Prospero

Good Magus vs Bad Magus

. Context point - Jacobean fear and fascination by magic and science, James I’s “Daemonologie” - Prospero is expected to give up his magic by the end

. Good magus:

  • Christian interpretation

  • Uses his power to save the nobles by making them repent

  • A necessary evil to help them see the error of their ways

  • “You are three men of sin” - scary visuals of Ariel “like a harpy” in Act 3 Scene 3 but important Christian message

  • Recognises the error of his ways and genuinely redeems himself - “Your affections would become tender…mine would sir, were I human.” - “And mine shall.”

  • 2016 RSC Gregory Doran production starring Simon Russell Beale - Prospero drops to his knees, overwhelmed by his realisation of the damage he has caused - genuinely redeemed and ready to give up his powers

. Bad magus:

  • Postcolonial interpretation

  • Prospero is power-hungry and obsessed with control

  • Manipulates events of the play to punish those who wronged him

  • Reluctantly forgives them in the end

  • “I do forgive thee, unnatural though thou art”

  • 2013 Jeremy Herrin Globe production - Prospero does not break his staff until the very last minute - holding on to power, holds staff over Antonio threateningly even while claiming to forgive him

Father Figure

. Good father figure:

  • Christian interpretation

  • Sets up Miranda with Ferdinand and approves of their marriage

  • Uses his magic to present the couple with a masque as a celebration in Act 4

  • Is like a father figure to Ariel - “That’s my spirit”, “brave spirit” - clearly has a close bond with him

  • “Do you love me master? Dearly, my delicate Ariel”

  • 2016 RSC Gregory Doran production - Prospero and Ariel’s parting company is bittersweet

. Bad father figure

  • Feminist interpretation

  • Controlling of Miranda’s sexuality - concerned with her virginity and that Ferdinand does not violate her virginity before their marriage

  • Objectifies Miranda - “Thine own acquisition worthily purchased”

  • Postcolonial interpretation

  • Emotionally manipulates Ariel into submission - “Dost thou forget from what a torment I did free thee?” - Act 1 Scene 2

  • 2016 RSC Gregory Doran production - huge hologram of the tree encompasses Ariel - visually terrifying

  • 1993 RSC Sam Mendes production - Ariel spits at Prospero upon being granted his freedom in Act 5

  • Initially cares for Caliban but turns on him and makes him a slave - “You taught me language” - “Thy vile race” “abhorrent slave” - Act 1 Scene 2

  • Potentially regrets how he has treated Caliban in Act 5 - “This thing of darkness i acknowledge mine” - recognises that it is his fault that Caliban has ended up this way? Nature vs nurture debate

Director of the Performance

. Context point - it has been thought that since this was Shakespeare’s last play, he included elements of himself in Prospero

. Lots of reference to stagecraft:

  • “Hast thou, spirit, performed to the point the tempest I bade thee,” – Act 1, Scene 2

  • “Several strange shapes enter” - Act 3, Scene 3

  • “The great globe itself … shall dissolve” - Act 4 Scene 1

  • “And like this insubstantial pageant faded, leave not a rack behind.” – Act 4, Scene 1

  • “Look what a wardrobe here is for thee!” - Act 4 Scene 1

  • “Now does my project gather to a head.” - Act 5, Scene 1

  • “Now my charms are all o'erthrown, and what strength I have’s mine own” - Epilogue