Tempest: Working Notes
A Vision:
Before the play begins, Prospero is provided with an unusual opportunity. An
opportunity each of us might wish to have and never do. He is presented the chance to
right a past mistake in judgment.
For some time Prospero served as the Duke of Milan (pronounced Milin to make the
verse work out correctly.) He appears to have been a good ruler. He reports the people
loved him, and Antonio's politic decision to banish rather than murder him is evidence of
an attempt to nip any motivation for popular uprising in the bud. Prospero married, in all
likelihood, a woman much younger than himself as was the custom of political marriages
in the renaissance. Apparently, Prospero loved her very much too. Professor D. G.
Jones suggests and I agree, as apparently do the creators of the film Prospero's Books,
that Miranda's mother died in childbirth. The only remark concerning the mother in the
play concerns her virtue. Miranda does not remember her.
For Prospero this was a tragedy. He withdrew to his study and left the management of
the state to his brother, Antonio. Prospero was already a well-educated man. As a
nobleman, he was trained at university; this being seen more and more as the
appropriate training for rulers from 1500 CE on. A university education entailed training
in the classics. Prospero studied the Latin authors particularly Cicero, Terence, Virgil,
and the known Greek writers including, Plato and Euripides. Worldly knowledge was
already at his command. When he retired in mourning, what did he study?
His university training would have introduced him to the theories of Neo-Platonist of the
1st century CE. Neo-Platonist theory was melded with Christian theology during the
Renaissance, resulting in the study of white magic as a way of gaining understanding of
god and natural order. (In fact, Dr. John Dee practiced white magic as a Magnus during
Shakespeare's lifetime.) Prospero poured over his books in search of understanding,
which a conventional education could not provide. He devoted three years to this
pursuit. He collected books of arcane knowledge; he studied long into the night perhaps
trying to come to understand why his good wife was taken from the world while evil
persons seemed to thrive. He was seen less and less in public.
His brother, seeing him showing no signs of recovery and being an ambitious man of
Machiavellian cut, seized the moment. He made a deal with the King of Naples to
provide the military power to depose Prospero. It fell to Gonzolo to dispose of the fallen
Duke. He set Prospero and Miranda adrift in a small boat with food and water and
Prospero's secret books.
Now twelve years later, after further study on the island, where he and Miranda were
cast ashore by chance, Prospero has come to the height of his power. He commands
the daemons of the air and earth, which do his biding. [Communion with such daemons
as Ariel allowed the Neo-Platonist philosopher to contact the higher beings of heaven.
Daemons controlled the elements (air, water, fire and earth) of the Earth; they controlled
the planets and stars. They were the intermediate natural forces, which responded to
god's will.] More importantly, he has had time to think. His study had not led where he
expected. He did not achieve the understanding he sought, but he has come to a better
understanding of himself. He recognizes now his guilt in setting aside the responsibly of
governing to pursue his personal need. He acknowledges this to Miranda in I2, and it
explains his forgiveness without punishment of the unrepentant Antonio in V1.
His powers have made him aware of the King of Naples ship passing near the island.
Prospero recognizes the opportunity to right his mistake. He can take his enemies to
task and resume his responsibilities as Duke while providing a happy life for Miranda.
There appears to be some restriction on his ability for he states the task must be
completed in three hours (three being the magical number of completeness and
conveniently the general running time of an afternoon at the Globe). This being the case
as Dr. Kermode, editor of the Arden Shakespeare series, observes, time is of great
importance to Prospero. It is the motivation, which drives him and the play forward. He
has several goals, which must be achieved in order to realize his goal. He also knows
full well that regardless of magical powers chance can and does interfere with one's
plans, as might Caliban's plot to murder Prospero. He is caught up in the pursuit of
making the plan work out in order and on time while overcoming chance events. He
takes pleasure in the action. At each turn of the plot, he rejoices with Ariel.
At 7:45 the music begins. The music is composed of natural sounds blended with the
sounds of instruments from the Elizabethan period. The music rises in intensity and
dynamic power as the house lights slowly dim. By 8:00 the audience is surrounded by
the fury of the tempest and enveloped in darkness. Lightening flashes reveal glimpses
of the set. In one flash, we see the empty promontory; in the next flash Prospero
appears in his magic shimmering cape. As the storm rumbles through, the stage returns
to darkness. Prospero's cell is exposed, and we see Miranda tossing in a dream worried
sleep. The vision of her dream appears as dancing images on the walls of the cell or as
video projections on hang pieces over the stage. (ACT I scene i is thus played via video
projection. We hear it and see it, but we never need to go to the ship.) The dream
fades. Miranda awakes. She is shivering, cold. She wraps herself for warmth as the
sun filters into the cell, a strikingly beautiful day. Prospero walks down from the
promontory to the cell. Miranda senses his arrival and rushes to him, or she runs to find
him, and he brings her back to the cell.
Act I scene ii is played in or in front of the cell or both. Prospero calms Miranda and
leads into revealing their family history. During the course of the telling, Prospero must
get Miranda to sleep again so he can conduct business with Ariel and instruct him to
bring Ferdinand to meet Miranda. Two times he checks to see if she is sleepy (the third
time is lost in a line cut); then he charms her to sleep. At line 215, he acknowledges the
need for acting swiftly.
At line 221, Prospero leaves the cell and calls Ariel who flies in perhaps in Tarzan
fashion. At line 300, Ariel leaves to disguise as a water nymph. Prospero returns to the
cell to wake Miranda. They cross the stage to Caliban's cave (can be a vomitorium or a
wing of the thrust or the stage can rotate). They call him out, and he resists. Ariel
returns (line 379), receives instructions, and flies off. Caliban enters and the scene
plays; he exits as ordered off upstage. Music is heard and Ariel's voice singing,
Ferdinand enters down an aisle pulled as by a magnet to the stage and Miranda. Ariel
appears on the promontory while the audience is watching Ferdinand. The scene plays.
When Ferdinand tries to draw his sword, the business can be staged to use a sword that
breaks. All exit in various directions as the island turns to reveal a new perspective to
begin Act II scene i.
