Art and natureArt mastering Nature Prospero’s magic, power over nature (tempest, Ariel, guilty ones) + language over people (Caliban) Nature = ? heart of of art? Mimesis + theater New drama: mix of genres… What are really art and nature, contrast, building new visions? Theater and Art revealing true Nature(s) “natural man” Caliban and civilized (educated) man P? Human nature: compassion over magic, reality over illusions (good polo) Human nature: good VS evil Nature= force. Art= magic force too… Duelling? ) 2 accomplishment. normal state [of mind and body] nature (n. natural affection nature (n. knack. mastery.) 8 rhetorical art. dexterity art (n.) 5 practical application.) 1 knowledge. verbal artistry nature (n. ungoverned state.) 4 mortal life. acquisition art (n. scholarship. natural life nature (n. or: wile. enchantment. way of the world [often personified] .) 6 magic. learning. science art (n.) 2 natural powers. trick art (n. skill art (n.) 3 human nature nature (n.) 7 artifice. achievement.) 1 natural feelings. artificial conduct. character nature (n. innate disposition.) 4 knowledge. knowledge drawn from experience art (n.) 5 personality.art (n.) 3 skill. trickery art (n.) 6 natural order. i.) 7 function. (The presence of two sets of "unnatural" brothers is another parallel with As You Like It. he has sinned against God (since a monarch was thought to rule through divine will) and violated the bonds of brotherly love (and of human decency. having normal feelings natural (adj.) 3 legitimate. "this thing of darkness I/ acknowledge mine" (V.i. 275-276)? Both the "monster" Calibanand the "good" Ariel serve the . imbuing him at times with a surprising nobility." does he now "deserve" to be duke?) What is the source of his power upon the island? Is there a relationship between that power and his weakness in Milan? Why must he abjure his magic and "drown his book" (V.57) before returning to Milan? Could Prospero also be acknowledging his own dark side when he says (of Caliban). Be sure that you have the various characters straight! Fitness to Rule.) Look for passages that illustrate these parallels as you read. He is the rightful duke of Milan. The Tempest is concerned with a conflict brought about by the "unnatural" behavior of a villainous protagonist (in this case Prospero's younger brother Antonio) who plots against and overthrows the rightful ruler of the land.) 2 personal.) 4 related by blood natural (adj. and to "nature" in the text. Antonio's "unnatural" behaviour also recalls that of the traitors in Henry V: in order to usurp his brother's Dukedom. idiotically Unnatural Behavior. rightful natural (adj.both Caliban and Prospero are richly ambiguous figures. capacity. exposing his banished brother's innocent daughter to a life of hardship or death).) like a half-wit. Like As You Like It and Macbeth. Note references to "natural" and "unnatural" behavior. role atural (adj.nature (n. whom he now serves. Antonio is doubly "unnatural": in usurping the throne of Milan. the traditional enemy of Milan. Caliban is at least half human -. he conspired with Alonso. As the above analogies suggest.a strength he did not show as duke of Milan. where Duke Frederick's treatment of Duke Senior was doubled by Oliver's unnatural cruelty to Orlando. Prospero on the other hand cannot be considered an entirely blameless monarch. Prospero governs with absolute authority -.) 1 feeling proper affection.) 5 inherent. to divine justice or Providence. while Alonso's younger brother Sebastian plots to kill him and usurp his throne. but was he a good and responsible ruler? What did he care about most? (What are the only things he took with him to the island of his exile?) Did Antonio have some justification in usurping the throne? On the island. But (as in Macbeth). Shakespeare seems once again (as inMacbeth) to have shied away from painting a picture in "black and white" -. Is that why he regains his throne? (Having learned to govern "correctly.and Shakespeare takes care to remind us of it.) 6 lacking artifice. Like Duke Frederick in As You Like It. King of Naples. Antonio is at the mercy of the brother he deposed. intrinsic natural (adj. reflecting the reality of the world natural (adv. formed by nature natural (adj. what goes around comes around: shipwrecked on Prospero's island. usurping the throne. by birthright. has commonly been considered Shakespeare's "farewell to poetry" (Prospero breaking his staff.or of poetry.ii. the bonds that tie them to their respective lords. or of art -.270."tyrant" Prospero unwillingly and chafe against his rule. But there are essential differences." Is anything analogous going on in The Tempest? Look for passages that emphasize the link betweenlearning (books. Recall that The Tempest. with the magic of the theater? The Tempest ." source of his magical artistry).Art vs. 344. 