莎士比亞《暴風雨》中的同情與能力 - 政大學術集成

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(1)國立政治大學英國語文學系碩士論文. 指導教授：施堂模先生 Advisor：Thomas Sellari. 立. 政治大. ‧ 國. 學. 莎士比亞《暴風雨》中的同情與能力. ‧. Compassion and Competence in Shakespeare’s The Tempest. n. er. io. sit. y. Nat. al. Ch. engchi. i n U. v. 研究生：葉怡君撰 Name：Yeh, Yi-Chun 中華民國 108 年 7 月 July, 2019. DOI:10.6814/NCCU201900622.

(2) COMPASSION AND COMPETENCE IN SHAKESPEARE’S THE TEMPEST. A Master Thesis. 治to 政Presented 大. 立 Department of English,. Nat. n. al. er. io. sit. y. ‧. ‧ 國. 學 National Chengchi University. Ch. engchi. i n U. v. In partial Fulfillment Of the Requirements for the Degree of Master of Arts. by Yi-Chun Yeh July, 2019. ii. DOI:10.6814/NCCU201900622.

(3) Acknowledgement My most heartful thanks are presented to Dr. Thomas Sellari, who has offered inspiring guidance, generous advices, and warm encouragements that never absent during my research of this work. The inspiring moments in every meeting are my greatest harvest of the research, and will surely continue to benefit me in the future. For their reading of the manuscript and for helpful suggestions in refining the work, I want to thank Dr. Brain Phillips and Dr. Micheal Keevak. My gratitude is extended to. 政治大. Dr. Tsui-Fen Jiang for her cheering words and advices that accompanied me through obstacles.. 立. I also greatly appreciate my friends and my family. Their cares in every possible. ‧ 國. 學. form are my strongest backbone that comforts and supports me in finishing the research.. ‧. Finally, I would like to offer my special thanks to Young-Wei Chen and our trip to. y. Nat. the east coast of Taiwan. The magical powers in the splendid sea and his words have. n. er. io. al. sit. given this thesis its glittering start.. Ch. engchi. i n U. v. iii. DOI:10.6814/NCCU201900622.

(4) Table of Contents. Acknowledegments............................................................................................................ iii Chinese Abstract................................................................................................................ iv English Abstract.................................................................................................................. v Chapter 1. Introduction............................................................................................................. 1 I. Approaches to The Tempest............................................................................. 1 II. Literature Review .......................................................................................... 4 III. Hypothesis and Theoretical Concerns .......................................................... 6. 政治大. 2. Prospero’s Magic and Political Power..................................................................... 9. 立. I. Magic and Political Power in Shakespeare’s Time.......................................... 9. ‧ 國. 學. II. Magic and Political Power in The Tempest ................................................. 11 3. Compassion.......................................................................................................... 23. ‧. I. Compassion in The Tempest.......................................................................... 23. sit. y. Nat. II. Prospero’s Compassion................................................................................. 26. al. er. io. III. Compassion and Christianity....................................................................... 33. v. n. IV. Compassion in Shakespeare’s Other works................................................. 35. Ch. engchi. i n U. V. Conclusion.................................................................................................... 37 4. Compassion and Competence............................................................................... 39 I. Compassion and Competence....................................................................... 39 II. Utilizing Both Forces................................................................................... 46 III. New Challenges for Prospero..................................................................... 49 5. Conclusion............................................................................................................. 55 I. Magic’s Function in Literature...................................................................... 55 II. Justifying Prospero....................................................................................... 57 Work Cited......................................................................................................................... 62. iv. DOI:10.6814/NCCU201900622.

(5) 國立政治大學英國語文學系碩士班碩士論文提要. 論文名稱：莎士比亞《暴風雨》中的同情與能力指導教授：施堂模研究生：葉怡君論文提要內容：此篇論文藉由討論莎士比亞《暴風雨》中，以同情(compassion)與能力 (competence)為核心的議題，給予劇中主角普洛斯彼羅(Prospero)一個更為公平合理的詮釋。雖然在劇裡擁有魔法與政治權力看似掌握一切，這些力量應該被良善的. 政治大意圖管束。普羅斯彼羅能夠在同情心的管束下使用自己的能力，也藉此展現了成為立一位好君主的本質。 ‧. ‧ 國. 學. 本文第一章為文獻回顧，整理了過往對普羅斯彼羅的評論，以及談論《暴風雨》中，普羅斯彼羅的魔法之相關研究。第二章以介紹文藝復興及其前期的魔法作為開頭，更進一步探討當時魔法與當權者的細密關聯。本章接著分析《暴風雨》中魔法與政治權力的相似性，以及兩者共有的限制。接續第二章的討論，第三章介紹了《暴風雨》中的同情心，並詳加敘述同情心在劇中如何被詮釋、於普羅斯彼羅的關聯性，以及在談論使用能力時，同情心的重. sit. y. Nat. n. al. er. io. 要性。第四章更詳細地探討同情心與能力之間的關聯，並解釋本篇論文的核心論點：能力必須在同情心的管束下使用。本章並援引伊拉斯謨斯(Erasmus)對於仁君的教導支持此論點，說明良善的意圖才是能使國家持續壯大的本源。第五章綜合前述，重新檢視過往的論述，並在本文提出的論點下提出可修正之處，也給了普羅斯彼羅一個更公正的詮釋。. Ch. engchi. i n U. v. v. DOI:10.6814/NCCU201900622.

(6) Abstract This thesis aims to provide a more justifiable interpretation of Prospero by bringing the issue of compassion and competence into discussion. The thesis proposes that powerful as they are, magical and political powers should be guided under a good intention. When demonstrating his competence under the guidance of compassion, Prospero achieves the essence of a good duke. The thesis first gives a brief review of former approaches in viewing Prospero, and further brings out the issue of magic in the play that has appeared in past criticism. The. 政治大 magic and the authority. This 立chapter later provides a detailed analysis of political power. second chapter introduces magic in Shakespeare’s time and the tight connection between. ‧ 國. 學. and Prospero’s magic, which are defined as competence in the thesis. This chapter points out the similarities shared by these two powers and also their limitations. Continuing the. ‧. discussion of the second chapter, the third chapter discusses how compassion is portrayed. sit. y. Nat. in the play, how it is related to Prospero, and the significance it possesses when being. al. er. io. related to powers. Compassion and competence are brought together in the fourth chapter,. v. n. which proposes that the later should be governed under the former. The argument is. Ch. engchi. i n U. further strengthened by Erasmus’ concerns of a good sovereign. The last chapter brings new perspectives from the former approaches in seeing Prospero, and thus renders a more justifiable position in understanding this powerful magician.. vi. DOI:10.6814/NCCU201900622.

(7) Chapter I. Introduction. William Shakespeare’s The Tempest, with its magical world and spirits, has charmed audiences for centuries. The play opens with a magical tempest, which initiates the avenging plot of Prospero, the former duke of Milan and a powerful magician. Prospero, whose dukedom was taken away by his deceiving brother. 政治大 enemies to his isle, on which 立 the magician has carefully arranged a plan to reclaim his. Antonio, has been exiled to the isle with his daughter Miranda. The tempest brings his. ‧ 國. 學. stolen dukedom. With his magical power and the aid of his fairy servant Ariel, Prospero successfully retrieves his dukedom from Antonio, stops possible. ‧. usurpations, and brings a harmonious bond between Milan and Naples with the. sit. y. Nat. marriage between Prince Ferdinand and his daughter Miranda. Although it is the. al. er. io. shortest of Shakespeare’s plays, The Tempest has brought to audiences and critics. v. n. boundless inspiration. In particular, Prospero’s role as a wielder of power has opened. Ch. a wide range of discussions.. engchi. i n U. I. Approaches to The Tempest If approaching The Tempest through its characters, Prospero, Ariel, and Caliban receive the most attention. James E. Phillips associates Prospero and his two servants with the Renaissance conception of the nature of man. Prospero, Caliban, and Ariel echo respectively the three essential parts of soul—Rational, Vegetative, and Sensitive—that are universally recognized in Renaissance literature (148). As the Rational soul is believed to be the leading faculty among the three souls, Phillips 1. DOI:10.6814/NCCU201900622.

