How does act 1, scene 1 of The Tempest serve as a dramatically effective opening?
The Tempest opens with a storm at sea and a shipwreck, a dramatic and ambitious beginning for a seventeenth-century play. While the scene is light on stage directions, Shakespeare does call for "a tempestuous noise of thunder and lightning" to set the mood. Characters run on and off the stage, shouting orders and arguing with one another, lending the scene a sense of chaos and confusion. They have lost control of their ship, much as the characters will lose control of what happens to them once they are marooned on Prospero's island.
The dialogue between the ship's crew and the noble passengers onboard is rich in characterization and conflict. Antonio and Gonzalo insist that the ship's crew remember who is on board (that is, the king and the prince) when the boatswain implores them to quit bothering the crew as they try to figure out how best to survive the elements. The nobles criticize the manner of the crew while the crew desperately tries to keep the ship afloat:
ANTONIO. Where is the master, boatswain?
BOATSWAIN. Do you not hear him? You mar our labor.
Keep your cabins. You do assist the storm.GONZALO. Nay, good, be patient.
BOATSWAIN. When the sea is. Hence! What cares these roarers for the name of king? To cabin! Silence! Trouble us not.
GONZALO. Good, yet remember whom thou hast aboard.
BOATSWAIN. None that I more love than myself. You are a counsellor; if you can command these elements to silence, and work the peace of the present, we will
not hand a rope more. Use your authority. If you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of
the hour, if it so hap.—Cheerly, good hearts!—Out of our way, I say.
Antonio and Gonzalo come off as foolish and out of touch with reality, while the crew are more relatable in their concern with fighting the storm.
These exchanges do more than create conflict: they establish the themes of class conflict in the play. Within the storm, the usual noble-commoner or master-servant dynamic is upset, with the crew speaking harshly to the nobles in a way that would not happen in less life-threatening circumstances. These conflicts foreshadow interactions between Prospero, Caliban, and Ariel on the island, as well as Prospero's employing the noble Frederick for menial labor.
By the end of The Tempest, the social order is restored, with Prospero returning to his rightful place in society, but before that, all is turned upside down due to Prospero's magic. The storm in act 1, scene 1 is a great illustration of how the characters' social stations will be turned inside out in the action to follow.
How does act 1, scene 1 of The Tempest serve as a dramatically effective opening?
This play, considered Shakespeare’s last romance and perhaps containing autobiographical symbols, begins with a sailing scene, a ship at sea, in a huge storm (a tempest). The sound effects called for, and the frantic speech of the ship-master and boatswain, reflect the ever-present conflict between man and nature, with the boatswain and Gonzalo making grim jokes about their pale complexions, etc., and wrestle with sails and lines for their very survival. The human chaos generated, and echoed in this violent storm, is Miranda’s questionable lineage and the uncle Antonio, who mismanaged Prospero’s estate, and Prospero’s own admission that he spent too much time on his “studies” (magic) (scene ii). So the frightening chaos of the storm scene sets the audience up for the “tempest” of their situation. As in much classical literature, man and Nature must find an “island” where a compromise of wills can be worked out. Shakespeare has found a rhetorical device to dramatize these abstractions. Many scholars see Shakespeare’s life and writing career as undergoing just such a battle, with his “genius” the “magic” he brought to the problem. The pace of the dialogue as it unravels in Act I scene I requires a cast of skilled actors, just as sailing in a storm requires a good crew.
What are the themes of Act 1, Scene 1 in The Tempest?
The main theme of act I, scene 1 foreshadows the rest of the play: the message is that, starting with the storm, the normal order of life is about to be upset. This comes across most clearly in the words of the Boatswain, who ignores the commands of Antonio and others of higher rank, stating:
What cares these roarers [the roar of the tempest] for the name of king?
In other words, the power that a ruler holds in the civilized world the travelers have left behind doesn't matter here in the midst of the tempest. Under the extreme conditions of a life-threatening storm at sea, the Boatswain feels no need to respect the hierarchy that rules on land. Throughout the play, Antonio and others who have been used to power will learn what it is to be powerless.
The travelers pray for deliverance in this scene, introducing the theme of providence. The play shows that we are all dependent on divine mercy for our survival. This theme will emerge again at the end of the play, as Prospero, who has been playing God, extends mercy rather than justice to his enemies.
I would suggest too that you read eNotes's excellent analysis of The Tempest, act I, scene 1 for more information.
What are key points in Act 1, Scene 1 of The Tempest?
In this scene, we are introduced to some of the royal party. We see how they react to the storm. We also see how they interact with the sailors. If I had to lead discussion about this I would discuss some of these points:
- You could have people characterize his actions -- talk about how he is pushing in and bothering the sailors.
