Audiences find enjoyment in reading as humans naturally have an inquisitive tendency to

relate to the resonances and dissonances revealed by composers. Atwood’s reframing of

fundamental themes, concepts and characteristics present in Shakespeare’s The Tempest as
well as the heavily contextualised backgrounds inserted into each plot, reveal the true
complexity of reconciliation. Resonances portrayed through characters like Prospero and
Felix and dissonances mirrored to further the plot such as context allow readers to find a
sense of enjoyment. An integral part in Atwood’s reimaging of The Tempest was the
prevalent intertextuality created through the textual conversations. This inevitably illustrates
how the embodiment of a concept with an incredibly complex underlying theme, such as
reconciliation, candidly portrays the effectiveness of how texts and their narratives can
broaden an audience's perspective, and furthermore, impart a greater sense of enjoyment.

An analysis of the influence of the historical context on Atwood and Shakespeare's texts,
provides the audience with an extensive ability to identify the resonances and dissonances
present. Furthermore, the parallelism that exists between the structure of each text allows
readers to identify the textual conversations, expanding one's ability to conceptualise the
complex theme of reconciliation. In any Shakespearean play, an imperative dramatical
technique is the 5 Acts. In comparison, despite Atwood’s text being in narrative form, this
mirrored feature of having 5 chapters, gives insight into the further developed intertextuality,
a prevalent resonance later in the book. The Prologue of Hag-Seed being a scripted
interpretation of the opening scene from The Tempest is a prime example of the
metatheatrical foreshadowing of the reinterpretations by Atwood. Atwood is also able to
build a foundation for audiences to see the textual conversations with a strong sense of
intertextuality by embodying the entire thematic structure of imprisonment. Atwood
amplifies The Tempest’s prismatic entanglements of captivity by placing almost the entirety
of the plot in a prison. Felix himself when making a final decision about choosing The
Tempest says “Oh, the actors will relate to it, all right… It’s about prisons”. The dramatic
irony in this quote poses a new perspective on the significance of imprisonment in both texts.
In The Tempest, Prospero being imprisoned on the island does drive him to embody vengeful
traits, however, it also allows him to perfect his magic and ultimately seek retribution for the
calamity he caused. Atwood reframed this through Felix, by demonstrating the significance
this prison setting has on Felix seeking retribution, not only for what he did to his enemies,
but in releasing himself from the grasp of his daughter’s imaginary presence. An illustration
of this intertextuality seen between the island and the prison is when Atwood writes “ This is
the extent of it, Felix muses. My island domain. My place of exile. My penance. My theatre”.
This infusion of textual ideas surfacing from The Tempest in light of imprisonment and
Atwood’s clear use of anaphora, there is an emphasis on the confinement Felix felt, which in
him accomplishing this play, will ‘set him free’ granting him the ability to find reconciliation.
Conclusively, Atwood’s mirroring of fundamental themes and metatheatrical structures
shown in the Shakespearean text, give audiences an exceptional insight into the complexity
reconciliation pertains. An analysis of resonances highlighted in the textual conversations and
dissonances embodied in character actions, allows for the parallelism of the texts to further
conceive the conversations.

The inquisitive tendencies prevalent in humans provokes an intrinsic fascination in the

composer’s ability to reinterpret malicious intent and reframe it in a way that portrays a
sense of integrity. The extensive portrayal of Machiavellian characteristics prevalent in The
Tempest and Hag-Seed, and furthermore, the reinterpretation of common dissonances, allows
readers to hone new perspectives and truly grasp the complexity of reconciliation. Malicious
intent prevalent in numerous characters in The Tempest were intricately reinterpreted in Hag-
Seed. The main antagonist Antonio in The Tempest, was cleverly mirrored by the character
Tony in Hag-Seed, his ambitions were driven by power, eliminating and usurping anyone in
his way. In deeply analysing the underlying intertextuality centred around Machiavellian
characteristics, which had an extensive influence on Shakespeare’s creation of Antonio,
audiences also see how these detrimental traits can consecutively manipulate the protagonists
to embody this mentality. The audience sees this in Prospero, when he maliciously decides to
use his spirit Ariel and the magic he has learnt, to put them under a spell and wreak havoc on
those who usurped him. ‘Let them be hunted soundly, At this hour, Lie at my mercy all mine
enemies’. The use of imagery vividly portrays the effect Prospero’s devious plans have on
him as an individual, but from analysing the whole play, also shed light on his vengeful yet
retributive path. Contrastingly, Felix in Hag-Seed, concocts a plan to regain the power he
lost, embodying the Machiavellian traits that saw him usurped. In him describing Tony as an
‘ evil-hearted, social-clambering, Machiavellian foot-licker’ and Atwood, utilising the
historical context through language and the idea of Machiavellian traits, the use of tricolon
heavily emphasises the message depicted to the audience. The influence that these cold-
hearted actions can have on the human mind, causing an internal war between being good and
seeking reconciliation versus striving for a vengeful turn of events are portrayed abundantly.
The composers are trying to entice conversations in audiences that truly depict the concept of
reconciliation. Through Felix’s journey in striving for forgiveness similarly to Prospero,
audiences can truly engage in the texts. This idea is also revealed to us when Prospero
proclaims at the end of The Tempest ‘As you from crimes would be pardoned, let your
indulgence set me free’. Atwood mirrors this in Hag-Seed by Felix ending the book with ‘ to
the elements be free’. The composer's ability to connect with the audience using these
dramatic final lines and embodying the technique of aside speech, taps into the inquisitive
tendencies’ audiences hold. Furthermore, this entices conversations in the audience and
allows the complexity of reconciliation to truly be explored. The reframing of malicious
intent through these characteristics embodied in protagonists, perfectly encapsulates an
audience.

Composers utilise characters throughout their text as an essential catalyst to propel the
development of intricate concepts. Atwood’s ability to align the journey of characters present
in her text, with that of the characters in Shakespeare’s The Tempest, evidently gives readers
foundational prospects to build an idea of the true complexity of reconciliation. When
analysing the attitudes and actions of characters in each text, the composers are portraying a
clear message of reconciliation and forgiveness. Throughout this essay, Prospero has been
heavily identified as a vice in this and with good reason. Prospero is an essential catalyst to
the propelling of the plot, and the development of intricate concepts that also embody
Shakespearean context. He is judging, punishing and for the most part unforgiving. For
Atwood to truly reveal the complexity of reconciliation, her alignment of the character Felix
with Prospero, undoubtedly did so. Both characters embodied the contextual background of
each composer, attributing to the development of concepts such as forgiveness. Christian
humanism is evidently epitomising in Prospero, and from the time in which Shakespeare
wrote this, he thoroughly stood by these attributes. Atwood’s ability to weave elements of
Prospero’s character into Felix, and still rectify the dissonances between them, furthermore,
give audiences the prospects to identify the complexities of reconciliation. Each of these
characters were used as the ‘renaissance of magnus’ directors in the texts which moreover,
build the foundation for audiences to find enjoyment in the intertextual resonances.
Atwood’s reimagining of The Tempest through adaptations to language concepts, structure
and intertwining of contextual ideals, effectively outlines and allows audiences to form a new
and conceptualised perspective on the complexity of reconciliation. In her ability to form this
perspective based on resonances and dissonances, audiences can perceive these textual
conversations through their ability to tap into the inquisitive tendencies that benefit attribute
to one seeking enjoyment in reading.