Prospero Drowns His Books

I was watching a Stratford Shakespeare Festival production of The Tempest, with Christopher Plummer, the other night and was having a little trouble hearing all the dialogue. Rather than turn the sound up, I decided to let it be and follow the events instead of the words. It was rather enjoyable just to be carried along by the story instead of hanging on every syllable. I don't know if that isn't the best approach in any case; academic habits of analysis can sometimes get in the way of simple enjoyment.

It occurred to me that I was trying to watch the play with "beginner's mind," and I started wondering what it would have been like to see it as a child. There are so many fairy tale elements in the plot that I think I would have loved The Tempest, without understanding all the nuances, if I had seen it as a little girl. What else should a play with a magician, an enchanted island full of invisible voices, castaways, airy spirits, talking monsters, a violent storm, true love, comedy, and the righting of wrongs be except charming?

There is a way in which searching for meanings and parsing phrases can actually get in the way of understanding, and to me this play is proof of that. I think Shakespeare wanted above all to enchant, to be Prospero, to exert his powers of creation to make a new world, or possibly just remake the old one. We're meant to fall under the island's spell, to dwell for a while with incantations, sorcery, and inexplicable happenings, to feel ourselves out of our usual element. The initial storm, which deposits the seafarers from the kingdoms of Milan and Naples onto Prospero's island, is a portal to a different world, and it pulls in playgoers, too.

The plot is simple and appeals strongly to the love of a happy ending and sense of justice restored. Prospero, the wronged ruler, stranded for a dozen years on the island with his daughter, has used the time to perfect his knowledge of magic. He seizes the chance to bring his enemies within his reach by calling up a storm that brings their ship to his island. They are punished as much by the strange, uncanny air of the place (which almost brings them to madness) as by the fear of being castaways, although the violent storm and near drownings give way to a less dire, if initially befuddling, fate.

What child hasn't fantasized about the magical ability to control his surroundings and shape things to his liking? Prospero can actually do it, in an unusually potent display of what psychologists might call "agency" that more than makes up for his prior helplessness in the face of wrong. Prospero's ultimate purpose, despite the fear and confusion he creates, is benign: it's the restoration of his own rights and reconciliation with his adversaries. His daughter Miranda falls in love with the son of the King of Naples, setting the seal on the theme of restoration and healing. The King, who had feared his son drowned, finds that he is still alive when Prospero, like a stage magician pulling back a curtain, suddenly reveals the two lovers playing chess together. Everything that had seemed wrong, after a satisfying amount of confusion and trouble, comes right again.

As a child, it wouldn't have bothered me perhaps, but it does occur to me now that a few hours of torment isn't really the equivalent of twelve years of confinement. The events following the shipwreck take place in less than an afternoon, though of course, it's a magical three hours, which could very well seem longer. My better nature tells me we're meant to think that the experience was so bewildering that to have continued it much beyond that would have been cruel . . . Ariel seems to think so, at any rate.

Prospero also makes it plain that he is finished with magic once his ends have been accomplished: "This rough magic, I here abjure." Ariel is freed from Prospero's service, Prospero drowns his books, and there is a sad sense of something numinous passing. Should Prospero really have to give up the knowledge that saved him and become like other men once more? And yet again, maybe it's for the best. It would be unwise and dangerous to continually be calling up the powers of air, light, and storm to correct every little problem that might arise in the future. There are supposed to be laws for that.

It's a wonderful play, wise and affecting, and I wish I had seen it when I was young. It would have been lovely to have seen it just for itself without study or preconceived notions. Somehow Shakespeare has become high-brow and lofty, and one is often taught to believe that a lot of scholarship is required to make sense of it. This play simply overturns those notions.