The Tempest
Shakespeare's c. 1611 late romance — Prospero on his enchanted island, the magic of theatrical art, and the relation between civilisation and colonisation
Tradition: Elizabethan-Jacobean English Renaissance drama
Prospero on his enchanted island — magic of theatrical art, civilisation and colonisation, Shakespeare's farewell to the stage
Shakespeare's c. 1610-11 late romance — probably his last sole-authored play. The exiled duke Prospero, on an enchanted island with his daughter Miranda, raises a tempest that brings his old enemies into his power; the play traces his exercise of magic, chastening of his enemies, awakening of love between Miranda and Ferdinand, and Prospero's final renunciation of his magic. Themes: magic of theatrical art (Prospero often read as Shakespeare's figure of himself); civilisation and indigenous Caliban (central to postcolonial criticism); justice and mercy; proper end of the artist's vocation.
Author
Editions cited
- The Tempest (c. 1610-11; First Folio 1623); Arden 3rd Series (Vaughan, 1999); New Cambridge (Lindley, 2002)
School Embodiments
Psychological realism — Prospero's ambivalence, Caliban's complex mix of innocence and resentment — foundational despite romance form.
"This thing of darkness I / Acknowledge mine." (The Tempest V.i)
Attention to felt qualities of magical-theatrical experience — masque, moving spirits, dissolved tower.
"We are such stuff / As dreams are made on, and our little life / Is rounded with a sleep." (The Tempest IV.i)
Principal Shakespearean text for postcolonial criticism (Fanon, Césaire, Cartelli, Vaughan), through the Caliban-Prospero relation.
"You taught me language, and my profit on't / Is, I know how to curse." (The Tempest I.ii)
Identifies structural conditions — colonisation, exile, dynastic politics — producing the action.
"All hail, great master! grave sir, hail! I come / To answer thy best pleasure." (The Tempest I.ii, Ariel)
Suggestion reality is "the stuff dreams are made on" — theatrical and actual continuous — proto-idealist.
"The cloud-capp'd towers, the gorgeous palaces... shall dissolve, and, like this insubstantial pageant faded, leave not a rack behind." (The Tempest IV.i)
Movement from revenge to mercy — Prospero's renunciation — secular analogue of gospel's movement from law to grace.
"The rarer action is / In virtue than in vengeance." (The Tempest V.i)
Magic Prospero practises — natural magic, operation of natural powers through learned art — Renaissance hermetic.
"This rough magic / I here abjure." (The Tempest V.i)
Neoplatonic-hermetic background of Prospero's magic (Ficino, Pico, Bruno, Dee).
"Graves at my command / Have wak'd their sleepers." (The Tempest V.i)
Internal Tensions
Caliban's identification (indigenous American, Irish, African) subject of continuing postcolonial debate. Status as "farewell to the stage" contested by historians who note Shakespeare collaborated on later plays.
I. Time
Compressed real-time of single afternoon; long historical time of Prospero's twelve years on the island.
Attributes
II. Space
Enchanted island; Milan and Naples as off-stage imperial-political spaces.
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III. Matter
Embodied bodies — Prospero, Miranda, Caliban, Ariel, shipwrecked nobles — and material magic.
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IV. Observer
Prospero as magus-observer; audience as meta-observer Prospero finally addresses.
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V. Energy
Supernatural energies of storm and magic; political energies of revenge and reconciliation.
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VI. Information
Prospero's magical knowledge; the lovers' awakening.
Attributes
Personas with the nearest attribute fingerprint
Historical figures whose own classification on the same six-dimensional grid lands closest to this work's. Computed by attribute-agreement on coordinates both address.
Computed school proximity
The work's attribute fingerprint scored against all schools using the same quiz scorer. Useful as a sanity check on the hand-curated embodiments above.
How The Tempest resolves each dilemma
51 resolved positions across 4 dimensions, including 6 distinctive where the majority of schools go the other way · 6 unaligned.
Each dimension is sorted so minority positions come first. Mainstream positions are folded into an expandable list.
Time · 9 dilemmas · 3 distinctive
Persistence, the future, and the direction of becoming.
6 mainstream positions
Matter · 7 dilemmas, all mainstream
Observer · 37 dilemmas · 3 distinctive
Mind, agency, and the knower's relation to the known.