(8) proposes that by mastering the way to direct the two characters at the end of the play, Prospero achieves the true virtue of a Renaissance man. Approaches of this kind also set up a fundamental recognition that gives Prospero’s magical power a poetic form. The other aspect of the Sensitive soul, represented by Ariel, refers to inward senses: memory, fantasy, and imagination. Furthermore, as he carries out Prospero's instructions, Ariel's use of power includes artistic expression such as music, songs, and drama. These artistic agents also strengthen the connection between the poetic faculty and magic.. 政治大 general poetic powers into a more specific domain. Some critics further illustrate this 立 Thus, The Tempest can be seen as funneling the relationship between magic and. association by connecting Prospero directly to its poetic creator. Being the very last. ‧ 國. 學. play composed before his retirement, The Tempest receives significant attention as. ‧. Shakespeare’s farewell to his stage life. With its boundless possibilities, magic has. sit. y. Nat. been used throughout history as a metaphor for the creative power in literature and. io. er. arts. Some critics suggest that the almighty protagonist, who is capable of commanding nature and spirits at will, is the incarnation of the talented playwright. al. n. v i n himself. Saintsbury has commentedC on Shakespeare’s lastU h e n g c h i work in the Cambridge History, suggesting the work has an autobiographic meaning to its creator1.In. addition, assumed to be the last play composed before Shakespeare's retirement, The Tempest is believed to deliver a crucial message that strengthens the link between its protagonist and its composer. While Prospero's magical power is connected to Shakespeare's literary talent, Prospero’s voluntary separation from his power is. 1 The Cambridge history of English and American literature an encyclopedia in eighteen volumes. New York:. Bartleby.com, 2000. Web... DOI:10.6814/NCCU201900622.

(9) associated with Shakespeare’s declaration of retirement from his career as a playwright. With its close connection with the Age of Discovery, both in its sea-faring theme and the time it was composed, The Tempest has been associated with the British Empire’s overseas colonial activities with no surprise. The Tempest cleverly draws on reports and tales brought back by voyagers and spices them with rich imagination. In discussing The Tempest and the New World, Frey reveals that researchers such as Sidney Lee, Morton Luce, Charles Mills Gayley began to “assert much more detailed. 政治大 the Virginia Company” (30). This kind of interpretation is also one of the bases of 立. and sweeping connections between Shakespeare and the entire colonial enterprise of. colonial readings of The Tempest, which compare the powerful magician to a. ‧ 國. 學. powerful colonizer, his journey to the isle the act of conquering a primitive culture,. ‧. and the magical power to the technology and civilization used to dominate the natives.. sit. y. Nat. Later, with decolonization movements flourishing in the 1970s in Africa, the. io. er. Caribbean, and Latin America, Post-colonialism also stretches its influence from political activities into varied domains, such as cultural and linguistic studies.. al. n. v i n C h trend, traditionalUreadings of literary works have Affected by this newly developed engchi. been gradually challenged by post-colonial critics, who address controversial issues such as racial identities and cultural priorities. The relationship between Prospero and Caliban has been reexamined as European colonizer and the colonized natives. Under such a reading, Prospero’s education and manners brought to Caliban are regarded as a reflection of cultural invasions by arrogant Europeans. Meanwhile, Caliban’s lack of education and rejection of commands are justified. Caliban’s rebellion against Prospero is regarded as an effort to protect his native identity. His rudeness is perceived as reasonable and even praise-worthy, as Greenblatt in the Arden introduction suggests: Caliban is “ennobled and to some extent empowered” (103). 3. DOI:10.6814/NCCU201900622.

(10) However, these approaches are inadequate in defining Prospero justly. Former interpretations have judged Prospero from his competence. No matter what title critics have given him—an artist, the rational soul, or a harsh colonizer— these roles are all formed mostly through his powers. This thesis proposes that Prospero’s compassion shall not be overlooked. With an investigation into the relationship between his compassion and competence, this thesis has given a more justifiable interpretation in understanding Prospero. To support this idea this paper will provide a careful investigation into political power and magical power. Political power brings a duke. 政治大. his authority, and magic enables a sorcerer to be almighty. The two elements will hold crucial positions in this thesis.. 立. ‧ 國. 學. II. Literature Review. ‧. Prospero, with the support of magic, acquires a position as the dominator of the. y. Nat. isle. His role as a god-like figure that domains the play has also evoked several studies. er. io. sit. and discussions. Stockholder discusses Prospero’s struggles with a power similar to providence as a mortal character, proposing that Prospero’s abilities have made him. al. n. v i n Ch resemble the role of providence in Shakespeare’s previous plays. According to engchi U. Stockholder, while handling powers that are usually “bestowed on providence in previous plays,” Prospero suffers loneliness, bears the obligation of protecting the good and punishing the wicked, and at the same time struggles to resist the temptation to exploit his power for self-interest (163). Zimbardo also addresses Prospero’s powerful role, describing Prospero’s power in setting discipline on the island, its limitations in changing disordered nature, and its helplessness in the mutable world to which Prospero must eventually return. She proposes that in the play Prospero represents absolute law on the island, fusing order to the visitors and bringing them into temporary permanence. Zimbardo emphasizes DOI:10.6814/NCCU201900622.

(11) Prospero’s full maturity and his absolute dominance on the island. As he already brings order to himself before the play starts, Prospero takes almost total control over all the events that happen within his territory (51). Powerful as it seems in The Tempest, Prospero’s magic is in fact incapable of achieving certain functions, and many critics have insightfully discovered and present its limitations. In his work “The Labyrinth and the Oracle,” Serpieri gives a detailed analysis of areas that are beyond Prospero’s art. Magic cannot control emotions and thoughts, as Antonio easily takes Prospero’s dukedom with psychological deceptions. 政治大 highlights the scene when Prospero “plucks [his] magic garment” before telling his 立 (100). Time is another element which slips the dominance of magic. Serpieri. memory, indicating that magic has no power to intervene in past events (99). Finally,. ‧ 國. 學. fate is beyond magic’s reach. Prospero’s charms cannot succeed unless fortune. ‧. arranges random events in advantageous orders for him. Serpieri further supposes that. y. Nat. as Ariel claims “I and my fellows/are ministers of fate,” magic in fact submits to fate.. er. io. magic (103).. sit. It is the power of providence that granted Prospero with opportunity to display his. al. n. v i n C h limitation in U Zimbardo points out Prospero’s changing the rooted evil of engchi. Antonio: “Prospero’s art then can order what is amenable to order, but it can only affect temporarily that which is fundamentally chaotic” (55). Like Zimbardo, Greenblatt points out Prospero’s impotence at reshaping rooted nature. According to Greenblatt, although Prospero has triggered guilt in Alonso by his magic, he “cannot reshape their inner lives and effect a moral transformation” (3208) when it comes to his wicked brother and his conspirator. Prospero’s magical power has limits in transforming people’s nature or will: it can only change what is willing to be changed. As the critics point out, even as a magician that commands storms and spirits, there are still things Prospero cannot achieve with his art. This issue leads to one of 5. DOI:10.6814/NCCU201900622.

