Characters in the Play

Transcription

1 The Tempest Alonso (the King of Naples), his brother Sebastian, his son Ferdinand, Antonio's councilor Gonzalo, and Antonio (brother of Prospero, the usurped Duke of Milan) are on a ship with sailors caught in a tempest at sea. The storm scares all of the nobleman to abandon ship, fearing it split in half. When the storm subsides, the exiled Duke Prospero and his daughter Miranda appear on the island they have inhabited for 12 years. Miranda tells him she saw the ship crack in the storm, but Prospero calms her, explaining it was a magical illusion he created. He explains he was once Duke of Milan, but his brother Antonio took over when he began deeply studying literature, eventually teaming with Alonso to banish Prospero and Miranda and abandon them at sea, where they luckily landed on the island and survived since Gonzalo had given Prospero money, clothes, and his sorcerer books in the boat. Now, he explains, his enemies have sailed by, so he created the tempest to shipwreck them. He causes her to sleep and calls his spirit Ariel to come. Ariel verifies that the nobles are safe on the island, while their ship is deep in a hidden harbor with the crew asleep; further, the remainder of the fleet has returned to Naples believing Alonso is dead. We learn that Prospero rescued Ariel from the "foul witch" Sycorax and will free Ariel himself when his plans for the nobles are complete. Sycorax had imprisoned Ariel in a tree for refusing to do her evil, then, after her death, Prospero freed him. She also had a deformed son, Caliban, whom Prospero commands as his slave (Note that Caliban anagrams from a slightly misspelled canibal). Hidden, Ariel sings a song and scares Alonso's son Ferdinand as he wanders around the island, eventually meeting Prospero and Miranda. Both Miranda and Ferdinand immediately fall in love, but Prospero (although approving) pretends to be gruff and critical toward Ferdinand. In another part of the island, Alonso, Sebastian, Antonio, Gonzalo, and the lords Adrian and Francisco are wandering. Alonso fears Ferdinand is dead, but Gonzalo assures him he may be living, since they are living. Ariel causes all to sleep, except Sebastian and Antonio. Then, Antonio convinces Sebastian to kill Alonso, so Sebastian will become heir to Naples' throne. Prospero, though, has Ariel awaken Gonzalo to warn Alonso. Elsewhere, Caliban is gathering wood when the jester Trinculo, then the drunkard Stephano (both from the ship) come upon them. Caliban takes Stephano to be a god (the Man in the Moon), and vows to serve him. At Prospero's cave, Miranda meets Ferdinand carrying logs for her father. Here they exchange their love for one another and vow to be married. Prospero, watching in secret, approves. Elsewhere, Caliban convinces Stephano to kill Prospero and seize Miranda so they can be king and queen. Ariel, though, overhears and will warn Prospero. Alonso and others are wandering when Ariel and other spirits bring in a table of food. Before they can eat, Ariel appears and takes the food away, then informs Alonso, Sebastian, and Antonio that it is their evilness toward Prospero that has caused their current sorrows (shipwreck, loss of Ferdinand, etc.). At the cave, Prospero presents Miranda to Ferdinand, though instructing him not to "break her virginknot" until after they are properly married. He celebrates by presenting them with a show by the spirits Iris, Ceres, and Juno. However, Caliban, Stephano, and Trinculo show up to kill Prospero. He, however, creates a distraction with extravagant garments, then sends the fairies after them like hounds hunting foxes. In the final act, Prospero brings the nobles to his cell and reveals himself to them. He forgives Alonso, Antonio, and Sebastian then reveals that Ferdinand is safe with Miranda. Alonso restores Prospero's dukedom and Prospero promises to return all home safely to Italy. As for Caliban, he promises to mend his ways while Stephano and Trinculo repent for plotting to kill Prospero.

