The Tempest fits right in
with the criteria for a Shakespearean comedy. Prospero plays the role of the
comic individual. First of all, there is no denying that he is partially to
blame for the unfortunate situation he finds himself in. Prospero’s brother,
Antonio, usurps his dukedom and casts Prospero out to sea with his daughter
Miranda. However, Antonio would not have had this opportunity had Prospero not
neglected his duties. Prospero’s obsession with books and learning leads to his
downfall; he even admits to Miranda, “The government I cast upon my brother /
And to my state grew stranger, being transported / And rapt in secret studies”
(1.2.93-5). Prospero recedes into his books, thereby losing sight of what is
important in his life: ruling over Milan. Although he loses sight of reality by
immersing himself in learning, Prospero still maintains his rationality.
Perhaps the most important sign that he remains a reasonable character is the
fact that he can reflect on his past decision and realize that his neglect for
his dukedom provided Antonio with the chance to establish a foothold to take
power. Throughout the play Prospero continues to make sensible judgments and
decisions which demonstrate his rationality, such as paying attention to the
death plot against him and requiring Ferdinand to prove himself before marrying
Miranda.
The nature of this comedy likewise
fits the bill for a Shakespearean comedy in that it focuses on the love and
eventual union of Ferdinand and Miranda. The two meet in Act 1 Scene 2 and are
taken with each other at first sight, each believing the other to be “divine”
(1.2.499). Courtship ensues, leading to the marriage vows in Act 3 and the
wedding ceremony in Act 4. However, the final culmination of their union really
happens in Act 5 when Alonso gives his blessings to the couple, saying, “Give
me your / hands. / Let grief and sorrow still embrace his heart / That doth not
wish you joy!” (5.1.255-8). Now that Alonso has witnessed and expressed his
approval of Ferdinand and Miranda’s love, the union between them is complete
with no more complications. There is approval for the couple from both parties
involved. Before this approval, however, Ferdinand and Miranda have to deal
with primarily external barriers that threaten their burgeoning love, such as
Prospero’s instructions forbidding Miranda from telling Ferdinand her name.
Successfully overcoming these barriers, Ferdinand and Miranda are finally
united at the end of the play. This plot structure follows the features of a
Shakespearean comedy exactly.
