The Tempest
The important
intertextual/subtextual stuff…
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
Shakespeare‘s 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)
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 Gonzalo‘s Utopia, Prospero‘s
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.
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 Caliban—a 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
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 (Prospero‘s 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 Prospero‘s exile on
Caliban‘s island after he has been deposed by Sebastian;
Gonzalo‘s 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)
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.
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
Prospero‘s confrontation in Act I, scene ii that Prospero initially ―made much
of‖ Caliban (II.ii.336); that he gave Caliban ―Water with berries in‘t‖ (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 Prospero‘s spirits, but alcohol convinces him that
Stephano is a ―brave god‖ and decides unconditionally to ―kneel to him‖
(II.ii.109–110). 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.
Gonzalo
• How would Gonzalo rule the island if it
were his?
• How might Stephano the drunken Butler
rule if it were his?
• Look at …
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,
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 Gonzalo‘s own innocence and
purity. Shakespeare treats the old man‘s 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 Gonzalo‘s idea is
not presented as a practical possibility (hence the mockery he
receives from Sebastian and Antonio), Gonzalo‘s 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.
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.
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.
The Feminist Critique
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.
SHAKESPEARE‘S 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…
Love at First Sight Revenge Magic Usurpation and
inordinate
ambition
Tempest, Hear my Tempest: Prospero Tempest: Prospero, Tempest: Antonio
soul speak. Of the seeks revenge with the help of usurps Prospero‘s
very instant that I against Sebastian his books is able place as Duke of
saw you, Did my and Alonso. to use magic to Milan. Sebastian
heart fly at your Caliban seeks seek his revenge, attempts to usurp
service revenge against and to control Alonso‘s place as
As You Like It: Prospero. It‘s Caliban. King of Naples.
(Orlando & used to correct Midsummer: There is As You Like It: Also
Rosaline) Who behaviour. a magical world in illustrates
ever loved that which the fairies usurpation and
loved not at first Midsummer: Oberon exist. ambition.
sight? seeks revenge
Midsummer Night‘s against Titania
Dream (Titania & and makes her fall
Bottom), Romeo in love with
& Juliet Bottom. Revenge
is used to correct
behaviour.
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 Shakespeare‘s
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.
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 187–214
ACT FIVE, SCENE ONE, lines 19–36
• To what extent is the concept of making
order from disorder central to The
Tempest as a whole?
» ―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.
• Use the following extracts as a starting point to
discuss the change in Prospero and Caliban‘s
• 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 376–402 ACT
FIVE, SCENE ONE, lines 302–331
• To what extent is manipulation central to
the play as a whole?
• 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.
• 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 author‘s 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
• 5
• • used high quality, academic language in their responses, with mature understanding of essay
• structure and logical sequencing of argument.
• ‗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.