

ACT I 2

HANDOUT ONE: SHAKESPEARE’S WORLD: THE ELIZABETHAN CONCEPT OF THE SOLAR SYSTEM 2SYNOPSIS SCENE I 3HANDOUT TWO: JUSTICE 3SYNOPSIS SCENE II: 4

ACT II 5

HANDOUT THREE: SHAKESPEARE’S WORLD: THE ELIZABETHAN CHAIN OF BEING 5SYNOPSIS SCENE I: 6HANDOUT FOUR: CHARLES DARWIN AND SURVIVAL OF THE FITTEST 6SYNOPSIS SCENE II: 7

ACT III 8

SYNOPSIS SCENE I: 8HANDOUT FIVE: SHAKESPEARE’S WORLD: SHAKESPEARE’S LAST PLAYS 9SYNOPSIS SCENE II: 9HANDOUT SIX: COMPARISON OF PARAGRAPH TO POETRY 10SYNOPSIS SCENE III : 10HANDOUT SEVEN: SHAKESPEARE’S WORLD: MAGIC 11

ACT IV 12

SYNOPSIS SCENE I 12HANDOUT EIGHT: A NOTE ON NAMES 12

ACT V 13

SYNOPSIS SCENE I: 13HANDOUT NINE: SIGMUND FREUD’S THEORIES 14SYNOPSIS EPILOGUE: 15Handout Ten: Shakespeare’s Farewell to the Theatre 16

ACT I

Handout One: Shakespeare’s World: The Elizabethan Concept of the Solar System

1. Draw a complete picture of the Elizabethan solar system. Make sure you include all of the planets and stars. Using a T chart, explain how it differs from the solar system as we now know it.

Elizabethan Concept of the Solar System.

Since the Greek Ptolemy had codified ancient astronomy in the second century A.D., educated Europeans had held a conception of the universe which we call Ptolemaic. The cosmos of this view was a group of concentric spheres, a series of spheres within spheres each having the same centre. The innermost sphere or ball was the earth, made up of hard, solid, earthy substance such as men were familiar with underfoot. The other spheres, encompassing the earth in series, were all transparent. They were the “crystalline spheres” made known to us by the poets; their harmony was the “music of the spheres”. These spheres all revolved about the earth, each sphere containing, set in it as a jewel, a luminous heavenly body or orb which moved about the earth with the movement of its transparent sphere.

Nearest to the earth was the sphere of the moon; then, in turn, the spheres of Mercury and Venus, then the spheres of the sun, then those of the outer planets. Last came the outermost sphere containing all the fixed stars studded in it, all moving majestically about the earth in daily motion, but motionless with respect to each other because each was held firmly in the same sphere. Beyond the sphere of the fixed stars, in general belief, lay the “empyrean”, the home of the angels and immortal spirits; bu this was not a matter of natural science.

A man standing on the earth, and looking up into the sky, thus felt himself to be enclosed by a dome of which his own position was the centre. In the blue sky of the day he could literally see the crystalline spheres; in the stars at night he could behold the orbs which these spheres carried with them. All revolved about him, presumably at no very alarming distance. The celestial bodies were commonly supposed to be of different material and quality from the earth. The earth was heavy dross; the stars and the planets and the sun and moon seemed made of pure and gleaming light, or at least of a bright ethereal substance almost as tenuous as the crystal spheres in which they moved. The cosmos was a hierarchy of ascending perfection. The heavens were pureer than the earth.

This system corresponded to actual appearances, and except for scientific knowledge would be highly believable today…

Earth

Synopsis Scene i

The play opens with a tempest, a violent storm at sea. On board the ship that is caught in the storm, the scene is full of conflict and tension, resulting in two tempests raging. Much of the conflict stems from the desire of the frightened royal passengers to somehow control the storm and their own fate. It is made perfectly clear, however, that the boatswain needs and wants no advice from the royal passengers; he is an expert sailor who resents their interference. Even the captain defers to the boatswain's expertise, as shown when he commands the boatswain to manage the crew. This opening scene immediately captures the attention of the audience, for it is swift, wild, and loud -- full of noise, chaos, and commotion.

Shakespeare uses the stormy scene to reveal some of the more salient traits of the characters. Antonio and Sebastian expose their evil and wicked natures by shouting and behaving rudely toward the boatswain. It is an early revelation that they like to be in control, even in matters about which they know very little. They resist the authority of someone as lowly as a sailor and try to give orders and commands. Their rude behaviour foreshadows their later hunger for a different kind of control. By contrast, the king, the prince, and Gonzalo behave with dignity. They have the wisdom and humility to listen to good counsel, surrender their royal authority to the better judgment of the boatswain, and go below.

It is important to notice the brevity of this opening scene that accomplishes so much. It is probably the most spectacular and effective short scene Shakespeare ever wrote. With its noise from the storm and the screaming and the frantic movements of the actors on and off the stage, it immediately engages the audience in the action and reveals the characters with amazing accuracy. This first scene is definitely a dramatic and literary accomplishment.

