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diff --git a/32991.txt b/32991.txt new file mode 100644 index 0000000..e3dfdf7 --- /dev/null +++ b/32991.txt @@ -0,0 +1,1129 @@ +The Project Gutenberg EBook of How Shakspere Came to Write the Tempest, by +Rudyard Kipling and Ashley H. Thorndike + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: How Shakspere Came to Write the Tempest + +Author: Rudyard Kipling + Ashley H. Thorndike + +Release Date: June 27, 2010 [EBook #32991] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK SHAKSPERE CAME TO WRITE TEMPEST *** + + + + +Produced by Chris Curnow, Joseph Cooper and the Online +Distributed Proofreading Team at https://www.pgdp.net. + + + + + + + + + +How Shakspere Came to Write the 'Tempest' + + + + + PUBLICATIONS + of the + Dramatic Museum + OF COLUMBIA UNIVERSITY + IN THE CITY OF NEW YORK + + _Third Series_ + + Papers on Playmaking: + + I HOW SHAKSPERE CAME TO WRITE THE 'TEMPEST'. By Rudyard Kipling. + With an introduction by Ashley H. Thorndike. + + II HOW PLAYS ARE WRITTEN. Letters from Augier, Dumas, Sardou, + Zola and others. Translated by Dudley Miles. With an + introduction by William Gillette. + + III A STAGE PLAY. By Sir William Schenck Gilbert. With an + introduction by William Archer. + + IV A THEORY OF THE THEATER. By Francisque Sarcey. Translated by + H. H. Hughes. With an introduction and notes by Brander + Matthews. + + V (Extra volume) A catalog of Models and of Stage-Sets in the + Dramatic Museum of Columbia University. + + + + + PAPERS ON PLAYMAKING + + I + + How Shakspere Came to + Write the 'Tempest' + + + BY + RUDYARD KIPLING + + + WITH AN INTRODUCTION BY + ASHLEY H. THORNDIKE + + + Printed for the + Dramatic Museum of Columbia University + _in the City of New York_ + MCMXVI + + + + INTRODUCTION AND NOTES COPYRIGHT 1916 BY + DRAMATIC MUSEUM OF COLUMBIA UNIVERSITY + + + + +CONTENTS + + + Introduction by Ashley H. Thorndike 1 + + How Shakspere Came to Write the 'Tempest' 23 + + Notes by A. H. T. 33 + + + + +INTRODUCTION + + +Mr. Kipling's brilliant reconstruction of the genesis of the 'Tempest' +may remind us how often that play has excited the creative fancy of its +readers. It has given rise to many imitations, adaptations, and sequels. +Fletcher copied its storm, its desert island, and its woman who had +never seen a man. Suckling borrowed its spirits. Davenant and Dryden +added a man who had never seen a woman, a husband for Sycorax, and a +sister for Caliban. Mr. Percy Mackaye has used its scene, mythology, and +persons for his tercentenary Shaksperian Masque. Its suggestiveness has +extended beyond the drama, and aroused moral allegories and +disquisitions. Caliban has been elaborated as the Missing Link, and in +the philosophical drama of Renan as the spirit of Democracy, and in +Browning's poem as a satire on the anthropomorphic conception of Deity. + +But apart from such commentaries by poets and philosophers, the poem has +lived these many generations in the imaginations of thousands. There, +the enchanted island has multiplied and continued its existence. Shelley +sang, + + Of a land far from ours + Where music and moonlight and feeling are one. + +Shakspere created that land as the possession of each of us. Not far +removed, but close to the great continent of our daily routine and +drudgery, lies this enchanted island where we may find music and +moonlight and feeling, and also fun and mischief and wisdom. There, in +tune with the melody and transfigured as by the charm of moonlight, we +may encounter the nonsense of drunken clowns, the mingled greed and +romance of primitive man, the elfishness of a child, the beauty of +girlhood, and the benign philosophy of old age. We may leave the city at +the close of business, and, if we avoid the snares of Caliban and +Trinculo, we may sup with Prospero, Ariel, and Miranda. + +How did Shakspere discover this enchanted island? From what materials +did he create the "baseless fabric of this vision"? What had London +playhouses to do with these spirits of thin air? On what books or plays +were these dreams made? Out of the issues of rivalry and profit which +beset the King's company of players at the Globe and the Blackfriars, +how came this "insubstantial pageant"? We have been told that the +Sonnets are the key with which to unlock Shakspere's heart; and perhaps +if we could answer all these questions we might have the key to his +imagination. I do not believe, however, that his imagination was lockt +up. Rather it was open wide to many impulses, hospitable to countless +influences. This apparently is the opinion of Mr. Kipling, who suggests +that Shakspere's "vision was woven from the most prosaic material, from +nothing more promising, in fact, than the chatter of a half-tipsy sailor +at the theater." + +Mr. Kipling writes as one inventor of tales about another. Certainly no +one is better qualified to trace