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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.3
- 수록면
- 197 - 215 (19page)
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The Tempest is unique among Shakespeare's plays for the quasi-divine power of Prospero, who is presented to the audience as a model ruler, combining political, philosophical, and magical qualities. Earlier twentieth-century critics brought to the play interpretations centering on reconciliation, seeing its hero as a prominent magician intent upon the restoration of harmony at the human and political levels. Recently, however, they have showed the marked shifts in interpretation, setting out to challenge Prospero's character and his power.
Prospero is rejected and expelled from his culture and driven to the liminal space, where he, through his magic, wants to punish his enemies as well as to make a good match for his daughter, to get back his dukedom he has lost He seems to try to follow up two lines of thought simultaneously, one leading to conversion, the other to punishment Finally he let the lower pleasure of revenge be sublimated into the higher pleasure of forgiveness and determines to renounce his magic as well.
Prospero's very character is in doubt, though he experiences a short psychomachia as he renounces not only vengeance but also the magic. On the surface his character comes to present an idealized image of himself as a noble, charitable man. Meanwhile, the rhetoric of the play justifies the vindictive hero who is bitter, sadistic, and hungry for revenge. There are conflicts between his needs for mastery and revenge and the ways that do not violate his perfectionistic and noble dictates. He can enjoy the psychological torments of his enemies while he preserves his innocence through his magic which does not harm.
Prospero, the healer/killer, transforms the potentially tragic story of his life into a comic solution, after he renounces his magic and forgives everyone. The play actually, however, embodies an ideal solution to permit him to satisfy his needs for revenge without sacrificing his moral nobility. If the tempest is a metaphor for the unruliness of desire, the ideal solution of Prospero is a fantasy of innocent revenge. And it may reflect the fact that Shakespeare simultaneously favors the aggressive code and perfectionistic one in human nature.
Prospero is rejected and expelled from his culture and driven to the liminal space, where he, through his magic, wants to punish his enemies as well as to make a good match for his daughter, to get back his dukedom he has lost He seems to try to follow up two lines of thought simultaneously, one leading to conversion, the other to punishment Finally he let the lower pleasure of revenge be sublimated into the higher pleasure of forgiveness and determines to renounce his magic as well.
Prospero's very character is in doubt, though he experiences a short psychomachia as he renounces not only vengeance but also the magic. On the surface his character comes to present an idealized image of himself as a noble, charitable man. Meanwhile, the rhetoric of the play justifies the vindictive hero who is bitter, sadistic, and hungry for revenge. There are conflicts between his needs for mastery and revenge and the ways that do not violate his perfectionistic and noble dictates. He can enjoy the psychological torments of his enemies while he preserves his innocence through his magic which does not harm.
Prospero, the healer/killer, transforms the potentially tragic story of his life into a comic solution, after he renounces his magic and forgives everyone. The play actually, however, embodies an ideal solution to permit him to satisfy his needs for revenge without sacrificing his moral nobility. If the tempest is a metaphor for the unruliness of desire, the ideal solution of Prospero is a fantasy of innocent revenge. And it may reflect the fact that Shakespeare simultaneously favors the aggressive code and perfectionistic one in human nature.
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