2. The Tempest in context
The Tempest alludes to the shipwreck
of the Sea Venture on Bermuda
(1609), which resulted in the crew
and passengers spending nine
months in Bermuda, during which
time one faction attempted mutiny.
3. History
Tempest was probably written in the later part of 1610 or
1611; it was acted before King James on Nov. 1, 1611.
The plot of the play appears to be wholly Shakespeare's
invention; he used no direct historical sources.
In May 1609, nine ships carrying 500 colonists set sail from
England to reinforce the settlers at the colony of Jamestown
in the New World, in what is now Virginia.
In a storm, the ships were driven to the Bermudas, where a
number of the travelers were stranded for nearly a year.
4. History
Shakespeare almost certainly knew of the controversy
surrounding the ownership of Virginia.
Some argued that the natives settled in Virgina owned
the land, and that European settlers had no right to take
it from them.
The Tempest gives both sides of the controversy.
Shakespeare makes Caliban's claim to the island
plausible, but also shows him as depraved; and the
"colonists" have among them good men along with
drunkards and murderers.
5. Themes
The Tempest addresses all of the usual themes found in
Shakesperian comedies:
guilt and repentance;
the finding of the lost; forgiveness;
the renewal of the world;
and the benevolence of unseen powers.
ALSO: characters in the play have symbolic value, and
that many of their actions are related to the idea of
control.
6. Theme
The Tempest concerns itself with those human achievements
that result from control of the imagination, producing works
of art which have at their strongest a power of
transfiguration, a fresh revelation of the wonder of creation.
The power of imagination is emphasized by its relationship
to memory.
Shakespeare returns to illusion vs. reality. He is performing a
balancing act of opposites, and he uses the spectacle and the
illusions to heighten the tensions between them
7. Theme
The romance element of the play, as a whole, is
countered by the moral seriousness of the play.
There is a balancing of desire against virtue, lust against
love, and discipline against passion--in all things, not
just for the lovers
8. Character
Prospero
Magical, wonderful ruler of all.
He has been exiled on the island with his daughter,
Miranda
He is partly dependent on Fortune, and partly master of
it
He is human, but has superhuman powers and is the
“controlling agent” of the play. He creates a sense of
mystery and awe.
9. Character
Miranda
Prospero’s young, beautiful naïve daughter
She is the perfect audience for her father: Open Minded,
willing to be impressed, full of wonder,
She is eager to believe in all that she meets.
Her innocence is full of pathos --- is she not as beautiful
as she appears.
Her innocence, but mature wisdom are both part of the
truth and create a harmony that doubles the effect of
each.
10. Caliban
He is the symbol of all that is wrong with Colonialism
Used as a tool to show contrasts:
Childish, yet gruesome
Emotional, yet aloof and outcast
Savage yet traditional
He is measured for art and civilization
Also a stark contrast from Ferdinand, who swears he will
not let lust overcome his honor.
11. Shakespeare’s Method
He balances comic and serious and creates analogies
which are unified through similar ideas
“Delicate” used for Ariel, weather and air
“Earthy” for Caliban
Confusion between waking and sleep
The Play moves from storm to calm; through
punishments and restorations of faith
But the overriding metaphor is CHANGE
12. Change
All is changed or transformed.
Ariel speaks of it and has physical transformation
The maturity and loss of innocence that is shown
through Miranda
Caliban, reveals this thread by the fact that he CAN’T
change, yet words like “dissolve”, “fade” and “blend” are
common.
Shakespeare uses all of this transition of things side by
side to show with simpler feeling that man’s life is an
illusion or a dream….
13. Summary of Intro
Prospero is often seen identified as Shakespeare as
A harassed overworked person of import
One who is constantly aware of how much “time” is left
A man who sees that all that he thought was real and
good can change with Fate’s whim
The play asks us to consider what we know to be true
about our lives, through character, through love and
lust, through moral exploration and through the politics
of change.
14. Post-Colonial Theory & The
Tempest
During the 15th Century until the 19th
Century (1400s-1800s) Europe began its
first colonial wave.
