In Renaissance, the magus, the adept of natural magic, was considered a powerful man. He was not only aware of natural, mystical and magical phenomena but also of the “innate ideas within the mens”, which is the “intuitive, suprarational faculty within the soul”. He was seen as the good and white magician. Many scholars and intellectuals were either engaged in magic or at least knew about it. In the 16th and 17th century many writers, like Shakespeare and Marlowe, adopted the figure of the white or black magician in their works. In William Shakespeare’s “The Tempest” the main character is Prospero, who is a powerful magician, too. He uses his magical powers to govern all events on the island and wants to leave nothing to chance. In doing so he uses different tools for magical support. He is a master of a learned art which enables him to use magical equipment like books, a staff or a magic garment. Moreover he commands natural spirits to play out a mimesis, which makes nothing on the island what it seems to be. Nevertheless, all of these actions follow a higher moral function. Prospero’s morality is shattered after the usurpation and betrayal of his brother. With the help of the power that he has on the island, he wants to “purge the evil from the inhabitants of his world and restore them to goodness” (Egan 175). In this process he is often very short-sighted and so he mistakes his powers with godliness and humanity with goodness.
This paper wants to examine Prospero, the magus and thus asks the question, whether this figure depicts the natural magus of Renaissance times. Elementary to this examination is the assumption that Renaissance magic is real magic. People then considered their magic, miracles, spirits etc. real and not a trick. Thus when I speak about Renaissance magic, it is meant to be just as real as the people in Renaissance times considered it.
Table of Contents
1. Introduction
2. Magic in the European Renaissance
3. Prospero’s magic
4. Conclusion
5. References
Objectives and Topics
This paper examines the character of Prospero from William Shakespeare’s "The Tempest" to determine whether he functions as a depiction of the historical Renaissance natural magus. The investigation explores the interplay between moral philosophy, the nature of spirits, and the scholarly understanding of magic during the 16th and 17th centuries.
- The historical definition and perception of natural magic in Renaissance Europe.
- The distinction between benevolent natural magic and ceremonial black magic (necromancy).
- An analysis of Prospero’s relationship with his spirits, Ariel and Caliban, and his command of magical elements.
- The importance of moral vision and the role of providence in the identity of the Renaissance magus.
- The tension between Prospero’s artistic "mimesis" and the reality of his human flaws and emotional volatility.
Excerpt from the Book
3. Prospero’s magic
Research on Renaissance magic showed that there was no consistent definition of white and black magic. There existed multiple definitions and descriptions. However, there are some points that most of the scholars identify as either good or evil. Therefore, it will be those ideas shared by many that I will take into consideration for this examination. I will begin with studying Prospero’s magic in terms of his actions and then proceed with a further reflexion of the motivation and intention that underlie his art.
The previous chapter showed that it is difficult to find definitions for white magic, called theurgy, and black magic, also named goety. Moreover there was a dissent about which practices were considered good and evil. While some refused for example medicine, alchemy or astrology, others were even in favour of ritual ceremonies (see Zambelli). Prospero governs all the events on the island by commanding his earthly spirits. There are contemporary scholars who believe that only the fact that he dictates them implies that he must have gained his power through ceremonies, which aren’t depicted on stage (Mebane 177). Johannes Trithemius of Sponheim never considered himself a necromancer. Nevertheless, his natural magic is different from the ones Ficino and Pico describe. He puts focus on natural experiments and technology. Those have an artificial and playful nature and are less philosophical. Some see them as mimesis and as sleights of hand. However, there were many people who considered him a great, white magician (Goldhammer 39). The use of a book, a staff, a magical robe and of magic circles (V.1 33) hint to a form of ceremonial magic, too. Even if Prospero uses ceremonial magic, one can hardly convict him of practising black magic.
Summary of Chapters
1. Introduction: Outlines the research question regarding whether Prospero embodies the Renaissance natural magus and establishes the assumption that Renaissance magic was perceived as a real phenomenon.
2. Magic in the European Renaissance: Provides a historical overview of natural magic, its connection to science and philosophy, and the distinction between white magic and witchcraft.
3. Prospero’s magic: Analyzes Prospero’s specific practices, his relationship with spirits, and his moral evolution to compare his character with historical definitions of a magus.
4. Conclusion: Synthesizes findings to argue that despite his ambiguities and literary nature, Prospero serves as an accurate, complex representation of a Renaissance natural magus.
5. References: Lists the academic sources used to support the analysis of Renaissance magic and Shakespearean themes.
Keywords
Renaissance, Natural Magic, Prospero, The Tempest, William Shakespeare, Magus, Theurgy, Goety, Spirits, Providence, Moral Vision, Hermetism, Neoplatonism, Mimesis, Renaissance Science
Frequently Asked Questions
What is the core subject of this paper?
The paper explores the representation of magic in William Shakespeare’s "The Tempest," specifically analyzing the protagonist Prospero as an embodiment of the Renaissance natural magus.
What are the central themes discussed in the text?
Central themes include the distinction between white and black magic, the intersection of religion and science in the Renaissance, the moral responsibility of the magus, and the use of spirits within magical practices.
What is the primary research goal?
The primary goal is to examine whether Prospero depicts the historical archetype of a Renaissance natural magus, considering both his magical performances and his philosophical motivations.
Which scientific methodology is applied here?
The author uses a qualitative literary analysis, contrasting Prospero’s actions and character development with historical scholarly definitions of magic provided by experts like Goldhammer, Mebane, and Zambelli.
What topics are covered in the main section?
The main section investigates the lack of a universal definition for magic, the significance of Prospero’s book and staff, his manipulative use of spirits like Ariel and Caliban, and his ultimate goal of restoration through providence.
Which keywords characterize this work?
Key terms include Renaissance, Natural Magic, Magus, Theurgy, Goety, Providence, and Mimesis, which reflect the academic context of the study.
How does the author define the relationship between Prospero and his spirits?
The author notes an unusual hierarchy where Prospero treats his spirits as slaves rather than dangerous entities, which deviates from typical Renaissance grimoires but reflects his overarching moral mission.
Why is the "Ye Elves" speech significant for the analysis?
The speech is significant because it highlights the ambiguous nature of Prospero’s art, mentioning practices that border on necromancy while simultaneously revealing the character’s inner transition toward rejecting his "rough magic."
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- Juliane Strätz (Autor:in), 2012, The magician Prospero in Shakespeare's "The Tempest". A true Renaissance "magus"?, München, GRIN Verlag, https://www.grin.com/document/279285
