Santiago Ontan Snchez

602-08

October the 12th. 2011

Essay on The Tempest by William Shakespeare As I lay surrounded in that characteristic post-play aftermath, I realized I had no real opinion on whether I had liked the play or not. Truth be told I would seldom call myself a theater critic or connoisseur, if I know anything about Shakespeare it probably is because of my passion for history and poetry. Therefore I decided to leave the tedious business of interpretation to others (I do not know if necessarily the most competent fellows -but they seemed rather eloquent-) and proceeded to investigate on the most handy resource known to us teenagers: the internet. Indeed, I am proud to say that three articles later I had as good a base as I would ever have, and voil! Here follows the result. The Island is a world of illusions, of magic and spirits that strongly resembles a stage. There are special effects, music, dancing and the like. And Prospero can be seen as the ultimate conjurer, the illusionist: the director. One might be stretching things by saying that Prospero is a direct mirror image of Shakespeare, yet he has been bestowed an incredible amount of power over anything related to the Island (and thus, the stage). It is particularly curious to see how this magic only applies in the Island's barriers. Otherwise, the obvious question arises: how is it that Prospero never returned to Milan if he had such magnificent powers? So is it that Prospero waits, he rests -bidding his time- until fate brings his enemies to him. He spreads out a perfect plan, executed to the point that the entire play actually lacks suspense. And the brilliant change of heart comes from where we least expect it: from Ariel, who is not even human, she pleads:
"if you now beheld them / Your affections would become tender" (5.1.19-20).

Santiago Ontan Snchez

602-08

October the 12th. 2011

And Prospero concedes, which brings us to an interesting point: Prospero's relationship with Ariel (which to my view, is anything but grotesque in Salvador Garcini's adaptation). At this point the play is practically resolved in terms of narrative. The richness of The Tempest exists in its interpretive value that most directors express at the end. The play has unfolded as a moral story full of hope for humanity and for general social commitment. Virtue has triumphed over any type of revenge as Prospero reaffirms:
Yet with my nobler reason `gainst my fury Do I take part. The rarer action is In virtue than in vengeance. (5.1. 26-28)

Yet ripples withstand Prospero's soothing pardon. Perhaps because it happens a tad to fast. Sebastian resentment is obvious, and Antonio's apology is not without Prospero's insult:
For you, most wicked sir, whom to call brother Would even infect my mouth, I do forgive Thy rankest fault, -- all of them; and require My dukedom of thee, which perforce, I know, Thou must restore. (5.1.130-4)

The true reconciliation comes from Miranda's engagement with Ferdinand. But Caliban's fate on the other hand leaves anything but a sour taste (but that is a topic for another essay).

Santiago Ontan Snchez

602-08

October the 12th. 2011

In the end, the Director decides how he accentuates these ironies. Which is fundamental to the public: he might be crude and exaggerate the lack of resolution or he might seek a happy ending that redeems humanity as a whole. The adaptation we saw left me with a bit o both (therefore my mixed opinions). But the play served its purpose. For I brought from that world of illusions and magic something to apply in this hard reality.

Bibliography: Mabillard, Amanda. Forgiveness Online. 20 and Aug. Reconciliation 2000. in Shakespeare's the 12th. 2011) The <

Tempest Shakespeare

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http://www.shakespeare-online.com/plays/tempest/forgivenesstemp.html >. Johnston, Ian. Introductory Lecture on the Tempest BigEye. 1996. (October the 12th. 2011) < http://www.bigeye.com/tempest.htm >. Cosser, Michael. Shakespeare's Mystery Drama Theosophy-nw. (October the 12th. 2011) < http://www.theosophy-nw.org/theosnw/arts/ar-mcos2.htm >.