The Tempest

1
The Tempest

• The important intertextual/subtextual stuff

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Post-Colonial Theory The Tempest

• During the 15th Century until the 19th Century
  (1400s-1800s) Europe began its first colonial
  wave.
• This was a common occurrence in Shakespeares
  time.
• The earth was being discovered and stories were
  coming back from distant lands. There were myths
  about the cannibals of the Carribean, of true
  Edens and distant utopias (an ideally perfect
  place)

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Post-Colonial Theory The Tempest

• With the character Caliban (whose name is roughly
  anagrammatic to Cannibal), Shakespeare may be
  offering an in-depth discussion into the morality
  of colonialism.
• Different views of this are found in the play,
  with examples including Gonzalos Utopia,
  Prosperos enslavement of Caliban, and Caliban's
  subsequent resentment.
• 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
  friends, Stephano and Trinculo, although the
  original intent of the author may have been
  different.

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Post-Colonial Theory The Tempest

• From the mid 1950s more and more academics have
  studied The Tempest through a post-colonial lens.
  This new way of looking at the text explored the
  effect of the coloniser (Prospero) on the
  colonised (Ariel and Caliban). Though Ariel is
  often overlooked in these debates in favour of
  the more intriguing Caliban, he is nonetheless an
  essential character. Ariel is generally viewed by
  scholars as the good servant, in comparison with
  the conniving Calibana view which Shakespeare's
  audience may well have shared. Ariel is used by
  some postcolonial writers as a symbol of their
  efforts to overcome the effects of colonisation
  on their culture

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Post-colonial theory in The Tempest

• The Tempest explores many different 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 (Prosperos
  taking credit for the fact that he has taught
  Caliban how to speak and the fact that he has
  liberated Ariel)
• Europeans use of colonialism as a way to let off
  pressure from their own social conflicts (for
  instance Prosperos exile on Calibans island
  after he has been deposed by Sebastian Gonzalos
  vision of an island society that would correct
  all of the bad things about Europe lower-class
  men like Stephano and Trinculo seeking to exploit
  Caliban and set themselves up as rulers of the
  colonized space)

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Post-colonial theory in The Tempest

• Caliban has been ensalved, as was the case of
  native people being "colonized" by conquering
  nations.  He suffers as a result, receiving
  alcohol and misunderstanding the "gift" and the
  giver because he is not accustomed to this
  culture.  He reacts by devising a plot, wanting
  Stephano to be leader of the island.  He
  struggles against his enslavement, but like so
  many colonies, 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, and hugely unstable. 
  Similarly, other "natives" are easily distracted
  by the wealth of Prospero, and are drawn to it,
  leaving behind their need for rebellion.  Comfort
  exceeds freedom.

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Colonising Caliban

• More important than the emphasis on the way in
  which Caliban seems to others more monster than
  man, is the way in which this scene dramatizes
  the initial encounter between an almost
  completely isolated, primitive culture and a
  foreign, civilized one. The reader discovers
  during Caliban and Prosperos confrontation in
  Act I, scene ii that Prospero initially made
  much of Caliban (II.ii.336) that he gave
  Caliban Water with berries int (II.ii.337)
  that Caliban showed him around the island and
  that Prospero later imprisoned Caliban, after he
  had taken all he could take from him. The reader
  can see these events in Act II, scene ii, with
  Trinculo and Stephano in the place of Prospero.
  Stephano calls Caliban a brave monster, as they
  set off singing around the island. In addition,
  Stephano and Trinculo give Caliban wine, which
  Caliban finds to be a celestial liquor
  (II.ii.109). Moreover, Caliban initially mistakes
  Stephano and Trinculo for Prosperos spirits, but
  alcohol convinces him that Stephano is a brave
  god and decides unconditionally to kneel to
  him (II.ii.109110). This scene shows the
  foreign, civilized culture as decadent and
  manipulative Stephano immediately plans to
  inherit the island (II.ii.167), using Caliban
  to show him all its virtues. Stephano and
  Trinculo are a grotesque, parodic version of
  Prospero upon his arrival twelve years ago.
  Godlike in the eyes of the native, they slash and
  burn their way to power.

8
Gonzalo

• How would Gonzalo rule the island if it were his?
• How might Stephano the drunken Butler rule if it
  were his?
• Look at

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Gonzalos Idea of Governance

• Gonzalos fantasy about the plantation he would
  like to build on the island is a remarkable
  poetic evocation of a utopian society, in which
  no one would work, all people would be equal and
  live off the land, and all women would be
  innocent and pure. This vision indicates
  something of Gonzalos own innocence and purity.
  Shakespeare treats the old mans idea of the
  island as a kind of lovely dream, in which the
  frustrations and obstructions of life
  (magistrates, wealth, power) would be removed and
  all could live naturally and authentically.
  Though Gonzalos idea is not presented as a
  practical possibility (hence the mockery he
  receives from Sebastian and Antonio), Gonzalos
  dream contrasts to his credit with the
  power-obsessed ideas of most of the other
  characters, including Prospero. Gonzalo would do
  away with the very master-servant motif that lies
  at the heart of The Tempest.

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Stephanos Idea of Governance

• Stephano muses about the kind of island it would
  be if he ruled itI will kill this man
  Prospero. His daughter and I will be King and
  Queen . . . and Trinculo and thyself Caliban
  shall be viceroys (III.ii.101103)
• Stephano wants to employ a totalitarian type of
  regime. This contrasts significantly with
  Gonazalos vision.
• Totalitarian where an individual dictator
  monopolises political power and controls every
  element of society.

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Doubles A predominant technique.

