Comparing Textual Conversations In Tempest And Atwood's The Te

Textual conversations dissect the universal and resonant values of the human condition surpassing the dissonant contexts of individual texts. Atwood’s metafictional novel ‘Hagseed’ (2016) appropriates Shakespeare’s classic metatheatrical play ‘The Tempest’ (1610), following the protagonist, Prospero (mirrored by Felix in ‘Hagseed’) in an elaborate Mise en Abym towards justice against treacherous enemies. Critic I. Cheng. celebrates Atwood’s innovation of Shakespeare’s play, “Atwood creates a textual conversation with The Tempest, reframing Jacobean values … within her secular liberal 21st-century context.” The texts discuss the ubiquitous value of stereotypes, recompense and nature through the literary conventions; characterisation, perspective

The dichotomic characterisation within Atwood’s ‘Hagseed’ and Shakespeare’s ‘The Tempest’ demonstrates composers’ tendency to appease capricious social norms. In 'The Temptest', Prospero performs magical illusions which catalyse the antagonist's moral redemption, “[... the banquet vanishes]”. The banquet illusion biblically alludes to Shakespeare’s Christian-dominated religious context. Shakespeare designates Prospero the 'wise, old-man's' stereotype, characteristic of artistic Jacobean depictions of God. The banquet symbolism consolidates the Christian beliefs in temptation and redemption, as in the prayer “[God] lead us not into temptation, but deliver us from evil” and foreshadows Prospero’s God-like ability to forgive his enemies. Prospero’s zoomorphic aside, "Poor worm" designates Miranda with the Jacobean's patriarchal impression of the fragile, obedient “dream-girl” stereotype. Responders aspire to emulate Shakespeare’s characters’ “virtuous” qualities. Correspondingly, Atwood adapts Shakespeare’s characters to satisfy the contemporary status quo. Atwood acknowledges Felix's adherence to the “mad-old-man” stereotype through interior rhetorical questions, “Was he regarded as a harmless local eccentric?... or did anyone notice him at all?” Atwood’s characterization of Felix as a mad outcast reflects

‘The Tempest’ and ‘Hagseed’ trace Prospero/ Felix’s pursuit of recompense using disparate forces; magic and the theatre. The opposing literary forms, both provide an omniscient perspective. The play's dialogue presents events in the 3rd-person and Prospero’s omniscient soliloquies and asides expand upon this perspective to reflect his interior thoughts, “... Thou shalt be pinched… each pinch more stinging/ Than bees that made ‘em.” The harsh prosed rhythm of Prospero’s dialogue magnifies his brutal magical quest for rectification. The hyperbolic simile, likening “pinches” to “stinging bees”, emphasises Jacobean brutality; an era where torture was a common criminal punishment and violence an essential element of theatrical entertainment. Despite seeking revenge, Prospero ultimately intends to reconcile his conscience, which he identifies with the audience, “As you from crimes would pardoned be, Let your indulgence set me free.” Shakespeare’s metaleptic, eloquent verse directly implores audiences to favour Prospero’s perspective and grant him clemency. Prospero’s cathartic, fluent, rhyming soliloquy presents a Jacobean indicator of his high status. Responder’s timeless partiality towards the upper class lends to a sympathetic interpretation of Prospero’s perspective. Likewise, in his quest for retribution in ‘Hagseed’, Felix stages a