Thirty five years ago I watched a performance of The Tempest in Milan. The city is famous for its theaters – such as the “La Scala” opera house – and the Milanese were intrigued by the character of Prospero, the Duke of Milan. The production, by Giorgio Strehler, was as famous in Italy as the musical Le Miserable is in the United States. I was only sixteen, but I decided that if I ever had a daughter, I would name her Ariel, after the character in the play (the role was played by a woman).
Several of the themes in the play resonated with the problems we faced at the time. Milan was plagued by terrorist attacks by the Red Brigades, an organization joined by large numbers of highly educated young people who could not find work, and who hoped to seize the government and establish a socialist utopia.
Their aspirations remind me of Gonzalo's speech describing how, if he were the king of the island where he is marooned, he would establish a society to “excel the Golden Age” (2.1 ll.184, p.63); in which no one would be a servant: “And use of service, none” (2.1 ll.167, p.63); and where there would be no need for a “sovereign” (2.1 ll.171, p.63). His companions point out that Gonzalo should see the contradiction in wanting to become a master to establish a master-less society:
Sebastian: Yet he would be king on 't .
Antonio: The latter end of his commonwealth forgets the beginning (2.1 ll.172-4, p.63).
The play contains many instances of political strife: the witch Sycorax seizes the island and imprisons its original inhabitant, Ariel (1.2 ll.299-333, p.31-2); Prospero seizes the island from Caliban (1.2 ll.339-40, p.33); Antonio seizes the throne of Milan from Prospero (1.2 ll.66-156, p.21); and Sebastian is tempted to kill his brother and usurp the throne of Naples (2.1 ll.224-339, p.767-73).
The prevarications in the play remind me of Milan's history as a warlike city-state, constantly in danger of being conquered by other nations from the North, such as the Germans, the French, and the Austrians. In the seventies, when I saw this play performed, Europe was the object of contention between the United States and the Soviet Union. Italy was evenly divided between Capitalists and Communists, but resented the idea of becoming a colony of one of the two superpowers. Milan, the most important commercial and financial center, valued independence from foreign nations – and some say from the rest of Italy too. The plight of Ariel, a mighty spirit who longs to become independent from Prospero, resonated with the sentiments of the Milanese people.
The play has more than just a political meaning, however. Books are prominent in the play: books on magic enable Prospero to become master of the island; Caliban, plotting to free himself from Prospero, tells his companions, “Remember first to possess (steal) his books, for without them / he's but a sot” (3.2 ll.100-2, p.105). Most important of all, for Prospero his library “was dukedom large enough” (1.2 11.130-1, p.21) and enabled him to live in a world of his own
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| Duke Sforza castle in Milan |
My mother, despite having been raised during the Second World War and thus lacking a university education, had a very extensive library at our home. Also, once a month she would take me to see a play at one of the theaters where we had a membership. I would lose myself in a world of books and plays. The scene where Prospero sets up a play for his daughter (4.1 ll.67-180, p.125-33) reminds me of my mother, and Prospero's loving his books more than his duchy reminds me of how I survived in Milan until I was old enough to leave.
Another theme of the play is that of exile and self-exile. All humans inhabiting the island originated from elsewhere. Even beings who were born on the island, like Ariel or Caliban, are psychologically in exile, because they are in Prospero's power and cannot act according to their will. Prospero's seclusion into his library in Milan is also a form of self exile from the rest of the city.
Prospero, during his stay on the island, has time to reflect on his actions and eventually becomes more compassionate and wise; in Act 5 he pardons his enemies and frees his servants. I identified with Prospero because I felt I did not belong in Milan, and because moving to a different place allowed me to change and grow. Prospero in the end realizes that he must leave the island (his isolation), accept responsibility, and re-join society (in his case, Milan).
I had a similar dilemma. I consider the United States to be my country, but in the last ten years it has become affected by the same political disunity and economic problems as Italy, and I was tempted to move elsewhere. Re-reading the play, I was struck by Prospero's choice to re-join his society; I realized its wisdom, and I decided that I would stay and contribute to my adoptive country.
Lastly, the play is about parents and children. Now that my daughter Ariel is thirteen, she has more traits in common with Prospero's daughter Miranda than with Ariel. Miranda is studious (she was educated by Prospero), willing to take charge (she is fond of telling her father what to do), and has a marked sense of justice (wants to save the mariners and free Ferdinand).
Years ago, when my daughter asked me about her name, I mistakenly told her that Ariel was a spirit who loved learning and wanted to steal Prospero's books, to muster magic and be free. I had only watched the play in Italy without reading it, so I did not realize that it is Caliban who wants to steal the books to harm his hated master; and Ariel prevents him from doing so, but never intercedes for him. My child, unlike the sprite, is more caring about others. Yet she is so proud of her namesake, and I don't want her to be disappointed! I hope she never reads The Tempest.
Works Cited Shakespeare, William. The Tempest. Ed. Barbara A. Mowat and Paul Werstine. New York: Washington Square Press. 1994. Print.
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