Although a quality text will explore universal human concerns, all texts are

fundamentally influenced by the values of the respective composer’s context,

and therefore will not easily transcend time without the act of appropriation. Shakespeare’s play, The Tempest, has enduring value as it both reflects and criticises the standard perspectives of his Jacobean era. Margaret Atwood has effectively appropriated this text within her novel, Hag-Seed, by adapting

Shakespeare’s concerns to a modern era and utilising it to critique her own

societies context. Atwood transposes the exploration of the treatment of marginalised people from the ostracised figure of Caliban to the disadvantaged group of prisoners that Felix seeks to direct. She also translates Shakespeare’s temporal commentary of gender roles within the patriarchal society of 17th century England as depicted through Miranda, into the feminist character of Anne-Marie. Finally, Atwood has reflected the provocative discoveries made by Prospero, as he experienced a reassessment of previous perspectives in order to evaluate new perceptions, through Felix, who undergoes a similar

transformation of self. In this respect, Atwood’s text transcends time through

effectively becoming a portal which draws values from the Jacobean era and translates them so that modern audiences can reflect on themselves and their society.

PARAGRAPH 1: Shakespeare’s play, The Tempest, explores the colonial expansion that took place during the 17th century and the vexed relationship between the ‘explorers’ and the indigenous, as the impacts of colonialization began to permeate the common beliefs of society. The negative insinuations

associated with indigenous groups becomes evident within the text when Prospero, the embodiment of European colonisation, uses a zoomorphic description of Caliban to present him as a creature less than human, “not honoured with human shape” in which Shakespeare satirizes the ethnocentric view of white ‘explorers’. The view of indigenous people is depicted again

through Prospero, who uses bestial imagery to describe Caliban’s birth; ‘did

litter here’ which effectively reduces Caliban to the level of an animal. These negative stereotypes regarding natives are continued, made evident through the discriminatory language Prospero regularly uses in regards to Caliban; ‘Hag-Seed hence’. However, although The Tempest clearly reflects the social mores of the Elizabethan context in regards to colonialization, Shakespeare

also presents the notion of a ‘noble savage’ as advertised in philosopher Montaigne’s essay, “Of cannibals.” Shakespeare effectively utilises this

perspective, portraying Caliban as an oppressed and sympathetic character, evident where he expresses his rightful claim to the island, using authoritative

language to state that “this islands mine by Sycorax my mother.” This positive

and empathetic view of natives is continued throughout the play, seen in

Caliban’s speech where he uses sensory imagery to describe the beauty of the Island; of its “sounds and sweet airs.” This reinforces the view of a ‘noble savage’ living in complete harmony with their surroundings. Overall,

Shakespeare has both reflected the common views of his context whilst providing an opposing view of colonialization, allowing for a complex, nuanced approach. (283 words)

PARAGRAPH 2: Atwood’s contemporary text, Hag-Seed, clearly resonates with The Tempest in its obvious exploration of the treatment of marginalized

groups. However, the views of colonialization are clearly dissonate between the two texts due to a progression in societal values, as seen through Felix’s

metonym which presents Caliban as more “than just an ugly face”. Atwood’s

clear purpose has instead, been the appropriation of this text to critique her modern Canadian context and its treatment of prisoners within the penitentiary system. Atwood enables Felix as a personal criticism of the

persecutions that inmates often face, evident where he states that he “refused to call them prisoners.” The congery enabled here is used to reflect that Felix

refuses to see them as a collective marginalized group but instead as

persecuted individuals. Moreover, Atwood’s inclusion of clichés such as “White

collar crook”, emphasizes the often uninformed perspective of inmates, which ultimately reduces them to a stereotype. However, Caliban has also been

utilised, despite being “bound to raise uncomfortable ideas”, as a connotation

used to indicate that both the prisoners and Caliban are imprisoned, either literally or figuratively, further displaying how the two texts resonate. Atwood’s strong-held views on the penitentiary system is made evident in a speech she made about the closure of six Canadian prison farms, a program intended to offer rehabilitation, where she uses a simile to state that “the

decision is also dumb as a stump”. Thus, through this appropriation, one could draw the conclusion that by translating Caliban’s figurative imprisonment to

the inmate’s literal incarceration, Atwood has effectively and timelessly,

criticized the way in which we as a collective society treat minority groups. (273 words)

PARAGRAPH 3: Although a quality text will explore universal human concerns, all texts are fundamentally influenced by the values of the respective composer’s context, which is illuminated through the portrayal of gender roles within The Tempest, exhibiting how women’s status’ were shaped during the

