Themes in the Tempest Essays -- Tempest essays

Themes in the Tempest The Tempest is in the main considered to be Shakespeares last sole-authored play. The play draws a number of enemys, m both of which it dramatises, and some of which it only implies. Prospero, a figure exhibiting many resemblances to the Elizabethan idea of the Mage, (of whom the surpass known is probably Dr. John Dee), is opposed to both his corrupt brother, supplanter of his role as Duke of Milan, and to Sycorax, an evil witch and mother of the deformed slave Caliban. Sycorax does not grave the movement of the play, having died before it opens, but enough is made of her evil zest and behaviour to show Prospero as a archetype of human equity in comparison. This despite Prosperos own use of magic to accomplish his will, and his blusterous of the spirit Ariel and his threats to and punishments of Caliban. Prosperos role is central to the play, he is in control of the action throughout, through the exercise of his Art. A further contast is drawn betwe en Miranda, Prosperos daughter, and caliban. Bothe were brought up together by Prospero since his arrival on Calibans Island, but Caliban has not responded fitly to Prosperos civilising education. Miranda, however, in line with the tenor of Shakespeares late plays in particular, is a model of chastity and virtue. Calibans ingratitude would seem to result from what we would call his genetic inheritance. Miranda calls him Abhorred slave Which any print of goodness will not take (12353-354) FN1 And Prospero A devil, a born devil, on whose nature Nurture can neer stick on whom my pains, Humanely taken, all, all lost, quite lost. (41188-190) The opposition of nature and nurture is made... ...ntual relinquishing of power which entitles him to regain it. In my opinion, Shakespeare is associating straightforward authority with renunciation, not with the exercise of tyrannical power. NOTES 1. All citations and references are to impolite Kermodes Arden Edition, to the excellent introduction of which I am indebted throughout. 2. In the Masque, the anti-masque is a comedic prelude in which the villainous characters (of lower-class origin) plot against virtue and effected power-relations. In the Masque proper divine beings (frequently played by courtiers) would yard in and defeat the evil plot, whereupon the cast would leave the stage and dance with the audience. 3. Paul Brown, This Thing of Darkness I Acknowledge Mine (in) Political Shakespeare, (eds) J. Dollimore & A. Sinfield, Manchester University Press, Manchester, (1996), pp. 48-71.