The Tempest

In the three categories of tragedy, The Tempest fits into the Renaissance Tragedy genre the best. In a Renaissance tragedy, a moral weakness causes the protagonist’s downfall. Prospero fits this rule because he chose to ignore his kingdom and instead spend his time studying magic. This poor decision led to his brother taking over and sending him off to the island. Prospero explains to Miranda that “The government I cast upon my brother and to my state grew stranger, being transported and rapt in secret studies” (Shakespeare). The moral flaw that Prospero was exhibiting was that he did not manage his time well and neglected to prioritize his responsibilities properly.

Furthermore, a Renaissance tragedy has subplots and comic relief. In the play, there are subplots when each of the groups of people are stranded on different parts of the island. Antonio, Gonzalo, and the other royals have their own situation going on while the other characters, such as Prospero and Miranda, are involved in their own actions. The comic relief comes in the form of Stephano and Trinculo, who use their bad logic to add humorous scenes to the play. For example, when the Stephano and Trinculo come across Caliban, they mistake him for a fish.

Even though The Tempest follows some of the key aspects of a Renaissance tragedy, it fits best into the Romance category because of the play’s peaceful ending. There is a “hybrid of tragic and comic elements,” such as the seriousness of Prospero and the humor of Trinculo and Stephano. However, the play has a more serious plotline because of Prospero’s background story of betrayal and the murder plans that take place in throughout the story. Romances tend to “end with weddings, with the focus on … healing rifts within the entire human community” (Shwartz). The Tempest ends with Miranda and Ferdinand together, and heals the community by placing Prospero back into power where he belongs, and with no one being murdered.