out the processes of the creative +imagination and to discover the very fabrics of its visions. In those +marvelous stories of his, who has not recognized a Shaksperian +catholicity in the quest of fact and a Shaksperian alchemy in its +transformation? He has himself created many enchanted islands and he +knows whereof they are made. The sailor just home from a famous +shipwreck on the Bermudas might have stept out of one of Mr. Kipling's +tales; but he becomes a factor in some very acute criticism, for the +sailor's "profligate abundance of detail at the beginning, when he was +more or less sober, supplied and surely established the earth-basis of +the play in accordance with the great law that a story to be truly +miraculous must be ballasted with facts." + +Mr. Kipling's letter has found a place in all subsequent critical +discussions of the play, and has become a contribution to that +historical research which seeks to discover the ways and means by which +literature is made. It may not be unseemly therefore to bring together +as an introduction and commentary some other suggestions that criticism +has advanced in regard to the influences and incentives that directed +Shakspere's art in this play, written at the very close of his career +and at the moment when the Elizabethan drama had reached its highest +development. + +Recent investigation has added to our certainty that the play was +written in 1610 or 1611, for Mr. Ernest Law has shown that the +supposedly forged entry of its performance at court on November 1, 1611 +is genuine. Various passages in the play indicate that it was not +written before July 1610, when Sir Thomas Gates and his ships sailed up +the Thames with news of the safety of the fleet that had departed from +Plymouth over a year before. This fleet of nine vessels had started for +the new colony in Virginia, had been scattered by a great storm, and the +ship 'Sea Venture' with the leaders aboard, Sir George Somers, Sir +Thomas Gates, and Captain Christopher Newport, had been cast ashore on +one of the Bermudas. But there had been no loss of life; the adventurers +had lived comfortably for many months, had built two pinnaces from the +materials of the wreck, and had rejoined their comrades in Virginia. +Before the arrival of Gates from Virginia, reports of the wreck had +reached London, so his safe return was a nine days wonder. Full accounts +were written. Two were printed in the autumn, and others circulated in +manuscript. Shakspere certainly read some of the pamphlets recounting +the strange experiences of the expedition, and he made some use of other +voyagers' tales, as Raleigh's 'Discovery of Guiana.' But he may have +heard much more than he read in the common gossip of the day. Or, enter +Mr. Kipling's sailor, "the original Stephano fresh from the seas and +half-seas over." + +From this original Stephano or from the voyagers' tales may have come +some hints for Caliban. There were many strange accounts of cannibals +and monsters. An earlier narrative tells of "a sea monster ... arms like +a man, without hair and at the elbows great fins like a fish." Indians +had been brought back from America; and only a few years before the play +several had been exhibited and aroused much curiosity. As Trinculo +observes, "When they will not give a doit to relieve a lame beggar, they +will lay out ten to see a dead Indian." Caliban was doubtless intended +to be of the earth, earthy, the opposite of Ariel, the spirit of the +air, and was also intended as a sketch of the savage resisting the +mastery of the European. But, brutish and savage though he be, he too is +a dweller in the enchanted island. For him too life has its romance. +There is no finer touch of Shakspere's magic in the whole play than +this. Marco Polo had recounted that "You shall heare in the ayre the +sound of tabers and other instruments, to put the travellers in fear, +&c., by evill spirits that make these sounds and also do call ... +travellers by their names." But Shakspere's Caliban reassures his +companions frightened by Ariel playing on a tabor. + + Be not afeard. The isle is full of noises, + Sounds and sweet airs, that give delight and hurt not. + Sometimes a thousand twangling instruments + Will hum about mine ears, and sometimes voices + That, if I then had wak'd after long sleep, + Will make me sleep again; and then, in dreaming, + The clouds methought would open and show riches + Ready to drop upon me, that, when I wak'd, + I cried to dream again. + +The enchanted island owes still more to preceding voyagers in the great +seas of romance. Shakspere had made many earlier voyages thither, but he +was not the first Columbus to search out the undiscovered lands of +illusions and enchantments. Fortunately for us he lived in the period of +imaginative adventure and steered his crafts on the oceans whence many +predecessors had returned treasure-laden. This