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ON ON
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PL P LI P LI CT CT L IC
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TF TF S AM SA
M F O
NO NO N OT
N Table of Contents
TNIO
N
IO
N
IO
N
FOREWORD
IAO AT AT N ON
LCITC I C C T IO I
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L R
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About The English Experience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 NO
TO SHAKESPEARE
INTRODUCTION
N
IO
Our NIO . . . . . . . . . . . . . . O . N
NNapproach to Shakespeare . . . . . . . . . . . . . . . . .O . N . . . . . . . . . . . . . . . . . . . 5
I
TTI
O IAOT AT A TI N
ECC Using this resource . C
L .ITC
. . . . . . . . . . . . . . . . . I C
. . . . . . . . . . . . . . . . . I
. C
. . . . . . . . . . . . . . . . . T
. IO . . . . . 6
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P L L C C
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PPLLE RL R R E E
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STAFM F F A M M
NO
T T S SA
Introduction NO
to Shakespeare NO
SHAKESPEAREAN
LANGUAGE
N
I ON Meet William ShakespeareNN . .N . . . . . . . . . . . . . . . I .O .N . . . . . . . . . . . . . . . . O
. . . . . . . . . . .NIO N
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CT T I
T TC I A A T A T ON
ELCI Shakespeare C
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SE in context. . . . . . . E .SP LC I I C I C
.E . . . . . . . . . . . . . . . . . .L . . . . . . . . . . . . . . . . . L . . . . . . . . . . . . . 18 C T I
LEES ER R EP EP SE
PPL PR L R E
Shakespeare’s
AMM
theatre. . . . .
O . . . . . . . . . . . . . . . . . R
. . . . . . . . . . . . . . . . . . .
R . . . . . . . . . . . . . . . . . L
26
SSA S TAFM
T FO
T FO A MP
NO plays . . . .N .O . . . . . . . . . . . . . . . . . .O . . . . . . . . . . . . . . . . . .S . . . . 32 S
BACKGROUND
Guide to reading Shakespeare’s
TO THE PLAY
N
ONN
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literary terms . . . . . . . .
O P
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. . . . . . . . . . . . . . . . . .R . . . . . . 39 L
TSAF AM FM FO FO MP
AND ANALYSES
SSA STA
SUMMARIES
N O O T T S A
Shakespeare-related literary termsN . . . . . . . . . . . . . . . . . . N . O
. . . . . . . . . . . . . . . . .N .O . . . . . . . . . . . 41
Imagery
NN and figures of speech in The Tempest. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
OO N N
A
ATTII I OTNIO
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P L R L E R RE
THE LITERARY
O MO P P R R
SAF AMM AFM
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FO FO
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ESSAY
O O S T T T
Literary . . . . . . . . . . . . . . . . . .N .O . . . . . . . . . . . . . . . . N
N context. . . . . . . . . . . . . . . . . . . . . . . . . . . N . O
52
N ‘But this rough magic ONN

I here abjure’: A short story of The Tempest . . . . . . . . . . . . . . . . . . . . . . . 57
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THE PLAY
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. . . . . . . . . . . . S .SA . . . . . . . . . . . . . . . . . .A . . . . . . . . . . . . . . . . . .F . . . 81
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NNO
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Summaries and analysesN
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CA A ION
FOREWORD
T C I I O
EC EC . . . . . . . . . . . . . . L . I . . . . . . . . . . . . . . . . . L .I . . . . . . . . . . . . . . . . .C .T . . . . . . . . . 117
Using this section CTT
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A MP . . . . . . . . . . . . . . . F . O . R
Act One
F O P PPLLE
S T AM AMM
Act Two. . . . . . . . . . . N . .O . . . . . . . . . . . . . . . . N . O . .T . . . . . . . . . . . . . . . . .S . . . . . . . . . . . . . . . . .S .SA . 125
Act Three. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
TO SHAKESPEARE
N
INTRODUCTION
O N NN
ATI Act Four. .IO .N . . . . . . . . . . . . . . . .IO
. .N . . . . . . . . . . . . . . . . T . I .O . . . . . . . . . . . . . . . .TT .IIO
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Act Five. . . . . . . . . . . . . . .S . . . . . . . . . . . . . . . . .E . . . . . . . . . . . . . . . . . E
. P .P . . . . . . . . . . . . . . . . .PE141
LE LE RE S
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BACKGROUND
. . . . . . . . . . . . . . . 154
TO THE PLAY
ON Practice essay questions

N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .N . . . . . 158
TI IO
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The play
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R E S SS S PE
O RAct One. . . . . . . . . . .R . R . . . . . . . . . . . . . . . .P .L .E . . . . . . . . . . . . . . . . L .LE .E . . . . . . . . . . . . . . . .L .ER . E . . 172
O PP R
TF T . .F . . . . . . . . . . . . . . . S AM M OP
THE LITERARY
AA .M . . . . . . . . . . . . . . . .TA . FM O
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N O Act Two. . . . . .O . . . . . . . . . . . . . . . . . . S
. S
. S . . . . . . 192
. T
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ESSAY
N O O
N NNO
Act Three. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
N N
N
Act
IO Four. . . . . . . . . . . . A . I .O . . . . . . . . . . . . . . . .T .IO
. T . . . . . . . . . . . . . . . . .N . . . . . . . . . . . . . . . . . .N . 221
A O O
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. . . . . . . . . . . . . . . . .M .EP .C . . . . . . . . . . 241 OPRL
. P
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THE PLAY
A . . . . . . . . . . . . . . . . M
S T S FM
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Acknowledgements . . . . . . .IO . .N . . . . . . . . . . . . . . . .O .N . . . . . . . . . . . . . . . . . . . . . . . 242
I ON I O N
A T TI N NN
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ACKNOWLEDGEMENTS
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ACT (NO.98 1978)
E
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A MP F OR OR PL EP
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O R OR LE Complete Guide and
The
P
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TF TF S AM SA
M FO
NO NO N OT
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FOREWORD
IAOT T T N N
ITC C A C A IO IO
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L R
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INTRODUCTION
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BACKGROUND
TO THE PLAY
lecturers and enthusiastic young minds who help to ensure our approach remains unique and
O N
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NN the plays are written NOcan be hard going for learners, so it’s perhaps not surprising that N OTmany of N OT
them find studying Shakespeare an alienating experience and consider his plays to be works
through which N they have to slogOto NN pass an examination.
NIO I
I O N
T IO
TT with this reality in Tmind
ACKNOWLEDGEMENTS
This IT CIAO
resource has been A
A
written
I
I C
C C A ON
and particular Iattention has been paid I ON
LC L
L I T T
R
E ESPEbreathing new life Rinto
to EEPP Shakespeare and Ehis PL world. Not only haveS EC we worked hard to S
C
Emake
R R engaging, we have
RL sure the content in
MOP digestible sections ORR
O
this resource is freshRand
P LE also divided it intoPaccessible,
LE RE
STAF F
F
TT and included numerous F O
AMand fun facts.
quirky, interesting
T AM F OR
NO O
NNO NO
S S T
NO
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TF
O
NO N NO
We have endeavoured to make both the man and his
ON play as accessible O Nand entertaining as possible.
I ON We start I ON N
I TI T T N
A life and achieve- CA ION
FOREWORD
C T with the man, C exploring his extraordinary

I C IO I O
I T CTT
SE ments, and PL
SEthen put these into Econtext by bringing theE PL EC EEC
L E E R R S S S
P PL LE LLE
E
dirty, Mdangerous
A
and vibrant
F ORworlds of Elizabethan O R and P P P
S
Jacobean England to life. T TF SA
M MM
SAA
NO N O S
Having armed students with an understanding and
TO SHAKESPEARE
N appreciation of Shakespeare’s intentions and world, we

INTRODUCTION
IO Nplay. Again, we do so N ONN N

A T tackle the I O I O Nwith one goal in mind T IO TTIIO IO
N
C T T A A
A AI T
O
EC step: to make it Sas
at every
S ECaccessible and entertaining
P LIC P
C
LLIIC LCICT
P SPE
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as
LE possible for modern P LEMatric learners, while REremaining RREE REE
academically sound and accurate. R R
R L
AM AM FO O
O OPR
S S T T FF AFM AMM
© Taphotografik
We start by providing students with OT
NO detailed historical NNO
TS SSA
NO
SHAKESPEAREAN
and literary backgrounds, helping them to understand

LANGUAGE
the O N
places, events, literary genres, and conventions on
T
which
A
I
the play is based. O NThe play is also presented
ONN as NI ON ONN
IIO
I C T I TIIO ‘What a A
I OT
piece of work is a man! How AAT
T
noble
PL a short story to help CCT before we in reason,
ECstudents grasp theSEEplot, LCITC how infinite in faculty!PLLInIICCform and
E S PE L
R
R LE
tackle the characters, LEE
themes and structureS in detail. ER ES
RREE
P
ESPE
P L moving how express and admirable!
L In action RE
F O
A MPP with the text of the
AMonly worked very closely
M FMOPR how like an angel, in apprehension
F ORR
O how like a MOPRL
NOT We have Snot SSA
STA
ofT
F
SA
Tthe world. The paragon of T F
NO NO
play, adjusting punctuation and spelling and providing god! The beauty O
N N O
BACKGROUND
TO THE PLAY
animals.’
explanatory annotations to help students grasp its
N N incorporated act-based learning (Act 2, Scene 2, Hamlet)
T IO meaning, we haveIOalso Nwe believe that ONN N
C A into the structureAT of the resource as
I O IO TNIO T
O
TIIO
I I C T T I A
I O AA
PL PL the play act by S
working through CCT
ECensures that a solidSEEfoundation
act of knowledge LCITCis laid. Students PLLIICC
RE E S E
P P
R can then
R
R build on this foundation
P LE methodically and P L
L EEeffectively, only dealing
L RES with the whole playRREE
E
FOthey have worked through MP R ORR
once
T S AM S AM
it scene by scene.
A AFMOP F
F O
NO S T TT
AND ANALYSES
OS Oand
SUMMARIES
In the end, we have approached Shakespeare the same way weNapproach every author NNO text
— with two, interrelated goals in mind. The first, non-negotiable objective is to ensure examination
N
ON T I ON
IO success, and the second
readiness and is to inspire a genuine interest in, and appreciation of, the N
TI A AT ON ONN IAOT
NIO
work being
IC L
studied. IC L TI TIIO
C T ITC
P P SE ECC PELC
RE RE S
S E
S
E
O R R LE LLEE ER
O P PP RL
TF TF AM M MOP
THE LITERARY
AM F O
FFO
NO Using this resource NO
S SSA OST
A T
T
ESSAY
N O
NNO
This comprehensive resource N includes: the fullNtext of
IO
N play; an extensive introduction O
TI
© Richard Caton Woodville (Wikimedia Commons)
the
I O AT to Shakespeare and N N
C T I C I C A T IO T IO
E the Elizabethan and L Jacobean eras; a guide
L to Shake- C
S P
EP E EC PELC
L E spearean language; RE detailed literary Rcontext; accessible E S EI OSN S
E
MP
R R PL LT R
RLE
summaries; Orich literary analyses;FO diverse content-related EPC
THE PLAY
A F M SM O P
S
short N OT
questions and literary essay SA
T questions (act-specific LSE
A
STA
FM
NO M P N O
and general), together with challenging enrichment tasks.
SA
In short, students will have everything they need to study
N ON N
IOT
the play intensivelyON and bring the text TtoI life.
I IOA N AT N O N
T IC I IIOO
ACKNOWLEDGEMENTS
C
SE EC PL LIC CT C T
T
E S
RE
P SE EEC
PL
E RE E S
S
M F OR O R PL P
P LLEE
SA OT TF
M AMM
SA was still a popular alternative
N NO
Bear baiting SSA to
the theatre during Elizabethan and Jacobean
times (see page 22).
ON ON
ON TI TI
TI CA CA I ON
ON EC LI LI CT
TI S EP P E
EC6
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
AMP F OR OR PL EP
M
PL PLI PLI CT CT L IC
RE RE SE SE EP
The E
TF TF S AM SA
M F O
NO NO N OT
Preparing with the right mindset
N N N
N NIO O
TI the IntroductionATtoIOShakespeare section
FOREWORD
We recommend
TCIAOT working through A IO
N first (even beforeON
watching
PELCI I C
a live/recorded performance)
L I C
so that students
L become familiarC T with the man himself,
C TI
S
E P P E E
PR ER
LElizabethan and JacobeanRE England, and theREtheatre for which heE Swrote. Some learners E
Smight
R
R R L L
TAFMO have preconceived F Oideas about Shakespeare F P
O and even a blockMabout studying him. This
M P resource
O R
S A SA to breathing
NO has been written T
NO with such students NO
T mind and particularSattention
in has been paid
O TF
new life into Shakespeare and his world. N
TO SHAKESPEARE
INTRODUCTION
To Ncomplete the introduction
ON NI ON to the playwright, ON
work through the Shakespearean
IThese I ON
language
I I
O
and Background to IA
theOT play sections next. T will deepen T
learners’ understanding Nof the
ECCTT LCITC I C A
I C A
T IO TI
O
SE play — the PE
characters, themes and plot L
— before they tackle L
the text itself. By working
C through C
ES S
ERE introductory section EP first, students willREbeP SEand able to SE
PPLLE the comprehensive
PRL R prepared, engaged E E
MM OR
FMO play with the rightFmindset.
approachTAthe F OR M PL M PL
S T T A A
NO NO NO
S S
SHAKESPEAREAN
LANGUAGE
N
I ON Tackling the text NN NIO
N N N
AI T
O I I
O O IAOT T IO T IO N
CT T
CT have been introduced ITC A A IO
ELCI Once students
SEEC LC I C I C T
ES ESPE PL PL C
to Shakespeare
PLLE and his play,
L R
Eprepare R E R E SE
P PR E
SAAMM for working with the
them
AFMOactual text F OR F OR M PL
S arranging for them ST
by NO to watch it NO
T T SA S
NO
BACKGROUND
TO THE PLAY
being performed. Attending a live
performance N is often the most effective
ONN
O Othough ON N
approach,
I
A T
O N
I not always possible.
I
O ONN
AOTNI
T IO I ON
I I T
CICTnot, then watchingECCone
If itELis TT of the
LCITC IC
A
IC
A
ES P E
S
Sof the play is PE L L
numerous
LRE
film versions
L LEE ERE
S
R EP R EP S
O R
P a more than adequate P P substitute; for PRL R L E
M AMM O R
TSAF FM FO FO MP
AND ANALYSES
SSA Doran’s innovative STA
SUMMARIES
O example, Gregory O T T A
N S
and visually spectacular N
2017 NO NO
adaptation for the Royal Shakespeare
ONN
IIO
Company (RSC) (available N
IO on Marquee N N
AA T
T I T
O N
I ONN TNIO IO
IICC TV); the reliable, T
but A heavily edited TI O IAO T T
E P
P LL
PELCIC EECCT ELCITC
L I CA
L I CA
RRE and abridged 1960 S version directedSS P
R
R LREE LLEE RES
E R EP RE
P
O by George R
Schaefer
P or Julie Taymor’sP RL
THE LITERARY
O MO P P R R
© NBC Television (Wikimedia Commons)
SAF fast-paced and, at AMM AFM

O
FO FO
intriguing, T SSA times,
ESSAY
O S T T T
frantic N 2010 version, which reinvents NO NO NO
the play and stars Helen Mirren as a
N female Prospero. ONN
NIO IIO NION N
CIAOT AATT A IOT ION
IO
N
ON I O
C
L IT With the students C
LLIIC properly prepared CICT TT I AT
P
P SP EL CC
SEE CT LI C
RREE it is time to read
and primed, through
REE ES SE P
R L PLLE LE RE
THE PLAY
R
the Oplay. This can be done
FFO AFMOPR either act M
AM
P
MP O R
T
T
NNO OT
Oby act or in its entirety. S The version of SSA SA TF T
the play included inN this resource also N
(From left) Lee Remick as Miranda, Maurice Evans as Prospero,
O NO
features relevant annotations to help Roddy McDowall as Ariel and William Bassett as Ferdinand in the
ON
studentsNIunderstand the meaning ONNand
IIO N
IO version of The Tempest,
1960 NBC Television directed by George
T T
ACKNOWLEDGEMENTS
AO AAT Schaefer. AT
N N
ITCI of the text.
nuances IICC I O IO
S PELC PPLL P LIC CT C T
ER E
RREE
RE SE SE
MOP
RL ORR
O R LE L E RE
AF F
F FO MP MP OR
OST OTT T SA SA F
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SEC PLENGLISH EXPERIENCE 2020
PL
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NO N NO
N N ON ON
TI
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FOREWORD
T C A I I O
S EC S EC P LI PLI CT CCT
T
E E RE RE SE SSEE
PL PL R R LE LLE
E
M O O P PP
SA TF TF SA
M AMM
NO NO SSA
TO SHAKESPEARE
ON
INTRODUCTION
TI N N ON ONN
IIO N
C A TI
O
TI
O TI T
T IO
N
C C ICA IICC
AA AI T
O
SE SE L LL LCICT
EP PP SPE
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O OPR
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SA SA F
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T SS
NNO O
©Miramax Films
N N
SHAKESPEAREAN
LANGUAGE
ON ON ONN
TI NN O N NI IIO
I CA TTIIOO TI O
AT
I the gender of the main AAT
T
E PL Images from the visuallyS
C
Espectacular SE CITC
ECC by Julie Taymor. In thisPELversion,
2010 film directed
PLLIICC L
R
R character, Prospero,
L E is changed from male toLfemale
EE
S and played by Helen Mirren.
R
E ES R
R EEP
ESPE
P L L RE
T FO AM have read through AMMPP FMOPR FOORR MOPRL
Once S
students SSA the play, work A
through the act-based F
Summaries and analyses F
NO ST OTT of knowledge is laid SA
T
section. Working through the play act by act ensures NO that a solid foundation NNO N O
BACKGROUND
TO THE PLAY
and then built on gradually and effectively. Students are not required to deal with the whole play
N N
T IO until they have assimilated
IO it scene by scene.
N N
C A AT IO IOONN TNIO TTII
OO
I I C T TI IAO A
A
PL Each act is Lbroken down into itsC constituent scenes,CCT
LCITC C
LLIIC
RE EP is summarised and
each of Rwhich SE analysed separately. E
SSE ESPE PP
R R L E L
PPL
E
E LER RREE
FO are required to engage
Students MP with each scene MMthrough O PR O R
R
T A AA
S At the end of eachSS act, there AFM FFO
© Patrick Corrigan (The Toronto Star)

scene-specific questions. T
NO T
AND ANALYSES
S T
NO O
SUMMARIES
are also act-specific essay questions and a series of NNO

enrichment tasks (for which marking rubrics are provided
ON N
ON TI
on the suggested answers disc).IO N NN NIO
N
TI A AT TI
O IIOO T
LIC I C TT IAO
P P L
SE
C ECC LCITC
RE E RE SSE ESPE
R EE ER
O Ensuring examination
OR PL
readiness PPLL PRL
TF F M M O
THE LITERARY
AM M O
FFO
NO
T SA SSA AF
NO
and success OST T
T
ESSAY
N O
NNO
To ensure examination readiness N and success, N the
O N
resource also features T IO
extensive information I O
regarding N N
C TI I C A
C AT T IO IO
E the Literary essay. L This section provides
L I guidelines on C T
S EP EP examples from SE EC PELC
L E writing literary Ressays, two annotated R E EI OSN S
E
MP OR and a wide selection OR of rigorous essay PL LT R
RLE
which to learn, EPC
THE PLAY
A T F F M SM O P
S T SAfor A FM
topics.NOIt also includes suggestions
NO
on how to prepare
P LSE OSTA
the final examination. AM N
S
ON I ON ON
I I ON AT AT
I
ON NN
CT CT LIC
I IIOO
ACKNOWLEDGEMENTS
LI C CT T
T
SE SE P P C
EEC
E LE RE RE SE S
S
E
MP F OR O R PL PPLLEE
SA OT TF
M
SA for the well is deep, and
M
AM
N NO
‘Study hard,
SSAour
brains are shallow.’ — James Gates Percival
ON ON
ON TI TI
TI CA CA I ON
ON EC LI LI CT
TI S EP P E
EC8
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
A MP F OR OR PL EP
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RE RE SE SE EP
The E
TF TF S AM SA
M F O
NO NO N OT
What do you think?
We hope you N Nas much as we enjoyed
N NIO enjoy this resource IO IO
N
FOREWORD
O T T N
puttingIT
LC CIAit together. If you
I C
have
A any comments,
C ATqueries
T IO I ON
or E PE
Ssuggestions, please P L not hesitate to contact
do PL
I us by EC CT
R
E R E
Lemailing info@englishexperience.co.za R E
or Rcalling our offices S SE
M
F OPR O R O P LE PL
E
R
R
STA on (011) 786-6702. TF F T AM AM FO
NO NO NO
S S T
NO
TO SHAKESPEARE
INTRODUCTION
ONN NI ON IO
N
I ON
I I
O A
I OT T T N
ECCTT KEY TO USINGLCTHE ITC BOXES IN THIS I C ARESOURCE
I C A
T IO T IO
SE ESPE L L EC EC
LEES R
E R EP EP S S
PL L R E E
MMP F OPR
MDefinition or Glossary OR O R PL PL
STA F F M M
NO Provides the meanings
T of words and Oterms T SA SA
NO N
SHAKESPEAREAN
used in the text
LANGUAGE
N
I ON NN NIO
N N N
T
O Information
O T IO IO
CTAI TTI I
O
TCIAO AT AT ON
ELCI ECC L
SEProvides additionalESdetails
PE CI or facts about LaI C I C T I
EES R E P E PL SE
C
PLL topic RL E R R E
P P
SAAMM AFMO F OR F OR M PL
S T
S
Alert NO T T SA S
NO NO
BACKGROUND
TO THE PLAY
Something to which you need to pay attention
ONN
O N
IOor of which you need Nto be aware ON N
AI T
O N
I
O ON
AOTNI
T IO I ON
CT TTI I A AT
SPELCI Quirky FactSEECC E
P LCITC L IC L IC
E S S EP EP
PRLRE PLLEE RL ERE R R E
S
MO Fun, M P
interesting, extraneous information
OP R R L
TSAF AM FM FO FO MP
AND ANALYSES
SSA STA
SUMMARIES
N O O T T S A
Checklist N NO NO
A list of items or activities required to complete
ONN
IIO N
a task satisfactorily
IO N N
AAT
T I OT N N
I ON TNIO IO
PPLL
Questions
P LCIC
E EECCT ELCITC
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L I CA
RREE LRE
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S
RES
P
EP P
ORR R
P
Contextual, intertextual PLLEand essay questions RL E R RE
THE LITERARY
O O
M P P R R
SAF on the preceding content AMM O
AFM FO FO
T SSA
ESSAY
O ST T T
N NO NO NO
N ONN N
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N N ON
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TI O IO TI
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ORR PRL PLLE LE
THE PLAY
F
F O MO M P P R
SAF AM AM O
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NNO OT SSA S TF T
N NO NO
N ONN
NIO IIO ON
T T TI
ACKNOWLEDGEMENTS
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NO N NO
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O N Introduction to Shakespeare
IO
N
CA
TI
ON
ATI
ON
ON ION
N
FOREWORD
T C I I O
S EC S EC P LI P LI CT CCT
T
E E RE RE SE SSEE
PL PL R R LE LLE
E
M O P P
Meet William
SA
NO
Shakespeare
NO
TF TF
O
SA
M
SSA
AMM
P
Who was William Shakespeare? Sadly, we know little about

TO SHAKESPEARE
ON
INTRODUCTION
the man considered one of the best English dramatistsN ever

TI N N IO fame ONN
IIO IO
N
C A IO which is all the Tmore
to haveTlived, IO astonishing givenATthe AAT
T T
O N
IC to life by IICC AI
EC
andSfortune he achieved. SInEC
this section, we bring
P Lhim LL LCICT
E and achieve- PP SPE
© Chandos portrait of William Shakespeare

P LE
piecing together whatP
E do know about hisRlife
Lwe REE
R REE
M R ORR L
SA ments. AM FO FFO OPR
AFM M
S
OT OTT AAM
(National Portrait Gallery, London)

S
T SS
N NNO
By 1600, the man Voltaire described as ‘a drunken savage, N O
SHAKESPEAREAN
with some imagination’ was enjoying the height of his fame

LANGUAGE
N
andIOsuccess.
AT
He had achieved
O N prominence a few
ONN years earlier NI ON ONN
IIO
—
C as part of the hip I
group of actors, the II
LordO Chamberlain’s A OT AT
T
I CT TT TCI A
E PL Men — and made S Eenough money to buy SEECCthe second biggestPELCI PLLIICC L
R
R L E town, but now heLEwas E S also co-owner ofERthe ES R
R EEP
ESPE
house in his home
P L L RE
T FO AM
rowdy, successful Globe Theatre, AMMPPwhich was attracting FMOPRhuge F ORR
O MOPRL
S SSA A F F
NO ST OTT SA
OT
audiences of over 1 500 paying customers to each NOperformance. NNO N
BACKGROUND
TO THE PLAY
Shakespeare was working hard for his success, though; in addition to acting and directing perfor-
I ON mances, running the N
IO business side of the N
T T N theatre, commuting NN between his work in IOLondon and OO
LI C A A
IC country, he was also I O
TTIIOO OTN TTII
his family in Lthe CT churning out a brand-new TCIA
play every few months. C A
A
RE
P P C
EEC
SE Not bad for a high Sschool E LCI LLIIC
RE LE
S dropout fromERaE P
S small obscure town EE P
P
R
O R P PPLLEE RL woman whom he had RR
RR
M who had scandalously married an P
older
TF SA AMM
SSA as a lusty 18-year-old. FMO F O
O
NO STA TT F
AND ANALYSES
made pregnant O O
SUMMARIES
N NNO
Shakespeare seems to have been hungry for success. Around
N I I O ON
Nthe time of his 21st birthday, he left his wife and three children N
TI
O AT AT with his parentsTand N NN IO
L IC I C IO headed to London
TTIIOOto seek his fortune.TCIAOTN
P L C ECC I
RE R EP The movies S ofEtheir time, plays wereSSE
rapidly PELC
growing in popularity
S
E
E EE
F OR OR and thePLtheatre was a booming PPLL industry — the HollywoodPRL
ER of
F M M O
THE LITERARY
T T A
its Sday. Whether it was his AM M
Fhome or not, O
FFO
NO NO SSAintention when he O left
STA T
T
ESSAY
it’s perhaps not surprising that a young manNlike Shakespeare O

NNO
should be attracted to such an exciting, vibrant new industry
© Jadeling (DeviantArt)
I ON ONcould be won and money could be made.

