By obtaining “fortune” from a star, Prospero can channel that energy to perform illusions, charms, and curses. To Prospero, magic means absolute control. Ironically, Prospero is the most powerful man on Earth despite being trapped on an island, and he exercises that power to serve his desires. But reasoning is not what Prospero uses his magic for. His magic or “fortune” is drawn from a star, alluding to the scientific study of the mysterious universe. Prospero sacrifices worldly possessions to study these radical ideas. In the eyes of the Church, science was as heretical as magic. Prospero’s exile can be read as an allusion to the poor treatment of scientific figures like Galileo who were persecuted for their ideas.
This scholarly approach to magic elevates it beyond the typical notion that magical ability is innate and is proof that Prospero’s magic is scientifically grounded. Shakespeare refers to Prospero’s magic as “the liberal arts” that Prospero learned through “secret studies” ( The Tempest 17). Magic also extends to the scientific world because, at the time, scientific discoveries were considered radical, something that was beyond the realm of understanding. The magical tempest provides negative commentary on the cutthroat nature of politics and how those without power can be blamed for crimes if they perform a single misstep Prospero’s charm and the extremes Ferdinand is willing to go to court Miranda in his bound state is a satire of courtly love, presented as a silly game between the pursuer and the one being pursued. In a seventeenth century societal context, both tempest and charm have meaning. With these two pivotal characters, readers receive two major themes of love and violence shown through the gaze of Prospero’s magic. Conversely, Ferdinand shows his love for Miranda to be true when Prospero binds him with a charm. For example, in the midst of Prospero’s fabricated tempest, with clapping thunder and roaring waves drowning sound, Antonio reveals his murderous tendencies by threatening the boatswain with hanging if he doesn’t rescue them from peril. The magic that Prospero uses often reveals the character of those whom his spells ensnare. Magic as a way to illuminate the true nature of humanity is a powerful theme in the play. Though, in a work like The Tempest, magic has a deeper social meaning expressed in how and why Prospero wields his magic and in the varying effects of magic on the play. For instance, responding as a father, he might have killed Caliban with impunity–slowly and viciously– for his attempted rape of Miranda and even after the fact, merely for Caliban’s subsequent unceasing recalcitrance and lack of repentance–he hasn’t done so.Magic is an essential device in works of fantasy because of the layer of mystery and wonder it provides. Although he sometimes seems to delight in vengeful use of it, it seems his greatest reward are the object lessons taught they, and Justice itself seem to be reason enough for the punishment he metes out. He’s not at all unsure of his Art, its great affect, nor of his ability to use it to great effect. I don’t think Prospero has it in his character to have been planning anything other than what happens, allowed by the opportunity he’s been given. Maybe he’s had other thoughts (as we all do–but then we never act on them.) I’d say the Ferdinand part resembles something like a plan 🙂 on the part of Prospero, as does his saving of the others. Miranda has never seen another man in her life! Ferdinand is the one Prospero chooses for her to see before any other. Prospero wakes Miranda Ariel reappears as a Water Nymph, Prospero whispers in Ariel’s ear–later Ariel returns with Ferdinand, who is following Ariel’s singing, being led directly and purposely into Miranda’s sight.] Whom I left cooling of the Ayre with sighes,Īnd in an odde Angle of the Isle, and fittingĮXACTLY IS PERFORMED but there’s more work: THE KINGS SONNE HAVE I LANDED BY BY HIMSELFE, In troopes I have dispersed them ’bout the Isle Was the first man that leapt cride hell is empty, With hair up-staring (then like reeds, not haire) Then all a fire with me the Kings sonne Ferdinand PERFORMED TO POINT, the Tempest that I bad thee. “No harme I have done nothing, but in care of thee
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