‘The Tempest’ and ‘Hag-Seed’ dialogically focus the reader on imprisonment. This is evident literally in the setting and the predicament of the characters but it also is a construct of the characters and their mindsets. To what extent do you agree with this statement? In your answer refer to your two prescribed texts ‘The Tempest’ and ‘Hag-Seed’

The complex and provocative amalgamation of the universal themes of revenge, tragedy, comedy and romance within Shakespeare's ‘The Tempest’ has inspired many modern authors, such as Margaret Atwood’s adaptation of this text, ‘Hag-seed’. Both texts explore the metaphorical and literal means of imprisonment. They also highlight the damaging consequences revenge can have on a person, and the rejuvenating effect forgiveness has, reflecting the importance of christian values during the elizabethan era. Power and control is interwoven into both texts, acting as the driving force for the characters to further their objectives. These prevalent themes in ‘The Tempest’ have been reshaped in ‘Hag-Seed’ to recapture the complex mindsets of these characters in a modern setting. Imprisonment is a central theme evident in both texts, entrapping characters within their own mindsets or within their setting. In ‘Hag-Seed’, Felix imprisons both himself and Miranda within his thoughts, punishing himself, as well as attempting to make amends for Miranda’s death. “When she was eight, he taught her to play chess” ​ Dramatic irony is used to convey the effect this self-imprisonment has on Felix, that ​ without Miranda, he is slowly losing his sense of reality. The textual allusion draws the ​ ​ reader's mind towards the Tempest, and Ferdinand's love for Miranda. Except in this context, it’s alluding to the love Felix has for Miranda, so much so that he will imprison them both together, away from society.Prospero and Miranda have physically been imprisoned in an uninhabited island, yet Miranda has kept his mind free and sane. “O, a ​ cherubin Thou wast that did preserve me. Thou didst smile Infused with a fortitude from heaven”. An asyndeton was used to emphasize the effect Miranda has had on his will ​ ​ ​ to live. A hyperbole was used to convey that it is Miranda that has kept him grounded ​ ​ during their shared imprisonment on the island. An undiscovered island was used as ​ their place of imprisonment to reflect the Age Of Exploration occurring in Europe during the 17th century, involving the audience further within the play. So while Miranda was ​ the cause of Felix’s self-imprisonment, she was the cause of Prospero’s lack thereof. The cause of Prospero’s self - imprisonment is the detrimental resentment he holds towards Alonso, as well as the guilt he has of which the matter is unknown to the audience. “Let your indulgence set me free” The double entendre in this statement ​ ​ ​ ​ ​ ​ refers not only to Prospero’s letting go of the guilt that is keeping him imprisoned on the island, but also Shakespeare letting the audience go. He is asking the audience to free ​ him from the burden of writing, but also for forgiveness for abandoning it. This line is ​ echoed in Hag-Seed “What was he thinking - keeping her tethered to him all this time?... ​ to the elements be free.” This textual allusion provides closure for Felix, similar to how ​ ​ ​ it did for Prospero and Shakespeare. The motif of the elements within his Internal ​ ​ ​