(12) the important themes of the play: magic, with its limited strength, is not the most crucial element that allows Prospero to secure his dukedom. The limits of magic and their significance will be further discussed in the next chapter. Political power is similar to magical power as it can be removed as well. Greenblatt suggests that when the governor tries to escape from his ruling responsibility, the power does not vanish, but is transferred—other people will be in charge and take over the job. This argument also reveals another important feature of political power: that it is removable as an attached force. The removability of political. 政治大. power, similar to Prospero’s magic, stands in an important position in supporting this thesis.. III. Hypothesis and Theoretical Concerns. 學. ‧ 國. 立. ‧. Former approaches focus mostly on Prospero’s behavior and words in front of. sit. y. Nat. other people. Therefore, new perspectives might emerge if we change our focus from. io. er. his appearance to his strength within. By drawing inner strength into consideration, this paper proposes that in becoming a sovereign that holds great power, the. al. n. v i n importance of compassion plays an C essential role. When demonstrating his power hengchi U with compassion, Prospero fulfills the essence of a qualified duke.. Supporting this argument will necessitate detailed research on magic, political power and compassion. This paper will be divided into three chapters and an overall conclusion. The tight connection between magic and political power will be explained in the first chapter. A brief history of magic in the Renaissance will be provided in order to explain the function of magic in literature, daily life, and political manipulations. In addition, using detailed textual evidence, the chapter will show the resemblances between these two powers. Finally, the chapter will illustrate how these resemblances makes magic an unreliable force to achieve Prospero’s final goal. DOI:10.6814/NCCU201900622.

(13) Compassion will be introduced in the second chapter. This chapter demonstrates how the concept of compassion is embedded and developed through characters in The Tempest. This chapter will also focus on Prospero’s inner development. Textual analysis would indicate that both tendencies of becoming a tyrant or a merciful duke reside in Prospero. This chapter presents the inner swaying of the sorcerer, how he makes his final decision of being compassionate, and the significant role that compassion bears in a qualified sovereign. The connection between Prospero’s compassion and competence will be. 政治大 two forces through different approaches. Bacon provides suggestion in utilizing one’s 立 discussed in the third chapter. This chapter investigates the interaction between these. competence through the guidance of compassion. Meanwhile, Machiavellian. ‧ 國. 學. approaches also provide a possible relationship between the two forces. Prospero’s. ‧. cruel usage of his magic can be explained with Machiavelli’s theory, and how. sit. y. Nat. Antonio ensures his position even if he lacks inner virtues can be understood as. io. er. Machiavellian strategies. This chapter also points out the future challenges that Prospero may encounter as a compassionate sovereign.. al. n. v i n C ha more justifiable U Overall, this paper renders position in understanding Prospero. engchi. Instead of seeing Prospero despotically as a superior intruder, this paper provides a new light when taking a different position in understanding magic and political. powers. In supposing magic as a supplemental force that teaches Prospero about his strength from within, it is not Prospero the invader that brought changes to the island, but the island that brought changes to Prospero the visitor. More importantly, this argument spots the issue of how to use power properly in The Tempest. Prospero has shown his audience that being almighty is not merely about possessing great powers. Only with compassion as guidance can one become a qualified sovereign that is able to secure both his power and the prosperity of his people. 7. DOI:10.6814/NCCU201900622.

(14) 立. 政治大. ‧. ‧ 國. 學. n. er. io. sit. y. Nat. al. Ch. engchi. i n U. v. DOI:10.6814/NCCU201900622.

(15) Chapter II. Prospero’s Magic and Political Power. That Prospero has his arts fill the blank left by his deprived dukedom is not a coincidence. Seemingly unrelated, magical and political powers have been tightly connected to each other in history; and Shakespeare captures in his play the longentangled relationship between these two powers.. 立. 政治大. I. Magic and Political Power in Shakespeare’s Time. ‧ 國. 學. To clarify the connection between magical and political power, one could focus on the concept of magic in the age when The Tempest was composed. In. ‧. Shakespeare’s time, magic is not merely about fraud and deception. Some beliefs in. y. Nat. sit. the sixteenth and seventeenth century show that creatures of fantasy, such as fairies,. n. al. er. io. demons, and angels, were thought to exist in reality. Magic, demonstrated by sorcerers. i n U. v. and witches, did seem to possess actual power. Elves of various forms, with kind or. Ch. engchi. sinister intentions, filled folklore. Laws were made to supervise the demonstrations of charms and witchcraft. Kittredge’s Witchcraft in Old and New England records several cases which involve juristic records towards the crime of intervening others’ minds with love potions and charms (106-107). Even royalty took part in such beliefs. John Dee, a famous sorcerer who studied magic and communicated with angels, was employed as a conjurer by Leicester (180). Since it cannot be controlled by secular norms nor understood by common knowledge, magic was admired, respected, and feared during Shakespeare’s time. C.S. Lewis gives a general and clear introduction about Medieval and 9. DOI:10.6814/NCCU201900622.

(16) Renaissance belief of magical creatures in The Discarded Image. Lewis explains that in the Middle Ages, some earthly habitants were believed to lead their lives outside the reign of universal design. These creatures, in many forms such as nymphs, Robin Good Fellow, and fairies, are “perhaps the only creatures to whom the Model does not assign, as it were, an official status” (122). They thus possess a potentiality of shattering the already decided, unshakable hierarchy. In Lewis’ words, these magical creatures “soften the classic severity of the huge design” (122). They at the same time intrude wildness and uncertainty into the universe that is “self-explanatory” and. 政治大 Even though these creatures work independently from human society, with 立. “luminous” (122).. certain approaches people can make use of these powers and affect the world. There. ‧ 國. 學. are methods that human beings can use to borrow these magical powers in fulfilling. ‧. their goals. In his article “The Magic of Prospero,” Sisson gives a simple category of. y. Nat. the employment of this magical forces. The methods are divided into three types,. er. io. sit. depending on the source of the power. First of all, the exercise of command over evil spirits, which is identified as conjuration, is carried out with the help of prayer and. al. n. v i n C hthe practice of witchcraft invoking God’s holy name. In addition, is a relatively mild engchi U agreement between the witch and the spirits, yet with a cost of blood or soul as an exchange of the power. Lastly, the magical power of sorcerers come from the knowledge of the possessor, who “use spells and charms, without apparitions” (72). Through these means, magical power can intervene in human society on a great scale when manipulated with ambition. Famously recorded in history is the trial of Agnes Sampson, who was found guilty of interrupting the marriage between Princess Anne of Denmark and King James VI of Scotland through witchcraft in 1590. Sampson was accused of sending little devils abroad and causing storms that almost sunk the King’s ships on their way to Denmark. The accusation was accepted and Sampson, along DOI:10.6814/NCCU201900622.

(17) with two other suspects, was executed. Magic thus possesses a mysterious attraction for people in search of power. As an uncontrolled force, it enables those without official authority the possibility to sway the political system, which is strictly structured and secured with laws. The threat of magic has unsurprisingly aroused the awareness of authorities. Keeping the peculiarly interrupted ceremony in 1590 in mind, James VI of Scotland, who was later crowned James I of England, devoted himself to exposing witchcraft. His efforts in regulating witchcraft is partly owing to the concerns that these. 政治大 with the full title “An Act against Conjuration, Witchcraft and dealing with evil and 立 mysterious influences might threaten his position. James I of England passed an act. wicked spirits” and wrote a book Daemonologie in order to expose witchcraft.. ‧ 國. 學. Stephen Greenblatt explains King James’s anxiety about this unexplainable force:. ‧. Even in a powerful position, the monarch was still alarmed by the “existence of. y. Nat. occult, invisible forces” that may possibly “harm him or render him impotent” (2710).. er. io. sit. Therefore, being uncontrollable, magic possessed both positive and negative reputations in England. Lewis points out the controversial position of magic of the. al. n. v i n C can time: its unlimited potentiality as U praise, as Spenser could h ebenregarded i h gc. “compliment Elizabeth I by identifying her with the Faerie Queene” (124). However, this power is at the same time so great that it was forbidden. For example, a woman is burned for “‘repairing with’ the fairies and the ‘Queen of Elfame’” (124). Magic, as a natural power existing separately and independently from human society, thus stretches its influence to political affairs.. II. Magic and Political power in The Tempest The tight connection of the two powers in reality is thus brought by Shakespeare into his enchanted island. In The Tempest, Prospero’s magical and political power 11. DOI:10.6814/NCCU201900622.

