The Tempest–Act II

So, on a completely unrelated note, here’s a dipiction of Caliban:

Dion

Here’s what I’ve been picturing in my head:

Preciousssss, nasty masters, nasty Prospero, we likes the nice masters, the nice masters that gives us wines, yes, Precious, we does.

Preciousssss, nasty masters, nasty Prospero, we likes the nice masters, the nice masters that gives us wines, yes, Precious, we does.

End of side note.

Gonzalo is being jeered at by the conspirators, Sebastian and Antonio, which obviously means we are to trust Gonzalo and take him┬áseriously. I say “obvious” because we already know from the last act that Gonzalo was the man who helped Prospero when he was driven to this isle. Also, the conspirators are jerks. And generally, jerks don’t like good people. It’s like the unwritten rule number one of jerkdom.

So, supposing we take Gonzalo seriously, what are we to make of his comment on the effect of the salt water on everyone’s garments? He’s not making a point about fashion…oh, no, the lit major in me is beginning to rear her head…perhaps the significance of their apparel–which the “bad guys” fail to notice, because they lack any ability to see good things–is that there is a correlation of their exterior state on the island and their own interior state, putting them in a position set apart from the world they knew before.

Ugh, she’s gone now.

That said, Antonio makes a very interesting distinction about hope. Sebastian has no hope that the prince is alive, but Antonio says this is where hope lies. He’s equating hope with ambition. There is hope in ambition to usurp power, now that there is no heir to the throne of Naples.

the-tempest-001

 

In the next scene, we’re on the verge of a second storm. Is Prospero behind this one too? That remains to be seen.

We’re introduced to two fools–a jester and a drunkard–and I have an affinity for Shakespearean fools. Caliban renounces Prospero for Stephano (the drunkard) on account that “the liquor is not earthly”( II.ii.124). I find this interesting, because his master is obviously a true-blue magician–Caliban knows real magic by his service to Prospero, who possesses an unearthly magic–and he’s rejecting his knowledge of other-earthly powers for the sake of a very real and earthly power–i.e. wine.

Small list of other little notes:

  1. Antonio gets pretty angry at Gonzalo’s comment that Dido is a widow. I don’t know how to look at this, someone help me out here.
  2. Trinculo makes a point that the “dead” monster that is Caliban would fit in perfectly with the “beasts” that are in England.
  3. What is the point of Ariel’s song when it makes everyone sleepy except for Antonio and Sebastian?
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