2 Characters in the Play Alonso - King of Naples Sebastian - His Brother Prospero - The rightful Duke of Milan Antonio - His Brother, the usurping Duke of Milan Ferdinand - Son to the King of Naples Gonzalo - An honest, old councillor Adrian and Francisco - Lords Caliban - A savage and deformed slave to Prospero Trinculo - A Jester Stephano - A drunken Butler Master - of the ship Boatswain Mariners Miranda - Daughter to Prospero Ariel - an airy Spirit Iris, Ceres, Juno - Spirits

3 Themes of the Play Focusing on Prospero's evocative surrender of magic in the play's final scene, traditional critics regularly offered an impressionistic and subjectivist interpretation of the play as Shakespeare's "farewell to the stage" preceding his retirement though it is certainly not his "final play", as has sometimes been claimed. The available evidence indicates that Henry VIII and The Two Noble Kinsmen were written later, though both are regarded as collaborations. One author notes: "Why Shakespeare observed the three unities in The Tempest is not known. In most of his other plays, events occur on several days and characters visit numerous settings. Some scholars have suggested that, because The Tempest contains so much fantasy, Shakespeare may have wanted to observe the unities to help audiences suspend their disbelief. Others have pointed to criticism that Shakespeare received for ignoring the unities; they say he may have wanted to prove once and for all that he could follow rules if he felt like it." Kingship The concept of usurping a monarch occurs frequently throughout the play: Antonio usurped Prospero; Caliban accuses Prospero of having usurped him upon the latter's arrival on the island; Sebastian plots to kill and overthrow his brother the King of Naples; Stephano has designs to depose Prospero and set himself up as "king o'the isle." As such, the play is simultaneously concerned with what constitutes virtuous kingship, presenting the audience with various possibilities. In the twentieth century, post colonial literary critics were extremely interested in this aspect of the play, seeing Caliban as representative of the natives invaded and oppressed by imperialism. The themes of political legitimacy, source of power, and usurpation arise in the second act as well. While Prospero firmly believed that the only legitimate power was the power that came from one's knowledge and hard work, Antonio believes that the power he usurped from his brother is legitimate, because he deserved it more and had the skill to wrestle it away. "Look how well my garments sit upon me, much feater than before," Antonio brags to Sebastian; Antonio's lack of remorse over his crime, and his arrogant claim that his power is just because he uses it better, foreshadow a confrontation with his brother Prospero, and an eventual fall from this ill-gained power. Although Caliban asserted his natural authority over the island in Act 1, Prospero's usurpation of Caliban's power is negated by Caliban's portrayal as a savage seeking a new master. Caliban proves Prospero's view of him, as a natural servant, to be true, when Caliban immediately adopts Stephano as his new master upon Stephano's sudden appearance. Caliban, is seen as a "monster," not only by Prospero, but by Trinculo and Stephano also; modern interpretations cast their contempt for dark-skinned Caliban as analogous to Europeans' view of "natives" in the West Indies and other colonies, and Shakespeare's treatment of Caliban has come to provide some interesting social commentary on colonization although it is unlikely that Shakespeare's contemporary audiences viewed the character in this way and debatable as to the author's original intent. Caliban's actions and activities lend credence to the view that the original intent was for more of a thematic monster than an allegorical figure.

4 The Theatre The Tempest is overtly concerned with its own nature as a play, frequently drawing links between Prospero's Art and theatrical illusion. The shipwreck was a "spectacle" "performed" by Ariel; Antonio and Sebastian are "cast" in a "troop" to "act"; Miranda's eyelids are "fringed curtains". Prospero is even made to refer to the Globe Theatre when claiming the whole world is an illusion: "the great globe... shall dissolve... like this insubstantial pageant". Ariel frequently disguises himself as figures from Classical mythology, for example a nymph, a harpy and a Ceres, and acts these in a masque which Prospero creates. Early critics saw this constant allusion to the theatre as an indication that Prospero was meant to represent Shakespeare; the character's renunciation of magic thus signalling Shakespeare's farewell to the stage. This theory has fallen into disfavour; but certainly The Tempest is interested in the way that, like Prospero's "Art", the theatre can be both an immoral occupation and yet morally transformative for its audience. Magic Magic is a pivotal theme in the Tempest, as it is the device that holds the plot together. Prospero commands so much power in the play because of his ability to use magic and to control the spirit Ariel, and with magic, he creates the tempest itself, as well as controlling all the happenings on the island, eventually bringing all his old enemies to him to be reconciled. Magic is also used to create a lot of the imagery in the play, with scenes such as the masque, the opening scene, and the enchanting music of Ariel. It is also believed that magic may in fact refer to Shakespeare's writing, hence the "drowning" of the magic book can be interpreted as Shakespeare retiring his play writing. Colonialism In Shakespeare's day, most of the world was still being "discovered", and stories were coming back from far off Islands, with myths about the Cannibals of the Caribbean, faraway Edens, and distant tropical Utopias. With the character Caliban (whose name is roughly anagramatic to Cannibal), Shakespeare offers an in-depth discussion into the morality of colonialism. Different views are discussed, with examples including Gonzalo s Utopia, Prospero s enslavement of Caliban and Caliban's resentment of this. Caliban is also shown as one of the most natural characters in the play, being very much in touch with the natural world (and modern audiences have come to view him as far nobler than his two old world friends Stephano and Trinculo, although the original intent of the author may have been different).

