The Tempest is a play by William Shakespeare, probably written in 1610–11,[1] although some researchers have argued for an earlier dating.[2] The play's protagonist is the banished sorcerer Prospero, rightful Duke of Milan, who uses his magical powers to punish and forgive his enemies when he raises a tempest that drives them ashore. The entire play takes place on an island under his control whose native inhabitants, Ariel and Caliban, respectively aid or hinder his work. While listed as a comedy when it was initially published in the First Folio of 1623, many modern editors have since re-labeled the play as one of Shakespeare's late romances.
No obvious single source has been found from which Shakespeare may have derived his plot. However, the play does seem to draw on several then-contemporary accounts of shipwrecks in the New World, as well as the works of Montaigne and Ovid's Metamorphoses. The play's basic structure reflects that of the then-popular Italian commedia dell'arte. It is one of two Shakespearean plays which follow the neoclassical three unities (the other is The Comedy of Errors). Around the 1950s and 60s, The Tempest attracted a lot of attention from post-colonial critics for its portrayal of Ariel's and Caliban's reactions to foreign control of their island.
Characters
Prospero is the usurped Duke of Milan and the play's protagonist
Miranda is Prospero's daughter
Ariel is an airy spirit
Caliban is Sycorax's son, who has been enslaved by Prospero
Alonso is the King of Naples
Sebastian is Alonso's brother
Antonio, the usurping Duke of Milan, is Prospero's brother
Ferdinand is Alonso's son
Gonzalo is a counsellor who gave aid to Prospero and Miranda before they were cast off
Adrian and Francisco are lords
Trinculo is a jester
Stephano is a drunken butler
Boatswain
Master of the ship
Iris, Ceres and Juno are spirits
[edit] Synopsis
Prospero and Miranda from a painting by William Maw Egley; ca. 1850.The magician Prospero, rightful Duke of Milan, and his daughter, Miranda, have been stranded for twelve years on an island after Prospero's jealous brother Antonio — helped by Alonso, the King of Naples — deposed him and set him adrift with the then three-year-old Miranda. Gonzalo, the King's counsellor, had secretly supplied their boat with plenty of food, water, clothes and the most-prized books from Prospero's library. Possessed of magic powers due to his great learning, Prospero is reluctantly served by a spirit, Ariel, whom Prospero had rescued from a tree in which he had been trapped by the Algerian witch Sycorax. Prospero maintains Ariel's loyalty by repeatedly promising to release the "airy spirit" from servitude. Sycorax had been banished to this island, and had died before Prospero's arrival. Her son, Caliban, a deformed monster and the only non-spiritual inhabitant before the arrival of Prospero, was initially adopted and raised by him. He taught Prospero how to survive on the island, while Prospero and Miranda taught Caliban religion and their own language. Following Caliban's attempted rape of Miranda, he had been compelled by Prospero to serve as the sorcerer's slave, carrying wood and gathering berries and "pig nuts" (acorns). In slavery, Caliban has come to view Prospero as a usurper and has grown to resent him and his daughter. Prospero and Miranda in turn view Caliban with contempt and disgust.
The play opens as Prospero, having divined that his brother, Antonio, is on a ship passing close by the island, has raised a tempest which causes the ship to run aground. Also on the ship are Antonio's friend and fellow conspirator, King Alonso of Naples, Alonso's brother and son (Sebastian and Ferdinand), and Alonso's advisor, Gonzalo. All these passengers are returning from the wedding of Alonso's daughter Claribel with the King of Tunis. Prospero, by his spells, contrives to separate the survivors of the wreck into several groups. Alonso and Ferdinand are separated and believe one another to be dead.
Miranda by John William Waterhouse.Three plots then alternate through the play. In one, Caliban falls in with Stephano and Trinculo, two drunkards, whom he believes to have come from the moon. They attempt to raise a rebellion against Prospero, which ultimately fails. In another, Prospero works to establish a romantic relationship between Ferdinand and Miranda; the two fall immediately in love, but Prospero worries that "too light winning [may] make the prize light", and compels Ferdinand to become his servant, pretending that he regards him as a spy. In the third subplot, Antonio and Sebastian conspire to kill Alonso and Gonzalo so that Sebastian can become King. They are thwarted by Ariel, at Prospero's command. Ariel appears to the "three men of sin" (Alonso, Antonio and Sebastian) as a harpy, reprimanding them for their betrayal of Prospero. Prospero manipulates the course of his enemies' path through the island, drawing them closer and closer to him.