1. Read Act I and answer the following questions:a. What caused the tempest in sc. I?b. How old was Miranda when she and Prospero were landed on the island? How

long ago was that?c. What was Prospero’s rightful role back in Italy?d. Briefly, how did he lose his position?e. Why was Prospero not killed in the overthrow?

2. Why does the play begin with a storm at sea? What do storms represent?

3. Shakespeare was concerned with the relationship between justice and mercy.

Handout Two: Justice

Justice: the fair and consistent application of the law. “Oh, it is excellent to have a giant’s strength, but it is tyrannous to use it like a giant.” Shakespeare believed that justice must be tempered with mercy. He believed this because he believed that if God was only just and without mercy, all of mankind would go to hell. Remember, Shakespeare lived in a very religious world. For him, hell is the name for a separation from God (a place without God). He believed it was fortunate that God is also merciful, and the theme of justice and mercy are often played out in Shakespeare’s plays.

1. Keep a list of events throughout the play in which the theme that justice must be tempered with mercy is played out. Write down direct quotes to support your choice of events.

Synopsis Scene ii:

This long expository scene falls neatly into four sections: Prospero's narration of his past; his telling of his freeing of Ariel and the subsequent history of their relationship; his explanation of his encounter with Caliban and the story of his past; and finally the first meeting between Ferdinand and Miranda. Prospero's narration serves the same purpose as the prologue in Greek tragedy; it is the means by which the audience receives information it needs in order to comprehend the plot. Through this scene with its several flashbacks, the audience is acquainted with some important events that occur before the action of the play begins.

Prospero first tells the story of how he and his young daughter came to live on the island. Miranda has little or no recollection of arriving on the island; therefore, she, like the audience, is hearing for the first time the story of how she, with her father, was tragically sent away from the dukedom Prospero once called home. As the Duke of Milan, Prospero is presented as a tragic figure. He had been such a ruler that the outward show of greatness and the exercise of princely power had mattered less to him than the enrichment of his mind. "My library", he confides to Miranda, "was dukedom large enough".Some critics judge Prospero to be a weak ruler who allowed his dukedom to be stolen, most scholars, however, think that Shakespeare intended Prospero to be seen as a man so wise and full of love for learning that while he was making himself a better person, his power-hungry brother stole his kingdom from him. Ironically, on his enchanted island, Prospero has everything; he is endowed with love from Miranda, wisdom from experience, and power from his magic. As a result, Prospero is no longer seen as a tragic figure, for he is in control. In addition, he does not seem bitter or hateful to his enemies even though he is aware of the wrongs done to him; instead, Prospero is curious and speculative as to what can be done to correct those wrongs.

As Prospero relates the story of their arrival on the island, he keeps breaking off to call Miranda to attention, though she is carefully listening as one who has never heard the story of her childhood. Like the heroines in other dramatic romances of Shakespeare, Miranda plays the role of the regenerative daughter to her father. Her innocent optimism, like that of a cherub, bolstered Prospero's spirits and prevented him from despair during their dangerous sea-voyage to the island.

During the scene, much is learned about Prospero's only child. As Miranda watches the wrecking of the ship with horrified eyes, she reveals that she is compassionate; she begs her father to still the storm with his magical powers. Like her father, she is presented as a kind, wise, and likable person with a mild temperament. Prospero acknowledges that Miranda has only a vague remembrance of her past life; therefore, he tells her how they have come to live on this enchanted island.

1. Why does Miranda have such immediate empathy for the men in the ship? Since we learn that she lived on the island with her father since childhood, where would she have learned ideas of pity and mercy?

2. Why do you think Caliban attempted to “violate the honor” of Miranda? Do you think he actually did, or is this their version of the story?

3. Prospero is happy that when Miranda first sees Ferdinand she is immediately captivated by his appearance. Why? What is his plan?

4. Ferdinand and Miranda fall in love at first sight; Prospero says, “They have changed eyes.” Why does this seem feasible (plausible), given their emotional state?

5. Why does Caliban resent being called a slave? Why do Prospero and Miranda insist on using this word repeatedly? What European attitudes towards the people they conquered are shown through this language use? Find a few examples in Act I, scene ii.

ACT II

Handout Three: Shakespeare’s World: The Elizabethan Chain of Being

The Chain of Being

To the Elizabethans, everything in existence (even things that were only thought to exist) were ordered. Elizabethans believed that everything belonged to a natural order, and they defined that order from most important to least important. Even within each class, the things that made up the class were also ordered from most to least important. The Elizabethan chain of being is as follows:

1. __________________- no beginning or end – uncreated, eternal – creator of all – perfect

2. __________________ - the purely spiritual, or rational class - to balance the purely inanimate – linked to man by understanding, but freed from attachment to the lower faculties – there are many “levels” of ___________, each just as precisely ordered as the metals

3. __________________ - existence, life, feeling, understanding – only ________ is capable of reflective thought – he sums up in himself the total faculties of all the earthly phenomena below him – therefore he is called the “little world” or the microcosm.

