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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.12
- 수록면
- 933 - 952 (20page)
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The Tempest was the last comedy that Shakespeare wrote. It had the tendency to project themes of reconciliation and forgiveness in the way that previous Shakespearean comedies did; but this play has more complicated aspects than the others. The major light falls on Caliban and Ariel, two outcasts from the comic society, which comes to the fore at the end of the play. Their isolations make the audience not only detached from the celebration for a new society, but also had an impact on the spectator in a retrospective way. Above all, Caliban and Ariel play out the role of linking themes of power struggle in the main plot with love themes in the sub-plot. Their roles are contrasted from each other between willing service and reluctant disobedience. The willing service of Ariel brings an order to the chaos of usurpation on a political level.
Secondly, Caliban and Ariel represent two contradicting forces within Prospero's self. Caliban is the dark side of Prospero's mind. Caliban and Ariel are outsiders and insiders as well. Their presence and absence bring out comic irony, and they exert a serious influence over the play's resolution. As Caliban gets to know his own self, he gets closer to Ariel, but ultimately he will never become Ariel. As the movement of comedy towards reconciliation becomes stronger, the excluded forces tend to be states of mind rather than particular characteristics of individuals. In this play, Caliban is construed as the evil of Prospero's inner mind, rather than a figure of flesh and bone, which Prospero will have to deal with and overcome. In The Tempest, there is a lack of the female Earth, which is usually a key to the comic confusions of a romantic comedy. Prospero's wife is missing in the play; he does not have a sexual partner. For Prospero, Miranda is a temptation to be overcome rather than a force for sexual liberation. The fertility rite, celebrating the marriage of Ferdinand and Miranda is the product of a man's imagination, not a woman's; this results in the incompleteness of the comic resolution.
Secondly, Caliban and Ariel represent two contradicting forces within Prospero's self. Caliban is the dark side of Prospero's mind. Caliban and Ariel are outsiders and insiders as well. Their presence and absence bring out comic irony, and they exert a serious influence over the play's resolution. As Caliban gets to know his own self, he gets closer to Ariel, but ultimately he will never become Ariel. As the movement of comedy towards reconciliation becomes stronger, the excluded forces tend to be states of mind rather than particular characteristics of individuals. In this play, Caliban is construed as the evil of Prospero's inner mind, rather than a figure of flesh and bone, which Prospero will have to deal with and overcome. In The Tempest, there is a lack of the female Earth, which is usually a key to the comic confusions of a romantic comedy. Prospero's wife is missing in the play; he does not have a sexual partner. For Prospero, Miranda is a temptation to be overcome rather than a force for sexual liberation. The fertility rite, celebrating the marriage of Ferdinand and Miranda is the product of a man's imagination, not a woman's; this results in the incompleteness of the comic resolution.
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