(18) have many resemblances. Besides their similar ability in realizing the wishes of the user, through many supporting examples we discern that both are forces with similar limitations. First of all, although Prospero possesses the ability to employ magic, he could not do it alone—his power must be realized through other agents. Magical objects such as books and garment are necessary for Prospero to demonstrate his magic. This fact is also acknowledged by Caliban. When plotting to assassinate Prospero, Caliban carefully reminds his new masters that to defeat the sorcerer they should first “possess. 政治大 command” (3.2.92-94). The externality is thus the flaw that breaks the invincibility of 立 his books, for without them/ He’s but a sot, as I am, nor hath not/ One spirit to. as he is, Prospero’s magic still depends on external objects.. 學. ‧ 國. the magician and also one of the crucial weaknesses that the rebels can use. Powerful. ‧. In addition, while Prospero can present his magic through his magical objects,. y. Nat. his powers are mostly carried out not by himself but by spirits. At first glance,. er. io. sit. Prospero seems to be a powerful magician: in the beginning of the play the audience are presented with several magical events demonstrated by him. He puts Miranda to. al. n. v i n sleep, enchants Ferdinand and dropsChis weapon. He might h e n g c h i Uas well be able to. transform others’ appearances, as Caliban mentions that his master would “From toe to crown… fill our skins with pinches, / Make us strange stuff” (4.1.232-234), or transform the betrayers “to barnacles, or to apes/ With foreheads villainous low” (4.1.249-250) as a punishment. Yet, greater tasks such as summoning a tempest or lightings, creating a banquet and a fascinating masque are done through instructing spirits. In the speech before he abjures magic, Prospero addresses the spirits and the wonders achieved by their aid. “By whose aid,” Prospero claims, that he carries out several wonders such as bedimming sun, calling winds and bolts, shaking the huge rocks, and plucking up large woods with ease (5.1.40-48). According to his DOI:10.6814/NCCU201900622.

(19) confession, those spectacular scenes that amaze the audience are not made simply by Prospero’s own strength— without support from the spirits Prospero would not be able to demonstrate his power. Likewise, to demonstrate political power the ruler also needs the support of his subjects. The power and right of domination cannot be verified without the ruled. As a result, the ability to demonstrate political power comes not completely from the ruler. It is also composed partly of the obedience and support of the ruled. Alonso, although far from his kingdom, still maintains his power as a king because of the respect he. 政治大 Originally a butler, Stephano acquires a commanding position after Caliban sees him 立 commands from Gonzalo and other subjects. A more obvious example is Stephano.. as his master. When the two first meet on the island, Stephano does not have political. ‧ 國. 學. power that enables him to control Caliban. The power is granted only after Caliban. ‧. shows his allegiance and becomes his servant. This power, furthermore, is not limited. y. Nat. to master and servant. It can be further extended when others also agree with the. er. io. sit. political position of the ruler. Stephano’s ruling power reaches Trinculo, while the latter accepts the former’s new position as the future lord of the island, even though. al. n. v i n C h between the twoUin their original society. there is no such power relationship engchi. With the allegiance from Caliban, a new master-and-servant relationship is. formed among the party who are originally in the same position when first met. The change brought by this newly created relationship is most clearly expressed in the following text:. CALIBAN. I do beseech thy greatness, give him blows, And take his bottle from him. STEPHANO. Trinculo, run into no further danger. Interrupt the monster one word further, and by this hand I’ll turn 13. DOI:10.6814/NCCU201900622.

(20) my mercy out o’ doors and make a stockfish of thee. (3.2.63-69). In this new relationship, Stephano becomes the sovereign of the party. He thus has the ability to respond to Caliban’s request; as well as the privilege to make a credible threat, or even to actually punish Trinculo. The power does not generate from Stephano himself, nor is it verified by his own effort. Like Prospero’s magic, his ruling power is complete because of others’ obedience. Antonio’s usurpation succeeded by making use of the same characteristic of. 政治大 duke in person; rather, he goes to his servants. In his soliloquy Prospero points out 立 political power. Antonio seizes the dukedom from Prospero not by confronting the. with grief that Antonio took the dukedom through changing his officers:. ‧ 國. 學 ‧. [Antonio]new created. y. Nat. The creatures that were mine, I say, or changed ’em,. n. al. Ch. To what tune pleased his ear. (1.2.81-85). engchi. er. io. Of officer and office, set all hearts I’ th’ state. sit. Or else new formed ’em; having both the key. i n U. v. By “newly creating,” “changing,” or “newly forming” the servants whose allegiance build up Prospero’s authority, Antonio successfully alienates the original duke from his dukedom. While political power relies also on the support of his servants, Prospero’s authority becomes void as their allegiance transfers to Antonio. Second, magic and political power are as well separable from their possessor. Although throughout the play lords and magician are able to employ powers freely as if those forces are part of their own selves, there are clues hinting that both magic and ruling power can be deprived, taken or willingly discarded. Magic that Prospero DOI:10.6814/NCCU201900622.

(21) has already mastered for years can be given up in a sudden. Similarly, political power possessed by a legitimate ruler, even though protected with law and social norms, can still be taken away. In The Tempest, all characters who serve as kings are under the threat of possible usurpation. The story initiates with a rebellion in which Prospero loses his title as Duke of Milan; on the enchanted island, on the other hand, two potential usurpations consist considerably to the major plot. Sebastian, with the aid from Antonio, is seeking chance to overthrow Alonso and become the King of Naples. Also, though comically, Prospero’s position as the lord of the island is. 政治大 acknowledged that magical power can be given up, these plots remind them that 立 challenged by the two drunkards Stephano and Trinculo. While the audience are. political powers are as well removable.. ‧ 國. 學. In addition, while both powers have a potentiality to be removed, magic and. ‧. political power resembles each other because both require efforts to acquire or. y. Nat. maintain. Prospero can use magic freely, commanding people and spirits at his will.. er. io. sit. However, his magical power is not innate but learned, even with a cost of neglecting his state. Ruling power, on the other hand, can be inherited since birth. Yet without. al. n. v i n C hover by others. Caliban paying effort it might be taken claims his ownership over the engchi U island, as he inherits it from his mother Sycorax, who controlled the island. beforehand. However, without further ambition and ability to defend his birthright, the ruling power soon falls into Prospero’s hand, who came as a stranger but with advanced ability and knowledge. Prospero, who took away Caliban’s island, also has his dukedom taken away because of his lack of efforts in maintaining his political power. In putting all his efforts and care in studying magic, he makes his ruling rights vulnerable by letting Antonio’s evil nature to grow: 15. DOI:10.6814/NCCU201900622.

(22) I thus neglecting worldly ends, all dedicated To closeness and the bettering of my mind With that which, but by being so retired, O’er-prized all popular rate, in my false brother Awaked an evil nature. (1.2.89-93). While both magic and political power need additional attention, Prospero’s limited capability results in the loss of one of his powers. In acquiring magic, he extracts his. 政治大. effort from maintaining his political power as the Duke of Milan, making his title inevitably within Antonio’s reach.. 立. Last but not least, both magical and political powers in some ways resemble. ‧ 國. 學. stage performance. In other words, both powers acquire certain qualities which are not. ‧. real.. y. Nat. First of all, theatrical elements can be spotted in Prospero’s magic. Prospero has. er. io. sit. inserted a variety of stage effects into his magical events. For example, the whole shipwreck scene seems devastating to the people experiencing it and the spectators. al. n. v i n Csafe watching it. However, all of them are being burnt by flame or hurt by h ewithout ngchi U wreckage of the ship. The magic, as a result, is similar to a stage performance. As. McGinn suggests, the shipwreck is “just a performance […] Prospero devised this performance and arranged to have it enacted: it was a piece of dramatic art” (143). By showing devastating scenes without hurting the viewers, Prospero’s art thus resembles a performance that stirs the passion of the audience. In fact, Prospero as well infuses his art with theatre elements. Missions that Prospero assigns to Ariel include several kinds of disguising and role-playing. Besides serving certain practical functions, these roles surely add extra dramatic effects to their intentional purpose. For example, Ariel’s disguise as a harpy in the banquet set for the royal party not only meets the DOI:10.6814/NCCU201900622.