4. __________________- existence, life, feeling – the Sensitive class – “sensitive” in the sense of having sensation, or feeling – divided into three grades: A) higher animals with all these faculties; e.g. ___________ and ______________ B) animals having touch and movement, but no hearing (ants) C) creatures with “touch”, but no hearing or movement (shellfish)

5. ___________________ - existence, life – the Vegetative Class – not all ___________ were equal in “virtue! – for example, the oak tree was superior to a garden weed, the rose was superior to the daisy, and so on …

6. ____________________- existence only – the Inanimate Class – made up of the elements, liquids, and metals (Note: the “elements” were a. ___________, b. ________, c. _____________, d. _________________) Even here at the bottom of the chain differences in “virtue! Were present. For example, gold had more virtue than brass, diamond was higher on the chain than topaz, and so on.

1. What is the natural order of all the characters in the play from most important to least important?

2. Think about the way each character speaks in the play. Now consider the handout below on the Elizabethan Chain of Being. Which characters do you think Shakespeare considered as lower than others in the hierarchy of being? Defend your answer.

Synopsis Scene i:

This scene exposes the wicked nature of Prospero's rivals. Antonio is pictured as the vilest amongst the royal party. Once he stole Prospero's dukedom and set him assail to die; now he persuades Sebastian to kill his brother Alonso, the King of Naples, and steal his kingdom. The hunger for power is shown by Shakespeare to be strong and corrupting.

From the conversation of Adrian, Gonzalo, and Alonso, it is learned that prior to the storm and shipwreck, the passengers had been returning to Naples from Africa. In Africa, Alonso's daughter Claribel had unwillingly married the King of Tunis; it was a politically arranged marriage to resolve a power struggle, similar to the marriage of Mary Tudor to Philip II of Spain or of James's daughter to the Protestant prince Frederick.

Shakespeare structures the entire play in such a way that he creates pattern and continuity by means of parallelism and contrast. Situations are repeated and events in one plot are reflected in another subplot. Claribel's wedding foreshadows the marriage between Ferdinand and Miranda. Prospero has been supplanted by his brother Antonio, and he now suggests that Sebastian do the same to Alonso. Such repetition, seen throughout the play, binds the plot into a tight unity.

1. Does Gonzalo’s behaviour seem consistent with his role in the plot?

2. Sebastian and Antonio ridicule Gonzalo. What does this tell us about their characters?

3. What could Shakespeare be saying about human nature through Antonio, Sebastian, and Gonzalo’s actions and attitudes?

Handout Four: Charles Darwin and Survival of the Fittest

1. Explain how Darwin’s theory applied to The Tempest.

Synopsis Scene ii:

The serious nature of the main plot temporarily yields to some light-hearted comedy and entertainment, provided by Trinculo and Stephano and Caliban's reaction to them. Caliban has been seen so far as a natural being, uncultivated and uncivilized. In this scene, he is brought into direct contact with civilized society in the persons of Stephano and Trinculo; however, as representatives of society, Trinculo and Stephano are hardly dignified. One is a butler, the other is a jester, and both are buffoons that cause laughter in the audience. In Shakespeare's plays, the fools invariably add to the theme of the drama in a comic way. In this case, civilized society (Trinculo and Stephano) serve to further corrupt a naïve, natural being ( Caliban); the results are disastrous, but humorous.

This scene presents one of the most ludicrous situations in the whole body of Shakespeare's works. When Caliban spies Trinculo, he thinks that another torment from Prospero has begun. At the same time, Trinculo thinks he has found a creature that could be in a freak show and make him rich. Trinculo, fearful of the storm, hides under Caliban's cloak, and the drunken Stephan enters and believes he has found a four-legged monster.

Charles Darwin – Origin of the Species

Charles Darwin developed a theory, Origin of the Species. This is a theory of evolution in which Darwin states that all life began in the sea as one celled creatures before evolving more cells and eventually evolving to develop a spine, brain, legs, arms, lungs, etc… In other words, complex life forms have evolved from more simple, primitive life forms.

As life forms evolved into higher states, they began to prey on those life forms below them, killing them for food or for sport. Within some species, the weakest of the species is either killed or outcast from the other members of their tribe or herd. The outcasts are left to die so that the strong can survive. This is the theory often called Survival of the Fittest.

“We all have a strong prejudice against early times – we assume our grandparents are not only technically but also intellectually, emotionally, and morally ‘backward’. This is a dangerous position, one of pride which will not take seriously the issues put to us in old books and history. It is one of the consequences of Darwinian theory. A logical extension of this position is that we ourselves are ‘primitive’ in relation to our children. To read the great works of ancient times, such as Homer, Virgil, Dante, Shakespeare, and especially the Bible (on which Dante and Shakespeare drew so heavily) is to have some of this modern arrogance humbled.

