SOURCE: “‘Sweet Power of Music’: The Political Magic of ‘the Miraculous Harp’ in Shakespeare's The Tempest,” in Comparative Drama, Vol. 29, No. 1, Spring, 1995, pp. 61-90.

In the essay below, Simonds argues that in The Tempest Shakespeare promoted his views regarding the political reform of the monarchy.

In a recent paper critical of the logical discrepancies between “new historicist” theory and practice, Robin Headlam Wells argues that a true historical approach to The Tempest would focus on the mythological topos of Orpheus as the conventional prototype of Prospero rather than on modern views of colonialism and demonized otherness.¹ In response to this important suggestion, I shall discuss here the conflation of two such traditional topoi in Shakespeare's tragicomedy: (1) the benevolent and thus successful ruler as Orpheus, a magician in control of Nature and the poetic civilizer of barbaric peoples, and (2) the ideal commonwealth as a melodious and fruitful garden. Since...