monologue was used to highlight the struggle Felix had to let both Miranda’s ghost and ​ himself free. It is through reflection individuals are able to set themselves free from their own entrapment. Retribution vs forgiveness is another universal theme found within both texts, entrapping the characters within their own motives. In ‘The Tempest’, Caliban is bitter and vengeful towards Prospero for stealing the island and making Caliban his slave. “Yea, yea, my lord, I’ll yield him thee asleep, Where thou mayst knock a nail into his head” Repetition and an asyndeton is used to convey the bitterness and betrayal ​ ​ ​ ​ Caliban feels, and how he yearns for retribution against those who have wronged him. This again relates to the age of exploration in the 17th century, and the treatment of the natives on islands invaded by Europe, who were often sold into slavery. Hag-Seed also ​ incorporates the effects of colonialism being felt today through Historical allusion. ​ “Plus he’s a land stealer,” adds Red Coyote. “Suckin’ old white guy. He should be called Prospero Corp. Next thing he’ll discover oil on it, develop it, machine-gun everyone to keep the off it.” Red Coyote has an indigenous background, and his clear distaste for ​ ‘land stealers’ are emphasised through a tricolon and the connotation of his words, ​ ​ ​ ​ and although Red Coyote is not actively seeking revenge, he is vengeful towards those who have wronged him and his ancestors. Although Felix after executing his revenge, forgives those who have wronged him in the past. “That said, under these conditions I ​ pardon all of you, and we’ll let bygones be bygones.” An asyndeton and metaphor ​ ​ ​ ​ convey Felix’s indifferent attitude towards the extreme approach he took towards his revenge. He still assumes its their apology he needs, not vice versa. Revenge had consumed him, and its effects are still prevalent during his forgiveness. Felix represents Atwoods cynical approach towards humanity, whereas Shakespeare embraces Christian values throughout his writing. “Yet, with my nobler reason, ‘gainst my fury Do i ​ take part. The rarer action is In virtue, than in vengeance…. Go, release them Ariel.” An ​ asyndeton and euphony are used to convey the uplifting tones in this scene, ​ ​ ​ conveying the healing and angelic effect it has on a person, releasing their burden, being heavily influenced by Christian values. Retribution and forgiveness don’t have to labeled as bad and good, negative and positive, as forgiveness cannot always be achieved. Forgiveness is a Christian notion, and retribution is therefore a negative emotion, which is shown throughout the Tempest. Atwood shows the difference between being unable to forgive someone, and being unable to let go, letting vengeance consume them. Power and control is another fundamental theme within both texts, acting as a drive to obtain their objectives, further imprisoning themselves in their own mindsets. In the Tempest, the characters mindset regarding women were restricted, not allowing their characters to fully develop, as this story arc was imprisoned by the 17th century’s views on women. “Then, as my gift, and thine own acquisition Worthily of purchase, ​

take my daughter”. A metaphor alluding to an exchange of goods reflects the earthy ​ ​ ​ 17th century mindset, with women (daughters) considered property of their fathers until they were married - wherein the ownership would then transfer to the new husband. ​ Within the tempest, Miranda’s choices were never her own, always being controlled either by Prospero or Ferdinand. In Hag-Seed, Anne-Marie provides an alternate reading of the character of Miranda that reflects a feminist, 21st century context. “You’re ​ talking as if Miranda is just a rag doll (...) But it wouldn’t be like that”. A metaphor and ​ ​ ​ connotation are used to show Anne-Marie’s enthusiasm as she adds her own feminist ​ sub-plot into the play, as the text portrays her as free. Yet she it still controlled - albeit unknowingly, and not to the extent Miranda was in the tempest - by Felix and the prisoners during the revenge plan. Miranda’s spirit was also controlled by Felix - illusionary control and the inability to allow a soul to rest. The women in both texts were controlled, unable to forge their own fate, only the level of this control was era appropriate in both texts. In the Tempest, Prospero does have the power to shape his own fate, as well as everyone else's. “The Duke of Milan And his more braver daughter ​ could control thee If now ‘twere fit to do’t” Dramatic Irony is used to show Prospero’s ​ ​ ​ superior knowledge of events happening on the island, as well as reveal his plan to use Ferdinand’s love for Miranda to control him. This foreshadows how the play will unfold, ​ ​ and Prospero’s hand in it. This mirrors the unfolding of humanism in 17th century ​ England, as Prospero fate has not been predetermined by a higher force, he has power over his own fate. In Hag-Seed Felix mirrors Prospero’s power over his fate, as well as ​ the other characters. “Felix waits until she’s gone. He lowers his voice.” “If you can fix ​ up what I have in mind (...) I’m pretty sure I can get you early parole.” The verb choice ​ ​ choice of ‘lower’ modifies the audiences’ impression of the conversation that Felix is about to have with 8Handz, signifying its importance and revealing that Felix has a very thorough plan set out to reclaim control of his life, as well as regain his position of head director. Present tense is used to show the power he has over how future events will ​ ​ unfold. The universal themes of revenge, tragedy, comedy and romance within Shakespeare's ‘The Tempest’ has, and will continue to inspire modern authors and their works, such as Margaret Atwood’s adaptation of this text, ‘Hag-seed’. Both texts explore the different forms of imprisonment, either within their own minds or in their environments. They also highlight the effects revenge and forgiveness have on a person, being either detrimental or elating. Power and control acts as the driving force, encouraging the characters to further their objectives, and consequently further imprisoning themselves in their own mindsets. These prevalent themes in ‘The Tempest’ have been reshaped in ‘Hag-Seed’ to recapture the complex mindsets of these characters in a modern setting.