(23) purpose of being frightening but also satisfies an aesthetic expression. In Greek mythologies, harpies are best known as executor of punishments, who are assigned to torture Phineus for his trespassing act of revealing future to humankind. Harpies therefore ideally serve the situation in which the royal party deserves a punishment owing to the former usurpation. Apart from achieving his goal of evoking Alonso’s repentance through the harpy’s threatening speech, Prospero’s choice of character further sublimates the event into a designed performance. Besides the shipwreck scene and the banquet, when causing flame in the tempest. 政治大 dramatic. His action on the ship is mingled with a sense of performance: 立. Ariel is at the same time enjoying making the scene not merely fearful but also. ‧ 國. 學. I boarded the King’s ship: now on the beak,. ‧. Now in the waist, the deck, in every cabin. y. Nat. I flamed amazement. Sometime I’d divide. er. io. sit. And burn in many places— on the topmast,. The yards and bowsprit would I flame distinctly,. n. al. Ch. Then meet and join. (1.2.195-201). engchi. i n U. v. Through Ariel’s description, the audience can imagine how the fairy brings wondrous stage effects to the ship with his flame. He not only makes the ship on fire, but makes it burn in a dramatic, even aesthetic way. The flame boards the ship with an order that is specifically arranged; it burns “distinctly” and would “divide” and later “meet and join.” With Ariel’s dramatic performance, what he brings is not a mere ship wreck, but one that renders visual wonders. Political authority in the play resembles performance as it sometimes presents only appearance. First, its limitation in bringing about actual effects is shown during 17. DOI:10.6814/NCCU201900622.

(24) the tempest in the opening scene. While Gonzalo is reminding the boatswain of his attitude toward the royalty, the Boatswain questions the authority of the king, that his name cannot command the waves to cease: “What cares these roarers for the name of king?” (1.1.15-17). The power of the authorities is further criticized by the boatswain’s speech:. You are a councilor: if you can command these elements to silence and work the peace of the present, we will not hand a rope more. Use your. 政治大 yourself ready in your cabin for the mischance of the hour, if so hap. 立. authority! If you cannot, give thanks you have lived so long, and make. (1.1.19-23). ‧ 國. 學 ‧. The words of the Boatswain, though sarcastic and rude, point out harshly the. y. Nat. limitation of political authority: that there are limits for its demonstration. In. adds no solid help in saving the crew.. al. er. io. sit. comparison to the experience and profession of the sailors, the authority of the royalty. n. v i n C hthe vanity of the stage. Political authority also resembles The allegiance of the engchi U. subjects is sometimes insincere, thus their reactions to the king can be regarded as performance. Political power, though founded under certain solid forces such as. wealth and military power, is maintained by the allegiance of their people for most of the time. However, under the seemingly agreeing submission to the king might lie intentions that are different, or even contradictory to what the subjects show. Allegiance of the people thus becomes a performance. The power of the ruler collapses while the role-playing of the subjects is over. It is not hard to spot occasions when the subjects’ allegiance to their ruler does not correspond to their real intention throughout The Tempest. Antonio and Sebastian DOI:10.6814/NCCU201900622.

(25) must be the most representative characters whose loyalty to their lord is mere acting. There is always a design of usurpation underneath. They lie to cover their original plan of stabbing the king, pretending that they are protecting the king with their swords from a potential attack of a lion:. Whiles we stood here securing your repose, Even now, we heard a hollow burst of bellowing Like bulls, or rather lions: did't not wake you?. 政治大. It struck mine ear most terribly. (2.1.308-311). 立. Even Gonzalo, the most dutiful subject in the play, has once betrayed the command of. ‧ 國. 學. his lord. The exile ordered by Antonio left Prospero and Miranda almost no chance to. ‧. live, but they survived owing to Gonzalo’s charity. As Prospero recalls:. er. io. sit. y. Nat. Some food we had and some fresh water that A noble Neapolitan, Gonzalo,. n. al. i Out of his charity,C being then appointed U n hengchi. v. 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 furnish'd me From mine own library with volumes that I prize above my dukedom. (1.1.160-168). Gonzalo’s charity is not permitted, not even known by Antonio, who is the new Duke of Milan. Neither is it acknowledged by Alonso, who is one of the participants in the 19. DOI:10.6814/NCCU201900622.

(26) design, and most importantly, Gonzalo’s lord. What Gonzalo has done is obviously to the contrary of his lords’ wish. Therefore, the political power of the authorities hits its limitation. While it seems to control the subjects, their true intention is in fact what it cannot always reach. Political power thus reveals its vanity as a performance. Although it runs peacefully when the subjects obey the rule, it breaks easily when they stop their role-playing. This is shown most perfectly by the essential event that initiates the whole story. Antonio appears to be a caring subordinate who makes himself trust-worthy to Prospero in helping him manage the state. However, his real. 政治大 ruling power collapses, and he realizes that the state has already alienated from his 立 goal is to take over the authority. When Antonio reveals his intention, Prospero’s. was “transported” (1.2.76-77) from his state.. 學. ‧ 國. power. When Antonio is managing the state, the original duke grew “stranger,” and. ‧. While political power and magical power share similarity, there are still. y. Nat. differences between the two. Several theatrical moments are found in Prospero’s. er. io. sit. magical events. However, the functions of these performances are different from how performances work in demonstrating political powers. While certain political powers. al. n. v i n C h Prospero uses performances gain solid effects through performances, to conceal the engchi U real power that his magic can achieve.. First of all, most of the magical events carried out in the play, though seemingly terrifying, are harmless. They present sensory wonders, yet no solid forces are brought to the receivers. Tempest roused by Prospero that opens the play is disastrous. With fierce thunder and roaring waves, the magic makes everyone feel “a fever of the mad and played/ Some tricks of desperation” (1.2.208-210). Ferdinand even cries ‘Hell is empty/And all the devils are here’ (1.2.214-215). However, the tempest does no actual harm to people on the ship. Neither the thunder nor the waves, though destructive as they are, cause physical damage to the crew. McGinn points out that the DOI:10.6814/NCCU201900622.

(27) tempest is fictional: Prospero “quickly assures his daughter Miranda that no harm was done—in effect, the storm was a fake, a fiction, having no concrete effect, though exciting much emotion” (139). Prospero also uses his magic to create illusions. Since Ariel reveals that the ship and crews are brought onto the island unharmed, the scene which people on other ships have witnessed is thus fictitious. The rest of the fleet “Bound sadly home for Naples, / Supposing that they saw the King’s ship wrecked/And his great person perish” (1.2.232-237), suggesting that Prospero’s magic is able to create an illusion. Similarly, Ariel’s flame is a mere amazement: although it. 政治大 According to Ariel’s report, the King’s ship is “Safely in harbor” (1.2.227), and the 立. burns in several places and rises fear, it does not damage the ship nor its passengers.. royal party safe with “not a hair perish’d” (1.2.217) after the calamity.. ‧ 國. 學. By giving only sensory effects and further infused with dramatic concerns,. ‧. Prospero’s magic is thus more like a performance. It intends not to transform or harm. y. Nat. its spectators directly or forcefully. To achieve the desired effect Prospero’s magic. er. io. sit. still depends on the will of the viewers. Zimbardo in her article mentions the similarity between performance and the masque Prospero presents to the young. al. n. v i n couple. First, the masque “isC simply the projectionU h e n g c h i of Prospero’s imagination; it shows its frailty by dissolving when the great artist thinks of something else.” Further, just like a performance revealing the thoughts of a playwright, the masque “reveals Prospero’s desire for order and goodness.” As a performance, what Prospero wishes will not fulfill “unless those upon whom he wishes this blessing themselves desire it” (56). It is Prospero’s intention in using his magical power: instead of forcing people to change by his almighty power, he wishes to evoke changes through their own will. A similar intention is also seen in Prospero’s banquet. In the banquet scene, Prospero does not give physical punishments, nor does he cast mind-changing spells to the royal party. He only stirs the conscience and guilt through the harsh words and 21. DOI:10.6814/NCCU201900622.