— where fame
I ON AT AT
I
O ON N
CT LI C
LIC he spent his firstEfew
It is likely I
CT years in the industry TI learning
SE P P E C
PELC
L E RE E by acting and writing
hisRcraft
E
S for several companies
E I OSN of actors, S
E
MP OR R PL Men and the Queen’s LT ER
Oincluding Lord Strange’s EPC Men. It didn’t OPRL
THE PLAY
F
SA T F
T take him long to Smake A M
his mark, though, ASM FM
NO knew how to entertain
Shakespeare NO P LSE and he penned the OSTA
bawdy Elizabethan audiences. His
first of his plays — Henry VI, PartAM One — a couple of years N
S
later around 1589, when he was in his mid-twenties.
humour was not limited to witty puns
N N I ON O N
TI
O and his plays are riddled
IO with dirty The ATplay was met with A TI
acclaim and was the startN of a prolific
IOplays and 154 NN
T C IIOO
ACKNOWLEDGEMENTS
C C
jokes and sexual innuendo. L I I C
writing career that produced an incredible T
37 T
T
SE SE P PL C C
EEC
E LE RE sonnets before his REdeath in 1616. SE SS
E
M P O R
O R P L
PPLLEE
SA TF TF AM AMM
NO NO
S SSA
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
EC1 0
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
A MP FOR OR PL EP
M
RE RE SE SE EP
The E
TF TF S AM SA
M F O
NO NO N OT
While the mystery of Shakespeare’s genius is something we will probably never solve, it seems
N likely that heON must have been writing N poems and storiesOfrom N a young age. It’s improbable to think
TNI IO as accomplished Tand I insightful as the three
FOREWORD
he couldIAOsuddenly write something
AT A N Henry VI plays inON
C
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TO SHAKESPEARE
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INTRODUCTION
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O King James N I, and yet we know N very little ON N ONN
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T and his life. T CA AI T
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SA TF FFO AFM M
on 26 April O1564.
OOTT S
T SSAAM
As baptisms usually took place aNcouple Example of a timber-framed
NN NO on Rother
Elizabethan house
SHAKESPEAREAN
Street in Shakespeare’s home town of Stratford.

of days after a birth, many people like to
LANGUAGE
N N
T IO
celebrate his birthday onN23 April, which is NN IO ONN
A O IIOO TN T IIO
C TI in 1616.
LI also the day he diedCon CTT IAO
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RE His parents wereLE financially comfortable
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NO NNO N O
BACKGROUND
local businessman who performed several

TO THE PLAY
N public offices, including becoming the

IO town’s bailiff (mayor).ON His mother, Mary, N
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N he might not have been the most devoted S T

NO VI School in Stratford,NNO O
SUMMARIES
A classroom in King Edward which is

student. His good friend and fellow believed to have been the room where Shakespeare studied
playwright, Ben Jonson, clearly Nwas not between the ages of seven and 14 years old.
I ON N
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overly impressed with his A TI
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out of schoolN and help his father support O

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RE EP SE SNE PELC
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been atOaT young age as the local F M SME M
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A AF
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on a classical NO of each term
play at the end M P NOST
and travelling troupes of actors would have SA
visited Stratford regularly. N A troupe of travelling Nactors performing a play in the yard of
ON N IO I O
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an Elizabethan inn.
A N O NN
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ACKNOWLEDGEMENTS
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old
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musical West
TO SHAKESPEARE
INTRODUCTION
Lion King, 10 Things I Hate About You,
ONN
She’s the Man, Romeo NI ONMust Die and ION I ON
I I
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L ITC stories originallyICA I C A
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tionN of Othello. NO his evilNuncle is strikingly similar to Hamlet.
SHAKESPEAREAN
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CTAI Shakespeare in love
CTTI I
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On M P November 1582, OShakespeare
27 PR hastily married Anne E
SAAM AFM F OR F OR M PL
Hathaway,
S a local T
woman
S eight years his senior. She was 26
NO have been considered
T T SA S
NO an ‘old maid’, NO
BACKGROUND
TO THE PLAY
at the time and would
past her prime. Anne was three months pregnant on her
ONN
O wedding day N
IO and these wouldOhave N been difficult times N the
Ofor N
AI T
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newlyweds because William Iwas a poverty-stricken I teenager T
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ESP family had fallen S E
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Ethere R EP S
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TAF
AND ANALYSES
evidence of these, SSA and he remainedOSmarried to Anne until the
SUMMARIES
N O T T S A
day he died, 34 years later. N NO NO
Portrait of Anne Hathaway by Nathaniel
ONN
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N Curzon, 1708. Appears in the book
ONShakespeare: A Documentary
N
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N NN N
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N N ON
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is no historical
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THE PLAY
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OO O
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N
N O
O
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either, having already written nine plays NO NO
and being just about to buy one of the
N ONN
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largestNIOproperties in Stratford.IIO ON
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N T IO T IO
CONSPIRACY THEORYN N
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FOREWORD
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I C I C T IO TI O
SE SE playwright by 1592 L PL sheer longevity, no Sconspiracy
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F OR attacked him in FOR that Shakespeare
Greene, jealously P P
oneS of his pamphlets, calling
O T him an ‘upstartT S AM did not write the plays
SAAMM
N sailing for the talentedN O that have been attributed to him Shas
crow’. It wasn’t all plain
Shakespeare, however; an outbreak of the been around. The usual arguments are
TO SHAKESPEARE
ON
INTRODUCTION
bubonic plague in 1592 led to the closing of thatN his education andOsocial NN standing
ATI O N N I O I
I O IO
N
C the theatres
T I for two years and T IO
this meant that A Twere not good enough AATTto have produced IOTN
C such extraordinaryIICliterary C A
EC had to take on Sfar
theSactors ECless profitable and PLI P LL works. AlmostLCICT
P SP E
P LE gruelling tours around
more P LE the country to earn RE every prominent RREE Elizabethan has LR EE
been
M R RR
SA money. SA
M FO suggested, O at one time or another,
FFO OPRas the
FM M
O T real OOTT
author of his plays. S
T A
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Shakespeare would have been N terrified of NN NO
SHAKESPEAREAN
the bubonic plague. Most Elizabethans lived

LANGUAGE
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A
IO of the illness alsoNknown as the ‘BlackNN
in Tfear
O O NI ON ONN
IIO
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T way to die (see p.19) IIO IAOT AAT
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I Death’. It was a horrible TT
E PL and ShakespeareShad EC lost brothers and Ssisters,
ECC
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R
R L E LEES R
E ES R
R EEP
ESPE
as well as close P friends and fellow Lactors, to RL RE
T FO AM It broke out againSAA MMPP FMOP F ORR
O MOPRL
the disease.
S in 1603, killing A F F
NO S OST OTT SA
T
over 33 000 people in London alone, and once N NNO N O
BACKGROUND
TO THE PLAY
more, in 1608.
ON N
TI Shakespeare’s only O
TI son, Hamnet, died N at the NN IO
N O
CA A I O IIOO OTN TTIIO
LI I C
age of 11 in L1596 and the Globe Theatre T burnt CTT IA A
A
P P C
SEfired to mark EEC LCITC C
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RE down inRE 1613. A cannon was S
S ESPE P
P
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OR
the Fentrance of the kingMP
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O SA play, Henry VIII, and
of his latest SAA
S TAFM T FFO
AND ANALYSES
N S T
NO O
SUMMARIES
a stray spark set the thatch roof alight (see NNO

p.31). This would have been a serious financial
N
ON setback asT ON in those
IO insurance did not Iexist N
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Shakespeare would also RE have had to putLEupS E
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NO or protecting an author’s
laws recognising T
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NNO
members to watch popularN plays and secretly
O N
ON notes, producing A
take TI
unauthorised copies and IO
I
Tperformances of them I C as quickly as possible.C AT ONprotective costume thatIO
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N
was in
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S P P widespread use EC during the bubonic plague NECoutbreaks in PELC
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P R
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the 17thLand
LT physical contact ER
M O P EPCwore long raincoats, OPRL
THE PLAY
SA TF F withMinfected patients, the doctors

SA and a mask shapedLlike
SM
SEA the beak of a bird. The STAFM
NO N OT gloves
design of the mask was A Mdeliberate because people NO
P
S
believed that the disease was carried and spread by
N ON N
O N TI TI
birds. The shape O of the mask also allowed the doctors
TI TI
O
CA A‘beak’ I ON items like IIOO
NN
ACKNOWLEDGEMENTS
C C LI to fill the
I C with bundles of aromatic
T TT
SE SE EP
L C CC
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herbs.
Rputrid SE contend with the SSEE
E the sick and the corpses.
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smells emanating from
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SA
that breathing in the foul
SSA
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AM
N NO would make them sick.
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N N N
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FOREWORD
IAO AT AT N ON
LCITC is thought to I
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Macbeth
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I
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R E
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TO SHAKESPEARE
INTRODUCTION
N N N
ION
N TNIO IO IO
TTIO IAO AT AT N
SSEE PE L L C EC
E RES EP blood.’
‘Blood will have
EP SE S
PPLLE RL E R R E E
M
M AFMOP F OR F O R
M PL M PL
ST T T SA SA
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SHAKESPEAREAN
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LANGUAGE
N
I ON NN ON
NIfor N N
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O The insatiable I I
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appetite of the public IAOT plays meant there T IO T IO N
CT T
CTdemand for new material. ITC A A IO
ELCI was constant SEEC C
L As if finding I C
creative I C T
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inspiration
PLLE L R
E R of writing R E SE
P PR R quill and E
was
A
S AMMslow and laborious Aas FMOwell. Playwrights had F Oonly F OR M PL
S and weak candlelight T
S
ink, NO at night. Working
T
alone, they would OT SA S
NO
BACKGROUND
TO THE PLAY
N
be hard pushed to produce more than two plays a year. As a
© National Portrait Gallery, London (Wikimedia Commons)

result, mostNplaywrights worked in teams of up to five writers.
ONN
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N
A O I
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and most of them would LLEE not fit our modern L EREimage of poets RE R EP S
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AND ANALYSES
SSA T Ffriend
SUMMARIES
O men from modest backgrounds. (There OS were no professional T Jonson, a rival and
T of
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Shakespeare’s.
female dramatists because few women were educated or mocked and scoffed at his
O ONN to enter such professions
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friend’s
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© Corpus Christi College, Cambridge (Wikimedia Commons)
N N O N O
Another of Shakespeare’s highly successful contemporaries,
Christopher Marlowe, was a flamboyant celebrity who had been
N ONN N
IO IIO
IAOTN
AAT
T a spy
I
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N
I
O ONN and was killed inONwhat appeared
I ON
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TTalthough some suggest I he was assassi-
CTprofessed atheism LIC
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and for publishing
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F MO MP MP R
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FOREWORD
T I O
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Formed S in 1882, LondonEPfootball club LIC LI C
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ised in Henry IV, Part NOhis
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character on the English nobleman Sir Henry
TO SHAKESPEARE
ON
INTRODUCTION
Percy, who earned the nickname ‘Hotspur’ for N

ATI ON O N T IO ONN
IIO IO
N
N
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the apparent eagerness and Irecklessness with A AAT
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N NNO N O
SHAKESPEAREAN
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LANGUAGE
ON ON ONN
ON TI
NN THE NI CURSE IIO
I In 1605, Shakespeare I
T made another astute IICA
OO
TT property IAOT AAT
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E PL investment in his Shome EC town, one which S ECCdoubled in
E E
P LCITC PLLIICC L
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R L E L EE
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R
E ESIn his epitaph, Shakespeare R
R EEP
ESPE
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him a significantPPannual income. A PRL put a curse on anyone RE
FO MP
value and earned
Alater, AMM FMO ORR
O daring
O PRL
T few years S his career A
started
SS drawing to a close.A F
F F M
NO ST to move his TT body from its final T SA
His final solo play, The Tempest, was produced in 1611 NO resting place.
O
NNO Even though it wasNO
BACKGROUND
TO THE PLAY
and, sometime shortly afterwards, he ceased to be a customary to dig up the bones

N N
T IO writer for his company. IO He retired from the N theatre and from previous graves Oto N make
C A returned to AT
Stratford, where he enjoyed I O the final years IOONN TNI T
O
TIIO
I I C T TI room for others, AO
Shakespeare’s
I A
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PL PLa well-off country gentleman
EC and one ofSSEECC
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RE of his life Eas
R S remains are still
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undisturbed.
P PP
R R leading figures. PLE
the town’s
O PPLLEE RLER R RREE
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Shakespeare
O died around
MM
SA the time of his fifty-second
SAA
S TAFM
O
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O
FFO
AND ANALYSES
N S T
NOdeath, but we knowNNthat O
SUMMARIES
birthday, on 23 April 1616. We do not know the exact cause of his

O in the
days leading up to it he suffered from a fever. It is comforting to know that he spent the last week
N
ON or so of hisT I ON
IOlife socialising and celebrating (some argue perhaps a little tooNhard) with his good ON
TI C A T
A Drayton. I ON OON IAOT
NI
friends
L I Ben Jonson and C
Michael
I T TTII
EP PL EC C
EEC LCITC
RInR an elegant and neatREdénouement of which
L
S
E the great writer himself
E
S
E S may have approved, R
E ESPE his
R LL
FO journey ended whereFO it began, at the HolyMPTrinity Church in the PP
Msmall
L
OPRwhere he
town of Stratford,
THE LITERARY
T T A AAM FM O
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NO S SS A
NO the chancel rail.
lies buried within OST T
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N O
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TI CA A of William Shakespeare IOat the centre IIOO
ACKNOWLEDGEMENTS
C C L I I C
Statue T T
T
SE SE EP PL of Leicester Square Gardens,
C C
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FO
R
OR PL pointing to a parchment
playwright is depicted P LLEE
SAM T F M M
sage advice: ‘ThereAAisM
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T SA
offering the following
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NO darkness but ignorance’, a quote from his play
Twelfth Night.
ON ON
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WAS NSHAKESPEARE ONN DRUGS? N

N NIO O
TI O
IAOT TI
FOREWORD
ITC C A
analysed frag- LIC
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S PELC African scientists
South
P LIhave CT CT
L
E
ER ments of seventeenth R E century pipes foundRonEP SE SE
R
P the floor of Shakespeare’s E E R
AFMO F OR home andOR
F
found PL PL R
ST T T AM AM FO
NO traces of cannabis,
NO
cocaine, and O hallucino- S S T
genic nutmeg extracts high in N myristic acid. NO
TO SHAKESPEARE
INTRODUCTION
If he did use any drugs, he was not the only
N ON N ON
(Wikimedia Commons)
I ONliterary genius to do so. TNI IO I
I O IAO T T N
ECCTT C
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SE Having never P E a pipe before, a servant
ESseen L worries L EC EC
LEES R
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PL that his RL
master, Sir Walter Raleigh, is about R E E
MMP AFMOP OR water on him.
fire and throws
F O R PL PL
ST F M M
NO
T T SA SA
NO NO
SHAKESPEAREAN
Timeline
LANGUAGE
N
I ON N
Nthis ON
NIonly N N
AI T
O Please note thatI I
O O timeline is offeredIAOT as a rough guide T IOas the dates of many T IO
of the events N
CT CTT ITC A A IO
ELCI C
are only approximate
SEE and L
speculative.C I C I C T
ES ESPE PL PL C
LLE
• PP1564 — born in Stratford, L R
E England (birthday R E
assumed to be 23 R
April)
E SE
PR E
SAA•MM 1582 — marries Anne AFMO Hathaway on 27 November F OR (aged 18) F OR M PL
S T
S
NO Susanna, is bornNO
T T SA S
NO
BACKGROUND
• 1583 — first child,
TO THE PLAY
• 1585 — twins, Judith and Hamnet, are born
ONN
O • 1587-88
IO
N — heads to London (aged 22) and startsNhis theatrical career N
• I
A T
O N
1589-92 — establishes I
O ONN career and beginsOTto
his A
NIOmake a name for himself T IO — writes Henry I ON
CT I I T
ELCI VI, Parts 1, 2 and 3, CTT Comedy of Errors,
ECThe LCITCRichard III, The Taming
A
IC of the Shrew and LTitus IC
A
ES P SSE E
P L
LRE Andronicus PLLEE ERE
S
R EP R EP S
O R
P P PRL R L E
M M
AM Venus and Adonis, O R
TSAF • 1593 — writes
TAF
M and begins writing FThe O Sonnets, Love’s FLabour’s O Lost MP
AND ANALYSES
SSA
SUMMARIES
O and Two Gentlemen of Verona O S T T S A
N N NO NO
• 1594 — founding member of the Lord Chamberlain’s Men (an acting company)
•ONN1596-97 — HamnetNdies; purchases New Place, a large house N in Stratford, and writes
T
T IIO N
I O A Midsummer Night’s NN I O N
ICCAA Merchant of Venice,
TAI T
O
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O O Dream, Richard II
IAOT Romeo and JulietTIO
N
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P LL • 1598-99 — E
P LCIC As You Like It, Henry
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E CCT IV, Parts 1 and 2,
E EL ITC
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C V, Julius Caesar,ICThe
L
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L I CA
RRE ES SS P
RR Wives of LREWindsor and Much Ado
LLEE About Nothing LERES R EP RE
P
O R
P P R
THE LITERARY
O • 1599 O— Globe Theatre isAM
M P P
M (Shakespeare is FaMOshareholder); writes O
built R
Troilus and Cressida OR
SAFTwelfth Night
T SSA A F
TF
ESSAY
and
O S T T
N NO N O N O
• 1601 — Shakespeare’s father dies; writes Hamlet
• 1602 — writes NN All’s Well That EndsNWell
I ON IIOO
CIAOT
N • 1603 — The
AA TT Lord Chamberlain’s
AI TN
O IO Men become The OKing’s
I
O NN Men and perform
O N regularly at I ON
LCIT courtLLIICC CT TTI I AT
E
E PP SPELCI S EECC E CT L IC
• 1604 RR — writes Measure Efor Measure and Othello S S EP
R1606 LRE Macbeth and Antony LEE and Cleopatra LE
THE PLAY
•O R — writes King PR
Lear, PL R
FO AFMO MP P R
O
O TT F• 1608 — Shakespeare’s S
T mother dies; The
S S AAMKing’s Men begin playing S AM at the Blackfriars;FO writes
NN NOTimon of Athens T T
Coriolanus and NO NO
• 1609 — The Sonnets are published
N ONN N Tyre, The Winter’s Tale and The Tempest
TNIO
• 1609-1611 — writes Cymbeline,
T IIO Pericles PrinceIOof
ACKNOWLEDGEMENTS
O T N
•CIT
L
IA
C1612 — retires from Ithe IC AA
C theatre (aged 48) Iand C AT returns to live in Stratford T IO I ON
L
L T
R
E ESPE• 1612-1616 — works R EEPP on new plays withEhis PL friend, John Fletcher; S ECthey write Cardenio, S
C
EHenry
R
RL VIII and TheO RR Noble Kinsmen R R
OTwo LE LE RE
AFMOP F
F O P P R
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O TT on 23 April TF S AM AM FO
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TF TF S AM SA
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NO NO N OT
Themes,
N
motifsNand symbols
N
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TNI IO IO
FOREWORD
AO T N theme. A sophisti-ON
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FMO O FO Tempest. P P R
STA are several major Fthemes and motifs in The T AM T AM FO
NO NO NO
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TO SHAKESPEARE
INTRODUCTION
Sea
ONN
journeys TNI ON IO
N
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I I
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ECCTTThe Tempest is a LRomanceCITC and a key I C A
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R EPform of exile; EP S S
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F M M
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Milan.NWe T was inspiredOby T SA SA
NO N
SHAKESPEAREAN
accounts of European travellers to the so-called ‘New
LANGUAGE
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N
I ON imagination, these NN I O N ON
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O I
O O were voyages of OTN
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CT I
T
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I
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ELCI most cases,
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Eexploitation and theft P P
colonialLEEconquest, occupation,
PL LER RE RE SE
P PR R E
AMM ‘discovered’ lands.FMO
in the O OR PL
SSA STA F F M
NO royal party headed
In The Tempest, the O T by King OT SA S
BACKGROUND
TO THE PLAY
N N
Alonso is shipwrecked on its return to Naples from the
ONN wedding of NAlonso’s daughter Claribel to the King of N
© courtneyuy (DeviantArt)
O IO N
OTN
Tunis (Tunisia).
AI It seems thatIO I ONN marriage was part
this A OTNIO T IO I ON
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of P
S
aELCpolitical strategy: if AlonsoE
S ECC was trying to forge PELCITC an L IC L IC
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alliance L
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RL ERprobably R R E
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MO an attempt to secure MP OP R R L
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M ruler of one FO FO MP
T Fto expand his
AND ANALYSES
SSA
SUMMARIES
O of various competing Italian states, OSor T T S A
N N NOencourages us to think NO in geographical
domain across the Mediterranean sea. The Tempest thus
or cartographical terms — that is, in terms of maps and map-making. We should ask: what were
IIOONN N
IOcircumstances (both N N
AATT historical and political
the
I T
O N
I ONNin Shakespeare’s world TNIO and ‘the world of the IOplay’)
PLL surrounding the action LCIC that takes placesCon CT the island? LCITC IC
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P SPE SSE
E PE L
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RE associations. RE
P
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L LE The sea journey R
PPL It is perilous, but LER has more archetypal
also
THE LITERARY
O M M O P R R
F
A AM AFM it presents opportunities
FO to those who
S
T SSA FO
ESSAY
NO OSTknowledge, wealth,OaT new identity, perhaps
undertakeNit: T
N
even redemption. This is the meaning of the idiom a
NO
N ONN
‘sea
N change’. Among the shipwrecked travellers in The
IO IIO
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A
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I
A T
O N
I O
Tempest,
O
N
Sebastian,IONAntonio, Stephano and
O N Trinculo are I ON
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TT I AT
E
E PPLL SPELCI SEECC and a desire for E CTpower; Ferdinand LIC
R E S S EP
RR LRE gains love;LEEAlonso receives forgiveness.
E As Ferdinand
THE PLAY
OR R
P L
P L R
FO O
AFM exclaims MPwhen he discovers that Phis father is alive: ‘Though
OR
OOTT F S
T the SSAAM threaten, they areSmerciful.
seas AM / I have F
cursed them
NN NO N OT NO
T
without cause.’ (Act 5, Scene 1, lines 178-179)
N ONN Travel by sea Nbrings together groups of people —
NIO IIO O
T T TI
ACKNOWLEDGEMENTS
IAO AAT individuals, Acommunities, culturesO—N that have previously N

LCITC LLIICC I C T I T IO
PE been separated.
L Families and Cold friends are reconciled.
ES PP
EP commonly the encounterSE EC
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novelty, as
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O
NO N NO
world’ (Act 5, Scene 1, line 183) represented by the group of travellers she sees. Prospero
ON immediately points O Nout her naivety, and Tthe I ONirony of what she has I ONjust said, since included
N among
I I T N
A A ION
FOREWORD
C T the ‘goodly C T
creatures’ (Act 5, SceneI C 1, line 182) she admires
C are would-be I O
murderers and I O
I T CTT
SE successful
E
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THE END OF CHINESE MARITIME EXPLORATION... AND THE RISE OF
TO SHAKESPEARE
ON
INTRODUCTION
TI EUROPEAN
N MARITIME DOMINANCE
N IO
N ONN
IO N
C A I O IO AT ATTI T IO
N
CT T
LIC CA AI O
Improved technologies of
SE S ECtravel made it possible
P
for European explorers
P
P LLIICto cover ‘uncharted’ ELCICT
LE oceans — specifically, RE — in the early modern
LE the Indian and Atlantic RREE period (from the SP
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REE
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century onward); Mhowever, this is only Fone
SABartolomeu Dias, Vasco
O part of the story. ItFFshould
O
O also be noted that,
FMOPR prior M
to the travels of O T da Gama or O
O
T
T
Christopher Columbus, A
Chinese
S
T admiral SSAAM
N
Zheng He (portrayed in the sculpture below, in Malaysia) NN had traversed the Indian NO Ocean in
SHAKESPEAREAN
multiple naval expeditions for the Yongle Emperor of the Ming Dynasty. Zheng He died in 1433
LANGUAGE
O N N
A
I
Tand, soon after this,IO N new emperor decided
the
ONN to end the ambitiousTNI OChinese programmeIIO ONN
of
C IIO A O AT
T
P LI maritime exploration.CT T
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ACKNOWLEDGEMENTS
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T IO S EP P E
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ACT (NO.98 1978)
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M F O
NO NO N OT
BRAVE N NEW WORLDS N N

N T NIO O I IO
FOREWORD
IAO AT T N
Aauthors, dramatists, film-makers N
LCITC
Miranda’s words have beenI C taken up by numerousI C T IO and other T IO
PE L L C
R
E ESartists. EP influential of theseREisPAldous Huxley, whose
Perhaps the Rmost S Enovel Brave New World
S EC
L LE spin-offs on the page LE and
FMOPR (published in 1932) O R has in turn inspired dystopian
O R and science fiction
P P R
R
STA F F A M M O
NO the screen. O T
Huxley imagines a world, SAadvances
OTfive centuries into theSfuture, in which scientific TF
N N
have resulted in a highly controlled society; everyone is ‘happy’ and distracted with pleasurable N O
TO SHAKESPEARE
INTRODUCTION
diversions, but no-one is free.
ONN NI ON N ON science fiction N
IOreference for variousTIiconic
I I
O The Tempest has been
IAOT a significant point of
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TT TC A A I O O
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I
LCfrom the 1956 movieLThe C
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I episodes of Star Trek.CIn T these C TI
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N NIO ON ON
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O MO P P R R
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T SSAstruggles to the island
ESSAY
The transferral
O of Italian power ST T T
plotsNof Antonio and Sebastian, and Stephano and NOTrinculo — NO NO
is ironic because Shakespeare allows some of his characters
N NN then the common Nnotion that travelling
IO to espouse what IO
I O
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R their cities and courts.
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RR PRL of Gonzalo’s speech PLLEin Act Two, LE
THE PLAY
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Oappears to be at the heart
MO M P P R
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N
N O
OScene One, in which
N O She
T imagines the S
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‘commonwealth’ on the island: a society in which everyone is NO NO
equal and free. His speech is full of contradictions, and what
N ONNa place in which no-one N
he imagines TNIO seems impossibleTT— IIO IO has
ACKNOWLEDGEMENTS
A
I O A
A T N ON
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O
NO N NO
Shakespeare wrote Gonzalo’s speech
ON by borrowing from O N English translation TION
an I ON N N
I TI T
A A ION
FOREWORD
C T of French essayist C and philosopher I C C IO I O

I T CTT
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Michel deEMontaigne’s famous accountEP
L
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L E L R R S S S
P of ‘theMP Cannibals’ — theFOTupinambá R O R P LE PLLE
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A P
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people of Brazil. MontaigneOT wanted
O TF SA
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N N S
to challenge his European readers not
to think of the Tupinambá as barbaric
TO SHAKESPEARE
ON
INTRODUCTION
I or uncivilised, N even though they Nwere N ONN N

A T I O I O T IO TTIIO IO
N
C cannibals;T in fact, their society
T is A A
A AI T
O
SE
depicted
C
as ideal, because S ECit is free of P LIC P
C
LLIIC LCICT
P SP E
P LE deceit and violence
the P LE that underlies RE RREE REE
M R RR L
SA European ‘civilisation’. SA
M
Montaigne wasT F
O FFOO OPR
FM M
O O
O
T
T S
T A
S SAAM
philosophically interested in cultural N NN NO
SHAKESPEAREAN
relativism: the idea that different beliefs

LANGUAGE
andIO N
practices are not ‘good’ or ‘bad’ in In this engraving by Theodor de Bry from N
1590, a Native American
AT N
O to be so if or
ONN
‘Indian’ man is portrayed as a
TNI O
‘noble savage’ figure. ONN
IIO
themselves,
C and only TseemI IIO IAO AAT
T
I TT
E PL they are viewed through S EC one (narrow) SEECC PE LCITC PLLIICC L
R
R cultural lens. Yet L E his essay appealedLEto E Sa growing image inERthe ES European imagination: R
R
P
EE of people E SPE
L L RE
FO who lived Afar MPaway, across the seas, AMMPP in societies that FM OPR more innocent and
were ORRhonest, more in M
O O PRL
T S SS A A F
F F
NO ST and tainted politics. OTT OTSA
touch with nature and uncorrupted by urban life, money NO NO N N
BACKGROUND
TO THE PLAY
Out of this developed the concept of the

O N N
I O ‘noble savage’, an idea which had N positive
AT ATI I O N ONN implications. ‘Noble TNIO savages’ O
TIIO
I C I C T and T IO
negative
I IAO AA T
PL PL EC CT
EEChave been celebrated LCITC
as innocent, but, PPLLIIC
C
RE R E S may
S
S ESPE
EE
R R P LE PLLEE
by implication, they were LER also childlike andRRinRR
O M P PR
O TF SA SAA
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MM need of protection.
T
O
AFM This perception Tjustified T FFOO
AND ANALYSES
N S
NOfor colonialism, which Owas that
SUMMARIES
one argument NNO