is no place to relate the +various circumstances that placed the men of the sixteenth century in a +fortunate position for Romance, or to indicate the long development of +romantic-comedy in which Shakspere played so great a part. But surely +the interview between the dramatist and the sailor would have had very +different results if the Elizabethan theater had not been accustomed to +the union of the laughable and the romantic, the comic and the +marvellous. Such a union is not a common one. There are no +romantic-comedies in the literature of antiquity, and very few in modern +literature since Shakspere's death. He found a stage that was already +the home of romance, used to fantasy and medley, and used also to fill +out a three hours entertainment with sentiment and fun, music and +monsters, idealized heroines and puns. + +Romance had found its readiest entrance to the stage thru the shows and +spectacles which delighted the courts of the Tudors. Venus and Diana, or +Loyalty and Sedition, or Red Cross Knight and Fairy Princess, or whoever +else, if sumptuously arrayed and bejeweled and sufficiently attended, +might be wheeled in on a huge car representing castle or garden or +island, decorated with flowers and spangles, begin with a tableau and +end with a dance. Along with all this splendor, it would not be thought +inappropriate to have a clown dance a jig or mimic the antics of a +drunken man. Such spectacles soon became the joy of the public as well +as of the court, and were imitated by many a rustic Holofernes or +Bottom. Nymphs and fairies, the Nine Worthies, or the Golden Age might +find representation by almost any village pedagog and his school +children. + +Out of such entertainments there soon developt a kind of comedy, at +first the peculiar property of the children of the royal choirs who +performed at court, but soon adapting itself to the adult companies and +public theaters. This comedy availed itself of any stories that might +come to hand, so they were strange, unusual, marvelous, impossible +enough, and accompanied them with music, dancing, and spectacle, and +with lively jests in the mouth of the smallest boys, dressed as pages. + +Endymion in love with the moon, the judgment of Paris, Pandora and her +varied actions under the seven planets, the rival magic of Friars Bacon +and Bungay, Jack the Giant Killer, Alexander the Great in love with +Campaspe who preferred Apelles--these are some of the themes. +Astrologers, Amazons, fairies, sirens, witches, ghosts, are some of the +personages who appear along with the singing pages and Olympian deities. +Of course, these persons and these marvels are impossible on any stage, +most of all by daylight in the roofless public theaters of Shakspere's +London. But neither audience nor dramatist thought of impossibility. +They tried everything on their stage, even their wonderlands. + +When Shakspere began to write plays, the stage was well used to romance. +It was the comedies of Lyly and Greene, with their beautiful and +unselfish maidens, their wonders and shows, their witty dialogs and +jesters, their lovers' crosses and final happiness, their Utopias and +fairies, which prepared the way for Shakspere's 'Two Gentlemen of +Verona' and 'Love's Labor's Lost,' and for his great series of romantic +plays from 'A Midsummer Night's Dream' to 'Twelfth Night.' But by 1600, +both dramatists and audiences had become somewhat sophisticated and +tired of romance, and the theaters turned to plays of a different +fashion, to tragedies that searched the ways of crime and punishment, +and to comedies that treated contemporary folly and vice with realism +and satire. From the date of 'Twelfth Night,' 1601, to that of +'Cymbeline,' 1609, it is difficult to find a romantic-comedy on the +London stage. There are no more marvels and magic, no charming +princesses disguised as pages, no moonlit forests and terraces, no +rescues and reconciliations, not much sentiment and no fun except what +may be found on the seamy side of reality. Shakspere seems to have had +little taste for satire and he wrote no satirical and realistic plays of +the sort temporarily in fashion. But during these eight years, his +comedies, like 'Measure for Measure,' have no romantic charm, and his +energies are given to tragedy. He is occupied with the pomp and majesty +of human hope and with the inevitable waste and failure of human +achievement; but for his Hamlet, Othello, Macbeth, Coriolanus and the +rest, there were no forests of Arden and no enchanted islands. Like his +associates, he seems to have forsaken romance. + +What turned his imagination from tragedy back to romance? In my opinion +it was the success of two brilliant young dramatists, Beaumont and +Fletcher, who, in a series of remarkable dramas made romance again +popular on the London stage. Their romantic plays employ many of the old +incidents and personages, but