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The Tempest by: William Shakespeare

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Explication: a statement that makes something comprehensible by describing the relevant structure or operation or circumstances etc.;

Page number Contents 3333 How the story starts Who controls the island The wonderful daughter Servant also a sprit. Click here to.

Prospero was usurped of his title as Duke of Milan by his brother, Antonio, who then cast him away on a boat with his baby daughter, Miranda. The pair.

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Act three scene three. Lines How does Shakespeare use the opening scene to remind us of Antonio and Sebastian’s evil? What structural techniques.

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• The Tempest

Michael Rudko (Prospero), Maikaal Sulaiman (Ferdinand), and Erin Weaver (Miranda) in T he Tempest , directed by Aaron Posner, Folger Theatre, 2007. Photo: Carol Pratt.

Introduction to the play

Putting romance onstage,  The Tempest  gives us a magician, Prospero, a former duke of Milan who was displaced by his treacherous brother, Antonio. Prospero is exiled on an island, where his only companions are his daughter, Miranda, the spirit Ariel, and the monster Caliban. When his enemies are among those caught in a storm near the island, Prospero turns his power upon them through Ariel and other spirits.

The characters exceed the roles of villains and heroes. Prospero seems heroic, yet he enslaves Caliban and has an appetite for revenge. Caliban seems to be a monster for attacking Miranda, but appears heroic in resisting Prospero, evoking the period of colonialism during which the play was written. Miranda’s engagement to Ferdinand, the Prince of Naples and a member of the shipwrecked party, helps resolve the drama.

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… The isle is full of noises, Sounds and sweet airs that give delight and hurt not.

How beauteous mankind is! O, brave new world That has such people in ’t!

The Tempest in our collection

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Essays and resources from The Folger Shakespeare

Learn more about the play, its language, and its history from the experts behind our edition.

About Shakespeare’s The Tempest An introduction to the plot, themes, and characters in the play

Reading Shakespeare’s Language A guide for understanding Shakespeare’s words, sentences, and wordplay

An Introduction to This Text A description of the publishing history of the play and our editors’ approach to this edition

Textual Notes A record of the variants in the early printings of this text

A Modern Perspective An essay by Barbara A. Mowat

Further Reading Suggestions from our experts on where to learn more

Shakespeare and his world

Learn more about Shakespeare, his theater, and his plays from the experts behind our editions.

Shakespeare’s Life An essay about Shakespeare and the time in which he lived

Shakespeare’s Theater An essay about what theaters were like during Shakespeare’s career

The Publication of Shakespeare’s Plays An essay about how Shakespeare’s plays were published

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The Tempest was printed for the first time in the 1623 First Folio, and that text serves as the source for all subsequent editions.

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The Tempest (1) - PowerPoint PPT Presentation

The Tempest (1)

Written after shakespeare read the accounts of the wreck of sir george somers on ... shakespeare makes the island populated by caliban and ariel. ... – powerpoint ppt presentation.

