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to heal, and to defend oneself from the unjustness of unqualified king.
The use of pathos is seen in The Tempest as well. How Prospero uses his magic can be compared to pathos. Pathos is a quality of a scene that can cause compassion.
His magic, including a great deal of theatric elements, is carefully arranged in order to evoke changes in his “audience.”
V. Conclusion
Prospero is confident in securing his reclaimed dukedom even if he has discarded his most powerful weapon. Just like the visitors on the island, his inner self has also undergone a “sea-change” (1.2.401), and his awareness of the power of compassion brings him confidence in protecting his retrieved dukedom. Prospero’s lesson on the island is complete. After deciding to be a lord with more compassion, Prospero understands the pain and suffering of others, even those who have done harm to him;
he acknowledges that there is rooted evil in humanity, and accepts his limited ability to change them. With this awareness, Prospero thus become a more qualified
sovereign, and is more capable to maintain his ruling power.
Egan suggests the lessons Prospero must learn: that he “must perceive not only what is evil in men and what, ideally, they should be, but also what men are, and what relationship he, as a man, bears toward them” (175). Egan’s argument clearly stresses the qualifications of a reliable and mature sovereign. Prospero, who first indulged himself in the perfect and theoretical world of his liberal arts, has been judging people around him with idealized yet unrealistic standards (176). Only with compassion can Prospero step out of his study and connect himself with reality. He is thus at the threshold of becoming a qualified ruler, as compassion enables him to learn to perceive the true essence of human beings.
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Chapter IV
Compassion and Competence
With the analysis of magical and political power in the first chapter, we are clear about the limitation of these powers. Both powers are demonstrated through agents, share a similarity with stage performance, and can be deprived or given up.
Meanwhile, how Prospero demonstrates his magical power also reminds us the danger of these powers when not used properly. Prospero, though able to cause actual harm to his enemies with his magical power, decides to regulate his power. There are always possibilities that the comedy turns into tragedy if Prospero decides to be cruel. With his moderated usage of his magical power, Prospero has shown us the correct way of utilizing his competence. Prospero’s powers are tools; they should be manipulated under certain guidance.
To guide these powers Prospero has realized the importance of compassion. As an embedded issue in the play, compassion actually plays the core role under
Prospero’s harsh appearance. Several scenes suggest that even as a powerful sorcerer Prospero is merciful. He leaves the royal party unharmed during the tempest, and is concerned about their safety when the plan is complete. Prospero has also delayed his revenge before he decides whether to punish or spare his enemies. Finally, even though he was severely wronged by the royal party, Prospero forgives his foes.
I. Compassion and Competence
How compassion and competence cooperate with each other is an important issue addressed in The Tempest. Examples demonstrated by different characters in the play have shown that either compassion or competence alone is not enough. Only
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with both can one become a completed sovereign.
First, things that could be done with mere kind hearts are very limited.
Prospero’s subjects have compassion for their former sovereign. However, without actual power, they can barely save Prospero’s life. From Prospero’s soliloquy we know that the rebellious party dare not to kill Prospero as they planned because of the affection from his people. Prospero suggests that their compassion for their former duke has reduced the severity of the disaster. When Miranda asks about why the rebellions do not “destroy” (1.2.138) them, Prospero answers:
They durst not,
So dear the love my people bore me, nor set A mark so bloody on the business, but With colours fairer painted. (1.2.140-143)
Prospero and Miranda escape from immediate execution or assassination, but they are instead forced to leave Milan, provided with transportation that is in very bad
condition:
[a] rotten carcass of a butt, not rigged, Nor tackle, sail, nor mast—the very rats Instinctively have quit it. (1.2.145-148)
The exile could have offer little hope of survival if Prospero had not had magical power and supplies from Gonzalo. Although the love from the subjects toward Prospero has protected him from a murder, it could not prevent him from his loss of dukedom and the dreadful exile.
