The Tempest Reaction Post

            Many critics debate over the category of romance for Shakespeare’s plays; however, it is clear to me as I read the parameters set for romance plays that the Tempest is a prime example of one of Shakespeare’s romances. Not only does The Tempest not quite fit into the parameters of comedy or tragedy, but it also has clear elements that link it to the other plays deemed as romances.

            Take his commonly known comedies, for example. Many of us have read some of these plays, such as Twelfth Night and Midsummer’s Night Dream, and can attest to the fact that they fit into the comic parameters of a lighthearted and comic plot, along with developed characters who all magically get a happy ending (not necessarily literal magic, more like deus ex machina). The Tempest does include some of these elements, such as Prospero’s quick change of heart leading to everyone’s happiness, even Caliban’s. However, there are many elements of The Tempest that disqualify it from the category of comedy, most notably its serious plot. Almost all of the characters in the Tempest deal with serious issues such as family betrayal and the threat of death throughout the entire play, which is uncharacteristic of a comedy.

            On the other hand, The Tempest does not fit into the category of tragedy either, most notably because no one dies at the end. As Schwartz describes, “While tragedy emphasizes evil, and comedy minimizes it, romance acknowledges evil -- the reality of human suffering” (Schwartz). Unlike comedies, the Tempest does not minimize evil with a comic and light-hearted plot, as we can see through the several accounts of brotherly betrayal, such as when Antonio suggests to Sebastian that they kill Alonso and “lay (him) to bed forever,” so that Sebastian can become King of Naples (Shakespeare, 90). However, The Tempest does not emphasize evil either, because not only do Sebastian and Antonio not kill Alonso, but Prospero also decides to throw away his magic and spare everyone in exchange for regaining his Dukedom. Evil is definitely present in this play, and plays a large part in many of the main character’s motives and even small actions, such as Prospero’s poor treatment of Caliban, but the evil does not consume all, so The Tempest really does not fit into the category of Tragedy either.

            Even more importantly, though, The Tempest fits perfectly into the parameters for a Shakespearean romance. Even by simply looking at Schwartz’s six main characteristics of Shakespearean romances, we can see that the Tempest is a perfect fit. First of all, the play begins with a back-story of brotherly betrayal, dating back for almost the entirety of Miranda’s life, which cause the current scenes to unfold. As the play continues, we see more and more Shakespearean romance elements, such as the dichotomy between the civilized characters and the uncivilized Caliban, the improbably magical Ariel, and the virtuous love between Ferdinand and Miranda. Finally, the play culminates with a happy ending and theme of redemption through Prospero forgiving his brother and taking back his Dukedom.

Works Cited:

Schwartz, Debora B. "Shakespeare's Four Final Plays: The Romances." 2005.Web. 14 January

2015.

Shakespeare, William. The Tempest. New York: Barron’s Educational Series, 1985. Print.