By William Shakespeare
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Alonso- King of Naples
Sebastian- Alonso’s brother
Prospero- the rightful Duke of Milan
Antonio- Prospero’s brother, the usurping
Duke of Milan
Ferdinand- son of King Alonso
Gonzalo- an honest, old counselor
Adrian and Francisco-lords
Miranda-daughter of Prospero
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Caliban-a savage and deformed slave
Ariel-an airy spirit
Trinculo-a jester
Stephano-a drunken butler
Master-of a ship
Boatswain and Mariners of the ship
Iris, Ceres, Juno, Nymphs, Reapers-spirits
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An Italian word
meaning favorable or
propitious
He is the legitimate
Duke of Milan.
His books give him
power (magic)—only
effective on the island
(or in the theater)—
cause of banishment,
but also source of
power to overcome
banishment.
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Clues from the play:
Alonso’s ship is bound for Naples in Italy when it wrecks
on an island.
 Scholars have speculated that this Mediterranean island
could be Pantalaira (Theodor Elze, 1889) or Corfu
(William Bell, 1861)
 Shakespeare had access to documents about the
exploration of the new world, which may have been
possible influence for the play:
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 “A True Repertory of the Wreck and Redemption of Sir
Thomas Gates, Knight” (William Strachey, 1610) and
“Discovery of the Bermudas otherwise Called the ‘Isle of
Devils’” (Silvester Jourdain, 1610)
 If Shakespeare was influenced by these sources, then the
Island may have been Bermuda.
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Shakespeare would have known of the various
accounts of the shipwreck of the Sea Venture on the
coast of Bermuda in July 1609:
Nautical language at the beginning of the play—dramatic
storm with shipwreck off the coast of an “uninhabited
island”
 Geographical references in the play place the island in
both the Mediterranean and Atlantic—course followed by
King Alonso after the celebration of his daughter
Claribel’s wedding to the King of Tunis is back across the
Mediterranean toward Naples
 Ariel refers to Bermuda; Caliban mentions “Setebos,”
which comes from Patagonia.
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A word derived from
the Latin verb miror,
meaning “she who is
to be wondered at or
admired.”
She is next in line to
Prospero’s dukedom.
The only men she has
ever seen, until the
shipwreck, are
Prospero and Caliban.
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Often considered an
anagram of “cannibal”
Was brought to the
island by his deceased
mother, the Algerian
witch Sycorax
Attempted to rape
Miranda
Confined to a rock and
forced to gather fuel for
Prospero’s fire
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Enigmatic appearance:
Described as “earth,” “tortoise,” “hag-seed,” “fish,”
“monster,” “moon-calf,” “puppy-headed,”
“misshapen,” and a “thing of darkness.”
 Despite these descriptions, he speaks some of the
most beautiful lines in the play and in several scenes
is acknowledged as having human features, feelings,
and aspirations.
 Hatches a conspiracy with Trinculo and Stephano to
take control from Prospero by killing him, burning
his books, and taking Miranda as their queen.
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In his essay "On Cannibals,"
Montaigne continually asserts
that what is natural is
synonymous with what is good,
and that Nature herself ought to
be the light by which human
action is guided.
Presents an idealized
characterization of the natives of
the New World; perceives
"cannibals” as men who live the
way Nature intends them to
live, unadorned and unfettered
by modern civilization.
Boldly asserts that in the
character of these people, all of
"the true, most useful, and
natural virtues and properties
are alive and vigorous"
(O’Toole).
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Montaigne’s essay is thought to have inspired
Shakespeare’s characterization of both Caliban and
Ariel.
Both authors explore the relationship between
human nature and modern civilization.
Contrast: Montaigne idealizes the natives;
Shakespeare characterizes Caliban as brutish.
Is Shakespeare attacking Montaigne’s view in the
essay? The characterization of Ariel makes this
confusing.
Both characters are “oppressed” or “colonized” by
Prospero.
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A word glossed in the
Geneva Bible as “lion of
God,” but which probably
just denotes “airiness.”
In the service of Prospero
who freed him from the
tree where he was
imprisoned by Sycorax
Prospero promises him
freedom (return to the
elements ) if he performs
all of Prospero’s magical
commands.
Often interpreted as
hermaphroditic
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A name probably
derived from the Italian
trincare, to drink.
A jester—a fool
employed by the royal
house for entertainment
Part of a mockconspiracy (Caliban)
with Stephano (the
butler)to overtake
Prospero, but he is more
interested in the alcohol
that has been saved
with the ship
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Earliest recorded performance was at court
before King James I on “Hallomas nyght”
(Nov. 1, 1611).
May 20th 1613: play was performed again for
the King during marriage festivities for his
daughter.
The King’s Men (acting troupe under King
James) probably performed for a wider public
at Blackfriars Theatre or The Globe.
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First appearance in print
was seven years after
Shakespeare’s death—
published as the opening
title in the First Folio of
1623.
Because of its placement,
the play is considered
Shakespeare’s swan song.
Besides The Comedy of
Errors, it is Shakespeare’s
shortest play.