in general character differ strikingly +from the plays of a decade or two earlier. They are hardly comedies at +all, tho they have their humorous passages, but tragedies and +tragi-comedies dealing with more thrilling circumstances and less naive +wonderments than the earlier plays. Instead of a combination of romance +and comedy, they aim at a contrast of the tragic and idyllic. They +oppose a story of sexual passion with one of idealized sentiment, and +delight in a succession of thrills as by clever stagecraft they hurry us +from one suspense into another surprise. Until the very end you can +scarcely guess whether it will be tragic or happy. Their land of romance +is somewhat artificial and theatrical; but yet it has as of old its +adventures, dangers, escapes, rescues, jealousies, suspicions, +reconciliations and re-unions. And it has its idyls of forests, and +fountains of love-lorn maidens and enraptured princes. It is a land of +thrills and surprises, but also of idealization and poetry. For in all +that choir of poets who wrote for the London theaters there was no one +except Shakspere who could excel these young dramatists in their power +to turn the affairs and emotions of mankind into copious verse, now +tumultuous, now placid, but always bubbling with fancy and flowing +melodiously. + +If Shakspere's mind was directed again to romantic themes and situations +by the success of Beaumont and Fletcher's plays, the clearest evidence +of his indebtedness to them is to be found in his 'Cymbeline', which has +many marked similarities to their 'Philaster'. In his two plays which +follow, the 'Winter's Tale' and the 'Tempest', there is no detailed +resemblance to the romantic tragic-comedies of the younger men. +Shakspere, as well as they, had the whole tradition of romantic drama to +draw from, and in particular he had his own past practice. He did not +need to be shown how to depict romantic love, or charming heroines, or +ardent suitors. For drinking scenes, like those of Trinculo and +Stephano, or for dialog like that not very witty one of Gonzalo and the +courtiers, he had many passages in his own plays that served as guides. +Moreover, if 'Cymbeline' is an example of only partially successful +experimentation with new methods, the 'Winter's Tale,' and still more, +the 'Tempest,' seem to me triumphant and unguided excursions of his own +in the new field. But I think that Shakspere was attracted to this field +by contemporary stage-successes, and that in seeking for novel and +invented plots, in the contrast of tragic and idyllic elements, in the +unusual and rapidly shifting situations, in the loose and parenthetical +style, and in the elaboration of the _denouement_, he was adapting +himself to the new formulas and fashions in which Beaumont and Fletcher +were the leaders. + +Still another suggestion came from the theater, but this time from the +court. The court shows of the sort which we have noticed as +characteristic of the early years of Elizabeth's reign had given place +to a better ordered and more sumptuous spectacle, the Court Masque. +Under James I, with the great architect Inigo Jones to devise the +machines and setting, and with Ben Jonson to write the librettos, one of +these masques was a magnificent affair. It was given on festal occasions +at court and often cost thousands of pounds. It had but a single or at +most two performances, always at night, and it came to follow a +distinct formula. The kernel of the show was the masked dance in which +members of the court, even King and Queen, took part. This dance or +"masque proper," often elaborated into several measures, came near the +end of the show. As accompaniments there were (1) music, instrumental +and vocal, (2) a play of some length, usually with mythological or +allegorical motive, (3) various grotesque dances by professional +performers, preceding the main masque and often integrated with the +play, and (4) a spectacular stage-setting. + +These shows were given in great halls, brilliantly lighted. The stage +was splendidly decorated. Gods and goddesses floated among the clouds, +and elaborate machines and scenes were devised. In one masque, a few +years before the 'Tempest,' "an artificial sea was seen to shoot forth +over the stage as it flowed to land, [this was the main machine--a great +stage four feet high on trestles] on which was a great concave shell +like mother of pearl" containing the masquers and conveyed by many +sea-monsters hidden by the torch-bearers. The costumes of the masquers +were in brilliant colors and heavily jeweled. These were often bizarre; +but Inigo Jones knew the monuments of classical antiquity and the +artistic achievements of Renaissance Italy as well as Jonson knew +classical and humanistic literature. The living pictures were often in +richness and color no unworthy rivals of the frescoes with which Rubens +had decorated