‘advanced’ Europeans needed to oversee
N N the ‘development’ of native peoples, while N
ON T IO I O
T I
IC
A
C AT ON signalling that they
Ialso NN
IIOO were vulnerable and A
I OTNI
O
L L I T
C the resource-rich Elands CTT ITC
P EC they occupied were
RE R EP SE S
S S
E PELC
E open to exploitation.EE Furthermore, while
F OR OR PL PPLL PRLER
F M ‘noble M
savages’ were admired FMO because
THE LITERARY
T AM O
FFO
NO
T SA SSA untouched by Othe STA greed and
NO they were T
T
ESSAY
N O
NNO
Modern day members of the Tupinambá people of Brazil excess of so-called ‘civilisation’, they were,
continue to fight to protect their territory and the forests therefore, barbaric and (contradictorily) had
N
they
O Nconsider their sacred companions
T IO against loggers and I ON to be ‘civilised’ by N force. They were closer to
C
I
Tfarmers. I C A
C AT T IO I ON
L I nature, butCcould, therefore, be C T
treated like
SE EP PL E E
N LC
L E R R E animals E
S
— they were sub-human. EI
S
O
T ESPE
M P OR R PL PCL R
RLE
FO and Caliban explores
THE PLAY
E complains that OP
SA TF
The relationship between Prospero
T AM these dynamics. Caliban
E ASM FM
N O
he welcomed Prospero to the
S
NO island and, as many ‘noble savages’ did P
S
L European explorers,
for OSTA
M N
SA
helped him to survive: ‘I loved thee / And showed thee all the qualities o’the’isle, / The fresh
N (Act 2, Scene 1, lines
springs, brine pits, barren place and fertile’
O N 337-339).
ON N TI IO
CT
I TI
O
CA AT I ON IIOO
NN
ACKNOWLEDGEMENTS
SE EC P LI LI C CT CCTT
S P SE SEE
E LE RE RE S
MP OR R P LE PLLEE
F O P
SA OT TF SA
M AMM
N NO SSA
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
EC8 4
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E
S
A MP F OR OR PL EP
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The
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E
TF TF S AM SA
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NO NO N OT
N
THEIOMYTH OF THE NOBLE SAVAGE
N TN I ON IO
N
FOREWORD
A
I O AT AT ON N
TheLCITCmyth of the noble savageI C is one of the predominant
I C narratives of theTImodern world. It has TIO
PE
ESinspired countless works
E PLof fiction and art, from E
L
PTarzan and Conan The
C
EBarbarian to Pocahontas EC
L R
E R R S S
OPR and Spirit: StallionOR of the Cimarron. Other famousR movie adaptions E the myth include TheLGods
Lof E R
AFM F F O M P M P R
ST T Dances With WolvesOand T Avatar. The enduring O
NO
Must Be Crazy,
SApopularity of the mythShints
A at how
TF
disturbed we NO remain by its centralNquestion: what do we lose as human beings as we become N O
TO SHAKESPEARE
increasingly reliant on the complex systems that make technologically advanced modern civilisa-
INTRODUCTION
tions
N possible? N N N
ION IO N O O
TTIO IAOT ATI TI story of Xi, a hunter-gath-
Athe N
CC LCITC The IGods
C Must Be Crazy tellsI C T IO TI
O
SSEE SPE L L C C
E R E EP in the Kalahari Desert
erer Pand member of the San
RE a glass bottle dropped SE peoples. SE
PLLE LE RWhen E E
M
M P
FMOPR OR
his tribe discovers
PL
OR as a gift from theirMgods
from an
PL
A F F M
OST T airplane, it is coveted
T S A and fought
SA
N NO over. Xi decidesNO to end the conflict by making a pilgrimage
SHAKESPEAREAN
LANGUAGE
to the edge of the world and disposing of the divisive object.
© donki5ot (DeviantArt)
N
I ON N His Njourney brings him intoNcontact with the modern
NIOthe first time. N world
CTAI
T
O
TI ION
O O
IAT
for AT
I O
T I O N
CT ITC A IO
ES ESPE Set in 2154, Avatar
E PL tells the story of theE PLattempted colo- SEC
E
L R
E
L
MPP
L a Rlush alien world called R a LE
M
A FMOPR nisation of R
O O R Pandora to mine P
SSAThe film was a commercial A
OST success, TF
mineral needed to solve a dire Fenergy crisis on Earth.
T AMTo
O O S S
BACKGROUND
N begin extracting the mineral, the mining operation needs to
TO THE PLAY
but it should be emphasised that the N N
relocate the indigenous population, the Na’vi — a species
treatment of Xi and other characters
ONN
O IO
N and problematic.
was caricatured of 10-feet tall blue humanoids
ON
whose technologyN is limited
AI T
O N
I
O ONN to basic tools T
and
AO NI primitive weapons, T I
butO who are deeply I ON
CT TTI TCI A AT
SP ELCI
spiritual and live in harmony E
S ECC with nature. As PELCI L IC L IC
E S savage narratives,ES EP EP
R
P LRE is often the case PinLLEE noble
RL ER R R E
S
MO the main characterM P begins as a member OP
of an R R L
TSAF AM FM FO FO MP
AND ANALYSES
SSA STAenam-
SUMMARIES
N O advanced ‘civilization’, but becomes O T T S A
oured with certain aspects of the pre-tech-
N NO NO
nological society and, as a consequence, is
O NN N N
© TsaoShin (DeviantArt)
IIOdrawn into conflict with IOunscrupulous peopleONN
N IO N
AATT I T
O I TN IO
IICC who wish to use T A
their superior technolog-TI O IAO T T
EPPLL
P LCIC
E E CCT
E ELCITC
L I CA
L I CA
RRE ical capabilities S to subjugate the indigenous SS P
R
R LREE LLEE RES
E R EP RE
P
O population. R
P P L
PR
THE LITERARY
O O P R
SAF
M AMM O
AFM O OR
OT SSA TF F
ESSAY
ST
N NO NO NOT
Despite his ability to sympathise with Caliban’s
O N oppression, ONN
Shakespeare nonetheless N
I IO
I
CIAOTN
betrays a EuropeanA
ATT
bias: Caliban I T
O
recalls
A
IO
N
how I
O ONN O N I ON
T C I T
LCI LLIIC
ProsperoEEPP‘educated’ him. Prospero, ELCI
CT
for his ECC
TT CT
I
IC
A
ES P S E
S E L
part, R RR Caliban as a rapacious
Rsees LRE and violent PLLEE E
S EP
THE PLAY
R
© Henry Fuseli (1789)
O R
P L
FO O he is unable toAMMP
AFM
P
OR
O
O TT F
creature — like an animal, S
T SSA S AM F
NN control his sexual urges NO and he tried to rape T T
NO NO
Miranda. Stephano and Trinculo make much
of Caliban’s Nphysical form; he is,ON N them, like
to N
TNIO T IIO IO
ACKNOWLEDGEMENTS
O T N
a sea-creature.
LCITCIA Shakespeare
IICCAA appears to be ‘Thou
C A T most lying slave,
T IO I ON
parodying Europeans who L I
L see only what their L Whom stripes may move, Cnot kindness, I have used thee, T
R
E ESPE R EEPP should expect: E P S E S EC
prejudice tells them Rthey R a
OPR
L
ORR R
Filth as thou art, withEhumane care.’
L LE RE
AFM monster. FFO F O M P
M P
O R
ST OTT T SA2, lines 345-347) SA F
NO
(Act 1, Scene
NNO NO T
NO
ON ON ON
I N TI TI
CT TI
O
I C A
CA ION ION
IOS
NE
PL
I CT CT
L E
T E E
© THE
R E SE 85 SE
EPC PL R R
R LE LE
RE RE SE SE P
E E RE
OR OR PL PL R
TF
THE TEMPEST
OT
F
SA
M
SA
M
TF
O
NO N NO
Europe and its ‘others’ N N
ON IO
N T IO T IO N N
TI A A elsewhere’ — for instance, ION
FOREWORD
C C T
This binary opposition C
of ‘civilised IEurope’ and ‘uncivilised
I C T IO Africa, TI O
SE SE America, Asia —EPisL both an ancient prejudice
PL EC CT
E North or E South E and, as Shakespeare
S reminds us, SEEC
PL L R R S
MP short-sighted. FOR
historically O R P LE PLLE
E
A P
S
In The Tempest, whileNO T
Gonzalo T F recent trip to TunisSAwith
is discussingOthe
M MM
SAA
Sebastian and SAdrian,
N
they quibble over the phrase ‘widow Dido’ (Act 2, Scene 1, line 77). Gonzalo has to explain to
TO SHAKESPEARE
them that ‘This Tunis, sir, was Carthage’ (Act 2, Scene 1, line 84) — a Phoenician city-state
ON
INTRODUCTION
TI N N ON OONN N
C A founded,IOaccording to legend, by
IO Queen Dido. TI TTII IO
N
EC
T T CA CAA AIOT
TheSRomans C
had fought inSEvarious battles against P
I Carthaginians, and
Lthe P
P LLIICthe myth of AeneasELand CICT
E E E EE
R enmity. But the factRRis that, over many centuries, ES P
L
PDido was portrayed asPLthe primary cause ofRthis
M M O O RR R
P LRE
O
SA from the time of Alexander
SA the Great (fourth
TF
century BCE) to theFF early Roman EmpireF(first
TT
O century
AM AMM
CE), territories across north Africa alongO the southern OO
Mediterranean coast were S
T
sites of contes- SSA
N NN NO
tation and conquest by Greek and Roman armies. In Sebastian and Adrian’s refusal to connect
SHAKESPEAREAN
LANGUAGE
‘Tunis’N and ‘Carthage’, we see the tendency of the early modern European N imagination to forget
T IO N N O ONNas
this
A ancient trans-Mediterranean
I O history and IO
I to
O Na preference for viewing
OT I
N ‘Europe’ and ‘Africa’ T
T IIO
I C T TT IA CAA
PL opposites. EC ECC LCITC LLIIC
RE S SSE ESPE PP EL
LE LLEE R
E REE
R ESP
OR MP MPP RL ORR PRL
RE
F
SA A M FMOP FFO O
M
NOT THE TRAVELS OF AENEAS SSA OST
A
OTT S
T F
A
N NNO NO
BACKGROUND
TO THE PLAY
N According to legend, and as depicted in the epic The Aeneid written by the ancient Roman
O N
TI IO Aeneas escaped Nfrom the city of Troy (inNNpresent-day Turkey) when
poet Virgil, theThero N
IO it was OO
LI C A A
C the Greek army around I O
TIIOO AOTN
ATTII
P
destroyedLIby
P E CT 1200 BCE. He E travelled
CCT LCITCI
across the Mediterranean and C
LLIIC
A
RE E
eventually
R settled in Italy, where E
S he founded what would
SS become Rome. ESP E PP
R R L E
LLEE R
RLE RREE
FO MP AMMPP
O
FM
P ORR
O
OT SA SSA STA
F
F
OTT
AND ANALYSES
N O
SUMMARIES
N NNO
ON ON
O N TI TI N NN NIO
N
TI C A
CA TI
O IIOO OT
LI LI TT IA
P P SE
C ECC LCITC
RE RE SSE ESPE
O R R LE PLL
EE ER
TF
O P P PRL
TF AM M O
THE LITERARY
AM M O
FFO
NO S SSA AF
NO OST T
T
ESSAY
N O
NNO
ON ON
N TI TI
EC P LI LI CT CT
E
S
RE RE
P SE SNE PELC
PL R LE LTEIO ER
S
E
M O OR P PC L
OPR
THE PLAY
SA TF F M SME M
NO OT SA LSE
A AF
N M P N OST
SA
Aeneas took refuge N
in Carthage (‘Carthago’ in the pictured O N and fell in love with Queen
map)
O N
O N T IO I N to fulfil.
TI I
Dido. He wanted
T CA
to stay, but wasIvisited by the god Mercury T
A and told that he hadTIaOduty IIOO
NN
ACKNOWLEDGEMENTS
C C L I C T
T
SE SE from Carthage at night
He sailed EP without saying goodbye PL to Dido; in despair, EC
she killed herself C
EEC
E E R R E S S
S
PL cursed Aeneas’ descendants.
and R O R LE LLEE P
SA
M F F O M MMPP
N OT OT SA SSAA
N
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
EC8 6
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
A MP FOR OR PL EP
M
RE RE SE SE EP
The
P
E
TF TF S AM SA
M F O
NO NO N OT
Land, language and liberty
N N N
N N IO O O
AlthoughIAOTShakespeare TI towards the beginning TI of
FOREWORD
was writing
A A N ON
LCITC I C C T IO I
whatP
ESE
we might think of asLthe colonial era, Caliban
P PL
I is given
EC CT
L R
E
lines that speak E
powerfully
R to the experience of
R E many people S SE
FMOPRaround the world who O R would subsequently O Rbe oppressed by PLE PL
E
R
R
STA T F Central to this O TF M AM FO
NO European colonisers.
O experience, and conse-SA S T
N N NO
quently still a controversial subject in many countries —
TO SHAKESPEARE
INTRODUCTION
including South Africa — is N the displacement ofN colonised
NN I
from their land.OTN O O N
peoples
IO
O TI IO
C
I
CTT C
L ITCI
A
I C A C AT I ON IO
E
SE Historical land theft ESPE raises the question Lof land restitution: PL I CT EC
T
ES EPto their descendants. SE
PLLE restoring the land
L R
E to its rightful owners,Ror RE S
M
M P O
FM
PR R R P LE PL
E
As Caliban
STA
says: ‘This island’s mine, FO by Sycorax my mother,FO / M M
O
WhichNthou takest from me’N(Act
T T
O 1, Scene 2, linesN332-333).
O SA SA
SHAKESPEAREAN
Of course, Caliban’s claim raises other questions: how did
LANGUAGE
© John Merritt
Sycorax take control of the island? Was N she ‘better’ or N
N
I ON NN I O N
AI T
O ‘worse’ than Prospero?
I I
O O (Questions exploredA
I OTN in further detailTIO T IO N
CT T
CT and children’ section ITCon page 92.) A A IO
ELCI in the ‘Parents
SEEC LC I C I C T
ES ESPE PL PL C
Another PLLE aspect of the colonialL R
E paradigm is the link R E
between R E SE
P PR ‘This island’s mine, by Sycorax my E
mother,
AAMM
language
S and power. AFMO
Colonisers bring with themF ORa language WhichFthou OR takest from me.’ M PL
S T
S
NO and culturallyNO
T
dominant — and NO
T SA S
BACKGROUND
that becomes economically
TO THE PLAY
(Act 1, Scene 2, lines 332-333)
that is imposed on those who are colonised. Phrased in its
ONN
O most extreme
IO
N
N terms, this means that ‘The language of the
N ON
conqueror on the lips N of the conquered ON
T
O ON NI I O
I CTAI
is the language of slaves’. In South
T
I
TIO Africa, some might
TC
T
IAO see Afrikaans as such ATa language; but, in the ATI
LC
E history of the country,
longer C
EC and if we view our PEown I
LC history in a wider global I C I
context, it is perhapsC
E
R ESP ESSE S
E E PL E PL
LEnglish that is ‘the language E
LL of the conqueror’ R
LE — the language Rshaped R by Shakespeare,R and the S
OPR language with which
AFM MMPPhe is most often associated,
MOPR although thatOneedn’t always be the R PL
E
A F FOcase.
AND ANALYSES
TS A SS A ST F M
SUMMARIES
NO NO
T T SA
NO NO
ONN SHAKESPEARE-IN-TRANSLATION
IIO IO
N N N
AAT
T I T
O N
I ONN TNIO IO
IICC TA TI O A
I O T T
E P
P LL Did you know that
P LCIC Shakespeare’s plays
E EECCT
have been translated
ELCITC into
L I CA
L I CA
Solomon T. Plaatje (1876-1932)
RRE languages other S S 400 years? SomeESPof them
R
R LREE than English forLLEalmost ES R
E R EP RE
P
O may even PR have been adapted Pfor performance in RL
Germany while
THE LITERARY
O MO P P R R
MM O
SAF
T
Shakespeare was still alive.SSAA AFM FO FO
ESSAY
O ST T T
N NO NO NO
For much of the 17 and 18 centuries, Shakespeare-in-translation
th th
N was a EuropeanN affair: in addition to German, there were hundreds

IO IO
I ON Italian and other translations N
CIAOTN of Dutch, AAT
French,
T
AI T
O IO
N in circulation.
I
O ONNIn South O N I ON
LCIT C
IIC are records of Shakespeare-in-translation
CT I
TT stretching I AT
Africa, Pthere
E
E PLL P
S ELCI SEECC E CT L IC
back R to the 19 century. REThe E person who is credited S S
with the first published translation of EP
RR
th
L LEE E
THE PLAY
O
O R
Shakespeare into an M PR
African PL
language is SolMPPlaatje, the founding P L
secretary general of the R
F
F F
A O M
A M O R
NO
NOTT African National CongressOTS and one of the S SA important historical
most SAfigures in South Africa.TF T
N NO NO
Plaatje was a political activist and public intellectual, a journalist and historian, as well as a
linguist. N He was passionate about advancing the cause N of Setswana — preserving its heritage
TNIO IIOONN I O
AATT
ACKNOWLEDGEMENTS
as a IAOlanguage while alsoCCinnovating and creating T with it. As part of this project,
N he translated N
LCITC LII I C A T IO translations haveTIO
a handful of Shakespeare’sL plays into Setswana. Sadly, only two of these
R
E ESPE R EEPP E PL S EC S EC
survived; but R
Plaatje started a tradition that
R was continued by other South African writers,
MOP
RL RR
Otheatre
O R P LE of Shakespeare’s P LE into RE
STAF translators and F
F makers. There F O are dozens of translations
M M plays
OR
NO OTT Afrikaans, Sesotho,
NNO
isiZulu, isiXhosa, OT Sepedi and Xitsonga. SA SA T F
N NO
So, ‘Shakespeare’ does not have to mean ‘English’.
ON ON ON
I N TI TI
CT TI
O
I C A
CA ION ION
IOS
NE
PL
I CT CT
L E
T E E
© THE
R E SE 87 SE
EPC PL R R
R LE LE
RE RE SE SE P
E E RE
OR OR PL PL R
TF
THE TEMPEST
OT
F
SA
M
SA
M
TF
O
NO N NO
Caliban expresses the paradoxical relationship that
N ON to the languages
I ON I O N T I Ocolonised peoples have
T I N of coloni- N
A A ION
FOREWORD
C T C T I C sation: ‘You taught C me language, and my I Oprofit on ’t / Is I O

I T TT
SE SE EP
L
I know how toEP
L
curse. The red plagueSrid ECyou / For learning SEECC
L E L E R R S
P
MP OR me your O Rlanguage!’ (Act 1, Scene P LE 2, lines 364-366) PLLE
E
A F P
S T EnglishT F is a global lingua Sfranca AM — a language shared SAA
MM
NO by
O
N many people — but, although speaking English is S
empowering and leads to opportunity, the dominance
TO SHAKESPEARE
ON
INTRODUCTION
A T I
O N O N of English is Ialso ON devastating to other ONN languages. This N
IIO IO
N
C T I T I leads many A Tpeople who learn ATT
English
A as an additional T
O
AI
SE
C
S EC language P LICto experience a crisis P
C
LLIIC of identity in relation LCICT
E P SP E
P LE P LE toR Rtheir ‘home’ languages. R RREE At the same time, LREEmany
M R
SA SA
M FOwriters and artists have FFOO used the English M OPR
Flanguage to M
O T O
O
T
T S
T A
S SAAM
N critique ‘English’ NN colonialism. This has NO also occurred
SHAKESPEAREAN
with other European languages such as French; in

LANGUAGE
N the 1960s, Aimé Cesaire, a poet and political activist

T IO N NNthe island of Martinique NI ON ONN
IIO
© Dorothy Zhu
A I O from O T (a French colony T

L I C C T CTTIIO
ITCIAO
ICCA the
ATin
P C LC I
RE SE SSE
ECaribbean), wrote a PEfamous French adaptation
PPLL
of The L
R L E LEE Tempest, Une R S
E
Tempête,
E as a way of R
R E
E
engaging with E SPE
L RE
O P
MPP PRL ORR L
TF AM AAM French colonialism.FMO FFO OPR
M
NO ‘You taughtSme language, and my profit
SS on ’t STA OTT S
T AF
NO NNO NO
BACKGROUND
Is I know how to curse. The red plague rid you

TO THE PLAY
For learning me your language!’

ON N
TI IO N N IO
N O
CA AT364-366)
(Act 1, Scene 2, lines
TI
O IIOON OTN TTII
O
LI LIC T
CCT
IA A
A
P P SE
C
SEE LCITC C
LLIIC
RE RE S ESPE PP
R R L E
LLEE LER RREE
FO MP AMMPP
O PR O R
R
T THE ‘AFRICAN’SATEMPEST SSA TAFM FFO
NO T
AND ANALYSES
S T
NO O
SUMMARIES
In 2009, the Baxter Theatre in Cape Town and NNO

the RoyalN Shakespeare Company collabo-
O N
ON ratedAonTI a production of The TTempest
IO directed N NN NIO
N
TI
© Baxter Theatre / RSC

I C
byL Janice Honeyman, starringI C A
John Kani as T IO TIIOO IAOT
T
P L
EP as Prospero. Bright SE
C ECC LCITC
RECaliban and AntonyRSher E SSE ESPE
OR costumes and giant EE ER
F OR puppets were used M PL to PPLL PRL
F M O
THE LITERARY
AM O
FFO
OT OT
convey the spectacle and magic of theSA island. SSA
M
AF
N OST T
T
ESSAY
N O
This production emphasised the play’s
N NNO
John Kani as Caliban (left), Antony Sher as Prospero
‘colonial’ aspects, whichN seem to make so N
N IO O (centre)and Atandwa Kani as Ariel (right) in the 2009
IO much sense in a CSouth AT African context. AYet TI Baxter Theatre / RSC O N‘African’ Tempest, directed N
C T
responses to the L I production also cautioned
I C T I T IO by
E L C EC
E
S
against the R EP that The Tempest EisP a play Janice Honeyman.
idea SE OSN PELC
L R E E I S
E
MP OR in ‘Africa’ — because OR making this PL LT R
RLE
that ‘works’ EPC
THE PLAY
A T F F M SM OP
S SA the ‘spiritual’ or ‘supernatural’
A M
NO seems to essentialise
claim T
Africa as a place in which LSE is more at STAF
NO P N O
home than in ‘secular’ Europe. AM S
This version of the play also used Kani’s N statesman-like presence to give the impression that, in
I ON ON (representing black T IO I ON (representing white
N
the end, Caliban
I CA
people) ‘absolves’ T
Prospero
IO people); NN
CT T A IIOO
ACKNOWLEDGEMENTS
C L I I C T T
T
SE in otherSEwords, Prospero is forgiven
E P PL exploiting Caliban. C
for persecuting and
E C
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E E R R E S S
S
DoPLyou think Shakespeare’sOR text makes this interpretation feasible? And E
PL what are the implica- LLEE
A M F F OR M MMPP
S tions of this interpretation
OT
for reconciliation between
T people of different
SA races in post-apartheid
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Masters and slaves, rulers and subjects
N N N
N IO N IO contradictions, TIO
IAOT explores many ofATthe
FOREWORD
The Tempest A N N
LCITC I C I C T IO T IO
or contrary forces, that emerge when we consider
ESPE E PL E PL UTOPIA: ECA NO-PLACE? SEC
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the rules according to R which a society operates,
R S
FMOPRand the roles performed O R by its citizens. O R
Gonzalo The P
word
LE‘utopia’ — used to describe
P LE R
R
T
S A F F M M O
NO suggests that,Oin T the ideal society he T would like anSAideal or perfect society SA — was TF
N NO N O
to build, there would be ‘no sovereignty’— that is, coined by Thomas More as the title
TO SHAKESPEARE
INTRODUCTION
there would be no absolute N ruler, like a monarch or of a book he published in 1516.
NN I O
Nline 157). In other words, O N N
dictator
I
O O (Act 2, Scene 1, OT T I More’s bookIOwas intended as a satire N
I A
I T
ECCTThis utopia would be LCITCdemocratic and egalitarian I C A that would
I C A criticise aspects of IO
T life in TI
O
SE PE L L C C
ES (based on theERE Sprinciple of all people EP being 16thEPcentury England; butSEthe island SE
P PLLE RL
P Sebastian and Antonio R R E E
MM equal). Yet,FMOas
A F OR are quick
F ORof Utopia that he M PL
describes has its
M PL
ST
to pointOout, just a few moments T earlier Gonzalo T A
own quirks and Sfoibles. The point is SA
N NO of the island; heNO
SHAKESPEAREAN
has imagined himself the ‘king’ that a perfect society is impossible,
LANGUAGE
would make all the laws. Gonzalo admits that his as suggested by the word utopia
NI ON ‘commonwealth’NNis based on ‘contraries’ O N — he itself: N N
AI OT I I
O O A
I OTNI T IO translated from Greek, T IO it means N
CT wants to create T
CT the opposite ofLCthe ITC social and A
‘non-place’ or ‘no-place’. A IO
ELCI SEEC I C I C T
economic ES structures that all the ESPE
European (Italian) EPL PL C
PL E
L L R
E R R E SE
characters
MP R
in the play takeOPfor granted. R R L E
AM FM O O P
SSA STA F F M
O OT OT SA S
BACKGROUND
N
TO THE PLAY
N N
What’s past is prologue
ONN
O N
IO N N
Was Prospero
AI OTN a poor leader when
I
O ONN he was Duke OTNIO
A T IO I ON
CT He acknowledges I
TT that he became so I A AT
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of Milan?
SPELCI E
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involved in his ‘books’ESthat, ‘[t]hose being allE Smy EP EP
R
P LRE L
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MO study, / [t]he government
MP I cast upon myOP brother R R L
TSAF AM FM FO FO MP
AND ANALYSES
/ [a]nd to my state SSA grew stranger’ O STA 1, Scene
(Act
SUMMARIES
N O T T S A
2, lines 74-76). In other words, heN neglected his NO NO
responsibilities and expected Antonio to fulfil them
ONN getting the credit
IIO
without N
IO or the title of Duke. N N
AATT
I T
O N
I ONN TNIO IO
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justified
T in exiling Prospero TI O and IAO T T
P
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E taking his office? S this logic, the person PE L
RRE REEthe one who can do SS
EEthe job best, RES EP P
O RR rules should R
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THE LITERARY
O O P P R R
not the T SoneAFM who inherits the S
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AAM Or is it more a STAFM
O
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caseNof the person who rules being the one whoNO NO NO
desires power the most — and who is willing to do whatever is necessary to obtain it? By the
N ONN
IO time Antonio is Tshipwrecked IIO on the island, N this seems to be his guiding principle, which is why he
CIAOTN
tries to persuade AAT Sebastian to kill T
O
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AI
IO and take the crown
N
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O ONNas King of Naples.OAntonio N is often I ON
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LCI LLIIC CICT CTT TI A
described EPPas a Machiavellian character.
S PEL
S What does this EECmean? EC LIC
R RRE LREE LEES S
Eabsolute power and RtoE
P
THE PLAY
R
Machiavelli
O was giving R
P
advice both to monarchsPL who would rule L
with
FO O
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OR
O
O TT F
leaders who presided T
Sover AAM in which more than
republics — societies
SS S AMone person was in charge.
F
NN This did not includeNOdemocracy as we understand it today: representative government T T
NO in which NO
citizens vote for those who will lead them. England would only experiment with republicanism
N ONN I) decades after IShakespeare
by deposing
TNIO a monarch (Charles TIIO ON died, but the playwright was
ACKNOWLEDGEMENTS
T
extremely
ITCIAO interested in different
I
I C
C A
A forms of government.
C AT In his plays set ON
in Iancient Rome, and even I ON
LC L
L I T T
R SPE
inE his English history plays,EEPP characters discuss E
L to obtain true freedom
Phow S EC — and in The Tempest,
S EC
E RR R
RL Caliban and Ariel Oboth
MOP cruelly controllingFFO
RR seek freedom from E
R Prospero’s rule. IsPLProspero E island,
a tyrant on Lthe
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TT his ‘subjects’? Or does
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T AM dictator’? F OR
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Niccolò Machiavelli
O IO (1469-1527) TI was an Italian ATIO N N
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FOREWORD
C diplomat C
andT political philosopher I C whose book The I C T IO TI O
SE SE to shape Renaissance L PL EC CT
L E Prince Ehelped R EP thinking about lead- R E S S EEC
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ership.
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F O R to
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Srulers, emphasising political MM
OT strategies rather O Tthan ques- SA SSAA
N
tions of morality — although, arguably, theNMachiavellian
principle that ‘the ends justify the means’ (certain cruel
TO SHAKESPEARE
ON
INTRODUCTION
I or violent N acts may be necessary N in order to achieve N ONN N

A T I O I O T IO TTIIO IO
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an Coutcome that is beneficialT to one’s subjects) A
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debates about moral action. Machiavelli’s name P SPE
P LE perhaps unfairly, become
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SA AM the politics of deceitFOand corruption. FOO OPR
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politicians andSwith T TT F AAM
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R Crucial to questions
L E about who rulesEand
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S who is ruled in any
R
E ES society is the problem R
R
P
EE of labour. ESPE
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FO A MP
Gonzalo imagines
A M
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that ‘nature’ willMP
produce everything his
FMOPRutopian society needs, ORR so there will be M
O OPRL
T S
no ‘sweat or endeavour’ (Act 2, A
SS Scene 1, line 161).OS A F
F
IfT no-one is required toTTwork because of theT F
A
NO O OS
abundance of nature, it is much easier to say that there N will be no commerce NNO or trade (‘traffic’, N line
BACKGROUND
TO THE PLAY
149), no laws, no gap between rich and poor, no servants, no private property, and no crime. Is
N N do the work? What is the ‘value’ of labour? How should workers
T IO this possible? WhoIOwill N N be paid?
C A AT I O IOONN TNIO T
O
TIIO
I Who ‘owns’ what
I C workers produce? T These economic and TI
ethical questions lead A
I O
to fundamental A
A
PL PL what have subsequentlyEC CT
EECthe competing models LCITCof socialism and PLLIICC
RE debates about
E S been defined SS as PE P
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capitalism. P LE P L
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Ariel, Caliban and Ferdinand offer different expressions T OTT
AND ANALYSES
S
NO
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of the meaning and value of labour in The Tempest. NNO

Perhaps theNmost obvious is Caliban’s enslavement
ON to Prospero. T IO ‘We cannot miss him,’ I ON says Prospero toN N
T I
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OTNIO
Miranda (Act 1, Scene 2, Lline C
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E PL P— because Caliban Sdoes EC all ECC
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we
R can’t do without him
R E S
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O Rthe menial work: ‘HeRdoes make our fire, /P LE in our
Fetch P LEE
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O P
T F wood, and serves T Fin offices / That profitSus’ AM(Act 1, Scene M FMO
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THE LITERARY
AAM O
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2, lines 312-314). Interestingly, in Act Three, Prospero N NNO
gives Caliban’s task of carrying wood to Ferdinand as
N N
a kind
O N of test. Is Ferdinand T IO willing to subjectIOhimself N N
I A AT IO
C Tto Prospero’s authority
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THE PLAY
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S manual labour
T — he will be ‘rewarded’ with Prospero’s S O
FM
NO and can marry Miranda.
T SA LSE
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approval NO M P N O
SA
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NN
ACKNOWLEDGEMENTS
C I
SE EC PL LI CT C T
T
E S
RE
P SE unwillingly
‘If thou neglect’st or dost EEC
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Fill all thy bones
SAshall tremble at thy din.’ SSAA
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N NO That beasts
(Act 1, Scee 2, lines 369-372)

ON ON
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‘There be some sports are painful, and their labour
N N Delight in them sets off; some kinds of baseness
N
N TNIO IO IO and most poor matters
FOREWORD
O Are nobly undergone;
ITCIA AT A This my mean task ION
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E PL PLas heavy to me as odious, E
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mistress which I serve quickens
P PL
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STA TF T FAnd makes my labours pleasures.’
AM AM FO
NO N O NO
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TO SHAKESPEARE
INTRODUCTION
N N N
ION
N TNIO IO IO
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SSEE PE L L C EC
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PPLLE RL E R R E E
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LANGUAGE
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Parents and children, brothersSTA
and sisters F F M
NO OT OT SA S
BACKGROUND
TO THE PLAY
N N
Prospero is the ultimate paternalistic or patriarchal figure
ONN
O N
IO to authority rests on ON N
— his claim
AI T
O N
I
O ONNhis identity as a father:
AOTNI
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to Miranda, but also indirectly I
TT to Caliban (‘this thing I of A AT
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darkness I / Acknowledge S mine’, Act 5, Scene ES 1, lines EP EP
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AND ANALYSES
Ferdinand. As Sfather to Miranda, Prospero STA seems to
SUMMARIES
N O O T T S A
be kind and gentle, but he also exercises N strict control NO NO
over her. He can be condescending towards her, even
ONN he is the one responsible
though
IIO IO
N for her naivety and N N
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becauseN this means she is growing (or has already NO NO NO
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N NN
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TNIO Hovering in theTTIIO O

background of the N ON are absent
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ITCIAO
mother-figures. I
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RR told a little aboutPRLCaliban’s PLLE LE
THE PLAY
however,
O
O mother Sycorax.
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there are M
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Caliban claims ownership of the island through inheritance: ‘This island’s mine, by NSycorax my N
mother’ (Act N 1, Scene 2, line 332). Yet, according to Prospero, Sycorax also arrived as a kind of
NN N (or Algiers, the capital of present-day
coloniser TNIOon the island, having T
O
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ACKNOWLEDGEMENTS
A
I O A
AT T N N
Algeria
C
L ITC — in other words, LLnot IICC far from Tunis/Carthage)I C A IO with Caliban. There
while she was pregnant
T T IO
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S EC (Act 1, Scene 2, line
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TO SHAKESPEARE
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ON
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INTRODUCTION
N ONN It is clear from N

ATI I ON TisIOAlonso and Ferdinand.
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Alonso NO past; he was
SHAKESPEAREAN
re-introduces Sycorax into the narrative. one of those who helped Antonio to steal
LANGUAGE
ON ON ONN
ON TI NN NI IIO
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TT set IAOT AAT
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E PL of axes by whichSwe EC can understand the S ECCrelation-
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Alonso’s children (prince) Ferdinand and (princess) NO NNO N O
BACKGROUND
TO THE PLAY
Claribel, have been separated. One of them has

N
T IO been married off, Ithe ON other is thought deadN — and N
C A so Antonio AT
encourages Sebastian toI O kill his own IOONN TNIO T
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O N N
I ON are various other
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S EPin the play, Caliban reminds
EP SE EC PELC
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they cooperated;
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O SA LSE
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‘how / To name the bigger light, and how the M P N O
less, / That burn by day and night’ (Act 1, SA
N
ON
Scene 2, lines 335-337).
N This reference alludes
IO ON
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I I O T T I N NN
CT to the BiblicalTcreation story when IGod CA made A IO IIOO
ACKNOWLEDGEMENTS
E C L I C T T
T
E
S the sun and SE the moon. In the Bible, EP the book E PL S EC S
C
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of Genesis
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depicts God ‘naming’
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creations and then teaching humans to give F M AMM
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names to the earthlyNanimals he has created. NO
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Fusing these associations together, Prospero
N becomesN like God — or, at least, a god. Although
N NIO I ON O uses the language
T TI
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O
IA AT Prospero
A N of the Judaeo-ON
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L spiritual realm C (for example, whenChe
S
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NO was exiled S from Milan), the spiritsShe

