About The Tempest
Records indicate that The Tempest was performed before James I on November 1, 1611, but there may also have been earlier performances. The Tempest was again performed during the winter of 1612-13 to celebrate the marriage of Princess Elizabeth, the daughter of King James I. But this play was not printed until it appeared for the first time in the 1623 Folio.
It is relatively easy to date The Tempest's composition, since Shakespeare used material that was not available until late 1610: letters from the new Virginia colony in Jamestown and an account of a 1609 shipwreck off Bermuda. Unlike many of Shakespeare's other plays, The Tempest, is not drawn from another, earlier literary work. There is no formal source, except for the ideas that the author might have found in reading accounts of the Bermuda shipwreck or the stories emerging from the new colonies, which had been recently established in the New World.
The Tempest as a Romance
The Tempest is a difficult play to categorize. Although it ends in a wedding and thus might be defined as a comedy, there are many serious undertones that diminish the comedic tone. Instead, most modern anthologies of Shakespeare's works list this play as a romance. This separate division of romances includes what are generally labeled as "the problem plays." Along with The Tempest, the romances include Pericles, Cymbeline, The Winter's Tale, and The Two Noble Kinsmen, plays of Shakespeare's later years. These plays were written between 1604 and 1614, just prior to his retirement, when Shakespeare was composing plays that combined romance with some of the darker aspects of life. The romances are plays with the potential for tragedy but in which these tragic elements are resolved.
With The Tempest, Shakespeare turns to fantasy and magic as a way to explore romantic love, sibling hatred, and the love of a father for his child. In addition, The Tempest examines many of the topics that Shakespeare had focused on in his earlier plays, topics such as the attempts to overthrow a king (Macbeth, Richard II, and Julius Caesar), nature versus nurture (The Winter's Tale and King Lear), and innocence (Twelfth Night).
Although The Tempest provides the first masque within a play, the idea of a play within a play had occurred in earlier works, such as Hamlet and Much Ado About Nothing. In many ways The Tempest serves as a culmination of Shakespeare's earlier work, since in this play, he brings many of these earlier ideas together in one work.
Historical and Cultural Context
By the beginning of the seventeenth century, the threat of the Black Death (the plague) was diminishing, but it still continued to be a seasonal problem in London, which was overcrowded and suffered from poor sanitation and too much poverty.
A hundred years earlier, Henry VII had formed alliances with neighboring countries and trade was flourishing in London. But the coming of trade changed the face of England. Instead of a country composed largely of an agrarian culture, England, and especially London, became an important center of trade. There was more wealth, and the newly rich could now afford to escape the congestion of the city. There was a need for large country estates, and so more and more farm land was enclosed.
Displaced rural families fled to the larger cities, where crowding, unemployment, and disease increased with the increase in population. As city life flourished, there was a resulting nostalgia for the loss of country life. In response to this sentimentality, England's poets began to compose poetry recalling the tranquility of rustic life.
Early in the seventeenth century, the masque that comprises much of the fourth act of The Tempest was becoming a regular form of court entertainment. Masques were elaborate spectacles, designed to appeal to the audience's senses and glorify the monarch. Furthermore, their sheer richness suggested the magnificence of the king's court; thus they served a political purpose as well as entertained.
It is important to remember that the masque fulfilled another important function, the desire to recapture the past. As is the case with most masques, Prospero's masque is focused on pastoral motifs, with reapers and nymphs celebrating the fecundity of the land.
The masques, with their pastoral themes, also responded to this yearning for a time now ended. The country life, with its abundance of harvests and peaceful existence, is an idealized world that ignores the realities of an agrarian life, with its many hardships. The harshness of winter and the loss of crops and animals are forgotten in the longing for the past.
Elaborate scenery, music, and costumes were essential elements of earlier masques, but during the Jacobean period, the masque became more ornate and much more expensive to stage. Eventually the cost became so great — and the tax burden on the poor so significant — that the masques became an important contributing cause for the English Revolution, and ultimately, the execution of Charles I.
Structure of The Tempest
There is really very little plot in The Tempest. There is the love story, and then there is the story of two younger brothers who covet their older brothers' titles and possessions. And finally, there is the story of Caliban's plot to murder Prospero. But none of these plots are given much attention or substance; instead, the play is about the complexities of human nature and about reminding the audience that the division between happiness and tragedy is always fragile and must be carefully maintained.
Although The Tempest ends with the promise of a wedding, it could just as easily have ended with tragedy. In this play, there are two murder plots and a betrayal to resolve. In a tragedy, these might have ended with the stage awash in blood, as in Hamlet, but in The Tempest, Prospero's careful manipulation of all the characters and their plans also controls the direction of the action. Prospero's avoidance of tragedy reveals his character's decency and contradicts some critics' arguments that he is an amoral demigod exploiting the natural inhabitants of this island.
