1. Introduction to the play and its themes
The Tempest
Introduction to the play and its themes

2. Context
Written in 1610–1611
Most likely the last play written entirely by Shakespeare
One of only two of his plays whose plot is entirely original.
Draws on travel literature of its time
accounts of a tempest off the Bermudas that separated and nearly wrecked a fleet of colonial ships sailing from Plymouth to Virginia.
Interested in the English colonial project
In 1603, James VI, King of Scots, ascended to the English throne and in 1604 negotiated the Treaty of London, ending hostilities with Spain. Now at peace with its main rival, English attention shifted from preying on other nations' colonial infrastructures to the business of establishing its own overseas colonies. 
The British Empire began to take shape during the early 17th century, with the English settlement of North America and the smaller islands of the Caribbean, and the establishment of private companies, most notably the English East India Company, to administer colonies and overseas trade.
This period, until the loss of the Thirteen Colonies after the American War of Independence towards the end of the 18th century, has subsequently been referred to by some historians as the "First British Empire.”
Jamestown, VA: the first permanent British settlement in the Americas, established in 1607.

3. staging
Elizabethan and Jacobean stages were quite part bare and simple:
little on-stage scenery, or possibilities for artificial lighting.
Much dramatic effect was left up to the minds of the audience.
However, The Tempest includes stage directions for a number of elaborate special effects
pageants and songs
ornately costumed figures
stage-magic
The play has an eerie, dreamlike quality.

4. Comedy
Shakespearean comedy is not quite like comedy as we now understand it. Here are some of its characteristics:
Greater emphasis on situations than characters
Young lovers struggle to overcome difficulty, often presented by elders
Separation and re-unification
Deception of characters (especially mistaken identity)
A clever servant
Unexpected twist at climax
Multiple, intertwining plots
Use of all styles of comedy (slapstick, puns, dry humour, earthy humour, witty banter, practical)
Pastoral elements
Happy ending
Great emphasis…this numbs the audience's connection to the characters, so that when characters experience misfortune, the audience still finds it laughable
Pastoral: courtly people living an idealized, rural life

5. Apollonian vs. Dionysian values
Dionysus
Son of Zeus
God of reason/the rational
Son of Zeus
God of the irrational/chaos
Many plays, both tragedies and comedies, are interested in the conflict between these two sides: logical thinking will often be pitted against emotion and instinct, either within individual characters or with different characters representing either side.

6. Romance
The Tempest is not your typical comedy. In fact, some don’t count it as a comedy at all. Another possible genre to classify it is the romance.
fictitious narrative
set far away from ordinary life; often set in coastal regions
typically featuring exotic, fantastical locations and situations
dealing with themes such as
the supernatural
wandering, exploration and discovery
transgression and redemption
loss and retrieval
exile and reunion

7. Plot
A group of Italian aristocrats are caught in a storm on their way home from a wedding in Africa. The storm was created by Prospero, a former acquaintance of the people aboard the ship, who is now ruler of the island onto which the aristocrats are now stranded.
Prospero created the storm to get revenge on those who wronged him and his daughter, Miranda. Prospero, with the help of a spirit named Ariel, messes with his victims, forcing them to reveal their true colors and, ultimately, to repent.

8. plot
Meanwhile, Prospero also facilitates the beginning of a new love between his daughter, Miranda, and Ferdinand, the son of one of the Italian aristocrats.
A third plotline follows a couple of drunks and a monster (or island native?) as they blunder around the island, scheme (stupidly) against Prospero, and imagine ruling the island themselves.

9. Major characters PLOT ONE PLOT TWO PLOT THREE
Prospero: rightful Duke of Milan
Miranda: his daughter
Ariel: an airy spirit who serves Prospero
Alonso: King of Naples
Sebastian: his brother
Ferdinand: his son
Antonio: Prospero’s brother and usurping Duke of Milan
Gonzalo: an honest old councilor
Trinculo: a jester
Stephano: a drunken butler
Caliban: an island native and Prospero’s slave

10. Themes Justice (subjectivity of…, illusion of…, definition of…)
Man vs. Monster (how to distinguish between the two)
Nature vs. Society / Civility vs. Barbarism
Colonialism, Conquest, and Control
Art and Creativity (the role of…, the power of…)
Freedom vs. Confinement
Compassion and Forgiveness
Farewell (a magician giving up his art)
Etc.

11. Reading Act I, scene i – the tempest
“What cares these roarers for the name of king?” ( )

12. Discussion
Why is it significant that the play begins with a storm at sea?
How might you stage this scene? What props, sound effects, lighting/visual effects would you use to portray the tempest?

13. Reading
Act I, scene ii, lines – Miranda begs Prospero, her father, to spare the men aboard the ship that was wrecked in the storm. Prospero assures her that the men are fine. He then tells Miranda about their own past, including the treacherous roles played by the shipwrecked men.
“O, I have suffer’d / with those that I saw suffer” ( )
“Mark his condition, and th’event: then tell me / if this might be a brother.” ( )

14. Discussion
Why does Miranda have such immediate empathy for the men in the ship? Since we learn that she has lived on a deserted island with her father since childhood, where would she have gotten these ideas of pity and mercy? 
What does it mean that Prospero has to take off his robe, his “magic garment,” before he can tell Miranda about her history?
Think about how you might tell your own child or a close friend the story of your past. How would you tend to characterize yourself and your actions in your story? What about Prospero’s story? Does he take any responsibility for what happened to him? Should he?
What crimes does Antonio, Prospero’s brother, commit? What motivates him? For which crimes is he most responsible? How do you judge him?

