“The Baseless Fabric of this Vision” The Poetics of Space in The Tempest
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hierarchical position, to the elemental constituents of the Island-world. This richly orchestrated Neo-Platonic harmony of the human, the animate and the inanimate spheres of being is one of the distinct mythical qualities of the play. The earthbound Caliban, the airborne Ariel, the sea-changed voyagers controlled by the Promethean fire of Prospero’s Art – all take their share in the topical metamorphosis turning the epilogue’s “bare island” into a natural habitat of mythmaking – a topia of dramatic implacement. Thus the Island is not a mere topos of fictitious, temporary location but a lived-in place, the fifth element of the Hermetic formula that gives local habitation to its inhabitants and itself becomes a generative force of creation. Beside the placial definition of belonging and identity, the topographical arrangement of the characters also contributes to the formation of the Tempest-world. In spatial perspective they are all carefully arranged both along the vertical and the horizontal axes. The vertical hierarchy – which is independent from social position or dramatic weight – mirrors their moral stature, their level of spiritual nobility or baseness: Prospero-Miranda-Ferdinand-Ariel-Gonzalo-Antonio-Sebastian-StephanoTrinculo-Caliban. The horizontal arrangement divides them into groups of extant or newly-formed alliances: Prospero-Miranda, Prospero-Ariel, Prospero-Gonzalo, Miranda-Ferdinand, Antonio-Sebastian, Stephano-Trinculo-Caliban. It is also an effective means of dramaturgical implacement, activating spatial relations as an aspect of place-being. The New World of Shakespeare’s utopia is the only place where myth can be reclaimed from the past, from the distant worlds of narrative poetry and fiction, where we can leave the mind’s bookish abstractions – space and time – behind to find our way back to place where life itself is rooted. 4 It is the spell of the Island that realizes the fictitious, domesticates the fantastic and naturalizes the supernatural to provide Shakespeare’s utopia with a dramatic shape. Without its local charms – thunders and sweet airs, noises and songs, lights, fresh springs, brine-pits, Ariel’s spirits and Caliban’s fish, flesh and fowl – Prospero’s art would remain as barren as the stage he leaves behind in the epilogue. Myths, like utopias, are chronotopic phenomena of the mind with a keen awareness of space and time. When narrated on page – a way of linear rendering – time takes the lead adapting space to the needs of chronology. When put on stage by performance, by the act of presentation, place gains priority, and embracing time in its complexity, generates a sense of presence – the base of the dramatic experience. This increased need of the time-bound stage for location and placement may explain the unusually – at least by Shakespearean standards – naturalistic rendering of the opening storm. As a scene of overall dissolution it leaves reality behind and opens up 4
This contrastive view of space/time and place is in full accord with E. Casey’s grounding statement in his book cited above.