Destruction and resurrection of the Ship in the Tempest can be seen as symbolic of the resurrection of human nature and forgiveness.

Important Quote

Northrop Frye - 'allergy of the spiritual salvation of humankind'

Essay Question

1. Consider Act 3 Scene 1 and explore the significance of this scene in the play.

What happens in Act 3, Scene 1?

• In this scene Miranda goes to find Ferdinand who has been carrying logs under Prospero's instruction.
• Ferdinand, unlike Caliban, enjoys his task as he see's it as serving the woman he loves.
• This is against her fathers demands and for the first time we see Miranda as her own person rather than a pawn of Prospero. This is especially shown when Miranda tells Ferdinand her name, which Prospero forbade her to.
• Ferdinand denys Miranda's request, which accentuates his characteristic as a suitable match for Miranda. 
• This scene expresses clearly the love between Ferdinand and Miranda.
• It also presents to the audience the idea that this relationship is set up as Prospero can be seen by the audience to watch over them. Alluding the idea that on the island he is all powerful and he controls and as initiated this relationship.
• Ferdinand flatters Miranda, stating that he is a prince and will be king. Yet Miranda's innocence characters pays little attention to this instead wishing to know is Ferdinand loves her.
• Ferdinand enthusiastic reply saying that he does, emboldens Miranda propose marriage.
• Prospero, who has been watching all of this, is subdued in happiness accentuating how he knew this would happen. He knows he has other business to attend to.

The Scene's importance...

• The scene is the beginning of the forgiveness and reconciliation of the Lords by Prospero, by uniting Miranda and Ferdinand he is also uniting the two states in Italy.
• It clearly shows to the audience the control that Prospero has over the characters and the island.
• For the first time the audience see's Miranda as an independent character and rebelling against her father, which makes the audience gain respect for her.
• This is the only scene of actual interaction between Miranda and Ferdinand and it helps to really create the characters.
• The final speech by Prospero we understand that he is in control of what Miranda says and does 'glad of this as they' yet the preceding lines present a more sorrowful tone. This insinuates that Prospero is not as in control as first believed and setting him up to be the father, who is sad and proud to see his daughter grow up.
• Prospero can be see to play the role of any ordinary father when their daughter finds a suitor and be protective.

Themes

• Servitude - The scene revolves around different images of servitude. 
• Ferdinand is being made to serve Prospero, but does so willingly for the sake of Miranda. 'The mistress which I serve... makes my labours pleasures.'
• Ferdinand speaks of the servitude of the love her feels for Miranda, which is unlike the love he has felt for other women. '
• The idea of the servitude being slavery is also repeated throughout Prospero's speech. Yet this slavery is done willingly unlike how Caliban treats his situation. 'My heart fly to your service, there resides to make a slave of it.'
• The end of the scene we see Miranda become the servant as she proposes marriage, which at the time would of made her property of Ferdinands. 'I am your wife, if you will marry me; if not, ill die your maid.' She accentuates her servitude by adding that she will 'die you maid' as shocking statement as it makes her beneath him.
• The audience understands that Miranda is a very innocent character and since she states 'my modest the jewel in my dower' the audience could easily believe that Ferdinand is taking advantage of her. By making him a servant, we see him as lower status to her, wherein he must be humble. 
• Since they both talk in a servitude fashion makes the union seem not only believable but also trusting.
• 
  

Presentation of Ariel

Who is Ariel?
Ariel is the spirit of the island that is under the command of Prospero.
When Prospero arrived on the island he found Ariel trapped in a tree by the old witch Sycrorax. He was trapped here because he would not do her bidding since she wanted black magic.
Ariel therefore in debt with Prospero who promises Ariels freedom when he has finished his work.
Prospero is seemingly only able to carry out his plans and ideas with Ariel, since Ariel is the executor.

Prospero and Ariel's relationship...