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Even though compassion brings little strength when competence is absent, the importance of compassion should not be denied. By claiming the throne with designs and mercilessness, Antonio holds great power as the Duke of Milan. Instead of acquiring true compassion, Antonio uses strategies and performance. In The Prince, Machiavelli provides suggestions for sovereigns in securing the states. Good qualities, which are expected in a good ruler, are suggested as performative in Machiavellian strategies. According to Machiavelli, because men will not keep faith with their sovereigns permanently, the sovereign would eventually bring damage to himself if he is bounded to good virtues. Also, Machiavelli observes that people “judge generally more by the eye than by the hand” (95). In other words, people only make judgements by what they see on the surface; it is unlikely that they will make effort to confirm the validity. While the reality of one’s virtue is not even noticed by the public, it is
unnecessary to put the performed good virtue into practice. Machiavelli suggests that to acquire all the good qualities is unnecessary and even dangerous. However, to appear to have these good qualities is “very necessary” and “useful” (94).
Echoing Machiavelli’s suggestions, Antonio is good at performing good virtues.
After the shipwreck and the possible death of the heir of Naples, Antonio plans to help Sebastian seize the throne of Naples. With his true intention in mind, Antonio still pretends to be loyal to Alonso, the current king. When his design of murdering Alonso and Gonzalo is about to be exposed, Antonio first fakes the murder into an act of protection. By claiming that he intends to protect the lords because he has heard the roar of “a whole herd of lions” (2.1.316-317), Antonio successfully pretends an act of loyalty. In addition, he also agrees loudly to Sebastian’s claim in defending Alonso from the devilish spirits. He fakes his loyalty to Alonso by echoing “I’ll be thy second” (3.3.104) to Sebastian’s words.
With Machiavelli’s strategies, Antonio does succeed in claiming the dukedom.
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Prospero addresses Antonio’s strategies of seizing the throne:
Who, having into truth by telling of it, Made such a sinner of his memory To credit his own lie, he did believe He was indeed the duke. (1.2.100-104)
Antonio wrongs the truth that he is not the legal duke with pretending. Even though as a false duke, Antonio carries out the jobs of a duke: he is “perfected how to grant suits, / How to deny them, who t’advance and who/ To trash for overtopping” (1.2.79-81). When there is “no screen between this part he played/ And him he played it for,”
Antonio becomes “absolute Milan” (1.2.107-109). By performing the qualities of a sovereign, the lie is made into truth, and the performance eventually becomes reality.
The strategy of showing good virtues as mere appearance is as well practiced by the other characters of Shakespeare. In Richard III, the Duke of Gloucester is careful in pretending to acquire good virtues, wrapping himself in moral authority. In order to form a good public image, Richard is suggested to hold “a prayer book” in public:
And look you get a prayer book in your hand And stand between two churchmen, good my lord, For on that ground I’ll make a holy descant.
And be not easily won to our requests. (3.7.46-49)
With a devout cover, Buckingham, Richard’s accomplice, is able to secure his claim of the throne with religious reasons. Machiavelli’s explanation supports his action:
“every one sees what you appear to be, few really know what you are, and those few
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dare not oppose themselves to the opinion of many” (95). Although the cruel
sovereign has trespassed several values of Christianity, the appearance of being pious in front of his people is enough to make him a seemingly suitable king.
Even though Antonio successfully seizes the position with Machiavellian strategies, relying on mere power can be risky. When encountering more powerful forces, the original power fails the possessor. Antonio’s political power is gained from Prospero, and it is eventually withdrawn. At the end of the play, Prospero requires that Antonio should return his dukedom. He also notes that while his power is greater than Antonio’s, the wicked usurper has no choice but to follow the order. He therefore requires his dukedom from Antonio, “which perforce I know/ Thou must restore”
(5.1.133-134).
