"The Tempest" through an Ecocritical Lens

The physical environment of The Tempest takes a central role in the events of the play, all the while interacting with the characters on the island. There is one particular section of The Tempest that facilitates a study of socio-ecological interactions, specifically, the “tabor and pipe” scene of Act III Scene ii. Three characters are seen here directly experiencing the environment, each illuminating different ways of interacting with it through seemingly uncensored – due to their drunkenness – responses. Trinculo, the jester, reacts to the invisible Ariel playing “on a tabor and pipe” (III.ii. 122) by suggesting that “the tune” (III.ii. 122) came from a “picture of Nobody” (III.ii. 122), a non entity, and proceeds very quickly to cry out to some kind of vengeful God: “forgive me my sins!” (III.ii. 128). This dialogue reveals a character that fears the natural world and interacts with it from a wholly alienated standpoint. He seems to attribute curiosities of the Earth, even harmonious ones such as music, to an external and transcendent force and rushes to plead for forgiveness in the face of it. Stephano, the drunken butler, also experiences the innocuous tabor and pipe music; however, he relates to it slightly differently. Rather than calling to God, Stephano immediately appeals “If thou beest a man, show thyself in thy likeness. / If thou beest a devil, take’t as thou list” (III.ii. 127). To him, the inexplicable natural phenomenon must be either the work of man or the work of the devil. Whichever way, Stephano reveals that he experiences the physical environment through a lens of fear.

Contrasting both of these reactions, Caliban immediately asks the two men “Art thou afeard?” (III.ii. 130), and in a short monologue suggests:

“Be not afraid, 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 sometime voices.

(III.ii. 133-139)

This response encapsulates a relationship with the environment based on understanding and respect. Rather than fear of the unknown, Caliban hears the “voices” of the environment and takes from them the information that will keep him safe in such a tempestuous yet fruitful landscape. This relationship is evidenced a number of times throughout the play, for example when he hears “a noise of thunder” in Act II Scene ii, he perceives that “spirits” (II.ii. 2) must be at play and promptly “fall[s] flat” (II.i. 19) in the knowledge that the storm will pass.