the ceiling of the Masquing Hall. + +Such expensive spectacles were beyond the reach of the professional +theaters, but contemporary dramatists frequently found something that +could be adapted or imitated for the public stage. So the antick dance +of satyrs in a 'Winter's Tale' (three of whom are announced as having +already appeared before the King) seems borrowed from an anti-masque in +Ben Jonson's 'Masque of Oberon.' In two plays of nearly the same date +there is a well defined effort to combine the masque and the regular +drama into a distinctive and novel dramatic entertainment, in the 'Four +Plays in One' of Beaumont and Fletcher and the 'Tempest' of Shakspere. +The 'Tempest' has always been a spectacular play on the stage, and so it +must have appeared to him--and as a spectacle having many of the +features of the court masque. + +There is music and song. Ariel, Prospero, and even Caliban are proper +figures for a court show. The "masque proper" is used to celebrate the +betrothal in the fourth act. This is a simplified form of such a masque +as would be given at court. There is evidently some machinery--it is the +insubstantial pageant that calls forth Prospero's famous lines. Ariel, +Iris, Ceres, and Juno appear, Juno descending from the heavens. There is +music and a song, and Ferdinand cries: + + This is a most majestic vision, and + Harmonious charmingly. May I be bold + To think these spirits? + +And when Prospero says they are spirits summoned by his art, Ferdinand +exclaims + + Let me live here ever; + So rare a wond'red father and a wise + Makes this place Paradise. + +It is not Miranda now, but the machine and costumes used in +court-spectacles that turn the platform into a land of romance. + +Then enter Nymphs, "Naiads of the winding brooks with sedg'd crowns," +and Sun burnt Reapers, "with rye-straw hats." These are the main +masquers and join in a graceful dance, until upon Prospero's sudden +start--"to a strange, hollow, and confused noise, they heavily vanish." +More ingenious is Shakspere's use of the anti-masques--i.e. dances by +professional performers drest in fantastic costumes as animals, satyrs, +statues, witches, etc. Such are the several strange shapes of III.3, who +first bring in the banquet and again enter "and dance with mocks and +mows and carrying out the table"; and in IV.1, the divers spirits who +"in shape of dogs and hounds" hunt about the drunken conspirators while +Prospero and Ariel set them on. + +For a stage, then, that had long been used to romance, Shakspere planned +a new wonderment. For it he revived some of his old creations from +Illyria and Arden, and Fairyland, all transformed by + + a sea change + Into something rich and strange. + +And he added some excitements and novelties to keep pace with the +thrilling tragi-comedies of Beaumont and Fletcher. And just as years +before, in the 'Midsummer Night's Dream,' he had drawn hints from the +court entertainments by children, so now he conceived a spectacle +that--so far as was possible--might rival the great shows of the +Jacobean court. He did not need to go beyond the drama to find abundant +suggestions for his new venture. + +But this was to be a play as well as a show, and must have some kind of +plot. Perhaps he found an Italian novella with the story. No one has +been able to find it since then. But stories somewhat similar to that of +the 'Tempest' occur in a Spanish tale and in a German play. There was +indeed a real Alfonso, king of Naples, and a duke of Milan who was +dispossesst, and another named Prospero. But whatever story Shakspere +found, it is my notion that he forgot most of it. The palace intrigues, +the rivalries of the banisht and usurping dukes, set at naught by the +love at first sight of their children, the perilous adventures, and the +_denouement_ brought about by magic, were commonplaces of fiction. +Shakspere wanted to weld them into a more surprising fable. + +Perhaps it was at the very moment when he was most intent on this +problem that the sailor from the fleet of Sir Thomas Gates hove into +view. Even the mariner's ballast of facts did not quite suffice. As +Shakspere wrote he recalled some lines from his old favorite Ovid to +fill out one of Prospero's descriptions; and he used the newly-read +Montaigne for Gonzalo's account of a Utopian commonwealth. And some fine +lines from Sir William Alexander's tragedy of 'Darius' seem to have +lingered in his recollection when he wrote of the great globe which is +like a pageant and life that is like a dream. As he wrote of Prospero he +thought too of his own career, of his own so potent art, of his promised +retirement, and the fading pageants of both life and art. + +Perhaps, too, he may have thought of some of his battles of wit with Ben +Jonson in the Mermaid Tavern. Ben was a great stickler for the rules, +though he lamented that the Unity of Time was very