feat_summary_path: finished_summaries/cliffnotes/The Tempest/section_0_part_0.txt
feat_book_id: The Tempest.act 1.scene 1
feat_summary_id: scene 1
feat_summary: {"name": "Scene 1", "url": "https://web.archive.org/web/20201219151049/https://www.cliffsnotes.com/literature/t/the-tempest/summary-and-analysis/act-i-scene-1", "summary": "The Tempest opens in the midst of a fierce storm. The location is a ship at sea, with a royal party on board. As the sailors fight to save the ship, several of the royal passengers enter, and Alonso, the king, demands to know where the master is to be found. The boatswain, worried that the passengers will interfere, orders them to go below deck. The king's councilor, Gonzalo, reminds the boatswain that he is speaking to the king, but the boatswain points out that if the king really has so much power, he should use it to quell the storm. If he lacks this power, the royal party should go below decks, as the boatswain orders. The royal party exits, presumably to go below deck to seek shelter. Within moments, however, Antonio, Sebastian, and Gonzalo have returned topside again, much to the boatswain's annoyance. With Sebastian and Antonio cursing him, the boatswain continues in his efforts to save the ship. Soon, however, the sailors enter with laments that the ship is lost. Fearing that they will all soon die, Antonio, Sebastian, and Gonzalo elect to join the rest of the royal party below decks, where they will pray for their survival.", "analysis": "The opening confrontation between Gonzalo and the boatswain reveals one of the most important themes in The Tempest: class conflict, the discord between those who seize and hold power and those who are often the unwilling victims of power. When confronted by members of the royal party, the boatswain orders that they return below deck. He is performing his job, and to stop in response to Alonso's request for the master would be foolish. The boatswain cares little for Alonso's rank as king and asks, \"What cares these roarers for the name of king?\" . The king has no protection from the storm simply because of his rank, because the storm has little care for a man's social or political position. In response, Gonzalo urges the boatswain to remember that the king and his party are the passengers. The implication is that the boatswain should also remember that his social rank makes him subservient to the royal party, regardless of the circumstances. Gonzalo's words are a clear reminder that even in the midst of a storm, class or status remains an important part of life. However, the boatswain is not intimidated and responds that the royal party should \"use your authority,\" to stop the storm . As far as the boatswain is concerned, all men are equal in a storm and all equally at risk. Alonso seems to understand that the captain is the ship's final authority, at least initially. His original request for the master reflects his belief that the master is in charge of the ship, and that, as passengers, he  and his retinue fall under the captain's authority. But alarm at the severity of the storm and frustration at the boatswain's order to go below decks causes the king's party to fall back on the rules of land -- the king is the final authority. The boatswain's telling Gonzalo that the king should use his authority to stop the storm is a reminder that the king has no authority under these circumstances. Although he can control men , even the king cannot control nature. The storm and the subsequent rebellion on ship is a metaphor for the rebellion occurring in English society. In the Elizabethan and Jacobean world, English society was defined by its class system, in which individuals were born into specific classes by divine right. In the natural order of things , therefore, the aristocracy is superior. Although the characters of The Tempest are depicted as Italian in origin, their experiences and conflicts are English. Indeed, the passengers, who never forget that they are socially superior to the crew, need to be reminded that, during a storm, the captain of the ship is the final authority. Furthermore, in the period just prior to the composition of The Tempest, English society had been rocked by political, social, and religious conflicts. The Gunpowder Plot , for example, serves as an illustration of the conflict between the Protestant James and his Catholic subjects. The goal of the Roman Catholic conspirators was to murder James and kill the members of both houses of Parliament; fortunately for James, the plot failed. The social unrest in England, however, was exacerbated by James' extravagant spending on court entertainment, especially the lavishly staged masques, and the contrast between the poor and the rich became even more evident. Although James subjects lived in severe poverty, their burden was increased as they were taxed to pay for the king's masques. In response, unrest grew and would erupt several years later into revolution. There are many tempests to be explored during the course of The Tempest. In addition to class conflict, there are also explorations into colonialism  and a desire to find or create a utopian society. The storm scene that opens The Tempest establishes nature as an important element of the play and emphasizes the role of nature in society. Other tempests will be revealed in subsequent scenes, such as the emotional tempests that familial conflict creates ; the tempests of discord  and of forbidden love . Finally, there are the tempests caused by the inherent conflict between generations. So, although The Tempest might correctly be called a romantic comedy, the title and the opening scene portend an exploration of conflicts more complex than romantic. Glossary yarely briskly or smartly. Here the boatswain is instructing the sailors to move quickly or the ship will be pushed aground by the storm. roarers noisy and unruly waves; here so called because they care little for royal rank. boatswain the ship's petty officer, in charge of the deck crew, the rigging, anchors, boats, and so on. drowning mark refers to a mole, located on the boatswain's face, the appearance of which was thought to portend a person's manner of death. In this case, the boatswain's mole appears to be the type that predicts a death by hanging. merely  absolutely; altogether; here, it means that they are completely cheated of their lives by drunkards."}
text: ACT I. SCENE I.
  