While the King grieves for his lost son, Gonzolo and the retainers wonder at the
condition of their garments unsoiled by the seawater and the state of the island. At line
188, Ariel enters and musically casts a spell of sleep upon them. Sebastian and Antonio
remain awake and plot to murder the King so Sebastian can succeed to the throne. Ariel
who has watched this display of base disloyalty sings Gonzalo awake just in time to save
the King (line 340). Sebastian and Antonio dissemble. The party leaves as the island
turns to a new location.
Act II, scene 2 begins Caliban comes on searching for driftwood. He sees Trinculo
coming and tries to hide under his cape. In fear of the storm, Trinculo tries to take
shelter under Caliban's cape. Stephano enters drinking. Caliban and Trinculo struggle
under the cape twisted in it with feet sticking out perhaps at opposite ends. The farce
scene plays and ends with the two servants getting Caliban drunk. House lights roll out
of the play.
House lights roll into the play as the island turns bringing Prospero's Cell into sight for
Act III, scene 1. The lovers plot advances as they pledge marriage. The verse calls for
Ferdinand to be hauling and stacking logs.
The island turns perhaps to the location of the King's company in their last scene.
Caliban full drunk promises Stephano he will give him Miranda to bed and be his servant
if Stephano will kill Prospero. Ariel overhears the plot, taunts them into an argument,
then, creates noises to frighten them. Ariel goes to tell Prospero while Caliban and
company go off following magical music.
The island turns perhaps to the beach of the first farce scene for Act III, scene 3. Enter
the King's company. Prospero and Ariel watch from the promontory. Music plays and
food magically appears for the company. If this can be done magically with no one
carrying it on stage the better. Prospero can create a diversion to cover the trick. Ariel
dressed as a harpy creates a diversion while the food disappears. Ariel will remain on
the promontory while his image flies about the stage in a predetermined pattern
swooping at the guilty and threatening all. Alonso remains transfixed while the others
scatter. Prospero praises Ariel, and the recovered courtiers exit.
The island turns to Prospero's cell for Act IV. Prospero conjures a masque for the
lovers. Entrances here need to be magical with music. The sequence begins with Iris,
goddess of the rainbow. Ceres follows her on stage. Both are associated with fertility.
They can perhaps enter from the Vomitoria accompanied by special effects. Juno
appears and is required to make a stately walk towards the two lesser goddesses. They
sing followed by a specialty dance featuring Iris. Appropriate playing space will be
needed. Prospero raises; the dancers freeze. At line 142, he makes them disappear.
They melt into the floor. Okay just a checking to make sure you were still with me. A
quick disappearance at any rate. The lovers exit into the cell and are hidden from view
until they are revealed on cue. Ariel returns then goes to fetch the garments, which he
hangs about the outside of the cell. The servants with Caliban enter drenched from
falling in a sinking pond. They seize upon the garments. A gown and a jacket are
required, but they might have more choices. They should be able to carry all the items
off stage at their exit. They begin to change clothes at the most awkward moment and
are chased off by imaginary wild animals. This is a music/sound effect but can be
accompanied by a lighting effect.
ACT IV moves directly into Act V without a break or change of scene. Prospero sends
Ariel to bring the King's company. Prospero annunciates his plan to lay down his book
and return to Milan while he traces a magic circle on the stage. Ariel then brings the
King's company into the circle before Prospero. He confronts each of them with their
good deeds or sins. As they start to awake, Ariel helps dress Prospero in his duke's
robe and hat. The rapier in a scabbard may simply be held by Prospero rather than
worn as indicated in text. The scene plays during which Alonso repents and the two
villains do not. On cue, the reveal for the cell opens, and we see Miranda and Ferdinand
playing chess. Ferdinand sees and kneels before his father. The marriage is settled.
The ship's crew arrives with news that the ship is in harbor on the far side of the island.
Farce comedians enter with Caliban. Caliban is sent to the cell (cell may close) with
Trinculo and Stephano as helpers. The King and others are forgiven. Ariel is freed. All
hold position for curtain call while Prospero delivers the epilogue. Curtain call is taken
with music themes in order: Ariel and Prospero, The Lovers, The Court, and the Farce
Characters to include Caliban. Final company bow and lights out, house up. Music
continues as play off.
PLOT
Overview:
Critics have tried to make The Tempest into a comedy, a revenge tragedy, a tragicomedy, a fantasy. In fact, the play is a combination of forms integrating three plot lines
and four genres of Elizabethan play.
One plot line focuses on Prospero and his desire for righting past wrongs. This is the
most difficult plot, for Prospero, critics say, begins seeking revenge but through the
events of the play he transcends his desire for revenge and offers forgiveness. Just
where this moment of transcendence occurs is not indicated. I have not been able to
find it, which in part led me to the interpretation indicated in the Vision section. The
second plot is a romance based on love at first sight. The third plot is a farce. These
three threads are twisted together to provide a comprehensive vision of how humankind
IS.
While particular characters are associated with each plot line, they cross over plot lines
on occasion, become entangled, and then sorted anew.
The fourth genre is the court masque, which is tucked in Act IV as part of the romance
plot.
Structure:
1.1. shipwreck dream, gets audience's attention, introduces premise, provides common
beginning for three plot lines.
1.2 exposition: gives background, introduces the island characters, point of attack for the
romance plot.
2.1 introduces characters of the king's party, point of attack for transcendent plot as
Prospero via Ariel has set to work on the minds of the King and his brother.
2.2 introduction of the characters of the farce plot, point of attack for this line occurs
when the servants hook up with Caliban.
Intermission (1094 lines)
3.1 complication of the romance plot, M and F are in love, pledge to marry.
3.2 complication Caliban enlists the aid of the servants in revenge on Prospero.
3.3 complication of the disappearing food in the transcendent plot.
4.1 Miranda and Ferdinand brought together at the masque, crisis of Romance plot as
Prospero okays love match; farce plot begins to be integrated with the romance plot,
servants betray Caliban for fine clothes and are chased off by imaginary animals, crisis
of farce plot as Prospero defeats Caliban and company.
