Analysis 2: A Closer Look at 'Rightfulness of Power' in 'The Tempest'
Prospero is the lawful king while he actually gave up his throne by neglecting it for his studies.
Binary or Division: Rightful power v. Inherited power
Complication: While Prospero was in line for the throne and, for a while, was in power, he openly neglected his throne for his studies. This being said, both he and his brother exhibit power-hungry motives and the tendency to manipulate situations for their own gain. In this way, it can be argued that either of them deserve the power, and neither one truly has a right to the throne.
Evidence + 2-3 Implications x 2 quote specific strands of evidence:
Prospero neglects his throne for his studies
Prospero uses Caliban and his gullible characteristics to gain power over the island. Later, he manipulates Ferdinand by using Miranda for his own benefit. He, in these ways, proves that he is manipulative.
During Antonio’s discussion with Sebastian, Antonio tries to convince Sebastian to overthrow Sebastian’s brother as King of Naples which would give Antonio more political power
Prospero attempts to alter Miranda’s perception of Ferdinand for his own benefit
His language & raising Miranda (concerning Ferdinand)
Consider that perhaps there actually were no other people for him to introduce Miranda
Perhaps after being stranded on the deserted island, Prospero closed Miranda off from mankind so that she would immediately fall for Ferdinand (“It’s all falling into place ...”)
Her response (concerning Ferdinand)
She thinks he’s a spirit, seemingly because she has never seen another human. While Ferdinand might be something special, she may also simply be new to human contact outside her father’s and Caliban’s
Miranda may actually be going beyond her father’s influence, giving her name to Ferdinand against her father’s wishes for instance
EVIDENCE AGAINST PROSPERO’S BAD NATURE:
Prospero sets Ariel free (after some waiting) and presents himself to the King
Act 3, Scene 1: Prospero is overjoyed by his daughter’s happiness
“So glad of this as they I cannot be,
Who are surprised withal. But my rejoicing
At nothing can be more. I’ll to my book,
For yet ere supper-time must I perform
Much business appertaining.”
Many critics have discussed Shakespeare’s attitude towards monarchial power as expressed through his works as a playwright. Andrew Hadfield, for instance, suggests that, “Shakespeare’s plays written after 1603 concentrate far less on the legitimacy of the monarch than his earlier works had done, and far more on the behaviors of the monarch as a ruler in office. In doing so they are generally simultaneously more supportive of monarchy as an institution and equally--if not more--critical of the monarch’s conduct.” This being said, it cannot be assumed that Shakespeare’s plays are necessarily a result of his political views during the time in which he wrote a play, as they may as well simply creative illustrations of monarchial systems. The Tempest, however, may be a prime example of the selfish characteristics of some rulers as it analyzes “rightful” and inherited power.
This is shown in that while Prospero, the play’s protagonist or antagonist (depending on how the situation is examined), once held his ‘rightful’ place as the Duke of Milan, he was overthrown by his brother. Through the dialogue, however, it becomes apparent that this occurrence was only possible given that Prospero neglected the throne for his studies, “I, thus neglecting worldly ends, all dedicated to closeness and the bettering of my mind... .” (Act I, Scene II) He further states that he, at least at that time, had no interest in his dukedom by saying, “My library was dukedom enough for me.” (Act I, Scene II) This attitude seems to be lost as Prospero tries to gain his dukedom back through the manipulation of others, further showing the contradictory nature of his character. Prospero further exhibits his hunger for power by taking over the island which he and his daughter are stranded on, thereby mimicking his brother’s selfish actions by which he usurped Prospero from his dukedom. This is frequently lamented about by Caliban, the island’s lone resident who becomes Prospero’s slave, “This island’s mine, by Sycorax my mother, which thou takest from me.” (Act I, Scene II)
Meanwhile, it is revealed that Antonio, Prospero’s brother, usurped Prospero’s dukedom through bribery. Given Prospero’s neglect and the selfishness of his brother’s actions, it can be argued that the actions of both make fit and unfit royalty. In either argument, however, the play’s characters are driven at least partly by political motives. Shakespeare’s play therefore, whether or not it examines his own political opinion as Hadfield suggests, is a reflection of the hierarchy of political power within a monarchial system and the motives by which it is driven.
Prospero, during the first act of the play, explains to his daughter that he was the rightful heir as the Duke of Milan.