5 Activities Playing an Objective Ariel clearly wants to impress Prospero throughout the play - the way the describes his handling of the storm, how he deals with Caliban, and also how he separates all the tempest victims around the island for Prospero s plan to work; this is so he will be given his freedom (he has a clear objective). In this next exercise split the children into three groups. One child sits on a chair in the middle of the circle. Each of the other children around the circle will take it in turns to persuade the child on the chair to let them have their seat, by whichever tactic they wish (i.e. to beg, flatter, excite, threat, plead ). Just as Ariel has to work very hard to impress Prospero and get his freedom, so do the children. Now remember, Ariel is very clever and uses many things to complete his tasks; see if you can do the same. The Puppet Master Prospero controls the actions of Ariel a great deal. He acts almost as a puppet master, forcing Ariel to do his bidding. Working with a partner, one person stands in a neutral stance while the other controls their movements with a piece of imaginary string, lifting/dropping the elbow, leg, head, shoulders etc. with these pieces of string. The puppet master can cut the strings at any time they wish, with their partner responding to this. The Puppet Master can move their partner around the room, up and down, and in any direction they wish. Ensure that both pairs have the opportunity to experience being both puppet and master.

6 Preparing the role of Prospero This is a character exercise to understand the motives behind a character s actions. Make notes on how you think he should be played in each scene in which he appears. Decide how you think he develops during the play. Record details of any changes of costume and make up needed. Collect examples of the language he uses. How it changes depending on who he is speaking to. Also look at the changes of language he uses when speaking to different characters at different times. Make a list of what he does in the play - actions reveal character. Explore the motives of the character by hot-seating him. One person takes on the role and sits in the hot-seat while others question him about his motives and actions in the play. (See full exercise on page 8). The same process could be repeated for any of the other characters in the play. Free-association of words Write the word Monster on the board and ask students to free-associate. What words come to mind? Some students may give a quality, such as evil, or a reaction, such as scary. Some may respond with some of the more modern monsters, such as Freddy Krueger or Godzilla. An additional component to this exercise is to go through the same process with the word savage. References may include Native American Indians, as portrayed in films such as Dances with Wolves, or even in Disney s Pocahontas. After reading the play, write the word Caliban on the board, and ask them to give a one word answer that best fits him. Compare this list with the first lists, and see the points where they coincide and where they diverge. Is Caliban a stereotypical monster or savage, or has Shakespeare made him a more complex character. Is the play not only exploring the monster s own actions, but also Prospero s enslavement of and dependence upon him for sustenance. One might also discuss Prospero. How is he different from today s characters who fight monsters? How are the monsters of our time controlled? By magic? By force? With human ingenuity? It is apparent that the methods seem very similar.

