Shakespeare’s final play, The Tempest, revisits the same motifs of judgment and punishment present in his tragedies. However, he depicts them in a redemptive rather than vindictive light. Through characters such as Prospero, Ariel, Caliban, and Ferdinand, Shakespeare connects judgment with responsibility and the play’s ethical presuppositions with the willingness to forgive.
The character Prospero serves as the play’s central figure of authority and judgment. He is a deposed Duke who was punished through exile for giving his political responsibilities to his brother Antonio. While an exile, Prospero has planned to judge his brother for this wrong and intends to use magic. Magic is an odd means of judgment, however. It entails hidden knowledge, something someone can only master after time. It also implies the power to do good. Look at how Prospero talks about freeing his servant Ariel from the power of Sycorax: “It was a torment / To lay upon the damn’d, which Sycorax / Could not again undo.” Prospero knows Sycorax’s punishment was harsh because he has the power for such punishment; he also has the power to heal, as it was his power that set Ariel free. Early in the play then, the dichotomy is set before Prospero. Will he use his magic for harm or redemption?
Prospero is willing to use magic to punish in his interactions with the enslaved Caliban, who is often at the receiving end of Prospero’s wrath. The judgment of Prospero and the consequent punishment meted out to Caliban are summarized in the lines, “Thou most lying slave, / Whom stripes may move, not kindness!” and “therefore wast thou / Deservedly confined into this rock, / Who hadst deserved more than a prison.” These lines highlight the punitive approach Prospero takes with Caliban. Judgment requires the responsibility to mete out justice. Prospero here does not give any slack to Caliban after he attacks Miranda.
The act of forgiveness plays a vital role in Prospero’s judgment. In the play’s final act, he acknowledges his responsibility to Caliban. “This thing of darkness, I acknowledge mine.” Of course, Caliban immediately fears reprisals: “I shall be pinched to death.” Instead, Prospero demands that Caliban clean his quarters, and he will receive a “pardon.” Finally, Prospero deals with the central problem in his life: how to deal with his brother’s betrayal. Ultimately, with the bidding of Ariel, Prospero chooses to forgive those who have wronged him: “Though with their high wrongs I am struck to the quick, / Yet with my nobler reason ‘gaitist my fury / Do I take part: the rarer action is / In virtue than in vengeance: they being penitent, / The sole drift of my purpose doth extend / Not a frown further.” These lines show that Prospero uses his ability to judge to punish and forgive, signifying a profound understanding of the human condition and the power of compassion.
Shakespeare intertwines the theme of judgment and punishment with the symbolism of garments, which appear as external markers of authority. Antonio, Prospero’s brother, remarks, “How well my garments sit upon me; Much feater than before: my brother’s servants / Were then my fellows; now they are my men.” Of course, Antonio’s close fit well because of Prospero. Antonio got his power illegitimately in Milan, and even now, his clothes fit and bear no sign of the storm because of Prospero’s magic. On the other hand, Prospero has a mantle that reinforces the connection between appearance, authority, and the power to judge. When he unleashes the storm on his brother Antonio and his men, he does so while donning his “magic garment.” This clothing acts as an outward manifestation of Prospero’s power to judge and execute punishment. It’s important to note that while Prospero forsakes his book and breaks his staff, he does not mention abandoning his robe. Now that he’s offered a judgment on his brother–a forgiving one–and is returning home as Duke, he will keep the robe of judgment and won’t use magic to perform that role. He only needs experience.
The difference between this play and a tragedy like King Lear is worth considering. After losing his kingdom due to poor judgment, Lear is a poor wretch without his kingly attire trapped in the wind and rain. In that play, the forgiveness comes from Cordelia, who forgives her father for his lack of proper judgment. However, the consequences for both Lear and Cordelia are dire. They lose their lives at the hands of those in power. Cordelia can forgive her father, but she cannot save herself. Lear can reconcile with Cordelia, but he cannot regain his kingdom. In The Tempest, Prospero forgives, leaves the island, and arranges for a marriage between his daughter and the son of another nobleman. The play’s emphasis is less on vengeance than redemption.
In conclusion, “The Tempest” presents a differently shaded discourse on judgment and punishment than he does in a play like King Lear. Through the characters’ interactions, Shakespeare explores the inherent power dynamics and moral dilemmas involved in judging and meting out punishment. Through this exploration, we are reminded of the complexity and responsibility that comes with wielding power and the critical role that compassion plays in judgment.
Experiments in Criticism 