NO N O
on the island seem to fit into a ‘pagan’ theology.
TO SHAKESPEARE
INTRODUCTION
N And, of course, he summons the ancient
NN NI O O N ON Juno, Ceres andNIris to
I I
O O IAOT T I Greco-Roman goddesses T I
TT A perform the masque A O O
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MM and the pagan, OP which would probably OR have been bothFsubversive OR and familiarPfor L Shakespeare’s PL
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NO
members — many of O Twhom still held on toOtraditional
T ‘pre-Christian’ S beliefs (even thoughSA
N authorities) alongside N their professed Christianity.
SHAKESPEAREAN
these were frowned on by the
LANGUAGE
At the end of the play, Prospero takes it upon himself to forgive everyone — again adopting the
N
I ON NN I O N N N
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BACKGROUND
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E S S EP on subjects ranging EP from
R
P
fascinated
LRE by magic, and
L
P L
R ERE
LEE black magic in particular; he wrote three books
R R E
S
P and other supernatural OP figures like werewolves
O witchcraft to demons
AFM AMM AFM a few years beforeFhe OR and vampires. Shakespeare
OR PL
AND ANALYSES
S
T SAwhile T F M
SUMMARIES
consulted theseS he wrote S
Macbeth, wrote The Tempest.
N O O T T SA
N NO NO
ONN
IIO IO
N N N
AAT
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THE LITERARY
O MO P P R
O woodcut illustration fromOKing James’ three-part OR
SAF AMM In this
AFM Daemonologie (1597),Fthe
OT SSA TF
ESSAY
ST T
NO
volume author is shown
N N O N O
endorsing the punishment of a group of women
accused of witchcraft. James may have been obsessed
N ONN N
IO IIO
N IO ON
T N with magic N and sorcery, but he certainly did not
IAO AAT
T T
O ON was actively involved inOwitch
N hunts and I
AI I
O
LCITC IICC I T
© Anna Carll
CICT
approve.
TT He I A
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SPEL E ECCtrials before he became KingE CTof England (he was LIC
RREE
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S
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F O
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Consequently, it isN reasonable to assume that Shakespeare knew that the ‘art’ N ofO Prospero NO
and Sycorax — their powers as conjurers, whether used for good or ill — would appeal to the
N NN N
imagination TNIO of his royal patron. T
ORemember
IIO that Shakespeare’s
IO theatre company was re-named
ACKNOWLEDGEMENTS
O T N
TCIA
TheCIKing’s
L Men when James I
I
A
A AT
C was crowned afterICQueen Elizabeth’s death;
C T IO Shakespeare’s playsI ON
L
L T
ER ESPE intended for the public
were EEPP but were also performed
EP
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privately as commanded
SE EC
by the monarch.
S
RR R
PRL RR L E L E RE
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SA
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SA
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TF
O
NO N NO
N N ON
O IO IO
N VIEW ON WITCHCRAFT
A DIFFERENT TI
TI AT A ON ION
N
FOREWORD
T I O
S EC In 1584,S before King James Eproduced P P
his studies Eon EC LIC LI C
CT CCT
TI
E E R SE SSEE
PL L
enchantment and dark magic, Reginald Scot R
published E E
MP OR OR PL PPLLE
SaAbook titled The DiscoverieT F of Witchcraft — F
‘discovery’
SA
M AMM
in this instance meaning OT
NO ‘debunking’. ScotNdemonstrated SSA
that so-called magic was little more than a visual illusion
TO SHAKESPEARE
N
INTRODUCTION
O (a ‘trick of the eye’) and that belief in the supernaturalN

ATI O N O N T IO ONN
IIO IO
N
N
C was T I
just that: a psychological
T I phenomenon ratherAthan A
ATT T
O
AI
C
SEexperience of something
an S EC ‘real’. This image from
P LICScot’s P
C
LLIIC LCICT
P SPE
P LE book shows how one P LE can fake a beheading. REJames, as RREE REE
M R R
R L
SA King of Scotland
SA
Mand subsequently asFO King of England, O
FFO FMOPR M
suppressed Scot’s book and — O T
according to some OOTT S
T A
SSAAM
N NN NO
accounts — ordered copies of it to be burned.
SHAKESPEAREAN
LANGUAGE
ON N ONN
TI O N NN NIO IIO
LI CA TI TTIIOO IAOT
CAAT
T
P SE
C
SEE
CC
E LCITC LLIIC L
RE LE
S As noted P
ES in the section on ‘Literary P
P
EE context’, SPE
© Sigmar Polke (San Francisco Museum of Modern Art)
EE R
E R E
O R P PPLL RL the end of Shakespeare’s R
PRL
RE
TF AM AMM towards
FMOP F ORR
O career
MO
NO
S SSA A
ST(when he was writing
F
OTT The Tempest ) the SA
T F
NO colourful pageantsNNknown O
N O
BACKGROUND
as masques were
TO THE PLAY
N very popular — primarily because they were

O N
TI IO promoted NN by King James’ court.
N
IO It seems
C A AT I ON O
I O
clearTTIthat Shakespeare was OTN TTII
OO
LI LIC CT ITCIA also catering C A
A
RE
P P SE
CC
SEEthe king’s preference ELC LLIIC
RE LE E
for
S ESP for spectacle.
EEPP
R R LE LER RR
O P PPL These two royalOPRinterests — magic RR
and
TF AM A M
M FM F O
O
NO
S SSA spectacle —OSTA TT F
AND ANALYSES
are fused in The OTempest.

O
SUMMARIES
N exploits the blurring

Shakespeare NN of the
lines between the supernatural and the
I ON to encourage hisIOaudience
N
a play while ION
ON artificial A T
illusion
AT
to reflect on
ON
the experience of watching
NN
TI I C C I
T theatre about theatre. IIOO IAOT
N
P L watching a play! This
they are L I is called meta-theatre:
C CCTT Shakespeare makes ITC
RE bold claims about
some
P
RE the power of theatre, SEand this also leads to E PELC
SSE some profound questions
S
E
R R L E L E
E ER
FO about the nature ofOhuman existence. MP PPL PRL
TF M FMO
THE LITERARY
T A AAM O
FFO
NO O
We are constantly S
reminded that characters’ perceptions, S
S STA T
T
ESSAY
N O O
even if these are inaccurate, become their reality. If
N NNO
Ferdinand thinks his fatherN is dead, then his father is
O
deadN (although the audience T IO knows otherwise). I ON
Ariel, as N N
C TI I C A
C AT T IO IO
E L
a supernatural presence, or an illusion —L I a voice heard C T
S P
EPto influence or SE EC PELC
L E RE head? — seems
‘inside’ Ferdinand’s R E EI OSN S
E
MP
R
OR PL LT R
RLE
confirm this Operception on Ferdinand’s part in the song EPC
THE PLAY
A T F F M SM O P
S T (Act 1, Scene 2, Slines A A FM
NO
‘Full fathom five thy father O
N
lies’
P LSE OSTA
397-402). AM N
S
ON ON
I high charms work, ON
I I ON AT
‘My
TI ON NN
CT CT IC enemies are all knit upICA I IIOO
ACKNOWLEDGEMENTS
CT T
And theseLmine T
SE SE P L CC
EP SE SEE
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E LE RE They now are in my R

In their distractions. power;
S
MP OR And in these fits I leaveR them.’ P LE PLLEE
SA
F FO M AMMP
OT T SA SSA
N NO 3, lines 88-91)
(Act 3, Scene
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
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TF TF S AM SA
M FO
NO NO N OT
Under the influence of alcohol, another potential cause of hallucination or illusion, Stephano
thinks he sees N (or smells) a fish and N so, to him, CalibanOmustN be a sea-creature. As noted earlier,
N TNIO brain has also been I Oconditioned I
FOREWORD
his EuropeanA O T to see racial
AT ‘others’ N
as monstrous (a different form N
LCITCI I C A C T IO IO
S
of illusion,
PE or rather delusion).
PL L I
P C CT
RL ERE RE RE E
SE
E
SE
P R
AFMO OR OR PL PL R
ST TF TF AM AM FO
NO Reality isNwhat
O we believe
NOit to be
S S T
NO
Is it not the case that, if we are persuaded that something is real, then we believe that reality?
TO SHAKESPEARE
INTRODUCTION
Within
ONN the world of theTNIplay, ON there are actualIOsupernaturalN forces in Noperation that make the
IO that is, in the ‘real Nworld’
IOI IAO AT
TTimpossible into the possible,
TC or that warp reality. Outside the playAT— O O
SE CC
E of the theatre, where PE
I
LC people have gathered L C C TI
I to watch a play — LitI is clear that these supernatural
C C TI
ES ERE
S EP P
forcesREare imitations; they Eare SE ‘fake’. The SE
P PLLE R L R E
MM OP OR PL
OR playing Caliban ‘pretends’ that he is MP
L
STAFM F actor
F A M
NO
T T S SA
NO NO being physically tormented by Prospero’s
SHAKESPEAREAN
spirits. We call this pretence performance,
LANGUAGE
and it is no different to the actors playing
N
I ON NN I O N N N
I
A T
O I I
O O IAOTN FerdinandT IO and Miranda ‘pretending’
T IO to be in N
CI T
C CTT ITC A A IO
EL EC LC love,
I C or Antonio and C
Sebastian
I ‘pretending’ T
SE ESPE PLbe villains. In addition PLto acting as a formSEC
E
L ES R
E R Eto E
L L R
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AMMPP FMOPR O R of illusion, we have O R the tricks of staging: P LE

SSA STA TF sound and lightingT F effects to createSaAstorm, M
NO O O S
BACKGROUND
TO THE PLAY
N perhaps a Nflying rig or the use of animation
NN to convey Ariel as an ‘airy spirit’.
N
O
O IO
N N NI island — conjuringTIO ON N N
C AIOT
Thus, TProspero ION
as magician Tcontrolling
I O the world ofIAOTthe
A
storms, manipulatingTIO
CI CT ITC C A
orSPEL
commanding SEEC
other characters, causing and P LC
resolving
E I
confusion, creating
L magical pageants
L IC—
REE ES ES P
RE he has created. RE
P
OP
LLE
RLis no different from Shakespeare LER controlling the world
as playwright S
F
A M A MPP
Mnot FMOPR OR on which to call,FOalthough
R PL
E
AND ANALYSES
S
T Shakespeare did
SA have any digital
T A
or F
virtual-reality technology he M
SUMMARIES
S S
NO N O
and his colleagues did use some basic special effects, O T O T SA
N props, and costuming
N to make their
theatrical illusion seem ‘realistic’.
O
O NN N N
A
ATTII The Tempest, especially
With
I T
O IO
N when it was performed
I ONN indoors,
TNIO IO
N
I
I C
C TA TI O IAO T T
E P
P LL they would have followed
P LCIC
E
the fashion for spectacle
E CCT
E
set by King IT
E C
L C
L I CA
L I CA
RRE S SS P
R
R
James and his
LREEenthusiasm for masques. LLEE
Yet Shakespeare’s
RES
E R EP RE
P
O audiencesM R
P
used to say that they P
went to ‘hear’ a play, RL
not to
THE LITERARY
O O P P R R
SItAFis through his words AMM O
AFM either FO FO
T SSAalone — and not through
ESSAY
‘see’ it.O ST T T
masquesN or magic — that Shakespeare, like Prospero, NO has: NO NO
N • controlled theN weather (‘bedimmed / The noontide sun,
IO ON
O N
IAOTN called forth
AATTII the mutinous winds, I T
O IO/ And ’twixt the green
N
I ONN N I ON
A O O
LCITC sea and C
IIC the azured vault / Set CT roaring war’, Act 5,CCTScene
TI
CT
I AT
1,R EE PPLL 41-44);
lines S PELCI SEE E L IC
R E S S EP
RRcreated and destroyed LRElandscapes (‘to th’PLdread LEE rattling E
THE PLAY
•O
O R
P L R
F FMO MP P
OR
O
O TT F thunder / Have T IA
S given AAM
fire, and riftedSSJove’s stout oak / SAM F
NN O T T
With his ownNbolt; the strong-based promontory / Have I NO NO
made shake, and by the spurs plucked up / The pine and
N ONN 44-48); N
TNIO Act 5, Scene 1, Tlines
cedar’,
T IIO IO
ACKNOWLEDGEMENTS
IAO AA T N ON
and
C
L ITC LIICC I C A T IO T I
ESPE• brought the dead PL life (‘graves at my command
EEPto PL / Have EC EC
R
E R
R E
R forth / By my so LE S S
MOP
RL waked their sleepers,
OORR oped, and letR’em
P P LE RE
AF F
F O R
ST potent art’, TT Act 5, Scene 1, lines T F48-50). AM AM FO
NO O
NNO NO
S S T
NO
ON ON ON
I N TI TI
CT TI
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IC A
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NE
PL
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O
NO N NO
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T C I I O
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E E RE RE SE SSEE
PL PL R R LE LLE
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SA TF TF SA
M AMM
NO NO SSA
TO SHAKESPEARE
ON
INTRODUCTION
© Psico Teatro
© Peter Kogler
TI N N ON N ONN
IIO
C A TI
O
TI
O TI IO
N T
T
C CA AI T
O
IICC
AA
SE S EC P LI
ELCICT PPLL
LE LE RE SP RREE
P P R R
R LREE
M There is a kind of Aunspoken
M FO
contract between theatre makersFand OPR
O their audiences. Members of
SA the audience need FO FM M
S to agree to be susceptible
O T — to be T
fooled
OO T into temporarily S
T A
experiencing the SSAAM
N NN O
play-world as a real world — in order to be transported into the world depicted Non stage. We call
SHAKESPEAREAN
this act N the ‘willing suspension of disbelief’ and it allows the audience Nto share the experiences
LANGUAGE
I O N to gain insights and ONN

ofATthe actors on stage O—
I IIOO OTNIO
NN empathetic understanding by experiencing
T
T IIO the
I C
depicted events and T
emotions vicariously. TT C A
I AA
L C CC IT IICC
RE
P SE S
E
SSE PELC PPLL EL
If the audienceLEhas been spellbound LLEEby Shakespeare’s R ERE
conjuring trick, and hasR EE
Raccepted that ESP
OR M P P
P L
OP is our certainty that R
R world outside LRE
T F reality is perception
SA SAA
M
and vice-versa,M then how meaningful
TAFM
Othe
FFO F
A OPR
M
NO S S T
T S
O world, too, there OisT
the theatre is any more ‘real’ than what we have seenNO on stage? In this NN‘real’
O
N
BACKGROUND
TO THE PLAY
plenty of pretending, performance, and illusion — and ‘reality’ is only what we perceive or believe
N
O it to be. N
I O N
AT TI N N IO OO
LI C I CA TI
O
TIIOON IAOTN
A
ATTII
P PL EC CT LCITC C
LLIIC
RE E S S
S EEC PE PP
R
O R Musical motifs
R
P LE
PPLLEE RLER
ES
R RREE
M P R
O T F word motif is, of course,
SA SSAA
MM
T
O
AFM T
O
FFO
AND ANALYSES
N The first and foremost S T

NO O
SUMMARIES
a musical term. It refers to a series of notes or a NNO

musical ‘phrase’ that is repeated in different ways
N throughout I OaNlonger piece of music.
I ON In this way it N
I O A T T N NN NIO
T creates C A
ICa musical ‘theme’ — Isomething that recurs T IO TIIOO IAOT
L T
P L
EP Music is a themeSE
C ECC LCITC
RE
throughout the composition.
R in SSE ESPE
ORits own right in TheOTempest:
R LE PLL
EE ER
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F F
there are a P
M
handful
MP OPRL
THE LITERARY
T AM M O
FFO
NO
of songs, as isOthe SA
T case in most of Shakespeare’s SSA AF
OST T
T
ESSAY
N O
plays, but characters also speak about music, and N NNO
music is part of the island’s magic.
ON N ‘While you here do snoring lie,
N I O
We
IO have already referred AT to Ariel’s song early ATI in Open-eyed conspiracy ON N
C T
the play (‘Full fathom L I C five thy father lies’),I C
which T I T IO
E P L His time dothCtake.
EC
L E
S
seems to comfort RE Ferdinand as he Rgrieves EP the If of life youSEkeep a care, I OSN S
E PELC
R E E
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MP loss of hisFOfather, but also casts OR a spell over Shake PLoff slumber and beware.EPCL RLE
THE PLAY
A T F M SM O P
S T A A FM
NO he reappears on
him. When
NO
stage, Ferdinand is SAwake, awake!’
P LSE O STA
following the sound of Ariel’s song ‘Come unto M N
(Act 2, Scene 1, lines SA301-306)
these yellow sands’ (Act 1, Scene 2, line 376).
N N of song or music. In Act Two,
O N N
Indeed, most ofOAriel’s interventions inTtheIO play include someIOform
CT
I I
T sings into Gonzalo’s A
IC ear to wake him up
T
Aand prevent AntonioTIand ON Sebastian’s IIOO
NN
ACKNOWLEDGEMENTS
E Scene One,CAriel L I C T
T
E
S murderous SEplans; he presumably EP directs the music and E PL song of the masque S ECin Act Four; and in SEECC
E R R S
PL as he prepares to
ActMFive, O Rhelp Prospero one last R time before being released, P LE he sings ‘Merrily,PLLEE
F O P
SA
merrily shall I live now…’ OT (Act 5, Scene 1, lineT 93).
F
SA
M
SAA
MM
N NO S
ON ON
ON TI TI
TI CA CA I ON
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AMP F OR OR PL EP
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PL P LI PLI CT CT L IC
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O R OR P LE Complete Guide and
The E
TF TF S AM SA
M F O
NO NO N OT
Stephano and Trinculo, by contrast, sing crude
N sailors’ songs ON when they are drunk. ON
Their ‘bad’ N
TNI turn, contrasted withTICaliban’s sincere ATIO
FOREWORD
music is,IAOin N
LCITC I C A C T IO I ON
celebration
ESPE
of the soothing PL musical soundsEP ofL I
EC CT
L R
E
the island: ‘The isle is
R E
full of noises, / Sounds,
R S SE
FMOPRand sweet airs that O R O Rnot. / P LE PL
E
R
R
give delight and hurt
STA TF TF SA
M AM FO
NO Sometimes aNO thousand twangling instruments
N O / S T
Will hum about mine ears, and sometime voices NO
TO SHAKESPEARE
INTRODUCTION
...’ (Act 3, Scene 2, lines 135-138). N
N O N N
T ION
IO A
I OTNI T IO T IO N
CCT ‘Where shouldC ITC music be? I’ th’ air, or th’
this C Aearth? C A IO IO
SEE PEL L I L I C T T
ES
RIt ESsounds no more; and sure EitPwaits upon EP SE S EC
PPLLE L E R
R Some god o’ th’ island. RSitting on a bank, R E E
M
M AFMOP Weeping again the King F Omy father’s wrack, F O R
M PL M PL
ST T T SA SA
NO This music crept NOby me upon the waters,NO
SHAKESPEAREAN
Allaying both their fury and my passion
LANGUAGE
ON
With its sweet air. Thence I have followedN it,
T N
I NN NI O ON ON
CTAI
O
TTI
OIO
Or it hath drawn me rather.
IAOT
But ’tis gone.
ATI TI ON
ELCI LCITCit begins again.’ CA
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L L Scene 2, lines 388-396) R R
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T FO
T FO A MP
NO described as Shakespeare’s
The Tempest has been
NO
most musical
O play. Many composers
S over S
BACKGROUND
TO THE PLAY
the years have embraced the challenge of writing new melodiesNfor the songs. Stage and screen
productionsNoften make use of musical motifs to weave the narrative and the setting into a
ONN
O IO ON N
‘soundscape’.
AI T
O N
I
O ONN
AOTNI
T IO I ON
ICT I
TT TCI A AT
LC CC I IC IC
ESPE SSEE PELC L L
RE E ER
S
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AND ANALYSES
SSA OST
A F F M
SUMMARIES
NO T T SA
N NO NO
ONN and islands

Ships N N
AATTIIO IO
N T
O ONN TNIO IO
N
IICC There are only two AI
settings
T or ‘locations’ inTI I
O
The Tempest: IAO T T
P
P LL ELCIC E
T
CCand C
L ITC I CA I CA
E the ship (although P
S it is thought to have E
sunk disappears E
P L L
RRE REE 1) and the island SS
EE(although there areLERES EP P
O R
R after Act 1, L
Scene
R
P PLL R R RE
THE LITERARY
O O
M P P R R
SAFother places ‘offstage’, AMM MO FO FO
plenty ofT SSA where action hasOStaken TAF
ESSAY
O T T
placeN in the prehistory of the play, such as Milan,NNaples, NO NO
Tunis/Carthage and Argier/Algiers).
N NN
AOTNIO The ship and the TTI O
IO
island would appear N ONbe very different NN
Ito N ON
I A
A T
O IO TI
LCITC spaces, literally IICC and figuratively.CICThe TAI ship moves, the TIO IO
PPLL EL ECCT CT LI CA
island is REEfixed; the ship is vulnerable ESP to wind and storm, SSE SE P
© HFFK (DeviantArt)
R RE E
RR L LE LE RE
THE PLAY
theO
F
F Oisland offers refuge. ThroughOPR
M M MPPL
the coloniser-colonised P R
TT or dynamic, the ship F
A A AM O
Olens
NNO
S is arguably associated
T SSA with the S TF
NO
adventurer/explorer/settler and the island with the native/ NO NO
T
indigenous/dispossessed person.
N NN N
In other IO
TN
ways, though, the ship O
O
TTII and the island are similar.
O They are both self-contained, isolatedN
TI
ACKNOWLEDGEMENTS
IAO A
A A O N O
spaces.ITC ICC
They both hostLLImicro-societies, smallICgroups or mini-communities I TI
that are usually
S
E PELC P
P P L E C T C
LER
governed by fixed rules: RREE on a ship, there isRE a clear chain of commandS and on Prospero’s SEisland
PR
O there is a strict FFhierarchy.
O
O
R
R In The Tempest, R L E
as is common Pin Shakespearean romances L E
and RE
AFM FO M MP OR
N OST comedies, this OO T
Torder is disrupted and
O T there is contestationS A
over who is in charge.
S A
T F
NN N NO
ON ON ON
I N TI TI
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O
I C A
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NE
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OT
F
SA
M
SA
M
TF
O
NO N NO
A boatswain, who is the senior member of the crew on a ship but is still subordinate to the captain
N N a group of aristocrats — yet
ON and other senior Iofficers,
O N IO
would not be expected IO
to insult and instruct
I T
A that there is no place T ON conduct
A for the expected Isocial ION
N
FOREWORD
C T C T the Boatswain declares

in the first scene, I C C I O
I T TT
SE of respectE and PL fighting a stormy
SE politeness when Eyou’re E
L
Psea: ‘What cares theseEC / roarers for the SEECC
L E R R S S
P nameMof PLking?’ (Act 1, SceneR1, lines 16-17) Likewise, R the shipwreck means P LE that life on the island
PLLE
E
A F O O P
S
becomes OT
a series of challenges TF
to authority: Caliban,
O
Stephano, Trinculo,M
SA Sebastian and Antonio
MM
SAA
N N S
all plan revolutions.
TO SHAKESPEARE
ON
INTRODUCTION
TI N N ON N ONN
IIO
C A TI
O
TI
O TI IO
N T
T
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EC— SHAKESPEARE
CTHE RED DRAGON AI IICC
SE S P LI PREMIERES LCICT IN AFRICA?
LL
SPE PP
P LE On the subject of ships
P REonly a few stories about performances of Shake-
LE as stages ... there Rare REE RREE
M R
R PRL
SA AM occurred during hisFlifetime,
speare’s playsSthat
O
but one of the
O
O
FFmost vivid — although FMO
it is likely M
O T
OOTT S
T A
SSAAM
a fabrication — involves a group ofN sailors on board a merchant
NN ship called the N O Dragon.
Red
SHAKESPEAREAN
TheNstory told is that in 1607, while the ship lay at anchor off the west coast of Africa (near pres-
LANGUAGE
A
IO
Tent-day Sierra Leone), Captain
O N William KeelingNNurged his crew to rehearse
O NI ON and perform Hamlet ONN
IIO
C T I IIO IAOT A
ATT
I to keep them fromC‘idleness TT
and unlawfulCCgames, or sleepe’. It isIT possible that he repeated
IICC this
PL E E
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E strategy a year S S
S
later, this time with a Eproduction of Richard II E P
Soff the east coast of the PP
continent EL
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P P R
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M M P P O R
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If these events occurred, it is significant that the performances
O took place
O Tnot
T S
on African soil OT
N NNO
but at sea — and, more specifically, on board a ship in the service of the East India Company.N
BACKGROUND
TO THE PLAY
Keeling’s onboardNtheatrics can be seen as part of the long story of Shakespeare’s co-option
ON
TI TI
O
into British imperialism. N NN IO
N O
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T F ship and the islandSAlikely held the sameSSappeal
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O
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O
AFM they are good settings
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T
O in
FFO
AND ANALYSES
Nwhich to conduct some ‘social experiments’. In this way, they areNboth S

O like theatre stages T
Oas well:
SUMMARIES
NNO
they are confined areas in which the action of a story will be played out and resolved in one way
or another.ION ON N
ON AT AT
I N NN NIO
TI TI
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LIC LI C TT IAO
P P SE
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THE LITERARY
AM M O
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NO S SSA AF
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N O
NNO
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N TI TI
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M O OR P PC L
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THE PLAY
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NO OT SA LSE
A AF
N M P N OST
SA
N ON ON
O N TI TI
TI TI
O
CA CA I ON IIOO
NN
ACKNOWLEDGEMENTS
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F O P
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M AMM
N NO SSA
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NO NO N OT
N
THENIOISLAND AS A PRISON
N ON O N
IAOT TI TI
FOREWORD
ITC IC
A A I ON I ON
PELC islands around the
Many world have been IC CT CT
S
E PL connotation of EPL
ER used as prisons and
R Ethe R SE SE
MOPRL ‘island’ with ‘prison’ R is a strong one O forR PL
E
PL
E R
F O R
STA T Fbecause of RobbenOIsland.
TF AM AM FO
NO South Africans O
N kilometres off the Ncoast of
S S T
Located 6.9 NO
TO SHAKESPEARE
INTRODUCTION
Bloubergstrand, north of Cape Town,
ONN
Robben Island has been NI OaNleper colony, an ION I ON
I I
O IAOT T T N
ECCTT animal quarantineLCIstation TC and, famously, IaCA I C A
T IO T IO
SE ESPE activists. The island L L EC EC
LE ES prison for political
ER R EP is EP S S
PL L
Rbeing the place former R E E
MMP known for
AFMOP F OR
South
O R PL PL
ST president Nelson Mandela
African was F M M
NO
T T SA SA
imprisoned for 18 of his 27 NO years in jail. It NO
SHAKESPEAREAN
LANGUAGE
has since been declared a World Heritage Site and converted into a museum as a reminder of
N the power of the N
AI
IO
OTN I
O ONN human spirit, the importance
OTNIO
of freedom, andN the victory of democracy
I O I O N over
CICT oppression. CTT
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EL
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LC LIC
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E Other famous prison
PPL
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RLE RE
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AMM O
FMO
P R Alcatraz Island, located O R 2 kilometres off P LE
SSA STA
TF T F Francisco in California. M
OO
the coast of San
O SA S
BACKGROUND
N
TO THE PLAY
N The US Army N built a fort on the island in
1858 and it began being used as a military
ONN
O O N
ON three years later. N
N
I N prison Nicknamed ‘The ON
© Matt Campbell (Corbis)
I T
O I ON TNI IO I
CTA I O IAO T T
TT Rock’, the island became A a federal prison A
SPELCI SEECC E
P LCITC L IC LIC
E S S
E in 1934 and the Ppenitentiary has famously
P
RE E R E REpris- S
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Rnot one of the 1 576 R L E
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AND ANALYSES
SSA STA oners Tit Fheld
SUMMARIES
N O O T S A
N tionNOescaped successfully.NO
Older than Alcatraz is the tiny tropical island prison of Fort Jefferson. The island is located off the
IIOONN of Florida, 109 kilometres
coast IO
N
N
west of theON N
island of Key West, andNIO
N
was operated as a prison N
AATT I T
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P LL between 1861 to
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1889. At the time, being
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sent to FortR
L EJefferson was considered
LLEE RES
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O PR P RL
THE LITERARY
O be a fateMO worse than death. It meant
P hard P R R
MM O
SAFin the blazing sun, Swith
T SAA little food AFM FO FO
ESSAY
labour
O T
S T T
andN a scarcity of fresh water. It also meant NO NO NO
© Brian0918 (Wikimedia Commons)
facing swarms of mosquitoes, ferocious

N NN hurricanes, and bouts N
IO tropical storms Oand
IIO
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N
ION
N N ON
LCITC of malariaIIC CA
and yellow fever. Each T
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prisoner TI O IO TI
PPLL ELCI chained CCT CT LI CA
dragged
RREE around a 13kg iron ESPball SSEE SE P
RE and night to E RE
RRhis ankle while workingPRLday PLLE LE
THE PLAY
to
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AF structure. SAA AM O
NNO OTT build the enormous T Sbrick S S TF
NO NO NO
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NO N NO
The staff and the book
O N Along with his robe O N or ‘mantle’, Prospero’s I ONstaff (a long stick, Iwhich
ON he uses as a kind N of wand)
TI I T T N
A A ION
FOREWORD
C and his book/s C Tare the symbols of I

his C magical power. ThereI C is some ambiguity T
in IOtheir symbolic TI O
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associations, R EP E S SSEEC
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A MP could also be seen F ORas a source of physical O R P PPLLE
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The
S staff — rather than ‘metaphysical’ or spiritual —
power. In productionsNof OTthe play, he often uses O it to beat Caliban, SA
evoking the violence of SSAA
colonial
N
rule: in these instances, the staff functions like the whip or the sjambok. If Prospero is the parent/
TO SHAKESPEARE
ON master and Caliban is the child/slave, according to the Nmentality of colonial N paternalism, then
INTRODUCTION
TI Nrule seems to be ‘spareN O O N N

A Prospero’s O IO the rod and spoil I
the
T child’ (although he IIO
doesn’t apply this to TN IO
C T I T A A
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Miranda).
S EC LIC C
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E E
S
R EP EEPP ESPE
PL PL Prospero refers both to his ‘books’ R
R
RR and his ‘book’. His RE‘books’
M M OR Ostudied PRL
SA SA seem TtoF be the texts that TheFFO O
in Milan asAFM
he became AMM
NO OT
NNO
TS SSA
distracted from his responsibilities NO could have
as duke; these
SHAKESPEAREAN
been books of history, poetry, science, philosophy, fiction …

LANGUAGE
I ON what do you think Prospero’s books contained?