  On a ship at sea: a tempestuous noise of thunder
  and lightning heard._
  
    _Enter _a Ship-Master_ and _a Boatswain_._
  
  _Mast._ Boatswain!
  
  _Boats._ Here, master: what cheer?
  
  _Mast._ Good, speak to the mariners: fall to't, yarely, or
  we run ourselves aground: bestir, bestir.    [_Exit._
  
    _Enter _Mariners_._
  
  _Boats._ Heigh, my hearts! cheerly, cheerly, my hearts!              5
  yare, yare! Take in the topsail. Tend to the master's
  whistle. Blow, till thou burst thy wind, if room enough!
  
    _Enter ALONSO, SEBASTIAN, ANTONIO, FERDINAND, GONZALO,
    and others._
  
  _Alon._ Good boatswain, have care. Where's the master?
  Play the men.
  
  _Boats._ I pray now, keep below.                                    10
  
  _Ant._ Where is the master, boatswain?
  
  _Boats._ Do you not hear him? You mar our labour:
  keep your cabins: you do assist the storm.
  
  _Gon._ Nay, good, be patient.
  
  _Boats._ When the sea is. Hence! What cares these                   15
  roarers for the name of king? To cabin: silence! trouble
  us not.
  
  _Gon._ Good, yet remember whom thou hast aboard.
  
  _Boats._ None that I more love than myself. You are a
  Counsellor; if you can command these elements to silence,           20
  and work the peace of the present, we will not hand a rope
  more; use your authority: if you cannot, give thanks you
  have lived so long, and make yourself ready in your cabin
  for the mischance of the hour, if it so hap. Cheerly, good
  hearts! Out of our way, I say.    [_Exit._                          25
  
  _Gon._ I have great comfort from this fellow: methinks
  he hath no drowning mark upon him; his complexion is
  perfect gallows. Stand fast, good Fate, to his hanging:
  make the rope of his destiny our cable, for our own doth
  little advantage. If he be not born to be hanged, our case          30
  is miserable.    [_Exeunt._
  
    _Re-enter Boatswain._
  
  _Boats._ Down with the topmast! yare! lower, lower!
  Bring her to try with main-course. [_A cry within._] A
  plague upon this howling! they are louder than the weather
  or our office.                                                      35
  
    _Re-enter SEBASTIAN, ANTONIO, and GONZALO._
  
  Yet again! what do you here? Shall we give o'er, and
  drown? Have you a mind to sink?
  
  _Seb._ A pox o' your throat, you bawling, blasphemous,
  incharitable dog!
  
  _Boats._ Work you, then.                                            40
  
  _Ant._ Hang, cur! hang, you whoreson, insolent noise-maker.
  We are less afraid to be drowned than thou art.
  