• As we have seen, one of the ways in which 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/Trimnculo double and parody what
  Prospero does throughout the play. The three
  wander aimlessly about the island, and Stephano
  muses about the kind of island it would be if he
  ruled it, just as Gonzalo had done while
  wandering with Antonio and Sebastian in Act II,
  scene i.
• 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.

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The Feminist Critique
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The Feminist Critique

• The Tempest has only one female character,
  Miranda. Other women, such as Caliban's mother
  Sycorax, Miranda's mother and Alonso's daughter
  Claribel, are only mentioned. Because of the
  small role women play in the story in comparison
  to other Shakespeare plays, The Tempest has not
  attracted much feminist criticism. Miranda is
  typically viewed as being completely deprived of
  freedom by her father. Her only duty in his eyes
  is to remain chaste. It has been argued that she
  is typical of women in a colonial atmosphere, has
  completely accepted the patriarchal order of
  things, thinking of herself as subordinate to her
  father.
• The less-prominent women mentioned in the play
  are subordinated as well, as they are only
  described through the men of the play. Most of
  what is said about Sycorax, for example, is said
  by Prospero. Prospero has never met Sycorax all
  he learned about her he learned from Ariel. It
  can be argued that Prospero's suspicion of women
  makes him an unreliable source of information.

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SHAKESPEARES RECURRING COMEDIC THEMES
INTERTEXTUAL RELATIONSHIPS WITH OTHER COMEDIES

• In this play are themes of love at first sight,
  magic as a controlling device, revenge,
  usurpation inordinate ambition.
• What other plays deal with these themes? To what
  extent are they similar? Discuss with a mate and
  feed back

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Love at First Sight Revenge Magic Usurpation and inordinate ambition
Tempest, Hear my soul speak. Of the very instant that I saw you, Did my heart fly at your service As You Like It (Orlando Rosaline) Who ever loved that loved not at first sight? Midsummer Nights Dream (Titania Bottom), Romeo Juliet Tempest Prospero seeks revenge against Sebastian and Alonso. Caliban seeks revenge against Prospero. Its used to correct behaviour. Midsummer Oberon seeks revenge against Titania and makes her fall in love with Bottom. Revenge is used to correct behaviour. Tempest Prospero, with the help of his books is able to use magic to seek his revenge, and to control Caliban. Midsummer There is a magical world in which the fairies exist. Tempest Antonio usurps Prosperos place as Duke of Milan. Sebastian attempts to usurp Alonsos place as King of Naples. As You Like It Also illustrates usurpation and ambition.
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Also MSND Tempest

• Like Puck Oberon (MSND) Prospero Ariel are a
  devoted master servant combo.
• In both MSND Tempest magic is needed to get
  regain order. This shows Shakespeares feelings
  on magic he appreciates what it can achieve.
• Both Puck Ariel lead mortal characters to their
  end destination (lovers Ferdinand Alonso and
  Co)
• Lastly, both plays aim to gain order from Chaos.

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Exam Qts

• Use the following extracts as a starting point to
  discuss the change from revenge to forgiveness
  that is shown in the play.
• Your discussion should involve comparison of the
  passages AND some consideration of the play as a
  whole.
• ACT ONE, SCENE TWO, lines 187214 ACT FIVE, SCENE
  ONE, lines 1936

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• To what extent is the concept of making order
  from disorder central to The Tempest as a whole?

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• Shakespearean plays are mainly concerned with
  the clash between a notable individual and his /
  her society.
• Use The Tempest to focus a discussion on the
  extent to which this is true.
• You may confine your discussion to The Tempest or
  include other Shakespearean plays you have
  studied.

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• Use the following extracts as a starting point to
  discuss the change in Prospero and Calibans
• relationship in the play.
• Your discussion should involve comparison of the
  passages AND some consideration of the play
• as a whole.
• ACT ONE, SCENE TWO, lines 376402 ACT FIVE, SCENE
  ONE, lines 302331

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• To what extent is manipulation central to the
  play as a whole?

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• Shakespeare uses the supernatural to reveal the
  inner desires and / or fears of his characters.
• Use The Tempest to focus a discussion on the
  extent to which this is true.
• You may confine your discussion to The Tempest or
  include other Shakespearean plays you have
• studied.

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• ACHIEVEMENT WITH MERIT
• In addition to the skills and knowledge required
  for the award of Achievement, candidates
• who were awarded Achievement with Merit commonly
• wrote extensively in response to the question,
  considering wider aspects of the play
• showed a degree of insight and higher level
  thought
• demonstrated a mature response with an
  awareness of the authors craft
• included personal observations or lessons that
  they had understood from studying the play
• included judiciously chosen quotes and wove
  these into the body of the essay
• demonstrated an ability to write in clear lucid
  English.
• ACHIEVEMENT WITH EXCELLENCE
• In addition to the skills and knowledge required
  for the award of Achievement with Merit,
• candidates who were awarded Achievement with
  Excellence commonly
• showed extensive knowledge of the play, and
  made apt references to critical works about the
• play
• related their understanding of the play to
  wider human issues, including modern-day events,
  to
• indicate a broader knowledge of themes
• showed an awareness of both modern and
  Shakespearean audiences (placed the audience)
• wrote fluently and accurately, often
  extensively
• NCEA English Level 3 Assessment Report, 2009
  page 5 of 7

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• No Achievement may be characterised by some of
  the following
• weaknesses in organisation and / or stylistic
  control
• randomness and uncritical response may be
  short and / or simplistic
• insufficient knowledge of the text(s)
• insufficient link with the question
• reliance upon plot
• lack of references to, or detail from, the text
• some relevant points, but without much support
  for them
• little personal response or appreciation
• likely to be shorter than 400 words.