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Secondary Satire and the Sea-Change of Romance: Reading William Shakespeare's the Tempest
Author(s): Katrin Trüstedt
Source: Law and Literature, Vol. 17, No. 3 (Autumn, 2005), pp. 345-364
Published by: University of California Press on behalf of the Cardozo School of Law
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SecondarySatireand the
Sea-Changeof Romance
READING WILLIAM SHAKESPEARE'S THE TEMPEST
Katrin Triistedt*
realistic. This sea-change culminates in a comic solution that takes place within a literary setting
and remains, in a sense, inefective, especially if one takes into account the latent threat and latent
presence of the usurper's son, which most critics, like the protagonist, have persisted in overlooking.
Law &Literature,Vol. 17, Issue 3, PP. 345-364. IssN 1535-685x,electronic IssN 1541-2601.
? 2oo6 by The Cardozo School of Law of Yeshiva University. All rights reserved. Please direct all
requests for permission to photocopy or reproduce article content through the University of California
Press's Rights and Permissions website, at http://www.ucpress.edu/journals/rights.htm.
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Law & Literature * Volume 17, Number 3
"loathto makenatureafraidin his plays like those that beget tales, tempests,
and suchlike drolleries."2This classicalnotionof an adequateform of literary
fictionwas namedby NorthropFrye afterthe Freudianterm "realityprinci-
ple."3In thisparadigm,Shakespeare'slateromancesserveas a negativecoun-
terpartof Jonson'sown dedicationto a moralcomedy of mimesis.4Talesand
tempests,clearly directedat the main romances The Winter'sTaleand The
Tempest,arethe embodimentof what is nonrealistic.They aremakingnature
afraid.Yet literature,in Jonson'sview, shouldbe on the same side as reality
insteadof nonseriousdrolleries.A satireof the Jonsoniantaste, serving the
realityprinciple,shouldbe, in a specificsense, true to realityto be of value. It
claimsthatsatireis, first,not a talebut rathera realisticmodeof representation.
Second, and in a slight contradictionof the first postulate,it is supposedto
effectthisrealityvia the meansof literature,whichavenueis to a certaindegree
disavowedby the firstclaim.The satire,once understood,is a judgmentof the
shortcomingsof realityand ideallyends up replacingthatinsufficientreality.
A satireof a hypocrite,likeJonson'sVolpone,5has its telosin an observermore
criticalof hypocrites,andthusless hypocriticalhimself.As CharlesA. Knight
notes,"He [Jonson]hasdevotedhis play [ Volpone] to thetaskof changingus."6
Jonsoniansatireof realitytendsto forgetthatit is a satireof reality.Romance,
in contrast,as the otherof Jonson'srealityprincipleeitherhas been defended
as a formof politicalplaytakingplaceentirelyin the realmof a (e.g., colonial)
reality,or hasbeen viewed in the Jonsoniantraditionas being irrelevantto this
realm:as a historicallyspecificdrollery,an idle play,a fairytale,exemplifiedin
Shakespeare'sturn to some kind of imaginedreligioussphereor chimerical
entertainment.
Jonsoniansatireand Shakespearean romancecanbe seen as two sourcesof
thecomictradition,whichstandatthebeginningof modernity.Evenif Shakes-
peare's superiorityto Jonson as a dramatistis commonplaceamong critics,
and even if his notion of satirehas generateddebate,the traditionof the Jon-
sonian satireseems to havebeen surprisinglyenduring,and in thatway, suc-
cessful.This hassomethingto do withtheway inwhichthistypeof satireserves
the realityprincipleand dealswith its presumptiveconstellation.Even if sat-
ire's objectis not brute realitybut anotherwork of fiction,the satirealways
seemsto referto somethingmorerealandactualthanitselfandto appealto some
kindof validandintactnorm,whichservesin theplaywright'smindas themea-
sure for the objectof satire.This articleoutlinesthe divergentways in which
satireand romanceare relatedto their objects of reference.I begin with an
346
Trustedt * Secondary Satire and the Sea-Change of Romance
Double-Ground Satire
withthestate
of a basicdissatisfaction
[A]trulygreatsatire... is theexpression
of things,adissatisfaction in a
conveyedartistically most way.Itis,there-
forceful
fore,theoppositepoleto theaestheticallypleasingandrapturous poleof litera-
ture.As such, it deservesrespectandeven painsneverbegrudgedits antipode.'3
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TrUstedt * Secondary Satire and the Sea-Change of Romance
Dialectical Law
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350
Trustedt * Secondary Satire and the Sea-Change of Romance
Double Plot
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Law & Literature * Volume 1 7, Number 3
352
TrUstedt * Secondary Satire and the Sea-Change of Romance
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Law & Literature * Volume 1 7, Number 3
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TrUstedt * Secondary Satire and the Sea-Change of Romance
tragedy of Milanand the romanceon the island, have gotten out of critics'
sight, both in the concentrationon the power structureon the islandand in
focusing on the romanticform. One reasonfor this inattentionis the neglect
of the indirectand so easily overlookedappearanceof Antonio's son in the
play.The usurper'sheir is mentionedonly on one occasionand has basically
not been accountedfor as a factorin the play at all.32If one putsthe usurpation
andits counterpartsin the romancein focusas the underlyingheartof theplay,
this factor,as well as its latency,become crucial.
