'Thy thoughts I cleave to...' The Tempest, Act 4, Scene 1
Ariel: A Figment of Imagination?
PROSPERO
[...] Sir, I am vex'd;
Bear with my weakness; my, brain is troubled:
Be not disturb'd with my infirmity:
If you be pleased, retire into my cell
And there repose: a turn or two I'll walk,
To still my beating mind.
FERDINAND AND MIRANDA
FERDINAND AND MIRANDA
We wish your peace.
PROSPERO
Come with a thought. I thank thee, Ariel: come.
ARIEL
Thy thoughts I cleave to. What's thy pleasure?
Only a small extract today, but in order to test the theory that has grown from reading these lines, I will draw on other scenes from The Tempest throughout this feature.
On 14 October 2016, as a part of a literature festival held at my university, I went to a talk entitled: 'Oh brave new world: re-imagining Shakespeare for a digital age'. The subject was the highly-anticipated RSC production of The Tempest, and one of the speakers was Sarah Ellis, the RSC's Head of Digital Development. The talk was very insightful, and made me all the more excited for the show (which I went on to see three times). One point that Sarah made really stood out: that the digital version of Ariel allowed for an interpretation that the sprite was only a figment of Prospero's imagination - sometimes more solid, sometimes more intangible.
In the above extract, Prospero summons Ariel 'with a thought', and the spirit claims to 'cleave to' Prospero's will. The servant lives so intertwined with his master's thoughts that they almost operate as one - it is not difficult to suppose, then, that Ariel could have sprung from Prospero's imagination. This is something I would like to explore a bit further, and test against instances in the text to see how far this interpretation could be taken.
Ariel as imaginary friend.
First, to consider why a man in Prospero's position might dream up such a figment. The most obvious answer would be for friendship: Prospero has been trapped on the island for twelve years, with only his infant daughter and the creature Caliban for company. With both only just beginning to learn his language, and neither truly understanding his past torments, how long might it have taken for the magus to conjure up a sprite which whom he could converse and confide? The tender language Prospero uses when speaking to Ariel - 'spirit, fine spirit', 'I shall miss thee' - affirms that whatever his other uses, Ariel's creation first and foremost gave Prospero a friend.
Ariel as accomplice or apprentice.
Though Prospero claims he neglected all other company when he was Duke of Milan, there is still the possibility he was planning to pass on all of his knowledge to an apprentice (possibly Miranda, when she was older). Losing his dukedom, his home, and all he knew, may have spurred him to secure his legacy through passing on his learning. With Miranda being too young, and Caliban too untrustworthy, Prospero seems to relish sharing his craft and doling out tasks to his imaginary spirit:
Hast thou, spirit,
ARIEL
To every article.
I boarded the king's ship; now on the beak,
Now in the waist, the deck, in every cabin,
I flamed amazement
[...]
PROSPERO
Ariel, thy charge
Exactly is performed; but there's more work.
I boarded the king's ship; now on the beak,
Now in the waist, the deck, in every cabin,
I flamed amazement
[...]
PROSPERO
Ariel, thy charge
Exactly is performed; but there's more work.
Ariel is (by Prospero's design) a keen learner. In the lines above, he appears as an apprentice trying to impress his master. A similar dynamic can be seen when Prospero and Ariel work together to conjure the monstrous hounds, and the goddesses during the masque. The magic is all Prospero's - but the lonely magus imagines a spirit doing his bidding and helping him with tasks, learning from him and even exceeding his expectations.
Ariel as headache.
But as well as impressing Prospero, Ariel also proves a source of frustration for his master. This is most evident in Act 1, Scene 2, when Ariel demands his liberty, and Prospero rebukes him by reminding him of the great debt he owes. One question arises: if Ariel is a figment of Prospero's imagination, why would he be so disobedient and surly? Why wouldn't the magus imagine up the perfect attendant instead? Perhaps Ariel channels Prospero's subconscious, and his bids for freedom express the man's own longings to be free of the island. Perhaps Ariel's rebellious spirit reflects Prospero's concerns over Miranda's growing vivaciousness (where, if he cannot hold onto the adolescent Miranda, he can at least control Ariel). Or maybe, by using Ariel as a depository for his anger (see below), Prospero has tainted his once perfect servant with some less pleasant aspects.
Ariel as displaced rage.
