Tempest, The (MAXNotes Literature Guides)

Corinna Siebert Ruth

• Publisher: Research & Education Association
• Year: 2012
• eBook ISBN: 9780738673189
• Topic: Guías de estudio
• Subtopic: Guías de estudio

REA's MAXnotes for William Shakespeare's The Tempest The MAXnotes offers a comprehensive summary and analysis of The Tempest and a biography of William Shakespeare. Places the events of the play in historical context and discusses each act in detail. Includes study questions and answers along with topics for papers and sample outlines.

SECTION ONE

Introduction

The Life and Work of William Shakespeare

The details of William Shakespeare’s life are sketchy, mostly mere surmise based upon court or other clerical records. His parents, John and Mary (Arden), were married about 1557; she was of the landed gentry, and he was a yeoman—a glover and commodities merchant. By 1568, John had risen through the ranks of town government and held the position of high bailiff, which was a position similar to mayor. William, the eldest son and the third of eight children, was born in 1564, probably on April 23, several days before his baptism on April 26 in Stratford-upon-Avon. Shakespeare is also believed to have died on the same date—April 23—in 1616.

It is believed that William attended the local grammar school in Stratford where his parents lived, and that he studied primarily Latin, rhetoric, logic, and literature. Shakespeare probably left school at age 15, which was the norm, to take a job, especially since this was the period of his father’s financial difficulty. At age 18 (1582), William married Anne Hathaway, a local farmer’s daughter who was eight years his senior. Their first daughter (Susanna) was born six months later (1583), and twins Judith and Hamnet were born in 1585.

Shakespeare’s life can be divided into three periods: the first 20 years in Stratford, which include his schooling, early marriage, and fatherhood; the next 25 years as an actor and playwright in London; and the last five in retirement in Stratford where he enjoyed moderate wealth gained from his theatrical successes. The years linking the first two periods are marked by a lack of information about Shakespeare, and are often referred to as the “dark years.”

At some point during the “dark years,” Shakespeare began his career with a London theatrical company, perhaps in 1589, for he was already an actor and playwright of some note by 1592. Shakespeare apparently wrote and acted for numerous theatrical companies, including Pembroke’s Men, and Strange’s Men, which later became the Chamberlain’s Men, with whom he remained for the rest of his career.

In 1592, the Plague closed the theaters for about two years, and Shakespeare turned to writing book-length narrative poetry. Most notable were “Venus and Adonis” and “The Rape of Lucrece,” both of which were dedicated to the Earl of Southampton, whom scholars accept as Shakespeare’s friend and benefactor despite a lack of documentation. During this same period, Shakespeare was writing his sonnets, which are more likely signs of the time’s fashion rather than actual love poems detailing any particular relationship. He returned to playwriting when theaters reopened in 1594, and did not continue to write poetry. His sonnets were published without his consent in 1609, shortly before his retirement.

Amid all of his success, Shakespeare suffered the loss of his only son, Hamnet, who died in 1596 at the age of 11. But Shakespeare’s career continued unabated, and in London in 1599, he became one of the partners in the new Globe Theater, which was built by the Chamberlain’s Men.

Shakespeare wrote very little after 1612, which was the year he completed Henry VIII. It was during a performance of this play in 1613 that the Globe caught fire and burned to the ground. Sometime between 1610 and 1613, Shakespeare returned to Stratford, where he owned a large house and property, to spend his remaining years with his family.

William Shakespeare died on April 23, 1616, and was buried two days later in the chancel of Holy Trinity Church, where he had been baptized exactly 52 years earlier. His literary legacy included 37 plays, 154 sonnets and five major poems.

Incredibly, most of Shakespeare’s plays had never been published in anything except pamphlet form, and were simply extant as acting scripts stored at the Globe. Theater scripts were not regarded as literary works of art, but only the basis for the performance. Plays were simply a popular form of entertainment for all layers of society in Shakespeare’s time. Only the efforts of two of Shakespeare’s company, John Heminges and Henry Condell, preserved his 36 plays (minus Pericles, the thirty-seventh).

Historical Background

Most of Shakespeare’s comedies, histories, and tragedies were written during England’s “golden age” under the celebrated 45-year reign (1558-1603) of Queen Elizabeth I. Historically, the Elizabethan era took place in the wake of the Protestant Reformation when the English Renaissance was ushered in and the arts flourished. When King James I succeeded Elizabeth to the throne after her death in 1603, he continued, at least to some extent, the rich cultural legacy left by the late queen. The new king, a patron of the arts, agreed to sponsor the King’s Men, Shakespeare’s theatrical group.

By 1608, after an illustrious career as a playwright, Shakespeare turned away from the great tragedies (Hamlet, Othello, and King Lear) and directed his creative energies toward the romances or tragi-comedies (The Tempest, Pericles, Cymbeline, and The Winter’s Tale).

The romances involve improbable and fanciful events that border on imagination rather than fact. Prospero’s magic is typical of the genre. Characters are often drawn in opposing categories of black and white and include the idealized heroine. In The Tempest, for example, Miranda is portrayed as the pure image of chastity. Love in the romances is characteristically subjected to great difficulty. Miranda stands by anxiously as she watches Ferdinand bear the “trials of love” imposed upon him by Prospero.

The Tempest is tragi-comic with a serious plot that could be suitable for tragedy but ends happily like a comedy. The usurpation of Prospero’s dukedom and the plot of Antonio and Sebastian to kill Alonso and Gonzalo carry potential tragic elements, but the evil plans are eventually thwarted, and all ends happily.