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Law & Literature * Volume 1 7, Number 3
There is, however, no evidence for the death of Antonio's son. It seems
equallyplausiblein view of the logic of the play to assumethathe, like all the
otherson the ship,survived.This second possibilityof the survivalof Anto-
nio's son andthe chanceof his being somewhereon the islandevokesa poten-
tialthreatfor Prosperoandhis romanticplay.The heirof Antoniois thusout of
reach,leaving Prosperosusceptibleto overthrowor attackonce again. This
perspectiveof Antonio having a brave son somewhereon the island gives
more weight to Antonio and his action, or rathernonaction, and makes it
more unlikelyProsperowill lose sight of the threathe andhis successorpose.
Insteadof being seen as a minorfigure-rather on the same level as the two
drunkenjesters, Trinculo and Stefano,who satiricallymirrorAntonio and
Sebastianand theirplansof usurpation-Antonio's introductionbecomes of
more import,as he himself, almost satirically,crosses out the islandutopia,
which surfacesas a romantictopic.
And furtheron:
Gonj. I'th'commonwealth
I wouldby contraries
Executeallthings;[...]
No occupation;allmenidle,all;
Andwomentoo;butinnocentandpure:No sovereignty;-
Seb. Yethewouldbe Kingon't.
Ant. Thelatterendof hiscommonwealthforgetsthebeginning.(2.1.141-54)
356
TrUstedt . Secondary Satire and the Sea-Change of Romance
When the two concepts of time collide and the machineryof theatricality
exposesitself, Prosperoseems to become awareof the latentthreat.It is pre-
cisely this momentthathe puts off one of his interludesand turnsto the plot.
He is busy watchingand directingan on-stage play within a play, a masque
staged for the biopoliticalcontrivanceof Mirandaand Ferdinand'sengage-
ment. With a suddensea-change,Prosperocalls the actionoff at the moment
he realizesthat he had forgottenthe plot. Plot, here, does not only standfor
effectiveactiondefininga play in general,but is usedby Prosperofor theplot:
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Law & Literature * Volume 17, Number 3
Enter certain Reapers, properly habited: they join with the Nymphs in a graceful
dance; towardthe end whereof PROSPERO startssuddenly, and speaks; after which,
to a strange, hollow, and confused noise, they heavily vanish.
Pros.[Aside]I hadforgottenthatfoulconspiracy
Of thebeastCalibanandhisconfederates
Againstmylife:theminuteof theirplot
Is almostcome. [TotheSpirits/Welldone!Avoid;no more!
Fer. Thisis strange:yourfather'sin somepassion
Thatworkshimstrongly.
Mir. Never till this day
Saw I him touch'dwith anger,so distemper'd.(4.1.-138-45)
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TrUstedt * Secondary Satire and the Sea-Change of Romance
Senses of an Ending
A crisisof authority-depositionfrompower,exile,impotence-givesway
throughthepowerof his artto a fullrestoration. Pros-
Fromthisperspective
pero'smagic is theromance of
equivalent law.
martial YetThe seems
Tempest to
raisetroublingquestionsaboutthisauthority.38
butnotsurprisingly,
Interestingly, themediatisation of violenceintoa medium
of progress,that Benjaminhas diagnosedin the Germanmourningplay
is connectedto thecrisis,in whichit slipsawayfromthesover-
(Trauerspiel),
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Law & Literature * Volume 1 7, Number 3
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TrUstedt * Secondary Satire and the Sea-Change of Romance
CONCLUSION
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* I am gratefulto Thomas Khuranafor his patientreadingof this article,and Peter Goodrich for inviting
me to write it in the firstplace and for editing.