As Prospero's plot for vengeance against the lords comes to a head, he employs Ariel in ever more hostile acts. Misleading Caliban, Trinculo and Stephano is merely teasing, but transforming into a harpy to both scare and shame the lords into submission is decidedly antagonistic. Ariel's performance is entirely dictated by Prospero, who feeds all of his hatred and violence into the speech. It achieves its purpose, in Prospero's eyes:
PROSPERO
Bravely the figure of this harpy hast thou
Perform'd, my Ariel; a grace it had, devouring:
Of my instruction hast thou nothing bated
In what thou hadst to say
So why does Prospero use his imaginary creation to deliver this speech, rather than giving it himself? It could be an act of displacing his rage, and therefore avoiding acknowledgement of his own hostile feelings. By imagining that it is Ariel who delivers these damaging words, Prospero is freed of any culpability for his increasingly harmful actions.
Ariel as conscience.
Yet, as well as being the voice of Prospero's rage, Ariel is also the voice of his conscience. As Prospero closes in on the lords for his final destructive act, Ariel speaks up for mercy:
ARIEL
[...]
Your charm so strongly works 'em
That if you now beheld them, your affections
Would become tender.
PROSPERO
Dost thou think so, spirit?
ARIEL
Mine would, sir, were I human.
PROSPERO
And mine shall.
We have already considered the possibility that Ariel reflects Prospero's subconscious thoughts and feelings. Here, Prospero's innermost thoughts could already be leaning towards forgiveness - it only takes these thoughts to come to the forefront, through an imaginary advisor, to thaw Prospero's resolve. Ariel is such an advisor, because as well as channeling all of Prospero's rage, the spirit also channels a more friendly, innocent side of his master - his inner child.
Ariel as inner child.
In most productions of The Tempest, Prospero is portrayed as a miserable, ill-tempered, and bitter old man. Ariel, on the contrary, is characterised by naivety and glee. It is not hard to imagine Ariel as being the embodiment of Prospero's happiness, his childlike wonder, and the playfulness he has had to put behind him since Miranda has grown up. Ariel takes great pleasure in performing magic, as demonstrated when he explains the shipwreck; he sings three songs throughout the play, the last being 'Where the Bee Sucks', the epitome of glee; and he entertains Prospero with quaint little rhymes:
ARIEL
Before you can say 'come' and 'go,'
And breathe twice and cry 'so, so,'
Each one, tripping on his toe,
Will be here with mop and mow.
Do you love me, master? no?
PROSPERO
Dearly my delicate Ariel.
Despite his apparent moodiness, Prospero does encourage this inner child. He praises Ariel's performances, uses endearments such as 'bird' and 'chick', and claims to love the spirit 'dearly'. The joy and freedom that Ariel encapsulates is a presence Prospero is keen to hold on to, even when his mind is preoccupied with revenge; it is something he only bids farewell to when he achieves a new happiness, in the marriage of Miranda to Ferdinand and his reinstatement as Duke of Milan.
In traditional interpretation, Ariel, as an 'airy spirit', lacks all human emotion. When he experiences pity and mercy upon seeing the weeping lords, it is met with surprise, and often seen as Ariel having developed emotions from his time spent with Prospero. However, in this interpretation, Ariel is full of emotions: Prospero's emotions. Arguably, he is entirely made up of emotions - a combination of Prospero's happiness and freedom, his rage, doubt and irritation. He is any emotion Prospero needs him to be, at any given moment - ready to learn, happy to oblige, and as hostile as he can be heartfelt. Yet, whatever uses he is put to, Ariel will always be what Prospero first created him to be: a faithful companion, on this lonely and isolated island.
Photo credits:
All photos from the RSC 2016/7 production of The Tempest, starring Simon Russell Beale as Prospero, and Mark Quartley as Ariel.
1, 4. Intel Corporation, found here.
2, 3. Topher McGrillis, found here.
5. Intel Corporation, found here.
Ariel as headache.
But as well as impressing Prospero, Ariel also proves a source of frustration for his master. This is most evident in Act 1, Scene 2, when Ariel demands his liberty, and Prospero rebukes him by reminding him of the great debt he owes. One question arises: if Ariel is a figment of Prospero's imagination, why would he be so disobedient and surly? Why wouldn't the magus imagine up the perfect attendant instead? Perhaps Ariel channels Prospero's subconscious, and his bids for freedom express the man's own longings to be free of the island. Perhaps Ariel's rebellious spirit reflects Prospero's concerns over Miranda's growing vivaciousness (where, if he cannot hold onto the adolescent Miranda, he can at least control Ariel). Or maybe, by using Ariel as a depository for his anger (see below), Prospero has tainted his once perfect servant with some less pleasant aspects.
