a Dn. Jobdsa Lavine? ARLAND’S NOTES THE CONSPIRACIES IN “THE TEMPEST” The Tempest is sometimes described as 2 series of conspiracies. Broadly speaking @ conspiracy involves a combination of actions and circumstances against an individual who is unaware that his interests are being jeopardised. Conspiracies become most apparent when dealing with leadership and political power. Generally, 4 conspiracy is secn as harming the interest of ar individual, Some conspiracies may also be planned help or to provide a catalyst for action. This too is seen in The Tempest ‘The storm at the commencement of the Play is initially a conspiracy hatched by Prospero to bring his enemies to justice. The desire for revenge has been constant in him for twelve years, while he suffered as a result of a conspiracy hatched against him. The first conspiracy predates the action of the Play. Prospero had been removed in a swift midnight operation plotted by his own brother Antonio, who took the help of the King of Naples, Alonso. It was this conspiracy which brought about the events of the Play. The chief conspirator sought benefit from this, Antonio became the Duke of Milan, adding to himself a legal title for a job that he had already been doing. Not satisfied with being the de facto Duke of Milan, he also wanted to have the official title. The conspiracy leading to this was carefully planned. Antonio had supplanted men loyal to him into posts in government and set himself up to be what Prospero described as, “the ivy which had hid my princely trunk”. He was determined that there should be no screen between the part he played and him he played it for. Antonio unwisely compromised the sovereignty of Milan and took the assistance of the King of Naples, “to give him annual tribute, give him homage, subject his coronet to his crown”. In this way Alonso, the King of Naples received the homage of Milan as well as benefited by an undisclosed amount as tribute. The conspiracy had been carried out in the dead of darkness with “a treacherous army” Antonio opened the gates of Milan and drove out the Duke and his daughter. Being taken out some distance to sea, they were then put on a boat that was not sea-worthy. It was presumed that the boat would scuttle and Prospero and Miranda would be heard of ac more. The conspirators had overlooked the power of Providence and the humanitarian assistance provided to them by Gonzalo, By means of what Gonzalo had provided, Prospero and Miranda had managed to sustain themselves for the years thereafter. Not having learnt his lesson by the injury done to him, Prospero on reaching the island of exile, gradually took over power from its original inhabitant ~ Caliban It seems a conspiracy of sorts as while Caliban was deprived of his ownership of the island. He was yet retained to carry out the menial tasks that Prospero required done. Twelve years later the royal party reached the island. This was no accident, but was the result of Prospero conspiring with magic. He succeeded in separating them in such amanner that Ferdinand, led by the music of Ariel, should see Miranda and fall in love with her. This is what happened, much to the delight of Prospero who had conspired this. While the King of Naples lay asleep, a new conspiracy was being hatched. This perhaps was more dangerous as it could have led to the murder of Alonso. In a classic example of history repeating itself, Antonio masterminded a plan whereby Sebastian could become the King of Naples. Knowing that the seeds of ambition were already in Sebastian he made a suggestion, telling Sebastian that the moment was too opportune to be ignored. This was based on the presumption that Ferdinand had drowned, leaving Sebastian as a contender for the throne sinc Alonso’s daughter, Claribel was married in a country far away. According to Antonio’s suggestion, he would kill Alonso while Sebastian would be expected to kill the loyal Gonzalo. He was confident they would be successful using himself as an example. He told Sebastian, “Look how well my garments sit upon me”. He also told him that there would be no fear for the future, as the king’s followers would tamely accept his justification “as a cat laps milk”, The conspiracy could not materialise as Ariel got scent of it. Arie! sang to the sleeping Gonzalo - “While you here do snoring lie, open-eyed conspiracy his time doth take”. The conspirators’ plans were thwarted, when Gonzalo and the King awoke. The King was amazed and asked them how they were standing there with weapons drawn. Yet another conspiracy to grab power is the conspiracy suggested by Caliban to Stephano and Trinculo, to make them the lords of the island. Though at a much lower level the ingredients of the plan is similar: Caliban wanted to be free from the powers of Prospero and mistook the two servants as gods, especially since they brought with them divine drink. He was content to worship Stephano and kiss his foot, promising to show him the wonders of the island. Stephano with drunken courage assumed that he could kill Prospero, the tyrant of the island and live to rule thereafter. Among the added advantage for this action, they would receive the possessions of Prospero, as well as the beauty of his daughter. Caliban promised that she was “nonpareil” and would “bring thee forth brave brood”. This could only be done when Prospero was killed. The conspiracy failed due to their drunkenness. Besides their drunkenness, the conspiracy also failed because of the superior power of Prospero as well as their own weakness for material things Being tempted by the richness of the garments laid out for them, the conspirators lacked the single-mindedness of purpose to go ahead with