The intention of the above paragraph is to point out the danger of applying Darwinian theory too widely. Even if it is true that life-forms, over time, have evolved from simple to increasingly complex, this theory must not be extended beyond its stated limits. If the theory of evolution is true, then we, today, are far more “evolved” (in the sense of physical complexity) than the simple life-forms from which we began. But we must not make the mistake of assuming that previous generations of people were in any way intellectually, morally, or emotionally inferior to us merely because their science was faulty and their technology was “primitive”.

He later exploits Caliban's simplicity, making the creature think he is a god. Stephano's alcoholic beverage wins from Caliban the ready allegiance which Prospero's nobler gifts, like language and companionship, have failed to obtain. Yet the "very shallow monster", with his perverted instinct for adoration and his rude poetic sense, is felt to be superior to the drunken butler and jester. Caliban represents nature at its worst, and Stephano and Trinculo embody nurture at its worst. Caliban's soliloquy in the beginning of the scene and his conversation with the court duo in verse (although it is at an animal level), and Trinculo and Stephano's response in prose, clearly show that Shakespeare judges Caliban to be superior. The slave's language may be guttural and instinctive, but, like the island, it has a certain enchantment to it.

1. Identify the themes of the play represented by the following quotes:

a. “Me (poor man) my library was dukedom large enough.” (I, ii, 109 – 110)

b. “But as ‘tis, we cannot miss him. He does make our fire, fetch in our wood, and serves in offices that profit us.” (I, ii, 310 – 313)

c. “You taught me language, and my profit on’t is, I know how to curse.” (I, ii, 363 – 364)

d. “Sitting on a bank, / Weeping again the King my father’s wrack, This music crept by me upon the waters, / Allaying both their fury and my passion With its sweet air.” (I, ii, 390 – 394)

2. Find quotes that represent the themes of revenge or mercy and utopianism.

3. One theme developed in the play is the theme of Rulers and Subjects. Is it surprising that Caliban willingly worships Stephano and desires to give him control of the island when he resents Prospero for usurping what he considers his rightful claim to the island? What does this show about Caliban?

4. Find three quotes from Act II dealing with the theme of Nature vs. Civilization. Translate the quotes into modern English and explain them.

Act IIISynopsis Scene i:

This poignant love scene is one of the most touching in all of Shakespeare and quickly returns the mood of the play to one of enchantment. In stark contrast to the vile and complaining Caliban seen in earlier scenes, Ferdinand finds even hard labour pleasant because it may give him the opportunity to see the beautiful Miranda. He is obviously smitten by this charming young girl, just as Miranda is smitten by this handsome prince. It is not surprising that the love affair of Miranda and Ferdinand progresses very quickly. Like many of Shakespeare's heroines and as the one who is most unaffected and natural, Miranda dispenses with the established conventions of love and courtship since she is unaware of them. She is honest and natural in revealing her true feelings for Ferdinand and is not shy about asking him directly if he loves her and will accept her as a wife. Free from the constraints of social codes defining what is proper, Miranda simply speaks her thoughts and emotions. Ferdinand is totally charmed by her beauty and innocence and admits he fell in love with her at first sight. He confesses that "the very instant that I saw you, did / My heart fly to your service; there resides, / To make me slave to it; and for your sake / Am I this patient log-man." This passage brings out the noble and romantic aspects in the character of Ferdinand, the only member of the royal party who is truly unblemished.

This scene also sheds light on the theme of freedom vs. service in the play. According to Ferdinand, true freedom exists in service. Shakespeare portrays Ferdinand and Miranda as willing slaves to each other, and Ferdinand even willingly agrees to be Prospero's slave for Miranda's sake." He will give up his past life of royalty and wealth for the "tyranny" that Prospero imposes, if his slavery means he can be with Miranda. Shakespeare's use of slavery as an image for love is quite unusual, but very effective. Miranda becomes a symbol of wonder and pure, natural innocence. When Ferdinand first meets her, he exclaims, "O you wonder!" Since wonder implies godly and Miranda is daughter to the god- like Prospero who controls everything on the island through his magic, it is not surprising that Ferdinand worships her, almost as a goddess. He compares her to all the other women he has known and judges her to be the paragon of perfection. Appropriately, Shakespeare derives the name 'Miranda' from the Latin word, 'Mirari', which means one who deserves to be admired.

The love story of Ferdinand and Miranda is an important part of the ultimate reconciliation of King Alonso and Prospero. As son of the King who helped Antonio overthrow Prospero, it would seem that Ferdinand and Prospero would be natural enemies. But Ferdinand's unblemished reputation and his pure and simple love for Miranda allow Prospero to accept this young prince, who then becomes the means for Prospero's general forgiveness. It is this young couple's love story that brings the rivals together and restores cooperation.