• General Introduction and Act I
• The last of Shakespeares play
• First presented at a court (1611)
• First published in 1623 Folio as the first play in that folio.
• Genre comedy, romance (love and wedding), with both tragic elements (e.g. authority and power, vengeance vs. forgiveness), and comic elements (farce, wedding, mask).
• Tillyard Renaissance World Picture
• The desire for order was there (1943 99 qtd Taylor 170-71)
• ? Shakespeares history plays events evolve under a law of Justice and the rule of Gods Providence.(169)
• 1590s and early 1600s experienced
• among other uncertainties an intensified Recusant(??????) problem, the Gunpower plot, peasant disorders and riots against enclosures of common land. (Taylor 171)
• The age of Exploration and Scientific Discovery
• Written after Shakespeare read the accounts of the wreck of Sir George Somers on the Bermudas, and probably spoken to some of the survivors. The story moved him strangely, for storms and wrecks were much in his mind at this time (Halliday 104)
• Colonial? -- Shakespeare makes the island populated by Caliban and Ariel.
• Intensive study of Ss characters and Shakespeares life (e.g. A.C. Bradley)
• Formalist approach (to the sonnet and to the plays interrelations between acts, and/or between plays)
• Shakespearean theatre
• Shakespeare in historyhis or our own
• Voices from the margins (e.g. post-colonial and feminist)
• Art vs. Nature (Prospero vs. Caliban)
• Usurpation and vengeance
• Colonization
• Initiation of Miranda (the question of sex marriage).
• Act I Authority gained, lost and re-constructed
• How is authority gained, lost or constructed?
• How is Nature opposed to Culture in this scene?
• How are the major characters here, Boatswain, Gonzalo, Sebastian and Antonio characterized? Why does Boatswain not have a name?
• Boatswain listens only to his master, and speaks to the storm (What cares theseroarers for the name of king? )
• Sebastian impatient and cursing (A pox o' your throat, you bawling, blasphemous,incharitable dog! )
• Gonzalo appeals to law and order (the joke about drowning and hanging)
• How is authority gained, lost and re-constructed?
• Is Miranda as innocent, meek and passive as she appears to be? Whats her views of knowledge and the past?
• --She is sweet, kind, but with a desire to know, a memory repressed and some hints of an interest in sex and marriage (11. 21, 35 42050 55 119).
• How is authority gained or constructed? How is Prospero related to Miranda?
• Telling story about the past to justify himself (repeatedly asking for her attention ll. 55 78 95)
• 2. How does he lose his power? Could the story be told otherwise? (ll. 65 -
• How is authority gained or constructed?
• Is Ariel all obedient? (ll. 189 220 242)
• Why and how does Prospero tells Ariels story to him?
• By describing once a month in great details Ariels past history of tortures, scolding him and naming him (my slave). (ll 250 -
• Caliban, for sure, is disobedient. How does Prospero control him? How gets to tell the story here?
• How is Calibans version of Prosperos arrival different from the previous two he tells Miranda and Ariel respectively? (ll. 30)
• In what sense is Caliban close to nature? (ll. 323 338-)
• How does Prospero defend himself? (ll. 345 -)
• What does Prospero do to achieve what he wants (marrying Miranda to Ferdinand)? In his intervention, how does he manipulate different parties involved?
• Arent Ariels songs enchanting? Analyze the sound patterns.

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This play is among Shakespeare's most popular with modern audiences, particularly in America, where it is seen as his American play because of allusions picked up from accounts of the Virginia voyages in William Strachey's manuscript Sea Adventure and Sylvester Jourdain's A Discovery of the Bermudas , which contribute details to Propero's island. Caliban's name is an anagram of "cannibal," which derives from the fierce tribe of Caribs who also gave their name to the Caribbean Sea (see Renaissance Marriages: The Caribbean for the Caribbean in English visual culture). The script also appeals to modern radicals (like Manoni, in our bibliography) who find Caliban to be an example of abused natives in the colonized zones of America, though Prospero's island clearly lies within the Mediterranean. This sympathy is reinforced by the comic misconduct of the clowns . However, great audience appeal lies in the innocent loves of Ferdinand and Miranda, fostered by Prospero's benevolent magic. The play is also sentimentally seen as Shakespeare's last, so that Prospero's surrender of his magical powers becomes a figure for Shakespeare's own retirement. However, he was involved in several other scripts thereafter, particularly Henry VIII and The Two Noble Kinsmen , though scholars attempt to assign the former partly to his successor John Fletcher, and much of the latter to Fletcher too. Modern staging of The Tempest exploits the scenic enrichment developed in the script (as with other late Shakespearean romances) by the King's Men's use of an indoor theatre at Blackfriars. Modern staging tends to the spectacular (see Shakespeare and Co. 2001 ), particularly through the magical effects of Ariel, as in the elaborate Masque of Ceres.

Bartholomeusz, Dennis. "A Question of Theory and The Tempest in Performance (1970-1990)." S hakespeare Worldwide 14-15 (1995): 299-315.

Brown, John Russell, ed. The Tempest . New York and London: Applause, 1996.