difficult to secure +on the English stage. He thought masques should be kept distinct from +comedies, and he had no liking for fantastic medleys. Indeed, a few +years later he indulged in a scoff at Shakspere's "servant-monster" and +at "those who beget tales, tempests, and such like drolleries." +Shakspere, recalling some such discussion may have said to himself, +"Well, here is a play as fantastic as possible, and just to show +Benjamin what can be done, I will keep it in strict accord with his +classical Unities of Time and Place." For this or some other propose he +was for once at great pains to keep all the action within the time of +the stage-performance, tho in doing so he makes his one nautical error +by forgetting that the seaman's measure of time was a half-hour glass. +When Prospero first consults Ariel we are precisely told that it is two +o'clock in the afternoon, and just before the end of the drama we are +told that three hours have elapst. + +It has taken me too long to enumerate some of the materials in addition +to those of Mr. Kipling's sailor with which Shakspere's fantasy worked. +I hope I may have suggested that almost always, as here in this +extraordinary flight of his imagination, he was writing as a playwright +and not without full use of the hints and opportunities which the +contemporary theater afforded. And I should like to suggest also that to +the playwrights of that theater there were open many and great +opportunities. Sailors home from a new world might cross the threshold +of the dramatist; and dramatists then could think of magicians and +monsters and fairies, of goddesses and drunken boors, of ideal +commonwealths, the three unities, and beautiful verse, all in terms of +the stage. Thru some such processes as have been rehearst, by some such +influences, Shakspere's imagination must have been led to the +construction of a spectacular play that would win applause both in the +Blackfriars playhouse and at court. Perhaps it is out of such varied +driftwood that all enchanted islands are created. + +ASHLEY H. THORNDIKE. + +(April 23, 1916). + + + + +How Shakspere Came to Write the 'Tempest' + + + + +How Shakspere Came to Write the 'Tempest' + + +_To the Editor of the Spectator._ + +SIR:--Your article on 'Landscape and Literature' in the _Spectator_ of +June 18th has the following, among other suggestive passages:--"But +whence came the vision of the enchanted island in the 'Tempest'? It had +no existence in Shakspere's world, but was woven out of such stuff as +dreams are made of." + +May I cite Malone's suggestion connecting the play with the casting away +of Sir George Somers on the island of Bermuda in 1609; and further may I +be allowed to say how it seems to me possible that the vision was woven +from the most prosaic material--from nothing more promising in fact, +than the chatter of a half-tipsy sailor at a theater? Thus: + +A stage-manager, who writes and vamps plays, moving among his audience, +overhears a mariner discoursing to his neighbor of a grievous wreck, +and of the behavior of the passengers, for whom all sailors have ever +entertained a natural contempt. He describes, with the wealth of detail +peculiar to sailors, measures taken to claw the ship off a lee-shore, +how helm and sails were workt, what the passengers did and what he said. +One pungent phrase--to be rendered later into: + + 'What care these brawlers for the name of King?' + +--strikes the manager's ear, and he stands behind the talkers. Perhaps +only one-tenth of the earnestly delivered, hand-on-shoulder sea talk was +actually used of all that was automatically and unconsciously stored by +the island man who knew all inland arts and crafts. Nor is it too +fanciful to imagine a half-turn to the second listener as the mariner, +banning his luck as mariners will, says there are those who would not +give a doit to a poor man while they will lay out ten to see a +raree-show,--a dead Indian. Were he in foreign parts, as he now is in +England, he could show people something in the way of strange fish. Is +it to consider too curiously to see a drink ensue on this hint (the +manager dealt but little in his plays with the sea at first hand, and +his instinct for new words would have been waked by what he had already +caught), and with the drink a sailor's minute description of how he went +across the reefs to the island of his calamity,--or islands rather, for +there were many? Some you could almost carry away in your pocket. They +were sown broadcast like--like the nut-shells on the stage there. + +"Many islands, in truth," says the manager patiently, and afterwards his +Sebastian says to Antonio: + +I think he will carry the island home in his pocket and give it to his +son for an apple. + +To which Antonio answers: + +And sowing the kernels of it in the sea, bring forth more islands. + +"But what was the island like?" says the manager. The