5.1 Prospero brings the King's company to justice, crisis of the transcendent plot. The
romance plot is integrated with the transcendent plot as the lovers are revealed and the
King forgiven. This resolves both of these plots simultaneously. The farce plot is
resolved as the servants and Caliban enter and are punished. Ariel is freed. This
resolves Prospero's promise.
Epilogue: Prospero gives up his magic to return to the world. Standard call for hands.
This concludes the story.
Second Half 804 lines
CHARACTER
Overview:
Each plot line is associated with particular characters. The island characters Prospero,
Miranda, Ariel and Caliban are magical in one way or another. The King's Company are
of the nobility turn of the 17th century. The farce players Trinculo and Stephano are the
servants of the nobility. Mythical characters belong to the Masque.
Island Characters:
Prospero: 45 to 53 years of age. He has come to the time of life where he understands
and accepts his own mortality. His every third thought is of death not his every thought.
His perspective allows him to acknowledge his mistakes though like most of us he does
not dwell on them. Much of what he feels is left unspoken. Once he governed well.
Then, he found a balance to his life in love. The love was taken away from him, and he
went into a psychological tailspin, seeking in the study of magic answers to his
questions. He abdicated his responsibility to govern as King James noted in his treatise
on the Divine Right of kings. As we see him in the play, he is again a man of action.
Provided the opportunity to set the world right, he goes about doing so with
determination. He is very aware of the operation of chance. Prospero’s action
conforms to men’s experience during the midlife transition, which is essential a
reappraisal of their past and setting a new course for the future. Since spending
time alone with his daughter, he has come to love her deeply. He provides for her
flowering as a person gradually, giving first knowledge and protection, now a man and
love, eventually a kingdom. His actions are typical as is his description of his child
with the research on the attitudes, values and descriptive terminology used by
men who have raised their children alone. Physically he is capable of whatever
adept, quick, strong movement is needed. He is not the worn down old man he is often
played.
Miranda: 15 years of age. She is beautiful of spirit. She is inexperienced but aware of
the nature of good and evil. She offers kindness without question. She is ready to see
the best in others. She is intelligent, well educated in book learning, but she does not
know the ways of the world, a gentle soul but of great ethical fiber. For Prospero, she is
a younger vision of his wife. She is warm, outgoing, and self-confident. She is the
flower, which begins to bloom during the play. She is radiantly alive with the energy of
youth and good health.
Ariel: Ageless he/she/it is a daemon. It/she/he has the power to control the elements of
the world. She/it/he creates music out of the natural sounds. Ariel has been a prisoner
and has pledged service to Prospero for releasing him/her/it. Ariel is like a child focused
on what he/it/she wants in the here and now. She/he/it is fully capable of forgetting what
it was like to be sealed in a growing tree. Ariel is in a way intellectually removed,
incapable of understanding why Prospero does what he does. Ariel could not
understand why Prospero would give up his powers as a magus to become human
again. Nor does she/it/he really care. Ariel is not human and cannot conceive of its
rewards.
Caliban: About 24 years old. Caliban is everything Prospero says he is. He is cursed to
never develop through nurture his human attributes but to be the slave of his animal
appetites. Yet, there remains an unspoiled quality about him for his nature wants to
respond to beautiful music and wondrous dreams quite unlike his civilized, jaded, equals
Trinculo and Stephano. Physically, he his misshapen; the text indicates bent. His
mother became a "hoop" completely bend over. He apparently is similarly afflicted. His
motivation is to gain whatever sensual pleasure he can and avoid whatever pain he
possibly can.
The King’s Company:
Ferdinand: Perhaps 17 years old. He too is bright, well read. As Miranda is the natural
human raised in isolation, he is her civilized counterpart. He has experienced life at
court, observed civilized women but is captivated by Miranda's refreshing natural, beauty
of person. He is a dutiful son just as Miranda is a daughter. He is honorable and willing
to do whatever is needed to be close by Miranda.
Alonso: Prospero's contemporary, Alonso is guilty of wanting power and behaving
unethically to get it. He has given his daughter into a political marriage and has now lost
his son. This he sees as the punishment for his misdeeds. He repents in the end and
like Prospero wants to making things right. Because he repents and is forgiven, a
measure of happiness awaits him.
Antonio: He is perhaps ten years younger than Prospero. He is young enough not to
have played with his brother while growing up. He is the ultimate product of the civilized
political world, the Machiavellian prince. He has an agile mind for political intrigue, which
blinds him to the motivations of others. He is amoral. The needs of gain and power are
his ethics. He is adept at bilking the public treasury for his gain. He is cynical and sees
any who hold to natural goodness and virtue as stupid old men, hence his hate of
Gonzolo. He cannot repent even when forgiven. He is incapable of understanding his
brother’s actions. He is doomed to his own bitterness by being rendered powerless.
Sebastian: About Antonio's age he too is a product of the court world of ambition. He is
not as astute as Antonio. In fact, he would probably be content being the King's brother.
He can only see his advantage and opportunity when it is spelled-out for him. He too is
amoral. Forgiven his misdeeds, however, he probably feels lucky to get away with his
skin. He doesn't understand either Prospero's or his brother's actions and does not care
to try. He has a nasty streak too.
Gonzolo: In his sixties, Gonzolo is a kind man of good faith. He sees the positive side of
things, sees green grass and wonder where others see tawny desolation. He believes in
the natural goodness of people. At the same time, he is a little befuddled. He cares for
neither Antonio nor Sebastian. He considers them ill mannered through cruel is perhaps
too much. He certainly does not trust them. He is loyal to his king.
Adrian/Francisco: In their twenties, physically strong. They are really bodyguards for the
King. They are not kept around for their brains or ethical mettle but their power at arms.
Antonio knows their type well; they work for hire and can be convinced to go long with
even foul play if it is to their advantage. Simple men, they can be corrupted.
Shipmaster/Boatswain: Both are competent men of their craft who seek a quiet life at
home. They look out for themselves and others in the process. They are leaders of
rough men capable of inspiring calm and directing action in an emergency
Farce Players:
Trinculo: Of any age over twenty, he is the court fool. He is witty but is incapable of
ethical improvement through nurture. Drinking, sex, and song are the meaning of life.