Césaire, Aimé. Une tempête d'apres 'La tempête' de Shakespeare: Adaptation pour un théâtre nègre . Paris: Seuil, 1969.

Charney, Maurice. "Caribbean Shakespeare: Aimé Césaire's Une Tempête ." Journal of Theatre and Drama 4

Cholij, Irena. "'A thousand twangling instruments': Music and The Tempest on the Eighteenth-Century London Stage." Shakespeare Survey 51 (1998): 79-94.

Coppedge, Walter. "Derek Jarman's The Tempest ." Creative Screenwriting 5, no. 2 (1998): 12-15.

Cinpoes, Nicoleta, and Boika Sokolova, eds. "Un/Happy Wrecks: Post-1989 Tempests ." Special issue, Shakespeare Bulletin 29, no. 3 (Fall 2011).

Demaray, John G. Shakespeare and the Spectacles of Strangeness: "The Tempest" and the Transformation of Renaissance Theatrical Forms . Pittsburgh: Duquesne University Press, 1998.

Dymkowski, Christine, ed. The Tempest. Shakespeare in Production. Cambridge: Cambridge University Press, 2000.

Egan, Gabriel. "Ariel's Costume in the Original Staging of The Tempest ." Theatre Notebook 51 (1997): 62-72.

Franssen, Paul J. C. M. "Canute or Neptune? The Dominion of the Seas and Two Versions of The Tempest ." Cahiers Élisabéthains 57 (2000): 79-94.

Fujita, Minoru. "Tradition and the Bunraku Adaptation of The Tempest. " In Shakespeare and the Japanese Stage , edited by Takashi Sasayama, J. R. Mulryne, and Margaret Shewring, 186-96. Cambridge; New York: Cambridge University Press, 1998.

George, David. "Casebook: The Tempest in Bali, a Director's Log." Australasian Drama Studies 15-16 (1989-1990): 21-46.

George, David. " The Tempest in Bali." Performing Arts Journal 11, no. 3 – 12, no. 1 (1989): 84-107.

Green, William. "Caliban by the Yellow Sands: Percy MacKaye's Adaptation of The Tempest ." Maske und Kothurn 35, no. 1 (1989): 59-69.

Greenaway, Peter. Prospero's Books: A Film of the Shakespeare's "The Tempest." London: Chatto & Windus, 1991.

Guffrey, George R. "Politics, Weather, and the Contemporary Reception of the Dryden-Davenant Tempest ." Restoration: Studies in English Literary Culture , 1660-1700 8, no. 1 (Spring 1984): 1-9.

Gurr, Andrew. " The Tempest 's Tempest at Blackfriars." Shakespeare Survey 41 (1989): 91-102.

Harris, Diana, and MacDonald Jackson. "Stormy Weather: Derek Jarman's The Tempest ." Literature/Film Quarterly 25, no. 2 (1997): 90-98.

Henderson, Diana E. " The Tempest in Performance." In A Companion to Shakespeare's Works , vol. 4, edited by Richard Dutton and Jean E. Howard, 216-39. Malden, MA; Oxford: Blackwell, 2003.

Hirst, David L. "The Tempest": Text and Performance . London: Macmillan, 1984.

Knelman, Martin. A Stratford "Tempest." Toronto: McClelland and Stewart, 1982.

Leonard, Paul. " The Tempest x 2 in Toronto." Canadian Theatre Review 54 (Spring 1988): 7-12.

Lindley, David, ed. The Tempest . London: Arden, 2003.

Lindley, David, ed. "Shakespeare, The Tempest , Adapted by Beerbohm Tree."

Manoni, O. Prospero and Caliban , translated by Pamela Powesland. London: Methuen, 1956.

McDowell, John H. "Spectacular Effects in The Tempest ." Theatre Studies 18 (1972): 46-54.

McMullan, Gordon. " The Tempest and the Uses of Late Shakespeare in the Cultures of Performance: Prospero, Gielgud, Rylance." In Shakespeare and the Cultures of Performance , edited by Paul Yachnin and Patricia Badir Burlington, 145-168. Aldershot, England; Burlington, VT: Ashgate, 2008.

