The involute and incitant amalgamation of the macrocosmic themes of revenge, tragedy, comedy and romance within Shakespeare’s ‘The Tempest’ has inspired many modern authors, such as Margaret Atwood’s adaptation of this text, ‘Hag-seed’. Both texts explore the metaphorical and literal designates of confinement. They withal highlight the damaging consequences revenge can have on a person, and the rejuvenating effect forgiveness has, reflecting the consequentiality of Christian values during the Elizabethan era. Power and control are interwoven into both texts, acting as the driving force for the characters to further their objectives. These prevalent themes in ‘The Tempest’ have been reshaped in ‘Hag-Seed’ to recapture the intricate mindsets of these characters in a modern setting.
Confinement is a central theme conspicuous in both texts, entrapping characters within their mindsets or their setting. In ‘Hag-Seed’, Felix confines both himself and Miranda within his noetic conceptions, penalizing himself, as well as endeavouring to make amends for Miranda’s death. “When she was eight, he edified her to play chess” Dramatic irony is utilized to convey the effect this self-confinement has on Felix, that without Miranda, he is gradually losing his sense of authenticity. The textual allusion draws the reader’s mind towards the Tempest and Ferdinand’s love for Miranda. Except in this context, it’s alluding to the love Felix has for Miranda, so much so that he will confine them both together, away from society. Prospero and Miranda have physically been confined in an uninhabited island, yet Miranda has kept his mind free and compos mentis. “O, a cherubin Thou wast that did preserve me. Thou didst smile Infused with a fortitude from heaven”. Asyndeton was acclimated to accentuate the effect Miranda has had on his will to live. A hyperbole was habituated to convey that it is Miranda that has kept him grounded during their shared confinement on the island. An undiscovered island was utilized as their place of confinement to reflect the Age Of Exploration occurring in Europe during the 17th century, involving the audience further within the play. So while Miranda was the cause of Felix’s self-confinement, she was the cause of Prospero’s lack thereof. The cause of Prospero’s self – confinement is the detrimental resentment he holds towards Alonso, as well as the censurability he has of which the matter is unknown to the audience. “Let your indulgence set me free” The double entendre in this verbal expression refers not only to Prospero’s relinquishing the culpability that is keeping him confined on the island, but additionally Shakespeare letting the audience go. He is asking the audience to liberate him from the encumbrance of inditing, in addition for forgiveness for forsaking it. This line is echoed in Hag-Seed “What was he celebrating – keeping her tethered to him all this time?… to the elements be free.” This textual allusion provides closure for Felix, kindred to how it did for Prospero and Shakespeare. The motif of the elements within his Internal monologue was habituated to highlight the struggle Felix had to let both Miranda’s ghost and himself free. It is through reflection individuals can set themselves liberated from their entrapment.
Retribution vs forgiveness is another macrocosmic theme found within both texts, entrapping the characters within their motives. In ‘The Tempest’, Caliban is acerbic and vengeful towards Prospero for purloining the island and making Caliban his slave. “Yea, yea, my lord, I’ll yield him thee asleep, Where thou mayst knock a nail into his head” Repetition and asyndeton are utilized to convey the acerbity and apostasy Caliban feels, and how he yearns for retribution against those who have wronged him. This again relates to the age of exploration in the 17th century, and the treatment of the natives on islands invaded by Europe, who were often sold into slavery. Hag-Seed additionally incorporates the effects of colonialism being felt today through Historical allusion. “Plus he’s a land purloiner,” integrates Red Coyote. “Suckin’ old white guy. He should be called Prospero Corp. Next thing he’ll discover oil on it, develop it, machine-gun everyone to keep them off it.” Red Coyote has an indigenous background, and his clear disrelish for ‘land stealers’ are emphasised through a tricolon and the connotation of his words, and albeit Red Coyote is not actively seeking revenge, he is vengeful towards those who have wronged him and his antecedents. Albeit Felix after executing his revenge, forgives those who have wronged him in the past. “That verbalized, under these conditions I pardon all of you, and we’ll let bygones be bygones.” Asyndeton and metaphor convey Felix’s insouciant posture towards the extreme approach he took towards his revenge. He still surmises it’s their apology he requires, not vice versa. Revenge had consumed him, and its effects are still prevalent during his forgiveness. Felix represents Atwood’s cynical approach towards humanity, whereas Shakespeare embraces Christian values throughout his indictment. “Yet, with my nobler reason, ‘gainst my fury’ Do I take part. The more infrequent action is In virtue, than in vengeance… Go, relinquish them, Ariel.” Asyndeton and euphony are used to convey the uplifting tones in this scene, conveying the rejuvenating and angelic effect it has on a person, relinquishing their encumbrance, being heavily influenced by Christian values. Retribution and forgiveness don’t have to be labelled as deplorable and good, negative and positive, as forgiveness cannot always be achieved. Forgiveness is a Christian notion, and retribution is ergo a negative emotion, which is shown throughout the Tempest. Atwood shows the distinction between being unable to forgive someone, and being unable to let go, letting vengeance consume them.
