The Tempest Essay Research Paper From Storms — страница 2

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his center stage. If a playwright manipulates a stage, and Prospero manipulates his island (allegorically speaking, his stage), it can be concluded that Prospero is representative of the playwright. Perhaps even representative of Shakespeare himself? It can be said that a true playwright has the power to harness the magic of theatre and to present that magic to the common person. By reading his books, Prospero has gained the knowledge needed to harness the magic of the island. After years of study and practice he has learned to harness the magical forces which he employs on his island, just as a playwright learns to harness the powers of the stage after years of practice and studies. In theory Prospero has harnessed the magic, thus he has learned to become a playwright.

Throughout the play, Prospero uses his magic to control those living on his island home, including those whom he brings to the island for the specific purpose of gaining control of them in an attempt to right old wrongs. Just as Prospero brings those he wishes to manipulate to his island with the tempest, a playwright such as Shakespeare brings actors into his theatre to train them to play his roles. The true playwright also manipulates the inhabitants of his stage. The likeness between Prospero and Shakespeare does not end there. At the end of Act 5 Prospero retires his magic by breaking his magical staff, removing his cloak, and ??drown[ing] my book.? Upon ridding himself of his magical forces, he releases Ariel, the magical spirit whom he has enslaved throughout the play. The

Tempest is known to be the last work of Shakespeare, his final farewell to the theatre. Through his representation of Prospero as himself, Shakespeare is thereby retiring the magic of the playwright, and retiring into the wings for the final time. As stated by Prospero in his epilogue, ?Let your indulgence set me free.? Shakespeare yearned for nothing more than to please his audience. He will be free to retire when they have applauded his efforts one last time, once he has indulged their pleasures for the final performance. The magic of the island stage originates from a source that is present as an airy spirit, Ariel. The name Ariel has a Hebrew meaning of ?lion of God?, the messenger. Ariel becomes the allegorical representation of the magic of the theatre, the magic that can

exist nowhere other than the stage. Just as a playwright holds jurisdiction over the magic within the play, Prospero serves as master to Ariel, and she in return does his behest. Ariel acts as messenger throughout the play, serving Prospero devotedly in return for her freedom from the tree in which Sycorax enslaved her. Though Prospero uses Ariel throughout the play, he liberates her before his return to Naples. Prospero merely says, ?I shall miss thee, but yet thou shalt have freedom?? and requests that Ariel guide him back to Naples securely. The release of Ariel validates that, though magic is only probable within the theater, it will stay within you as it accompanies you home contained within your memories. The evil witch Sycorax, though not a character within the play,

commands an important role. She is the one whom enslaves Ariel (the magic force of the island), whom she finds useless, within a ?cloven pine?. Though the witch never materializes in the play, she becomes the allegorical representation of a bad playwright, the opposite of Shakespeare. It is Sycorax that cannot learn to utilize the magic of her stage, and therefore fails miserably in alluring her audience. The Tempest begins with an actual tempest, a storm created by Prospero, to draw his adversaries near. It is this storm that starts the chain of action in the play, which eventually leads up to the resolution of justice. The fact that this tempest is not a mere storm created by Mother Nature suggests a bit about it. The tempest comes to symbolize the twists and turns within a

play, and the illusions that are often discovered by the viewer. This storm goes to attest that all in theatre is not what it seems, and that one event can drastically change the suspected outcome. The viewer of The Tempest is introduced early on to Ferdinand, son to the King of Naples. As soon as Ferdinand lands on the isle, he is taken aback by Miranda (Prospero?s daughter), and quickly falls in love. In an undertaking to prove his love for Miranda is true, Ferdinand takes the job of island slaves and begins to move logs. He claims, ?but the mistress which I serve quickens what?s dead and makes my labors pleasures.? Hauling logs becomes Ferdinand?s manner of ?courting? Miranda, thus causing her to fall into a zealous love with him. Ferdinand?s arduous undertakings resemble