How, why and to what effect does Shakespeare employ real historical intertextuality in ‘The Tempest’?

Shakespeare’s tragicomedy written in 1611 is said to be his last play. Known for its plot, setting and
storm The Tempest is one of the most exquisite and striking plays of Shakespeare. The author includes a
variety of aspects that could be recognized as intertextualities. For example, God’s will, destiny is
prearranged and the divine rights of Kings. ‘The Tempest’ begins with the story of a group of passengers
that have just recovered from a shipwreck on an isolated island, colonialism is the big picture of the
play. As soon as they put feet on the island, the passengers in amusement observe Ariel, a very original
character that doesn’t seem to be human.

Through the use of ‘The Tempest’ Shakespeare portrays his philosophy, culture and understanding of
human psychology to the characters. Prospero is represented as the ‘god of father’ and Ariel symbolizes
‘the holy ghost.’ Once again, Shakespeare interprets the Trinity in ‘The Tempest.’ Prospero is the ‘god of
father’ as he has total control over all the characters, occasions and incidents in the island. He has the
magical powers to control the actions of the characters, he produces the storm, takes Caliban’s freedom
away and owns the possession of the island. Prospero admits to give freedom to Ariel, just like God the
father, at the end of the play Prospero finally sets Ariel free and gives him all the power making Ariel
have the role of his son.

‘The Tempest’ contains many intertextualities, these can be seen through the actions, personalities and
language of the characters. Imprisonment is one of them. Miranda and Prospero have been constrained
to an ‘island in the Mediterranean’. Ariel and Caliban’s freedom depends solely on Prospero. The other
characters have no way out either. Prospero praises Ariel and for the ninth time promises him his
freedom “Ariel! I shall miss thee, but yet thou shalt have freedom.” Another intertextuality used by
Shakespeare is the names he chooses to include in the play. The name “Caliban” was adapted by
Shakespeare from the story of “Bermuda Pamphlets”. The name Caliban resonances ‘cannibalism’ and
his mother, Sycorax, symbolizes ‘darkness and wickedness.’ Shakespeare additionally employs
geographical, mythological, religious and historical influences of characters and their names, occasions,
and places that build intertextuality in ‘The Tempest’.

Prospero uses his magical powers to assign Ariel to supervise Caliban’s and other characters’ actions,
building a sinister, anxious and enigmatic atmosphere in the play. Shakespeare presents Ariel as a spirit,
that appears everywhere in the island with his unnatural voice. Ariel frightens all characters except for
Prospero and Miranda. Caliban horrifies Prospero and all the continuous negative feelings, suspicion and
cautious for Caliban are paranoid treatments of character in ‘The Tempest.’ All of this paranoia
transmitted by Prospero is very similar to the one reproduced by Michael Foucault’s reflection that
“power and surveillance are tenaciously bound together” in “The Eye of Power” where he describes a
prison concept, guards are allowed to control the actions of the prisoners. This resonates with the play
as the island is seen as a prison where Prospero can control every single movement and sends Ariel to
observe them. Ariel is a postmodern surveillance camera which shows how the implementation of
power becomes automatic and whose state is very strong and structured. Likewise, the prisoners in jail,
all the characters are unclear and unconscious of the fact that they are being observed.
One of the themes of ‘The Tempest’ is revenge. Shakespeare expresses how it is not revenge that
initiates change, it is forgiveness for himself and then the others. When Prospero is determined to seek
revenge because he lost his dukedom as a consequence of his brother that he trusted. “these, mine
enemies, are all knit up.” Or when Caliban’s control of the island is taken away by Prospero, Caliban as
well tries to seek for revenge. “better his skull, or paunch him with a stake.” This idea is very similar to
the one during the Jacobean period where it was believed that revenge was more about kindness and
forgiveness rather than violence. Shakespeare decided to reflect on his Christian beliefs, he prompts the
audience to be forgiving and sympathetic towards others, he does this through the character of
Miranda, she personifies love, shame and kindness. She definitely contributes to Prospero’s moral
change. At the end of the play Prospero is not only able to give Ariel freedom, but also he forgives his
brother ‘the rarer action is in virtue than in vengeance.’

The characters in ‘The Tempest’ are created so that their actions are controlled, the movements are
watched and fate is anticipated. Caliban is represented as a violent and ‘deformed slave’ nonetheless,
he is respectful and loyal towards Prospero. Overall, Shakespeare includes intertextuality, demonstrates
supernatural concepts and conveys paranoia. He is able to recreate the Catholic doctrine of Trinity and
integrate irony and puns throughout the characters. As I mentioned earlier Prospero seems to be ‘god
the father’ who has total control over the character’s actions. Prospero creates the tempest that
relocates Ferdinand, Alonso, Antonio and the others. He is able to enslave Caliban and allocate Ariel to
watch and supervise everyone and all events happening in the island, later he gives Ariel his freedom
just like ‘God the father’.

For Shakespeare, through the Great Chain of Being, how a person was located in the society and his
gender gave him a clear level of power that could be reached as there was a clear understanding of how
power was structured. Prospero was very confident about his position as Duke of Milan as it gave him
obvious power nevertheless, he failed to sufficiently use this power to set up stable political governance
‘with volumes that I prize above my dukedom.’ Shakespeare incorporates the unity of place in the play.
‘The Tempest’ takes place in the island, even though actions occur in other different parts of the island.
Shakespeare gives the magical power to Prospero as a center piece ensuring a singular impression in
handling the love affair between Ferdinand and Miranda, putting conspiracies of Caliban against
Prospero and of Antonio and Sebastian in a second stage, as minor under plots.

The magical power of Prospero is capable of creating a storm, controlling conspiracies, the magic dinner
and the engagement of Miranda and Ferdinand. The author includes and maintains the original idea of
the unity of time, place and action just like Aristotle did, as well as he includes a new innovation creating
a postmodern understanding of the play. What is innovative about Shakespeare in the play is the use of
change in language according to royal characters, these characters have lower words and phrases.
Throughout the whole play the language used is said to be bombast, he adds intertextuality and
allusiveness in the play. Act 2 is full of jokes and wordplays, Gonzalo and others are trying to find
Ferdinand, Gonzalo is “an honest old councellor” who encounters Alonso, and he does not want to be
around Gonzalo. Then, Alonso asks him to go away and requests ‘peace’. Sebastian appears and says to
Alonso “He receives comfort like cold porridge.” There is definitely wordplay here on Alonso’s “peace
and pease porridge.”

It is also essential to consider the decoration, scenery, dances and melodies in “The Tempest”
Shakespeare incorporates a ‘masque’ it is written in rhymed verse. In order to celebrate a royal marriage
this highly metaphorical and legendary constituent is used. The ‘masque’ tune is executed and
presented by mythological characters, Juno and Ceres in act IV:

Ceres: Tell me, heavenly bow, If Venus or her son, as thou dost know…The means that’s dusky Dis my
daughter got.

Juno: Honour, riches, marriage blessing, long continuance, and increasing, hourly joys be still upon you!

This reference of facial disguise keeps a musical vision related to Miranda’s and Ferdinand’s
engagement.

Overall, Shakespeare is able to include in his last play several elements such as intertextuality, irony,
wordplays, and supernatural features. He analyses the Christian doctrine, Trinity and Aristotle’s idea of
using ironic language by wordplays. The characters and the location enhances the narrative of the play.
The idea of the location emerges from a possible shipwreck that went off to the Bermudas, Shakespeare
gets this original event and transforms it into a tragicomedy that falls in line with an Elizabethan
audience. The real history seen throughout the play comes from specific social, geographical and historic
references that happened during the seventeenth century.