7 Looking at the text Ariel reports to Prospero the whereabouts and condition of the group of lords who have been shipwrecked on the island. He says that generally all prisoners Sir In the Line-grove which weather-fends your Cell, They cannot boudge till your release : He says of King Alonso, Sebastian and Anthonio The King, His Brother, and yours, abide all three distracted, He says of the lesser lords And the remainder mourning over them, Brim full of sorrow, and dismay : But he picks out one lord for the particular attention of Prospero but chiefly Him that you term d Sir, the good old Lord Gonzallo, His teares run downe his beard like winters drops From eaves of reeds This description gives the director a good sense of the staging that the author might have intended, it gives us clues written into the text of what is happening to the characters and how they should appear when they next enter, it gives us their physical and emotional journey through the play, all in a few lines without the need for stage directions as we get in modern plays. It prepares the actors who are about to enter, so lets see if you can create this picture. You will need to show the different status of the characters, the degree to which the shipwreck has affected them emotionally, and to give the audience a sense of the control Prospero wields over these poor creatures. Split the class into groups of 7, one each to portray ALONSO SEBASTIAN ANTONIO GONZALO FRANCISCO and ADRIAN, and a director who will pose the frozen picture to create a snapshot in time that shows us the fortunes of this sad group. This clear description affects Prospero greatly, as he is moved by the non-human Ariel s ability to empathise and realises he has himself lost his humanity; he instantly decides that he shall forgive them.

8 Hot-seating Prospero Hot-seating is a very good drama exercise to understand a character s motives, feelings and actions in the play. Allow one child to be put in the hot-seat. It is usually best if the teacher starts asking the questions, and then allows the other children to ask any questions they would like to, so as to give them a chance to think of some questions and give a sense of direction that the exercise will go in. Some questions to consider. Prospero What do you think when your brother stole your lands? What was the journey like in the small boat with just you and your baby daughter? How did you feel when you landed on the island? How long did you pot to get your own back on your brother Antonio? What is your relationship to the other inhabitants of the island? What are your plans for Miranda? This could be done as a whole group to begin with, and then get the children to split into pairs; one asks the questions the other is Prospero. Text into Performance One of you is the captain of the ship and the others sailors or passengers. All are shocked and surprised at the speed at which the storm has come. Of course, that s because Prospero has created it by his magic. Remember to try to act it out as well as just reading the words. Alonso and Antonio are of higher status and they would be uncomfortable being wet, feeling sea sick and scared. The sailors are all working class men. Try to show a difference. You could include some musical instruments to create a more stormy atmosphere. A tempestuous noise of Thunder and Lightning heard: Enter a Ship-Master that is the captain and his assistant a Boat swain. Master. Master. Here Master : What do you want? Speak to the crew : everyone do his best now or we will run our selves a ground, Hurry,hurry Enter 2 Sailors Friends let s pull together now, my lads : Take in the top-sail: Listen to the Masters whistle : Blow till thou burst thy wind,we will fight on. Enter Alonso, Antonio, Ferdinand

9 Alonso. Good Boat swain have a care : where s the Master? I pray you now keep below. Alonso. Where is the Master, Boson? Ferdinand Sailor 1 Sailor 2 Antonio Sailor 1 Can t you hear him? you mar our labour, Keep in your Cabins : you are making our work harder. Yes we will wait quietly, come father. I wish the sea were quiet. The sea doesn t care that we ve got lords aboard, They should stay in their cabins and not bother us. Please remember whom you have aboard. None that I love more then my self You are a Counsellor sir, if you can command the elements And make them still and silent then work your peace. Sailor 2 Yes we will not handle a rope more, go on stop the storm. But if you cannot, give thanks you have lived so long, and make your self ready in your Cabin for the perils to come. Boat swain (To the sailors) Now lads, get on with it. (To the lords) Out of our way I say. Exit Alonso If we survive I will take great comfort in punishing this fellow for his insolence. Exit. Enter Master Master Down with the top-mast :, lower, lower, bring her to Try with Maine-course. The ship tips and Antonio screams. Master A plague upon this howling : they are louder then the weather, Shall we give up and drown, do you want to die get below. Exit Antonio Sailor 1 Sailor 2 Ferdinand Lay her a hold, a hold, set her two courses off to Sea again, lay her off. All lost, to prayers, to prayers, all lost. Mercy on us. We split, we split, Farewell my wife, and children. We split, we split, we split. Now would I give a thousand furlongs of Sea, for an Acre of barren ground God above please listen, but I do not want to die at sea. He Is washed overboard.