ON
They helpedN
ON
to
AT I ON O
shape his world
N
N view, for better and TNI
for worse. T I
I O
LI C CT TIIO IAO AAT
P CCT LCITC IICC
RE SE E
SSE medieval and earlyESmodern
PE PPLL (in Latin, L
R LE
In the late
LEE R
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periods, ‘science’
R
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P L L RE
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O
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scientia = knowledge) blurred
OPR
with the ‘art’ ofR
OR
magic. At some
PRL
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AA AFM F
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S SS point, Prospero’s reading shifted from scholarship to the super- F
NO OST OTT for education and SA
T
NNO
natural. Along the Nway, his books — a metonym N O
BACKGROUND
TO THE PLAY
knowledge — became merged into one ‘book’, which stands for

ON ON
TI N TI N
his ability to wield supernatural power.
O O N
CA IO CA IIOON OTNI TTIIO
LI When Prospero I
L was exiled from Milan,T
C Gonzalo helped him T
CCT by giving him provisions
IA to survive at A
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O R above my dukedom’
/ I prize P L
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linesLLEE166-168). By the time
RLER the action of the play R RREE
M P R
T F Prospero has only
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SA one book and, ultimately, he returns to S
O
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T T
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AND ANALYSES
N T
NO O
SUMMARIES
NNO
staff, / Bury it certain fathoms in the earth, / And deeper than did ever plummet sound / I’ll drown
my book’ (Act 5, Scene 1, lines 54-57).
ON ON
O N TI TI N NN NIO
N
TI C A
CA TI
O IIOO OT
LI LI TT IA
P P SE
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O REMEMBER PL HIS BOOKS
ORFIRST TO POSSESS PPLL PRL
TF TF M AM O
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AM FM O
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NO O
Prospero’sNBooks (1991), directed by SSA of many film adaptations
S Peter Greenaway, is one STA of The T
T
ESSAY
O O
N
Tempest. It explores, through various visual cues, the complex symbolism of Prospero’s books NNO
in Shakespeare’s play. One N possibility it suggests is that Prospero is also producing a book,
O Nwriting the script for his
T ON of comparing Prospero
IOown story — another Iway N and Shakespeare.
N
I A T A IO
CT IC IO
© Saskia Boddeke & Peter Greenaway Projects
L IC T CT
SE EP EP
L
S EC NE PELC
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PL R R LE LTEI ER E
M O OR P EPC L
OPR
THE PLAY
SA TF F
SA
M ASM FM
NO NOT PLSE
OST
A
M N
SA
N ON ON
O N TI TI
TI TI
O
CA CA I ON IIOO
NN
ACKNOWLEDGEMENTS
C I
E E RE RE SE SEE
S
F O P
SA OT TF SA
M AMM
N NO SSA
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
EC1 0 0
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
A MP FOR OR PL EP
M
RE RE SE SE EP
The
P
E
TF TF S AM SA
M F O
NO NO N OT
Goddesses: Ceres, Juno, Iris
N N N
N TNIO IO IO
FOREWORD
IAO AT AT N ON
LCITC I C C T IO I
ESPE PL PL
I
EC CT
L R
E R E R E S SE
FMOPR O R O R P LE PL
E
R
R
STA TF TF SA
M AM FO
NO N O N O S T
NO
TO SHAKESPEARE
INTRODUCTION
N N N
ION
N TNIO IO IO
TTIO IAO AT AT N
SSEE PE L L C EC
E RES EP EP SE S
PPLLE RL E R R E E
M
M MOP OR R PL PL
© Imogen Cunningham (Fenimore Art Museum)
AF F F O M M
ST T T SA SA
NO NO NO
SHAKESPEAREAN
LANGUAGE
N
I ON N NIO
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SSA STA F F M
NO OT OT SA S
BACKGROUND
TO THE PLAY
N N
ONN
O IO that Prospero conjures
N
ON Miranda is N
The masque
I
A T
O N
I
O ONN for Ferdinand N
AOT
and
I
T IO I ON
heavy CTwith symbolism. Spirits I
TT perform the roles I of three ancient CA AT
SPELCI SEECC E
P LCITC L I L IC
Greek/Roman
E goddesses: S Iris, Juno and Ceres. ES Iris is the messenger
LRE LLEE of the gods — soRLitERis appropriate that she R EP R EP S
OPR for Juno — the P
queen
P P R R L E
M M
AM O
TSAF AFM goddess of agriculture, FO to FO MP
AND ANALYSES
appears first. She SSA summons Ceres,OSTthe
SUMMARIES
N O T T S A
give her blessing to the couple. There N are various possible NO connota- NO
tions in this case.
ONN
IIO IO
N N N
AAT
T I OTN I ONN of true love to celebrate,
‘A contract TNIO IO
IICC T A I
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THE LITERARY
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AFM 1, lines 84-86) FO FO
T SSA (Act 4, Scene
ESSAY
O ST T T
N represents healthy soil, a bountiful crop and
Ceres NO a good harvest; NO NO
she is therefore associated with fertility, and so bears the promise
N ONN N
IO of the couple conceiving IIO and having N IaOchild after they areONmarried.
CIAOTN
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O
N
O N I ON
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IIC of crops also stands
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more sinister I T
PPLLmight be identified ifSPEwe CTT
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A
symbolism EE E SS evokes E L
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THE PLAY
theO Oplantations in the ‘New R

P PL where the L R
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OR
O
O TT F
economy was based T on
S SAAM
forced labour for Sagricultural produce that
S AM F
NN could be sent backNto O T T
Europe. NO NO
N NN with thy saffron wingsNupon my flowers
NIO O‘Who
IIO O
T T TIrefreshing showers; ION
ACKNOWLEDGEMENTS
O T
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O RR My bosky acres
R P LE PL
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O M M OR
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N NNO N O T
NO
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NO N NO
Juno also wishes the couple riches and ‘increasing’ (having a family — in other words, creating
N ON In addition, she Nemphasises
I ON royal heirs to the O Nthrone of Naples and T I Othe dukedom of Milan).
T I N
TI echoes Prospero’s Aconcern about Miranda’s A sexual ‘honour’ and ION
FOREWORD
C T honour. This partly

C I C C IO his warning I O
I T TT
SE to FerdinandSE not to have sex with L
EP her until they areRE PL
married. EC associated with SEECC
‘Honour’ is also
L E L E R S S
P power;MPJuno is herself a queen,
OR at the top of theFhierarchy
OR of the gods, and
P LEso she is a symbol Pof LLE
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A F P
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authority. OT she was the patron
In ancient Rome, AM the state and sheSAstood
T goddess of the city Sand AMM
N O S
N Prospero as one of the figures blessing Ferdinand
for law and order. She may be ‘chosen’ by
and Miranda to remind them that their marriage will help to restore the social order and achieve
TO SHAKESPEARE
ON
INTRODUCTION
I greater political
N stability. N ONN N
T N IO IO O IO II
CA T T IO
AI OTN AT AATT
EC EC CT LIC IICC
E
S
E
S E P
SPELCI EEPPLL
L R E RR
M PThe Great Globe M PL itself R RR R
P LRE
O OO
SA Finally, then, we S A
T F speech, whichOhe
come to Prospero’s famous F O
AFM
TT Futters after the comforting illusion AMM
N O N
N O O S
T SSA
N
of the wedding masque has been shattered and which includes the immortal lines:
SHAKESPEAREAN
LANGUAGE
ON ‘[T]he great globe itself, N

ONN
TI O N NN NIO IIO
LI CA TI TTIIOO IAOT
Yea, all which it inherit, shall dissolve,
A
CA
TT
P SE
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And like this insubstantial
E
pageant faded, LIIC
L
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Srack behind.’ PP EL
E EE Leave not RaE EE ESP
OR PL PLL E RR E
© Max Stock Photo (Shuttershock)
PRL R
F M AMMP
M O OORR PRL
T SA SSA F
(ActA4, Scene 1, lines 153-156) F
ST
F F
A O
M
NO NO OOTT S
T
NN NO
BACKGROUND
TO THE PLAY
ON ON
TI TI Not too long NN before Shakespeare’s
N N
IO time, it was O
CA CA IIOOTI
O OTN TTIIO
LI I still T
widely
CT held that the earth A
I was flat. Those A
A
P PL EC EEC had even persecuted LCITC geographers PLLIICC
RE R E S in S
power
S ESPE P
R R P LE PLLEE
who said that it was L Rround.
E Consequently, REE
R
FO MP R ORR
T
there was still an S AMof excitement about
element S AM
A ‘the globe’ — the AFMOP as a sphere — inFFO
world early
NO S T OTTamong
AND ANALYSES
S
NO as a planet, only one
SUMMARIES
modern England. This had many implications. Imagining the Earth NNO
infinite celestial objects, had the potential to change the way humans saw their place in the
N
ON
cosmos and T IO their relationship with
I ON the divine. At theNsame time, a spherical earth could more N
TI A AT O O N
N NIO
readilyLICbe explored, mappedICand understood. TI O
TTII IAOT ITC
P PL EC ECC PELC
ARE‘planetary consciousness’ RE should, we E S
know, create ES
SE S
E
R R L LLE ER
FO a sense of shared FO experience and Amutual MP obligation MPP RL
MOP
THE LITERARY
T T A
A M F O
FFO
NO among its inhabitants; S
this may, indirectly, have informed SS A
NO OST T
T
ESSAY
N O
NNO
the development of Renaissance humanism, although
Europeans still tended not to think in universal humanist
N N who
terms
O N (they saw themselves T IO as distinct from ‘others’
IO N
C
I
Tlived in exotic locationsI C A
across the seas). C
T
A the globe
So, T IO I ON
SE simultaneously symbolises
EP
L I
PLexploration and SEC CT
E R knowledge,
E SNE PELC
PL wonder on O
R
R one hand, and fear,Rconquest
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S
E
M P PC L
O OPR
THE PLAY
SA T F
TF
M SME M
on the Oother. SA LSE
A AF
N NO M P N OST
Christian theology teaches that the world will experience
SA
an apocalypse; it will be destroyed, in oneNway or another,
I ON and a ‘new Earth’ ONwill replace it. So, even
T IOthough Prospero ION N
I A AT NN
CT T IC — that nothing lasts IO IIOO
ACKNOWLEDGEMENTS
C
is using hyperbole to make a point
L I C T TT
SE SE everything is ephemeral,EP PL EC CC
E forever,Eand
L R E
like the temporary
R E
S SEE
S
illusion R
MP of a masque or FaOplay — there is also ORan ‘end PL PPLLEE
A
S times’ ring to his O T F M AMM
of
N
vision of the globe itselfOT dissolving. SA SSA
N
Moreover, in our era of climate change and the threat of
ecological collapse, this vision takes on a new meaning.
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
EC1 0 2
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
A MP F OR OR PL EP
M
PL P LI P LI CT CT LIC
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The E
TF TF S AM SA
M F O
NO NO N OT
The Globe Theatre
N
Prospero-Shakespeare, winking atN the audience, also had N another ‘globe’ in mind: the Globe
N TNIO I O I O
FOREWORD
Theatre. O T
AThe Tempest would likely
A have been performed AT there; it would also N
have been performedON
C
L ITCI I C I C T IO TI
indoors
S
E L
PE at the Blackfriars PTheatre nearby, but even
P L in that setting the Globe’s
C renown would have
C
ER Prospero’s lines aRE RE SE SE
PRLgiven double meaning. E E R
AFMO F OR F OR M PL M PL R
ST The Globe, with Tits circular construction,
T offered the intimacy
SA
of an audience seated
SA
or standing FO
NO N O
stage. It was its N O T
around the thrust own sphere, but also offered an obvious metaphor: the entire NO
TO SHAKESPEARE
world was contained ‘inside’ the Globe because the actors could set their story anywhere on earth.
INTRODUCTION
ONN NI ON IO
N
I ON
I I
O IAOT T T N
ECCTT C
L ITC I C A
I C A
T IO TI
O
SE What did the E
P
theatre represent then?L L C C
ES S P
ERE Theatre representREto Elizabethan and Jacobean EP SE SE
PPLLE What did the RL
Globe R society? For Esome, perhaps, E
MM OP OR OR To others, it was PaL form of popular MPL
AFM
it was aSTsymbol of creativity and F exalted dramatic F
poetry. A M
NO
T T S SA
entertainment — after all, next NO door you could go and NO watch bear-baiting or cock-fighting. Among
SHAKESPEAREAN
the more puritanical, it stood for sin and depravity; prostitutes solicited clients there, actors could
LANGUAGE
N
I ON speak foul language onstage, diseases Ocould
NN of being unhygienic
N spread, and immoral
NI and being subversive ON
behaviour was encouraged.
N
TAI T
O The twin I
O O
associations
TI IAOT T I meant that the Globe T IOand theatres N
C T TC A A IO
ELCI ECC
like it wereSEregularly closed. LCI I C I C T
ES ESPE PL PL C
L
P E
L L R
E R E R E SE
In the P end, Prospero’s words R
P were prescient: the RGlobe did not dissolve,R but on 29 June 1613, Eit
SAAMM to the ground after AFMOthe thatch roof caught F O F O firing of a stage cannon.
M PL
burned
S ST alight as a result of the
NO OT three more decades T SA S
NO of playmaking there, but, in
BACKGROUND
TO THE PLAY
It was rebuilt the following year, and thereNwere
1642, it closed permanently when theatres were banned by a disapproving parliament. The physical
ONN
O structure N of N
IO the Globe Theatre,ONlike
N the towers, palaces N temples listed by Prospero,
Oand N proved to N
T
O TNI IO IO
be asICTAI
transient I I
O
as the temporary
TT worlds created on AO
its
I stage. AT AT
LC CC I TC
ESPE SSEE S
E PELC P LIC P LIC
RE E R RE RE S
PRL PPLLE PRLE R E
TSAF
MO M
AM
What does Shakespeare’s O
FM
theatreTAsymbolise today? FO FO
R PL
AND ANALYSES
SSA M
SUMMARIES
O OS T T SA
N NO
N and reopened as ‘Shakespeare’s
The Globe Theatre was reconstructed NO1997. What does
Globe’ in
it symbolise today? London as a tourist destination? English cultural capital? The two meanings
OONN great globe’ wereN
of II‘the on
IO
N display in 2012 when, in the year of the London N Olympics, the Globe N
A
A
to
T
T Globe Festival I
brought T
O theatre makers I
from O IO
NNacross the world toOTNShakespeare’s Globe, IOwhere
I
I C
C T A I
T O IA T T
E P
P LL they put on 37 productions
PELCIC in 37 E CCT This was a demonstration
E
languages. ELCITC of the global
L I CAappeal of
L I CA
RRE S SS P
R
R Shakespeare’s LREE
work, and the factPLthat LEE he belongs to ‘the RES
E whole world’ — notRE
P
just to England RE
P
O R
P RL
THE LITERARY
O MO At the same time, P P R R
MMhowever, it was anAact FMO of tribute: a pilgrimage
SAF
and to English.
T SAA FO or homecoming, FO
ESSAY
O S ST T T
bringingN Shakespeare back to the imperial ‘centre’ NO (the British Empire NO
was, after all, the main
NO
reason that his plays spread across the globe in the first place).
N ONN and cultural institutions N around the world felt the impact of COVID-19 — no
IO In 2020, as theatres IIO
CIAOTN
audiences and A
ATT
no income — AI T
O
Shakespeare’s
IO
N
Globe announcedI
O ONN that it would have O Nto close down I ON
LCIT C
IIC ICT I I T
if it did notPPLLreceive some form Sof ELCgovernment funding.
CTT perhaps, in this light,
ECSo CT the Globe is not LIC
A
E
E E P SSE S E P
R
RR LRE Instead, it symbolises LEE the possibilities and E the precariousnessRofE
THE PLAY
an ‘English’
OR or ‘British’ symbol.
R
P PL L
FO O
AFM MP P
OR
OOTT F
theatre-making everywhere.
S
T SSAAM S AM F
NN NO T T
NO NO
N ONN
NIO IIO ON
T T TI
ACKNOWLEDGEMENTS
T
IAO AA A ON ON
PELCITC PLLIICC
LIC CT
I
CT
I
ES P P
ER RREE RE SE SE
PRL ORR LE PL
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AF
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NO
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I N TI TI
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T E E
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EPC PL R R
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OR OR PL PL R
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THE TEMPEST
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SA
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O
NO N NO
N N O O N N
TI
O The South IO African contribu-ATI ATI ON ION
N
FOREWORD
T C I O
S EC EC Globe to Globe Festival
tion to the
S PL
I
P LIC CT CCT
TI
E E
in LLondon in 2012 was RuVenasE E SE SSEE
PL P R R
R
LE LLE
E
MnoAdonisi by the IsangoO Ensemble. O P PP
SA This adaptation of TShakespeare’s
F
TF SA
M AMM
N O N O SSA
narrative poem ‘Venus and Adonis’
was performed in multiple South
TO SHAKESPEARE
ON
INTRODUCTION
N ONN
ATI AfricanN languages. Sadly, it has
I O O N not T IO T IIO IO
N
N
C I A AAT T
CT
appeared CT stages.
on South Africa’s IC IICC AI O
SE SE P L
PPLL ELCICT
LE LE RE RREE SP
P P REE
M M OR ORR
O OPR
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SA SA F F
F AFM M
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OT OTT S
T SS
N NNO N O
SHAKESPEAREAN
LANGUAGE
ON N ONN
TI O N NN NIO IIO
LICA TI TTIIOO IAOT
CAAT
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P SE
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SEE
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ELCITC LLIIC L
RE LE EE
S
R
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O R P PPLL RL R
PRL
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TF AM AMM FMOP F ORR
O MO
NO
S SSA STA
OTT
F
SA
T F
NO NNO N O
BACKGROUND
TO THE PLAY
ON ON
TI TI N N IO
N
OO
LI CA CA TI
O
T IIOON IAOTN
A
ATTII
LI C CCT LCITC C
RE
P P SE SEE E LLIIC
RE S ESP PP
R R L E
LLEE LER RREE
FO MP AMMPP
O PR O R
R
T SA SSA TAFM FFO
NO T
AND ANALYSES
S T
NO O
SUMMARIES
NNO
ON ON
O N TI TI N NN NIO
N
TI C A
CA TI
O IIOO OT
LI LI TT IA
P P SE
C ECC LCITC
RE RE SSE ESPE
O R R LE PLL
EE ER
TF
O P P PRL
TF AM M O
THE LITERARY
AM M O
FFO
NO S SSA AF
NO OST T
T
ESSAY
N O
NNO
ON ON
N TI TI
EC PLI LI CT CT
E
S
RE RE
P SE SNE PELC
PL R LE LTEIO ER
S
E
M O OR P PC L
OPR
THE PLAY
SA TF F M SME M
NO OT SA LSE
A AF
N M P N OST
SA
N ON ON
O N TI TI
TI TI
O
CA CA I ON IIOO
NN
ACKNOWLEDGEMENTS
C I
E E RE RE SE SEE
S
F O P
SA OT TF SA
M AMM
N NO SSA
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
EC1 0 4
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
A MP FOR OR PL EP
M
RE RE SE SE P
E E RE
OR OR PL PL R
TF
THE TEMPEST
OT
F
SA
M
SA
M
TF
O
NO N NO
N Key Facts:
ON ON ON
TI
O
TI TI TI ON N
CA A ION
FOREWORD
C I I O
T
E • E title: The Tempest RE
Full
RE SE SSEE
PL P L R R LE LLE
E
•AM Author: William Shakespeare
FO O P PP
S
OT TF SA
M AMM
• Type of work:NPlay NO SSA
• Genre: Romance
TO SHAKESPEARE
ON
INTRODUCTION
Language: English N ONN

TI
• N N
A I O I O N T IO TTIIO IO
N
C T
• CComposed (time and Tplace): England, betweenA 1610 and 1611 A
A AI T
O
SE Published: 1623 (in S EC P LIC P
C
LLIIC LCICT
the First Folio) P SPE
LE RE RREE
•
P P LE R LREE
M R
R
SA
• Tone: playful,
SA
M magical, threatening,
FO hopeful, mischievous, O
FFO
chaotic
FMOPR M
• Setting: A remote and mysterious O T island OOTT S
T A
SSAAM
N NN NO
SHAKESPEAREAN
• Protagonist: Prospero
LANGUAGE
•ION Antagonists: Caliban, Antonio, Sebastian, Stephano, Trinculo N

T
A • Conflict: Prospero ON is seeking revengeIIOOon
NN TNIO ONN
IIO
C I the men who A O
betrayed him 12 years ATT
before.
PL
I T
EC a storm to haveSEEthem
T
CCT shipwrecked on LCthe ITCI L
A
LIICC his
E He orchestrates
S PE island. Caliban wants
P L
R
R L E LEE
S
R
E ES R
R EEP
ESPE
freedomP from Prospero and L
encourages Stephano Land Trinculo to help him murder the RE
T FO AM AMMPP FMOPR F ORR
O MOPRL
sorcerer.
S SSA A F F
NO ST OTT SA
T
• Rising action: Miranda and Ferdinand meet NO and fall in love.NNProspero O tests theirNO
BACKGROUND
TO THE PLAY
relationship and feelings by obstructing their romance. Antonio and Sebastian plot to
N
TI
O ON Gonzalo as theyNsleep. Ariel wakes them
kill Alonso Iand just in time. Caliban N meets
C A AT I O O
I ONN TNIO TTII
OO
LI StephanoIC and Trinculo and decides
T to worship themTTI as gods. IAO A
A
P PL Miranda and Ferdinand
EC C LCITC
EEC Caliban persuadesPEStephano
C
LLIIC
RE E
• Climax:
R S decide to S
marry.
S S to kill PP
R RProspero in his sleep
P LE
and take Miranda as P ERE
LLEEhis bride. ProsperoRLarranges a phantomR RREE
O M P P R
O T F banquet for Alonso,
SA Antonio and Sebastian.
SSAA
MM
Ariel, disguised
T
MO a harpy, admonishes
AFas T
O
FFO
AND ANALYSES
N S T
NO vanish. O
SUMMARIES
them for what they did to Prospero and makes the banquet NNO
• Falling
O N action: Prospero consents
N
to Miranda and Ferdinand’s marriage, and delights
ON I
theT lovers with a visionTIof O goddesses. Prospero sends spirits in the N
TI C A AStephano and Trinculo.
I ONProspero forgives Alonso,
IOONN form of angry TNIO
I dogs to chase Caliban,
I C T TTI Antonio and IAO
E PL PL dukedom is restored EC to him and the SgroupECC plans to leave the
E LCITC
R Sebastian. R E
Prospero’s S S S E
P
O R island so that P LE
RMiranda can marry Ferdinand in Naples andP LEE
L
Prospero can return to
RL ERE
Milan.
F O P
F M M MOP
THE LITERARY
T M O
O
NO
T
Foreshadowing: SA
The Boatswain’s disregard for SS AA king in the opening
the STA
F scene
TT F
F
NO
•
ESSAY
O O
O
foreshadows the disruption of normal social hierarchies that takes placeN on the island; NN
Prospero’s recounting of the events that preceded his arrival on the island foreshadows
N N
O N T IO
how quickly the fortunes of characters can IO change, and Miranda’s N wish to meet Gonzalo N
I A AT O
C T C
foreshadowsLI the reunion that follows; I C T I
the individual reactions of Alonso, Antonio
T IO
E P L C EC
L E
S
RE
and Sebastian EP
to Ariel’s condemnation
R SE of the banquet foreshadows
and the loss
I OSN S
E PELC
R E E
T R
MP theirOindividual responsesOto R Prospero’s attempts PL at forgiveness andEPCLreconciliation; RLE
THE PLAY
A T F F M SM OP
S Prospero’s admission that his obsession with SAstudying magic cost Ahim his dukedom AFM
NO OT LSE ST
N
foreshadows his decision to renounce magic and be restored asMthe Duke of Milan, andNO
P
S A
his decision is also considered as foreshadowing Shakespeare’s own retirement from
the theatre. N N
N N IO O
T IO IO A T
A TI IO savage;
N O NN
CT and motifs: sea journeys/voyages
LIC TIIO
ACKNOWLEDGEMENTS
Themes of discovery; the myth of theTnoble

EC IC
•
E P L C CT
S S
Europe P
and its ‘others’;E land, language andEliberty; E
masters and Sslaves, rulers and EC
E L E R R E E SSE
R E
MP subjects; parentsFand L
O children, brothersORand sisters; creation/creativity
MP
and divinity;PLL
MP
SA O T
magic and meta-theatre; music. T F
S A AAM
N NO and book; goddesses, and the globe. SS
• Symbols: ships and islands; the staff
ON ON
ON TI TI
TI CA CA ION
N EC LI LI CT
T IO S EP P E
EC1 1 6
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
A MP F OR OR PL EP
M
RE RE SE SE EP
The
P
E
TF TF S AM SA
M F O
NO NO N OT
N Summaries and analyses

TNIO
N
IO
N
IO
N
FOREWORD
IAO AT AT N N
ESPE E PL E PL EC EC
L R
E R R S S
LE LE
STAFMOPR Using this section F O R
F O R
M P M P
O R
R
NO OT OT SA SA TF
N N
Working through the play act by act ensures that solid foundations of knowledge are laid and then N O
TO SHAKESPEARE
INTRODUCTION
gradually and effectively built on. Learners are not required to deal with the whole play until they
haveONN worked through it step NI ON by step. In this section,
IO
N each act is broken
I ONdown into its constituent
I I
O A
I OT T T N
C
E CTTscenes, each of which LCITC is summarised and I C Aanalysed separately.CALearners are then required
I T IO to T IO
SSE engage with each S
E PEscene directly through P L scene-specific questions
P L that require themE Cto refer to EC
E RE
PPLLE PRLE
R RE E
S
E
S
M
M the text closely.
MO R R P L PL
STAF T FO FO AM accompanied by aSAM
O
At theNend of each act, learners
O T
will find essay questions
O pertaining to that Sact,
N N
SHAKESPEAREAN
selection of enrichment tasks. In the ‘Literary essay’ section that follows these summaries, there
LANGUAGE
is also a wide selection of rigorous, intertextual essay topics, ensuring that students also tackle
N
I ON the play in its entirety.
NN (The marking NI
rubrics O N
for the N
enrichmentIOtasks N found on
and essays canIObe
AI T
O I
O O OT
CT I
T
CCT CD.) ITCIA AT AT ON
ELCI the companion
SEE PELC LIC LIC CT
I
S ES P P
LEE R RE RE SE
PPL PRLE E
AAMM O
FM OR OR PL
SS STA F F
SA
M
O OT OT
Act One S
BACKGROUND
N
TO THE PLAY
N N
ONN
O IO
N
ON N
AI T
O N
I
O ONN
AOTNI
T IO I ON
CT TTI I A AT
S ELCI
Summary of Act One
P SEECC E
P LCITC L IC L IC
E S S EP EP
PRLRE PLLEE RL ERE R R E
S
MO The play opens M
withP a boat caught in an O P
fierce storm. R R L
TSAF AM FM FO FO MP
AND ANALYSES
SSA and his son Ferdinand STA are aboard
SUMMARIES
N O The king, Alonso, O T T S A
N
the ship along with other members of the royal court. NO NO
AfterN Nthe boatswain chastises them for getting in the
IIOOof O N N N
A
ATT
way the crew, the
I T
O N
I
passengers all return below
I ONN deck TNIO IO
I
I C
C TA TI O IAO T T
E P
P LL to pray. Three of the
PELCICnobles – Sebastian,EEC CT
Antonio and
ELCITC
L I CA
L I CA
RRE S SS and Antonio P
R
R
Gonzalo – return
LREE to the deck. Sebastian LLEE RES
E R EP RE
P
O PR P RL
THE LITERARY
O argue withM O the boatswain while P Gonzalo tries to P R R
SAFthem to join the king AMM O
AFM FO FO
T SSAbelow deck. The ship
ESSAY
persuade O ST T T
splitsNand they all rush to the king’s side. NO NO NO
© Mr-Ripley (DeviantArt)
N Meanwhile on a ON nearby
N island, Miranda N watches
IO the boat sink. TProspero, IIO
CIAOTN
A
A T her father,
AI T
O N
I O
reveals that he I
O ONN O N I ON
LCIT C
IIC CT I
TT I AT
created the
E
E PPLL storm to benefit Sher, PELCI and none of the SEECC E CT L IC
R E S S EP
RR
passengers were harmed. Prospero then reveals the
LRE LEE E
THE PLAY
OR R
P L
P L R
fullFFOstory of how they came MP He P
TT once the Duke of T S
O to be on the island.
AFM SAAM in AM F OR
OOwas Milan but became S
engrossed S T sea/ for
NN NO ‘Now would I give a thousand furlongsOof
N NO
T
his studies of magic. He trusted his brother, Antonio, an acre of barren ground’ (Act 1, Scene 1, lines
to take care N of his duties in hisONNstead, but Antonio N65-66).
I O O
betrayedTNhim and stole his dukedom. TTII Prospero andIO
ACKNOWLEDGEMENTS
IAO AA AT Gonzalo wishes to TbeIOonN dry land as the boat ON

Miranda
LCITC were forced to flee
IICC Milan, but Gonzalo I was
C TI
PE PPLL L splits and beginsCto sink. C
S
E P E SE
LER
able to give them supplies RREE and some of Prospero’s
RE S
OPR books before they O R
R
left. These helped themR to survive L E L E RE
AFM on the island, as FFO FO MP MP OR
OST OOTT well as provide an education
T for Miranda.
S A S A
T F
N NN NO NO
ON ON ON
I N TI TI
CT TI
O
CI
A
CA ION ION
IOS
NE
PL
I CT CT
L E
T E E
© THE
R E SE 11 7 SE
EPC PL R R
R LE LE
RE RE SE SE P
E E RE
OR OR PL PL R
TF
THE TEMPEST
OT
F
SA
M
SA
M
TF
O
NO N NO
Prospero lulls Miranda into a magical sleep. His
ON faithful spirit-servant, O N Ariel, appears. ItTIOisN revealed I ON N N
I TI T
A and ensured A ION
FOREWORD
C T that Ariel wasCresponsible for the stormI C C IO I O

I T CTT
SE the safetyE of SE the passengers. ProsperoEP
L
praises him EP
L EC EEC
L E L R R S S S
P for hisMPgood work, and they ORhave a short argument O R P LE PLLE
E
A F P
S when Ariel will beT set free. Ariel is reminded
about O O TF SA
M MM
SAA
N S
of how Prospero saved him from the treeNin which
the evil witch Sycorax had imprisoned him for not
TO SHAKESPEARE
ON
INTRODUCTION
T I following her N commands. AfterONProspero threatens ION ONN

IIO N
C A to return T I Ohim to the tree, I
Ariel
T agrees to continue AT A
ATT T
O IO
N
AI
C
SE Prospero in his plans.
assisting S EC Prospero orders PAriel LIC P
C
LLIIC LCICT
P SPE
P LE become like a seaPLnymph
to
E RE
– invisible to Reveryone RREE REE
M R
R L
SA except him. SA
M
TF
O O
O OPR
T FF AFM
OT
AMM
O O OTS SSA
Prospero wakes Miranda and saysN they must visit NN N
SHAKESPEAREAN
Caliban, Sycorax’s son whom Prospero has kept