(28) fearful appearance of Ariel. The banquet successfully calls a sense of guilt and regret of Alonso, it fails in changing Antonio, who is untouched toward the accusations and still carries on his new usurping plot. This fact is also acknowledged by Prospero himself, as he addresses his power as “vanity” (4.1.39-41) when he demonstrates wonders with his arts to the young couple. Prospero uses his magical power when keeping his viewers in mind. Thus whether it succeeds or not is decided by both the sorcerer and the viewers. It would be mere vanity if the viewers reject to react to the effects brought by magic.. 政治大 issue in how he uses his power. Prospero’s magic can be more than performances if 立 These performative characteristic of Prospero’s magic brings out an important. the sorcerer has a different intention. Prospero could have sunk the ships that his. ‧ 國. 學. enemies broad. He could also enchant Antonio into being nice or make him repent of. ‧. his wrong doings by force when his magical banquet fails to extract the evilness of his. y. Nat. deceiving brother. However, Prospero chooses to create mere performances, leaving. er. io. sit. the decision of changing or not to the receivers. By deciding not to demonstrate his true competence Prospero shows his concern and mercy to his enemy, which is a. n. al. practice of compassion.. Ch. engchi. i n U. v. DOI:10.6814/NCCU201900622.

(29) Chapter III. Compassion. I. Compassion in The Tempest While Prospero’s magical power is proved insufficient in helping him secure his dukedom, another force aids him. Although magic is used to retrieve Prospero’s dukedom, compassion acts as an important guidance that makes Prospero a good. 政治大. duke. Compassion is also a topic that receives indirect yet extraordinary emphasis in. 立. The Tempest and Shakespeare’s other works. This chapter demonstrates how the. ‧ 國. 學. concept of compassion is embedded and developed through characters in The Tempest, focusing on Prospero’s acquisition of compassion and his changes in. ‧. detailed textual analysis. By examining compassion in Christianity and Shakespeare’s. y. Nat. io. sit. plays, the chapter brings the concept of compassion into a scale wider than the play.. n. al. er. Even though not clearly noted throughout the play, the theme of compassion in. i n U. v. The Tempest is cleverly developed and carefully organized. Divided by their different. Ch. engchi. relationship with compassion, four groups are defined, and these relationships are respectively represented by the major characters. Antonio and Sebastian represent the group that lacks compassion. As the royal party that just survived the tempest, they are indifferent to others’ loss in the shipwreck; further, they deliberately make the victim’s situation worse by plotting in to take over the position of Alonso, who has just lost his son, the prince of Naples. Antonio sees not the sorrowful loss of a father and his kingdom, but the vacancy of the throne:. 23. DOI:10.6814/NCCU201900622.

(30) A space whose every cubit Seems to cry out: ‘How shall that Claribel Measure us back to Naples? Keep in Tunis, And let Sebastian wake.’ (2.1.255-258). In Antonio’s conspiracy, with the prince passed away, and Claribel, now queen of Tunis, too far to govern her home country, there will be no direct heir in Naples to. 政治大 be Sebastian. In the shipwreck Antonio only sees the opportunity of expanding his 立. inherit the throne when the king is dead. The most reasonable heir, as a result, would. own power with usurpation— to see a crown dropping upon Sebastian’s head. ‧ 國. 學. (2.1.204-205). Asked about conscience, Antonio also confesses that it does not affect. ’Twere put me to my slipper, but I feel not. n. al. Ch. This deity in my bosom. Twenty consciences. engchi. er. io. sit. y. Nat. If ’twere a kibe. ‧. him in any sense:. i n U. v. That stand ’twixt me and Milan, candied be they, And melt ere they molest! (2.1.274-278). With this declaration Antonio has confessed that he has no compassion at all. Miranda, on the other hand, drops tears at the sight of the sinking ship in the storm. Similarly, even though Gonzalo does not suffer from the guilt of betraying Prospero, when seeing Alonso, who is the actual sinner, his grief is equally strong. Seeing and feeling the sinners’ desperation, Gonzalo beseeches divine power to “follow them swiftly/And hinder them from what this ecstasy/May now provoke them DOI:10.6814/NCCU201900622.

(31) to” (3.3.109-110). Miranda, has “suffered/ With those that I saw suffer” (1.2.5-6). Gonzalo’s tears “run down his beard, like winter's drops/ From eaves of reeds” (5.1.14-15) as he sees Alonso’s desperation. The two characters thus represent the group of characters having too much compassion. They not only have rich emotions, their compassions are also wrongly given. Miranda’s fear and pity continue even after Prospero repetitively assures her of the safety of the people onboard. In addition, Gonzalo pities not only Alonso; his compassion mistakenly includes Sebastian and Antonio, whose grief is mere performance.. 政治大 compassion. The magical creatures on Prospero’s island, including Ariel, cannot have 立 There is also a special category of characters who are unable to have. compassion. Ariel seldom shows emotion toward objects or creatures besides himself.. ‧ 國. 學. Besides his fear toward Sycorax and his discontent toward his master about his. ‧. prolonged liberty, Ariel remains fairly disinterested in events taking place on the isle.. sit. y. Nat. Meanwhile, when reporting the effect brought by Prospero’s magical banquet, Ariel. io. er. describes how terribly the royal party has suffered, assuming that he would feel pity if he were human (5.1.19). Ariel’s confession here also suggests that to feel pity is a. n. al. Ch. particular emotion of human beings.. engchi. i n U. v. We thus see how the concept of compassion is embedded in the play, and how it is understood by the characters. Among all characters, compassion has played a more influential role in Prospero than in other characters. As a powerful sorcerer and the lord of the island, he is in a providential position that controls every creature on the island. More importantly, Prospero performs both tendencies of being cruel and being compassionate, and he is swaying between sparing or punishing his enemies as his plot goes on. His role as the most powerful person in the play thus makes his decision significant. His final decision on his enemies will influence largely to all the characters. 25. DOI:10.6814/NCCU201900622.

(32) II. Prospero’s Compassion We get a picture of Prospero’s past from his story told to his daughter at the beginning of the play. Judging from his own description, he has very limited emotions toward his subjects. Prospero’s misery begins as his study of magic interrupts the bond between the duke and his subjects. Prospero fails to nurture the connection with his state, and this alienation from his subjects becomes the key fact causing his loss of dukedom. Prospero confesses that he has indulged himself in the study of magic,. 政治大. casting the government upon his brother Antonio. As the direct connection with his. 立. subjects is mediated by Antonio, Prospero fails to see and feel his people. Therefore,. ‧ 國. 學. he “grew stranger” (1.2.6) to his state, making it vulnerable to Antonio’s usurpation. Prospero’s weakness of breaking from his subjects leads to his loss of position.. ‧. Therefore, in order to reclaim his dukedom, Prospero needs to learn how to build the. Nat. sit. y. connect with his subjects. The island, as a result, becomes an ideal place for him to. n. al. er. io. improve himself, where there is no intermediation between him and his subjects Ariel. i n U. v. and Caliban. Meanwhile, even if Prospero is able to travel back to Milan with his. Ch. engchi. magic, there are still remaining intermediations that stand between him and his stolen dukedom. After seizing Prospero’s throne, Antonio has “both the key/ Of officer and office” (1.2.83-84). The creatures that are “new created”, “changed” or “new formed” (1.2.81-83), having political powers granted by Antonio, act as intermediaries that prevent Prospero from retrieving his position. The tempest not only brings the royal party to Prospero, it also separates the rulers from their servants in their own states. When the intermediation is removed, Prospero can fully demonstrate his power, and his realization of the importance of compassion through his plan is possible. During the plan, Prospero is hesitating. DOI:10.6814/NCCU201900622.

