The Tempest is very well one of Shakespeare’s most interesting plays from a literary perspective. While mainly a romance, the play also bears the marks of both a comedy and a tragedy. The play’s romantic side shows up in its magical and supernatural elements, its unusual setting, and in its generous amounts of reconciliation. A happy ending, a soon to be married couple, significant social chaos, and an air of lightheartedness provide the play its comic side. All the while, the play’s inner tragedy comes about from Prospero’s tragic flaw and partial downfall as well as from two murder plots. Examining the play, one finds that these three general qualities--the romantic, the comic and the tragic--often overlay and play off one another. The
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Prospero tells his daughter, Miranda, that he, “neglect[ed] worldly ends, all dedicated / To closeness and the bettering of my mind”, thus allowing his brother, Antonio, to usurp the throne (Shakespeare, 6). Thus Prospero admits to having had a tragic flaw; he neglected the governing of his kingdom, all the while letting his brother plot behind his back. Prospero’s loss of the throne is therefore his “downfall”--although not fatal, it was definitely some form of a catastrophe. This tragic theme is further reinforced by Prospero’s asking Miranda, “[d]ost thou hear”, among other similar remarks (Shakespeare, 6). Clearly a darker, tragic element works within this seemingly romantic …show more content…
While Gonzalo attempts to please the king and lighten his mood, Sebastian and the others make snarky remarks. For instance, Gonzalo offers that, “[w]hen every grief is entertain’d that’s offer’d, / Comes to the entertainer--”, only for Sebastian to blunty--and comically--add, “[a] dollar”; the former amusingly confuses dollar for dolour (Shakespeare, 20 and 21). Such remarks continue for much of the following dialogue. This scene demonstrates the comic side to The Tempest, as social chaos and a dash of hilarity are given the opportunity to shine, even in the face of a seemingly harrowing situation--being castaway on a far-away island. Not seeming to care for his fellow castaway’s insults, Gonzalo delves into the romantic. Seeing the island as a potential utopia, Gonzalo claims, with wide-eyes most likely, that if he were given reign of the island there’d be “no name of magistrate; / Letters should not be known; riches, poverty / And use of service none” (Shakespeare, 24). Envisioning such dreamy utopias is by all means romantic. Just as romantic is Ariel’s use of magic to “put all to sleep” except for Sebastian and Antonio. (Shakespeare, 25). In this case, one will find that a romantic plot move leads to a more sinister, tragic
Prospero tells his daughter, Miranda, that he, “neglect[ed] worldly ends, all dedicated / To closeness and the bettering of my mind”, thus allowing his brother, Antonio, to usurp the throne (Shakespeare, 6). Thus Prospero admits to having had a tragic flaw; he neglected the governing of his kingdom, all the while letting his brother plot behind his back. Prospero’s loss of the throne is therefore his “downfall”--although not fatal, it was definitely some form of a catastrophe. This tragic theme is further reinforced by Prospero’s asking Miranda, “[d]ost thou hear”, among other similar remarks (Shakespeare, 6). Clearly a darker, tragic element works within this seemingly romantic …show more content…
While Gonzalo attempts to please the king and lighten his mood, Sebastian and the others make snarky remarks. For instance, Gonzalo offers that, “[w]hen every grief is entertain’d that’s offer’d, / Comes to the entertainer--”, only for Sebastian to blunty--and comically--add, “[a] dollar”; the former amusingly confuses dollar for dolour (Shakespeare, 20 and 21). Such remarks continue for much of the following dialogue. This scene demonstrates the comic side to The Tempest, as social chaos and a dash of hilarity are given the opportunity to shine, even in the face of a seemingly harrowing situation--being castaway on a far-away island. Not seeming to care for his fellow castaway’s insults, Gonzalo delves into the romantic. Seeing the island as a potential utopia, Gonzalo claims, with wide-eyes most likely, that if he were given reign of the island there’d be “no name of magistrate; / Letters should not be known; riches, poverty / And use of service none” (Shakespeare, 24). Envisioning such dreamy utopias is by all means romantic. Just as romantic is Ariel’s use of magic to “put all to sleep” except for Sebastian and Antonio. (Shakespeare, 25). In this case, one will find that a romantic plot move leads to a more sinister, tragic