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The earliest copy of “The Tempest” known is that in the folio of 1623. To the precise date of its production we have no clue, but the following memorandum from the “ Accounts of the Revels at Court," is almost positive testimony that it was written before 1611: By the King's
Hallomas nyght was presented att Whithall before
ye Kinges Matie, a play called the Tempest.
And the speech of Gonzalo, Act II. Sc. 1,–
“I' the commonwealth I would by contraries," &c.— which is obviously taken from a passage in Florio's translation of Montaigne's Essayes, first printed in 1603, is equally decisive as to its having been written after that year. The story upon which “ The Tempest” is founded, was most probably derived, according to Shakespeare's usual practice, from an existing play or from some popular chronicle or romance. Collins the poet, indeed, informed T. Warton, that he had met with a novel called Aurelio and Isabella, printed in Italian, Spanish, French, and English, in 1588, which he conceived to have formed the basis of “The Tempest.” When he spoke of the circumstance, however, Collins was labouring under mental debility, and so far as the particular novel he mentioned was concerned his memory deceived him, for the fable of Aurelio and Isabella bears no resemblance to that of the play; yet it is remarkable that a friend of James Boswell declared that he had once perused an Italian novel which answered to Collins's description. In an article on the early English and German dramas published in the New Monthly Magazine for January, 1841,- Mr. Thons pointed out a dramatic piece by Jacob Ayrer, a notary of Nürnberg, contemporary with Shakespeare, entitled Die schöne Sidea, (The Beautiful Sidea,) which bears some resemblance to “ The Tempest,” and which Tieck conjectured was a translation of some old English drama from which Shakespeare borrowed his idea. How far this is probable the reader must judge from the following outline of the German play: Ludolph having been vanquished by his rival, and with his daughter Sidea driven into a forest, rebukes her for complaining of their change of fortune, and then summons his spirit Runcifal to learn from him his future destiny and prospects of revenge. Runcifal, who is, like Ariel, somewhat “ moody,” announces to Ludolph that the son of his enemy will shortly become his prisoner. After a comic episode, most probably introduced by the German, we see Prince Leudegast, with his son Engelbrecht and the councillors, hunting in the same forest; when Engelbrecht and his companion Famulus, having separated from the associates, are suddenly encountered by Ludolph and his daughter. On his commanding them to yield themselves prisoners, they refuse ; but on attempting to draw their swords, Ludolph renders them powerless by the touch of his magical wand, and gives the prince over to Sidea to carry logs of wood for her, and to obey her commands in all respects. The resemblance between the German and English plays is continued in a later part of the former production, when Sidea, moved by pity for the labours of Engelbrecht in carrying logs, exclaims, she would “feel great joy, if he would prove faithful to me, and take me in wedlock;” an event which, in the end, is happily brought about, and leads to the reconciliation of their parents, the rival princes.
The title of “ The Tempest” is supposed by some commentators to have been determined by the shipwreck of Sir George Sommers and Sir Thomas Gates on the coast of the Bermudas in 1609; of which an account was published by Silvester Jourdan, one of the crew, in the following year :d Discovery of the Barmudas ; otherwise called the Isle of Divels ; by Sir Thomas Gates, Sir George Sommers, and Captayne Newport, with divers others. It is highly probable, too, that Jourdan's and other accounts of the Bermudas, by some of which they are said to be enchanted and inhabited by witches and devils, suggested the expression “ still-vexed Bermoothes," and induced the poet to possess his hero with necromantic influence and supernatural agency. Mr. Hunter, in his “ Disquisition on the Scene, Origin, Date, &c. of Shakspeare's Tempest," has laboured with great ingenuity to prove that the actual scene of the play was Lampedusa, “ an island of the Mediterranean lying not far out of a ship's course passing from Tunis to Naples,” and which is uninhabited, and supposed by sailors to be enchanted. The same idea was suggested, or occurred to Douce, who thus speaks of it:-“ The Island of Lampedusa is near the coast of Tunis; and from its description, in Dapper, and the real tract of the King of Naples' voyage in Shakespeare's Tempest, will turn out to be the veritable island where he was shipwrecked, and to which Prospero had been banished, whenever the Italian novel on which the play founded shall be discovered.” We fervently hope not; being contented to believe it rose, like a new Atlantis, at the summons of the poet, and when his magic work on it was done:
“ From that day forth the Isle has beene
By wandering sailors never seene :
MASTER. Good, speak to the mariners: fall Enter a Ship-master and a Boatswain severally. |
to't yarely, or we run ourselves aground : bestir, bestir.
[Exit. MASTER. Boatswain ! Boats. Here, master : what cheer?
- Yarely,-) Briskly, nimbly, actively.
SEB. A pox o'your throat, you bawling, blasphe
mous, incharitable dog! Boats. Heigh, my hearts ! cheerly, cheerly, Boats. Work you, then. my hearts! yare, yare! Take in the topsail ! | Ant. Hang, cur, hang! you whoreson, insolent Tend to the master's whistle! [Exeunt Mariners.] noise-maker, we are less afraid to be drowned than Blow, till thou burst thy wind, if room enough! thou art.