McNamara, Kevin R. "Golden Worlds at Court: The Tempest and Its Masque." Shakespeare Studies 19 (1987): 183-202.

Miller, Anthony. "'In This Last Tempest': Modernising Shakespeare's Tempest on Film." Sydney Studies in English 23 (1997-98): 24-40.

Net, Mariana. "Scenery-Text and Scenery-Character Relationships in Dramatic Performance: Liviu Ciueli Staging The Tempest ." Synthesis (Bucharest) 14 (1987): 65-75.

O'Shea, Edward. "Modernist Versions of The Tempest : Auden, Woolf, Tippett." In The Tempest: Critical Essays , edited by Patrick Murphy, 543-59. New York; London: Routledge, 2001.

Richmond, Hugh Macrae. "Teaching The Tempest and the Late Plays by Performance." In Approaches to Teaching Shakespeare: "The Tempest" and Other Late Romances , edited by Maurice Hunt, 125-32. New York: MLA, 1992.

Smith, Heather A. "Theories in Performance: The Miranda-Caliban Relationship in Recent Productions of Shakespeare's The Tempest ." On Stage Studies 23 (2000): 91-97.

Stalpaert, Christel, ed. Peter Greenaway's Prospero's Books: Critical Essays . Ghent: Academia, 2000.

Suchet, David. "Caliban in The Tempest ." In Players of Shakespeare: Essays in Shakespearean Performance by Twelve Players with the Royal Shakespeare Company, edited by Philip Brockbank, 167-79. Cambridge; New York: Cambridge University Press, 1985.

The Tempest at Talkin' Broadway .

Taylor, Geoffrey. Paul Mazursky's "Tempest." New York: New York Zoetrope, 1982.

Vaughan, Alden T. and Virginia Mason Vaughan. Shakespeare's Caliban: A Cultural History. Cambridge; New York: Cambridge University Press, 1991.

Wells, Stanley. "Problems of Stagecraft in The Tempest ." New Theatre Quarterly 10 (1994): 348-57.

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Shakespeare ‘The Tempest’

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Shakespeare ‘The Tempest’. 10 th May 2007. The Exam. 45 minutes long. 1 question – looking at the two extracts you have studied in class. You will be marked on your understanding of the extracts, and how well you can comment on them. Do not just retell the story!!. The Answer!.

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• precise question
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• 10 minutes planning
• detail including stage directions

Presentation Transcript

Shakespeare‘The Tempest’ 10th May 2007

The Exam 45 minutes long. 1 question – looking at the two extracts you have studied in class. You will be marked on your understanding of the extracts, and how well you can comment on them. Do not just retell the story!!

The Answer! Answer the precise question given. Use P.E.W.H! - Remember – say How the words are important and Why the convey something to the audience.

Plan! You should spend the first 10 minutes planning your answer! Unpack the question – work out what it is asking you to do! We have revised how to do this in class! You should spend the final 5 minutes checking what you have written – this will always gain you marks!

Start with an introduction which shows the examiner you understand the question – refer to the key words – and the scenes you have been asked to look at. Ensure that you conclude your answer too – return to the focus of the question and draw together your key points.

A level 7 answer on performance. Caliban should run onstage, hurling his lines at Prosopero. Even after Prospero’s response, which promises punishment, he should be defiant when he says ‘This islands mine’. He should point accusingly at Prospero and ‘which thou takest from me’ This will show the audience how angry he feels with Prospero at losing his independence.

Raising your level!Getting that level 7! • Really think about how the characters’ speech and actions relate to the main idea that you have to discuss. For example if the question is about your impressions of Prospero, then think about how Prospero comes across in every detail – including stage directions. • Focus on the effect of Shakespeare’s language. Explain in detail how individual words and phrases show things about the character’s feelings or thoughts, or about the wider ideas in the play, e.g ‘The phrase ‘great master’ shows how much Ariel is a slave to Prospero’

Getting that level 7! • Plan you answer so that it is well organised and clear. • Use paragraphs and connectives to show how your ideas are organised and linked. • P.E.W.H

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