• There is a warm, affectionate relationship between the two characters majority of the time. Prospero often calls Ariel 'brave' and 'my quaint Ariel'.
• Ariel true nature is not to be servant to Prospero which we learn early on when Ariel demands 'Let me remember thee what thou hast promised, which has not yet performed me'. Therefore, Ariel is only willing to serve Prospero in the knowledge that he will gain his freedom in return.
• Prospero does threaten Ariel, 'If thou more murmur'st, I will rend an oak and peg thee in his knotty entrails' which makes Prospero seem less a less agreeable character and the relationship more one sided.
• Ariel seems to have little respect for Prospero, other than to be able to get his freedom. He does and tells Prospero exactly what he wants to hear giving no more and no less.
• Ariel could be seen to be respectful of Prospero addressing him as 'all hail, great master, grave sir, hail!' but this could be seen just to please Prospero with the hope of hurrying his release.
• Prosperous main speech to Ariel is fairly similar to his speech to Caliban, linking them both to being his servant. Prospero is very instructive 'Follow, and do me service' and only till Act 5 do we see a change. 
• In Act 5 we seen a switch of characterisations, Prospero become more consumed with power and Ariel become almost human. In his line Ariel states 'your affections would tender... mine would, sir, if I were human.'

Ariels Speech

Unlike Caliban, this language seems to be Ariel's native tongue and he speaks fluently and poetically throughout the play.

This adds to both his respect from the audience and his mysterious spirit like nature, contrasting him with the more human Caliban and Prospero at some points.

He speaks in mainly poetic verse, making the content of what he's saying - however simple - seem beautiful and enticing without sounding excessive.

Although...

We find Ariel did choose to not do the bidding of Sycorax since he did not agree with her magic which is why he was trapped in the tree. He will do the bidding of Prospero though which adds to Prospero's character as being a good magus, since this respectful spirit will do his bidding.

Yet, there is really no other option for Ariel - if he does not do as Prospero states he will find himself back in the tree and if he does he will be rewarded with freedom.

This means that Ariel most likely has very little respect or time for Prospero, seeing him as the oppressor that Caliban see's him as too. Ariel is cleverer though and understands that to get what he wants he must follow Prospero since at this point Prospero has the most power.

The idea he has little respect for Prospero is especially shown by when Prospero sets Ariel free there is no line with Ariel to reply with, he simply just vanishes. Insinuating that Ariel could not wait to get a way and didn't want to stay any longer. 

This does contrast with the question by Ariel earlier on in the play though when he asks 'Do you love me master? No?' The added 'No' on the end insinuates that Ariels feelings are that Prospero has enslaved him.

Key Quotes 

'Do you love me master? No?'

What is Ariel questioning here and how should is be presented?

The line interjects the rhythm of the previous speech given it emotional weight yet it can be read and performed in a variety of different ways.

Ariel could be questioning the idea of love, shown by the actor emphasising the love, since this has come just previous of the matrimony of Ferdinand and Miranda. Ariel could be asking Prospero, as a master and teacher, to explain to him what has happened which is accentuated by the fact Ariel is not human.

If the actor were to emphasise the me then Ariel could be seen to be asking if he was loveable, since he is not human and if Prospero was able to love him. The no on the end would therefore insinuate that to Ariels knowledge he is not able to be loved and is indeed just Prospero's servant.

The No could be read in a hopeful fashion which would insinuate that Ariel knows that Prospero surely loves him, which is reiterated by how Prospero refers to Ariel with terms of endearment.

It could also be read, with a pause and sullen to present how Ariel understands that Prospero does not love him and never will. 

The line brings Ariel closer to a human character and more empathetic. Ariels speech before this has mainly been in poetic verse, complex, beautiful and long which contrast with Prospero's and the other human characters more direct speech. This is important for making it seem realistic that he can change Prospero's mind to find virtue rather than vengeance.

This line adds to his childish nature, since as a child character he does not understand the world and must ask an 'adult' about it.

'Mine would, sir, if I were human'

From this quote the audience understands that Ariel knows he is not human, therefore does not have the same emotions at Prospero and the other human characters.

Having the if I were human the second point in the line makes the audience question whether Ariel does actually have any emotion, making him seem crueler and less empathetic.

Yet this line also makes him more empathetic since it is the line which enables Prospero to change his mind from vengeance to virtue.

