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Thesis-1965-R318w.Pdf (13.15Mb) WATER-IMAGERY IN -----THE TEMPEST By LINDA FL.ASCH REDMAN,,, Bachelor of Arts Oklahoma State University Stillwater, Oklahoma J.962 Submitted to the fa.culty of the Graduate School of the Oklahoma State Un5.vers.ity in partial fulfillment of the requirements for the degree of MASTER OF ARTS August, 1965 OKLAHOMA STAiE UNIVERSllY LIBRARY .. •'. NO\J 23 1965 .. ~L, _...,., ...~-· .. ..,~··· ·-·~····"'~····"".. .,., ,.. ,.. "' . ., ,. .... WATER-IMAGERY IN THE TEMPEST Thesis Approved: Thes [; fJlm1+0: ,N-y IJ!Jft -~ . ii fi~2n46 PREFACE That Shakespeare was familiar with Holy Scriptures is well known. He often deals with Biblical ideas, and many studies have been made showing Biblical reflections in characters, themes, and plots of his plays. Somewhat overlooked has been the influence on Shakespeare of Biblical water-imagery. Many Bible passages illustrate an association of moral evil with large bodies of water, and the purpose of this study is to examine Biblical passages which prove that such an idea does exist in both Old and New Testaments, and in the Apocrypha--all of which were well known and much referred to by Shakespeare; then to show Biblical influence upon~ Tempest, through a study of characters, through a study of references to and descriptions of the scenery, and through a discussion of the action of the play. In presenting a new statement of source and theme, I have not intended to contradict or discount all other sources and themes in the field. It is probable that Shakespeare used ideas from several sources in writing this play; indeed such is to be speculated from~ Tempest, considering the complex structure of its characterization and action. I want to acknowledge my thanks to Dr. Davids. Berkeley, whose suggestion led to the formation of my thesis, and to Dr . Samuel Woods, Jr., whose considerations have strengthened my paper through revision, for their valuable guidance in the writing of this study. I am also iii indebted to the librarians of the Oklahoma State University who assisted me in obtaining the Geneva Bible and other necessary works. iv TABLE OF CONTENTS Chapter Page I. INTRODUCTION bftcl80 d O O O -ti O O O • • • • • 0 • • • • • 1 II. BIBLICAL WATER-IMAGERY IN -----THE TEMPEST. o • • • • • • • • • • 10 III. CALIBAN AS LEVIATHAN IN BIBLICAL WATER-IMAGERY. • • • • • • 35 IV. PROSPERO AS THE LORD IN BIBLICAL WATER-IMAGERY. • • • • • • 68 v. CONCLUSION • 0 0 o o e o 0 0 0 0 0 0 0 Q • 6 0 0 oooootl 95 SELECTED BIBLIOGRAPHY • • • • 0 0 0 0 • • 0 • 0 0 • • • • • • • • • 107 v CHAPTER I INTRODUCTION As one of Shakespeare's last plays, ~ TeTPest has received special attention. It has been generally accepted that Shakespeare, not copying any one source, used his own genius for the major ideas in the play, and created characters accordingly, relying only incidentally on outside sources. However, study to clarify such "sources" has produced much confusion regarding the basis of the play' s action, characterization, and plot. Only through careful study of the play can one discern which of the conjectured sources bear significance. I believe that the Bible should be considered a chief source for The Tempest, since many vivid parallels of Biblical water-imagery are found in the water-imagery of this play--in characterization, in setting, and in theme. Indeed many sources have been offered for this play , of which the two works most often pointed at are Jakob Ayrer' s E.!:!. Schone Side a and Antonio de Eslava's Primera Parte .9!. ~ Noches de Invierno. Although much discussed as sources, these are generally regarded as only of minor--if indeed of any--signif icance. It is often conjectured that these and~ Tempest were from yet another, a common, source. 1 Also receiving much attention as a possible source has been the manuscript letter written by William Strachey, !:_ ~ Repertory ~~wrack, ~ redemption .2f ~ Thomas Gates, Knight; upon, ~ !!2!!:. ~ island .£!. 1 2 the Bermudas. This letter, although first printed in 1625, is dated July 15, 1610; and many speculate that Shakespeare saw it in circulation prior to the writing of 21!! Tempest. Certainly the timeliness and availability of this letter assist in the acceptance of it as a source, but the main plot and the major characters go beyond the mere parallels of setting between this letter and the play. A recent article by Sharon L. Smith is quite clear in defining the status of much of the scholarship concerned with these and other works cited as sources for ~ Tempest . She establishes that each of the works thus far offered as being contributors to Shakespeare's play had only minor influence, if any certain effect, on Shakespeare's writing of this play. 2 She offers that no work thus far discussed presents as many parallels in 21!! Tempest as the commedia ~· ~· Nevertheless, I believe that these scenari could not be considered as major sources for 21!! Tempest either, although like the others they may have been of incidental importance to Shakespeare. The parallels Miss Smith mentions as existing between the scenari and the play are not comprehensive enough to explain the total action of the play. Even though she points to numerous parallels, most relate only to the "magic" used or referred to in the play: magic circles, a magic wand, magician's books (stolen by rogues), a magician with absolute power: he can become invisible, he can cast spells. 