A production of The Tempest should emphasize the idealized methods in which Prospero uses magic to solve the problem of revenge which is so prevalent throughout his tragedies, perhaps the production might be a direct allegory for the magic of the theatre itself. In this conception of the play, the scattering and bringing together of the characters in the script is significant in that theatre also could be said to bring people together and allow them to share in an experience of emotion, magic, and finally, of resolution. In this way the production could be used as a vehicle for conveying the idealistic virtues of forgiveness, compassion, and of course knowledge. In his book, A Buddhist’s Shakespeare, James Howe draws attention to Prospero’s epilogue saying,
“In his epilogue this master, Shakespeare, has the character Prospero ask us, the audience, to confirm our collusion with both the master and his creature. Indeed the two relationships are reciprocal. We are asked to release Prospero from our “spell” by “prayer.” Becoming white magicians, offering a supplication to God, we reenact the righteousness of Prospero’s power, and thus confirm it. This confirmation, in turn, acknowledge’s the power of Shakespeare’s play to transform us into Prospero’s image. We are not only to be consciously complicit in Prospero’s character and action, but also to be fully aware of their author.” (191)
It seems to me that this final transformation in the audience is a very worthy goal to strive for in a production of this play. While being entertained by the magic and splendor of the production itself, I think it is possible for an audience to also be aware of the inherent ideals in the s…
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…d truth in the story. While this would clearly be the most problematic interpretation of the script, perhaps it would also be the most effective by far for a modern audience which does not enjoy being preached at or having their truth force-fed to them in a boring, easily-understood, linear manner.
Works Cited
Cahn, Victor L. Shakespeare, The Playwright Praeger Publishers. Westport CT. 1996
Charney, Maurice. “Bad” Shakespeare Associated Univeristy Press. London, England. 1996
Howe, James. A Buddhist’s Shakespeare Associated University Press. Mississauga, Ontario, Canada. 1994
Hylton, Jeremy. Complete Works of WilliamShakespeare, Oct 4, 1999. Massachusetts Institute of Technology
Kathman, Dave. Dating The Tempest Personal site
Comparing the Blues in Hughes’ The Blues I’m Playing and Baldwin’s Sonny’s Blues
The Blues: in Hughes’ The Blues I’m Playing and Baldwin’s Sonny’s Blues
In Langston Hughes’ The Blues I’m Playing, the blues are the source of Oceola’s life and her choices. Langston is trying to illustrate the conflict between life and art. The art in this story is represented in a confined manner, as a disciplined career with a white woman acting as the overseer in the young lady’s life. Art to Oceola, with its profit, convenience and privileges offers an array of benefits, but being embodied in Dora Ellsworth, the art seems to drift away from life’s vitality. Life in Oceola sings itself in jazz and blues in Harlem, ignores the artistic East 63rd Street and the rules by which are claims its superiority. There is a closeness between the blues and the life of Oceola as she summarizes her life for her patron. She remembers Mobile’s roast pig and the large mouth of Billy Kersands, the minstrel leader who let her as a child place both hands inside it. The relevance of Negro experience to blues and jazz is the point in her recollection that her parents, both musicians, we…