Ariel is still respectful of Prospero calling him sir but is this because, since we know he is not human therefore has no empathy, he is trying to please Prospero into gaining his freedom. Therefore an automatic response he has been taught - nurture rather than nature. His final vanishing at the end of the play adds to this, since he has no grievances in leaving someone who he has served for over 14 years.

'You fools: I and my fellows are ministers of fate.'

Ariel is addressing Antonio, Alonso and Sebastian and his language here has changed drastically from the poetic songs found previous to this. In the majority of productions his voice is changed to be booming and overbearing adding to the frightening scene.

The change in language comes when Ariel is closer to his freedom insinuating a change in attitude. Instead of Ariel being the servant, his language shows how he has taken control of the situations. I and my fellows alludes to the idea that Ariel has the power rather than Prospero.

Critics Quotes
'Prospero has to let Ariel go, and keep Caliban.' Lionel Warner

Ariel and Caliban can be seen symbolic of two sides of Prospero, the human and magus.
Ariel can be seen to be representative of all which is above human, angelic and spiritual. Prospero acts as god throughout most of the play, moving the rest of the characters like pawns around the island. He is only able to do this with the help of his tricksy spirit. Therefore letting Ariel go at the end of the play can be seen as symbolic of Prospero letting go of all things above-human, he is no longer able to play god.
Ariel can be seen to represent a higher human nature when he tells Prospero that if you now beheld them, you're affections would tender which is what causes Prospero to change from vengeful to virtuous.
This contrasts with Caliban who could be seen as symbolic of all natural human instincts. One of Prospero final reference to Caliban in the play is this thing of darkness, I acknowledge mine. Calling Caliban a thing rather than a pronoun adds to the idea that Caliban is representative of Prospero darker human nature, which he cannot get rid of, as he cannot rid Caliban, but instead my accept.

Key Quotes for Characters

Ariel

'Your charm so strongly works 'em that if you now beheld them, your affections would become tender... mine would, sir, were I human' Ariel (Act 5, Scene 1, line 17-20)

 Ariel is a spirit yet hear he shows more empathy to the characters of Alonso, Antonio and Sebastian than Prospero and these lines lead to Prospero's decision to forgive and reconcile rather than continue in his revenge.

Prospero

'Thus neglected worldly ends, all dedicated to closeness, and the bettering of my mine' Prospero (Act 1, Scene 2, line 90-91)

Here Prospero is explaining to Miranda how they came to be living on the island, it is not only beneficial to the characters but also to the audience as it gives them a before narrative to work upon without having take time and act it out. Prospero is meant to be a typical magus in which their aim was to better their mind in the hope of doing so they will become a better person. Yet, Prospero was usurped since he 'neglected' his Dukedom and wasn't a very good leader and then for the majority of play it could be said he seeks revenge rather than knowledge. Therefore only by the end of the play do we actually see him better his mind.

Caliban

'This island's mine by Sycorax my mother, which thou tak'st from me.' Caliban (Act 1, Scene 2, line 332-333)

This quote supports a colonist reading of the Tempest where its seen that Prospero came to the island and forcefully took it from Caliban, the original inhabitant, with the idea that he shall make it better. Caliban's lines are aggressive, punctuated and short which adds to the idea that he isn't from the same place that Prospero and Miranda are from and make him seem less civilised.

Alonso

'Whether thou beest he or no, or some enchanted trifle to abuse me... since I saw thee, Th'afflication of my mind amends'

It seems that Alonso cares little if Prospero is real or not, he is more received for the fact that their is someone else human and known on the island. Although he then goes on the resign his dukedom and asked 'thou pardon me my wrongs' it could be read this is more out of relief rather instant regret for the fact he send Prospero away on the island.

Gonzalo

'I'h'commonwealth I would by contraries execute all things.' Gonzalo (Act 2, Scene 1, line 144-145)

This is the introduction to Gonzalo's speech on how he imagines Utopia and it foregrounds how he believes the current way society runs is not perfect. This reflects the characters that have come from this society, Sebastian, Antonio and Alonso are all seen presented as corrupt. In the continuation of this speech we see that Gonzalo is being contradictory since although he asks for 'no magistrate' in laying out these rules Gonzalo himself must be the ruler.
It accentuates Gonzalo's differences with the other Lords in believing a place like uncorrupted and peaceful could exist, showing both his innocent and naivety and his goodly nature.