Like Antonio, the power-thirsty Richard in Richard III fails to secure his power in the end for his lack of compassion. Richard plots to seize the throne with his political power and intelligence. With several political manipulations Richard has justified his claim to the throne. However, even with efforts to form a good image he is still disliked by the citizens. When trying to earn the support of the citizens in London, Buckingham reports that the speech is a total failure:
they spake not a word
But, like dumb statues or breathing stones,
Stared each on other and looked deadly pale. (3.7.24-26)
Richard’s mercilessness has made him lose the support of his subjects, and further effects his plan of claiming the throne. Furthermore, his cruelty and ruthlessness shown in claiming the throne has further stirred hatred and vengeance of other noblemen. When the army of Richmond invades England, he is defeated and killed.
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As discussed in previous chapters, along with the examples provided above, it is impossible to secure one’s position by relying merely on competence.The political power could be deprived by powers that are greater. Furthermore, Richard’s failure has proved that ruling without compassion will lead to discontents and finally rebellions.
Prospero is the character that acquires both competence and compassion. We should keep in mind that magical power possessed by Prospero is greater than it appears to be. Prospero could have used his magical power in more severe ways to achieve his goals. His capabilities are indicated in several places throughout the play.
For example, his magical power can actually make Caliban, his disobedient servant, suffer. From Caliban’s soliloquy we know that Prospero has the ability to command physical and mental harms on him (2.2.12-14). Meanwhile, Prospero is able to make Caliban suffer with his spirits if he “bid ’em” (2.2.7). Besides his ability to make others suffer, Prospero’s magical power also enables him to control others’ actions on his own will. When forcing Ferdinand into obedience, Prospero warns the prince that he “can here disarm thee with this stick/And make thy weapon drop” (1.2.471-472).
Prospero actually verifies his competence in forcibly making Ferdinand obey, as the stage direction informs us that Ferdinand “draws and is charmed from moving” (1.2.
[stage direction]). These possibilities have shown us that a tendency of Prospero to control his people with power always occupies the play. Although acquiring powers that make his goals easier to achieve, Prospero regulates his magic due to his compassion.
As an embedded concept in the play, compassion is seldom shown directly through Prospero’s words. However, it is detected through the eyes of others.
Prospero’s compassionate behaviors is noticed by Miranda, who practices compassion best in the play. Acquiring a capability to relating to others’ feeling, Miranda sees the
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inner part under Prospero’s harsh appearance. In explaining to Ferdinand, she
addresses the nature of Prospero, stating that his words work as a cover: “My father’s of a better nature, sir, /Than he appears by speech” (1.2.497-499). Miranda notes Prospero’s good nature under his harsh appearance. It is this virtue embedded inside Prospero upon which his deeds are based.
Audiences might still be skeptical of Prospero’s compassion since there are scenes when the sorcerer treats people with harshness. However, Prospero’s cruelty towards his servants and subjects, if approached through Machiavelli’s thoughts, are in fact acts of kindness. As Machiavelli suggests, cruelty can be approached as a needed mean to maintain peaceful order: “A prince, therefore, must not care about the infamy of cruelty in keeping his subjects united and faithful” (90-91). In supporting this argument Machiavelli takes the example of Cesare Borgia, who is considered cruel yet with cruelty restores peace and royalty to the Romagna. On the other hand, the Florentine people, in order to avoid a reputation of cruelty, allow Pistoia to be destroyed (90); rebellion arises in Spain owing to the too great forbearance of Scipio, who kindly grants too much license to his army (93). When taking the maintaining of order into consideration, a prince who rules with harshness and punishments “will be more compassionate than those who, through too much compassion, allow disorder to occur from which arise killings or robberies” (91).
Corresponding to Machiavelli’s arguments, some of Prospero’s compelling acts are out of kind intentions. When Miranda and Ferdinand meet as Prospero has planned, Prospero treats the young man with fearful threats and magical power. He reveals his reason of making the arranged affair between the couple uneasy: although the couple “are both in either’s powers,” he must intervene, as “too light winning/
Make the prize light” (1.2.449-452). Prospero’s harsh attitude is thus a test for Ferdinand, making sure that the young man would not take Miranda for granted. His
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unfriendly treatment of Ferdinand is thus an act of consideration that assures Miranda’s future safety and happiness.
