The Tempest as Shakespearean Comedy

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.