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Shakespeares last plays belong to the genre of tragicomedy plays devoid of genuine tragedy, which, while slightly disturbing for the audience, were still mainly intended to entertain them by delivering a sharp and entertaining experience. Nevertheless, Shakespeare brings an exceptional tone to them, switching them into the fairy tale world; an example of this is The Tempest. The factual side of the story gave Shakespeare the excuse to depict humanity in its most important types, from the embodiment of primitive savagery in the person of Caliban to the noble sage Prospero. The work has various interpretations: some see it as a tale of art, others as a reflection of the colonization of the land. However, the underlying theme that runs through the play is that life should be seen philosophically and with profound tolerance.
Miranda is a naive 15-year-old girl, the only daughter of Duke Prospero. She has lived on the island since she was three years old: she and her father became hermits at the fault of her uncle Antonio, who wanted to take the throne. The heroine is utterly subservient to her father, a typical trait for a woman in colonial society. According to him, his teaching in Mirandas mind must be a dark abyss : What seest thou else in the dark backward and abysm of time? (Shakespeare, 1994, 1.2.61-62). Miranda has a soft and vulnerable character; her status as ruler would help her feel her people, have compassion for her population and the colonies, and appreciate and respect their culture. At the same time, to be a ruler is not enough to understand and feel the nation. One must have a decisive person in power who can put his emotions aside at the right moment. Meanwhile, one can imagine that love will make Miranda stronger and wiser, giving her the necessary experience to rule. The theme of love in this drama is organically connected to the general idea, the theme of raising people.
Ferdinand is the prince of Naples and son of Alonso, king of Naples, in Shakespeares play, The Tempest. He falls in love with Miranda and makes a solemn vow to be true to Prospero and not violate Mirandas chastity before their wedding. There are no perfect rulers, but in any case, a leader must think first of the interests of his people and not personally of his own. The heros character meets this requirement: in the play, Ferdinand says that his goal is a peaceful union, beautiful offspring, and a long life (Shakespeare, 1994, 4.1.25-27). He will care about the opinion of his people as well as that of the people of the colonized lands. His calm temperament and judicious character will enable him to tactfully approach important political matters tactfully, expand his lands skillfully while preserving the culture of other peoples, and integrate it intelligently. Ferdinand can represent the hope of a younger generation that does not repeat the mistakes of Prospero and Alonso.
In addition to personal conflicts, The Tempest also raises the urgent problem of colonization in Britain. The postcolonial theory takes many different forms and interventions, but they all share a fundamental assertion: the world people live in cannot be understood except for the history of imperialism and colonial rule (Elam, 2019). Mirandas kindness and openness, Ferdinands calmness, and determination will help make the process non-traumatic for the colonized people and preserve the new lands traditions, culture, and identity. The heroes must consider that the issue is complex and has many nuances that need to be regarded as rulers.
Postcolonial theorists increasingly appropriated the piece and reinterpreted it considering postcolonial theory. Morality and justice are themes that run through The Tempest, and Shakespeares treatment of them is exciting. The colonial nature of the play and the ambiguous notion of justice are essential components of the work. The Tempest is an allegorical poetic tale in which Shakespeare questions how to transform the world and human society.
References
Elam, J. D. (2019). Postcolonial theory. Literary and Critical Theory.
Shakespeare, W. (1994). The Tempest. (B. A. Mowat & P. Werstine, Eds). Washington Square.
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