their plan. Even Caliban realised that the clothes were “but trash” and wondered how they could “dote thus on such luggage” ye vision of them being gods was broken when Caliban saw them as drunkards, “What a ice double ass was fool I to take this drunkard for a god and worship this dull fool” Throughout the conspiracies of Prospero, Ariel assisted him. With this supernatural protections he could not fail. On the other hand every other conspiracy in the Play failed as mere mortals designed them. At the end of the Play every conspirator learns his lesson. Retribution and forgiveness then replace revenge.RLAND’S NOTES Whe (abo -AFou ‘TEMPESI TIN THE TEMPEST” imes of Shakes The masqu used especially for contain a number of masque-like features Act IV, staged to celebrate the betrothal o Tempest may be won to of the Masque of Juno in ft was orate costume ‘The masque was always associated with music, dance, song, and , Ina society where the also a device that was used to disguise the true intention of the playe display of passion was not openly encouraged, the disguise provided an without having to reveal one’s true identity, 1 opportunity for this, The Tempest has the qualities of the masque. Mu: in the form of sweet words, accompanied by mys! always associated with music. This music suits the theme guided by sweet song and is invited to “come unto these yellow sands and then take han short while later, a sorrowful note is struck through song, when Ferdinand is told, “Full fathom five thy father lies” and that “Sea nymphs hourly ring his knell ‘of romance in the Play. Ferdinand is Music is not only of this ethereal quality. It can be bawdy and loud as when the drunken Stephano sings of the sailors who never cared for ‘Kate’. Caliban too, occasionally bursts into song, singing, “Ban, Ban, Ca Caliban has a new master ~ get a new man”. The drunken servants and Caliban also get together to “troll a catch” ‘Ariel is often seeing playing a tune on a pipe and tabor and there are throughout the Play, stage directions referring to soft and solemn music. Caliban describes the atmosphere of the island saying, “the isle is full of noises and sweet airs that give delight and hurt not” The Play is interspersed with either reference to dance or dance itself. As a part of the celebration of the betrothal of Ferdinand and Miranda, a masque is presented in which nymphs and reapers join in a gracefiul dance. When the royal party is provided with a magical feast, ‘the strange shapes’ that bring in the banquet “dance about it with gentle action of salutation”. They leave with “dance, with mocks and mows”. The dance and song together add to the masque-like effect in the Play. Along with dancing and singing there is also the use of costume and disguise Ariel, blessed with supernatural powers has the ability to change his shape and voice repeatedly. This is seen most effectively when he comes disguised as a Harpy and claps his wings upon the banquet table, which then vanishes. Very much in keeping with the use of costume the royal party and the sailors are clothed in garments that are unaffected by the sea. Gonzalo says, “Methinks, ‘our garments are now as fresh as when we put them on first in Afric”. Trinculo hiding under the cloak of Caliban creates a disguise that leads Stephano to think, “This is some monster of the isle with four legs”.~ Later in the play it is the temptation of costume, which diverts Trinculo and Stephano from their intention to kill Prospero. Seeing the clothes spread on the line outside Prospero’s cave, they are tempted to steal them, which provide a delay in their plan and therefore their Punishment. Prospero himself uses costume to enhance effect for example his ‘Art’ is always associated with his gown that he puts on or takes off according to the requirement of the aston. Before revealing himself as the Duke of Milan, he chooses to wear his hat and rapier Saying, * I will discase me, and myself present as I was sometime Milan”, with his hat and Fapier, he strikes a pose where by he is recognised by his former enemies. Perhaps the most important masque effect in the tempest is provided by the interpolation of a masque in Act IV. Prospero orders this masque for the celebration of the betrothal of Ferdinand and Miranda The masque is a pre-planned celebration to “bestow upon the eyes of his young couple some vanity of my Art”. Ariel is instructed “to bring the rabble” and a typical masque is then staged by the spirits that Ariel controls. The invocation for the masque is provided by Iris, the messenger of Juno, the goddess of heaven. This masque is a combination of the blessings of earth and heaven upon the young couple represented by Ceres and Juno respectively. Ceres is invoked keeping in mind her tremendous powers in controlling the forces of the earth; Juno, the wife of Jupiter brings all the abstract virtues of heaven. Together they promise: Juno — “Honour, riches marriage blessing Long continuance and increasing Hourly joys be still upon you!” Ceres - “Earth’s increase, foison plenty, Bams and gamers never empty”. These choice blessings are given against the background of Iris’ rainbow. It is a masque, “a contract of true love to celebrate”. The blessings are enhanced by the beautiful attraction of the mortal and supernatural combining in “graceful dance”. Nymphs of ‘the windring brook” joined by the ‘sun-burnt sickle-men’ and to mystical music a dance is performed. In this way not only are the newly betrothed entertained but the Shakespearean audience receives a double advantage by the interpolation of this magical dance and song, In this manner the elements of the romantic comedy are also fulfilled to the entertainment of all