Royal Shakespeare Company's 1951 production of The Tempest
Royal Shakespeare Company's 1951 production of The Tempest
When was the first of The Tempest? What is the inspiration behind the play? For this section, I decided to look into the surrounding history of the influences of the play, the time period it was written and performed in, and the history of the play itself.
Records indicate that the first performance of The Tempest was on November 1, 1611 before King James I and VI. The play was "again performed during the winter of 1612-13 to celebrate the marriage of Princess Elizabeth, the daughter of King James I. But this play was not printed until it appeared for the first time in the 1623 Folio" (Metzger).
For the entirety of its' existence, The Tempest has been hard to categorize. Under the criteria of Shakespearean comedies, the wedding that takes place at The Tempest leads many to categorize the play as a comedy, but " there are many serious undertones that diminish the comedic tone. Instead, most modern anthologies of Shakespeare's works list this play as a romance" (Metzger). Additionally, although The Tempest is one of William Shakespeare's shortest plays, it still maintains the five-act structure that most Elizabethan theatre works held to. According to CliffNotes, this five-act structure corresponds to division in the action and follows these divisions:
"The first act is the Exposition, in which the playwright sets forth the problem and introduces the main characters. The second act is the Complication, in which the entanglement or conflict is developed. The third act is the Climax; and as the name suggests, this is when the action takes a turning point and the crisis occurs. The fourth act is called the Falling Action, which signals the beginning of the play's resolution. The fifth act is called the Catastrophe, wherein the conclusion occurs. As the name suggests, this act brings closure to the play, a resolution to the conflict, and the plans for a wedding" (Metzger).
There is another aspect of The Tempest that makes it one of Shakespeare's more unique works is the fact that it adheres to the Three Unities. Originally used by Aristotle in his poetics, he argued that "unity of action was essential for dramatic structure" and should occur within one day and limited to one place, making it easier "for the audience to believe the events unfolding on stage" (Metzger). Shakespeare rarely used the three unities, only using this in two plays, The Tempest and The Comedy of Errors. In The Tempest, "All the events occur on the island and within one brief three-hour period" (Metzger).
James VI and I (1604) painted by John de Critz
Princess Elizabeth, Queen of Bohemia and Electress Palatine (1613) by Unknown artist
Cover of Sylvester Jordain's "A Discovery of the Barmudas", a first-hand narrative of the loss of the Sea Venture
The Tempest is one of Shakespeare's remarkable plays in that it is one of two plays by Shakespeare whose plot is entirely original (the other being Love's Labor's Lost). With no formal source, there are connections between The Tempest and travel literature from the period, "most notably the accounts of a tempest off the Bermudas that separated and nearly wrecked a fleet of colonial ships sailing from Plymouth to Virginia" (SparkNotes Editors William Shakespeare and The Tempest Background). Additionally, "Shakespeare seems also to have drawn on Montaigne’s essay 'Of the Cannibals,' which was translated into English in 1603. The name of Prospero’s servant-monster, Caliban, seems to be an anagram or derivative of 'Cannibal'" (SparkNotes Editors William Shakespeare and The Tempest Background). It is these accounts that make it "relatively easy to date The Tempest's composition, since Shakespeare used material that was not available until late 1610: letters from the new Virginia colony in Jamestown and an account of a 1609 shipwreck off Bermuda" (Metzger).
Just prior to his retirement, William Shakespeare was writing romance plays that are now known as "the problem plays" where The Tempest, Pericles, Cymbeline, The Winter's Tale, and The Two Noble Kinsmen fall into a category that "combined romance with some of the darker aspects of life" (Metzger). These plays were written between 1604 and 1614 and have "the potential for tragedy but in which these tragic elements are resolved" (Metzger).
No this isn't saying that everyone was running around Elizabethan England wearing masks; although they should have with as many plagues that were going around. Rather masques "were elaborate spectacles, designed to appeal to the audience's senses and glorify the monarch. Furthermore, their sheer richness suggested the magnificence of the king's court; thus they served a political purpose as well as entertained" (Metzger). These were a "specific type of entertainment that was popular in the English court in the 1500s and 1600s" (Mask vs masque). In The Tempest, there is a masque that takes place over much of Act 4 that is in celebration of Miranda and Ferdinand, with Prospero as the host. In this masque, Prospero and Ariel call forth three spirits: "Juno (queen of the gods), Iris (Juno’s messenger and the goddess of the rainbow), and Ceres (goddess of agriculture). This trio performs a masque celebrating the lovers’ engagement" (SparkNotes Editors Summary: Act IV, scene i).
