Examine the ways in which Shakespeare makes dramatic use of deception and trickery in The Tempest. In your answer you should also make connections to scenes 3:2 and 3:3 of Doctor Faustus.

2160 WordsNov 23, 20139 Pages
Examine the ways in which Shakespeare makes dramatic use of deception and trickery in The Tempest. In your answer you should also make connections to scenes 3:2 and 3:3 of Doctor Faustus. Deception is defined as the act of deceiving someone and tricky is the practice of deception. Shakespeare’s ‘The Tempest’ uses deception in the themes of power through his magic and control, even if this involves betraying his adored daughter, Miranda. However, in comparison to Marlowe’s ‘Dr Faustus’, deception has more negative connotions which involve cruelty, particularly in 3:2, with the treatment of the Pope, whereas Shakespeare focuses more on the positive outcomes that may occur from attempting to control and trick people, with the constant…show more content…
Magic gives Prospero incredible power which he uses to his advantage, even though Ariel is one of Prospero’s most trusted and loyal friends, Prospero does not fil to mention the time Sycorax deceived Ariel by locking him the tree and freeing him, therefore Ariel has been in Prospero’s debt for a long time, which is similar to Marlowe’s Dr. Faustus, in which Faustus is in the devil’s debt in return for power as he soons has to give away his soul, therefore the theme of trickery is common as Prospero blackmails Ariel into being his servant, “Imprisoned thou didst painfully remain a dozen years”. On the other hand, the Shakespearean audience may have felt like at this time, Prospero was the deceiver as he comitted treason by choosing to practice magic on purpose, therefore the audience may blame Prospero instead of Antonio. Antonio simply took advantage of the situation and took over power as Prospero was too power-conscious. Nevertheless Prospero’s purpose is to bring his dukedom back together, alongside his people and restore justice, which are incredibly dissimilar to Antionio, Trinculo’s and Stephano’s motives who are simply greedy and materialistic. Prospero plainly wants to teach Alonso and Antonio a lesson. The storm comes to a halt and nobody is hurt, they are tricked into thinking they were going to die and their clothes were fresher than before the shipwreck, “On

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