The Tempest is unique in its adherence to the three unities. In his Poetics, Aristotle argued that unity of action was essential for dramatic structure. This meant that a dramatic work should have a clear beginning, middle, and end. The unity of time is derived from Aristotle's argument that all the action should occur within one revolution of the sun — one day. The unity of place developed later and is a Renaissance idea, which held that the location of the play should be limited to one place. These unities added verisimilitude to the work and made it easier for the audience to believe the events unfolding on stage.
Shakespeare rarely used the three unities, but he uses them in this play, something he has only done in one other play, The Comedy of Errors. All the events occur on the island and within one brief three-hour period. Shakespeare needed the three unities, especially that of time, to counter the incredulity of the magic and to add coherence to the plot.
The Tempest, although it is one of Shakespeare's shortest plays, still maintains the integrity of the five-act structure. In fact, most Elizabethan theatre adheres to the five-act structure, which corresponds to divisions in the action. The first act is the Exposition, in which the playwright sets forth the problem and introduces the main characters. In The Tempest, the first act establishes the nature of Antonio's betrayal of Prospero, and it explains how Prospero and Miranda came to live on the island. This first act also opens with a violent storm, which establishes the extent of Prospero's power. Most of the play's remaining characters also make an appearance in this act.
The second act is the Complication, in which the entanglement or conflict is developed. In The Tempest, the conspiracy to murder Alonso is developed, which establishes that Antonio is still an unsavory character. In addition, the audience learns more about Caliban, and Stefano and Trinculo appear, allowing the groundwork for a second conspiracy to be formed.
The third act is the Climax; and as the name suggests, this is when the action takes a turning point and the crisis occurs. In a romance, this is the point at which the young lovers assert their love, although there may be complications. It is important that the way to love not be too easy, and so in The Tempest, Prospero has forbidden contact between Miranda and Ferdinand, although the audience knows this is only a pretense. In this act, the conspiracy to murder Prospero is developed, although the audience knows that Ariel is listening, and so there is no real danger. And finally, the essential climactic moment occurs in this act when Prospero confronts his enemies at the ghostly banquet.
The fourth act is called the Falling Action, which signals the beginning of the play's resolution. In this act, the romance between Ferdinand and Miranda is acknowledged and celebrated with a masque, and Prospero deals with the conspiracy to murder him by punishing Caliban, Stefano, and Trinculo.
The fifth act is called the Catastrophe, wherein the conclusion occurs. As the name suggests, this act brings closure to the play, a resolution to the conflict, and the plans for a wedding. As the play draws to a close, Prospero is victorious over his enemies, Ferdinand is reunited with his father, Antonio and Sebastian are vanquished, and Caliban regrets his plotting.
Literary Devices in The Tempest
Students of Shakespeare's plays quickly come to appreciate the literary devices that the playwright employs in constructing his plays. For example, most Shakespearean plays contain soliloquies, which offer a way for the playwright to divulge a character's inner thoughts. The soliloquy requires that the character must think that he is alone on stage, as he reveals to the audience what he is really thinking. In The Tempest, the soliloquy is not used as often as it would be in a tragedy, because the dramatic moments are not as intense. However, Prospero still uses this device, most notably in Act V, when he tells the audience what he has accomplished with the help of magic and that soon he will no longer have need for such devices.
A soliloquy is different from a monologue, in which a character speaks aloud his thoughts, but with other characters present. Shakespeare also frequently employs the aside, in which the character addresses the audience, but other characters do not hear these words. There is a suggestion of conspiracy in the aside, which allows the audience to learn details that most of the characters on stage do not know. For example, Miranda uses an aside in Act I, Scene 2, when she confides to the audience her concern for her father. The aside is usually assumed to be truthful.
Shakespeare's Elizabethan language can sometimes intimidate his audience. Shakespeare wrote most of The Tempest in verse, using iambic pentameter. Iambic pentameter is a literary term that defines the play's meter and the stresses placed on each syllable. In iambic pentameter, each complete line contains ten syllables, with each pair of syllables containing both an accented syllable and an unaccented syllable. Many Renaissance poets used iambic pentameter because the alternating stresses create a rhythm that contributes to the beauty of the play's language.
Shakespeare also included prose passages in his plays, with prose lines being spoken by characters of lower social rank. Shakespeare uses this device to reveal the complexity of Caliban. In The Tempest, Caliban speaks prose when he is conspiring with Stefano and Trinculo, but when Caliban speaks of the beauty of the island, he speaks in verse.
Shakespeare's Elizabethan language can be difficult to understand at first. Use of a Shakespearean glossary and the Oxford English Dictionary are two sources that can help in understanding the language, but the biggest assist comes with practice. Reading and listening to Shakespeare's words becomes easier with practice. Reading aloud also helps in becoming familiar with early modern English. With time, the unfamiliar language and the rhetorical devices that Shakespeare employed in writing his texts cease to be strange, and the language assumes the beauty that is hidden within it.