1. Find three quotes to support the Revenge v. Mercy theme. Discuss how you might also relate these quotes and this theme to the Nature vs. Civilization theme?

2. “I would not wish any companion in the world but you; Nor can imagination form a shape, besides yourself, to like of.” (III, i, 54-57) How has the love between Miranda and Ferdinand changed? What is Shakespeare saying about the nature of love?

Handout Five: Shakespeare’s World: Shakespeare’s Last Plays

1. What are the elements of tragedy found in The Tempest?

Synopsis Scene ii:This scene again offers comic relief, as Ariel's mischievous interference delightfully provokes an enmity between Caliban and the oblivious Trinculo. The "triple alliance" between Caliban, Stephano, and Trinculo is a comically foolish sub-plot meant to parallel the other Themes and images of conspiracy within the play. The consuming ambition of the two royal servants is to rule, and in this ambition, they absurdly mirror their masters, Antonio and Sebastian. Shakespeare uses the buffoons to parallel the deceitful and wicked Sebastian, who plans to overthrow his brother Alonso in the same way his partner Antonio once overthrew Prospero. Although of noble birth, Antonio and Sebastian are no more fit to rule than the foolish peasants, Trinculo and Stephano.

In his desperation to be free from Prospero's magical grip, Caliban convincingly persuades the duo to kill Prospero in his sleep. He also puts pressure on Stephano to destroy the books of Prospero before actually killing him. Stephano dreams of becoming the ruler of the island and imagines Trinculo and Caliban as his subjects. He even warns Trinculo that if he rebels, he will be hanged. In spite of this being a comic scene, it brings to mind how Shakespeare often talks about situations that lead to the dethronement of an actual king by calculating and unscrupulous people who are generally near and dear to the monarch. For example, consider the plots of both King Lear and Hamlet; the destruction of the Kings in both plays is plotted and executed by their own family members whom they hold in dearest confidence.

One last thing of importance to notice in this scene is the characterization of Caliban. He seems to be the instigator of many evil thoughts and deeds. He tries to persuade Stephano to kill Trinculo for the things he thinks Trinculo has said to him, though the insults were actually spoken by Ariel using Trinculo's voice. He also suggests the three use wicked brutality to kill Prospero, cruelly destroying his books before he dies so that he may suffer even more. Such animal brutality is a strange contrast to Caliban's other softer side. When

The Tempest is one of a group of plays (the others being Pericles, Cymbeline, and The Winter’s Tale) written at the end of Shakespeare’s career as a playwright, and often referred to as the romances or the tragicomedies. Although neither of these terms is really satisfactory, they both indicate qualities that all these plays have in common. Like the medieval and Renaissance romances, their stories are really farfetched fantasies, with love as a central concern. They show a complete disregard for the laws of everyday causality: Prospero’s magic – the vanishing banquets and invisible music – are typical. In this they satisfied the theatrical taste of the early seventeenth century for improbable romantic fantasies. We must always remember that while the events and situations in a romance are often improbable, the characters’ emotions and attitudes are real enough. The plays are tragicomic in that, while they end happily (the original definition of “comic”), they include tragic elements that suggest the possibility of an other-than-happy ending. This tragic element usually takes the form of some evil or malevolent character whose machinations are revealed, then overcome in the course of the play. The Tempest will be found to contain potentially tragic elements of this type. In The Tempest, as in other romances, while we know that the ultimate outcome is a happy one, we are constantly reminded that the world contains evil, and that Prospero’s victory is only won by constant vigilance, and an understanding of the malignity of which humanity is capable.

Trinculo and Stephano are frightened by Ariel's strange music, Caliban poetically describes the lyrical sounds as a natural part of the island's enchantment; he even pictures himself, in all his grotesqueness, being lulled to sleep by the beautiful music. As always, Caliban seems to be not all animal, but not quite human. His characterization is dynamic and troubling -- one of Shakespeare's most unusual and masterful.

1. What does Caliban hope to accomplish by his plot against Prospero? Why does Shakespeare include this subplot mirroring the conspiracy of the nobles?

Handout Six: Comparison of Paragraph to Poetry

1. Choose a short passage (6 – 7 lines) of your choice and paraphrase it (put it into your own words).

The Tempest – Poetry

The following is a prose paraphrase of Caliban’s speech in Act III, Scene 2, lines 140 – 148:

Don’t be afraid. The island is very noisy, with sounds and music that are pleasant and harmless. Sometimes I hear many musical instruments, and sometimes I hear voices that are so pleasant that they would put me back to sleep if I had just woken up. In some dreams I thought I saw the clouds open up to show me treasures about to fall on me. It was so beautiful that when I woke up, I cried because I wanted the dream to go on.

Notice Shakespeare’s poetic version of the same ideas:

Be not afeard. 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; and sometimes voices

That, if I then had waked after long sleep,

Will make me sleep again; and then, in dreaming,

The clouds methought would open and show riches

Ready to drop upon me, that, when I waked,

I cried to dream again.