15. Reading
Act I, scene ii, lines – Prospero summons Ariel, an airy spirit and Prospero’s servant. Prospero thanks Ariel for his role in creating the storm and begins to give him more instruction. Ariel reminds Prospero of his promise to free Ariel soon, and Prospero reminds Ariel why he should be grateful, not demanding. Ariel apologizes and Prospero gives him his next instructions. Prospero wakes Miranda, and the two of them visit Caliban, another servant, but a much more bitter one.
“Dost thou forget / from what torment I did free thee?” ( )
“For I am all the subjects that you have, / which first was mine own king.” ( )

16. Discussion
Why does Miranda have such contempt for Caliban? Where and how would she have gotten her ideas?
Why was Ariel was imprisoned by Sycorax.
What connection does Shakespeare establish between outward appearance and inner spirit? Do you think this is true? Why or why not?
What is your reaction to Prospero’s treatment of Caliban? Does Caliban have a legitimate complaint? Why does Prospero keep Caliban as his servant? Why do you think Caliban attempted to “violate the honor” of Miranda?

17. Reading
Act I, scene ii, lines – Ariel brings Ferdinand to Prospero and Miranda. Miranda and Ferdinand fall instantly in love. Prospero, wishing to slow their courtship, treats Ferdinand with feigned hostility.
“This swift business / I must uneasy make lest too light winning /
make the prize light?” ( )
“All corners o’th’earth /let liberty make use of – space enough / have I in such a prison.” ( )

18. Discussion
Prospero is happy that when Miranda first sees Ferdinand she is immediately captivated by his appearance? Why? What is his plan?
Ferdinand uses images of prison and confinement, but with a much more positive main idea than we might expect? Does the generally negative imagery undermine the positive idea he means to convey?

19. Reading
Act II, scene i – Meet Alonso, Antonio, Sebastian, Gonzalo, Adrian, and Fransisco. They banter as they assess their surroundings. Ariel puts all but Antonio and Sebastian to sleep, and Antonio takes this opportunity to convince Sebastian to kill his brother and become the next King of Naples.
“All things in common nature should produce / without sweat or endeavour. Treason, felony, / sword, pike, knife, gun, or need of any engine / would I not have, but nature should bring forth / of it own kind all foison, all abundance to feed innocent people.” ( )
In reference to conscience: “If ‘twere a kibe / ‘twould put me to my slipper, but I feel not / this deity in my bosom.” (2.1.)

20. Discussion
What type of person is Gonzalo? What was his role in the plot against Prospero? Does his behaviour seem consistent with how he acts now?
Sebastian and Antonio ridicule Gonzalo. What does this tell us about their characters?
What is Gonzalo’s idea of the type of government or life style that could be possible on this island? Why does he say this at this time?
Antonio incites Sebastian to kill his brother and take the crown of Naples. Why? What does this tell us about Antonio’s motives? What does Sebastian’s response tell us about him? What could Shakespeare be saying about human nature?

21. Reading
Act II, scene ii – Caliban is collecting wood and cursing Prospero, when Trinculo arrives. Caliban, afraid that he is one of Prospero’s spirits, hides under his cloak. Trinculo inspects the odd sight, but is then frightened by an approaching storm, so he hides with Caliban under his cloak. Stephano arrives, and after some confusion about what he has found, is reunited with Trinculo. Caliban decides to worship Stephano (or at least his wine).
“Misery acquaints a man with / strange bed-fellows.” ( )
“’Ban “Ban, Ca-Caliban / has a new master—get a new man! / Freedom, high- day!” ( )

22. Discussion
Is it surprising that Caliban willingly worships Stephano and desires to give him control of the island when he resents Prospero for usurping what he considers his rightful claim to the island? What does this show about Caliban?

23. Reading
Act III, scene i – Prospero watches on as Miranda and Ferdinand profess their love for one another.
“At mine unworthiness, that dare not offer / what I desire to give, and much less take / what I shall want…I am your wife if you will marry me; / if not, I’ll die your maid.” ( )

24. Discussion
Does the extremely romantic language used by Ferdinand and Miranda give you more or less confidence in the authenticity of their affection for one another?
How might Miranda’s speech beginning at line 77 be seen to challenge traditional gender roles?

25. Reading
Act III, scene ii – As Ariel watches on invisible, Caliban proposes that Stephano kill Prospero and take control of the island.
CALIBAN: “Be not afeard, the isle is full of noises, /sounds, and sweet airs, that give delight and hurt not…”
STEPHANO: “This will prove a brave kingdom to me, where I shall have my music for nothing.” ( )

26. Discussion
Assuming that this subplot serves to emphasize (through comparison) the follies depicted in either of the other plots, what aspects of society or human nature are being ridiculed? In other words, what attitudes and/or behaviours do Stephano/Trinculo/Caliban demonstrate that are similar to those shown by Antonio/Sebastien/Alonso/Gonzalo?