Elizabethan era. These patriarchal ideals are heavily noted, especially with the appearance of the single female character, Miranda. Prospero certainly loves his daughter, just as she does him, evident in the loving tone within, “My dearest father”, but their relationship is an unequal one. His use of language indicates that he holds the power, seen in his consistent use of commanding

tone, where he orders her to “obey and be attentive”. Prospero consistently reinforces the control he has over Miranda in “I pray thee mark me” where

repetition is seen in the similar statements that are made at the end of every speech, through which he condescendingly questions her attention and obedience towards him. He further demonstrates the power he has over her

by putting her to sleep; “thou art inclined to sleep”, although seemingly

suggestive, his words have the power of taking away her agency and rendering her helpless within their unequal relationship. As demonstrated within

Miranda and her father’s relationship, their family life is centered on the

traditional patriarchal paradigm where women belonged to their fathers or husbands and were thought of as property or nuptial economy. Earlier in the

play, Prospero describes Miranda as a ‘prize’, a metaphor which objectifies her

as his property and assigns a certain value to her. In Shakespeare’s time, a common law denied a woman independence by making her a moveable possession, to be passed from father to husband. Prospero’s actions are a

subtle evocation of this exchange. Thus, through the character of Miranda, Shakespeare efficiently conveys the stereotypical notions which shaped his societies unjust, treatment of women. (308 words)

PARAGRAPH 4: Hag-Seed effectively acts as a criticism of Shakespeare’s

context in regards to gender roles within society, seen within Atwood’s reconstruction of Miranda into Anne-Marie; a motivator of action rather than a receiver of a patriarchal power. It is through recreating Shakespeare’s Miranda

that Atwood is able to explore a more three dimensional character rather than

being confined to the frame of femininity. This revival of Miranda’s prefeminist character is evident in the juxtaposition present in “he was never

ready when a slice of filth came out of her child-like mouth” which is reminiscent of Anne-Marie’s brash and multidimensional personality, which ultimately rescued her character from the patriarchal stereotype that confined Shakespeare’s. Anne-Marie continues the metaphor of a placid 2-dimensional

view of Miranda, stating that the prisoners “talk as if Miranda is just a ragdoll”, emphasizing the point that through the introduction of a feminist

context, a much more multifaceted character is created. This view of a less subservient character is continued through Anne-Marie’s colloquial language

within various statements including; “Being a girl is the pits, trust me”, and “Don’t blame me, blame my fucking hormones”, where each time she enables

a hard edge to her voice, which is extremely uncharacteristic of Shakespeare’s

classic Miranda, who is portrayed as soft and delicate with classical ‘feminine’

attributes. Overall, Atwood has effectively adapted Miranda and the patriarchal doctrines that confine her into a multifaceted character who displays the transition feminism has undergone. (241 words)

PARAGRAPH 5: Through the inoculation of newfound discoveries and contemporary ways of thinking; beliefs, identities and central human notions,

have been morphed and transmuted. The Tempest commutes such principles through the underlying character of Prospero, who was usurped from his position as Duke of Milan by his own brother, Antonio. Initially consumed with

the preconception of prioritising knowledge within his ‘magic books’, Antonio’s

betrayal awakens Prospero to the reality of realpolitik, an awareness that he

expresses metaphorically; “off all the world I loved, he was the ivy which sucked my verdure”. Transformed by this betrayal, Prospero becomes a creature of tyranny whose threats of violence: “I’ll render and oak and peg thee”, demonstrate the negative consequences of innate vengeful spite.

However, as the play progresses, Prospero is gradually able to rediscover his humanity. Through the effect of the masque, which is a materialisation of

Prospero’s power, there is a collation of the character’s resolves, which further

elucidates the overall notion of forgiveness. This is further re-enforced by

Ariel’s plea, “Your affections would become tender” which awakens a sense of

mercy and compassion inside of Prospero. This is achieved through a sympathetic tone which questions his morality, as Ariel, a spirit, felt mercy

towards them in opposition to his own state of mind. “Passion as they, be kindlier moved then thou art?” Hence through a sincere tone, Prospero

undergoes anagnorisis where he discovers his error, from which he is able to

move to “virtue”, reassessing his desire for revenge. His emotional revelation

positions the reader to appreciate mercy, acknowledging that newfound discoveries of self can engender extensive insights, thus morphing pre-existing ideas and beliefs. (271 words)