LANGUAGE
N
asTa
A
IO servant. Ariel returns
O N and Prospero whispers ONN NI ON ONN
IIO
C I
I instructions into theCTspirit’s ear. Ariel departs IIO IAOT AAT
T
TT and
E PL Caliban arrives. Caliban
S E immediately S
begins ECC insulting
E PELCITC P LIICC
L L
R
R L E LEE
S
R
E ES
RREE P
ESPE
P revealed that Prospero L L E
R
MPP
Prospero. ItMis and Miranda
T FO A AAM FMOPR F
F ORR
O MO PRL
taught S
Caliban how to speak
SS their language and A F
NO ST OTT SA
T
in return he showed them how to survive on the NO NNO N O
BACKGROUND
TO THE PLAY
© atisuto17 (DeviantArt)
island. According to Prospero, they all lived together
N N
T IO amicably until Caliban IO tried to rape Miranda. N Prospero N
C A tells Caliban to AT
collect firewood and I Othreatens him IOO NN TNIO T
O
TIIO
I I C T TI IAO A
A
PL PL pain if he refusesSEor C does the tasks ECCT LCITC C
LLIIC
RE with physical
R E S
S E
ESPE PP
R grudgingly.
O R Caliban agrees PtoLEcooperate and leaves
PPLLEE RLER R RREE
P R
F
toTundertake the tasks.SAM SAA
MM
AFM
O FFOO
S ‘If by your art,ST
NO
AND ANALYSES
OT
my dearest father, you haveT/
NOwaters in this roar, allay them’
SUMMARIES
Ariel returns, still invisible, singing a song. Ferdinand [p]ut the wild NNO
is following the sound of the music as it was soothing (Act 1, Scene 2, lines 1-2).
N N father. Prospero
ON him after Tthe IO apparent death of IO his N
T I
points I C A
Ferdinand out to Miranda,
C
T
A who believes that I ON Miranda, watching theIIO NN
shipwreck
O from the island, NIO
AOT
L LI T TT the people on the ship.ITCI
EC a
begs her father to save
she E Pis seeing a god asE Pshe has not seen such
S S ECC
E PELC
R R E E S S
E
R E ER
FO OR M PL
handsome PPL
L
person before. Ferdinand sees Miranda
PRL
and also
F M O
THE LITERARY
T A that she is aSAA M M FFOO

NO NO
T assumes
S S goddess. She tellsOShim TAF that she is T
T
ESSAY
not a goddess but a girl. He tells her that N he is now the NNO O
King of Naples as his father perished in the shipwreck and
O N that if she OisN a virgin, he will make her his queen. Prospero
ON TI I N N
C T I
I C A decides C ATthat if their experienceT IO of falling in love isTtoo IO easy
E L L I C
S P they
EP will not value it highly SE
enough and so he will
SNEC put a few PELC
L E RE R E E I O S
E
MP OR
obstacles in their way.
OR locked up. Miranda PL
Prospero tells Ferdinand LT he will be ER
EPCwhy her father is OPRL
THE PLAY
A T F F M does not understand SM

S T SA A FM
NO NO treating Ferdinand in this way. Ferdinand P LSE says that he would OSTA
M N
not need freedom if he could look SA though his prison window
and N see Miranda. N
ON O
I O N TI hail, great master! GraveTsir,
IO N NN
CT TI C A
‘All A hail! I come/ [t]o answer IO thy best IIOO
ACKNOWLEDGEMENTS
C L I I C T T
T
SE SE L swim, to dive into the fire,
© kutty_sark (DeviantArt)
P pleasure. Be ’t to fly,/P[t]o Cto ride/ [o]n the C

E RE SE all his quality’
Estrong bidding task/ Ariel and S EEC
LE R E S
LLEE
curled clouds, to thy
AM
P
F OR O2,Rlines 189-193). PL P
P
S T
(Act 1, SceneF M AMM
NO OT SA SSA
N
Ariel, Prospero’s loyal spirit servant, assists Prospero with all of his plans
on the island.
ON ON
ON TI TI
TI CA CA ION
N EC LI LI CT
T IO S EP P E
EC1 1 8
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
A MP FOR OR PL EP
M
RE RE SE SE EP
The
P
E
TF TF S AM SA
M F O
NO NO N OT
Act One: Scene One
N N N
N TNIO IO IO
FOREWORD
IAO AT AT N N
ESPE
Summary: A ragingE PL storm E PL EC EC
L R
E R R S S
FMOPRA ship is caught in an O Rimmense storm. TheOcrew R tries to keep the Pship LE afloat. There are aPnumber
LE of R
R
STA F F M M O
NO royal figures and Ttheir servants aboard SA
Tthe boat, including: Alonso, SA Sebastian,
the King of Naples; TF
NO NO N O
Alonso’s brother; Antonio, the Duke of Milan; Ferdinand, the son of Alonso; and Gonzalo, a councillor
TO SHAKESPEARE
INTRODUCTION
and advisor to Alonso. The Npassengers flock to the deck of the ship to see if they can assist the
I
O ONN but are advisedIAOTto
sailors NIOreturn below deckTIas ONthey are only making I ONthe situation worse. N
The
TTI A AT O
CC passengers listen to C
T
I crew and return toICthe cabins to pray. Antonio
the and Sebastian return I to the IO
SSEE deck and exchange S
E PELC P L P LIC E CTsplits and EC
T
E terse words with the boatswain, who chastises them as the boat
PPLLE P
R
RLE RE RE E
S
E
S
M
M begins to sink.
MO The passengers are
O R
all separated in the R
water. P L O PL
F
STA F F
SA
M
SA
M
N O
N OT N OT
SHAKESPEAREAN
LANGUAGE
N
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ON ON
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S S P P
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SE
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FMOPR OR OR PL
SSA STA F F M
NO OT OT SA S
BACKGROUND
TO THE PLAY
N N
ONN
O N N
IO IO ON ON
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N N
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AND ANALYSES
OTS SSA OST
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SUMMARIES
N T T SA
N NO NO
Prospero’s
N storm batters the boat and terrifies those on board that the vessel is sinking.
ON
IIO IO
N N N
A
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I T
O N
I ONN TNIO IO
I
I C
C T A TI O IAO T T
E P
P LL Analysis
PELCIC E CCT
E ELCITC
L I CA
L I CA
RRE This initial scene
S
REEintroduces and explores SS
EE the theme of class ESP class roles. The ship’s
Rand EP passengers P
O R
R PRL PLL RL E R RE
THE LITERARY
O MO of the nobility, while P P R
crew are considered Ocommoners. During OR
are members
SAFof the storm, the passengersAMM the boatswain and O
AFM
T SSA F
TF
ESSAY
O
the crisis do not ST
accede to the authority ofOT the boatswain; they are
N NO O
used to having authority themselves. When the king, Alonso, seeks outNthe master, the boatswain N
chastises him for getting in their way and tells them to go below deck. Gonzalo tells the boatswain
I ON I
I O
O NN N
CIAOTN to remember who AATT his passengers are,
AI T
O IObut he tells GonzaloONto
N
I
O
N ‘use [his] authority’N(Act 1, Scene
O I ON
LCIT C
IICtell the storm to stop, CTand if he cannot do Cthat, I
TT to go down into C TI cabins and stay ICA T
ELCI
1, line 23) to the
E
E PPLL SP SEEC E L
out of the
R RR crew’s way. The boatswain LREE is aware of hisESauthority and position Son board; at the same
LE E EP
THE PLAY
R L R
time,O it is his duty to protect
FFO OPR the passengersAM MPP crew. Sebastian and
and PL Antonio seem to resent
TT S
T F
A M
SA A M F OR
OOthe boatswain’s authority on the ship and Sproceed to insult him S when he questions why
T they
NN
have returned to the NOdeck. Gonzalo tries to persuade them to return to the king and NOpray with NO
T
him. When the boat splits, Sebastian and Antonio hurry below deck to sink with their king, while
ON for land. This brief
GonzaloTNIprays ONN interaction gives us
IIO N
IO a small insight intoNthese characters andN
T
ACKNOWLEDGEMENTS
A
I O A
AT T
TC can expect them to IICCbehave throughout the A O O
howLCIwe
E
P PLL L I C play. Gonzalo seems C TI to be a middlemanC–TIhe
S
E P P E
tries to keep the peace
LERWhat do you think will RREE
– while Sebastian and Antonio appear
RE characters as the
to be
S aggressive and SE
self-serving.
MOPR
OORR be revealed aboutRthese P L Eplay unfolds?
P L E RE
AF F
TT F FO M M OR
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N NN NO NO
ON ON ON
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THE TEMPEST
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SA
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SA
M
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O
NO N NO
Questions:
O N O N I ON I ON N
TI T
TI first impressions ofICSebastian T N
1. What are your A and Antonio?AQuote from the text to IOsupport your ION
FOREWORD
C C I C T TI O
SE answer. SE L PL EC (2) CT
E E R EP E S SSEEC
PL L R
LE E
2. Why
A MP is the Boatswain annoyed
F OR with the men? OR P P LLE
(2)
P
S T TF SA
M MM
SAA (2)
3. Summarise lines 65-68 NO in your own words. N O S
TO SHAKESPEARE
ON
INTRODUCTION
TI ON
Act One: Scene Two ON ON ONN
IIO N
C A TI TI TI T
T IO
N
C C ICA IICC
AA AI T
O
SE SE L LL LCICT
EP PP SPE
L E L E R RREE REE
MP MP O FO
R RR
OPR
L
SA SA time you learned
Summary: It’s who we are…FFO AFM M
O T TT O
O S
T SSAAM
On an island, Miranda – who had been N watching the sinkingNN ship – asks herNfather, Prospero, O
SHAKESPEAREAN
whether he was the one who had created the storm with his magic. She tells her father that she
LANGUAGE
ON pain of the people

feltTIthe N caught in the wreck. N Prospero tells Miranda ONnot to worry as none ONNof
A I O IIOON
OTNI T
T IIO
C A A
P LI the people were
E CT
harmed and that he created
EE
T
CCT
the storm to benefit
LCITCI
her. Prospero decides
LLIICC
A it is
that
RE time to tell Miranda S their family history, Ssomething
S which she E PE
Snotes he has tried to tell her before EL
R L E LEEProspero promises that R
E RREEPP ESP
L RE
F O but decided the
P time was not yet ripe.
M PP PRL M
she will hear the full
RR story
O
this time.
O PRL
SA AM AFM O O
NO
T SSA ST T FF
T S
T F
A M
NO O
NNO NO
BACKGROUND
TO THE PLAY
ON ON
TI TI N N IO
N
OO
LI CA CA TI
O
T IIOON IAOTN
A
ATTII
LI C CCT LCITC C
RE
P P SE SEE E LLIIC
RE S ESP PP
R R L E
LLEE LER RREE
FO MP AMMPP
O PR O R
R
T SA SSA TAFM FFO
NO
AND ANALYSES
S T
T
NO
SUMMARIES
O
NNO
ON ON
O N TI TI N NN NIO
N
TI C A
CA TI
O IIOO OT
LI IA
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LI TT
P P SE
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O R R LE PLL
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O P P PRL
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THE LITERARY
AM M O
FFO
NO S SSA AF
NO OST T
T
ESSAY
N O
NNO
‘O, I have suffered/ [w]ith those that I saw suffer!’ (Act 1, Scene 2, lines 5-6).
N N
O N T IO IO N on the island. He O N
I
Prospero asks his A
daughter if she remembers Tanything before theirIO time
C T
L I C I C A T T I expects
E Miranda to confirm L
P that she remembersPnothing, as they arrived Con the island when she EC was only
L E
S
RE R E SE I OSNwomen who S
E PELC
three years old, but she surprises her father by saying she E remembers four or E
five
T
MP OR OR PL PCL years before he PRLER
THE PLAY
A used to F
wait on her. Prospero F
confirms that this is trueM and then reveals thatM
S E12 O
S T SA it was foul play orLaSEAblessing that brought AFM
had beenNO the Duke of Milan.NMiranda OT questions whether ST
A MP NO
them to the island. He tells her that it was both and begins to explain S the events that ended with
them living on the island. When ProsperoN was the Duke, he appointed N his brother, Antonio, to
N N I O I O
IO govern the state
TI
O while he busied himself AT with his books. AT N NN
CT IC IO IIOO
ACKNOWLEDGEMENTS
E E C L I C
L Naples to have Prospero T T
T
E
S Antonio, S drunk with power, conspiredEP with the King E Pof S EC ousted and EECC
S
E
L the Duke himself. R R R Edaughter were ejected ES
become P O Thus, in the dead of R night, Prospero and his L L
L E
M
SA Milan and sent out
from TtoF sea on a boat that was FOnot equipped for a A MP and that even the
journey AMMPPrats
T S A
had abandoned. Prospero NO suggests to Miranda NO that it was her smile that gave him the Sstrength
S
to survive, and how a man loyal to him, Gonzalo, gave them the supplies that they would need to
ON ON
ON TI TI
TI CA CA ION
N EC LI LI CT
T IO S EP P E
EC1 2 0
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
AMP F OR OR PL EP
M
RE RE SE SE EP
O R O R LE Complete Guide and
The
P
E
TF TF S AM SA
M F O
NO NO N OT
survive the voyage – as well as some of the most
treasured books N from Prospero’s library. These
N TNIO Prospero to giveTIhis ONdaughter an IO
N
FOREWORD
books allowed IAO A AT N N
education on the island farPLbetter than any other L
ER ESPE E E P S EC S EC
Lprincess would receive. R Miranda asks Prospero R
OPRto explain why he caused R Rsays LE LE R
© Thensir (DeviantArt)
AFM F O the storm and F O
he M P M P R
ST O
NO
T OT just told SA SA TF
that his enemies NO from the story he Nhas N O
her were all aboard the ship. He tells her that
TO SHAKESPEARE
INTRODUCTION
the stars are aligned in his favour N and then lulls
NN I O N ON
her
I
O O into a magical sleep OTN to prevent her from IO I
I
CTTasking further questions. ITCIA AT AT ONmy
Ito O
EEC C
L L I C The government II C T
cast upon my brother/ [a]nd TI
ES
S ESPE P P L C
E rapt in SE
C
R RE RE
E state grew stranger, being transported/ S[a]nd
PLL RLE E LE
MMP O
AFM
P
O R R
secret studies’
O PL75-77).
P
OST TF TF AM
S passed his responsibilitiesS AM
N NO O
NProspero tells Miranda how he
SHAKESPEAREAN
as Duke of Milan on to his brother as his focus shifted to
LANGUAGE
ON N studying magic.
N
I N NIO N N
CTAI
T
O
TI ION
O IAOT
AT IO T IO N
CCT ITC A IO
ELCI SEE LC Once I
Miranda C is asleep, Prospero I C calls on Ariel, a T
ES ESPE E PL loyal servant. It is revealed
E PL that Ariel wasSE
C
PLLE L R
E spirit and
R his R
P PR E
AMM FMO OR
responsible for the storm.OAt R Prospero’s instruction, PL
SSA STA F F M
NO
T had transformedOThimself into flames and
Ariel SA leapt S
NO
BACKGROUND
TO THE PLAY
through each cabin in the ship until all the passengers N
jumped into the water to escape the flames. Ariel
ONN
O N
I ON N ON everyone was safe N N
I T
O I ON ensured TNI
that IO and washed up atTIO
CTA I O A
I O T
TT A He made sure that A
PELCI ECC LCITC points on the island.
different IC IC
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ES S E
S PE L L
LRE LLEE ER ES
Ferdinand,
R EP was on his own. RThe
the King’s son, EP ship S
OPR PP PRL was safe and R
stored in a nearby harbour while the L E
M M
AM O R
TSAF FM FO FOcharm. The MP
AND ANALYSES
SSA STA
SUMMARIES
O O crew had beenTplaced under a sleepingT A
N S
N remaining ships NO in the fleet were onNO their way back to
Naples under the impression that the King’s ship had
NN N
I
TTI
O
O IO
NOT
sunk,
NN and the King had Iperished NON in the wreck.ON
AA TAI IO
TIO IAOT I
L
L IICC
LCI C CCT Prospero approves ITC
of Ariel’s work but saysC ATthere is CA
T
E P
P PE EE ELC L I L I
RRE ‘Thou best know’st/ S
[w]hat torment
REElines 286-287).
I did find SS
thee
EE more work yetERto ESPbe done. At this, Ariel EP is upset as P
O R
R in’ (Act 1, R
P
Scene L2, PLL RL R RE
THE LITERARY
O O P P R him free after this OR
AFM AAM
M he was hoping
AFM
O Prospero would set
FO
Sreminds
T Ariel how he foundSSthe spirit TF
ESSAY
Prospero O task was
OST completed. Prospero T angrily reminds Ariel
N N O O
imprisoned in a pine tree. of the conditions in whichNhe found the spirit. There N
was once a witch called Sycorax who inhabited the
I ON island. Originally IIfromO
O NN N
CIAOT
N
AATT Argier (Algiers),Tshe
I
A O
O
I was banished toOthe
N
I
O NN island as a resultOofN her malicious I ON
LCIT witchcraft. LShe C
IIC was pregnant when CTshe was banished and I
TT bore a son whom she I named Caliban. AT
EEPPL SPELCI SEECC E CT L IC
Ariel was R originally a servant Eto Sycorax but she Eimprisoned
S him insideSa pine tree when he P
R Rto carry out her terribleLRE commands. Sycorax LE died and left Ariel imprisoned
LE RE
THE PLAY
O
refused
O R R
P PPL in the tree, until
F O
M M P R
O
O TT F
Prospero arrived on OtheSAFisland and heard the
T S
M
SAAspirit’s moans. Prospero S AM freed Ariel from the FO tree,
N
N N T T
promising that he would eventually free him from his servitude . NO NO
Prospero threatens to imprison Ariel NN inside a tree once Nmore but Ariel promises to do his bidding.
NI ON I
I O
O O for two more days
T AATT services are only required TI
ACKNOWLEDGEMENTS
Prospero IAO assures Ariel thatCChis N and instructs him O toN

take C
L ITC
the shape of a sea II
nymph,
L but to be I
invisible C A
to everyone except T IO Prospero himself. Ariel
to T I
L
R
E ESPE and Prospero wakens
leaves R EEPP Miranda, tellingE P L
her that they need toS EC Caliban as he has
visit S EaCtask
R R
PRL ORR PL
E
PL
E RE
AFMO for him. FFO OR F M M OR
OST OTT T SA SA F
N NNO NO T
NO
ON ON ON
I N TI TI
CT TI
O
I C A
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IOS
NE
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SA
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SA
M
TF
O
NO N NO
At this point, Ariel returns as a water nymph and Prospero whispers instructions into his ear
N N
I ON before he leavesIO N more.
once T IO T IO N N
A A ION
FOREWORD
C T C T I C C IO I O
I T CTT
SE Caliban then SE enters and laments L he was once thePLsole inhabitant of theCisland. Prospero
that
EPlanguage, and in exchange
E E EEC
L E taught L E
Caliban how to speak R
his R Caliban S
showed Prospero all the S S
P E E
riches
A MPof the island. Caliban
F OR
says that he regretsFO
R
showing these thingsMto PLProspero as he is now PPLLE
S MM
OT
forced to live in harshNconditions while Prospero O T and Miranda have fullSArun of the island. Prospero
SSAA
N
calls Caliban a liar and claims that Caliban is treated in this way because he tried to rape Miranda.
TO SHAKESPEARE
N Prospero commands Caliban to collect firewood and threatens to inflict pain on him should he not
INTRODUCTION
T IO N N ON ONN N
C A obey theIO command. Caliban insults
T IO Prospero and leaves A TIIO
TI to collect the firewood. IO
N AAT OT
CT
EC point, Ariel (stillSEinvisible) LIC IICC I CTAI
At Sthis returns, leading
P PPLL ELC
LE
Ferdinand with a song.LE Ferdinand was weeping RE on RREE REESP
P P R L
M M FO – when ORR
O OPR
SA the beach – he thought
SA his father was dead
T F
F F
A M AMM
NO
he heard Ariel’s song. The song alleviates his grief OTT
NNO
TS SSA
NO
SHAKESPEAREAN
and he follows it. Miranda sees Ferdinand and asks

LANGUAGE
her O N
father if he is a spirit. Prospero explains that
T I
Ferdinand
A is a person just O N like them, and that Ohe N was
N NI ON ONN
IIO
C T I IIO IAOT AAT
T
I TT
E PL one of the peopleSfrom EC the shipwreck they S ECCwitnessed
E PELCITC PLLIICC L
R
R earlier, and in his
L E grief, he must be searchingLEE
S for other R
E ES R
R EEP
ESPE
L L RE
FO MP
survivors. AMiranda thinks that Ferdinand
AMMPP is the most FMOPR ORR
O OPRL
T S SSA A F
F FM
NO beautiful thing she has ever seen. OST OTT
O SA
OT
N NN N
BACKGROUND
TO THE PLAY
Ferdinand sees Miranda and declares her to be a

O N goddess and asks whether
N she is a ‘maid’ (unmarried
TI IO N IO
N
I C A T
A responds that she
and a virgin). CShe
T IO is. Ferdinand IIOONN IAOTN
A
ATTII
OO
I T
PL PL he is now the King
explains that ECof Naples as his SEECC
T
LCITC C
LLIIC
RE E
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E
R in the shipwreck. He S S ESP PP
R father R
O
died
P LE says that he wantsPLLto
P
EE
RLER R RREE
M P R
T F Miranda and makeAher his Queen.
marry
S
M
AAM SS T
O
AFM
O
FFO
NO
AND ANALYSES
S T
T
NO
SUMMARIES
Prospero is pleased as this is part of his plan; however, O

NNO
he is worried that if they fall in love too easily, they will
N
ON T IO marriage vows seriously.
not take their I ON He decides to N N
T I accuseICAFerdinand of being IC T
a Aspy and attemptingTto IO Prospero found both TAriel
IIOONNand Caliban on the IAOTNIO
PLthe island away from PL Prospero. Miranda, EC ECC
T ITC
steal
R E
R E S now island. S
S E
S
E PELC
E EE
F ORthoroughly in love, Odefends
R Ferdinand. Prospero
PL tells
PPLL ER
PRLFerdinand
F M M O
THE LITERARY
T Miranda not to defend him and tells Ferdinand

A that he will be M
imprisoned on the island.
M O
FFO
NO O T S SAA
S STAF T
T
ESSAY
N
draws his sword to fight, but Prospero uses magic to freeze him on the spot. Ferdinand O declares O
N NNO
that prison will be worth it if he is able to see Miranda just once a day. Prospero praises Ariel’s
work and says that he willObe N free soon but he must N still follow a few more orders.
ON I O
I AT TI ON ON
CT LI C CA CT
I I
SE EP
LI CT
E RE
P SE E
OSN PELC
PL AnalysisOR R LE TEI R S
E
M OR P PCL RLE
THE PLAY
F E P
SA When Prospero
OT
F
tells Miranda about
T their past, the story M
SA not only explainsLSEhow
M
S
A they came to beAFM O
NO
on theN island, but it also informs the audience of Prospero’s motivation M P for his revenge andNfor OST
creating the storm. This history creates some sympathy for Prospero A
S – and, for some audience
members, it also justifies his treatment of N
Ariel and Caliban, whichN would otherwise come across
I ON O N T IO I O N
as harsh and T I
unfeeling. Yet we also C learn T
A that Prospero wasAat least partly responsible IO for his own NN
CT IIOO
ACKNOWLEDGEMENTS
C L I I C T T
T
SE SE he had neglected
exile, because
EPhis duties as Duke. EP
L EC C
EEC
E E R R S S
S
PL R E
PLan antagonist in the play, LLEE
ThisMscene
A
touches on theOtheme
F F OR
of colonisation. Caliban, although he is
M P
P
M he
S good reason to resent
has OT Prospero and Miranda for coming to his SAisland. Before they came, AM
N N OT SSA
says, he was the only inhabitant and did as he pleased. He is now a servant to Prospero and no
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
EC1 2 2
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
AMP F OR OR PL EP
M
RE RE SE SE EP
The E
TF TF S AM SA
M FO
NO NO N OT
longer has freedom. Miranda calls him a ‘savage’ and
N says that despite ON her initial care Ifor
NIthis
him, he remained
ON Caliban retorts ION
T
FOREWORD
‘vile’ – andA O is why he was T
enslaved. AT N ON
LCITCI I C A C T IO I
thatP
ESE
the only benefit of learning PL their language Lwas
P
I
EC CT
L R
E
learning how to curse; R E
he has not been E
elevated
R but, S SE
FMOPRrather, has lost his Ofreedom R O R Prospero P LE PL
E
R
R
and autonomy.
STA TtoFintimidate and control T F Caliban. SA
M AM FO
NO uses his power N O O N
S T
NO
TO SHAKESPEARE
Ariel seems to be a comparatively willing servant to
INTRODUCTION
Prospero
N but it is soon revealed I ON that he desiresN his
ON
© rooart1805 (DeviantArt)
I
O ON OTN IOcame I
I
freedom more than IA
anything. While Caliban T T N
ECCTT C
L ITC I C A
I C A
T IO TI
O
SE under Prospero’s E
P
rule through colonisation, L Ariel was L C C
ES ERE
S EP EP SE SE
P PLLE freed from imprisonment
RL only to be R
subjugated once R E E
MM OP R R PL PL
STAFM
more by Prospero. Ariel appears FtoOenjoy the tasks that FO
A M M
Prospero NO gives him, but heNwould OT rather be free N OT
and S SA
SHAKESPEAREAN
tells Prospero this. This is when Prospero’s treatment ‘You taught me language, and my profit on ’t/
LANGUAGE
N and attitude towards Ariel changes from N kind and [i]s I knowNhow to curse’ (Act 1, Scene
N
I O NN NI O O O N 2, lines
AI T
O benevolent to that
I
O O of the cruel master, OT reminding the I I N
CT I
CTT he was in before LC
A
ITCI AT
364-365).
AT IO
ELCI spirit of the SEEC
pain Prospero freed him I C I C T
EES
and threatening to imprison R
him
E ESPEagain, but in worseEPLCaliban resents Prospero E
L Miranda’s presence EC
Pand S
L R on the island.
MMPPL
circumstances. It is only OPRL
when Ariel begs forR his R
R
L E
A FM FO FO P
SSA STA M
pardon that Prospero Obecomes kind once T
more.
O O T SA S
BACKGROUND
N
TO THE PLAY
N N
ONN
O IO
N
ON N
AI OTN
Questions I
O ONN
A OTNI
T IO I ON
T C TI I A AT
CCT
ELCI lines 1-13. WhatSEEare LCITC of Miranda? IC IC(4)
1.ESPRead S your first impressionsE
P L L
LRE LLEE
S
ERE R EP R EP S
OPR PP PRL R L E
M 2. How long have M
AMMiranda and her father
O been stranded on the island? R (1)
TSAF FM FO FO MP
AND ANALYSES
SSA STA
SUMMARIES
N O O T T S A
3. What does Prospero mean when N he says ‘[t]he government NO I cast upon my brother/[a]nd
NO to my
state grew stranger’ (Act 1, Scene 2, lines 75-76)? (2)
ONN do you think Prospero
4.TTIIO
Why IO
N
N removes his cloak while he tells Miranda Nthe story of their past,Nand
O
C
C A
A puts it on again once
T I
A T
O he has lulled her I
into I
O ONN
a magical sleep? IAOTNI TI
O
(4) T
I
I C T A
E P
P L
L
P L
E I
C
EECCT
ELCITC
L I C
L I CA
RRE S SS P
R
R
5. What did Ariel LREE do to sink the ship? LLEE RES
E R EP (1)
RE
P
O PR P L
R
THE LITERARY
O O P P R
6. For how M
SAF long was Ariel imprisoned AMM in the tree? AFMO FO (1) FOR
T SSA
ESSAY
O T
S T T
7. How N did Caliban become Prospero’s slave? Quote NO from the text to NsupportO your answer. NO(4)
N 8. Find a word in the text that means ‘to take a position of power or importance illegally or by
IO ONN
IIO N
IAOTN force’. AT
T T IO
N
ION
N N (1) ON
LCITC CCA
II AI
CT
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EE ESP SSE S EC PL
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ORR questions on
THE PLAY
PPL PL R
Essay
F
F O
F
A OPR Act One:
M AMM M O R
OTT
NNO
S
OT SSA SA TF T
N O
1. In Act One, Scene One, we witness conflict between the Boatswain (representingNthe crew of NO
the ship – its working men) and some of the ship’s passengers (members of the nobility). Write
an essay N ONNthis scene in termsIOofNclass dynamics. Make detailed reference
TNIO in which you analyse
TIIO
ACKNOWLEDGEMENTS
AO T N N
toIT I text in your analysis.
Cthe A
ICCA I AT IO IO
PELC
ES Summarise what we PPLL P LIC CT CT
ER2. RREElearn from Prospero’s Edialogue with MirandaSE in Act One, Scene TwoSEabout
PRL R
R R L E E RE
O the ‘prehistory’ Oof the play. Identify and R
O discuss one aspect L
of this narrative aboutPpast events
AFM FFO Fby MP M story. OR
OST that mightOOT
beT interpreted T
differently another character
S A who is mentioned inSA
the T F
N NN NO NO
ON ON ON
I N TI TI
CT TI
O
CI
A
CA ION ION
IOS
NE
PL
I CT CT
L E
T E E
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R E SE 12 3 SE
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R LE LE
RE RE SE SE P
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OR OR PL PL R
TF
THE TEMPEST
OT
F
SA
M
SA
M
TF
O
NO N NO
Enrichment task for Act One
O N This task is an oral O Nand visual presentation. I ONYour presentation shouldI ON be a speech ofN4-5 minutes
TI I T T N
A A ION
FOREWORD
C in length, to beC Tdelivered in front of I

the C class. You should I
make C liberal use of visualT IO
materials, such TI O
SE SE L
EP clips), Power Point
L
EPPresentations, posters
C CCT
E as DVD LorE YouTube footage (movie R SE and diagrams, to SSEE
PL P R
LE LLE
E
make A Mpoints clearer to your F ORaudience. You may work O R singly or in pairs. PChoose from one of P P
the
S below:
tasks T TF SA
M
SAA
MM
NO N O S
TO SHAKESPEARE
ON
INTRODUCTION
TI Option 1:N‘’Tis time I should inform

N thee further’ION ONN
IIO N
C A TI
O
TI
O AT A
ATT T
O IO
N
AI
SE S E P LIC
There Chave been several filmCadaptations of The Tempest, including: FredIIC
PLL
CWilcox’s 1956 sci-fi hit,
LCICT
Forbidden Planet; Peter Greenaway’s 1991 avant-garde interpretation,P Prospero’s Books; SPEand
P LE P LE RE RREE REE to
M Julie Taymor’s 2010 version starring Helen R
Mirren as Prospero. R
R
Each of these directors L
chose
SA introduce the story
M O
SA in a different way. InT Fyour speech, compare
O
FFO FMOPR M
O O
O
T
T and contrast the S
T A
opening scenes
SSAAM
in any two of the above productions, N or other film versions NN you can find. YourNfocus O should be
SHAKESPEAREAN
on how the tone of the film is set and how the opening scenes differ from the play text. Consider
LANGUAGE
N N closely they relate

howT IOeffective (or not) they N are as introductions N to the tale and also Ohow ONNto
A I O IIOON
OTNI T
T IIO
C A A
CT ITCI
LI the atmosphere created in the first two scenes
T of Shakespeare’s play. Take into account A the
P E EECCT C
L LLII1CC
RE following aspects: L E
S camera angles and SS shots, editing, lighting,
EE Your presentation needs R
E ESPEsetting, mise-en-scène R EEPP
and any
E
L
SPE
R other features you might like to L
include.L L to be illustrated –Rso use clips or RE
FO MP
Athe AMMPP FMOPR you wish to make. ORR
O O PRL
T stills fromS films whenever A
possible
SS to illustrate the Apoints F
F F
A M
NO ST TT S
T
NO O
NNO NO
BACKGROUND
TO THE PLAY
ON Option 2: ‘SomeIOnobleN creature’?

