Words: 1420
Although this sudden change in attitude towards a risky side Of presenting his plays, Shakespeare still maintains the overall product mound in many of his plays: that of the journey off character often ending in self- realization and eventually death. All Of these journeys are neither Of magical or even fantastical nature, but simply of human nature and, in the end, it is the human aspect Of theatre, and Of life, that Shakespeare attempts to convey.
The journey of Prospers presents the story of a rogue, untrustworthy man who once chose self. Benefit over serving his country and consequently paid the price, but he is, abnormally, given a second chance. Although initially presented to the audience as a tragedy, Shakespeare writes The
Tempest with a much more realistic take on events, combing both tragedy and comedy in a representation of what can be considered to be real life, Beginning the tale in the midst to a transit scene upon a ship in a storm; a tempestuous noise of thunder and lightning, certainly creates the tone of a tragedy, prosperous daughters statement: It by your art, my dearest father, you have put the wild waters in this roar, initiates the magical side of the story, but also signposts the beginning of the turnaround in Prosperous so far tragic journey.
Although revenge is still in his mind due to his usurpation by his brother some time ago n Milan, for the sake of his daughter Prospers ensures that There’s no harm done, revealing very early on the more human, possibly caring, side to the man. However his intentions are made clear through the description of his past; Twelve years, since thy father was the Duke of Milan, creating a spiteful tone With obvious objective of revenge. His claim that his brother was once so perfidious, displays clearly his feelings towards Antonio, but the Story Of his past presents his true character.
Having decided that the liberal arts without a parallel, should be his main concern in life, he claims the government I cast upon my brother, but Ewing honest in saying to my state grew stranger, being transported and rapt in secret studies. This first scene from Shakespeare is very flat and would be widely considered uninteresting in theatre; however it is through this scene that he displays his power to do what he may with the English language, conveying his control and confidence as a writer.
As well as offering the audience vital information concerning the background to the revenge plot of the play, Shakespeare introduces, rather blatantly, the irresponsible, arrogant character of Prospers, further tales of avouch certainly o not endear him to the audience. Upon introduction to characters such as Clinical, the audience is allowed to perceive the cold-hearted, typically selfish nature of man that is present in Prospers.
Sicilians claim the This islands mine, by Scoria my mother, shows Prosperous necessity for power and upon the imprisonment of Clinical within his magical powers, Prospers makes clear his obsession With possession and control, not only over land, but also Of Other people, especially his daughter. The first change in Prospers comes fairly early in the play, during Act scene ii, whilst introducing Ferdinand to Miranda. From a distance she perceives Ferdinand as as thing divine, although having never seen another man before, but there is an overshadowing of deception in this act.
Ferdinand, being the son to the King of Naples, presents a direct link to Prospers, creating a relationship upon which he can plot and scheme tort his revenge, all the while within arms reach of a contact of his brothers, However, allowing this relationship between these two young people to build up would appear a more human act, not necessarily for his own benefit, entailing the idea that maybe Prospers is not as cold-hearted after all. Presenting challenges for Ferdinand in order to test his new-found love for Miranda; put thyself upon this island as a spy, to win it from me, and Lord Onto.
This attention to detail from the father figure is clearly of human character, not of magical, drawing upon the suggestion that Prospers is moving away from his magic here and more towards a caring father figure. Unfortunately this impression is short lived as, after causing Alonso to sleep and Antonio to plot a murder and usurpation, Prospers calls upon Ariel to wake Alonso moments before the attempted murder, For else his project dies, thus veiling the fact that he himself would like the revenge and is simply tricking Antonio into such dreadful acts as murder, only to whip the chance away from under him.
This would appear to be a step back in the journey of Prospers from a magical dictator into a humane character, but in contradiction he has also saved Alonso life. It is therefore unclear and appears to be a transition stage in the journey of Prospers. As celebrations of the unity of Miranda and Ferdinand begin in the Masque scene, Prospers is initially threatening; If thou dost break her virgin-knot… No wet aspersion shall the heavens let tall, showing his unkind, controlling, possessive nature once again, Going on to Bestow upon the eyes… Mom vanity of mine art, Prospers shows his enjoyment of his magic and his ability to use it for good as opposed to destruction and psychological manipulation, Again, although concerning his magical ability, this incident reveals Prosperous more father-like, endearing personality, not something previously seen within the play, another step in the right direction in what is certainly a journey of human emotions, This scene presents the audience with something very unexpected and peculiar forever.
After plotting and scheming his revenge for years upon this island, during this scene Prospers manages to forget the corrupt, evil plan and forget Sicilians actions Of revenge upon Prospers himself. This unprecedented event shakes the once controlling, obsessive character and the happiness perceived through him during this scene is surely a factor towards the final Step in his journey. Interestingly enough however, it is from the initial presentation of Prospers carrying out such acts as to cause the storm and to induce Miranda into sleep using his magical powers, that the audience can see the change towards the ND of the play.
Even at the start of Act V, Prospers is still intent upon revenge; Now does my project gather too head, but it is as a result of Oriels words that Prospers takes the final step in what has been a long and arduous journey. The grief and pain induced in all involved in the shipwreck by the magic of Prospers is beginning to take its affect upon Ariel who, in turn, makes an appeal to prosperous human nature; if you now beheld them, your affections would become tender… Mine would, sir, were human.
This explicit exposition of human emotions within Prospers shows clearly the journey taken, The final step in the journey of Prospers is held within the recognition of the pain he has caused, the evil he has previously called upon; graves at my command have waked their sleepers, and finally decides; Ill drown my book. With a change in personality comes a change in appearance with Prospers, I will disease me, a present myself as was sometime in Milan, before addressing Ariel and setting the spirit free for the last time, voicing his emotions; shall miss thee.
Having manipulated Antonio and Sebastian into performing evil deeds, Prospers turns these acts upon them; were I so minded, here could pluck his highness frown pony you and justify you traitors, showing that, even though the transition from magical man into mere human is complete, his intentions of self-preservation are still prevalent and releasing knowledge of his past magical acts is not in his purpose.
Prosperous final act in search of good is to reunite Alonso with his son. In conclusion Prospers has undergone a very human journey, experiencing the extremes of emotions. A man once obsessed with magic, so much so even to lose his power over Milan, has experienced a change and has righted many of his wrongs. Psychologically and physically Prospers is a different man from the original, power-obsessed wizard presented to the audience at the beginning Of the play.