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The Tempest is shaped by the allusions of Christian Humanism more specifically Montaignes views on ethics and empathy. In a metaphysical reading of The Tempest, Shakespeare offers a nuanced portrayal of the humanist elements that shape individuals, the soul. Atwood acknowledges the power of forgiveness electing to reimagine this trope through the foil characterization of ghost Miranda in Hag-seed with that of Ariel.
Shakespeare utilizes the concepts of Platos three-part concept of the soul. Shakespeare suggests that Ariel is a singular aspect of Prosperos nature. Ariel the higher spiritual self instils humanity within Prospero. The portrayal of Ariel in Act 1, Scene 2 anticipates the presentation of the spirit across the play. Here we learn of Ariels elemental nature, but to fly, / To swim, to dive into the fire, to ride / On the curled clouds .
It is significant, too, that no gender is assigned to Ariel we know it only as the spirit. Its magical capacity to divide, / and burn in many places to flame distinctly and make bold waves tremble , is demonstrated again in Act 3, Scene 3 where Ariel appears like a harpy amid thunder and lightning to bring the usurpers to account. Despite being subject to Prosperos control, Ariel is more than a mere instrument in the magicians plan. However, their later dialogue recognizes this Your charm so strongly works ’em That if you now beheld them, your affections, Would become tender Dost thou think so, spirit? The dialogue reminds audiences that Ariel is of non-human nature discussions foreshadow Prosperos redemption Mine would, sir, were I human. And mine shall The first-person language indicates the angelic nature and humanist values withheld in Ariel characterizing him as almost a human. Ariels compassionate spirit influences Prospero to feel tenderness to those who betrayed him learning that the rarer action is / In virtue than in vengeance . Similarly, Atwood recognizes the imprisoned soul however illustrating Prosperos lack of humanism in the delusions of Felix. Mirandas made a decision.
The third-person narration initiates the growing power of Miranda revealing the intricacies of the immersion of literature, Felix believes in. This is declared in Miranda doesnt like it when hes away so much implying here that Miranda is an actual, autonomous human being thought and feelings. The intertextual link between the spirit of Ariel and Miranda shows this power and Felixs solipsistic nature of grief. It reveals his desire to be needed by her She remains simple, she remains innocent. Shes such a comfort . He perceives an innocent version of Miranda because he can control it, much like how Prospero controls Ariel throughout the play. Perceiving a teenage girl with autonomy and agency that may not always agree with her father; she would therefore not be perfect . She shouldnt fritter herself away on a world of illusionsof vanishing rainbows, of bursting bubbles, of cloud-capped towersthe way he himself has done
The moment of self-reference alludes to another delusion it implies that Felix remains somewhat self-aware of his attachment to the ghost Miranda in his mind. While he recognizes the illusion of his own absorption in Shakespeares play by extension his obsession with revenge, he does not acknowledge his grief. Hence both Atwood and Shakespeare didactically explore the effect of the power of magic/literature both imprisoning and freeing the soul.
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