TI T N NN Life of Pi, into a movie.
N
IO The main O
CA In 2012, director A Ang Lee turned YannI O Martel’s amazing IOO
novel,
I OTN TTIIO
LI I C T CTT IA A
A
P PL Patel, is a teenageSEboy
C who survives a shipwreck
EEC LCITC C
in a lifeboat PPLLIIC
RE character,EPi
R S
S only to find P
ES
himself
E
R with anR assortment of animals:
P LE a zebra with a brokenP LLEE leg, an orangutan, LER
a spotted hyena and aR REE
O M the symbolic significanceP PR R
R
T F tiger. Pi later explains
Bengal
O SA SAA
S
M
M of these animals;
T
O
AFM the hyena, for instance,
O
FFO
AND ANALYSES
Nrepresents the violently aggressive ship’s cook. Your task is toNO S T

T
SUMMARIES
find animal equivalents O for the

NNO
following characters: the Boatswain, Gonzalo, Sebastian, Prospero, Miranda and Ferdinand. The
N
ON
visual element
T IO of this exercise will
I ONentail finding appropriate
N
images of these central characters N
O
TI and then A T NN TNI
L IC pairing these up with
I C Avisuals of the animals T
that you believe represent
IO T
T IIOO them best. In your IAO
EP
speech, PL and justify your selection
you need to present EC of images. C
EEC LCITC
R RE E
S
EE
SS ESPE
OR OR PL LL RL
R
E
F F AM MPP MOP
THE LITERARY
T T AAM F O
FFO
NO S SS A
NO tale, sir, would cure deafness’
Option 3: ‘Your OST T
T
ESSAY
N O
NNO
The public loves a good scandal involving greed, ambition and betrayal; we also love stories
about survival against the odds. N If you heard gossip N about a man who stabbed his brother in the
O N T IO I O N in a lifeboat, would N you
aTdangerous ocean voyage
C Tback,
I or a father and A
I C
daughter who made A
I C T IO T IO
E find it easily L
believable? In your speech, you
L need to discuss howC Prospero’s story of love, loyalty
E
S EP E P S E S EC
N PELC
L and betrayal is R
still relevant today. TheR visual element of thisEexercise will entail I
finding
E O appropriate S
E
MP OR OR(from soap operas, M PL television showsEP CLT movies to real PRLER
THE PLAY
A images of F contemporary examplesF reality SM and O

S T T to present and justify SA your selection of images. SEA AFM
life news NO stories). You will need N O P L To do this, you
OST
should compare the deeds of the characters in the play with your contemporary AM examples. N
S
ON ION ON
I ION AT AT
I
ON NN
CT CT LIC
I IIOO
ACKNOWLEDGEMENTS
LI C CT T
T
SE SE EP P E C
EEC
E L E R R E S S
S
E
A F M AMM
N OT mise-en-scène refers
1S When applied to the cinema,
OT
A
to everything that appearsSbefore
SSA
the camera and its arrange-
N
ment, for example, composition, sets, props, actors, costumes and lighting. The term also refers to the positioning
and movement of actors on the set, which is called ‘blocking’.
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
EC1 2 4
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
AMP F OR OR PL EP
M
RE RE SE SE EP
The E
TF TF S AM SA
M F O
NO NO N OT
N The literary essay

TNIO
N
IO
N
IO
N
FOREWORD
A
I O AT AT N ON
An essay
LCITC is a short piece I C of writing that C T IO I
ESPE
presents and develops EanPLidea. The purposeEPL
I
EC CT
L R
E R R S SE
M
F OPRof writing an essay OisRtwo-fold. The first reason O R P LE PL
E
R
R
STA is to demonstrate T F an understanding T Fof the SA
M AM FO
NO O O
N The second is toNshow that
S T
text in question. NO
TO SHAKESPEARE
you can write about a topic in a focused and
INTRODUCTION
sustained way. In other Owords, N an essay is N
I
O ONN
AOTNI
T IO I ON N
I
not a rambling, I
disjointed collection of your T
ECCTT C
L ITC I C A
I C A
T IO T IO
SE thoughts regarding ESPE a topic, but an integrated L L EC EC
ES EP EP
© AlanGutierrezArt (Devianart)
PLLE and R
E
interconnected
L discussion that R
develops a R S S
R E E
MMP FMOP argument. ThisFsection
clear, convincing
A OR offers O R PL PL
F M M
OST
some Nbasic
T
guidelines onNOwriting a literary NOT SA SA
SHAKESPEAREAN
essay, two annotated examples from which to
LANGUAGE
N learn, and a selection of essay topics thatNyou
T N
I O N
ION essay writing. IAOTNI
O ON ON
AIO
CT
can use to practiseIOT TI A TI A ON
ELCI CCT LCITC LIC LIC
I
E
SS
E
S
E E
P P P CT
LEE R RE RE SE
PPL PRLE E
AMM O
FM OR OR PL
Guidelines
SSA
OSTA
OT
F
OT
F
SA
M
S
BACKGROUND
N
TO THE PLAY
N N
• Keep your writing direct, simple and unpretentious — avoid over-complicated sentence
ONN
O IO
N
ON N
structures
I
A T
O N and unnecessarily
I
O ONN wordy descriptions.
A OTNI
T IO I ON
T TTI I T
• ELCIC
Literary essays shouldECC be written in the present IC
A voice. This helpsCto
LCITC tense using theLactive I
A
SP
E ensure your argument SSE SPE P L
LRE LEE is more immediateERE and convincing. E R EP S
OPR PL L R E
F
A M • Use a formal AMMP
tone and register MOPR slang, colloquialisms,
(avoiding
F O R jargon and abbreviations)
O R as PL
AND ANALYSES
S
T SA TA F F M
SUMMARIES
S S
NO O
this is a piece of academic analysis, T
not creative writing. T SA
N NO NO
• Present your essay in a neat and tidy manner — sloppy work makes a poor impression and
ONNcan cost marks. N
IIO IO
N N N
AAT
T I T
O I ONN TNIO IO
IICC • Any statements T A you make must be TI O supported with IAO
concrete, plausible examplesT and T
E P
P LL
PELCIC EECCT ELCITC
L I CA
L I CA
RRE evidence fromS the text. SS P
R
R LREE LLEE RES
E R EP RE
P
O PR P RL
THE LITERARY
O • PayFM attention
O to the requiredP word length, if P
stipulated. (In Grade 12, R
your essay should R
SAapproximately 600 words AMM FMO FO FO
T SSA Ais
ESSAY
be
O in length.) There T
S no need to include
T a word count at the
T
N
end of your essay. You should keep your response NO as concise as NOpossible, as you mayNObe
N penalised if your argument strays off the topic.
IO ONN
IIO N
IAOTN
AAT
T T IO
N
ION
N N ON
LCITC IICC CTAIO
TI O IO TI
RREE ESPE SSEE SE P
Planning
ORR your essay PRL
RE
PLLE
E
LE RE
THE PLAY
FFO MO M
AM
P
OR
P
O
O TT SAF
OT SSA S F
T so will
AM
T
NN It is important to plan
N your essay thoroughly before you start writing your response. Doing
NO NO
improve your marks by helping you to clarify your ideas and to structure your argument logically.
N essay properly, O
If you planOyour Ncan feel as if it almostN writes itself.
itN
TNI O
TTII TI
O
ACKNOWLEDGEMENTS
IAO A
A A ON ON
LCITC C
LLIIC LIC CT
I
CT
I
ESPE PP P SE SE
ER RREE RE
PRL ORR LE PL
E RE
M
AF
O FFO FOR MP M OR
OST OTT T SA SA F
N NNO NO T
NO
ON ON ON
I N TI TI
CT TI
O
I C A
CA I ON ION
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© THE
R E SE 14 7 SE
EPC PL R R
R LE LE
RE RE SE SE P
E E RE
OR OR PL PL R
TF
THE TEMPEST
OT
F
SA
M
SA
M
TF
O
NO N NO
Step 1: Analyse the question
N N
ON IO
N T IO T IO N N
TI A writing an essayCis A to ION
FOREWORD
T
The most important thing to do when C IO I O
EC SE
C L I I
PL sure
T
CCT
T
E
S read andEanalyse EP
the question carefully. You need to make
E S EC SEE
PL L R R S
MP
you clearly understand what ORis being asked. This O Rmight sound P LE PLLE
E
A F P
S
obvious,
OT misread essay questions
but many people TF and end up SAM AMM
N N O SSA
writing an essay that is not relevant to the topic.
TO SHAKESPEARE
The first step is to identify the task word or words (i.e. the
ON
INTRODUCTION
N ONN
ATI N
instruction)
IO in the question. Let’s IO
ONlook at the followingTexample: TIIO IO
N
N
C TI A T T
© MikZ088 (Devianart)
T A
A AI O
‘The C EC than in vengeance’
SErarer action is / [i]n virtue
S P LIC
(Act 5, Scene P
C
LLIIC LCICT
P SPE
P LElines 27-28). Explore
1, P LEProspero’s motivations REfor forgiving those RREE REE
M R R
R L
SA who wronged him
M
SAand consider whether
O attempts at reconcil-
Fhis O
FFO FMOPR M
iation are successful or not. O T
OOTT S
T A
SSAAM
N NN NO
SHAKESPEAREAN
In the example above, the task word is ‘explore’, which means that you are being asked to
LANGUAGE
N
A
IO an idea or topic Nbroadly, searching outNNrelated and/or particularly
consider
T O O NI ON relevant, interesting
I
I ONNor
O
I O T T
ICdebatable points. Other
T common task words TTII include ‘identify’, ‘discuss’,
IAO AAT
‘assess’ and ‘analyse’.
P L
SE
C ECC
E E LCITC C
LLIIC L
RE L E EE
S
S
R
E
S
E P
R E
E P
P
ESPE
R LL L R RE
O MP MPP OPR ORR PRL
TF TheSAfollowing list includes
SSAAM
some of the more AFM
common task words used F
F Oin essay ques- FMO
NO OST TT
Odefinitions SA
T
tions and a suggestion of how to interpret N them. These suggested NNO are onlyNO
BACKGROUND
TO THE PLAY
a guideline and your response should always be tailored to the requirements of a specific
N N
IO question. IO ON
AT AT N
IO
N
OON TNI O
TIIO
LIC I C
analyse: Lbreak down the issue T into its examine: TII
CT provide an in-depth IAO A
AT
LCITC
investigation C
P P EC EEC LLIIC
RE R E
component parts and S
discuss how each of a S
S
particular point and its
ESPE
implications PP
R
O
issueR interrelates with the
P LE
other issues and/ P
P LLEE RLER R RREE
F M Mexplain: describe how P R
T or a central theme SA
M
SAA show clearly howSTA
S FMO something works FFor O
O
O T
AND ANALYSES
N T
NO a particular conclusion O is
SUMMARIES
NNO
assess: account for the value or importance logically reached
ON and its relationship
of something N to a central
identify: pick out what you feel are the
ON TI theme IO N
TI issueAor
I C C AT I ON characteristic(s) Iof
central O
I ONNa particular issue TNIO
IAO
I T TT
E PL
argue: PL case to prove aSECand show clearly SEwhy
provide a logical ECC you reached this LCITC
R R E S ESPE
E
OR particular point orRopinion PL conclusion LLEE LER
F FO M MPP OPR
THE LITERARY
M O
FFO
N OT compare / O T
contrast: SA
identify the similarities A
illustrate:SSAsimilar AFM with a
to ‘explain’,STbut T
T
ESSAY
N O O
and differences between two things in order focus on specific examples from N the text NNO
to prove a central point
N summarise: outline the most important
O Ndiscuss: evaluate orTweigh IO I ONpoints without providing N N
C TI I C A up the available
C AT T IO
any superfluous
IO
E evidence and come L to a logical I
judgement
L detail C T
S P
EP SE EC PELC
L E or conclusion REbased upon it R E E I OSN S
E
MP OR OR PL LT RLE
R
EPC
THE PLAY
A T F F M SM OP
S T SA A FM
NO NO P LSE O STA
Once you have identified the task word, look closely at the topic of Sthe AMessay. The topic tells Nyou
the theme or subject matter on which toN focus. Common topics include the characters in the
N N IO relationships, the themes N
O text, their psychological motivationsAand T IO and motifs that inform and
T I T I O
C AT I ON IIOO
NN
ACKNOWLEDGEMENTS
E C illuminate the C text, and the author’sL I use of language and I C

dramatic techniques. T T
T
E
S SE EP E PL S EC S
C
EEC
E
In thePLpreceding example, the Rtopic focuses on the Rcharacter Prospero and E his motivation for his S
M F OR PL
OR his attempts at reconciliation PPLLEE
S A
forgiveness and requires T that you evaluate F
whether M were successful
MM
or not. You will need NOto focus specificallyNon OT Prospero and his actions SA throughout the Splay SAA and
determine whether these actions have achieved reconciliation among the characters or not.
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
EC1 4 8
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
AMP FOR OR PL EP
M
RE RE SE SE EP
The E
TF TF S AM SA
M F O
NO NO N OT
Step 2: Mapping your answer
N N N
N N IO O a plan with your essay O
TI
AOT longer required to Asubmit TI
FOREWORD
You are Ino A and no marks are N awarded for doingON
so; P however, it is still highly
E L recommended that Lyou plan your response C adequately. Plan yourC
S
E P P
ER
Lessay using any method RE you prefer. ‘Mapping RE out’ your response SE
has been shown to
E
Sbe an
O PR R R L E L E R
M
F effective way of generating, O clarifying and P
FOlinking ideas. An effective
M technique to useAis P
M a concept R
OSTA T F is a model concept T S Aquestion. S FO
N map. The following
O O map for the example T
N N NO
TO SHAKESPEARE
INTRODUCTION
N N N
ION
N TNIO IO IO
TTIO IAO AT AT N
SSEE PE L L C EC
E RES EP EP SE S
PPLLE RL E R R E E
M
M AFMOP F OR F O R
M PL M PL
ST T T SA SA
NO NO NO
SHAKESPEAREAN
LANGUAGE
N
I ON N NIO
N
ON ON
CTAI
T
O ION
O OT TI TI
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TI
LCITC
IA A CA ON
ELCI SEE E
P LI C
LI CT
I
S S P P
PLLE
E
L ERE RE RE E
SE
AMM
P
FMOPR OR OR PL
SSA STA F F M
NO OT OT SA S
BACKGROUND
TO THE PLAY
N N
ONN
O N N
T IO
N
ION
N NIO ON ON
AIO I O AOT TI TI
LCICT
CCTT
CITCI CA CA
ESPE SSEE ESPE
L
P LI P LI
RE E R RE RE S
PRL PPLLE PRLE E
AFMO M
AM O
AFM OR OR PL
AND ANALYSES
OTS SSA OST
F F M
SUMMARIES
N T T SA
N NO NO
ONN
IIO IO
N N N
AAT
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P
ESPE SSEE PE L L
LRE LLE
E RES
E EP RE
P
ORR PR P RL R
THE LITERARY
O MO P P R R
SAF AMM O
AFM FO FO
OT SSA
ESSAY
ST T T
N NO NO NO
N ONN N
IO IIO
IAOTN
AAT
T T IO
N
ION
N N ON
LCITC IICC CTAIO
TI O IO TI
RREE ESPE SSEE SE P
RE E RE
ORR PRL PLLE LE
THE PLAY
F
F O MO M P P R
SAF AM AM O
OTT
NNO OT SSA S TF T
N NO NO
N ONN
NIO IIO ON
T T TI
ACKNOWLEDGEMENTS
T
IAO AA A ON ON
PELCITC PLLIICC
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I
CT
I
ES P P
ER RREE RE SE SE
PRL ORR LE PL
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AF
O FFO FOR MP M OR
OST OTT T SA SA F
N NNO NO T
NO
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© THE
R E SE 14 9 SE
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OR OR PL PL R
TF
THE TEMPEST
OT
F
SA
M
SA
M
TF
O
NO N NO
N O N N
TI
Concept Imaps
O ON or spider diagrams TI are a O
TI SUB N N
A A ION
FOREWORD
C way of C T
visualising your ideas and I C
linking these I C T IO TI O
SE SEThe slight difference L PL CT
SUB
EC
IDEA
EP between the SUB EEC
IDEA
L E together.
L E R R E S S S
P twoMPtechniques is that, technically,
OR mind maps RIDEA
O P LE IDEA PLLE
E
A F IDEA P
Sare used to freely associate
O T ideas and spider
O TF SA
M
SAA
MM
N
diagrams to organise and structure ideas N S
into hierarchies. This minor difference makes CENTRAL
TO SHAKESPEARE
ON
INTRODUCTION
SUB
I mind maps particularly useful for generating N TOPIC NN
T N N O OO
IDEA
N
CA T IO
or brainstorming IO while spider
initial ideas
T ATI A
A TTII T
O IO
N
C C AI
S EC
diagrams are best suited
S EC to linking relatedPLI IDEA P LLIIC IDEA LCICT
E P SPE
P LE ideas together andPLplanning
E the argumentRof
R R RREE IDEA SUB
L REE
M your essay. In practice, though, people use R
SA AM FO their O
FFO FMOPR M
either of theseStechniques to accomplish O T O
O
T
T S
T A
S SAAM
goals. N NN NO
SHAKESPEAREAN
LANGUAGE
Both N are easy and quick to make. You start by writing down your fundamental question or
I O
topic in the centre of N N ONN
AT I O a piece of paper and IIOONN
drawing a bubble around
OTNIO it. Next, write down
TTIIO
C T
I the first idea that Ccomes A A
Tto the main topic) in IaTCIspace off to the sideICCof
A the
CCT
to mind (related
PL E E
E E LI main
LC the bubble around Pthe
L
E paper, draw a S
bubble around it and S
a
S line linking its bubble Pto P EL
R
PL
E LEE RES RREE ESP
OR topic. PPL RLE R
R P PRL
RE
T F AM M
AM F FMO O
O O
M
NO SSA or related to that O
If yourSnext idea is connected STA write it down close
idea,
O TT Fto your first idea T
S F
A
N O
Nit in a different spaceNO
and draw a line between them. If the idea is not directly related, writeN
BACKGROUND
TO THE PLAY
off to the side of the paper, and keep repeating this classification process with each idea
ON N
TI you have. IO N
CA AT ON ONN TNI
O O
TIIO
LI TI in this manner, C
LIC and linking yourECideas
By structuring you O
TTII will create a visualITCmap
IAO of them CCAAT
P P E C C
L LLII
RE RE can use to plan the
that you
E
S
argument of your essay,SSE
E
prioritising the pointsE PE wish to make
Syou EEPP
R R L L E R
E R
R
F
inOeach paragraph. P M PPL RL
M RR P
SA AM FMO O
FFO
OT SSA TA T
AND ANALYSES
N S T
NO O
SUMMARIES
NNO
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OPR
THE PLAY
SA TF F M SME M
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ACKNOWLEDGEMENTS
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EC1 5 0
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ACT (NO.98 1978)
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Step 3: Formulate your thesis statement
N N N
N N IO O O
TI
IAOThave mapped your response, TI
FOREWORD
Once you A it is time to formulate
A N
your thesis statement. Your thesis N
O
statement
PE is the most important
L part of your essay. L It tells your readersEhow
C you will be answering
C
S
E P
E argument will be.RPut P E
E simply, your thesisSstatement is how youSmight
R ER question and whatRyour
Lthe E E
P R R L L R
TAFMO answer the essayFquestion O in one sentence.F O The rest of your essay M P should then argueMPthe validity
O R
S SA should be includedSAin both your
NO
T
of your thesisOstatement
N convincingly.
NO
T Your thesis statement
O TF
introduction and your conclusion. N
TO SHAKESPEARE
INTRODUCTION
Let’s
ONN say you have just mapped NI ON your response to IO
Nthe previous exampleOquestion
I
N about Prospero’s
I I
O
motivations for forgivenessIAOT and whether T
reconciliation has been T
achieved and decide that Nwhile
C
E CTT C
L ITC I C A
I C A
T IO T IO
SE Prospero forgives ESPEthe men who betrayed L him at the end of Pthe L play, this was notEnecessarily
C EC
E
L ES R
E R EP is not achieved. EThis is your thesis statement.
S S
L
PP his initial plan
RL and so true reconciliation R E E
MM OP OR OR PL PL
STAFM F F M M
O T T SA SA
N NO NO
SHAKESPEAREAN
LANGUAGE
A thesis statement should accomplish three things:
N
I ON N N
O motivations for forgiveness);
N main topic (Prospero’s N
T
O • refer toON
the TNI IO IO
CTAI I
T I
O
CTthe main point/thesis
A
I O
ITC(forgiveness was notIChis AT AT
IO
N
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SEEC LC initial intention); and
I C T
ES ESPE PL PL C
•PLLE outline the body of R
E
the
L essay (true R E
reconciliation has not been R E
achieved). SE
P P R E
S ST
NO
T T SA S
NO NO
BACKGROUND
TO THE PLAY
ONN
O
Step 4:N Link your ideas together N N
IO
OTN ONN TNIO IO I ON
I
A
T have completed your I I
O IAO T T
Once Cyou TT brainstorming andCITformulated A
your thesisCstatement, you are ready A
P
S ELCI E
S ECC E
P LC L I L IC
toE structure your essayESby linking your ideas together S to form a logical,
EP convincing argument.
LRE LLE L ERE R R EP S
OPR PP PR R R L E
M Your concept map/plan M M should already FM O
highlight the links between your ideas. NowOyou need to
TSAF SAA O MP
AND ANALYSES
STA to present them. TAFsimple way to do this F
SUMMARIES
O prioritise them Sand decide in what O
order T is to number A
N O S
N
each idea on your plan. Depending on how many ideasN you have, you may need NO to select only
the most
NN relevant.
O
O N N
A
ATTII you have prioritised
Once I T
O IO
N
and linked your ONN you can structure
ideas,
I TN N
IOyour argument andIOessay.
I
I C
C TA I
T O A
I O T T
E P
P LL There are three distinct
P LCIC parts to an essay
E E CCT that you should keep
E ELCITC in mind when structuring:
L I CA the L I CA
RRE S SS P
R
R introduction,P REE body and the conclusion.
the
L LLEE RES
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THE LITERARY
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AFM FO FO
T SSA
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O ST T T
N NO NO NO
The introduction
N NN N
IO First impressions I count!
O
IO A strong, well-written and attention-grabbing introduction is critical. Your
CIAOTN
introduction A
ATT
should tell your reader I
what
A T
O IO
N
to expect from yourI
O ONN
essay. You need to N (i) what you
state
O I ON
LCIT C
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will be arguing
EEPPLL and (ii) how youSPwill ELCI be arguing it. Be S ECC to include your thesis
sure
E E CT statement and a LIC
shortR RR
R‘preview’ of what youP REE be covering in theLLEbody
Lwill ES of your essay. E S EP
THE PLAY
O R P L R
FFO O
M P
AMMtopic question in your
P
OR
O
OItTT is often a good idea T toAFuse key words fromSSA
S the S AM introduction as thisFshows
T
NN that your argumentNO T
is focused and relevant, but avoid copying the wording of the question NO too NO
closely because this suggests a lack of imagination.
ON NN
O first thing your marker
IIO N
Although TNI your introduction isAATTthe TI
O will read, it doesn’t N have to be the first
ACKNOWLEDGEMENTS
CIAO A O ON
thingLCITyou write. It helps to I
I C
C
write the body of your I Cessay first so that T
you I know what needs toT I
be
L
PPL
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write E PL S EC S EC
RL R E E RE
MOP ORR
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AF F
F FO MP MP OR
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N The body of yourOessay
N Oconvince N
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N N
TI TI A A ION
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C C
your thesis statement with analyses I C
and examples from I
the C text. The body will T IO of several
consist TI O
SE E PL PL contains one point, T
E paragraphsE
S(depending on your Eword count), each of E
which S EC which you then SEECC
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MPand support with textual
explain OR evidence. O R P LE PLLE
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A F P
S T TF SA
M MM
SAA
When constructing the NObody paragraphs, itNisOuseful to keep the T-E-A model in mind: S
• ‘T’ stands for the Topic sentence of your paragraph. Just as a thesis statement summarises
TO SHAKESPEARE
N
INTRODUCTION
O N summarises the Omain NN point of that

ATI the main
I O N argument of yourN essay, a topic sentence
O T IO T IIO IO
N
N
C T
particular paragraph. T I
Remember, you should A
only be making one A
point
A T per paragraph. I T
O
C C C A
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L E
S
E• ‘E’ stands for Evidence: the examples you
R EP use from the textRto
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L R RE
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A
P
shouldn’t R
rely on yourOexamples
F ORR argument for you,
to make your
O O PRLhowever.
S F
F M AMM
S rather illustrate or Tprove a point you have
These should O O O TSAF can take
OTT already made. Evidence SSA
N N
N
the form of paraphrased examples in your own words or direct quotations N from the text. If
SHAKESPEAREAN
you choose to quote, make sure you do so accurately (see next section).
LANGUAGE
I ON ON N N
C I ON the explanationIIof
A•T ‘A’ stands for Analysis: O
O NNhow your point is relevant
IAOTNIO to your thesis statement
AT
T IIO
PL
I CT
and how it isEillustrated TT
by your examples.
ECC LCITC
Keep asking yourself:
LIICC
Is the point I am Amaking
E S SE PE P
P L EL
R relevant toE my argument? HaveEEISmade it clear to myRE S
reader how this point EErelates to my ESP
R P L P L
L L E RR RE
F O thesisMstatement? M P OPR ORR PRL
M O M
T SA A
SSA TAF FF F
A O
M
NO Another important consideration to keep in mind NisOSthe linking of your N OTT S
OT
Nparagraphs.
O Ensure that
N
BACKGROUND
TO THE PLAY
each paragraph follows on from the last in a logical manner and try to avoid jumping from one
N
T IO point to another, as
I
this can be very jarring and negatively impact on the readability and flow of
ON N N ON
AT TNI OO
LI CA your essay. IO IOON AO TI TTII
LIC CT ITCI CCT C A
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The FO conclusion AM PR MP ORR
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A F
F O
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AND ANALYSES
Your conclusion should provide a summary of your argument.NOS

SUMMARIES
NNO
Review the main points of your essay (perhaps considering the
topic sentences N of each of your paragraphs) and write three or
ON T IO I ON N
TI four strong
IC
A sentences that show
C
T ON proven
A how these pointsTIhave IIOO
NN
IAOTNIO
L I TT
L
the Pvalidity of your thesis Pstatement. EC ECC LCITC
RE RE S
E your introduction. LEE SSE ESPE
RYour conclusion R
should not simply restateL ER
FO F O MPhas progressed. Your MPPL PRL
THE LITERARY
T A AM M O O
FFO
NO
You need to show
T how your argument
S SSA AF
NO OST T
T
ESSAY
conclusion is the last thing your marker will read before scoring N © mr-mister (Devianart) O
NNO
your essay, so it should leave a good impression.
ON ON
N TI TI
EC LI LI CT CT
E
S How to quote
RE
P correctly
RE
P SE I
E
OSN S
E PELC
PL R R LE LTE ER
M FO is a tricky skill FtoOmaster, but shouldAnot MP prove too difficult Awith EPCa bit of practice. OPRL
THE PLAY
SA Quoting T correctly
T M
S FM
O ever uncertain about
If you Nare
S
NO quoting, you can also paraphrase (use your P LSEown words) examples OSTA
M N
from the text. This option will ensure that you still support your argument SA with examples from the
text, but avoid losing marks because of quoting incorrectly (especially in an examination context).
ON N I ON I O N
I O
TI to quote from the text AT ATkeep the following guidelines N NN
CT If you do choose IC in an essay or exam, IO in mind: IIOO
ACKNOWLEDGEMENTS
C L I C T T
T
SE SE from the text is Emeant P PL EC(the point you are SEECC
E • Quoting
L E R to support or
R Eillustrate your argument S S
M Ptrying to convey). Do O R rely on the quote to
not R make your argument P LEfor you. You need toPLLbe EE
F O P
SA very clear on theOTsignificance of your quote T F and how it supports AMthe point you are making. AMM
N N O S SSA
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
EC1 5 2
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
AMP FOR OR PL EP
M
RE RE SE SE EP
The
P
E
TF TF S AM SA
M F O
NO NO N OT
•It is essential that you integrate your quote so that the entire sentence reads smoothly and
coherently, N and is grammatically correct.
N TNIO I ON IO
N
FOREWORD
• Your IAO quote must be AT
copied accurately from T
the original N
text. Indicate N
C
L ITC I C I C A
T IO where your quote T IO
ESPE begins and ends with E PL the correct form of E
L
Pquotation marks and,EifC you have to make slight
EC
L R
E R R S S
FMOPR changes to theR quote
O
so that it fits inR grammatically
O P LE own sentence, indicate
with your
P LE this R
R
STA with the use T Fof square brackets.T F AM AM FO
NO O O S
N quotations and onlyNas much of the quote as necessary to support your argument.
S T
• Use short NO
TO SHAKESPEARE
If you have to leave words out of the quote, indicate this with the use of ellipses (…) where
INTRODUCTION
ON N ON
N you have omitted Twords.
I IO
N
IO
N
I
ITO IAO AT T N
T A IO IO
EECC LCITC IC IC T T
ES
S S E
P PL PL EC EC
LLE L ERE
R E RE S S
MMPP Proofread your essay
OPR
OR OR PL
E
PL
E
AFM
OST
O TF O TF S AM S AM
N
When you have spent a lot
N of time on an essay,
N the last thing you feel like doing is reading
SHAKESPEAREAN
through it again. Silly errors, spelling mistakes and typos really undermine the quality of your
LANGUAGE
N
I ON essay, however, and NN
can lead to the lossOof
NI
N many marks. N N
AI T
O I I
O O A
I OT T IO T IO N
CT T
CT sure you proofread ITC your essay A A IO
ELCI
Always make C C I C C
SEE L I T
ES
before handing it in. If you don’tE correct avoidable EPL
SPE PL C
PLLE L R
E R R E SE
P
mistakes, this tells your marker R
P that your attitude isR E
SAAMM AFMO F O F OR M PL
careless.
S In the classroom
OS T context, you can even
T T SA S
NOessay NO
BACKGROUND
ask someone else Nto read through your
TO THE PLAY
for you, with fresh eyes and a fresh perspective.
ONN N
© elbrethali (Devianart)
O During anN
T
examination,
IO make sure
NN that you leave a TNION ON ON
AI
few minutes O at the end of your IO O
I allotted time to read IAO TI TI
LCICT C CTT LCITC CA CA
SPE
through your essay one E E
last
S time before handing E
P in LI LI
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S S
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P
RE
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PRLyour paper. PPL PRL E
TSAF
MO AMM O
AFM OR OR PL
AND ANALYSES
SSA T F F M
SUMMARIES
S T SA
NO NO
NO NO
T
LEARN FROM YOUR MISTAKES