- Why do you think he acts this way?
- What do you think of the way that the king is acting in this scene? Is he right to act this way?
- What do you think that Shakespeare is saying about monarchy in this scene?
- Looking at this scene, what are any of Alonso, Gonzalo, and Sebastian good people?
How does Act 5, Scene 1 of The Tempest reflect its major themes?
Act 5, scene 1, the final scene of Shakespeare's The Tempest, serves as a culmination of the events of the play, tying together the many disparate plot threads and reflecting many of the major themes, including magic, order, freedom, and forgiveness.
In this scene, the magician Prospero relinquishes his magic power in preparation for his return to the "real world" of Milan. The supernatural power he has wielded while on the island is traded in for the political power that was rightly his and was stripped from him. This trade represents a return to the correct world order.
In giving up his magic, Prospero frees the spirit Ariel, who has been his servant, and is himself freed from his exile in his cell on the deserted island. He also forgives his other servant, Caliban, along with his scheming brothers Antonio, Alonso, and Sebastian. The events of the play began as a revenge scheme against these three and culminate here in their forgiveness.
How does Act 5, Scene 1 of The Tempest reflect its major themes?
The Tempest's final scene reflects the themes of relinquishment and change that permeate the play. Prospero is encouraged by Ariel to let go of his lingering resentments toward his brother and others who have wronged him, and he does so. Prospero also must let go of his beloved daughter, Miranda, as she loves Ferdinand and will marry him. The parent–child relationship, while still loving, can never be the same. And most feelingly, the mighty magician promises to break his staff and drown his book (of magic), knowing that this is truly a sea change, one that he accepts fully.
The Tempest is unique in the Shakespeare canon in its mature, bittersweet tone, which continues to be leavened by the playwright's playful humor—but which quite possibly reflects Shakespeare's own desire to return to Warwickshire and live a retired life.
How does Act 5, Scene 1 of The Tempest reflect its major themes?
The final scene of this play of course draws many of the themes together, welding them into some form of resolution. One of the biggest themes that can be witnessed in this final scene is the way that Prospero, who started the play so powerful and full of authority thanks to his magical arts, strips himself of every spell and charm and becomes just an old man who forgives his enemies and is happy to sacrifice his magic to go back to his home in Milan so he can see his daughter married and he can return to his former position. Note how he expresses this:
And thence retire me to my Milan, where
Every third thought shall be my grave.
The audience witnesses the transformation of Prospero from a god-like figure who controls every single aspect of this play like a stage manager to an old, frail man who himself says in the Epilogue that the only strength he now has is his own, which is "most faint." Power and its renunciation is therefore a key theme in this play, and the final scene draws this theme to its conclusion by showing Prospero as a mere man, having divested himself of all of his powers. Throughout the play a parallel can be drawn between Prospero's magic arts and the magic of a director such as Shakespeare in enchanting the audience. At the end of the play the audience sees Prospero as a mere man, and as this was Shakespeare's last play, the audience is also encouraged to see him as a mere mortal too, stripped of his powers to transport the audience into different worlds.
What are the autobiographical elements in Shakespeare's The Tempest?
The question of whether The Tempest is autobiographical has long been a source of speculation among scholars and literary critics alike. One of the main pieces of evidence offered in support of the autobiography thesis is the nature of the work itself. Previously, Shakespeare had almost always used preexisting source material as the basis for his plays. He always managed to transform such material into something wholly unique, but it was still preexisting material, all the same.
But this is not so with The Tempest. There is simply no precedent for the elements that Shakespeare, in a Prospero-like way, conjures up to create the magical world in which this, his final play, is set. The Tempest is all Shakespeare, conception as well as execution. And it's telling that when John Heminges and Henry Condell—fellow actors and friends of Shakespeare—compiled the first complete edition of his plays, they ignored the order in which the plays were written and put the last one, The Tempest, first. This could be taken to suggest that Heminges and Condell saw the play as not just the ultimate example of Shakespeare's original power as a dramatist but a unique expression of his personality.
What are the autobiographical elements in Shakespeare's The Tempest?
There are strong links between The Tempest and William Shakespeare's own life. These revolve around the character of Prospero, his powers, and where he is in his "career" on the island.
Start with the basics: both are men of mature age. That's basic, but what follows is less basic.
Prospero is a wizard. On this island, people do what he says. They move according to his wishes. He organizes the drama early in the play, and the narrative twists and turns throughout it. At times, his magic makes them see things that aren't really there.
Shakespeare is a playwright, not a wizard, but on stage, people do what he says. Characters move according to his wishes. He structures the drama throughout his plays, and, when he moves into his poetic moments, like in the monologues, he makes us all see things that aren't there.
