The Tempest

Historically, one of the first references to ôThe Tempestö is a record of a production at the royal court in November 1611, with another account of it being performed for a wedding of the Princess Elizabeth to the Elector Palatine in 1612-13. Scholars believe that it was a relatively new play even then as it drew upon travel accounts that were unavailable to the public in England before 1610 (Evans 1606). These details are probably why the island is depicted as being a mix of Mediterranean and New World elements (Evans 1607).

ôThe Tempestö is also grouped with several other plays known as romances, which were all written towards the end of ShakespeareÆs career as a playwright (Evans 1606). These plays included ôPericles,ö ôCymbeline,ö and ôThe WinterÆs Tale,ö and like these other plays, ôThe Tempestö has elements of both tragedy and comedy, as well as some elements of fantasy, with love being the central interest (Evans 1606). Fantastical settings and stories of magic were popular at the beginning of the 17th Century and were often, as in the case of ôThe Tempestö and ôMidsummer NightÆs Dream,ö considered appropriate entertainments for weddings (Evans 1606).

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of the storm, the Boatswain is yelling out orders to his fellow sailors: ôHeigh, my hearts! Cheerly, cheerly. . . take in the topsailö (I.i. lines 5-6). This is the slang of the sailor speaking with his equals. Upon this scene, however, come Gonzalo and Alonso. When Alonso, the King, asks where the Master is, the Boatswain attempts to answer respectfully while also telling the King to stay out harmÆs way, ôI pray now keep belowö (I.i. line 11). Yet, at AlonsoÆs urging the Boatswain loses his temper and tells the people to get back to their cabins. Although Gonzalo asks for the patience, the sailor knows that all are equal when meeting death, especially at the mercy of the sea as he replies, ôWhat cares these roarers for the name of the king?ö (I.i. lines 16-17). Here the ôroarersö means turbulent waves, but according to the notes, it may also allude to ôrowdies,ö or people in a mob (Evans 1611). In this way Shakespeare could be layering his meanings and predicting the downfall of the king at whim of the mobs. Since Alonso replaced Prospero, who was loved by his people (I.ii. lines 139-143) as Duke of Milan. When Sebastian and Antonio later see the Boatswain again, it is they who are disrespectful, considering this man h
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Approximate Word count = 1410
Approximate Pages = 6 (250 words per page)

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