THE TEMPESTの構造
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概要
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After experimenting with a new dramatic form, often called Shakespeare's romances, in Cymbeline and The Winter's Tale, Shakespeare created an original romance world in The Tempest, for which he did not even seem to use any particular sources except some topical references and Montaigne's essay "Of Cannibals." The general romance elements and atmosphere are in the play, but the structure is unique. The purpose of the present paper is to study how Shakespeare contrived to build up a romance world and what meaning is derived from the unique structure. The singularity of the protagonist's characteristics is worth attention. Prospero is the director of his magic world. Although his white magic is powerful enough to control natural phenomena, he is never identified as God or Destiny. His human vulnerability is carefully emphasized. He reached the island by "providence divine" and has caused the storm under the favour of "bountiful Fortune." Ariel's help is indispensable to realize his magic; Caliban's constant threat can never be got rid of. Prospero's severe attitude toward them is, in a sense, a sign of the artist's anxiety that his work might collapse. Prospero's magic is not only a convenient means of introducing supernatural elements and creating the rich and strange atmosphere of the romance world, but it also introduces the theme of "art": the art that can even control natuer and give eternity to the result of its work, but is by no means almighty because of the human limitations. The Tempest presents the last phase of Prospero's tragi-comedy, and at the same time it is the magic world controlled by Prospero. Prospero is like the director of the play and manipulates all that happens in his magic world. Although there are many plays-within-the-play in Shakespeare's works, there is nothing like The Tempest, where the entire play is directed by the hero himself. The focus on the "present" and the setting of the solitary island as well as the magician protagonist are appropriate choices for this unique structure. The constant suggestion of three different view-points-that of the director, on-lookers, and the persons involved in the scene-is another device for making the audience aware of the structure. This structural device helps to build up the image that life is like a drama. The parallel development of the three stories in Prospero's scheme-Alonso's, Caliban's, and Miranda and Ferdinand's-also needs consideration. The three groups are presented in contrast in a certain rhythm and produce a pageant kind of pleasure. This well-balanced structure increases the sense of artificiality and suggests that there is a manipulator behind the scenes. Another effect is the temporal and spatial dilation of the story of the play. Although the action of the play is limited to the "present", there is not only an explanation of Prospero's tragic past in his story to Miranda, but there is also a constant reminder of it in the very existence of Antonio's rebellion. The fact that Antonio is forgiven unrepentant suggests the possibility of his new rebellion in the future. The past and future are flashed back and forward through the action of the play. The effect agrees with the characteristic feeling of a romance that the story goes on endlessly. This feeling as well as the existence of Caliban's rebellion, a baser replica of Antonio's, helps to suggest that what is presented on the stage is a fable of human reality. In Act V reconciliation is the only means to bring on to the stage all the characters, both good and evil, repentant and unrepentant. Most of the characters reach better understanding of themselves, but the evil characters are neither purged nor removed from the stage. After Prospero's famous speech expressing the vanity of shows and human life in Act IV, this act seems to show Shakespeare's feeling in his last period: his confidence in art as well as his awareness of its limitation, his admiration and sorrow, generosity and resignation, about the complexity of life itself. Act V is also where the play with Prospero as the main character and the magic world controlled by him are carefully interfused. The Tempest is never a realistic play, but the dreamy atmosphere has the power to suggest much. What is left in the audience's mind after the play is over, is the beautiful romance world which is at the same time an emblem of life. The meaning and structure are inseparably interrelated in this play. The invention of the protagonist, the observation of the three unities, the development of the parallel stories-all of them were needed to build up a unique romance and to express Shakespeare's view of life in his last period.
- 1971-03-31
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