Power and control is another fundamental theme within both texts, acting as a drive to obtain their objectives, further confining themselves in their mindsets. In the Tempest, the characters’ mindset regarding women were restricted, not sanctioning their characters to plenarily develop, as this story arc was confined by the 17th century’s views on women. “Then, as my gift, and thine own acquisition Worthily of purchase, take my daughter”. A metaphor alluding to an exchange of goods reflects the earthy 17th-century mindset, with women (daughters) considered the property of their fathers until they were espoused – wherein the ownership would then transfer to the incipient husband. Within the tempest, Miranda’s culls were never her own, always being controlled either by Prospero or Ferdinand. In Hag-Seed, Anne-Marie provides an alternate reading of the character of Miranda that reflects a feminist, 21st-century context. “You’re verbalizing as if Miranda is just a rag doll (…) But it wouldn’t be homogeneous to that”. A metaphor and connotation are used to show Anne-Marie’s ebullience as she integrates her feminist sub-plot into the play, as the text portrays her as free. Yet she is still controlled – albeit unknowingly, and not to the extent Miranda was in the tempest – by Felix and the prisoners during the revenge plan. Miranda’s spirit was additionally controlled by Felix – illusionary control and the inability to sanction a soul to repose. The women in both texts were controlled, unable to forge their fate, only the calibre of this control was era felicitous in both texts. In the Tempest, Prospero does have the puissance to shape his fate, as well as everyone else’s. “The Duke of Milan And his more intrepid daughter could control thee If now ‘twere fit to do’t” Dramatic Irony is used to show Prospero’s superior erudition of events transpiring on the island, as well as reveal his orchestration to utilize Ferdinand’s love for Miranda to control him. This foreshadows how the play will unfold, and Prospero’s hand in it. This mirrors the unfolding of humanism in 17th century England, as Prospero fate has not been predetermined by a higher force, he has power over his fate. In Hag-Seed Felix mirrors Prospero’s power over his fate, as well as the other characters. “Felix waits until she’s gone. He lowers his voice.” “If you can fine-tune up what I have in mind (…) I’m sufficiently certain I can get you early parole.” The verb cull of ‘lower’ modifies the audiences’ impression of the conversation that Felix is about to have with 8Handz, denoting its paramountcy and revealing that Felix has a very exhaustive plan set out to reclaim control of his life, as well as regain his position of head director. The present tense is used to show the potency he has over how future events will unfold.
The ecumenical themes of revenge, tragedy, comedy and romance within Shakespeare’s ‘The Tempest’ have, and will perpetuate to inspire modern authors and their works, such as Margaret Atwood’s adaptation of this text, ‘Hag-seed’. Both texts explore the different forms of confinement, either within their minds or in their environments. They additionally highlight the effects revenge and forgiveness have on a person, being either detrimental or elating. Power and control act as the driving force, inspiriting the characters to further their objectives, and consequently further confining themselves in their mindsets. These prevalent themes in ‘The Tempest’ have been reshaped in ‘Hag-Seed’ to recapture the intricate mindsets of these characters in a modern setting.
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