While Ferdinand is falling in love with Miranda, Alonso, Sebastian, Antonio, Gonzalo, and other shipwrecked lords search for him on another part of the island. Alonso is quite despondent and unreceptive to the good-natured Gonzalo’s attempts to cheer him up. Gonzalo meets resistance from Antonio and Sebastian as well. These two childishly mock Gonzalo’s suggestion that the island is a good place to be and that they are all lucky to have survived. Alonso finally brings the repartee to a halt when he bursts out at Gonzalo and openly expresses regret at having married away his daughter in Tunis. Francisco, a minor lord, pipes up at this point that he saw Ferdinand swimming valiantly after the wreck, but this does not comfort Alonso. Sebastian and Antonio continue to provide little help. Sebastian tells his brother that he is indeed to blame for Ferdinand’s death—if he had not married his daughter to an African (rather than a European), none of this would have happened.
Gonzalo tells the lords that they are only making the situation worse and attempts to change the subject, discussing what he might do if he were the lord of the island. Antonio and Sebastian mock his utopian vision. Ariel then enters, playing “solemn music” (II.i.
Sebastian is at last convinced, and the two men draw their swords. Sebastian, however, seems to have second thoughts at the last moment and stops. While he and Antonio confer, Ariel enters with music, singing in Gonzalo’s ear that a conspiracy is under way and that he should “Awake, awake!” (II.i.
As in the storm scene in Act I, scene i, Shakespeare emphasizes and undercuts the capacity of the bare stage to create a convincing illusion throughout Act II, scene i. As the shipwrecked mariners look around the island, they describe it in poetry of great imagistic richness, giving the audience an imaginary picture of the setting of the play. Even so, they disagree about what they see and even argue over what the island actually looks like. Adrian finds it to be of “subtle, tender, and delicate temperance,” where “the air breathes upon us . . . most sweetly” (II.i.
Antonio and Sebastian, however, cynical to the last, refuse to let these pleasant descriptions rest in the audience’s mind. They say that the air smells “as ’twere perfumed by a fen” (II.i.
Shakespeare uses this ambiguous setting for several different purposes. First, the setting heightens the sense of wonder and mystery that surrounds the magical island. It also gives each audience member a great deal of freedom to imagine the island as he or she so chooses. Most importantly, however, it enables the island to work as a reflection of character—we know a great deal about different characters simply from how they choose to see the island. Hence the dark, sensitive Caliban can find it both a place of terror—as when he enters, frightened and overworked in Act II, scene ii—and of great beauty—as in his “the isle is full of noises” speech (III.ii.
Gonzalo’s fantasy about the plantation he would like to build on the island is a remarkable poetic evocation of a utopian society, in which no one would work, all people would be equal and live off the land, and all women would be “innocent and pure.” This vision indicates something of Gonzalo’s own innocence and purity. Shakespeare treats the old man’s idea of the island as a kind of lovely dream, in which the frustrations and obstructions of life (magistrates, wealth, power) would be removed and all could live naturally and authentically. Though Gonzalo’s idea is not presented as a practical possibility (hence the mockery he receives from Sebastian and Antonio), Gonzalo’s dream contrasts to his credit with the power-obsessed ideas of most of the other characters, including Prospero. Gonzalo would do away with the very master-servant motif that lies at the heart of The Tempest.
The mockery dished out by Antonio and Sebastian reveals, by contrast, something of the noblemen’s cynicism and lack of feeling. Where Gonzalo is simply grateful and optimistic about having survived the shipwreck, Antonio and Sebastian seem mainly to be annoyed by it, though not so annoyed that they stop their incessant jesting with each other. Gonzalo says that they are simply loudmouthed jokers, who “would lift the moon out of her sphere, if she would continue in it five weeks without changing” (II.i.