Explore the functions of envy and desire in ‘The Tempest’
Throughout The Tempest feelings of envy and desire are closely related to issues of power and ambition. Whether striving to regain a rightful title or planning to usurp another by treacherous means, characters within the play seem entirely driven by their lust for supremacy.
Envy and desire are policed by Prospero throughout the play, and it is clear from the outset that the view of justice presented is entirely subjective. Within seconds of our first encounter with Prospero we are privy to the story of how he was usurped by his brother, Antonio. Therefore, the actions we observe against Antonio, his family and crew are a result of Prospero’s anger about his brother’s previous behaviour. Aside from Prospero, there is no mention of a higher or supreme power. Although in the first scene we are given the impression that there is some form of God to be feared and who ranks higher than mortals - ‘What cares these roarers for the name of king?’ (I.i.15-16) - it soon becomes clear that it is merely the Duke’s brother who is controlling the storm. In essence, we are presented with a mortal who has the power of a God, yet is driven by human feelings and emotions. In this respect the play can be seen as morally ambiguous, particularly when we see the way that Prospero treats Caliban. Despite having been treated cruelly by his usurping brother, Prospero has no qualms about exerting his power over Caliban. This makes Prospero seem quite the hypocrite, as he in turn wrongs another man by taking his rightful land, ‘This island’s mine, by Sycorax my mother, / Which thou tak’st from me.’ (I.ii.334-5). This sets up a cycle of envy and displays its destructive results, making it difficult not to question the all-consuming power of Prospero and his fellows as ‘ministers of fate.’ (III.iii.60-1).
If we disregard Prospero’s treatment of Caliban and accept him as a Godlike figure it is possible to see the play as an example of the correct punishment for those who allow themselves to become slaves to envy. In Antonio’s case, he was so driven by envy that he committed treachery against, and even risked the life of his own brother. The fact that Antonio took what was not his and sent Prospero and Miranda to almost certain death, justifies the actions of Prospero concerning the shipwreck. In the end nobody is harmed and he is able to take back what is rightfully his.
Indeed, the island does seem rife with the evils of envy. No sooner have they landed on the island than Antonio and Sebastian bring up the subject of killing Alonso so that Sebastian could take the throne. Although it is Antonio who first suggests the idea, Sebastian quickly succumbs to the idea and draws his sword in readiness. It seems than when the opportunity arises man is only to eager to forget his moral sense in pursuit of power. Also, Antonio talks of how he overthrew the Duke, and shows little evidence of a conscience. Stefano and Trinculo are drawn into the pursuit for power just as easily and quickly. On meeting Caliban, it is soon proposed to them that if they kill Prospero, Stefano could become king of the island. Soon enough they are plotting his murder and imagining life on the island under the rule of Stefano, ‘Monster, I will kill this man. His daughter and I will be King and Queensave our graces! - and Trinculo and thyself shall be my viceroys.’ (III.ii.101103)
The setting of the play enables Shakespeare to touch on the issue of ruling a colony, and the allure that this can have. As well as Stefano and Trinculo dreaming of ruling the island, Gonzalo also has his own thoughts and ambitions concerning a creation of utopia. Sebastian and Antonio soon pull his dreams to pieces, exposing the shortfall and problematic issues concerning ruling a kingdom. Interestingly, feelings of envy only seem to arise where fellow colonisers or potential colonisers are concerned. In turn, Caliban the only example of the ‘colonised’ in the play does not strive to usurp his coloniser, his motive in plotting against his leader is merely to gain revenge. This attitude towards newfound land would have been in keeping with societal opinions of the time.
Ultimately the play appears to present an argument that aligns itself with the Divine Right of Kings. Prospero is fuelled by his desire to regain his rightful title, has no dominant feelings of revenge or treachery and so succeeds in his mission. The resentment commonly associated with envy and viewed in a negative light, is justified because of this. On the other hand, characters such as Sebastian, Caliban and Antonio are put back in their rightful positions as a result of their deceitful motives. Caliban, by being portrayed as ‘monstrous’ and not entirely human, forfeits his right to what was previously his.
At the end of the play Prospero brings the nature of theatre to our attention, allowing us to see his narration of events as merely entertainment where characters have been used as ‘demi-puppets.’ (V.i.36) In this respect Prospero’s magic or art - ‘If by your art, my dearest father, you have / Put the wild waters in this roar, allay them.’ (I.ii.1-2) can be seen as the art of theatrics and storytelling. If we accept this type of reading, the functions of envy and desire discussed previously, still hold true, we are just being made more aware of the play as a theatrical production. This perhaps brings us closer to the persona of Shakespeare as a writer. Just as Prospero has ruled his island kingdom and controlled those who have sailed near, showing a subjective view of justice, Shakespeare is able to rule the theatrical world and have a significant influence over his audience and impress his own opinions on them.
Tags: desire, envy, Prospero, Shakespeare, The Tempest
