Discovery The Tempest

It is the nature of meaningful discoveries, that they challenge and shift one’s perceptions, whether in an unexpected and sudden, or planned and deliberate circumstances. The consequences of discovery may be positive or negative, yet the ability of discovery to empower through allowing changes in one’s ideals and self-evaluations is unparalleled. William Shakespeare’s Jacobean play, The Tempest (1600s) explore the discovery of mortality and fragility of humanity, which is mirrored by Adrienne Rich’s poem Diving into the Wreck (1973). Also, Patrick Ness’ novel, A Monster Calls showcases a child’s journey to discover his hidden desires and ideology, through the influence of an external power. Through the varying mediums and contextual backgrounds,

the three texts explore the enduring values of discovery, and the capacity of discovery to renew perceptions through their either unexpected and sudden, or planned and deliberate processes.

Unexpected discoveries often transform one’s values and renew perspectives.

Through the play, The Tempest, Shakespeare showcases Prospero’s intellectual discovery of his limitations as a mortal and the consequential rediscovery of his human morals. Prospero showcases his initial hatred towards the royal crew, rooted from past betrayals, as he says “They now are in my power. And in these fits, I leave them”. The truncated sentence emphasises Prospero’s cruel and revengeful mindset, depicting his firm belief in “power” being the tool for vengeance. However, a dramatic change in Prospero’s attitude can be seen, as he makes an unexpected discovery of human mortality following Ariel’s monologue. He says,“We are such stuff as dreams are made on; and our little life is rounded with a sleep,”, the “sleep” symbolising death, and the metaphor of “dream” highlighting Prospero’s intellectual discovery of life’s fragility, where one’s memories and earthly possessions are temporary. Through the alliterative “such sleep” and “little life”, Prospero emphasises the insignificance of human life, and with it, the insignificance of his art. As he discovers the futility of his power in the face of mortality, Prospero rediscovers his humanity and gains a renewed understanding of the futility of vengeance. He says, “My charms I’ll break….They shall be themselves”, juxtaposing to his initial cruelty and will to revenge and hence portraying the change in his perception. Therefore, the renewal of

perceptions through unexpected discoveries can be seen through the Prospero’s rediscovery of empathy as a result of his intellectual discovery.

Similarly, the unexpected discovery of human mortality allowing a re-evaluation of one’s values and identity is further explored in Adrienne Rich’s poem ‘Diving into the Wreck’.

Rich’s depiction of human mortality and the fleeting nature of life mirrors that of Prospero’s discovery, expressing a sense of community gained through renewed understanding of the inevitability of death. Rich personifies a shipwreck in, “ribs of disaster” to represent humanity, the metaphorical “ribs” alluding to human bones which symbolise the basis of life, but also the imminent death that all of humanity faces. The persona’s intellectual discovery of mortality is further evident as she refers to “we” as “half-destroyed instruments… water eaten log, the fouled compass”, alluding to death and portraying the inescapable nature of mortality. As the persona gains a renewed understanding of life and death, she develops a spiritual connection with humanity, leading to a re-evaluation of her perceptions. Her initial depiction of her identity and values can be seen as the positive tone in “Cousteau with his assiduous team aboard the sun-flooded schooner…” directly juxtaposing to the grim tone in the recurring motif of loneliness; “but here alone… there is noone”. However her unexpected discovery of human mortality leads to a change in her self evaluation, as evident in “I am she: I am he… We are, I am, you are…” where the connection between first second and third perspectives is unify human beings under

the concept of mortality. The persona, therefore is able to gain comfort from the spiritual connection based on mortality and gain a renewed understanding on her identity as a human being, hence showcasing the consequential shift in perception as a result of an unexpected discovery.

It is not only unexpected discoveries that challenge one’s perceptions, as planned and deliberate discoveries can also result in shifts in views and ideals. This notion is explored in Shakespeare’s The Tempest through Alonso as he experiences emotional and self discovery, gaining a revelation of his past wrongdoings as a consequence of the devastating loss of his son. In, “The name of Prosper... It did bass my trespass…. I’ll seek him deeper than e’er plummet sound”, Shakespeare delivers the hyperbolic, “deeper than…” to emphasise Alonso’s emotional torment at the death of his son, and highlights the traumatic and confronting nature of some discoveries. Moreover, the sibilance in “bass trespass” further exemplifies his guilty conscience, and hence portrays such loss as a catalyst for his emotional discovery. The dramatic irony conveyed through the audience being aware of Ferdinand’s survival serves to emphasise the extent of Prospero’s deliberation in the discovery made, and hence shows the impact that a planned discovery can bring. Alonso states, “Thy dukedom I resign, and do entreat thou pardon me my wrongdoings”, the repetition of personal pronouns ‘thy’ and ‘thou’ conveying Alonso’s complete awareness of the dukedom rightfully belonging to Prospero, his attitude juxtaposing to his given identity as the foe of Milan, as shown in Prospero’s monologue, “The King of Naples, being an enemy to me…”. Such juxtaposition showcases Alonso’s realisation of the karmic nature of life, and hence his shift in self-evaluation and perception on values of morality and relationship. Shakespeare, through the character of Alonso, thereby signifies that planned and deliberate discoveries can result in shifts in views and ideals.

Similarly, the planned discovery leading to re-evaluation of self and change in perception is further explored in Patrick Ness’ A Monster Calls, as he reflects the planned and deliberate process that a child takes in order to discover and accept his hidden desires and ideals. The “Yew tree”is introduced through the repetition of dialogue, “Connor”, written in an italic, holophrastic form. The short, conjunct repetition reflects the random and conjunct nature of one’s subconscious thoughts, hence depicting the embodiment of the persona’s subconscious in the “Yew tree”. The truncated sentence in “and here was the monster” as Connor comes to face the “Yew tree” emphasises his initial reluctance to acknowledge his subconscious, further exemplified in the negative connotation in anthropomorphic description of “monster”. The negative tone highlights Connor’s rejective perception towards the tree, and hence showcases the innate stubbornness of humanity when one comes to face possible changes. The confronting process of discovery, led by his subconscious can be seen in the emotive repetition of “NO!”, the capitalisation and the exclamation mark further reflecting the persona’s unwillingness to accept his hidden desires and ideals….