  _Gon._ I'll warrant him for drowning; though the ship
  were no stronger than a nutshell, and as leaky as an unstanched
  wench.                                                              45
  
  _Boats._ Lay her a-hold, a-hold! set her two courses off
  to sea again; lay her off.
  
    _Enter _Mariners_ wet._
  
  _Mariners._ All lost! to prayers, to prayers! all lost!
  
  _Boats._ What, must our mouths be cold?
  
  _Gon._ The king and prince at prayers! let's assist them,           50
  For our case is as theirs.
  
  _Seb._                   I'm out of patience.
  
  _Ant._ We are merely cheated of our lives by drunkards:
  This wide-chapp'd rascal,--would thou mightst lie drowning
  The washing of ten tides!
  
  _Gon._                  He'll be hang'd yet,
  Though every drop of water swear against it,                        55
  And gape at widest to glut him.
  
    [_A confused noise within:_ "Mercy on us!"--
    "We split, we split!"-- "Farewell my wife and children!"--
    "Farewell, brother!"-- "We split, we split, we split!"]
  
  _Ant._ Let's all sink with the king.                                60
  
  _Seb._ Let's take leave of him. [_Exeunt Ant. and Seb._
  
  _Gon._ Now would I give a thousand furlongs of sea for
  an acre of barren ground, long heath, brown furze, any
  thing. The wills above be done! but I would fain die a
  dry death.    [_Exeunt._                                            65
  
  
    Notes: I, 1.
  
    SC. I. On a ship at sea] Pope.
    Enter ... Boatswain] Collier MS. adds 'shaking off wet.'
    3: _Good,_] Rowe. _Good:_ Ff. _Good._ Collier.
    7: _till thou burst thy wind_] _till thou burst, wind_ Johnson conj.
      _till thou burst thee, wind_ Steevens conj.
    8: Capell adds stage direction [Exeunt Mariners aloft.
    11: _boatswain_] Pope. _boson_ Ff.
    11-18: Verse. S. Walker conj.
    15: _cares_] _care_ Rowe. See note (I).
    31:  [Exeunt] Theobald. [Exit. Ff.
    33: _Bring her to try_] F4. _Bring her to Try_ F1 F2 F3.
      _Bring her to. Try_ Story conj.
    33-35: Text as in Capell. _A plague_--A cry within. Enter Sebastian,
      Anthonio, and Gonzalo. _upon this howling._ Ff.
    34-37: Verse. S. Walker conj.
    43: _for_] _from_ Theobald.
    46: _two courses off to sea_] _two courses; off to sea_ Steevens
      (Holt conj.).
    46: [Enter...] [Re-enter... Dyce.
    47: [Exeunt. Theobald.
    50: _at_] _are at_ Rowe.
    50-54: Printed as prose in Ff.
    56: _to glut_] _t' englut_ Johnson conj.
    57: See note (II).
    59: _Farewell, brother!_] _Brother, farewell!_ Theobald.
    60: _with the_] Rowe. _with'_ F1 F2. _with_ F3 F4.
    61: [Exeunt A. and S.] [Exit. Ff.
    63: _furze_ Rowe. _firrs_ F1 F2 F3. _firs_ F4.
    _long heath, brown furze_] _ling, heath, broom, furze_ Hanmer.]
    65: [Exeunt] [Exit F1, om. F2 F3 F4.]
  
  
  