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Considered both a crowning and inaugural
work:
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Placement in the First Folio
Last play Shakespeare writes alone (writes Henry
VIII and The Two Noble Kinsmen after this in
collaboration with other playwrights)
Identifications between Prospero and Shakespeare
(some scholars disagree)
Offers some of Shakespeare’s most profound
meditations on the cycles of life, a sense of ending
and beginning, death and regeneration, and bondage
and release.
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The play was originally placed in the comedy
category, but many modern readers do not
agree with the placement.
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Comedic traits: otherworldly setting, romantic
playfulness, moves toward reconciliation and
marriage
Tragic traits: seriousness of tone, suffering of all
characters, exile, enslavement, and morality
Labeled “tragicomedy” or “romance”
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Origins:
Shakespeare began writing his Romances about the
same time that his acting company (The King’s Men)
acquired Blackfriars Theater (1608)—risky business!
 He wrote with Blackfriars in mind:
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 Best playwright of the company
 Knew the actors
 Incorporated more musical numbers (masques)-
previous acting troupe was an all boy choir
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“Romance” was not a term used to classify a play in
Shakespeare’s time:
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Modern term “romance”- a hybrid play of comic and tragic
elements (developed and popularized by Francis Beaumont
and John Fletcher between 1607 and 1613).
Shakespearean Romances:
 Pericles (1607-1608)- not included in SH’s works until 1664
 Cymbeline (1609-1610)- originally published as tragedy
 The Winter’s Tale (1610-1611)- originally published as comedy
 The Tempest (1611)- originally published as a comedy
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Similar to comedy:
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Includes a love-intrigue
Culminates in a happy ending
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Different than comedy:
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 Muted tone of happiness (joy mixed with sorrow),
rather than exuberance
 Marriage--focus on healing rifts within the total human
community—not about the happiness of the bride and
groom
 Focus on middle-aged and older protagonists rather
than just youth
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Similar to tragedy:
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Serious plot line (betrayals, tyrants, usurpers of thrones)
Serious themes
Darker in tone than comedy
Different than tragedy:
 Time seems to be reversible (second chances and fresh
starts), rather than permanently tragic
 Sense of destiny from Divine Providence rather than Fate
 Reconciliation and restoration rather than alienation and
destruction
 Concerned with forgiveness rather than revenge
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Characters respond to situations and events rather than
provoking them
Emphasis of the cycle of life and death
Focus on the archetypal character and human
experience
May seem shallow and one-dimensional
Not meant to be psychologically credible
Experiences are symbolic beyond their own lives
Emphasis on Nature rather than individual human
nature
Larger than life characters
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Supernatural elements
Romance is unrealistic
Illogical plots (cause and effect ignored)
Action seems to be leading to tragic catastrophe until a
“trick” brings the conflict to a harmonious resolution.
Ending may seem contrived (similar to deus ex machina)
Realism is not the point—Romance requires us to
accept the unrealistic nature of the plot.
“While tragedy emphasizes evil, and comedy
minimizes it, romance acknowledges evil—the reality
of human suffering” (Schwartz)
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An enveloping conflict that may cover a large
time span and is resolved at the end of the play
Happy endings to potentially tragic situations
Themes of transgression, redemption, villains
who are forgiven rather than punished
Improbable plots
Characters of high social class
Rural and court settings
Love a virtuous hero and heroine
“pure” and “gross” loves often contrasted
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Most of Shakespeare’s plays have been adapted
from historical or literary texts, but not The
Tempest.
Possible influences:
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Virgil’s Aeneid
Ovid’s Metamorphoses
Montaigne’s “Of the Cannibals” (“On Cannibals”)
Contemporary accounts of the shipwreck of the Sea
Venture
Antonio Pigafetta’s account of Magellan’s
circumnavigation of the world
The Bible (Isaiah XXIX)
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Earlier plays featuring magicians (Friar Bacon and
Doctor Faustus)
Histories of Renaissance Italy
Prose romances from Italy, France, and Spain (often
featured shipwrecks, sorcerers, monsters, and longdeferred marriages between knights and maidens)
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Father and daughter
Husband and wife
Older brother and younger brother
King and subject
Master and servant
Colonizer and colonized
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Both feared and scorned in the Middle Ages
and the Renaissance
The magician was estranged from the populace
by passion for learning
Support for numerology, alchemy and
astrology was found in the words of ancient
texts
Briefly seen as intellectual pursuit
Seen as a tool that was no longer needed
(Prospero gives up his magic/exile at the end
of the play)
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Where is the island on which the play is set?
How are we supposed to feel toward Caliban?
What are we to make of the absence of women?
How does the balance of power change with
the ship’s return to Milan?
What is the source of Prospero’s power?
Study of liberal arts and books?
 Magical book, robe, staff, and Ariel (spirits)?
 Ability to enchant with words and images?
 Tyrannical control over those he has placed in
position of weakness?
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Is the unnatural behavior of various characters
reflective of a symbolic argument about human
nature?
Are the characters of comic relief serving as
foils to the protagonists?
Is marriage a metaphor?
Does Caliban represent colonial powers? Ariel?