For Machiavelli, being kind is not merely treating people with generosity and tenderness. Securing peace and order of the country, Machiavelli suggests, is the essence of being kind to the subjects in the long term. In preventing possible disorder and harm, Prospero’s harsh demonstration of his power is justified as necessary, and his cruelty is the representation of showing consideration to his subjects.
II. Utilizing Compassion and Competence
With the analysis above we perceive the complicated interaction between compassion and competence. We then encounter the issue of how to utilize the two, and Francis Bacon has provided a direction. Bacon notes the important position of charity in understanding truth:
Certainly, it is heaven upon earth, to have a man's mind move in charity, rest in providence, and turn upon the poles of truth. (4)
According to Bacon, men’s minds are motivated by charity, and they are able to
“turn upon the poles of truth.” Their actions of understanding the world and exploring the truth, therefore, are guided by their inner strength. A similar pattern can be seen in The Tempest. While Antonio’s actions are supported by performances and political strategies, Prospero’s actions are motivated by his compassion. Although Prospero carries out his plans and command his subjects with magical and political powers, these powers are used under the guide of compassion. Competences thus serve as tools, and compassion their guidance; one’s goal, originated from compassion, is enabled by their competence. Under this process, compassion brings effects that
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cannot be achieved through mere competence. In explaining the qualities of a good prince, Erasmus values one’s motive higher than the action:
[I]t is in the motive rather than the action that the good prince differs: a doctor investigates the workings of the body in order that he may the more readily come to its aid; a poisoner also studies them, but so as to be more certain to kill (65).
Erasmus’ metaphor of a doctor and a poisoner has pointed out how intention affects the way power is used. To achieve a ruling position requires only power; Prospero and the evil witch Sycorax, for example, claim the isle with their magic. However, Prospero is differentiated from Sycorax because of his motivation. In distinguishing Prospero’s magic from the evil magic of Sycorax, Grant states that his magic “is good essentially because it enables Prospero to understand enough to forgive his enemies”
(10). Equally powerful, the magical power of Prospero is differentiated from that of evil ones because of the intention of the sorcerer. Sycorax uses her power to carry out
“earthy and abhorred commands” (1.2.264), bringing herself an evil reputation that is
“terrible/ To enter human hearing” (1.2.264). On the contrary, Prospero’s magical power is deemed as “good” because it is carried out under a compassionate and forgiving consideration. It is the virtue inside the sorcerers that make their magical powers different.
The motivation of the power holder therefore serves as a crucial role.
Erasmus further explains the importance of the intention when one holds power, and the ultimate intention of a good sovereign:
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What general aim the person in power sets himself is of great importance, for if his choice of objective is misguided, then he will necessarily go wrong all the way along. The ultimate intention of the good prince must therefore be not only to guard the present well-being of the state, but also to hand it over in a more flourishing condition than that in which he received it (71).
The good intention of the power holder thus results in a more prosperous state. The intention of increasing the prosperity of the state and passing down a greater realm is seen in Prospero. One of Prospero’s plans is to encourage the affection between Ferdinand and Miranda, and the purpose of the design is not merely to arrange a carefree future for his beloved daughter. With his plan of promoting the marriage between Ferdinand and Miranda, Prospero has enhanced his state in the future. After the marriage, the relationship between Milan and Naples is further strengthened with the marriage of their heirs, and Milan is offered extra protection under such a marital connection. Furthermore, in sparing Alonso, Prospero has avoided being a foe of Naples that the next heir will seek vengeance against; rather, his hospitality toward the royal party rebuilds a friendly bond between the two countries. In adding foreign protection and eliminating possible dangers, therefore, Prospero has handed to his future heir a state that is more secure and powerful, and thus has a more promising future.
Compassion serves as the guide for people to use power properly. However, it could also limit the demonstration of power. As Prospero lets compassion to lead his power, he at the same time admits that he would meet certain limitations. For
Compassion serves as the guide for people to use power properly. However, it could also limit the demonstration of power. As Prospero lets compassion to lead his power, he at the same time admits that he would meet certain limitations. For