'There great guilt, like poison given to work a great time after, now 'gins to bite the spirits' Gonzalo (Act 3, Scene 3, line 105-107)

Gonzalo is commenting on the frenzied stated the three Lords are left in after they were visited by Ariel. He uses a simile, comparing their guilt to poison, to express how this guilt is afflicting and its adds to the performance on stage. Having Gonzalo comment on the mens actions make the drama more realistic and the audience understand exactly what has caused them to be like this.

Antonio

'Look how well my garments sit upon me, much feater than before.' Antonio (Act2, Scene 1, line 269-270)

Shakespeare uses clothes again later in the play, when Prospero uses it as a trap for Trinculo and Stephano. Clothes are a presentation of a characters wealth and status, Antonio uses them as a metaphor to present how much better off he is since he claimed Prospero's title. He states they fit more elegantly which insinuates that he is comfortable in the position and that its rightfully his, which as an audience we know isn't true.

Sebastian

 'You may thank yourself for this great loss' Sebastian (Act 2, Scene 1, line 118)

Directed at Alonso it shows how little sympathy Sebastian has for not only his brother but his king. Instead of being supportive, as Gonzalo is, Sebastian almost mocks Alonso and claims that he has made a mistake. This adds to his 'bad' character in the play, making him seem less likeable and foreshadows how he would murder his brother in order to selfishly gain power.
The statement questions Alonso's authority making him seem like a bad leader since he has got himself into this mess and for recognising this it make Sebastian seem like he would be the better leader.

'The devils speaks in him!' Sebastian (Act 5, Scene 1, line 129)

Sebastian is calling Prospero 'the devil' which is ironic since overall in the play Prospero is seen to be the good, righteous character putting order back into place, whilst Sebastian and Antonio are the evil characters creating more disorder.


Trinculo

'There would this monster make a man' Trinculo (Act 2, Scene 2, line 28)

The corruption of man is presented through this simple sentence, Trinculo is explaining how he would like to take Caliban and cruelly display him for money. In the Jacobean period this would not of been uncommon, often freaks were taken out and displayed for people to stare at and when the colonisation period began, natives from these countries were also taken back. To a modern audience it does present how discourteous society and with comparison to naive Miranda's belief of the 'brave new world' she is going to return to seem much less befitting.

Stephano

'Give me thy hand. I am sorry I beat thee. But while thou liv'st, keep a good tongue in thy head.' Stephano (Act 3, Scene 2, line 103-104) 

Theme of reconciliation and forgiveness are found in these quotes, since Stephano did get overcome by his power created by Caliban and beat Trinculo for something he didnt do. Here he is asking for Trinculo to forgive him and seemingly to become friends again. Although Stephano seemingly threatens Trinculo as well, telling him to keep him to not speak. Stephano has no real power, the only power he has is from his nomination to be leader from Caliban, who seems like a bad chooser for a good leader.

Ferdinand

'No, precious creature, I'd rather crack my sinews, break my back, than you should such dishonour undergo' Ferdinand (Act 3, Scene 1, line 26-28)

 Ferdinands answer to Miranda's offering to help him carry the logs uses a lot of imagery to accentuate to the audience the toil he would undergo to please her, or her father. It emphasised to the audience the idea that Ferdinand does actually love Miranda, which otherwise could be seen as skeptical since she is seemingly the only woman on the island.
The use of hard sounding words like 'crack' and 'break' make the line sounds quite masculine, especially in comparison to Miranda's softer lines before using 'bear' and 'pray. Although this contrasts his earlier portrayal as weak, mourning over the supposed loss of his father.

Miranda

'Oh wonder! How many goodly creatures are there here!... Oh brave new world that has such people in't!'

Miranda is overall a very naive and innocent character and these lines sum it up paticullary well. She is looking upon the characters of Antonio, Alonso and Sebastian who are all seemingly evil, corrupt men who revolted against he father and the reason she confined to the island. Miranda ironically calls them 'goodly' creatures, which presents her naivety to how men could be corrupt. It possibly is also an extension of Prospero forgiveness, being that Miranda as his daughter is an extension of him. As he states to Ferdinand 'here a third of mine own life.' Therefore presenting that the men are fully forgiven and possibly giving the audience hope that these men can change for the better and become goodly men.

