1. William Shakespeare's "The Tempest"

Here’s an introduction to the topic of colonialism in The Tempest, focusing on the historical and cultural context that influences the play, along with an analysis of its major themes and characters. This is Part I, where we'll delve into the background and framework that helps to illuminate The Tempest's engagement with colonial discourse.

1. Historical and Cultural Context of The Tempest

Shakespeare wrote The Tempest in the early 17th century, a time marked by exploration, colonization, and expanding empires. European explorers were charting unknown territories, coming into contact with indigenous cultures, and beginning the brutal colonization of the Americas. The play reflects this age of discovery, which brought with it both wonder at “new” lands and people, as well as a sense of European superiority over indigenous cultures. Here are some specific historical influences:

• 16th and Early 17th Century Expeditions: Figures like Ferdinand Magellan, Sir Francis Drake, and other explorers had opened up new trade routes and mapped distant lands. Contemporary travel literature and reports—such as “The Bermuda Pamphlets,” accounts of shipwrecks and encounters in the New World—were widely read and sparked imaginations. Shakespeare’s The Tempest itself begins with a shipwreck, drawing on the excitement and danger associated with voyages of exploration.

• Colonization of the Americas: Europeans had encountered the American continent and began exploiting its resources and enslaving or displacing indigenous people. English interest in these lands paralleled the treatment of characters like Caliban, who is often interpreted as a symbolic representation of the colonized indigenous people, subjugated and used for the purposes of Prospero.

• Transatlantic Slave Trade and the Concept of Race: By Shakespeare’s time, the transatlantic slave trade was beginning to take shape, especially involving the African coast. This context is crucial to understanding the play’s exploration of power dynamics, with Prospero wielding control over Ariel and Caliban, reflecting a growing European worldview of racial and cultural superiority over “Others.”

• The Mediterranean and North African Influence: The Mediterranean was seen as a crossroads between Europe, North Africa, and the Middle East, shaping English views on race and “difference.” There was also the ongoing trans-Mediterranean slave trade, particularly involving North African pirates. Shakespeare's inclusion of Caliban, a character seen as "savage," may echo English stereotypes about non-European peoples.

• The Plantation of Ulster and Representations of the “Wild Irish”: England’s colonial ambitions extended to Ireland, where the Plantation of Ulster involved dispossessing native Irish populations and imposing English settlers. English writings of the time often portrayed the Irish as "wild" and "uncivilized," a view that parallels Prospero’s attitude toward Caliban, whom he regards as inherently inferior and unruly.

• Domestic Politics and James I’s Influence: Domestic issues also resonate in the play, including the dynastic concerns of King James I. The arranged marriages in the play (Miranda’s to Ferdinand and, as referenced, Claribel’s to the King of Tunis) reflect James’s use of marriage as a political tool to secure alliances. Moreover, James I was concerned with what he saw as the moral and political “duties of a good ruler,” as outlined in his treatise, Basilicon Doron. In The Tempest, Prospero’s dual role as ruler and exile explores these same concerns: he is both a magician and a former Duke, raising questions about what it means to govern well.

2. Themes of Governance and Power

The play is steeped in reflections on governance and the nature of rulership, influenced by early modern theories about the divine right of kings (the belief that kings are God’s chosen rulers) versus growing ideas of republicanism:

• Divine Right of Kings: The Stuarts, including James I, promoted the idea that the king’s power came directly from God. Prospero’s position as the rightful Duke of Milan parallels the divine right ideology, positioning him as the natural and just ruler over the island and its inhabitants, despite his earlier failings.

• Growth of Republicanism: There was, however, a growing republican sentiment in England, a belief in governance without monarchy. This tension is visible in The Tempest, especially in Act I, Scene 1, when a storm disrupts the royal ship and causes a collapse in social hierarchies. The scene suggests a form of natural rebellion against hierarchy, hinting at the instability of absolute authority.

3. Genre of Romance and The Tempest's Unique Structure

The Tempest draws heavily from the romance genre, which was popular at the time. This genre often featured:

• Adventure and Exploration: Romances frequently depicted long journeys, encounters with exotic lands, and magical happenings. The Tempest’s isolated island setting and elements of the supernatural reflect these characteristics, creating a narrative of discovery that mirrors real-world explorations.

• Themes of Reconciliation and Forgiveness: Romance narratives typically emphasize the healing of rifts and personal transformation, often ending with the re-establishment of social harmony. Prospero’s journey toward forgiveness and reconciliation with his usurping brother mirrors this motif, ultimately offering a hopeful vision of healing.

4. Prospero as a Ruler and Magician

Prospero’s character in The Tempest can be viewed as both an imperial authority figure and a reflection of Renaissance ideals about the role of magic in the pursuit of knowledge:

• Prospero’s Interest in Magic: His use of magic to control his surroundings is reminiscent of Holy Roman Emperor Rudolph II, who was known for his fascination with the occult and neglect of state affairs. Like Rudolph, Prospero’s obsession with magic initially led him to neglect his responsibilities as Duke, resulting in his exile.

• Moral Qualities of a Good Ruler: In Basilicon Doron, James I emphasized virtues like patience, wisdom, and justice, qualities that are absent in Prospero at the start but which he gradually adopts by the end. His decision to renounce magic at the end of the play suggests a return to a more grounded, ethical rule.

5. Ariel: Ambivalence in the Colonizer-Colonized Relationship

Ariel, the spirit who serves Prospero, embodies the ambivalence inherent in colonial relationships. Ariel’s role reflects both service and resistance:

• A Subjugated Yet Respected Servant: Ariel is bound to Prospero and is compelled to serve him. However, unlike Caliban, Ariel is treated with a level of respect and affection, perhaps symbolizing the “noble savage” archetype that early Europeans often used to describe “obedient” indigenous people.

• Desire for Freedom: Ariel’s yearning for freedom from Prospero’s control highlights the tension between colonial dependency and the desire for autonomy. Throughout the play, Ariel reminds Prospero of the promise to grant his freedom, embodying the colonized subject’s drive for liberation.

• Dual Loyalty and Rebellion: Ariel’s dual loyalty to Prospero and desire for independence symbolize the ambiguous loyalty that colonizers expected from indigenous peoples. Ariel performs tasks willingly but does so in exchange for the promise of freedom, highlighting an uneasy balance between service and resistance.

Conclusion of Part I

The historical and cultural contexts of The Tempest illuminate its complex portrayal of colonial relationships, power dynamics, and cultural encounters. In Part II, we can examine characters like Caliban in more depth, discuss themes of racial and cultural “Othering,” and explore how Prospero’s eventual renunciation of power might reflect Shakespeare’s critique of colonial authority.

The Tempest remains a profound commentary on the ways imperialism shapes identities, loyalties, and perceptions of “civilization,” offering insights into early modern attitudes that continue to resonate today.