Analysis of Magic in 'The Tempest': Critical Essay

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Analysis of Magic in ‘The Tempest’: Critical Essay

The Tempest is a challenging play to categorize because it is considered by most scholars to be Shakespeare’s final solo piece. It has been classified as a ‘problem plays,’ and examination of the work has emphasized the work’s straightforward nature. Many have sought to link Prospero to Shakespeare himself, viewing the play as a last act. Part of the problem in defining the work is that it does not appear to fit into the dichotomy of Shakespeare’s other works, and it lacks a clear direction. The play is ‘plotless,’ according to Harold Bloom, and the work’s appeal must be discovered elsewhere. Many of the words in the play don’t simply fall into any category, reflecting its experimental nature. The Tempest is written by Shakespeare, who has twenty years of experience as a playwright13, and he is able to create something that is well-crafted, open-ended, and difficult to describe. As a result, the play works effectively as a counterpoint to Hamlet’s and King Lear’s more openly emotional works. The play’s word formation is still indicative of the play as a whole, but The Tempest’s absence of a distinguishing emotional trait modifies the type of study that may be done with the play’s word formation.

The Tempest’s title has both literal and metaphorical meanings. It literally refers to the storm, or tempest, that Prospero’s magic conjured up in order to shipwreck the King of Naples and his men. It’s a raging storm, yet it’s not deadly. Prospero may be a magician who is enraged by his treatment, but he is not a bad person. He wants to make a message to those who are to blame for his exile. A metaphorical tempest brought Prospero to the island twelve years ago, just as a literal tempest brought the King of Naples to the island. Prospero had been Duke of Milan until his treacherous brother overthrew him in a palace coup and exiled him. This abrupt, quick transfer of power was a political tempest in and of itself, with far-reaching consequences as the drama develops. In addition to that, many of the characters’ relationships are as tumultuous as a violent storm. Even Prospero, the would-be puppet master, has a difficult time. He has to deal with a revolt that threatens to derail all of his efforts. The King of Naples learns of Antonio’s genuine objectives. The King, for one, is heartbroken about the presumed death of his son. Gonzalo has almost little respect, despite his knowledge and bright perspective. As we can see, the real tempest exposes the play’s underlying stormy connections among practically all of the characters. In this regard, it is an appropriate title.

The Tempest is set on a small, remote island, and most of the action takes place there. The island is a perfect container for the play’s action, a limited place in which Prospero can readily monitor and affect his enemies’ actions. Because of the island’s remoteness, Shakespeare is able to focus his storyline and adhere to the ancient ‘unities’ of play first proposed by Greek philosopher Aristotle. The unity of action, which states that a play should take place in a single geographical area, and the unity of time, which states that a play’s action should not last more than 24 hours, are the two unities most important to this play. Aside from the play’s initial scene, which takes place on a ship, The Tempest’s action is limited to the island, and it lasts roughly as long as the play is performed. As a result, the location lends the play a more classical feel than some of Shakespeare’s other romances. The island is a location of magic, illusion, and confinement for the play’s action. Despite the significance of the play’s island setting, the exact location of the island is unknown. The Tempest’s uncertain setting has long been a topic of contention among Shakespeare scholars. According to one idea, the island is located in the Caribbean. This line of thought regards The Tempest as a ‘New World’ drama, tied to the colonization of the Americas at the time Shakespeare composed it. Another idea suggests that the island would be found in the Mediterranean, most likely off the coast of Tunis. Scholars in this group regard The Tempest as an ‘Old World’ drama, tied to the Mediterranean’s shifting politics and maritime powers, which remained an area fraught with tensions between Christianity and Islam during Shakespeare’s time. Gordon McMullan, a British historian, suggests that The Tempest is geographically hybrid, ‘[set] in the Mediterranean and in the Caribbean and yet in neither, exactly,’ as a compromise between these two views.

The Tempest ends with an overall sense of optimism and resolution. After four acts of using magic to divide up, disorient, and mentally punish his foes, Prospero leads everyone to the same area on the island in the final act and forgives Alonso and Antonio for their treachery twelve years before. The marriage of Miranda and Ferdinand is the key event that heals the scars of the past. Alonso, who had assumed his son had perished in the shipwreck, is overjoyed to learn that Ferdinand has survived. Ferdinand’s engagement with Miranda creates a kindred tie between Alonso and Prospero, bridging the gap between them even further. The union of Miranda and Ferdinand promises the potential of a new future, free of the strife that has fueled the play. Miranda expresses her surprise at the ‘brave new world’ (Vi.i) that has opened up for her when she conveys a feeling of possibilities for a new future. Prospero breaks his staff and quits up magic in preparation for his return to Milan once the big quarrel between him and Alonso is resolved. Despite the conclusion of the main conflict, Shakespeare’s play ends by sowing the seeds of future strife. Although Miranda and Ferdinand’s engagement may help to resolve the previous generation’s dispute, a disagreement that occurs during their chess game in the last act implies that new problems may be on the horizon. To begin with, the fact that they are playing chess might be a red flag. Regicide, or the assassination of a monarch, is a theme in chess. Given that the core tension of The Tempest stemmed from Prospero’s attempted assassination while he was Duke of Milan, it’s noteworthy that Miranda and Ferdinand would play a game that, even if only metaphorically, replicates the assassination story. Miranda’s claim that Ferdinand has cheated is even more ominous: ‘Sweet lord, you play me false’ (V.i.). Cheating in a game isn’t as severe as betrayal in politics. Nonetheless, it’s unsettling that the impression of a new beginning that emerges at the play’s conclusion is tinged with deception. Will the next generation commit the same mistakes as the previous one?

The Tempest’s tone evolves from menacing to optimistic during the course of the play. The drama begins with a tempest, or storm, that throws the audience into disarray. However, as the characters overcome their disputes and look to the future, the tone shifts to a more optimistic pitch towards the end of the play. The tone switches often and uncomfortably between these two points. Alonso talks seriously as he mourns his son’s death in one scene, then Trinculo and Stephano are alternately jovial and conspiratorial in the next. The tone shifts from scene to scene to represent Prospero’s orchestration of chaos and confusion. Newcomers visiting the island described it as a ‘strange’ environment filled with mysterious ghosts and unusual sounds. Audiences may also be perplexed as to how to make sense of the activity they are witnessing and whether or not to laugh or cry. Miranda’s sense of astonishment and optimism for the ‘brave new world’ (V.i.) that has opened up for her by the conclusion of the play shows that appreciative awe is the correct reaction to all that has come before.

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