Stephano: An older version of Trinculo, more of a bully and not as smart. He laughs at
his own jokes and would like nothing better than to never work again, drinking all-day,
and wenching between bottles.
Mythical Characters:
Juno: Patron Goddess of marriage. Wife of Zeus. Sings.
Iris: The Goddess of the rainbow and Messenger of Juno and Zeus. Leaves a tint of her
multicolored dress across the sky. Dances.
Ceres: Goddess of fertility. She raises the crops in the spring and causes the land to lay
fallow in winter, devoted to her daughter. Sings.
LANGUAGE
According to the primary researcher into the imagery in Shakespeare's plays, Caroline
Spurgeon, the major image pattern is of sound. (See copy file for detail.) Some of the
subsidiary patterns are: personifications, food/cooking, sickness/disease and medicine/
the body and bodily actions. By her count the play contents 103 images. Some of this
may be useful in design work.
SOUND
1.2.2
roar-wild waters
nature
1.2.83
tune please
music
1.2.149
to sigh etc
personification
1.2.201
thunder claps
nature
1.2.203
fire cracks
nature
1.2.204
thunder stroke
nature
1.2.281
mill wheels
mechanical
1.2.296
howl'd
animal
1.2.371
thy din
human
1.2.391
music crept
music
2.1.106
cram words
human
2.1.314
Din to fright
3.1.41
Woman's voice
3.2.142
full of noises
nature
3.2.144
twanging strings
music
3.3.19
marvelous sweet
music
3.3.62
loud winds
3.3.95
winds, thunder, organ pipe nature/music
5.1.232
roaring shrieking, etc.
nature
5.1.41
warring elements
nature
5.1.52
heavenly music
music
5.1.65
thunder peals past
nature
HOUSE KEEPING
sound
human
nature
3.3.89
Knit up
sewing/mending
PERSONIFICATION
5.1.41
Sea
tears
vault
sky
war
dead
NATURE
5.1.41
DEATH
5.1.41
DISEASE
1.2.415
Canker--
plant disease
FOOD ETC
2.2.20
bombard--
cooking/kitchen
Other Notes on Language are indicated in the working text, which includes line cuts.
THOUGHT
The thought of a play is the vision of how life is. The vision is manifest in the audiences
mind by the performance. In plays removed from our culture, like the plays of
Shakespeare and other renaissance playwrights, we encounter the problem of bridging a
gap of centuries between distinctly different cultures. The attitude toward life,
knowledge, government, and the like differs greatly between then and now. The
problem is complicated by the theatre's need to communicate the thought of the play to
an audience who, unlike the scholar in the study, will hear the words of a scene once in
passing and in context of the play. So, the vision must be communicated by playable
action, an action that conforms to the rhythmic structure of play and is comprehensible in
the context of linked scenes.
Interpreting the play as either a Christian allegory, as 19th century critics proposed, or as
an encapsulated version of Shakespeare's own life, the epilogue being a metaphoric
farewell to his art, having been rightly dismissed by scholars as untenable, three
approaches appear current in rendering meaning for the audience. One approach sees
the play through renaissance political eyes; the other two impose a twentieth century
vision on the play.
Francis Nielson in Shakespeare and The Tempest suggests the play's action is based
upon Prospero's revenge upon those who usurped his rightful position as Duke of Milan.
This means the modern audience must understand and accept renaissance political
theory. But the real difficulty with this interpretation is its inability to motivate Prospero's
actions. It leaves us confused as to why Antonio, and Alonso and Sebastian for that
matter, are not punished more severely for their treason. Nielson alludes to some
moment of transcendent insight in which Prospero forgives all. Yet he does not point out
that moment in the text. Revenge and the will to power as motivations lead to difficulties
in playing the role of Prospero in terms of motivation and in terms of the rhythmic
movement that leads to an apparently nonexistent moment of insight.
Interestingly the person who has an insight is Alonso. Alonso needs to see the error of
his in order for Prospero’s plan to work. Traditionally, the moment of insight occurs for
the central character. For Shakespeare to have set aside this convention is a strike of
organization genius. Arthur Miller uses this same approach in Death of a Salesman.
The leading character, Willy has the insight that his son loves him, but the truth of the
play, the insight of thought, is Biff’s, “He never knew who he was.” Alonso believing his
son dead because of his need for prestige is moved to see the folly of conventional
behavior. Thus, he is open to changing his life as Prospero has changed his.
In 1962, an article in Shakespeare Quarterly reported that Kenyans' saw the play as a
vision of colonialist action. * Clearly, this is an interesting case of an audience reading
into the performance based on the experience of their own culture. This is not an
unusual experience. Almost every freshman dramatic literature class has one young
man who, in reading The Doll's House, sees Nora as a foolish woman giving up a good
meal ticket. He reads the play from the point of view of his enculturation; just what the
Kenyan audience did with The Tempest. Subsequently, scholars generated a labyrinth
of reasoning to interpret the play as an allegory of colonialism. Jonathan Miller based a
production on this idea casting Ariel as the complaint, bureaucratic native and Caliban
as the earthy rebel. The colonial theory is ultimately based on the assumption that
Prospero is a colonialist at heart and that his arrangement with Ariel and his
"enslavement" of Caliban are unjust. Colonialist theory ventures far from the text to
conjecture that Prospero tricked Ariel into service. We may, as logically conjecture that
Ariel volunteered his service out of gratitude for the text does not relate to how the
bargain was made. Colonialist theory ignores Caliban's punishment for attempted rape.
Prospero's restraint of Caliban's movements and enforced servitude seems less harsh
punishments than those an irate father armed with a mere shotgun might impose upon a
felon. To make the colonial interpretation clear to an audience, the action must be
revealed through the eyes and deeds of Ariel and Caliban rather than Prospero's. From
a structural point of view this does not appear appropriate nor does it seem to solve the
problem of Prospero's restraint in the revenge he takes on his enemies. Clearly, such
an evil man who has his enemies in his grasp would take firmer action than forgiveness.
The theory must also ignore the clear vision of the renaissance view of the hierarchy of
nature and the search for understanding through white magic.