During the Elizabethan era, spirits like Ariel were seen as "either the agents of the devil or of God. Scientists, or philosophers, saw them as elements of nature that could be brought under the control of the learned. Ariel in the Shakespeare play is more like the scientific model – a spirit controlled by a learned man" (Ariel, the Tempest).
In Shakespeare's time, women were not allowed to perform on stage, instead theater troupes would have young boys perform the female roles - something completely acceptable during this period without fear of loss of masculinity. "During the restoration period, it became a tradition for female performers to play Ariel. Consequently, directors have never taken a hard stance on Ariel's gender. In many ways, this is fitting, as the sexlessness of this spirit helps to perpetuate the airy magical quality for which Ariel is famous" (Jamieson).
Royal Shakespeare Company's 2016 production of The Tempest with Alison Arnopp as Spirit, Laura Cairns as Spirit, Elly Condron as Iris, Daniel Easton as Ferdinand, and Jenny Rainsford as Miranda
Priscilla Horton as Ariel, 1838. The part was played by women from the mid-1600s to about 1930. From that time, both men and women played the role.
Shakespeare's Globe Theatre
The Blackfriars Theatre - performance of The Tempest
The Tempest is a play that includes a lot of magic, severe weather, and flying spirits. All of these greatly require one thing: special effects. And the flexibility of Shakespeare and his stage is greatly tested and prominent in early performances of The Tempest. Stages of the Elizabethan era were bare and simple with little scenery and lighting being limited. Although much of the magic was left to the audience's imagination, "The King’s Men in 1612 were performing both at the outdoor Globe Theatre and the indoor Blackfriars Theatre and their plays would have had to work in either venue" but Blackfriars allowed for more effects, including artificial lighting to be used to enhance the play's magic (SparkNotes Editors William Shakespeare and The Tempest Background). "The Tempest includes stage directions for a number of elaborate special effects. The many pageants and songs accompanied by ornately costumed figures or stage-magic—for example, the banquet in Act III, scene iii, or the wedding celebration for Ferdinand and Miranda in Act IV, scene i—give the play the feeling of a masque, a highly stylized form of dramatic, musical entertainment popular among the aristocracy of the sixteenth and seventeenth centuries"(SparkNotes Editors William Shakespeare and The Tempest Background).
The Tempest serves as William Shakespeare's last work written completely by him, but he is credited as having "collaborated on at least two other plays after The Tempest: The Two Noble Kinsmen and Henry VIII in 1613, both probably written with John Fletcher" (SparkNotes Editors William Shakespeare and The Tempest Background). In fact, a performance of Henry VIII is the "occasion for the actual dissolution of the Globe. A cannon fired during the performance accidentally ignited the thatch, and the theater burned to the ground" (SparkNotes Editors William Shakespeare and The Tempest Background).
Despite Shakespeare working on a few more works after The Tempest, many, including myself, find that Shakespeare may have used the play and the character of Prospero as a way to say goodbye to the theater. The Tempest highlights Prospero, a great magician, and his giving up his art - magic. We can even "interpret Prospero’s reference to the dissolution of “the great globe itself” (IV.i.153) as an allusion to Shakespeare’s theatre" (SparkNotes Editors William Shakespeare and The Tempest Background). Shakespeare officially retired in 1611 and returned to his hometown of Stratford-upon-Avon where he died in 1616.
The Globe burns down - June 29, 1613 during a performance of Henry VIII
Miranda—The Tempest (1916) painted by John William Waterhouse
“Ariel, the Tempest.” No Sweat Shakespeare, 14 Sept. 2020, nosweatshakespeare.com/characters/ariel-tempest/.
Jamieson, Lee. “Who Was Ariel in Shakespeare's ‘the Tempest?".” The Meaning of Ariel in "The Tempest", ThoughtCo, 4 Feb. 2020, www.thoughtco.com/ariel-in-the-tempest-2985274.
“Mask vs Masque.” Grammarist, grammarist.com/homophones/mask-vs-masque/.
Metzger, Sheri. About The Tempest, 15 July 2021, www.cliffsnotes.com/literature/t/the-tempest/about-the-tempest.
SparkNotes Editors. “Summary: Act IV, Scene i.” The Tempest Act IV, Scene i Summary & Analysis, SparkNotes, www.sparknotes.com/shakespeare/tempest/section9/.
SparkNotes Editors. “William Shakespeare and The Tempest Background.” The Tempest: William Shakespeare and The Tempest Background, SparkNotes, www.sparknotes.com/shakespeare/tempest/context/.