(33) between being a tyrant or a kind sovereign. His underlying compassion, in the end, leads him to be a powerful yet also compassionate duke. There are scenes indicating the possibilities that Prospero could be a tyrant. This tendency is showed first when Prospero threatens his servants. Prospero threatens Ariel with cruel punishments as the consequences of showing further dismay when following orders:. If thou more murmur’st, I will rend an oak. 政治大 Thou has howled away twelve winters. (1.2.294-296) 立 And peg thee in his knotty entrails till. ‧ 國. 學. While Prospero threatens Ariel with imprisoning him in the tree knot for another. ‧. twelve years, similar threat can be seen when Prospero treats his other servant. When. y. Nat. scolding Caliban, Prospero also threats Caliban with harsh physical torments for his. n. al. er. io. sit. displeasing attitude:. Ch. If thou neglect’st, or dost unwillingly. engchi. i n U. v. What I command, I’ll rack thee with old cramps, Fill all thy bones with aches, make thee roar, That beasts shall tremble at thy din. (1.2.369-372). The contents of the threats include great physical pains, and they are certainly not empty words. Prospero’s ability of carrying out his words is verified by Caliban. He confesses that he must obey the commands because the art of Prospero “is of such power” (1.2.373). In addition, Caliban also mentions several torments that he has received before: the spirits will appear in forms of fierce animals and makes him 27. DOI:10.6814/NCCU201900622.

(34) suffer both mentally and physically (2.2.9-14). Caliban mistakes Trinculo as Prospero’s spirit, who comes to “torment me/ For bringing wood in slowly” (2.2.1516). He even shouts in fear twice when he thinks “the spirit” is going to punish him: “Do not torment me! O!” (2.2.55), “The spirit torments me! O!” (2.2.63). Caliban’s overreaction toward Trinculo indicates that Prospero, besides oral threats, has physically punished Caliban before, and those punishments really make Caliban terrified. On the other hand, although there are possibilities that Prospero might be a harsh. 政治大 patterns in Prospero’s actions that connect him with the compassionate characters in 立 master, he actually shows his compassion often throughout the play. There are. The Tempest. Compassionate actions can be found in Miranda and Gonzalo. In. ‧ 國. 學. showing compassion, Miranda is able to relate the feelings of others. She shares the. ‧. horror of the crew in the tempest and suffers at the sight of the shipwreck (1.2.5-6).. y. Nat. Miranda’s capability to imagine another’s feelings as her own is the very expression. er. io. sit. of compassion. Also, Gonzalo shows compassion by being merciful. He not only relates to suffering people, but also make efforts to reduce their suffering. He brings. al. n. v i n C h condition as he U supplies to Prospero, who is in a hopeless begins his exile. In addition, engchi even though not effective, Gonzalo pays great efforts in reducing Alonso’s grief of. losing his son after the shipwreck. Gonzalo’s efforts in trying to comfort Alonso are seen in several conversations. He praises their fortunate escape (1.2.1-3), wonders at their “fresh garments” (2.1.93), and tries to distract Alonso from his sadness by describing an imaginary state on the isle (2.1.141). Miranda and Gonzalo practice their compassion by relating to people’s feelings and being able to respond to their suffering. Similar traits are as well spotted in Prospero. First, Prospero is able to detect Ferdinand’s sadness as Ferdinand shows up as a grieving person. When Ferdinand first appears in front of Miranda, Prospero DOI:10.6814/NCCU201900622.

(35) describes him in a pitiful tone: “but he’s something stained/ With grief (that’s beauty’s canker) thou mightst call him/ A goodly person” (1.2.415-417). In his description, both Ferdinand’s virtue and grief are acknowledged by Prospero. He also informs Miranda not to neglect Ferdinand’s goodness because of his current sadness. Furthermore, Prospero also responds to the suffering of people. He reassures Miranda several times that although the tempest is fierce, he has secured the safety of the people on the ships with his magic:. 政治大 So safely ordered, that there is no soul— 立 I have with such provision in mine art. Betid to any creature in the vessel. 學. ‧ 國. No, not so much perdition as an hair,. ‧. Which thou heard’st cry, which thou sawst sink. (1.2.28-32). y. Nat. er. io. sit. His promise to Miranda is not only told to comfort her. Prospero himself pays very close attention to the safety of those who suffer from the tempest, too. When Ariel. al. n. v i n C hthe shipwreck, the first finishes his mission in causing thing that Prospero wishes to engchi U make sure is the safety of the passengers:. PROSPERO. But are they, Ariel, safe? ARIEL. Not a hair perished. (1.2.217). After making sure that all the loyalties and crews are safe, Prospero finally confirms that Ariel has performed his work well. Even if those people are his enemies, Prospero still has compassion for them and intends not to hurt them. What’s more, the passengers are not only safe from the tempest, their clothes, possibly soaked with sea 29. DOI:10.6814/NCCU201900622.

(36) water and dirt, become more beautiful with Ariel’s magic: “On their sustaining garments not a blemish, / But fresher than before” (1.2.218-219). In wishing Caliban would become better with manners and knowledge, Prospero treats him with kindness when he first comes to the island. As Caliban recalls, before his evil is revealed through his intention of raping Miranda, he receives friendly treatment from the powerful magician:. When thou cam’st first. 政治大 Water with berries in’t, and teach me how 立. Thou strok’st me and made much of me; wouldst give me. That burn by day and night. (1.2.333-337). 學. ‧ 國. To name the bigger light and how the less. ‧. y. Nat. When he first comes to the island, Prospero shows his kindness towards Caliban. It is. al. er. io. Prospero becomes harsh.. sit. not until Caliban proves himself unworthy of being treated with his kindness that. n. v i n C hby forgiving toward Finally, Prospero shows his mercy his disobeying servant. engchi U. Although he will punish his servants as mentioned in former paragraphs, Prospero does not make cruel punishments even when his servant shows great disrespect. Caliban brings up Prospero’s possible punishments when reminding Trinculo and. Stephano of the consequence of failing their usurping plot: “From toe to crown he’ll fill our skins with pinches, / Make us strange stuff” (4.1.33-34). He further warns that by suffering Prospero’s magic they may also “all be turned to barnacles, or to apes/ With foreheads villainous low” (4.1.249-250). Although the punishments seem horrible, Caliban does not consider the possibility that they might be killed. With his magical power Prospero can kill the potential rebels to secure his position DOI:10.6814/NCCU201900622.

(37) permanently. However, Prospero never shows such intention. And it turns out that Prospero does have mercy by punishing relatively slightly. In the end, the three conspirators are chased by hounds, enchanted with spells, and later set free. As both cruelty or kindness exist in Prospero’s behavior, the powerful magician is also swaying between the decisions of being a cruel or a kind sovereign. Ariel, in the form of a harpy, tells the royal party that their foul deed is not forgiven. As Ariel claims, the powers of avenging are “delaying, not forgetting” (3.3.72-73). Prospero maintains his powers to get revenge. However, in the end he finally decides to be. 政治大 Before Prospero decides to treat his enemies with kindness or cruelty, his mercy 立. merciful.. is swayed by his anger. The dramatic banquet has successfully evoked guilt and. ‧ 國. 學. desperation in Alonso. While the royal party is suffering mentally, Prospero decides. ‧. not to stop their pain:. y. Nat. er. io. sit. mine enemies, are all knit up. In their distractions. They now are in my power;. n. al. i n And in these fits IC leave them. (3.3.89-91) hengchi U. v. Similar cruelty is seen when he goes on to stop the plot of Caliban and his confederates. Prospero claims that he “will plague them all, / Even to roaring” (4.1.192-193). After sending magical hounds to punish the three conspirators, Prospero nearly decides to extract his compassion from all his foes: “At this hour/ Lies at my mercy all mine enemies” (4.1.262-263). Even though he has mercy on his enemies, Prospero decides to currently leave them in pain, either mentally or physically, without pitying them. However, as Ariel reports how the royal party suffers from his charms, Prospero 31. DOI:10.6814/NCCU201900622.