The second approach to render the play clearly to a contemporary audience is to move it
forward in time, to set in the here and now. Julian Lopez-Morillas of the California
Shakespeare Festival suggests that the Roman plays, because the political concerns of
these plays are much like our political concerns, can be most effectively set in our times.
Other plays, as with Dr. Colin Johnson's production of the Comedy of Errors, transport to
our century well because the political establishment has little relevance to the action.
Comedy's Duke can be cast as the local mafia don whose nickname is the "Duke"
without harming the credibility of the action. But, in The Tempest, not only is the political
structure and philosophy important, so are the renaissance concepts of natural order
and white magic.
Considering the play from a purely Renaissance point of view or imposing a 20th century
point of view or time and place does not lead to a clearly playable action. What then is
the bridge between centuries?
For me, finding the playable action involves finding the psychological aspects of the
character that drives the events of the play, the psychological aspects that, though
wrapped in renaissance understanding and social conventions, are understandable
today. To provide a playable action these psychological aspects must account for some
of the traditional difficulties found in the script.
The beginning of the search is in the structure and action of the play. In typical
Elizabethan fashion, the play has three separate plots: a major plot, which provides the
action, to drive the play and two subplots, which serve multiple functions. The romantic
subplot features Ferdinand and Miranda; it provides Hollywood style love interest, some
humor, and a way of Prospero providing for his daughter's future all be it in a very
conventionally renaissance way. The farce subplot, featuring Caliban, Trinculo and
Stephano, provides farce for a particular segment of the Elizabethan audience and a
necessary foil for Prospero's plans.
Prospero's plot drives the play though little action is provided through conflict between
characters as is traditional. So, the play is often seen as having a weak driving rhythm.
The plot line seems to lack a truly powerful moment of transcendent insight, which would
justify Prospero's forgiveness of Antonio et al. The clue here is in Northrup Frye's
observation as to the importance of time or rather timing in the play.
Considerations of the influence of time on human affairs pervade Shakespeare's plays.
"There is a time in the course of human affairs which taken at the flood . . ." is famous to
all. Prospero renews the idea in Act I scene 2 when he tells Miranda he must take
action within three hours if his efforts are to be successful. He must accomplish his ends
in the proper order and in the time allotted. This knowledge gives him a certain
controlled anxiety, fills him with an anticipatory energy. He is also certainly aware that
no plan can control all possible variables. Chance happenings can foil his timing.
Caliban's plot is such a happening. While the disorder Caliban can cause is no real
threat Prospero’s power for he can without Ariel's assistance stop Caliban as easily as
he disarms Ferdinand, Caliban can upset the timing of events. So, Prospero's conflict is
not with his human adversaries but with the nature of existence. He sets out to achieve
his ends with chance and time working against him. This is the source of controlled
energy, which drives the plot. Here is a battle common to all who have worked their
wishes against a deadline and the viscidities of life.
What is it Prospero wants? Is it revenge or is his concern more expansive? Taking
revenge upon his enemies would not require that he arrange a meeting between his
daughter and Ferdinand. Fruitful revenge might well include having Ferdinand's bloated
body washed ashore at Alonso's feet. Prospero seems clearly to be about some greater
business, about executing a plan he had in mind before the play began. So, what is he
about that will explain his forgiveness of some characters and failure to punish others?
The key I think is his state of psychological development as an adult, a state he might
share with persons in our culture today. Four circumstances are readily evident. First,
he is at a point in life where he is aware of his own mortality. He speaks to every "third
thought" being of death. This is not an old man for whom the coming of death is a daily
expectation. Rather, his observation is one of mid-life when he is aware of his limited
time, but most of the time it doesn't figure in his actions. Second, Prospero has come to
an understanding of his pursuit of knowledge. Though he has gained the ability to
communicate with the spirits (daemons like Ariel) and to a degree control natural forces
as the pursuit of white magic was purposed to do, he must find this knowledge and
power less than fulfilling. At the beginning of Act V, he reveals that part of his plan is to
abjure "this rough magic" break his staff and drown his book. Recognizing the limits of
one's enterprise and its rewards is characteristic of midlife thought. Also typical of men
at this time of life is a greater sensitivity to the well being of their children. Certainly
devoting 12 years to his daughter has developed a stronger love for her than he might
have gained had she remained in the care of her nurses. His love is not possessive.
Prospero does not intend to confine Miranda, but rather he seeks to guide her toward
the steps, which will take her away from him. His loss, but the freedom she needs to
grow. Therefore, part of Prospero's plan includes providing for his daughter's well being
in a manner typical of renaissance noblemen. He arranges the meeting of Ferdinand
and Miranda and ensures himself of both the nobility and willingness of the suitor to
sacrifice his ego to the love of his daughter. He does what a good renaissance father
considers best for his child. (While this might seem paternalistic, it must be weighed
against the fact that Prospero has also given Miranda what amounts to an education far
beyond that typical for women in the period.) Lastly, Prospero acknowledges his own
failures as being responsible for his present condition. This reappraisal of one's life is
also typical of midlife thinking for the relatively cognitively complex person. Prospero
acknowledges in Act I, scene 2 his failure to perform is duty as Duke. He is partly
responsible for his brother's actions. Given the values inherent in his education this is a
great failure. He did not meet his personal responsibility to govern as articulated in the
political theory of the Divine Right of Kings.
Apparently, Prospero was a good ruler. Then something happened which caused him to
devote himself to the study of white magic. The event might be the death of his wife in
childbirth. (The producer's of Prospero's Books take this point of view.) Miranda has no
memory of her mother. Clearly, the duchess was not present when Antonio deposed
Prospero. Having already gained a university education, which was common for
noblemen of the 16th century, he needed to find another kind of knowledge or power to
achieve his end. That the power he has gained has not led him to understand why
death comes early to virtuous persons or allowed him to bring back his love, or whatever
his goal might have been is clear. This contributes to his drowning of the book.
With Alonso's fleet within range of Prospero's power, the Magnus is provided a rare
opportunity, an opportunity each human being would like to have. Prospero can right his
mistake. He can regain the throne and execute the responsibilities that are his by birth.
In the process, he can offer Miranda the opportunity to live the renaissance good life.