sailor tries to +explain. "It was green, with yellow in it; a tawny-colored country"--the +color, that is to say, of the coral-beached, cedar-covered Bermuda of +to-day--"and the air made one sleepy, and the place was full of +noises"--the muttering and roaring of the sea among the islands and +between the reefs--"and there was a sou'-west wind that blistered one +all over." The Elizabethan mariner would not discriminate finely between +blisters and prickly heat; but the Bermudian of to-day will tell you +that the sou'-west or Lighthouse wind in summer brings that plague and +general discomfort. That the coral rock, battered by the sea, rings +hollow with strange sounds, answered by the winds in the little cramped +valleys, is a matter of common knowledge. + +The man, refresht with some drink, then describes the geography of his +landing place,--the spot where Trinculo makes his first appearance. He +insists and reinsists on details which to him at one time meant life or +death, and the manager follows attentively. He can give his audience no +more than a few hangings and a placard for scenery, but that his lines +shall lift them beyond that bare show to the place he would have them, +the manager needs for himself the clearest possible understanding,--the +most ample detail. He must see the scene in the round--solid--ere he +peoples it. Much, doubtless, he discarded, but so closely did he keep to +his original informations that those who go to-day to a certain beach +some two miles from Hamilton will find the stage set for Act ii, Scene 2 +of the 'Tempest,'--a bare beach, with the wind singing through the scrub +at the land's edge, a gap in the reefs wide enough for the passage of +Stephano's butt of sack, and (these eyes have seen it) a cave in the +coral within easy reach of the tide, whereto such a butt might be +conveniently rolled. + +(My cellar is in a rock by the seaside where my wine is hid). + +There is no other cave for some two miles. + +Here's neither bush nor shrub; one is exposed to the wrath of "'yond +same black cloud," and here the currents strand wreckage. It was so well +done that, after three hundred years, a stray tripper and no Shakspere +scholar, recognized in a flash that old first set of all. + +So far good. Up to this point the manager has gained little except some +suggestions for an opening scene, and some notion of an uncanny island. +The mariner (one cannot believe that Shakspere was mean in these little +things) is dipping to a deeper drunkenness. Suddenly he launches into a +preposterous tale of himself and his fellows, flung ashore, separated +from their officers, horribly afraid of the devil-haunted beach of +noises, with their heads full of the fumes of broacht liquor. One +castaway was found hiding under the ribs of a dead whale which smelt +abominably. They hauled him out by the legs--he mistook them for +imps--and gave him drink. And now, discipline being melted, they would +strike out for themselves, defy their officers, and take possession of +the island. The narrator's mates in this enterprise were probably +described as fools. He was the only sober man in the company. + +So they went inland, faring badly as they staggered up and down this +pestilent country. They were prickt with palmettoes, and the cedar +branches raspt their faces. Then they found and stole some of their +officers' clothes which were hanging up to dry. But presently they fell +into a swamp, and, what was worse, into the hands of their officers; and +the great expedition ended in muck and mire. Truly an island bewicht. +Else why their cramps and sickness? Sack never made a man more than +reasonably drunk. He was prepared to answer for unlimited sack; but +what befell his stomach and head was the purest magic that honest man +ever met. + +A drunken sailor of to-day wandering about Bermuda would probably +sympathize with him; and to-day, as then, if one takes the easiest +inland road from Trinculo's beach, near Hamilton, the path that a +drunken man would infallibly follow, it ends abruptly in swamp. The one +point that our mariner did not dwell upon was that he and the others +were suffering from acute alcoholism combined with the effects of +nerve-shattering peril and exposure. Hence the magic. That a wizard +should control such an island was demanded by the beliefs of all +seafarers of that date. + +Accept this theory, and you will concede that the 'Tempest' came to the +manager sanely and normally in the course of his daily life. He may have +been casting about for a new play; he may have purposed to vamp an old +one--say, 'Aurelio and Isabella'; or he may have been merely waiting on +his demon. But it is all Prospero's wealth against Caliban's pignuts +that to him in a receptive hour, sent by heaven, entered the original +Stephano fresh from the seas and half-seas over. To him Stephano told +his tale all in one piece, a two