(38) has finally decided to end their torments and replace his fury with compassion. He releases all his enemies from their enchantments. He further abjures his magical powers in order to end the possibility of being cruel with his powers. According to Prospero’s explanation, it is his “nobler reason” that draws him back from the fury caused by the wrong doing of his enemies:. Though with their high wrongs I am struck to th’ quick, Yet with my nobler reason ’gainst my fury Do I take part. (5.1.25-27). 立. 政治大. What leads Prospero to forgive his enemies is not only ration. Prospero once uses the. ‧ 國. 學. word “virtue” in referring Miranda’s compassion (1.2.27), he again brings up the. ‧. word in his explanation of forgiving his foes:. y. Nat. In virtue than in vengeance. (5.1.27-28). n. al. Ch. engchi. er. io. sit. The rarer action is. i n U. v. Prospero knows clearly about the action brought by vengeance. However, a rarer action is brought by the virtue of compassion. Prospero first makes his enemies suffer, which is a typical reaction seen in people who want to get revenge. Prospero finally realizes that to forgive their wrong doings, on the other hand, is rarer yet at the same time nobler.. DOI:10.6814/NCCU201900622.

(39) III. Compassion in Christianity When The Tempest was composed, the church was an inseparable part of life. With the extraordinary emphasis Christians put on compassion, a Christian point of view is necessary in discussing compassion in the play. In the teachings of Christianity, Christians are advised to “rejoice with those who rejoice; mourn with those who mourn” (Romans 12:15); according to the discipline of getting along with others, Christians are encouraged to have “compassion for one another; love as brothers, be tenderhearted, be courteous” (1 Peter 3:8). The significance of. 政治大. compassion is best shown in the famous chapter when Jesus explains the greatest. 立. commandment of the Law. While the first rule requests piety and reverence to God,. ‧ 國. 學. the second requires the practice of compassion: “Love thy neighbor as thyself.” Along with the first commandment the two principals become the foundation of the law and. ‧. the prophets depend upon (Matthew 22:36-40). Though there is no evidence that. Nat. sit. y. Shakespeare was a strict Calvinist, Calvin’s notions were current and offer useful. n. al. er. io. perspectives. In his Institutes of the Christian Religion, the fact that compassion. i n U. v. serves as the core value of Christianity is again emphasized: “conscience and faith. Ch. engchi. unfeigned are placed at the head, in other words, true piety; and that from this charity is derived” (189). The two virtues, here referred to as true piety, are the foundation of charity. The habit of charity, formed upon these virtues, should extend not only to the love of God, but also to man, which includes self and neighbors (115). We see that charity and compassion are closely connected, and that the ability of relating and sharing others’ feelings is the destination of a charitable mind. Thus we understand how the concept of compassion is regarded as the core virtue of Christianity. In explaining the definition of neighbor in the Law, Jesus tells the parable of the good Samaritan, in which a man is attacked by robbers, ignored by a priest and a 33. DOI:10.6814/NCCU201900622.

(40) Levite, and eventually saved by a Samaritan. The fable is concluded with a question from Jesus towards the listener:. “Which of these three do you think was a neighbor to the man who fell into the hands of robbers?” The expert in the law replied, “The one who had mercy on him.” (Luke 10: 25-37) By connecting the Samaritan and the robbed man as neighbors the fable further. 治政 widens the significance of the commandment: that Christians 大shall not only have 立 compassion to people that they are already related to; it also includes those in a ‧ 國. 學. situation of powerlessness. Neglecting their difference in both religion and social. ‧. background, the good Samaritan treats the stranger in need as his neighbor.. sit. y. Nat. The theme of compassion is not mentioned merely in words or as a doctrine; its. io. er. importance in the Bible is further emphasized through the actual practice of Jesus himself. In the eleventh chapter of the gospel of John we can find a notable act of. n. al. compassion:. 33 When. Ch. engchi. i n U. v. Jesus saw her weeping, and the Jews who had come along with her. also weeping… 35 Jesus. wept. (John 11:33-35). Spotting the scene, some of the Jews doubt: “Could not he who opened the eyes of the blind man have kept this man from dying?” (John 11:37). Just as the suspicious voices. DOI:10.6814/NCCU201900622.

(41) suggest, Jesus soon brings Lazarus back to life. With such power, Lazarus’ death should not be a sorrowful thing to him. However, when seeing the grieving family of Lazarus, Jesus weeps with them. Even though he has the ability to brings Lazarus back to life, and knows that Lazarus will be resurrected, Jesus still shows his grief, as he can share the feeling of those who are helpless in face of death. Jesus’s act in mourning Lazarus with his family is the perfect practice of compassion. Jesus has shown a noble virtue by understanding the feeling of the powerless and standing beside the weak. Further, as a person possessing greater power and higher position he. 政治大 “love thy neighbor as thyself.” 立. helps the powerless. His deed recorded here reflects to the Great Commandments:. The first example illustrates the actual practice of compassion: when in a. ‧ 國. 學. position that holds more power and resources, the powerful are encouraged to detect. ‧. the needs of those who are weaker. In the second example, the definition of. sit. y. Nat. compassion is taken to a wider extent. It not only stresses the importance of being. io. er. charitable; compassion is also about understanding feelings of the desperate. Jesus not only helped the one in need. He further shares the sadness of the weak. In this way,. al. n. v i n compassion is represented asCan important virtue that h e n g c h i U can be seen in The Tempest. As discussed in previous paragraphs, this practice of compassion secures an important. position in Prospero. He spares his enemies from the tempest and comforts Miranda with assurances when noticing her anxiety. The sovereign, with a potential of becoming a tyrant, finally makes a merciful decision by following his compassion.. IV. Compassion in Shakespeare’s other works Compassion is not a rare theme in Shakespeare’s plays. Through his characters Shakespeare shows us that compassion has the ability to distribute solid influence. 35. DOI:10.6814/NCCU201900622.

(42) First, in Richard II Shakespeare presents the negative influence of compassion when wrongly given. In Richard II compassion is manipulated to stir false judgement. Meek raises several examples when Richard uses sympathy as a political tool. For example, Richard wrongly evokes the fellow-feeling of his subjects by unjust accusations of the former kings. In conclusion Meek suggests that although being a crucial part of humanity, compassion may lead us into unjust judgements, and “our capacity for feeling pity for pity’s sake…can leave us open to manipulation” (148). With words Richard not only manipulates his subjects, he even sways the judgement of the. 政治大 presents compassion as a powerful force that can bring huge influences. 立. audience whose sympathy is evoked. Though used in a negative way, Richard II. After conveying that compassion can cause great influence, Shakespeare further. ‧ 國. 學. presents us with its extraordinary power in another play. In Richard III, compassion is. ‧. described as a force that is able to contend against political power. Kaegi proposes. y. sit. io. al. er. tyranny:. Nat. that compassion is used as a weapon by the mourning queen against Richard’s. n. v i n Pathos is a form of power,Cparticularly in the theatre, h e n g c h i U and it is Anne Neville. who provokes, then swiftly quells, the first stirrings of pathos in Richard III and initiates, through her ritual lamentation, the process of memorialization on which the play’s mourning women insist in staunch defiance of Richard’s attempts to silence their complaints. (203). Compassion is also described as an emotion that motivates changes. “By transforming their anguish into compassion rather than bitter reproach,” Kaegi argues, the three lamenting women in the play “prepare the ground for an end to civil war and supply an ethical and affective warrant for tyrannicide” (201). Compassion is therefore used DOI:10.6814/NCCU201900622.