Since he is partly responsible for his brother's actions, he need not punish him but
neutralize his power. All of this insight happens before the play begins. So no need
exists to find the moment of transcendent understanding, which leads to forgiveness.
Prospero's plan is a fantasy put into action. We often fantasize what we would do if we
only have the chance. One might play the play as though it were Prospero's daydream
and not really happening except Prospero is too aware of the possibility of his timing
going awry, of chance interfering. In our daydreams, we have no such fears.
Basing the playable action of the play on a psychological profile of the main character in
terms of their stage of psychological development and their motives for accomplishing
particular goals in relation to the opportunity presented them places emphasis on the
commonality of the human experience thus bridging the renaissance to contemporary
"culture gap."
Two renaissance ideas are important to understanding the content and action of the
play.
Renaissance thought saw man as part of a hierarchy of nature. On the bottom was the
earth/rocks etc., next came animals, then, man and, then, the daemons that controlled
the elements and the planets and stars. At the top of the hierarchy were the angels and
of course god in person.
This vision as developed in the play is more complex for Shakespeare presents a
number of different levels of human beings as well and complicates the matter by
dividing them on the basis of their socialization. Either they are the product of nature or
civilization.
Ariel (Daemon)
Prospero (height of integrated natural & civilized persons)
Miranda (Natural) Ferdinand (Civilized)
Gonzolo (Civilized)
Boatswain/Captain
Adrian/Francisco
Alonso
Antonio/Sebastian
Caliban (natural)
Trinculo/Stephano (civilized)
On the top of the hierarchy is the civilized and self-actualized Prospero. He is the
epitome of what "man" might be. (Ariel being non-human does not count here.)
Miranda and Ferdinand are capable of reaching this level of moral stature.
Gonzolo is an ethical man who will take action to do what is within his power to lessen
evil happenings.
The Captain and the Boatswain are hard working middle class sorts who try to avoid
sticky ethical situations but would try their best to do the right thing.
Adrian and Francisco are men who lean in the direction of power to maintain
themselves.
Alonso at this point is in transition from his selfish preoccupation with power and wealth
to the kind of realization Prospero has had.
Antonio and Sebastian are the worst of the educated class for they, particularly, Antonio
have the potential to do good and will not.
Caliban is unbridled selfish passion. He is the lustful rapist who would mate by force.
He has no respect for any other creature. Any passion, hate, revenge, controls his
actions from moment to moment. But, he can still dream and knows the beauty of the
music which puts him a cut above Stephano and Trinculo who remain mastered by their
emotions, their concern for the physical joys of life, food, wine, glittery clothes which they
find most desirable when they do not have to work for them.
The hierarchy allows a person the ability to change. Trinculo and Stephano seem
unable to change and will go on forever.
Alonso, Antonio and Sebastian may be souls who can be freed from their trap by
forgiveness. It's as though people are locked into their behavior by their past actions.
An act of setting aside the past can free one's future. (Sounds like 20th century
psychiatry.) All of these men are smart enough to see this possibility. Theodore
Spencer sees Alonso as capable of change, but Antonio sullenly rejecting forgiveness
and remaining resentful of his brother's return to the Ducal seat. Spencer further
observes that Prospero came to his humanity by experiencing life from above it, and
Alonso became ready for change by realizing he had slipped below the true stature of
humanness, an interesting and perhaps playable point.
What gives one the ability to change?
Apparently love.
Prospero loves Miranda and Alonso loves Ferdinand simply because they are the good
children they are. In this love of parents for children is a clue concerning the appropriate
quality of love between man and woman as well. Clearly, Ferdinand and Miranda are
physically attracted to one another. Whether they are or not, they see one another as
beautiful. Yet there is appropriateness to their restraint from passionate love-making
that goes beyond mere moral rectitude. They seem to enjoy one another's company.
Enjoy doing things together. In Act V, they are revealed playing chess and quietly
talking together. Sex and passion clearly have their place among all the aspects of love,
but it is a place and not a master passion.
Another aspect of love revealed is a willingness to sacrifice; to humble one's self for
another. This Miranda does when she pleads with her father for Ferdinand. Ferdinand
does when he willingly takes Caliban's place as drudge. Prospero has lavished his
attention on educating Miranda. Alonso is more crushed by the apparent loss of his son
than his imposed exile on a strange and frightening island.
Often Caliban and Ariel are seen as the opposites in this play. Ariel is air, Caliban earth,
etc. This view does not hold up when placed in the Renaissance view of hierarchy.
Ariel being a Daemon is not human period. Caliban, though earthy, is human.
Does this hierarchy work for us today? In a way, yes. During our lives we meet people
like all of those in the play. We meet people who grow and change and those who do
not. The characters of the play can be laid out on Maslow"s Hierarchy of needs in a
sensible way.
Beauty
Understanding
Prospero
Knowing
Esteem
Alonso, Antonio, Sebastian
Love
Belonging
Miranda, Ferdinand
Gonzolo/ Captain / Boatswain
Security
Adrian/Francisco
Stimulation}
Sex
}
Caliban/Stephano/Trinculo
Food
}
The second renaissance idea of import to the vision of life in the play is the use of white
magic as a tool for gaining communion with the higher states of being in the system and
eventually experiences the presence of god.
That white magic provides Prospero his power is simply an accepted convention of the
play. We must not only accept it, but we must exploit it.
I am without doubt reading into to the play a good part of my view of the world. But it
seems to me consistent with the more thoughtful criticism and well rooted in the text. Of
course, this picture will change as we become more exact, specific to moments of the
play.
SPECTACLE
In a Paris production, Peter Brook sought to eliminate the spectacle from The Tempest.
As a young, novice director, he had emphasized the spectacular elements of the
production. As a mature director, he wanted to bring out the glory of the words.
I feel both these approaches to the production are extremes, which reduce the play as a
work of art. When the spectacle over powers the play, meaning is lost. When a single
element like the language is given emphasis to the exclusion of others, there is the
danger of creating what Brook early in his career called Deadly Theatre.