In the conclusion, all the main characters are brought together before Prospero, who forgives Alonso. He also forgives Antonio and Sebastian, but warns them against further betrayal. Ariel is charged to prepare the proper sailing weather to guide Alonso and his entourage (including Prospero himself and Miranda) back to the Royal fleet and then to Naples, where Ferdinand and Miranda will be married. After discharging this task, Ariel will finally be free. Prospero pardons Caliban, who is sent to prepare Prospero’s cell, to which Alonso and his party are invited for a final night before their departure. Prospero indicates that he intends to entertain them with the story of his life on the island. Prospero has resolved to break and bury his staff, and "drown" his book of magic, and in his epilogue, shorn of his magic powers, he invites the audience to set him free from the island with their applause.
[edit] Sources
Sylvester Jordain's "A Discovery of the Barmudas".There is no obvious single source for the plot of The Tempest; it seems to have been created out of an amalgamation of sources.[5] Since source scholarship began in the 18th century, researchers have suggested that passages from Erasmus's Naufragium (The Shipwreck, published in 1523 and translated into English in 1606) and Richard Eden's 1555 translation of Peter Martyr's De orbo novo (or Decades of the New Worlde Or West India, 1530) influenced the composition of the play.[6] In addition, many scholars see parallel imagery in a work by William Strachey, an eyewitness report of the real-life shipwreck of the Sea Venture in 1609 on the islands of Bermuda while sailing toward Virginia; a character in the play makes reference to the "still-vexed Bermoothes." Strachey's report was written in 1610; although it was not printed until 1625, it circulated in manuscript and many critics think that Shakespeare may have taken the idea of the shipwreck and some images from it. Another Sea Venture survivor, Sylvester Jordain, also published an account, A Discovery of The Barmudas, so the event would have been widely known. Kenneth Muir warns that even though "[t]here is little doubt that Shakespeare had read ... William Strachey's True Reportory of the Wracke" and other accounts, "[t]he extent of the verbal echoes of [the Bermuda] pamphlets has, I think, been exaggerated. There is hardly a shipwreck in history or fiction which does not mention splitting, in which the ship is not lightened of its cargo, in which the passengers do not give themselves up for lost, in which north winds are not sharp, and in which no one gets to shore by clinging to wreckage," and goes on to say that "Strachey's account of the shipwreck is blended with memories of St Paul's – in which too not a hair perished – and with Erasmus' colloquy."[7] Along these lines, as a possible source for the play, modern researchers have recently added Ariosto's 1516 Orlando Furioso, which contains many of the storm references also found in Naufragium.[8]
The Tempest may take its overall structure from traditional Italian commedia dell'arte, which sometimes featured a magus and his daughter, their supernatural attendants, and a number of rustics. The commedia often featured a clown known as Arlecchino (or his predecessor, Zanni) and his partner Brighella, who bear a striking resemblance to Stephano and Trinculo; a lecherous Neapolitan hunchback named Pulcinella, who corresponds to Caliban; and the clever and beautiful Isabella, whose wealthy and manipulative father, Pantalone, constantly seeks a suitor for her, thus mirroring the relationship between Miranda and Prospero.[9]
One of Gonzalo's speeches is derived from Montaigne's essay Of the Canibales, which John Florio translated into English in 1603, that praises the society of the Caribbean natives:
It is a nation . . . that hath no kinde of traffike, no knowledge of Letters, no intelligence of numbers, no name of magistrate, nor of politike superioritie; no use of service, of riches, or of poverty; no contracts, no successions, no dividences, no occupation but idle; no respect of kinred, but common, no apparrell but naturall, no manuring of lands, no use of wine, corne, or mettle. The very words that import lying, falsehood, treason, dissimulation, covetousnes, envie, detraction, and pardon, were never heard of amongst them.[10]
In addition, much of Prospero's renunciative speech[11] is taken word for word from a speech by Medea in Ovid's poem Metamorphoses.[12]
It did not attract a significant amount of attention before the closing of the theatres in 1642, and after the Restoration it attained popularity only in adapted versions.[3] Theatre productions began to reinstate the original Shakespearean text in the mid-19th century,[4] and, in the 20th century, critics and scholars undertook a significant re-appraisal of the play's value, to the extent that it is now considered to be one of Shakespeare's greatest works.
الأربعاء يوليو 15, 2009 2:36 am