hours' discourse of most glorious +absurdities. His profligate abundance of detail at the beginning, when +he was more or less sober, supplied and surely establisht the +earth-basis of the play in accordance with the great law that a story to +be truly miraculous must be ballasted with facts. His maunderings of +magic and incomprehensible ambushes, when he was without reservation +drunk (and this is just the time when a lesser-minded man than Shakspere +would have paid the reckoning and turned him out) suggested to the +manager the peculiar note of its supernatural mechanism. + +Truly it was a dream, but that there may be no doubt of its source or of +his obligation, Shakspere has also made the dreamer immortal. + +RUDYARD KIPLING. + + + + +NOTES + + + + +NOTES + + +Mr. Kipling's letter was originally publisht in the (London) _Spectator_ +for July 2, 1898. He allowed it to appear as his contribution to 'A Book +of Homage to Shakspere' (Oxford University Press, 1916, pp. 200-203). +But he has not yet included it in any collection of his miscellaneous +writings; and for his permission to reprint it in this series the +Committee in charge of the Dramatic Museum desires to express its +thanks. + +Malone's suggestion was presented in his essay, 'An Account of the +Incidents from which the Title and a Part of the Story of Shakspere's +"Tempest" were derived; and its true date ascertained.' This was +privately printed in 1808 and supplemented by an additional pamphlet in +1809. Both were reprinted in volume XV of the Boswell-Malone Variorum +edition of Shakspere in 1821. Malone's essay gives a careful analysis of +the several contemporary accounts of the shipwreck of Sir George Somers, +and of their relations to the 'Tempest.' In his preface Malone states +that his 'Account' was written "some years ago" but acknowledges that +his discovery had been anticipated by Douce in his 'Illustrations of +Shakspere' published in 1807. + +In his little book, 'Shakspere's Sea Forms Explained,' (Bristol, 1910) +Mr. W. B. Whall, master mariner, expresses his belief that Shakspere's +use of sea phrases is copious and accurate. He declares that "Words and +phrases of an extremely technical nature are scattered thru" Shakspere's +plays; "and a mistake in their use is never made." Then he asks: "Could +a mere lubber have steered clear of error in the use of such terms?" (p. +6). Mr. Whall had earlier noted that there are seven years of +Shakspere's life as to which we have scarcely any information, and that +one of these years was the year of the Armada, 1588, when he had only +just attained his majority. Where was Shakspere and what was he doing? +"There was a hot press for men to man the fleet. Is it possible that he +was among the prest?" (p. 5). + +It was a time of exaltation of all things pertaining to sea things; and +it is no wonder that the playwrights of the day, Heywood for one, made +frequent use of sea words. "The wonder is that without professional +acquaintance" Shakspere "should always use these terms correctly," (p. +18). He abounds in "Elizabethan sailor talk pure and simple." And a +little later Mr. Whall draws attention to the fact that "sea expressions +crop up in quite unexpected places"--just as theatrical expressions crop +up; "and that they are all phrased _as by a sailor_," (p. 19). Then Mr. +Whall quotes a remark from another master mariner, Captain Basil Hall, +who had earlier noticed this striking characteristic: "One would like to +know how Shakspere pickt it up." + +When he comes to deal with the 'Tempest' Mr. Whall cites the saying of +Lord Mulgrave, some time first Lord of the Admiralty: "The first scene +of the 'Tempest' is a very striking instance of the great accuracy of +Shakspere's knowledge in a professional science." With this Mr. Whall +disagrees: "Now this does not of necessity follow. A playwright with any +sense would, if about to write such a scene, obtain professional +assistance unless he himself had professional knowledge to steer clear +of error. The whole scene is graphic, accurate and correct in the terms +of nautical speech.... But it is by no means such a proof of the +writer's sea knowledge as are the scattered and wholly unexpected +nautical references in many other plays, every one of which might have +been written by an experienced seaman." + +The most recent and the most careful consideration of Shakspere's +acquaintance with seafaring life is contained in Mr. L. G. Carr +Laughton's essay on 'The Navy: Ships and Sailors,' contributed to +'Shakspere's England,' (Oxford University Press, 1916), 141-170. + +A. H. T. + + +OF THIS BOOK THREE HUNDRED AND THIRTY-THREE COPIES WERE PRINTED FROM +TYPE BY CORLIES, MACY AND COMPANY IN SEPTEMBER : MCMXVI + + + + + + +End of the Project Gutenberg EBook of How Shakspere Came to Write the Tempest, by +Rudyard Kipling and Ashley H. 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