“And thy father
Was Duke of Milan, and thou his only heir
And princess no worse issued.” (Act I, Scene II)
It can be therefore assumed that it was by birthright that Prospero inherited this throne. Given a monarchy’s characteristically patriarchal system, this would make his brother next in line for the throne. In the context of the story, he does, and it was Prospero’s brother who had taken the throne from him:
“My brother and thy uncle, called Antonio— ...
The King of Naples, being an enemy
To me inveterate, hearkens my brother’s suit,
Which was that he, in lieu o' th' premises
Of homage and I know not how much tribute,
Should presently extirpate me and mine
Out of the dukedom, and confer fair Milan
With all the honors on my brother.” (Act I, Scene II)
This, although in allegiance with the King, is in itself a form of treason and bribery to overthrow a figure whose power extends beyond one’s own. Antonio, Prospero’s brother, continues to exhibit selfish motives throughout the entirety of the play. For example, in another instance he suggests that Stephano, the King’s brother, kill the King. While this would seemingly benefit the King’s brother more than anyone else, it is revealed earlier in Prospero’s discussion with Miranda in Act I that Antonio had to may fees to the King in order to win him on his side and overthrow Prospero. Through the King’s death, Antonio would be able to stop paying fines and would have a tight connection with the new king given the shared nature of their plot.
“Thy case, dear friend,
Shall be my precedent. As thou got’st Milan,
I’ll come by Naples. Draw thy sword. One stroke
Shall free thee from the tribute which thou payest.
And I the king shall love thee.” Act II, Scene I
Therefore, in the cases of both Prospero and Antonio, it can be interpreted that the play examines the role of selfishness of power in a monarchial system.
The division between rightful power and granted power is further drawn through the character of Gonzalo, the wise chancellor. While much of the play spends time focusing on the nature of Prospero and his brother, and their manipulation over the other characters either through enslavement or bribery, Gonzalo speaks speaks and acts oppositely. During Act II Scene I, for instance, Gonzalo speaks of the utopian society he would raise were he ruler:
“I' th' commonwealth I would by contraries
Execute all things. For no kind of traffic
Would I admit. No name of magistrate.
Letters should not be known. Riches, poverty,
And use of service—none. Contract, succession,
Bourn, bound of land, tilth, vineyard—none.
No use of metal, corn, or wine, or oil.
No occupation. All men idle, all.
And women too, but innocent and pure.
No sovereignty—”
In this description of this society which he speaks of, although Gonzalo imagines this society as his own ‘commonwealth,’ he claims none of the power over it as Prospero and Antonio spend their lives striving towards. On the contrary, Gonzalo gives up his opportunity to dream of riches, “Riches, poverty, and use of service--none.” (Act II, Scene I, v. 126-127) to give way for what he perceives to be ‘good’ for all people. Moreover, he renounces kingship, showing that he does not thirst for power but is more focused on the good of his imaginary people. If Shakespeare is, in fact, trying to illustrate that only selfish men make kings, he emphasizes it through Gonzalo’s character. During the first act of the play, when Prospero explains to Miranda how it was that they survived coming to the island, he attributes the help they received to Gonzalo.
“Some food we had and some fresh water that
A noble Neapolitan, Gonzalo,
Out of his charity, who being then appointed
Master of this design, did give us, with
Rich garments, linens, stuffs, and necessaries,
Which since have steaded much. So, of his gentleness,
Knowing I loved my books, he furnished me
From mine own library with volumes that
I prize above my dukedom.” (Act I, Scene II)
Considering that this was likely not the King’s or Antonio’s intention when Gonzalo was ordered to cast Prospero and his daughter out to sea, Gonzalo’s courage in helping the two proves that his selfless character likely goes beyond mere words (he is not saying one thing and acting another way). While one might consider that he is trying to get in good graces with Prospero through this act, it would be impractical to do so for his own gain since Prospero was being dethroned and out of reach anyhow.
Through the characters of this play, Shakespeare illustrates nobility pursuing power, and the binary which is thereby implied: selfish ruling and servitude. He further illustrates the nature by which men work through other people to pursue positions of power, and the reasons behind which they are able assume power over others. To demonstrate this character in man, he shows the manipulative actions of rulers, which are contrasted by Gonzalo’s malevolence.