  
feat_summary_name: Scene 1
target: The Tempest opens in the midst of a fierce storm. The location is a ship at sea, with a royal party on board. As the sailors fight to save the ship, several of the royal passengers enter, and Alonso, the king, demands to know where the master is to be found. The boatswain, worried that the passengers will interfere, orders them to go below deck. The king's councilor, Gonzalo, reminds the boatswain that he is speaking to the king, but the boatswain points out that if the king really has so much power, he should use it to quell the storm. If he lacks this power, the royal party should go below decks, as the boatswain orders. The royal party exits, presumably to go below deck to seek shelter. Within moments, however, Antonio, Sebastian, and Gonzalo have returned topside again, much to the boatswain's annoyance. With Sebastian and Antonio cursing him, the boatswain continues in his efforts to save the ship. Soon, however, the sailors enter with laments that the ship is lost. Fearing that they will all soon die, Antonio, Sebastian, and Gonzalo elect to join the rest of the royal party below decks, where they will pray for their survival.
feat_summary_analysis: The opening confrontation between Gonzalo and the boatswain reveals one of the most important themes in The Tempest: class conflict, the discord between those who seize and hold power and those who are often the unwilling victims of power. When confronted by members of the royal party, the boatswain orders that they return below deck. He is performing his job, and to stop in response to Alonso's request for the master would be foolish. The boatswain cares little for Alonso's rank as king and asks, "What cares these roarers for the name of king?" . The king has no protection from the storm simply because of his rank, because the storm has little care for a man's social or political position. In response, Gonzalo urges the boatswain to remember that the king and his party are the passengers. The implication is that the boatswain should also remember that his social rank makes him subservient to the royal party, regardless of the circumstances. Gonzalo's words are a clear reminder that even in the midst of a storm, class or status remains an important part of life. However, the boatswain is not intimidated and responds that the royal party should "use your authority," to stop the storm . As far as the boatswain is concerned, all men are equal in a storm and all equally at risk. Alonso seems to understand that the captain is the ship's final authority, at least initially. His original request for the master reflects his belief that the master is in charge of the ship, and that, as passengers, he  and his retinue fall under the captain's authority. But alarm at the severity of the storm and frustration at the boatswain's order to go below decks causes the king's party to fall back on the rules of land -- the king is the final authority. The boatswain's telling Gonzalo that the king should use his authority to stop the storm is a reminder that the king has no authority under these circumstances. Although he can control men , even the king cannot control nature. The storm and the subsequent rebellion on ship is a metaphor for the rebellion occurring in English society. In the Elizabethan and Jacobean world, English society was defined by its class system, in which individuals were born into specific classes by divine right. In the natural order of things , therefore, the aristocracy is superior. Although the characters of The Tempest are depicted as Italian in origin, their experiences and conflicts are English. Indeed, the passengers, who never forget that they are socially superior to the crew, need to be reminded that, during a storm, the captain of the ship is the final authority. Furthermore, in the period just prior to the composition of The Tempest, English society had been rocked by political, social, and religious conflicts. The Gunpowder Plot , for example, serves as an illustration of the conflict between the Protestant James and his Catholic subjects. The goal of the Roman Catholic conspirators was to murder James and kill the members of both houses of Parliament; fortunately for James, the plot failed. The social unrest in England, however, was exacerbated by James' extravagant spending on court entertainment, especially the lavishly staged masques, and the contrast between the poor and the rich became even more evident. Although James subjects lived in severe poverty, their burden was increased as they were taxed to pay for the king's masques. In response, unrest grew and would erupt several years later into revolution. There are many tempests to be explored during the course of The Tempest. In addition to class conflict, there are also explorations into colonialism  and a desire to find or create a utopian society. The storm scene that opens The Tempest establishes nature as an important element of the play and emphasizes the role of nature in society. Other tempests will be revealed in subsequent scenes, such as the emotional tempests that familial conflict creates ; the tempests of discord  and of forbidden love . Finally, there are the tempests caused by the inherent conflict between generations. So, although The Tempest might correctly be called a romantic comedy, the title and the opening scene portend an exploration of conflicts more complex than romantic. Glossary yarely briskly or smartly. Here the boatswain is instructing the sailors to move quickly or the ship will be pushed aground by the storm. roarers noisy and unruly waves; here so called because they care little for royal rank. boatswain the ship's petty officer, in charge of the deck crew, the rigging, anchors, boats, and so on. drowning mark refers to a mole, located on the boatswain's face, the appearance of which was thought to portend a person's manner of death. In this case, the boatswain's mole appears to be the type that predicts a death by hanging. merely  absolutely; altogether; here, it means that they are completely cheated of their lives by drunkards.