Synopsis Scene iii :

Prospero's plan begins to take shape as he sends Ariel to visit "the three men of sin" in the play -- Alonso, Antonio, and Sebastian. In this scene of highly supernatural theatrics, the king's men sit down at the table to eat, but the banquet vanishes in thunder and lighting. The feast, which usually symbolizes harmony, is now broken by deceit and disharmony. Ariel appears before them in the form of a harpy and lectures them on their sins, counseling repentance and a changed life if they want to escape the wrath of the heavens. The scene presents Ariel and other spirits as "ministers of fate". Prospero, truly god-like now, surveys the scene with satisfaction, knowing that his rivals have been brought down by his power.

1. “Travelers ne’er did lie, though fools at home condemn ‘em.” (III, iii, 26-27). Translate this quote and relate it to a theme.

Handout Seven: Shakespeare’s World: Magic

1. Explain why and how Shakespeare uses magic in The Tempest.

Shakespeare’s Magic

Of the collection of elements which Shakeseare has combined in The Tempest, probably none is more important than the cause of most of the play’s key events, Prospero’s magic. In some sense the play is about the changes which Prospero effects through his magic, the promise of human life which he clarifies through his magical project. To understand Shakespeare’s intention on this score, it is necessary to see that the kind of magic involved would have been recognized by the Elizabethans as natural (“white”) magic, a kind of magic clearly distinguished from diabolical (“black”) magic, and associated with medieval science and the activities of great learned men. More precisely, this was the magic that was worked, not through the devil’s power and after some unholy alliance with the demonic world had been made, but through a knowledge of nature, and more specifically, a knowledge of the occult power that was believed to inhere in natural things. It was the magic of savants like Albertus Magnus and Roger Bacon; it was associated with books and an advanced understanding of mathematics and the properties of stones, herbs, and magnets. In the popular mind, understandably, it took on the character of superhuman wisdom, while the natural magician became a figure remote and mysterious, capable of almost anything because capable of bending nature to his will.

To the Elizabethans, black magic came from Satan, while white magic came from books, knowledge and science. In The Tempest, Prospero is a white magician. Shakespeare targeted his plays mainly towards the royals and towards thinkers, those who were educated and could think and learn from his plays. These patrons would understand the different uses of magic within the play. The lower audience, or the “groundlings” paid 1 cent to see the play and they sat on the ground. They were there for entertainment purposes only and for them Shakespeare created characters such as drunks and clowns (who speak in prose, not poetry) and wrote in the poor humour that is often seen in his plays. The higher characters spoke in poetry. These people would simply be entertained by the use of magic, but would not necessarily differentiate between white and black magic.

2. What is the target audience for each character and why have they been written into the play? Defend your answer.

3. What do you think Shakespeare’s purpose was for writing this play? What was he trying to “teach” the audience, if in fact he was trying to teach anything?

Act IVSynopsis Scene i

This scene is occupied principally by the elaborate masque to celebrate the marriage of Ferdinand and Miranda. Some critics believe that Shakespeare has included such detail because he supposedly wrote The Tempest to celebrate the wedding of the Elector Palatine and Princess Elizabeth, the daughter of King James. In the masque, Iris, as goddess of the rainbow and messenger of the gods, gives a detailed catalogue of country products and scenes. Juno, the patroness of marriage, grants happiness to the couple. Ceres, the goddess of agriculture, bestows wealth and prosperity on the wedded pair. The emphasis on the fruitfulness of nature is to bestow fruitfulness on Ferdinand and Miranda.

The Prospero of this scene is kind, gentle, and even affectionate. All the business of disposing of conspirators is momentarily forgotten as the father celebrates the happy union of his daughter to a worthy man. When he does remember the more unpleasant work that needs to be accomplished, he takes a moment before he departs to emphasize to the couple the fleeting pleasures of real life: "the cloud-capp'd towers, the gorgeous palaces, / the solemn temples, yea the great globe itself, / Yea all which it inherit, shall dissolve." It seems Prospero's exile from the great things of civilized society has made him realize none of these things are really important in the end. What matters is the kind of character a person has. Prospero has lost his noble title, but he has remained a totally noble person.

The second part of this scene shows the collapse of the conspiracy against Prospero. Caliban proves his superiority to his "confederates" by remaining firm to the original aim of the murderous plot. His companions, however, allow themselves to be diverted by the prospect of some paltry plunder--a few pretty pieces of clothing. Although his nature is evil and crude, there is greater potential in the nature of Caliban than in the two courtiers. Once again, the beast speaks in verse and the civilized men speak in prose, showing that Caliban is a higher creature. As their murderous plan falls apart, Prospero adds insult to injury and frightens them all off with some imaginary dogs.