Ariel as displaced rage.
As Prospero's plot for vengeance against the lords comes to a head, he employs Ariel in ever more hostile acts. Misleading Caliban, Trinculo and Stephano is merely teasing, but transforming into a harpy to both scare and shame the lords into submission is decidedly antagonistic. Ariel's performance is entirely dictated by Prospero, who feeds all of his hatred and violence into the speech. It achieves its purpose, in Prospero's eyes:
PROSPERO
Bravely the figure of this harpy hast thou
Perform'd, my Ariel; a grace it had, devouring:
Of my instruction hast thou nothing bated
In what thou hadst to say
So why does Prospero use his imaginary creation to deliver this speech, rather than giving it himself? It could be an act of displacing his rage, and therefore avoiding acknowledgement of his own hostile feelings. By imagining that it is Ariel who delivers these damaging words, Prospero is freed of any culpability for his increasingly harmful actions.
Ariel as conscience.
Yet, as well as being the voice of Prospero's rage, Ariel is also the voice of his conscience. As Prospero closes in on the lords for his final destructive act, Ariel speaks up for mercy:
ARIEL
[...]
Your charm so strongly works 'em
That if you now beheld them, your affections
Would become tender.
PROSPERO
Dost thou think so, spirit?
ARIEL
Mine would, sir, were I human.
PROSPERO
And mine shall.
We have already considered the possibility that Ariel reflects Prospero's subconscious thoughts and feelings. Here, Prospero's innermost thoughts could already be leaning towards forgiveness - it only takes these thoughts to come to the forefront, through an imaginary advisor, to thaw Prospero's resolve. Ariel is such an advisor, because as well as channeling all of Prospero's rage, the spirit also channels a more friendly, innocent side of his master - his inner child.
Ariel as inner child.
In most productions of The Tempest, Prospero is portrayed as a miserable, ill-tempered, and bitter old man. Ariel, on the contrary, is characterised by naivety and glee. It is not hard to imagine Ariel as being the embodiment of Prospero's happiness, his childlike wonder, and the playfulness he has had to put behind him since Miranda has grown up. Ariel takes great pleasure in performing magic, as demonstrated when he explains the shipwreck; he sings three songs throughout the play, the last being 'Where the Bee Sucks', the epitome of glee; and he entertains Prospero with quaint little rhymes:
ARIEL
Before you can say 'come' and 'go,'
And breathe twice and cry 'so, so,'
Each one, tripping on his toe,
Will be here with mop and mow.
Do you love me, master? no?
PROSPERO
Dearly my delicate Ariel.
Despite his apparent moodiness, Prospero does encourage this inner child. He praises Ariel's performances, uses endearments such as 'bird' and 'chick', and claims to love the spirit 'dearly'. The joy and freedom that Ariel encapsulates is a presence Prospero is keen to hold on to, even when his mind is preoccupied with revenge; it is something he only bids farewell to when he achieves a new happiness, in the marriage of Miranda to Ferdinand and his reinstatement as Duke of Milan.
In traditional interpretation, Ariel, as an 'airy spirit', lacks all human emotion. When he experiences pity and mercy upon seeing the weeping lords, it is met with surprise, and often seen as Ariel having developed emotions from his time spent with Prospero. However, in this interpretation, Ariel is full of emotions: Prospero's emotions. Arguably, he is entirely made up of emotions - a combination of Prospero's happiness and freedom, his rage, doubt and irritation. He is any emotion Prospero needs him to be, at any given moment - ready to learn, happy to oblige, and as hostile as he can be heartfelt. Yet, whatever uses he is put to, Ariel will always be what Prospero first created him to be: a faithful companion, on this lonely and isolated island.
Photo credits:
All photos from the RSC 2016/7 production of The Tempest, starring Simon Russell Beale as Prospero, and Mark Quartley as Ariel.
1, 4. Intel Corporation, found here.
2, 3. Topher McGrillis, found here.
5. Intel Corporation, found here.
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