The Tempest was first published in the Folio edition of 1623 where it was placed as the opening work. According to an account book at the Revel’s Office in Somerset House, the play was first performed at Whitehall on Hallowmas night, November 1, 1611. It was produced in court for the second time to celebrate the marriage of the daughter of James I, Princess Elizabeth, to the Elector Palatine in the winter of 1612-13.

There are no known sources for the main plot, but it is believed that Shakespeare used Strachey’s True Repertory of the Wrack and Redemption of Sir Thomas Gates (dated July 15, 1610 and later published in Purchas His Pilgrims in 1625), Jourdain’s A Discovery of the Bermudas (published 1610), and the Virginia Council’s True Declaration of the Estate of the Colony in Virginia (published 1610). These publications are an account of the Virginia Company Expedition from Plymouth to Jamestown. News reached England that all except the flagship, The Sea Adventure, had arrived safely. It was rumored that the admiral, Sir George Somers, and the future governor of Virginia, Sir Thomas Gates, had drowned in a storm at sea. To everyone’s surprise, the two men miraculously appeared in Jamestown with the story that they had run aground on the isle of Bermuda. For the character of Caliban, Shakespeare also used Montaigne’s essay, “Of the Cannibals,” which praised the savage of the New World as the natural man. Since these sources are dated as late as 1610, Shakespeare could not have written the play much before it was performed in 1611.

Shakespeare’s new genre in his last plays was well-received by his early seventeenth-century audience and the public’s new interest did, in fact, reach far beyond to the end of the century with Shadwell’s tragi-comedy, Royal Shepherdess, and Dryden’s Secret Love.

The abundance of literary criticism on The Tempest dates back to the eighteenth century when Dr. Samuel Johnson apologizes for Shakespeare’s use of song. He feels that Ariel’s songs “express nothing great.” Coleridge praises the play for its morality, though he feels that Shakespeare “may sometimes be gross.” G. Wilson Knight approaches the play with a theme of immortality which is metaphorically expressed in terms of victorious love. Bordering on the allegorical, Knight’s view equates the sea to fortune, the tempests to children and birth, and gentleness to royal blood. For W. L. Godschalk, the central thrust of the play lies in the problems of government rather than the progress of the soul toward redemption.

Kermode’s thematic approach to The Tempest concerns the opposition between the worlds of Prospero’s art and Caliban’s nature. Zimbardo deals with the universal conflict between order and chaos, asserting that Prospero’s art is an attempt at imposing form on the formless. She places Caliban at the center of disorder, conceding, however, that he too feels the effect of the harmony or order of the island but just for a moment. Reflecting the literary criticism of the nineteenth century, James Russell Lowell sees the play as an allegory in which Prospero represents imagination, Ariel is seen as fancy, and Caliban as brute understanding. Nutall, though an allegorist, rejects Lowell’s nineteenth-century view. He sees The Tempest as a metaphysical allegory in which Ariel and Caliban could be the psychic processes.

In contrast to the allegorists who have idealized Prospero as Shakespeare himself, Cutts would have us believe that Prospero is out for revenge, selfishly seeking his own end which is the restoration of his power. Unlike Cutts, Northrop Frye contrasts Prospero’s “white magic” with the “black magic” of Sycorax. Prospero’s motives are good, he reasons, and in tune with the higher order of nature. Sisson also feels that in view of Parliament’s statute against witchcraft and the conjuration of evil spirits, Shakespeare would have been careful to make a sharp distinction between the evil powers of Sycorax representing “black magic” and the “white magic” of Prospero which does not deal with incantations in the performance of magic.

Master List of Characters

Prospero—the rightful Duke of Milan whose dukedom has been usurped by his brother Antonio. Prospero controls the island and its inhabitants with a God-like power.

Miranda—Prospero’s fifteen-year-old daughter who has been living with him on the island since their banishment from Milan when she was only three years old. Her father and Caliban are the only humans she remembers. When she meets Ferdinand, she falls in love with him almost immediately and innocently offers herself to him as his wife.

Ferdinand—He is the son of Alonso, King of Naples. Though he is a man of royal blood, he must endure the dishonor of carrying logs for Prospero as a trial of his love for Miranda.

Ariel—an airy spirit who has suffered a twelve-year imprisonment in a “cloven pine” for refusing the “earthy and abhorr’d commands” of the evil witch, Sycorax. Prospero releases Ariel, only to subject him to further servitude. With the aid of Prospero, Ariel conjures up the tempest and performs other acts of magic throughout the play. Prospero finally gives him his freedom at the end.

Caliban—Prospero refers to him as a “born devil” whose mother was the evil witch, Sycorax. He is a deformed monster whose bestial nature cannot be changed, though he has been taught to speak a language. Paradoxically, Caliban usually speaks in verse and is given some of the most poetic lines in the play.

Alonso—Ferdinand’s father, the King of Naples, who grieves over the supposed loss of his son. He is bearing a double loss since he recently lost his daughter, Claribel, in marriage to the King of Tunis. He has been instrumental in the usurpation of Prospero’s Dukedom but is repentant and, thereby, regenerated by the end of the play.

Antonio—Prospero’s brother, the usurping Duke of Milan, who helps Sebastian plot the death of his ...

Table of contents

• Cover Page
• Title Page
• Copyright Page
• Contents
• Section One: Introduction
• Back Cover