Sycorax is described by Prospero as a ‘blue-eyed hag’ which suggests a Western origin, he also mentions that Ariel, the Earth, is ‘too delicate’ to oblige to her ‘abhorred commands’.(1.2.269-114) this suggests that the evil requests of the ‘witch’ were too much for the Earth to bear. Caliban mentions his mother in association with a ‘raven’s feather’ (1.2.323-117). This relationship with the raven is notable in Lady Macbeth, when she declares that the ‘raven himself is hoarse’ (1.5.48-29). This is a link to the play Macbeth, which may not be mere coincidence. The foremost play in depiction of ‘evil’ witchcraft was in Macbeth, the weird sisters were the representation of malevolence, and in turn Sycorax is symbolic of them, or indeed, James 1st’s depiction of witchcraft. Caliban therefore, represents the consequences and ugly feeling arising from James’ hatred. The evidence to support this is that Caliban is Prospero’s slave, a portrayal of a foolish man who could not see satire Shakespeare wrote with him in mind, or the meaning behind true, Earth-based magic. Caliban is paranoid and fearful, crying out, ‘The spirit torments me!’ when encountering a drunken Trinculo and Stephano. The only spirit which bothers Caliban at this point is that which the aforementioned duo has imbibed. Caliban states that Prospero cannot be destroyed unless you first take away his magic,

"Remember, First ro possess his books; for without them, He’s but a sot, as I am."(3.2.84-167)

They need to ‘burn his books’ in order to make him fallible like everyone else, and dispose of him. This reflects the control James 1st wished to have over magic, and therefore over free thought. Thomas alludes to the fact that magic was not required by the rich, they had all they needed, but the poor, had little else in hard times when they need to defend themselves. It could be the king believed this himself, and wished to
control rebellion.

The symbolic portrayal of magic being demonised, and James 1st’s need for control, is supported by another factor in The Tempest reminiscent of the ‘dark mood of Macbeth’. Whilst Sebastian and Antonio are plotting to kill Alonso, their conspiracy is similar to that schemed in Macbeth by Macbeth and his Lady,

"My strong imagination sees a crown Dropping upon thy head."(2.1.204-139)

Caliban’s statement prior to the epilogue links directly to Macbeth, and also to James 1st,

"What a thrice-double ass Was I to take this drunkard for a god And worship this dull fool!" (5.1.294-216)

This is a direct link to the weird sisters’ chants,

"Thrice to thine, and thrice to mine" (1.3.35-14)

Also,

"Double, double" (4.1.20-106)

The ‘dull fool’ to which Caliban refers is King James 1st, who was known to have referred to himself as a god. The links to Macbeth in The Tempest are no more accidental than the play in A Midsummer Night’s Dream being akin to Romeo and Juliet. This is a deliberate guide to a deeper meaning, depicting Shakespeare’s dislike of the anti-witchcraft, narrow-minded legislation initiated by James 1st.

Yates stated that, ‘Prospero represents the Elizabethan occult philosophy’, and he could not be more correct. This is a brief account of some of the symbolism pertaining to witchcraft and folklore Shakespeare uses, also of his cunning manipulation of such things to portray his true perspective. When faced with an anti-magic sovereign, Shakespeare used his genius to juxtapose his true opinion through satire, with a sycophantic anti-witchcraft style which would please. Shakespeare, in true pagan tradition, is an advocate of nature, of the Earth, and the legends which it inspires. It is no accident that Malcolm orders the soldiers to cover themselves with Burnham wood (5.4.3-150). The forest comes to Macbeth, symbolic of nature rising up against his arrogance and wickedness. Prospero creates harmony using his magic, how things should be, a true comedy ending wherein all slaves are free, in mind and body, and things to his mind, are perfect. Then why does Prospero renounce his magic? This is because Prospero represents Shakespeare’s ideals, furthermore his gift. Prospero is Shakespeare,

Though Shakespeare never wielded a wand, nor thought of himself as a Magus, he is a magician, master of the spell-binding use of words, of poetry and magic. This was the art in which he was supreme.

It seems fitting then, with his final play, he portrays the positive in magic, and vilifies its harshest critic. Furthermore, he creates a utopian situation from the craft. Prospero’s work is done, as is Shakespeare’s, therefore, he renounces his gift because he has nothing more to achieve,

"To work mine end upon their senses that This airy charm is for, I’ll break my staff, Bury it certain fathoms in the earth, And deeper did ever plummet sound, I’ll drown my book." (5.1.5753-201)

References:

A Treatise on the Archangel Ariel. Accessed at: www.auriel.org/treatis.html  14th December 2006. 20:20

Ady, Thomas. A Candle in the Dark. P115 (cited in Briggs)

Ball, Phillip. (2006) The Devil’s Doctor: Paracelsus and the World of Renaissance Magic and Science. Random House.

Briggs, Robin. (2002) Witches and Neighbours: the social and cult context of European Witchcraft. Second Edition. Blackwell.

Eagleton, Terry. William Shakespeare, Oxford Blackwell(1986) p 126 Cited in Briggs

Illes, Judika. (2004) The Element Encyclopedia of 5000 Spells. Harper Element.

J. Taylor and Son. (1866) A Brief History of Witchcraft with especial reference to The Witches of Northamptonshire, collected in great part from original sources. Pryor Publications (1998)

Kermode, Frank. (2004) The Age of Shakespeare. Phoenix Paperbacks, Random House.

King James I, Daemonolgie. (Cited in Willis.)

Lindley, David. Ed. (2002) The Tempest. The New Cambridge Shakespeare. Cambridge University Press.

Muir, Kenneth. (Editor) (1951) The Arden Shakespeare’s  Macbeth. Thompson Learning.

Shakespeare citations to The Arden Shake spare’s Macbeth (Thompson Learning 2002)

Shakespeare citations to: The Tempest. New Cambridge Shakespeare. Cambridge University Press.

Streeter, Micheal. (2002) Witchcraft: A Secret History. Eagle Editions.

The Arden Shakespeare’s Macbeth. Thompson Learning. (2002)

The Tempest, New Cambridge Shakespeare. Cambridge University Press (2002)

Thomas, Keith. (1971) Religion and the decline of magic. Penguin Books

Westwood, Jennifer. & Simpson, Jaqueline. (2005) The Lore of the Land: A Guide to England’s Legends from Spring-heeled Jack to the Witches of Warboys. Penguin Books.

Willis, Gary. (1995) Witches and Jesuits: Shakespeare’s Macbeth. Oxford University Press.

Wooley, Benjamin. (2002) The Queen’s Conjuror: The life and times of Dr Dee. Harper Collins

Yates, Frances. A. (1964) Giordano Bruno and the Hermetic Tradition. The University of Chicago Press.

Yates, Frances. A. (1979) The Occult Philosophy in the Elizabethan Age. Routledge