The Sea Voyage is a late Jacobean comedy written by John Fletcher and Philip Massinger. The play is notable for its imitation of Shakespeare's The Tempest.
Performance and publication
The Sea Voyage was licensed for performance by the Master of the Revels on 22 June 1622. The Sea Voyage was acted by the King's Men; the second Beaumont/Fletcher folio of 1679 provides a partial cast list of the original production, which includes Joseph Taylor, William Ecclestone, Nicholas Tooley, John Lowin, and John Underwood, all members of the troupe.
The play was entered into the Stationers' Register on 4 September 1646, and received its initial publication in the first Beaumont and Fletcher folio of 1647.
Authorship
The shares of the two collaborators, Massinger and Fletcher, are relatively easy to distinguish, due to Fletcher's distinctive pattern of linguistic usages. Cyrus Hoy observed that Fletcher's hand dominates in Acts I and IV, as Massinger's does in Acts II, III, and V. There is some crossover in the portions, though scholars are divided as to whether the play was revised into its final form by Fletcher (as Hoy thought), or by Massinger.
Sources
The play begins with a storm, and features a desert island and castaways at a banquet, just as in The Tempest. In addition to Shakespeare's play, the collaborators consulted recent accounts of actual explorations, including those of William Strachey and John Nicoll.
After 1660
In the Restoration era, The Sea Voyage was revived by the King's Company in an adaptation called The Storm. The adapted version premiered on 25 September 1667, with both King Charles II and Samuel Pepys in the audience, as Pepys records in his Diary. Pepys liked the play so much – especially the added songs and dances – that he saw it again the next evening. The King's Company staged the play to beat the competition: William Davenant's and John Dryden's adaptation, The Tempest, or The Enchanted Island, would premier on 7 November the same year. Another adaptation of The Sea Voyage, titled The Commonwealth of Women, was produced by Thomas d'Urfey in 1685. D'Urfey's version proved even more popular after the turn of the eighteenth century, being performed in 1702, 1707, 1708, and 1710. D'urfey made the hero an Englishman instead of a Frenchman, and an honest pirate to boot, anticipating Gilbert and Sullivan's The Pirates of Penzance by nearly two centuries.
Synopsis
The play opens on a ship at sea, caught in a storm; the ship's Master and sailors struggle to cope, while the vessel's commander and passengers make their way on deck. Albert, a French pirate, is the captain; he is accompanied by a heterogeneous group of compatriots, including Lamur, a "usuring Merchant," Franville, "a vain-glorious gallant," and Morillat, "a shallow-brain'd Gentleman." Also present are the captain's friend Tibalt, and his love interest, Aminta. Aminta was captured by Albert, but he has since fallen in love with her, and respects her virtue and chastity. He also set out in search of her missing brother Raimond, before the storm struck.
The ship struggles to reach a nearby island; the crew toss overboard cargo, belongings, even treasure, in an attempt to lighten the load. The second scene shifts perspective to two men stranded on the same island. Two Portuguese castaways, Sebastian and his nephew Nicusa, have long suffered privation on this barren rocky island; they watch as the ship endures the storm, and they see the survivors make their way to the beach. Their conversation reveals that they were victims of a pirate attack, which divided them from another Portuguese ship that carried Sebastian's wife and other members of their family.
The Frenchmen meet Sebatian and Nicusa, but behave with hostility and menace; while the French fall to fighting over treasure the two Portuguese have salvaged, Sebastian and Nicusa escape in the Frenchmen's ship, leaving the new arrivals behind. The French crew find that the island is as bleak and inhospitable as Sebastian and Nicusa had indicated; they are soon suffering severely from hunger and thirst. There is abundant material concerning this privation, perhaps intended as comedy; at one point, Lamure, Franville and Morillat (brawling, cowardly, greedy, selfish, etc. represent man's base instincts) are ready to kill Aminta and eat her, before she is rescued by Tibalt and Albert.