Nature vs. Art in The Tempest

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Ellie Robinson        Nature Vs. Art        English Coursework

The conflict between Nature and Nurture, between the forces of instinctual passion and civilising rationality and the innocent realm of nature and the controlling forces of European culture all clash in The Tempest. Shakespeare reflects the philosophic debate that grew out of 17th century colonisation which meditated on natural man (those who were being colonised), and civilised man (the Europeans), and which one was superior. Those who advocated ‘civilised man’ portrayed natural man as savage, barbaric, brutal, and most importantly, inferior. However, one could argue that ‘civilised man’ was probably just as savage in their manipulation and politics, and more power-hungry than their natural counterparts. In the Tempest, Caliban represents natural man, Prospero the civilised, but both have most obvious flaws, and Shakespeare does not appear to wholly condemn either of these polar opposites. Prospero alights onto the island and deprives Caliban of his rights, which is problematic for those arguing that ‘civilised man’ is kind and genteel, and Caliban is said to have raped Miranda, which is problematic for those arguing the other case.

Contextually, Art in The Tempest represents the art of Prospero, or his magical powers. Prospero’s art is used at first for revengeful purposes, which seems to be another argument against colonisation as it represents the European colonisers as power hungry and egotistical. However, in the final moments of the play, the benevolent purposes of it’s use become more apparent – restoration of the Chain of Being, or social order, the love match between Miranda and Ferdinand, and for the education of others, like Trinculo and Stephano. The contrasting force is that of Caliban, who represents nature. This connection with nature is, like Prospero’s art, both altruistic and misanthropic and causes problems when Caliban comes into contact with Prospero, because these two views conflict. However, they also have some hidden similarities.

Caliban and his powerful connection with the natural world represent nature. The lack of control can both be harmful to Caliban, by letting his ‘hag-seed’ nature shine through, and advantageous, as it allows him to both hear and appreciate (unlike the ‘civilised’ Stephano and Trinculo) the ‘isle…full of noises…that give delight’. Although the aforementioned attempted rape of Miranda is evidently not praiseworthy, he does seem to be at one with the ‘sounds, and sweet airs’ of ‘the Isle’, and those arguing for natural man could commend this. Caliban’s name is also an interesting point of conjecture. It could be speculated that it comes from ‘Carib’, the derogatory term for those discovered by the Europeans, or if it is an anagram of ‘cannibal’. Either way, Shakespeare obviously did not mean the name as a compliment.

The nature/nurture debate in The Tempest first becomes apparent when we see Prospero’s ‘nurturing’ role as a parent to Miranda. At first, Prospero informs Miranda that she is ‘ignorant’, and instructs her to ‘pluck [his] magic garment from’ him. This presents Prospero as a somewhat dominating father figure, who is a perhaps too strict considering the amount of limitations already in put in place by living on an island. However, his attitude immediately changes after his ‘magic garment’ is removed, his mantle of power has gone and he becomes a father figure, instructing Miranda to ‘Wipe thou thine eyes; have comfort.’. Prospero appears to be confused at what type of father figure he wants to play, be it sympathetic and kindly, or dominating. Perhaps the lack of a mother figure for Miranda could be the reason for this apparent polar parenting, however, the sporadic nature of Prospero’s parenting could indicate a lack of reliability in his parenting skills.

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His efforts to nurture the right responses in Miranda spill over into his efforts to control her sexually, especially in the Masque scene. This scene is designed to nurture the right moral responses and exclude sexuality in order to sustain a dynastic political marriage. He threatens Ferdinand with ‘If thou dost break her virgin-knot before All sanctimonious ceremonies … No sweet aspersion … but barren hate … sour-ey’d disdain and discord shall bestrew The union of your bed with weeds so loathly’. This attempt to control Miranda’s sexuality is one of many during the play, and is one of ...

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This essay starts well and makes several interesting observations in the argument that follows. The main problem is structural - this could have been a briefer and more focused essay with a more effective structure. As it is, it becomes more like a list of points rather than a considered argument.