The earth was being “discovered” and
there were myths about the “cannibals”
of the Carribean, and distant utopias
15. Post-Colonial Theory & The
Tempest
With Caliban, Shakespeare may be
offering an in-depth discussion into the
morality of colonialism.
Caliban is also shown as one of the most
natural characters in the play, being very
much in touch with the natural world
16. Post-Colonial Theory & The
Tempest
This new way of looking at the text explored
the effect of the coloniser (Prospero) on the
colonised (Ariel and Caliban).
Ariel is generally viewed by scholars as the
good servant, in comparison with the
conniving Caliban—a view which
Shakespeare's audience may well have
shared.
17. Post-colonial theory in The
Tempest
Aspects of colonialism:
Europeans’ appropriation of and exploitation of
foreign territories
Europeans’ subordination of indigenous
populations (such as the different treatment of
Caliban and Ariel)
Europeans’ claims that they are colonizing to bring
Christianity and civilization (Prospero’s taking credit
for the fact that he has taught Caliban how to speak
and the fact that he has liberated Ariel)
18. Post-colonial theory in The
Tempest
Caliban has been enslaved, as was the case of
native people being "colonized" by conquering
nations.
He does not realize that his own choice of leader
could be just as destructive.
Post-colonial Africa is dealing with this still,
having ousted nations of Europe only to find
themselves in civil war…. Comfort exceeds
freedom.
19. Colonizing Caliban
Caliban seems to others more monster than man
He is seen this way to show the encounter between an
almost completely isolated, “primitive” culture and a
foreign, “civilized” one.
20. Gonzalo’s Idea of Governance
Gonzalo’s fantasy about the plantation he would
like to build on the island is a remarkable poetic
evocation of a utopian society
This vision indicates something of Gonzalo’s own
innocence.
Gonzalo would do away with the very master-
servant motif that lies at the heart of The Tempest.
21. Stephano’s Idea of
Governance
Stephano muses about the kind of island it would be if
he ruled it—“I will kill this man [Prospero]. His
daughter and I will be King and Queen . . . and Trinculo
and thyself [Caliban] shall be viceroys” (III.ii.101–103)
Stephano wants to employ a totalitarian type of regime.
This contrasts significantly with Gonazalo’s vision.
Totalitarian: where an individual dictator monopolises
political power and controls every element of society.
22. Intertextual Theme
In this play are themes of:
love at first sight,
magic as a controlling device,
revenge, usurpation &
ambition.
Shakespearean plays are mainly concerned with the
clash between a notable individual and his / her
society
23. Intertextual Theme
Order vs. Disorder
Chaos vs. Calm
Shakespeare uses ‘the supernatural’ to reveal the inner
desires and / or fears of his characters
24. Doubles: A Predominance
The Tempest builds its rich aura of magical and mysterious
implication is through the use of doubles: scenes, characters,
and speeches that mirror each other by either resemblance or
contrast.
Caliban/Stephano/Trinculo double and parody what
Prospero does throughout the play.
The power-hungry servants Stephano and Trinculo thus
become rough parodies of the power-hungry courtiers
Antonio and Sebastian. All four men are now essentially
equated with Caliban, who is, as Alonso and Antonio once
were, simply another usurper.
25. The Feminist Critique
Because of the small role women play in the story in
comparison to other Shakespeare plays, The Tempest has
not attracted much feminist criticism.
It has been argued that Miranda is typical of women in
a colonial atmosphere, has completely accepted the
patriarchal order.
The less-prominent women mentioned in the play are
subordinated as well, as they are only described through
the men of the play.
26. The Feminist Critique
Miranda’s position in the play is unique in that she is
central, despite showing “old-fashioned” and
stereotypical female qualities.
Not only is she used as a physical form, but also is
reminded of her “place”.
Prospero actually uses her as a prize to attain his goal of
vengeance. He attempts to control her fate and he
objectifies her sexual purpose.
27. The Feminist Critique
Through her, we see society’s view that women are
physical/sexual tools. Shakespeare is making commentary
with this.
Yet, she is powerful:
Teaches Caliban
Refuses Caliban and his advances
Her actions, show the desire to end oppression and
exploitation as she understands these things are inherently
wrong.
Will impact the plotline with her relationship and choices as
connected to Ferdinand.