One of the reasons for the success of Shakespeare in his own day, and perhaps in our
own, is his ability to make a play reach the various levels of cognitive complexity and
personal need present in segments of the audience. Hence three plot lines, one for the
complex intellectual, the romance plot for those interested in love and the farce plot for
the lowlier who need to laugh at the stupidity of others. I am convinced that as a person
of the theatre Shakespeare would have used what ever worked to keep his audience. If
he had laser technology, he would have found a non-gratuitous use for it.
What we seek is the balance of spectacle and focusing on the words and action when
that special quiet is needed to convey meaning.
The ISLAND
The script refers to the island as barren, rock, and sand. If the choice is rock and sand,
then, Prospero's magic has created a Zen garden. Another choice, which seems equally
valid, is treating the island as though it is a place of magic, and is what Prospero wants
each individual visitor to see it as. Gonzolo (I2) sees the island very differently than do
Antonio and Sebastian. Parts could be sand and rock. Parts could be lush. The whole
place could be an abstraction and be what the characters say it is. Lots of good choices
here.
The script calls for at least 3 to 5 five different locations.
The island can be on a turntable, which revolves to reveal "another place" on the island.
If so the areas all to way to the walls of the theatre want to be integrated with the floor
area of the thrust. I can see using them as staging areas for some scenes. We'll need
to sit with a floor plan of the Morgan and play with these options. I would like to use the
two aisles, which end at the vomitoria as entrances. The stage floor can extend up the
aisle if there is a safe way to do this. The floor could be a map that becomes real when
it reaches the island. It could be a map and the island is simply part of the map. The
island could extend through the audience as runways of sand, and we issue sand pails
and shovels to the audience. If the design integrates the audience and the actor space,
I think we'll have an easier time bringing the performance close to the audience.
I would like to have a high point on the stage from which to work vertical compositions.
The area outside of Prospero's cell needs to have a space where he can draw his magic
circle on the ground to capture the king's company. This will also serve as a dancing
space for the masque.
The SPECIAL EFFECTS:
The following are special effects, which will require the coordination of one or more
production area. We need to focus on solving these well before we start rehearsals.
Storm and Prospero's Appearance
Miranda's dream (ACT I Scene 1)
Cell reveal occurs in I2 and again in V
Magic Cape (see Costume notes)
Breaking Sword (optional)
Logs huge ones to move (?)
Appearing and Disappearing food
Harpy raid
Masque entrance/exit and playing area
Wild Animal Chase
Magic Circle
Breaking of Staff (optional)
The SOUND
The opening music should envelop the audience. Thereafter, the sound ought to
emanate from the Island or up stage of the island. All the music for the play will be
prerecorded and cued to the script, so all we need do is play it on the mark. We will
need to arrange for recording space and equipment. We can experiment with changing
Ariel’s voice just as we transform the physical appearance through costume and
makeup.
The LIGHTING
The lighting for the storm is a spectacular piece in that it should give the feeling of the
storms magical rather than natural origin. The script refers to the ship being alight with
St. Elmo's Fire. This might be the clue to the unusual quality of the light.
Can we light up the aisles without spilling into the audience?
Once we are into I2 the light can progress through the day, morning after the storm to
early evening. Perhaps a subtle but dynamic sunset behind the epilogue of the play.
The COSTUMES
Generalities One of the difficulties I have with Shakespearian productions is knowing who is who
when and who is related to whom in what way. Nancy did an excellent job in Comedy of
Errors with this. I always knew who was on stage and how they related to others. This
should be one of our goals.
There are three sets of characters, which match with the plot lines and some cross over
characters which need to fit with two sets of characters.
The characters, who live on the island want to be distinctive. They are of a magical
nature and their clothing is manufactured magically to Prospero's wishes. Given the
renaissance passion for study of the classics, Miranda and Prospero may have a Greek
touch to them.
The King's company is a second set of characters. They are upper class circa 1600
gentlemen and political figures. Antonio, Sebastian, Adrian and Francisco carry swords.
The King, however, might not as his consular Gonzolo might not. Perhaps their political
relationships and relative social status can be embodied in the clothing. The Boatswain
and Captain are of the King's service too.
The third set of characters is the servants in the farce plot. Although they are of the
King's household they are of a distinctly different class.
Ferdinand is both a part of the King's company and becomes part of the enchanted
residents of the isle. He ought I think to be a bit romantic, large R, in appearance as
well.
Caliban is an island character but bears a psychological tie with the lower class member
of the King's company.
These ties might be visualized. We need not be slavishly or very overtly dedicated to
this idea, but it can be an undercurrent.
Specialty Items Some special items are: Prospero's magic cape, Ariel's disguises, the servant's glittery
clothes, Prospero's city clothes and Caliban's Cape.
Jen has an idea for the cape, which makes it electric. The exterior is opaque but the
inside lights up when the arms are spread. This will require some material to diffuse the
light. We need to avoid having the cape appear to be flashing Christmas lights inside
the garment. Could the cape be put on a dimmer?
Yes, this is a serious idea; sometimes it’s hard to tell.
Ariel has two disguises: the water nymph who may enter through a spring trap; the
harpy, which might fly. Ariel's base costume will have to allow for flying.
The servant's glittery clothes, which they get half put on before they are chased off by
the invisible herd of wild animals, need to be in kind of bad taste glitzy rather than truly
elegant pieces. They should look fair to silly while running around half-dressed, one leg
on, and one off, tripping and stumbling about.
The script calls for Prospero to change into city clothes at the beginning of Act V.
Whatever we do should be put on over so as not to slow down the action.
Caliban's Cape needs to be large enough to cover both he and Trinculo with their feet
sticking out. It is not his but something given him by Prospero so it will look out of place,
a human vestige on his inhuman visage.
The last group of concern is the masque figures. Juno, Ceres, and Iris are allegorical
figures from mythology. They are typical of characters offered in the masques of Ben
Jonson at court. The costumes would then be symbolic of the qualities each represents.
Juno may make a spring trap entrance, and all three must have enough freedom of
movement to dance.
Individual characters Two individual characters offer special challenge.
Ariel:
Ariel is a spirit. Freedom is its major concern. Repeatedly through out the script Ariel is
asking for freedom. This seems to be a physical freedom. A freedom to move and do
as it pleases. Ariel flies, dances and commands the forces of nature to make music.