At the end of the play, Prospero sets his staff (his magic) aside. This furthers the comparison between Prospero and Shakespeare because The Tempest was Shakespeare's final play.
Further Reading
Who are the main characters in Shakespeare's The Tempest?
There are several major characters in the play The Tempest by
William Shakespeare.
Prospero is a magician and also the legitimate Duke of Milan. He is exiled on
and rules the island where the play is set. He is the brother of Antonio and
father of Miranda.
Miranda is the daughter of Prospero and the ingenue. She and Ferdinand fall
in love. Ferdinand is the son of Alonso, King of Naples. He loves
Miranda.
Ariel is a supernatural but generally good spirit who serves Prospero.
Caliban, son of the witch Sycorax, is ugly and monstrous but also the rightful
owner of the island, reduced to slavery by Prospero. He resents Prospero's
attempt to civilize and control him, saying
You taught me language, and my profit on't
Is I know how to curse. The red plague rid you
For learning me your language!
What is the theme of Shakespeare's The Tempest?
One of the most important themes of The Tempest is that of mercy over vengeance.
Prospero has waited many years to get revenge on his brother Antonio. Not only did Antonio rob him of his kingdom, he also set Prospero and his young daughter, Miranda, out to sea on a leaky vessel, hoping they would perish. Prospero, who now has Antonio and his party in his power, imprisoned in a grove of trees on his island, has every justification to make them suffer.
However, when Ariel comes back and speaks of the prisoners with compassion, saying he feels sorry for them, Prospero is deeply moved and says that if a mere sprite ("but air") can feel compassion for humans, he, a fellow human, should be able to feel the same or more:
Hast thou, which art but air, a touch, a feelingOf their afflictions, and shall not myself,One of their kind...be kindlier moved than thou art?
Though with their high wrongs I am struck to th' quick,Yet with my nobler reason 'gainst my furyDo I take part.
The rarer action isIn virtue than in vengeance.
What are the symbolic characteristics of The Tempest?
One of the most powerful symbols used in this play is the tempest that begins the play in Act I scene 1 caused by Prospero's magic arts. This is actually quite a powerful symbol, as the way it is chosen for the title of this play suggests. On the one hand the tempest is the means by which Prospero gains control of his enemies, throwing them onto his island and making them vulnerable to his magical arts. Also, it is poetic justice, as Prospero's enemies are put at the mercy of the sea in exactly the same way as Prospero and Miranda were so long ago. Note how Prospero tells Miranda about being placed on a very precarious raft in Act I scene 2:
There they hoist us,
To cry to th'sea that roared to us, to sigh
To th'winds, whose pity, sighing back again,
Did us but loving wrong.
The tempest allows the enemies of Prospero to face exactly what he faced, and also therefore is symbolic of the desire of Prospero to make his enemies experience something of the same suffering that he himself experienced, and has subsequently learned from. The tempest is also a very strong symbol of the power of Prospero's magic, and how it can be turned to more malevolent uses.
What are the core features of Shakespeare's The Tempest?
One of the contextual factors that went into the writing of this play was the discovery of far off countries, to all intents and purposes new worlds, in the 16th and early 17th centuries. This is clearly shown through Prospero's island and his relationship with "the natives" in the form of Sycorax and her son, Caliban. Prospero in many ways models the European project of colonisation in the supposed "discovery" of an island and the suppression of its native inhabitants. The island itself is presented as a symbol of unlimited power and unrestricted freedom, as many characters think about ruling it and what they would be able to do, even the more sensible and virtuous characters, such as Gonzalo:
I'th' commonwealth I would by contraries
Execute all things. For no kind of traffic
Would I admit, no name of magistrate;
Letters should not be known; riches, poverty,
And use of service, none; contract, succession,
Bourn, bound of land, tilth, vineyard, none...
Gonzalo paints his own utopian vision of how the island would work if he were in charge of it, even though this is undercut by Sebastian and Antonio's sarcastic remarks. However, they do point towards a rather disrupted vision of people's attitude towards the island. Sebastian and Antonio point out that Gonzalo wants to rule on the island and yet says he would do away with "sovereignty," which is a contradiction in terms. One of the major driving forces that lies at the very centre of this play therefore is the vexed and troublesome issue of colonialism and the many conflicting impulses and motivations that lie as part of this project. A vitally important character to consider in this regard is Caliban himself, who is the colonised subject, oppressed and supposedly "savage," who is taken by critics variously as a symbol of the evil of colonisation or the benefits. Shakespeare in many ways uses this play to open up a debate that is still being held even today about the issue of colonisation.
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