'. FrankKermode,ed., TheArdenShakespeare:The Tempest,6th ed. (London: Methuen, 1964), 1.2.403-
5. See also Virginia MasonVaughanand Alden T. Vaughan,eds., TheArdenShakespeare:The Tempest,
thirdseries(London: Thomson Learning, 2005); and Stephen Greenblatt,ed., TheNortonShakespeare
(New York:W.W. Norton, 1997). All referencesare to act, scene, and line(s).
2. Cited according to Northrop Frye, A NaturalPerspective.TheDevelopmentof ShakespeareanComedy
andRomance(New York:Columbia University Press, 1965), 70 (emphasisis mine).
3. Id., at 2. For Freud'suse of the term, see, e.g., SigmundFreud, "Formulationson the Two Principlesof
MentalFunctioning," TheStandardEditionof the CompletePsychologicalWorksof SigmundFreud,Vol-
ume 12, JamesStrachey,ed., 215-26 (London: Hogarth Press, 1958).
4. CharlesA. Knight, TheLiteratureof Satire(Cambridge:CambridgeUniversity Press, 2004), 129.
5. Ben Jonson, Volpone,Alvin B. Kernan,ed. (New Haven, CT: Yale University Press, 1962). The satire
of a hypocriteis of course justone elementin Volpone,but can serve as exemplaryof the whole satirefor
the purpose of this article.
6. Knight, supranote 4.
7. NorthropFrye,Anatomyof Criticism: FourEssays(Princeton,NJ: PrincetonUniversityPress 1957),224.
8. For the question of satire's complicity with its object, see Joseph Brooker'scontributionto this issue,
"SatireBust:The Wagers of Money,"17Law &Literature321-44 (2005).
9. From this point of view, the difference,with respectto mere irony,becomes visible. "[S]atireis militant
irony: its moral norms are relatively clear, and it assumes standardsagainst which the grotesque and
absurdare measured."Frye, supranote 7 at 223.
Cf. especially Brooker,supranote 8.
to.
i i. Organizedby SatireNewsletteras recordedin A.M. Tibbetts et al., "Norms in Satire:A Symposium,"2
362
Trustedt * Secondary Satire and the Sea-Change of Romance
Satire Newsletter2-26 (1964): comments by A.M. Tibbetts, W.S. Anderson, R. Elliott, L. Feinberg,
Northrop Frye, M. Johnson, R. Kantra,Alvin Kernan,N. Knox, E. Leyburn, P. Pinkus, E. Rosenheim,
C. Witke, and N. Yates.
12. Symposium comments by Northrop Frye, id., at 9.
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Kastanwants to suggest that this remark by Prospero indicates that in fact there is some perdition
caused by the shipwreck(the death of Antonio's heir).
34. StanleyCavell,"RecountingGains,ShowingLosses:Reading The Winter'sTale,"in his DisowningKnowl-
edgein SevenPlays of Shakespeare,
rev.ed., 193-221 (Cambridge:CambridgeUniversityPress, 2003).
35. Regarding Caliban,"a plain fish, and, no doubt, marketable"(5.I.266).
36. Michael O'Connell, "The Experimentof Romance," in The CambridgeCompanionto Shakespearean
Comedy,AlexanderLeggatt, ed., 21 5-29 (Cambridge:CambridgeUniversity Press, 2002), 217.
37. My translationof the subtitleof CarlSchmitts'sbook on Hamlet,HamletoderHekuba.DerEinbruchder
Zeit in das Spiel (Stuttgart:Klett-Cotta, 1985).
38. Stephen Greenblatt, ShakespeareanNegotiations: The Circulationof Social Energy in Renaissance
England(Berkeley:University of CaliforniaPress, 1988), 156.
39. Anselm Haverkamp, Hamlet.-Hypothek der Macht (Berlin: Kulturverlag Kadmos, 2001), 97 (my
translation).
40. JacquesDerrida, On Cosmopolitanism andForgiveness(New York:Routledge, oo2002), 45. A more exten-
sive analysisof Prospero'sforgiveness would be necessaryat this point to specify its peculiarcharacter
and the way it might differ from reconciliationin a religious or quasi-religioussense.
41. Id., at 46.
42. GhrardGenette, Palimpsests:Literaturein the SecondDegree (Lincoln: University of Nebraska Press,
1997).
43. Empson, supranote 28 at 53f.
364