ONN
IIO N
IO look at your pastONN N N
AAT
T Before you begin T
O N
writing,
I I essays and take note TNIO any mistakes or advice
of IO
IICC TA I
T O IAO T T
E P
P LL
PELCIC Keep these pointers
from your marker(s). E CCT in mind when writing
E ELCITCyour essay and actively
L I CA try to
L I CA
RRE ES areas. Before you SS P
R
R improve on LREthese LL RES
EE start writing an examination,
E EP has gone
reflect on what
R RE
P
O R
P P RL
THE LITERARY
O O the past or on bad Ahabits
M P P R R
wrongAFin MM your marker hasFMOidentified.
FO
S
T SSA A FO
ESSAY
O ST T T
N NO NO NO
N ONN N
IO IIO
IAOTN USING A
ATT
ONLINE INFORMATION AI T
O IO
N
I
O ONN O N I ON
LCITC C
IIC CT CCT
TI
CT
I AT
EEPPLL SPELCI may be tempted toSEEsearch E L IC
When R planning your essay, Eyou S online for ideas
S and inspiration. P
R R twice before you PR LREthis, though, as anyone LEE can post their ideas E on the internet and RE
THE PLAY
OR
Think do PL L
FO O
M MMP P
OR
OOTT Fthese ideas may not S
T AFnecessarily be useful SSAA
or even correct. In fact, S AMmore often than not,Fthe
NN O T T
information youNcan find on the internet about literary texts is very poor; moreover, NO your NO
marker is interested in what you think of the topic, not what a random internet source says.
ON O
ONN N
TNIin mind that if youAAuse TTII secondary sources O
TI in your essay, either
ACKNOWLEDGEMENTS
Keep IAO N in the classroom ON

ITC I C
C A I O If you do notTI
LC
PEcontext or the examinationLLI context, you need
L IC to reference theseCcorrectly.
T
R
E
S
E reference ideas that R
PP P E
EEare not your own, youE will be guilty of plagiarism,
S a form of S EC
intellectual
R R
PRL ORRlikely to lose you marks
E
PL offence. PL
E RE
A FMO theft that is veryFFO OR and is a serious legal
F M M OR
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N NNO NO T
NO
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NO N NO
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essay examples
IO
N ON
TI
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FOREWORD
T C I OI
EC Essay topic: EC LI LI CTTCT
E
S
E
S
R EP E P S E
SSEEC
PL PL R
LE LLE
E
A M F ORthan in vengeance’F(Act
OR 5, Scene 1, lines 27-28).
M P PP
‘The
S rarer action is / [i]n virtue Explore MM
Prospero’s
T T SA his attempts at reconcil-
SAA
motivations for forgiving NO those who wronged N O
him and consider whether S
iation are successful or not.
TO SHAKESPEARE
ON
INTRODUCTION
ATI O N questions on p.161)ION

N of the Practice essay
(Question 17
O T ONN
IIO IO
N
N
C TI TI T
T
CAt the end of the play, I ‘[t]he rarer actionLLIIC CA
AA
C / [i]n AI T
O
S EC Prospero decidesPLthat
SE virtue than in vengeance’ P
P
is
ELCICT
RE1, lines 27-28). While SP
INTRODUCTION
P LE P LE (Act 5, Scene
R R RREEProspero LREE
M forgives the men who betrayed him, this was not R
necessarily his
SA SA
M FO O
FFO FMOPR M
initial intention O T
and so reconciliation is not TT
achieved.
OO
1
Prospero’s S
T A
SSAAM
actions throughout the play N indicate that he was N N for revenge ratherNO
out
SHAKESPEAREAN
than reconciliation. 2
LANGUAGE
I ON ON ONN
AT In Act 1, SceneIO2,Nwe learn that Prospero ONN himself orchestrated
TNI the T O
IITopic
C IIO IAO AT
PL
I shipwreck E CT occurred in theECCfirst
that TT scene of the play,
LCITC and that LIICC
A
E S S E E
P P L L
R
R while theL E shipwreck seemed L
S
EEfatal, not a soul aboardR
E ES was harmed.3 REE
R
P
ESPE
P L
PP men on board theOPRship L RE
T FO AM
He reveals to Miranda that
A Mthe
M FM are the very men
F ORR
O MOPRL
S A
SS years before (ActO1, A F F
NO that betrayed them twelve ST Scene 2, lines 178-180). OTT SA
T
N NNO Evidence
N O
BACKGROUND
TO THE PLAY
The very nature of this shipwreck suggests that Prospero is seeking

N vengeance, not reconciliation — the men are separated upon the island,
T IO with King I ON thinking that his
Alonso N son has died, andON Ferdinand
N thinking NION O
A AT I O T TIIO
I C I C T TIIO A
I O A
AT
PL the sameL of his father. Leaving C the men abandoned ECC
T on the island in suchITC
LC Analysis C
LLIIC
RE aR EP
piteous SE they are vulnerableSSEto
state ensuresEthat Prospero’s magic ESPE
and PP
R
O Rinfluence. Prospero even P L
makes certain PP
thatLLEEthe remainder of the RLER
King’s R RREE
M P R
O T F fleet continues home SA thinking that the S
MM
SAA and his men haveSTAdied
King FMO (Act 1,
T
O
FFO
AND ANALYSES
N O O T
SUMMARIES
Scene 2, lines 235-237). This leaves open the possibility Nthat Prospero’s NNO
plans include terrible fates for the men trapped on his island and under
N N
BODY
ON IO
his Tcharms. IO N N ON
TI CA
IAs C AT T IO IIOON IAOTNI
L I T
T ITC
P PL
the play progresses, the men wander EC aimlessly around C
EEC
the
PELC
RE island. They areRE tired and all sense of
E
Shope seems to have S
Sleft them 4
, S
E
OR EE ER
F with AlonsoFO
R
telling Gonzalo that he M PisL himself ‘attached withPPLL weariness / PRL
M
THE LITERARY
T A AAM M
F O O
FFO
NO OT
[t]o th’Ndulling of [his] spirits [...]S [he] will put off [his] SS
hope’ (Act 3, SceneOSTA T
T
ESSAY
N O
NNO
3, lines 5-7). It is in this vulnerable state that Prospero decides to strike:
he arranges the banquet N to tantalize them and as they are ready to eat,
ON he has Ariel, disguised
T I O ON
as a fearsomeTIharpy, enter and make N the food N
C TI disappear while I C A
admonishing them I C
for T IO betrayal.
A their roles in Prospero’s
T IO
L
SE P L
EP the idea of reconciliation
SE
C EC
SN PELC
L E RE act does not support
This extreme R E
— it is rather IO
E S
E
ORof revenge designedORto push the already hopeless T R
MP an act PL men further Ein PCL RLE
THE PLAY
F P
SA T despair. The King is F M
SAthat he is being punished A M
S O
FM
their
NO N OT left frantic, declaring P LSE OSTA
with the death of his son, and will join him in the depths of the Aocean M (Act N
3, Scene 3, lines 100-103). S
N ON ON
O N TI TI
TI TI
O
CA CA ION IIOO
NN
ACKNOWLEDGEMENTS
C I
SE EC PL LI CT C T
T
E E
S thesis statement for ourEessay. It sums up the entirety
1 This is the
R E P of our argument. S E S
S EEC
Lis the introduction of our essay. R E to expand upon in the
MP
2 This
F OR R
Its purpose is to introduce
O
the ideas that we areLgoing
P P
P LLEE
A
S rest of the essay. T F M AMM
NO for this paragraph. It N OT SA SSA
3 This is the topic sentence summarises what we are going to argue in the paragraph.
4 This is the topic sentence for this paragraph. It summarises what we are going to argue in the paragraph.
ON ON
ON TI TI
TI CA CA ION
N EC LI LI CT
T IO S EP P E
EC1 5 4
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
A MP F OR OR PL EP
M
RE RE SE SE EP
O R O R PLE Complete Guide and
The E
TF TF S AM SA
M F O
NO NO N OT
Prospero only seems to decide to forgive the men at the end of the
5 N
N play.O In his exchange with NAriel in Act 5, Scene N 1, lines 1-31, Prospero
TNI IO to the state in which I O the men have beenNleft
FOREWORD
isIAO
moved by Ariel’s reaction AT AT N
after their experiences PL on the island. It seems that Prospero is only moved
ER ESPE E E PL S EC S EC
L to forgive the men
R when the spirit expresses
R empathy. While Prospero
OPR R R not necessarily achieved. LE LE R
BODY
AFM forgives theF O men, reconciliation F O

is M P Alonso M P R
ST O
NO
T T SA SA TF
restores NOhis dukedom, but that NO may reflect how shaken he remains by his N O
experiences on the island rather than true remorse. Similarly, he forgives
TO SHAKESPEARE
INTRODUCTION
Antonio and Sebastian N for their actions, but the two men remain sullen
NN I O
N may argue that true O N O N
I I
O O and remorseless. A
I OOne
T T I reconciliation is not T I achieved if N
ECCTT both parties do
LCITCnot equally forgive and I C A feel remorse.6
I C A
T IO TI
O
E ESPE L PL
ES
S
EP EC EC
PLLE At thePRLendER of the play, it isR doubtful that Prospero RE has achieved E S Summary of E
S
MMP O R R L L
FM FOforgives the men Ffor O their actions, yes, MP MP
true main point
O STA reconciliation. He T T A A
NO
Nbut in order for reconciliation NO
to be reached, the other menS also RestatementS
SHAKESPEAREAN
need to want it. Alonso’s actions are driven by his experiences on the of thesis
LANGUAGE
CONCLUSION
island — the perceived loss of his son N and the vision of Ariel
N
I ON NN I
N O O N as the harpy ON
T
O are bothTIO O
Iconstructs of Prospero’s OT magic. Antonio and I Sebastian remain TI
CTAI CT TCIA the play has concluded AT A Closing ON
ELCI C
unrepentant
SEE and their fates C
L Iafter I C are left open. I C T I
PL
remarks C
EES lack of remorse leaves
Their R
E ESPE it impossible for EProspero to have E PL
achieved SE
PLL RL R R E
P P R at the end ofOR L
AMM reconciliation andAFwithMO their fates left ambiguous
FO the play,
MP
SSA the audience can ST T T F A
NO only imagine thatNthey O still plan to murder NO
the king, and S S
BACKGROUND
TO THE PLAY
probably Prospero too.7
ONN
O ON 657
Words: N
AIOT
NI
ION
N NIO ON ON
IO AOT TI TI
LCICT
CCTT
CITCI CA CA
ESPE SSEE ESPE
L
P LI PLI
RE E R RE RE S
PRL PPLLE PRLE E
TSAF
MO M
AM O
AFM OR OR PL
AND ANALYSES
SSA OST
F F M
SUMMARIES
NO T T SA
N NO NO
ONN
IIO IO
N N N
AAT
RREE
P
ESPE SSEE PE L L
LRE LLE
E RES
E EP RE
P
ORR PR P RL R
THE LITERARY
O MO P P R R
SAF AMM O
AFM FO FO
OT SSA
ESSAY
ST T T
N NO NO NO
N ONN N
IO IIO
IAOTN
AAT
T T IO
N
ION
N N ON
LCITC IICC CTAIO
TI O IO TI
RREE ESPE SSEE SE P
RE E RE
ORR PRL PLLE LE
THE PLAY
F
F O MO M P P R
SAF AM AM O
OTT
NNO OT SSA S TF T
N NO NO
N ONN N
TNIO T IIO IO
ACKNOWLEDGEMENTS
O T N
C
L ITCIA
IICCAA
C AT
T IO I ON
L
L this paragraph. It summarisesI T
ESE L
5 P what we are going toCargue in the paragraph. C
EEP four make up the bodyEofPour essay. These serve to
This is the topic sentenceP for
R R S E SE in
E R R
L E RE
6 Paragraphs two, three, and expand on the ideas introduced
E
PR RR R L L
AFMO the introduction.F FOO
Textual evidence is also givenO P
for claims made in the introduction.
M P R
ST OTT T F of a conclusion is to SAsummarise the argumentSwe AMhave made, FO
NO 7 This is the N NO
conclusion of the essay. TheOpurpose
N T
highlighting the most important elements of our argument. NO
ON ON ON
I N TI TI
CT TI
O
I C A
CA I ON I ON
IOS
NE
PL
I CT CT
L E
T E E
© THE
R E SE 15 5 SE
EPC PL R R
R LE LE
RE RE SE SE P
E E RE
OR OR PL PL R
TF
THE TEMPEST
OT
F
SA
M
SA
M
TF
O
1 NO N NO
N
Act One N ON ON
TI
O IO TI TI ON N
CA A ION
FOREWORD
T C I I O
S EC SceneE SOne EC P LI P LI CT CCT
T
E RE RE SE SSEE
PL PL R R LE LLE
E
M
A at sea.) FO FO M P PP
(A S
ship
T T SA AMM
O
(A tempestuous noise ofNthunder NO
and lightning heard.) SSA
(Enter a Shipmaster and a Boatswain.)
TO SHAKESPEARE
ON
INTRODUCTION
N ONN
ATI IO
N O N T IO T IO
I IO
N
N
C T
MASTER Boatswain!T I A AAT I T
O
A
SE
C EC
Smaster. P LIC P
C
LLIIC What news? What shall LCICTI do?
BOATSWAIN Here, What cheer? P SPE
L E LE RE RREE REE
MP MASTER
P R
MGood, speak to th’ mariners.
FO Fall to ’t yarely, or FFO
O R
R L
OPR quickly
My good man;
SA SA T T
T FM
A M
AAM
O
we run ourselvesNaground. Bestir, bestir! N O
O S
T SS
NO
N Hurry up!
SHAKESPEAREAN
my brave men!; With a good

5 BOATSWAIN Heigh, my hearts! Cheerly, cheerly, my will
LANGUAGE
ON ON NN
TI ON Yare, yare! Take in the Ntopsail.
hearts! NN
I Tend to th’
Quickly; Attend to IO
IO
CA IIOO TI A
I OT AAT
T
PL
I
ECMaster’s whistle. (To the CTT
ECstorm.) Blow till thou burstLCITCthy LIICC
L
E S S E PE P L
R
R L E wind, if room enough! L EE
S
R
E ES
RR
As long
P
EEas the ship has ESPE
P L L RE
T FO AMMPP
AMSebastian, Antonio, Ferdinand, FMOPR F ORroom (i.e. no rocks or M
seaR
O OPRL
(Enter S
Alonso, SSA Gonzalo, and A
others.) F
sandbanks)
F
NO OST OTT
O O SA
T
N N
N N
BACKGROUND
TO THE PLAY
ALONSO Good boatswain, have care. Where’s the master?
ON 10 NPlay the men. Act like men.

TI T IO N N IO
N
OO
LI CA BOATSWAIN I C A IO
I pray now, keep below.
T TIIOON IAOTN
A
ATTII
P PL EC CT LCITC C
LLIIC
RE E
ANTONIO Where is the S
master, boatswain? S
S EEC PE PP
R ES
R
O R P LE P
P LLEE R RREE
LER You are getting in theRRway.
Mnot hear him? You marAM P
TF M O
BOATSWAIN Do you our labour. O
O SA SA
S TAFM T FFO
AND ANALYSES
N S T
NO O
SUMMARIES
Keep your cabins! You do assist the storm. NNO

15 GONZALO Nay, good, be patient.
N
N T IO I ON N
TI
O BOATSWAIN
A When the sea ON
AT is. Hence! What care these IIOO
NN TNIO
LIC LIC TI TT IAO
P P for the name of king? ToECcabin! Silence!
roarers ECC waves LCITC
RE RE E
S SSE ESPE
OR EE ER
R
O Trouble us not. PL PPLL PRL
TF TF AM M O
THE LITERARY
AM M O
FFO
NO SSA
S whom thou hast aboard. AF
NO
GONZALO Good, yet remember OST T
T
ESSAY
N O
NNO
20 BOATSWAIN None that I more love than myself. You are
O N N
N TI
a councillor IO these elements to
; if you can command
1
IO A AT N N
T I C C IO IO
EC P L silence, and work the L I
peace of the present, we T
will
C not
EC
T
E
S
RE hand a rope more.RUse EP SE I SN
O S
E PELC
PL OR
your authority. If you
PL
Ecannot, LT
handleE R
OR EPC RLE
ACT 1 Sc 1
M
THE PLAY
F P
SA T F
give thanksTyou have lived so long, and
M
SA make yourself ASM FMO
NO NO P LSE O STA
25 ready in your cabin for the mischance of the hour, if it AM N
S
so hap.—Cheerly, good Nhearts!—Out of our way,NI say! happen.
I ON ON T IO I O N
I A T NN
CT T IC A IO IIOO
ACKNOWLEDGEMENTS
(He exits.) C C T
L I T
T
SE SE EP PL EC C
EEC
E L E R R E S S
S
E
S A T F M AMM
NO
T SA SSA
NO
1 One of the King’s council who is supposed to keep the peace. The boatswain is being sarcastic.
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
EC1 7 2
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
A MP FOR OR PL EP
M
RE RE SE SE EP
R R PLE Complete Guide and
The E
FO O
2 3T4 5 TF S AM SA
M F O
NO NO N OT
GONZALO I have great comfort from this fellow.
N N N
N TNIO IO no drowning mark upon
Methinks he hath IO him. His
FOREWORD
IAO AT AT N ON
LCITC I C C T IO I
ESPE PL is perfect gallowsEP
complexion 2
L I
. Stand fast, good fate, to C
E CT
R
E
L30
E
Rhanging. Make the ropeRof his destiny our cable, EforS SE
PR his
R L E R
O
AFM FO FO
R
MP PL R
ST T T A AM FO
NO our own doth littleOadvantage . If he be not bornS S
3
NO N NO
T
to be hanged, our case is miserable . 4
TO SHAKESPEARE
INTRODUCTION
N N ON
(HeNexits with Alonso, Sebastian,
IO and the other courtiers.)
I I
O ON A
I OTN T IO T I N
ECCTT(Enter Boatswain.) LCITC I C A
I C A
T IO TI
O
SE PE L L C C
ES S
ERE Down with the topmast! EP Yare! Lower, lower! REP SE SE
PPLLE BOATSWAIN
RL R E E
MM OP R R PL as close to the wind as PL
STAFM F
Bring her to tryOwi’ th’ main course. FO
A
Keep
M M
SA
T T possible
NO NO NO
S
SHAKESPEAREAN
(A cry within.)
LANGUAGE
35 A plague upon this howling! They are louder
NI ON NN than the weather orOTour
N
NIO office. N N
AI OT I I
O O IA T IO T
All of usIO
sailors at work N
CT CTT ITC A A IO
(Enter Sebastian,
ES ESPE
Antonio, and Gonzalo.) PL PL C
PLLE L R
E R E R E SE
P PR R we give o’er and OR E
SAAMM AFMO What do you here?FO
Yet again? Shall
F
give up
M PL
S OST
Ndrown? Have you a mind O toTsink? T Do you wish toSA S
NO
BACKGROUND
TO THE PLAY
N
May a plague cause sores in
SEBASTIAN A pox o’ your throat, you bawling, blasphemous, your throat
ONN
O IO
N
ON N
40
AI T
O N incharitable N
I
O O N
dog!
AOTNI
T IO I ON
CT I
T I A AT
PELCIBOATSWAIN WorkSEEyou, CCT then. PELCITC L IC L IC
ES S
LRE LLEE cur, hang, you whoreson,
S
ERE insolent R EP R EP S
OPR ANTONIO PPHang,
PRL R L E
M M
AM O R
TSAF FM O FO MP
AND ANALYSES
SSA noisemaker! We are STAless afraid to be drowned Fthan
SUMMARIES
N O O T T S A
N NO NO
thou art.
ONNGONZALO
45IIO ON him for drowning, though the
I’ll warrant N I promise you he is not about
N
AATT I OTN
I
I ONN TNIO to drown
IO
IICC TA I
T O IAO T T
PPLL
PELCICship were no strongerEEthan
CCT a nutshell and as leaky ELCITC
L I CA
L I CA
RREE LRE
ES as an unstanched Ewench SS 5.
RES
P
EP P
ORR PR PLLE RL E R RE
THE LITERARY
O MO P P R
Bring the ship into the wind; R
SAF AMM FMO FOsteer away from the shore.FO
BOATSWAIN
T SSA ahold! Set her two O
Lay her ahold, courses.
STA
ESSAY
N O T T
Off to sea again! Lay her off! N NO NO
N (Enter more Mariners,N
Nwet.) N
IO O
TIIO All lost! To prayers,OTtoN
IAOTN T IOprayers! All lost!
ION
N N ON
LCITC
50 CCAA
MARINERS
II CTAI TI O IO TI
PPLL LCI CCT CT LICA
(Mariners REEexit.)
R ESPE SSEE SE P
RE E
ACT 1 Sc 1
RL our mouths be cold? PLLE LE RE

THE PLAY
O
O RR P P must we drown? (he
P
O ORof rum)
F BOATSWAIN What,M must M
O
O TT F SAF
T S
M
SAA S AM
probably has a swig
F
N
N GONZALO N O
The King and prince at prayers. Let’s assist T T
NO NO
them, for our case is as theirs. situation
N ONN N
TNIO T IIO IO
ACKNOWLEDGEMENTS
O T N
C
L ITCIA
IICCAA
C AT
T IO I ON
L I
Lsays that a man destined to dieLby hanging will not drown. C T
ESE
2 P
EEPP someone, the thread of ElifePcontrolled by the Fates in Greek EC
Gonzalo refers to a proverb that
R R S E mythology (the rope of destiny)
S
E3 A pun on the rope used inR
R RE
hanging and
MOPRL O
R
the rigging of the ship.OR R P LE P L E
AF FF
hang, we will not be drowned; if F
O Mwe have no hope now. R
ST OT simile here is crass – ‘unstanched’
4 If his destiny is toT
AM
SA (as in not plugged up) orSimmoral,
T he is not to be hanged in future, FO
NO NNO N O T
NO
5 Gonzalo’s misogynistic could mean either ‘leaking’ and the
phrase could refer either to a girl or woman who is menstruating or to a prostitute.
ON ON ON
I N TI TI
CT TI
O
CI
A
CA ION ION
IOS
NE
PL
I CT CT
L E
T E E
© THE
R E SE 17 3 SE
EPC PL R R
R LE LE
RE RE SE SE P
E E RE
OR OR PL PL R
TF
THE TEMPEST
OT
F
SA
M
SA
M
TF
O
6 NO N NO
SEBASTIAN I am out of patience. N N
ON ON T IO T IO
utterlyION N
TI TI A of our lives by drunkards.
A ION
FOREWORD
55 ANTONIO We are merely cheated

C C O
C C I I T TI
SE SE PL rascal—would thouEPL EC CCT
E LE RE
This wide-chopped Sloud-mouthed SSEE
PL P R
LE E
LLEyou!
AM mightst
F OlieRdrowning the washing O
of
R
ten tides ! P May ten tides wash PP
over
TF
6
S M MM
T SA SAA
(Boatswain exits.) NO N O S
GONZALO He’ll be hanged yet, though every drop of
TO SHAKESPEARE
N
INTRODUCTION
O ONN if wide N
ATI O N N
water swearOagainst O even
O
TI to glut him.
it and gape at wid’st TIImouth
the sea opens its
IO
N
N
C TI A TI A
AT to swallow him.
AI T
O
SE
C
(A confused noise within: ) SEC P LIC P
C
LLIIC LCICT
P SPE
P LE
60 P LE on us!’—'We split,RweRE RREE REE
M ‘Mercy R
R L
SA
M FO
SA split!’—'Farewell, myTwife
O
FFO OPR
FM M
O and children!’— OOTT S
T A
SSAAM
N NN NO
SHAKESPEAREAN
‘Farewell, brother!’—'We split, we split, we split!’

LANGUAGE
ON ON ONN
TI ANTONIO
NN Let’s N
all sink wi’ th’ King.
O NI IIO
I CA
Let’s take leave of him. CCTT
IIOO TI IAOT AAT
T
PL EC LCITC LIICC
SEBASTIAN
E S S E
E PE PL L
R
R E
(He exits with Antonio.)
L L EE
S
R
E ES R
R EEP
ESPE
L RE
FO
P
MPPa thousand furlongs of PRL ORR PRL
T 65 AM
GONZALO
S Now would S IAAM
give AFMOsea F
F O
FMO
NO S OST OTT SA
T
for an acre of barren ground: longNheath, brown NNO N O
BACKGROUND
heather
TO THE PLAY
N gorse – a kind of flowering

O N furze, anything. The wills above be done, but I
TI N
plant
IO N N IO O
C A AT would fain die a dry O
TI death. IIOON TN would rather
Oto, TTII
O
LI
preferIA
LIC C T
CCT LCITC C A
A
RE
P
(He exits.)RE
P SE SEE
S PE PPLLIIC
ES
R R L E
LLEE LER RREE
FO MP AMMPP
O PR ORR
O
OT SA SSA TAFM F
F
OTT
AND ANALYSES
N S
NO
SUMMARIES
NNO
ON ON
O N TI TI N NN NIO
N
TI C A
CA TI
O IIOO OT
LI LI TT IA
P P SE
C ECC LCITC
RE RE SSE ESPE
O R R LE PLL
EE ER
TF
O P P PRL
TF AM M O
THE LITERARY
AM M O
FFO
NO S SSA AF
NO OST T
T
ESSAY
N O
NNO
ON ON
N TI TI
EC PLI LI CT CT
E
S
RE RE
P SE SNE PELC
PL R LE LTEIO ER
S
E
OR PC
ACT 1 Sc 2
M O P L
OPR
THE PLAY
SA TF F M SME M
NO OT SA LSE
A AF
N M P N OST
SA
N ON ON
O N TI TI
TI TI
O
CA CA I ON IIOO
NN
ACKNOWLEDGEMENTS
C I
E E RE RE SE SEE
S
F O P
SA OT TF SA
M AMM
N NO SSA
6 Pirates were hanged at low tide. They were taken off the gallows after three high tides had washed over them, thus ensuring that they
were dead.
ON ON
ON TI TI
TI CA CA I ON
N EC LI LI CT
T IO S EP P E
EC1 7 4
OF THE COPYRIGHT E
S
ACT (NO.98 1978)
E
S
A MP FOR OR PL EP
M

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PL P LI PLI CT CT L IC

N ‘But this rough magic ONN

ON Practice essay questions

C T with the man, C exploring his extraordinary

N appreciation of Shakespeare’s intentions and world, we

IO Nplay. Again, we do so N ONN N

and literary backgrounds, helping them to understand

SAF fast-paced and, at AMM AFM

© Patrick Corrigan (The Toronto Star)

are also act-specific essay questions and a series of NNO

Who was William Shakespeare? Sadly, we know little about

the man considered one of the best English dramatistsN ever

© Chandos portrait of William Shakespeare

(National Portrait Gallery, London)

with some imagination’ was enjoying the height of his fame

it’s perhaps not surprising that a young manNlike Shakespeare O

I ON ONcould be won and money could be made.

Despite beingCTone of the most popular C C IO I O

Street in Shakespeare’s home town of Stratford.

local businessman who performed several

N public offices, including becoming the

N he might not have been the most devoted S T

A classroom in King Edward which is

When he was 14, drop M O

out of schoolN and help his father support O

EC P Shakespeare decided LIC CT CT

FROM N STAGE TO SCREEN

© Walt Disney Pictures

C Inadvertently, CweT know that Shakespeare

the bubonic plague. Most Elizabethans lived

a stray spark set the thatch roof alight (see NNO

rights. Rival theatre companies would send their NO O

SA TF F withMinfected patients, the doctors

© National Portrait Gallery, London (Wikimedia Commons)

© David Henderson (Flickr.com)

Percy, who earned the nickname ‘Hotspur’ for N

All’s well that ends well

and, sometime shortly afterwards, he ceased to be a customary to dig up the bones

birthday, on 23 April 1616. We do not know the exact cause of his

WAS NSHAKESPEARE ONN DRUGS? N

IAO AAT individuals, Acommunities, culturesO—N that have previously N

ER Yet Rmore is one of S

BRAVE N NEW WORLDS N N

C T of French essayist C and philosopher I C C IO I O

I or uncivilised, N even though they Nwere N ONN N

relativism: the idea that different beliefs

Out of this developed the concept of the

one argument NNO

N was a EuropeanN affair: in addition to German, there were hundreds

C T C T I C sation: ‘You taught C me language, and my I Oprofit on ’t / Is I O

with other European languages such as French; in

N the 1960s, Aimé Cesaire, a poet and political activist

A I O from O T (a French colony T

Is I know how to curse. The red plague rid you

For learning me your language!’

In 2009, the Baxter Theatre in Cape Town and NNO

© Baxter Theatre / RSC

I or violent N acts may be necessary N in order to achieve N ONN N

of the meaning and value of labour in The Tempest. NNO

(Act 1, Scee 2, lines 369-372)

TNIO Hovering in theTTIIO O

The other parent-child pairing in the play

N ONN It is clear from N