Expansive physical freedom may be the clue. Metaphysically, Ariel is also associated
with the elements of air, fire, and water. While Juno, Iris and Ceres might be costumed
as characters in a 16th century masque a la Inigo Jones designs, Ariel would not fit this
mold.
Caliban:
Caliban is human of design but certainly deformed. His design is more of shaping a
body than what it wears. He was sired by a devil and birthed of a witch, a delver in the
black arts. The script refers to him as smelling like a fish. (It would be fun if we could
make him smell fishy at least for the audience close to the playing space.) Thereafter,
the fish reference is invoked repeatedly. This need not mean he looks like a fish. At
another point, he is described as puppy headed. He has the morals associated with the
devil. He is completely self centered and not too bright. He sees a woman and is filled
with lust; so he rapes her. Use and throw aside. Food he gorges and leaves the
garbage lay. He would murder and torture as much for the pleasure it gives him as the
revenge. And revenge, paying even ten fold just retribution, is not enough.
Criticism indicates his name Caliban is derived from Cannibal, which at the time meant
savage without the gourmet illusions. Shakespeare was credited with having read
accounts of the new world Indians. Shakespeare is also credited with having read the
reports from Dutch explorers of Africa. The reports describe primitive man like animals,
which according to biologists are chimpanzees or great apes. This matches with the
puppy head-line cited above. Further, he has been seen as the medieval Wildman and
similar to the grotesques characters of the antimasque. (See cuttings from the book
Shakespeare's Caliban: A Cultural History attached.)
If Ariel is free of human bondage, is Caliban physically restricted? Does he compensate
for some deformity brought on by his crossed chromosomes? He appears to struggle
and yet is capable of quick animal movement when motivated.
Metaphysically, Caliban is associated with the element of earth. Is he the color of mud
and dank earth laced with mold, fungus? Can he sleep on the doorstep of his cave, and
we don't see him until he moves?
Prospero:
Prospero is not as old as he is often pictured. His daughter is 15. During the
Renaissance men often married late to much younger women as a matter of family and
political liaison. If Miranda were born when Prospero was 30, he would be 44. At the
outside, he is 50. This makes him fairly senior for the 17th century when surviving to
age fifty was a glory attained by few.
Also psychologically, he is making a life transition typical of philosophers, which he is, at
this age. He is coming to a point where he senses the interrelatedness of what were
once separate issues among them the pursuit of knowledge and good government, of
personal and social responsibility. Critics most often agree that Prospero is riding the
wave of a newfound insight, which carries him beyond the human desire for revenge.
Critics have often associated The Tempest as a play most personal to the author for a
number of reasons some of which are wholly spurious. If as critics say Prospero's
outlook is that of the author then a chronological as well as philosophical match is
evident.
At any rate, I'm convinced Prospero is more physically and mentally at a time of power in
his life than is traditionally played. This seems to offer a greater range of costume
opportunities than the traditional mage or old wizard outfit.
The PROPERTIES
I1 None at present
I2 Bedding for Miranda's sleep quarters
Prospero's Books, One special large magic book among the others.
Prospero's Staff
II1 None at Present
II2 Handmade Bottle/ A casket of liquor
Drift wood Caliban is gathering.
III1 Log big one with which Ferdinand struggles
III2 None at Present
III3 Food (see TRICKS above)
IV None at Present
V Chess pieces large enough to see. Could be fantastical sea creatures. The knight a
seahorse and the like. Must be hidden in cell and set during scene.
MUSIC
The music clearly needs to take its cue from the imagery present in the play. The
predominant image pattern and the device used by Ariel in casting magic is the music
composed of the natural sounds of the island. I asked our composer to work in this
direction.
Opening Storm: See Plot section under A Vision.
Page 39 I2/450-530
Should start as charming, mysterious, and romantic. Center section for song should
emphasize the melody for Ariel. The indication "Burden" at line 459 refers to a refrain or
chorus song from off stage. In our case, it is part of the recorded music. The music
following the song, until it fades at line 530, wants to be the magical romance vein again.
Page 47 I2/564
This needs to be only a short magic sound to which Prospero and execute a
clean quick gesture.
Page 65 II1/201-218
The music of casting a spell of sleep.
Page 73 II1/ 341-351
Wants to have some urgency to the awaking spell. Melody for song portion
needs to be clearly stated.
Page 77 II2/0--Magical thunder sound might be based on real thunder then given a twist. This is
used repeatedly as the play proceeds. Here it might be longer at match the scene
change.
Page 79 II2/38
Thunder again.
Page 79 II2/43-55
This needs to be a simple A Capella melody. No magic in the servants scrawny
bellowing.
Page 87 II2/184-191 or 193
Again an A Capella piece no magic about Caliban. Raucous drinking song of in
human quality.
Page 107 Iii/133-135
Another A Capella melody
Page 107 III2/136-166 plus
This is a tune that Trinculo likes. The text at line 165 refers to a tabor sound
quality to the piece. The music fades as it leads them off stage.
Page 110 III3/21-50
This is another enchantment. The lines say it is a marvelous sweet music.
Shapes perhaps light of projections dance and then the food appears and the shapes
cease to be.
Page 113 III3/69-101
This is a terrifying piece beginning possibly with thunder, then, playing under the
dialogue and ending with terrifying screech and the harpy's flight and disappearance.
Page 125 IV1/ 65-158
This is more directly period flavored music of the masque. It begins being played
under the entrance effect, underscores the dialogue, and then, converts to a song for
Juno and Ceres. Then it underscores dialogue in a dance tempo. When Prospero
speaks the music may hold even a single note then dissolves in to confusion while the
masque characters exit.
Page 139 IV1/281-295 plus
Terrifying animals and sounds chase the servants and Caliban from the stage.
Fades as they run away.
Page 149 V1/65-104
Begins as enchantment music to pull the King's company into Prospero's magic
circle. Ends with Ariel's song of freedom.
Page 157 V1/199
Accompanies a broad opening gesture.
Page 165 V1/308
Terrifying animal chase music returns.
Page 171 epilogue 20
Curtain Call Music plays under it and lingers while the audience leaves.