Handout Eight: A Note on Names

1. Find two quotes relating to the theme of Rulers and Subjects.

2. How is Ferdinand different from Caliban in his relationship to Miranda? Why does he pledge to keep her honor safe?

3. Why is Miranda’s virginity so important to Prospero?

4. What is the overall impact of the Masque-like? How is it supposed to affect the two young lovers? What is its message about the sanctity of marriage?

5. Why does the masque suddenly disappear when Prospero remembers the plot against him by Caliban and his crew? What is Shakespeare suggesting by contrasting these two events?

6. How are Stephano and Trinculo distracted from their plot? What does this show about their natures? What does Caliban think about their behaviour?

7. Relate the following quotes to themes:

a. “All thy vexations were but my trials of thy love, and thou hast Strangely stood the test.” (IV, I, 5 – 7)

b. “Do not give dalliance too much the rein; the strongest oaths are straw to th’ fire I’ th’ blood,” (IV, I, 51 – 53)

c. “We are such stuff as dreams are made on, and out little life is rounded with a sleep.” (IV, I, 156-157)

d. “A devil, a born devil, on whose nature Nurture can never stick; on whom my pains, Humanely taken, all, all lost, quite lost! And as with age his body uglier grows, So his mind cankers.” (IV, I, 188-192)

8. Consider Prospero’s duty as a father. Paragraph by paragraph, clearly flesh out each of Prospero’s options. Where could he live? How could he treat Miranda? What are his obligations/duties? What are his desires?

Playing with Names

Shakespeare played around with his characters’ names. Consider the following:

Prospero = to prosperMiranda = worthy of admirationAriel = air (light, creature of air, sky)Caliban = anagram of cannibal; primitive character, earthy, basic,

low

Act VSynopsis Scene i:

The final scene follows a pattern set by the other dramatic romances of Shakespeare, though The Tempest has significant variations. All the major characters, except Prospero and Miranda, find themselves unexpectedly thrown together after adventures and a long journey. Prospero is the contriver and agent of this reunion. Those thought dead are discovered to be alive. A lost son is restored to a joyous parent. Those who have committed offenses repent and are forgiven. The one character who does not seem to be penitent is Antonio. A generous Prospero singles him out for pardon, but Antonio gives no reply.

Except for Antonio, the other members of the royal entourage respond to Prospero's forgiveness. Alonso and Gonzalo react most affirmatively, pledging themselves to the restored Duke of Milan. Caliban, Stephano and Trinculo respond with proper humility; they cannot be expected to participate in the general happiness on a higher level since most of their antics were more of a comic nature. Ariel, the long-standing servant to Prospero, is delighted to be set free at last.

As always, Shakespeare makes certain that all the loose ends of the play are tied up before the ending occurs. Miranda and Ferdinand are blissfully wedded and become the hope for the future. Prospero is restored to his rightful position and plans to sail for home. He also graciously forgives those who have wronged him, proving that "the rarer action is in virtue rather than in vengeance". Because he concentrates on re-growth instead of revenge, Prospero proves the true nobility of his character, while allowing all the characters to better themselves.

Handout Nine: Sigmund Freud’s Theories

1. If you had to label each character as representing the id, ego and superego, which character(s) would be the id? Which would be the ego? Which would be the superego? Defend your answers.

Id, Ego, Superego

…Freud went on to suggest that the personality was constructed of three parts. These he named the “id”, “ego”, and the “superego”.

The id is the wholly unconscious component of the personality, and is made up of primitive urges and instincts which seek gratification without regard to the consequences. The ego, in contact with the external world, stands between the id and the real world, and mediates the competitive necessities of the two. The superego is Freud’s third component of the personality. Partly unconscious, the superego involves the inner acceptance of social values and ideals, and judges between good and bad behaviour. Obedience to the superego promotes a feeling of self-esteem, while disobeying it produces guilt.

As one way of approaching the problem of conflicting tendencies within the individual, Freud, in 1927, introduced the concepts of the id, ego, and superego. While each of these portions of the personality has its own developmental history, we are here concerned with the interactions that take place in the adult personality. The id is the depository of the innate instinctual drives (sexual, aggressive), which in their bald form seek immediate expression when aroused. If unbridled, the id would always seek immediate gratification of primitive, irrational, pleasure-seeking impulses. The id is manifested at an early stage of development, but it is not outgrown; we are all our lives to some extent creatures of impulse, and it is this irrational, impulsive part of ourselves that is used to infer the id as an “institution” or “structure” of the personality.

…the ego…is the part of the personality responsible for controlling behaviour in socially approved ways, and comes into play later in life than the id. The desire for immediate pleasure must be held in check; a long route may be necessary before the pleasure can be obtained in the proper manner. With maturity, the ego rules the id, but there are conflicts between them, and occasionally the id has its way. In dreams, for example, when the ego is relaxed, wish-fulfillment (an id function) may hold sway, and rational controls may be abdicated.