First Performance of The Tempest - Summary

http://www.bl.uk/shakespeare/articles/the-first-night-of-the-tempest

It was first performed in 1610/1611 in Blackfriars Theatre.
Blackfriars was new reclaimed by the Kings men, it was an indoor theatre and they used it as their winter counterpart to the Globe, an outdoor theatre.

Performance Space
Blackfriars and the stage space was half the size of the Globe although set out the same, with a thrust platform, galleries on the three see walls, doors at the rear and musicians gallery above.
One of the privileges for fashionable men - gallants - which made the stage space smaller was the fact they would pay a lot of be able to sit at the sides of stage to be able to show off their fashion/wealth to the rest of the audience.
Shakespeare responded to the smaller stage by writing fewer lines between the characters entering and being in earshot of other characters already on stage, since it would take an actor less time to move from the door to a position of front of stage.
Asides to the audience had to be made more obvious because of the smaller stage, often having the actors moving to the musicians gallery which dramatically altered the structural entity of the play.

Clothing
The audience could arrive and show off their finest clothes since they didn't need to dress practically for an outdoor theatre.
Candles were the primary light source for Blackfriars which meant that choices of clothes were made with this in mind. Francis Bacon in his essay 'Of Masques and Triumphs' informs his readership that 'The colours, that shew best by Candle-light are; White Carnation and a Kindle of Sea-Water-Greene; and Oes, or Sprangs' which shows how the audience would of made conscious decisions on what best to wear based on surroundings.
It can be read that Shakespeare mocks this vanity in Act 4 when Prospero puts out his trap of beautiful clothes for the fools Trinculo and Stephano. They are distracted by the 'glistering apparel' much as many of the audiences clothes would of glistered in the candle light.

Sounds
Obviously and indoor theatre would of sounded very different to a outdoor theatre.
Therefore there was more scope to use music which was more likely to be heard in the indoor theatre of Blackfriars rather than an outdoor theatre. This was also due to changes in light, the early candles were made of beeswax which needed trimming every half hour and a break was required to do so.
Therefore the five-act structure common to Jacobean plays became full established - with four intervals in which music could be played and candles trimmed.
In the indoor theatre an whisper would of been audible even in the galleries therefore their was more range for actors on vocal tone, rather than having to shout all the time.
There was difference in instruments used in an indoor theatre, since much softer and lighter sounding instruments could be used without fear they would be drowned out, like lutes. Louder sounding instruments like trumpets were not likely to be used as they would be too powerful for the acoustical intense space, instead they were replaced with hautboys and cornets.
The musicians were visible by the audience, being in the gallery above the stage, meant they became a integral part of the performance. This is shown in the Tempest for the fact the music doesn't just exclude itself to the intervals instead being intwined with the play. Ariel haunting song to Ferdinand, how Caliban describes the island strange sounds, the music in which many characters are controlled by.
The music is both harmonious and chaotic. The early sounds of thunder in the first scene made by rolling a cannonball down a lead pipe and the dogs and hunters that drive Stephano, Trinculo and Caliban off stage to the 'sweet airs' descried by Caliban and the magical music sung by Ariel.

Stage Trickery
A Blackfriars performance could of been made into a 'sheer spectacle'.
This is especially shown in the Tempest when the banquet vanishes in fromt of the Lords eyes to be replaced with Ariel as a harpy. The stage direction instructs the use of a 'quaint device' which could be imagined to be the 'sudden snuffing of candles and the tables rapid decent into the stage trap.'
The entrance of Juno in the wedding masque for Miranda and Ferdinand might of been a chair descending from the ceiling which would not of been possible in the Globe.

The Tempest is believed to be the first to capitalise on the possibilities of the new indoor theatre of Blackfriars, although it continues to leave space for staging to be explored for each new performance space.

