Abstract
In the format of interpretation the creative laboratory of Shakespeare’s “The Tempest” is being revealed. By all accounts “The Tempest” has no specific sources. This study, however, supposes, that Shakespeare could refer to the basic concept and, from this perspective, even very closely rely on the details. Hence, it is proved, that the philosophical impulse of Shakespeare’s tragedy can be considered the introduction to the “Oration on the Dignity of Man” by Giovanni Pico della Mirandola, created for the forbidden later theological discussions on relevant topics in Rome (1486), which dealt with the possibility of moral self-determination and individual responsibility. Imposing the lines of the treatise by Pico on the images and plot of the drama by Shakespeare, we immediately notice a twisted three-dimensional image, the transition from abstract relationship to the visible processes of existence and consciousness, at the same time fantastic and real. This analysis is based on the statement, that “The Tempest” can be interpreted as the staging of memorable images of Pico. This statement is relevant to point of view, according to which Shakespeare could choose the idea of the Oration , or directly from the passage of the text. Shakespeare consciously goes beyond the ideas of Pico. If the quotations from the text of Pico are considered as a subtext, it immediately becomes evident that scene, characters and action of the play are based in some way on a complex conceptual scheme. With the underlying meaning of the Oration by Pico, “The Tempest” is a powerful creative experiment and a reasonable appeal to the uniqueness of human life and spiritual freedom of a man. Thus, this study, without resorting to discuss specific aspects of the play, aspires to promote scientific debate about its hidden meaning.
Highlights
This paper suggests, as one possibility amongst many others, that Shakespeare might be referring to an underlying concept after all, and from that perspective it appears that he even stages its very details
Like a judge appointed for being honourable, art the moulder and maker of thyself; thou mayest sculpt thyself into whatever shape thou dost prefer
After all, one essential factor that separates humans from natural beings, namely the fact stressed by Pico: 'Thou, like a judge appointed for being honourable, art the moulder and maker of thyself; thou mayest sculpt thyself into whatever shape thou dost prefer.' As demonstrated by the disposition accorded respectively to Ariel and Caliban, the principle of freedom applies to human beings alone, who are not subject to any limitation of consciousness or will; in other words, their range of spiritual potential is indefinite
Summary
Ключові слова: Вільям Шекспір, „Буря”, Джованні Піко делла Мірандола, „Промова про гідність людини”, інтертекст, рецепція, інтерпретація. We can see that Shakespeare, rather than having his characters engage merely in theoretical contemplation of these issues, appears to be staging the practical dilemmas of man‟s existence between the higher spirits and the animals and, to place Pico's key issue of human discretion and moral obligation at the very centre of his drama.
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