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
Objectives and Key Themes
This paper examines the character of Prospero in Shakespeare's "The Tempest" to determine if he represents the Renaissance natural magus. It investigates the understanding and practice of magic during the Renaissance, focusing on the distinction between natural and black magic.
- The depiction of Prospero as a Renaissance magus.
- The nature of Renaissance magic and its relationship to science.
- The distinction between natural and black magic in the Renaissance.
- The social and religious context of magic during the Renaissance.
- Shakespeare's understanding and portrayal of Renaissance magic.
Chapter Summaries
1. Introduction: This introductory chapter sets the stage for the analysis of Prospero's character in Shakespeare's "The Tempest." It establishes the context of the Renaissance magus, a powerful figure wielding both natural and mystical abilities, and introduces Prospero as a powerful magician who manipulates events on the island. The chapter raises the central question of whether Prospero embodies the ideal of the Renaissance natural magus, emphasizing the belief in the reality of Renaissance magic and its practices. The author establishes the premise that the magic depicted was considered real by its practitioners.
2. Magic in the European Renaissance: This chapter provides an overview of magic in the Renaissance, highlighting the prominence of natural magic alongside scientific advancements. It explains that "scientia naturalis" was not just a study of nature but also a study of its powers, integrating intuition and religious faith. Key figures like Paracelsus, Ficino, Pico della Mirandola, and Della Porta are mentioned, emphasizing their roles in shaping the understanding and acceptance of natural magic, contrasting it with black magic and witchcraft. The chapter explores the intertwining of Neoplatonism and Hermetism as philosophical underpinnings of natural magic and discusses the social and religious acceptance (or rejection) of different magical practices, explaining how the Church reacted to the rising prominence of natural magic alongside its condemnation of witchcraft.
Keywords
Renaissance magic, natural magic, black magic, witchcraft, Prospero, The Tempest, Shakespeare, Neoplatonism, Hermetism, magus, magic in literature, religious context of magic, science and magic.
Frequently Asked Questions: Analyzing Prospero as a Renaissance Magus
What is the focus of this academic paper?
This paper examines the character of Prospero in Shakespeare's "The Tempest" to determine if he represents the Renaissance natural magus. It investigates the understanding and practice of magic during the Renaissance, focusing on the distinction between natural and black magic.
What are the key themes explored in the paper?
The key themes include the depiction of Prospero as a Renaissance magus; the nature of Renaissance magic and its relationship to science; the distinction between natural and black magic in the Renaissance; the social and religious context of magic during the Renaissance; and Shakespeare's understanding and portrayal of Renaissance magic.
What topics are covered in the Introduction chapter?
The Introduction sets the stage for the analysis of Prospero's character. It establishes the context of the Renaissance magus and introduces Prospero as a powerful magician. It raises the central question of whether Prospero embodies the ideal of the Renaissance natural magus, emphasizing the belief in the reality of Renaissance magic and its practices. The author establishes that the magic depicted was considered real by its practitioners.
What is discussed in the chapter on "Magic in the European Renaissance"?
This chapter provides an overview of magic in the Renaissance, highlighting the prominence of natural magic alongside scientific advancements. It explains that "scientia naturalis" was a study of nature's powers, integrating intuition and religious faith. Key figures like Paracelsus, Ficino, Pico della Mirandola, and Della Porta are discussed, emphasizing their roles in shaping the understanding and acceptance of natural magic, contrasting it with black magic and witchcraft. The chapter explores the intertwining of Neoplatonism and Hermetism and discusses the social and religious acceptance (or rejection) of different magical practices, including the Church's reaction to natural magic and its condemnation of witchcraft.
What keywords are associated with this paper?
Keywords include Renaissance magic, natural magic, black magic, witchcraft, Prospero, The Tempest, Shakespeare, Neoplatonism, Hermetism, magus, magic in literature, religious context of magic, and science and magic.
What type of source material is this preview based on?
This is a comprehensive language preview based on OCR data from a publishing company, intended solely for academic use, analyzing themes in a structured and professional manner.
What is the overall purpose of this preview?
The preview provides a structured overview of the paper's contents, including the title, table of contents, objectives and key themes, chapter summaries, and key words, allowing for a comprehensive understanding of the academic work before reading the full text.
- Quote paper
- Juliane Strätz (Author), 2012, The magician Prospero in Shakespeare's "The Tempest". A true Renaissance "magus"?, Munich, GRIN Verlag, https://www.grin.com/document/279285