Quotes for Reconciliation and Forgiveness

Reconciliation - The restoration of friendly relationships

Forgiveness - The act of forgiving, granting pardon

Who in the Tempest reconciles and forgives?

• Prospero forgives Alonso, Antonio and Sebastian of their rebellion against him and taking his Dukedom. Although it is ambiguous if Antonio, his brother, is actually forgiven or accepts Prospero's forgiveness.
• Caliban asking for forgiveness and reconciliation, from Prospero, for thinking he could and wanting to overthrow him.
• Does Ariel cause Prospero to be forgiving or, as we see through Miranda, is human nature naturally forgiving.
• Miranda represents the natural state of humans to be empathic and forgiving.
• Is Prospero initially out for reconciliation or revenge?
• Finally Prospero asks for reconciliation from the audience which will allow him to be free.

Quotes

'Yet, with my nobler reason, 'gainst my fury do I take part. The rarer action is in virtue, than in vengeance.' Prospero (Act5, Scene 1, line 26-28)

Here we see Prospero realise that his revenge can only bring him so much satisfaction and actually only in forgiveness and reconciliation will he actually feel resolved. This makes Prospero seem more human and less cruel, especially since it was initially Ariel, a spirit, that prompted this human response.

'How many goodly creatures are there here! How beauteous mankind is! O brave new world that has such people in it!' Miranda (Act 5, Scene 1, line 181-183)

This is Miranda's reaction to he first introduction to the rest of the Lords that have been present on the island. These are the only other men she has met now, other than Ferdinand and this line instantly shows her innocent. It also could represent how naturally forgiving human nature should be, Miranda has in Act 1 that the storm was to bring the men that usurped Prospero to the island to be punished. Therefore she should of worked out that these men are the same that led to her being exiled to this island. Yet she ironically calls them 'goodly creatures' and states how 'beauteous' they are, which accentuates Prospero's reconciliation.

We see Miranda's merciful nature early on in the play too she tells Prospero that 'tis' beating in my mind - your reason for raising the sea-storm?' Miranda (Act 1, Scene 2, line 176-177) even after he has just explained to her how they came upon this island because of the rebellious acts of his own brother. Does Miranda represent human innocent or natural human nature without corruption, since she has only lead an isolated life on the island away from corruption of society.

'I'll be wise hereafter, and seek for grace. What a thrice-double ass was I to take this drunkard for a god' Caliban (Act 5, Scene 1, line 292-293)

Caliban by the end of the play reconciles with Prospero and asks for forgiveness for trying to overthrow him and murder him, understanding the stupidity of his actions. The speech of Caliban has changed here from previous in the play, instead of being abrupt and simplistic it seems slower and more thought out, which presents possibly a change of personality. Although it is ambiguous to whether Prospero is willing to pardon Caliban since he calls him 'sirrah' which is a term expressing contempt indicating how his view of their relationship has no changed and he will never forgive him for his actions throughout the play.

This response from Caliban does seem natural which presents the idea that Caliban is naturally forgiving much like Miranda and the reasoning for him being aggressive was actually because of the way he'd been treated by Prospero. This is also alluded to by the idea that Prospero and Miranda was the ones who taught Caliban how to speak and he states himself how this only meant he 'know how to curse.'

Yet as Amanda Millabard states 'For Caliban, Prospero has no mercy or forgiveness' since he punishes him for trying to reproduce with his daughter which to Caliban would of been natural action, as it is often for a child or animal. Therefore Caliban is presented to be uncivilised and because of this he must be punished or conform to it, for which he does not.

'or you, most wicked sir, whom to call brother would even infect my mouth, I do forgive thy rankest fault, -- all of them' Prospero to Antonio (Act 5, Scene 1, line 130-132)

Since he calls Antonio 'wicked sir' and that he would 'infect my mouth' it does make the audience question the authenticity of this reconciliation. It is ambiguous here wether Prospero is actually able to forgive and reconcile with his brother and depending on the way the director plays it, these lines could be read as both genuine or sarcastic. Antonio does reply either, which leads the audience wondering if Antonio is actually able to apologise to Prospero and accentuates the idea that Prospero is the better man, possibly making the audience feel its more acceptable that Prospero is literally taking back his Dukedom.