The ego thus represents our ordinary social self, going about the work of the world, being realistic and as rational as possible, being in general congenial with people, and accepting the social roles that are prescribed. If the id is in the service of the “pleasure principle” (implying immediate gratification), the ego is subservient to the “reality principle” (implying postponed gratification). The third portion of the personality, the superego, develops out of the ego’s experiences with social reality. The inferred superego is most nearly synonymous with conscience. It keeps us working according to an ideal of the self arising in early childhood, especially through parental prohibitions.

From the point of view of a dynamic interpretation of personality, the key concept here is that the three inferred parts of the personality are often at odds: the ego postpones the gratification of the id, which the id wants right away; the superego wars with both the id and the ego, because they fall short of the moral code that it represents. There is some danger in thinking of the three inferred parts of the personality as three warring persons within the individual, but the threefold classification, if not overdone, usefully calls attention to discordant trends commonly found within the same person.

SEX AGGRESSIONId -: “Rape that girl now” Id: “Fight! Kill! Now!”Ego – control: “If I do, it endangers my society Ego: “No. I’ll go to jail, I’ll get

my wife, sister, daughter will not be safe. I fined, I’ll lose everything!”might be jailed. For my own and family Superego: “Legally and morally, well-being, I must control my instincts.” fighting and killing is

Superego – “The action (rape) is wrong and immoral. WRONG!” Even if I’m not caught and no one knows, it is still WRONG!”

Synopsis Epilogue:

Epilogue notes:The Epilogue is Shakespeare's plea, articulated by Prospero, for an indulgent reception to his play. The actor playing Prospero reveals that since Prospero cannot return to Naples without the audience's support, he as the actor cannot leave the stage without the same support. The contrast between life and art and between reality and illusion that has been maintained throughout the play, with Ariel's machinations and Prospero's use of magic, is continued in the Epilogue when the actor reveals himself. Critics also believe that Shakespeare is making a veiled reference to his retirement from the theater. All through the Epilogue, Prospero is portrayed as someone bound to serve the public and can be set free only by applause. Shakespeare, nearing the end of his career, might be using Prospero's magic as an analogy to his art. Just as Prospero leaves his magic behind, Shakespeare seems ready to quit his writing and producing of plays, if only the public will support him.

1. Why does Prospero decide to show mercy to his enemies?

2. Do you think Prospero had planned to forgive his brother and the rest of his companions from the beginning of the play?

3. Based on what you have observed in your own and worldly encounters with mercy, do you think Porspero’s ordeal of forgiveness has changed him or any of the other characters on the island?

4. Discuss each of the following quotes as it applies to a theme, literary device, etc…

a. “The rarer action is in virtue than in vengeance.” (V, I, 47-48)b. “I’ll break my staff, bury it certain fathoms in the earth, and deeper than did ever

plummet sound I’ll drown my book.” (V, I, 54-57)c. “How many goodly creatures are there here! How beauteous mankind is! O

brave new world that has such people in’t!” (V, I, 181-183)d. “this is as strange a maze as e’er men trod, and there is in this business more

than nature was ever conduct of.” (V, I, 242-244)

Handout Ten: Shakespeare’s Farewell to the Theatre

1. In a three paragraph response, answer the following question:

Shakespeare did not write another complete play after The Tempest; he retired voluntarily at the height of his powers, to his home in Stratford, which he had purchased after the years of fantastic creativity in London in which he had risen from the dispossessed son of a bankrupt father to an eminence as the master of his profession. In this interpretation, Prospero becomes identified with Shakespeare to such an extent that some have called this great and gravely beautiful soliloquy Shakespeare’s farewell to his art; his farewell to the London stage and to the “magic” he had mastered.

A. Act IV, Scene 1, lines 165 - 182

Our revels now are ended - the play is over – my play is over – my career is over

These our actors…were all spirits, and are melted into air - theatre is illusion; it is make-believe

Baseless fabric of this vision - The basic fabric is pretend, make-

believe

Cloud-capped towers, gorgeous palaces, solemn temples - props

Great globe itself - his plays were done at the Globe Theatre

- could have used “earth”, “world”unsubstantial pageant - illusion; the show’s over

B. Act V, Scene 1, lines 39 - 64

Magic circle - area of make believe – stage

I have bedimmed the noontide sun - things he has done in his plays through his writing – i.e. turned out stage lights

called forth the mutinous winds - fan blows winds – OR MacBeth, King Lear

twixt the green sea and the azured vault set roaring war - MacBeth, Richard III, Henry plays

graves at my command have waked their sleepers, oped, - he recreated dead kings – came alive in his plays

and let ‘em forth by my so potent art

But this rough magic I here abjure - “magic” of the stage – illusions of the theatre

I’ll break my staff - pen and paper or Canon (series of plays Shakespeare wrote)

I’ll drown my book - gives up the tools of his craft

Do you think Shakespeare ended his career on a positive or a negative note? Defend your position.

** all scene notes are from http://www.pinkmonkey.com/booknotes/monkeynotes/pmTempest14.asp