3 The plot, the main characters' actions, and indeed the important part of the setting, the water-imagery, do not figure into these parallels, and it is necessary that any major source should explain all import ant parts of the play. Although critics do not agree that any of the works thus far presented in Te!11Pest criticism should be considered as a major source, 3 each work may have had some part in the suggestion of minor details given in the play. It is clear that none of the sources thus far discussed has enough important parallels in the play to be dealt with as a chief contributor to Shakespeare's development of ~ Te!11Pest. Primarily because no single, comprehensive source has been found for the plot of this comedy, as have been found for other Shakespearean plays, interpretations of this play, based on possible influences from different sources, have shown much freedom, especially evidenced in the large number of symbolical and allegorical interpretations. However, as this thesis shall reveal 11 the play does make use of a large number of Biblical parallels and on the basis of such, I believe that the Bible should be regarded as a major source of the play and that an interpre­ tation of the play should be drawn with this in mind. One cannot deny that the water-imagery (including the tempest-imagery) of the play pervades all thought, all action of the play, and even the name of the play. That this imagery reflects the water-imagery given in the Bible will be discussed in the following chapters which demonstrate Shakespeare's handling of the setting, the characterization, and the plot--as relevant to the play' s water-imagery. Several Tempest critics have recognized certain Biblical allusions or parallels in the play; yet none of these recognizes a unified employment of such allusions in directing the theme of the play, nor considers the obvious Biblical reflections to be of major importance in delineating characterization or purpose of action of this play. One critic, Miss Honor Matthews 11 points out that "The theological overtones are very clear in ~ Tempest because of the close juxtaposition of the words grace and gods--a juxtaposition merely fortuitous when taken in 4 the context of plot or character, but significant in the realm of ideas. 114 Even in this acknowledgment Miss Matthews does not recognize the importance of the Biblical parallels in the major characters nor those reflections regarding the over-all action of the play. She connects these rather with extra-Biblical and pagan influences: The Tempest contains a full reflection of the Lucifer "ieiend treated in the manner of a double fugue, with the assassination of Prospero and Alonso plotted by the Janus figure of Antonio-Sebastian and paralleled by the counter-subject of Caliban's rebellion. 5 Although the actions and thoughts of the characters are quite significant to Miss Matthews, she does not relate them to the water-imagery in the Bible. In another consideration of the significance of certain characters in this play, Douglas Bush refers to Prospero' s "brief summary of the human condition116 in his speech regarding the dreamlike nature of men's lives and the figure of death as sleep. On the basis of the Christian ideas of death as temporary, as a sleeping, Bush calls the play a "miracle" play; but he does not dwell at length on any other feature of~ Tempest which would help justify this classification. Appar­ ently he misses entirely the vivid Biblical parallels in the play' s water-imagery and the fuller Christian thought suggested by the action of the characters. Roland Frye, too, recognizes an association in~ Te5?est of sleep and death that presents the Christian and therefore, Biblical, association regarding death; 7 but he, like Bush, does not elaborate on further Biblical parallels. Miss Caroline Spurgeon adds that the use of prayer in the play is in accord with Biblical uses. She notes that 5 prayers in ~ Tempest are uttered to bring mercy, peace, and calm to the people. 8 She associates the use of prayer with the function of music in the play; but she fails to emphasize the significance of the prayers as relevant to the theme of the play, as part of the water- imagery influenced by the Bible.
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