Gon. I'll warrant him for drowning ; though Enter ALONSO, FERDINAND, SEBASTIAN, ANTONIO, the ship were no stronger than a nutshell, and as GONZALO, and others.
leaky as an unstanched wench.
Boats. Lay her a-hold, a-hold ! set her two Alon. Good boatswain, have care. Where's
courses ! off to sea again ; lay her off ! the master? Play the men. Boats. I pray now, keep below.
Re-enter Mariners, wet. Ant. Where is the master, boson ?
Boats. Do you not hear him? You mar our Mar. All lost ! to prayers, to prayers ! all lost ! labour : keep your cabins : you do assist the
Boats. What, must our mouths be cold ? Gon. Nay, good, be patient.
Gon. The king and prince at prayers ! let 's Boats. When the sea is. Hence! what care
assist them, these roarers for the name of king ? To cabin: For our case is as theirs. silence ! trouble us not.
I'm out of patience. Gon. Good, yet remember whom thou hast Ant. We are merely cheated of our lives by aboard.
drunkards :Boats. None that I more love than myself. This wide-chapp'd rascal,—would thou mightst lie You are a counsellor ;-if you can command these
drowning, elements to silence, and work the peace of the | The washing of ten tides ! present, we will not hand a rope more; use your
He'll be hang’d yet, authority : if you cannot, give thanks you have | Though every drop of water swear against it, lived so long, and make yourself ready in your And gape at wid'st to glut him. cabin for the mischance of the hour, if it so hap:- 1 [A confused noise within.]-Mercy on us ! — Cheerly, good hearts !-Out of our way, I say. We split, we split !-Farewell, my wife and chil
dren! Gon. I have great comfort from this fellow ; 1 Farewell, brother! We split, we split, we split -(1) methinks he hath no drowning mark upon him ;
[Exit Boatswain. his complexion is perfect gallows. Stand fast, Ant. Let's all sink with the king. [Exit. good Fate, to his hanging ! make the rope of his SER. Let's take leave of him.
Exit. destiny our cable, for our own doth little advan Gon. Now would I give a thousand furlongs of tage! If he be not born to be hanged, our case sea for an acre of barren ground,-long heath, is miserable.
[Exeunt. brown furze, anything. The wills above be done!
but I would fain die a dry death.
Boats. Down with the topmast ! yare ; lower, | SCENE II.-The Island: before the Cell of lower ! Bring her to try with main-course !* [A
Prospero. cry within.] A plague upon this howling ! they are louder than the weather or our office.
Enter PROSPERO and MIRANDA.
Re-enter SEBASTIAN, ANTONIO, and GONZALO. MIRA. If by your art, my dearest father, you
have Yet again! what do you here ? shall we give | Put the wild waters in this roar, allay them. o'er and drown? have you a mind to sink?
The sky, it seems, would pour down stinking pitch,
a Bring her to try with main-course !] It has been proposed to read, ** Bring her to; try with the main-course;" but see a passage from Hakluyt's Voyages, 1598, quoted by Malone: "and when the barke had way, we cut the hawser and so gate the sea to our friend, and tryed out al that day with our maine corse."
If by your art, my dearest father, you have
Put the wild waters in this roar, allay them.]
"If by your art, my dearest father, you
Have put the wild waters in this roar, allay them."
But that the sea, mounting to the welkin's cheek,” | It should the good ship so have swallow'd, and Dashes the fire out. O, I have suffer'd
The fraughting souls within her. With those that I saw suffer! a brave vessel,
Be collected; Who had, no doubt, some noble creatures* in her, No more amazement: tell your piteous heart Dash'd all to pieces. O, the cry did knock
There's no harm done. Against my very heart! Poor souls, they perish'd! MIRA.
O, woe the day! Had I been any god of power, I would
No harm. Have sunk the sea within the earth, or e'er I have done nothing but in care of thee,
(*) old text, creature. - mounting to the welkin's cheek,-) Although we have, in "Richard 11." Act III. Se, 2,-“ the cloudy cheeks of heaven," and elsewhere, “welkin's face," and "heaven's face," it may well be questioned whether "cheek," in this place, is not a misprint. Mr. Collier's annotator substitutes heat, a change characterised by Mr. Dyce as equally tasteless and absurd. A more appropriate and expressive word, one, too, sanctioned in some measure by its occurrence in Ariel's description of the same elemental conflict, is probably, crack, or cracks,
"— the fire, and cracks Of sulphurous roaring, the most mighty Neptune
Seem to besiege," &c. In Miranda's picture of the tempest, the sea is seen to storm and overwhelmn the tremendous artillery of heaven; in that of Ariel,
the sky's ordnance, “the fire and cracks,” assault the "mighty
“As when a fiery exhalation,
Fighting for passage, makes the welkin cracke."
"A skewed engine mathematicall
To draw up words that make the welkin cracke." And in Taylor's Superbiæ Flagellum, 1630,
" Yet every Reall heav'nly Thundercracke,
This Caitise in such feare and terror strake," &c.