351. equals Shakespeare breaking his "pen. he is similar to the fairy Puck who serves the Fairy King Oberon in A Midsummer Night's Dream. What do we make of that relationship? Finally. Consider e. Note passages which make clear these parallels. 374). . source of his magic. art). But is Prospero Ariel's rightful king?) On the other hand. who for the most part serves him cheerfully enough. and Prospero calls them both his "slave" (see I. Prospero seems to feel genuine affection for Ariel. Shakespeare's last complete work before retiring to Stratford. 2A01B. Is their service offered willingly? Is it equally justifiable in each case? (Service to one's king or rightful lord is considered to be part of the "natural order" in Shakespeare's time. To what extend can we equate Prospero's magic with Shakespeare's literary artistry or.g. 1996. magic and power. poetry. the Fairies represented something concerning the power of dreams -. more generally. in A Midsummer Night's Dream we noted that in addition to being forces of Nature. And what about Ariel? A spirit in the service of the magician Prospero. Nature Written by Yeo Siew Lian.to change "reality. in which case Antonio's apparent intelligence can be considered. intemperate and brutal in contrast to the nobility. Admittedly.. The "natural man" (i. so much more terrible is the sin of the nobleman who abases below the natural. for the restoration and perpetuation of the appropriate social order. unaffected. he also serves as a contrast with the radiant virtue (Miranda and Ferdinand) and enlightened benevolence (Prospero. to the enlightened. in a wider sense. this Art.Montaigne. On the contrary. far from being a "noble" savage in any way.e. depending on how one views colonialization ) he is nevertheless far from being admirable. Caliban) is savage. affected. merely more adept at cloaking his vices.. while Prospero's Art (in the stricter sense) can be said to imply the self-discipline. the advocates of the former presenting the "natural man" as being savage. refined intellect that can only be found with the advantages that civilization offers -. [and created the foundation for sincere penitence. intemperate and brutal. which as a traditional symbol of chaos in tragedy. temperance and virtue required to practise it . It is in this context that the debate between Art and Nature takes place.. partly occasioned by colonialization . Alonso). "graves at my command / Have wak'd their sleepers". not inaccurately. Art. The debate between Art and Nature in The Tempest is very much based on the Renaissance debate. to indicate corruption and degeneracy in the civilized world. by extension.] However.e. observes that it may be arguably more barbaric to "mangle by tortures and torments a body full of lively sense [. is somewhat sinister. installing himself as ruler. and his excessive threats to punish Ariel in Act I for nothing more than a polite request that he remember to release him). for the edification of the others e.depriving Caliban of his rights and liberty is per se somewhat questionable. as what would in modern terms be called a form of Pavlovian conditioning.g. which were at best more refined. as . in his famous apologia for the "natural man". incapable of higher reasoning and lacking the innate intelligence for nurture to "stick" (as Prospero says in frustration) responding only to something that in effect could be considered. the touching passage in Act III Scene II where he speaks of his "cr[ying] to dream again". that would suggest a certain one-sidedness to the argument. he does serve to show the implications of Antonio's conscious choice of evil despite being born of a "good womb" and having every advantage of mind and upbringing. self-control and high-mindedness of the civilized man. albeit more towards the end) of untainted nobility. but nevertheless hardly a reason for pretensions to moral high ground -. the advocates of the latter presenting the "natural man" as being artless. as what Rousseau was later to term the "noble savage" and the civilized man as being corrupt. which he uses to control Nature.". it can also be argued that Prospero's alighting on the island. on whether civilized man or the "natural man" was superior. however. using the stricter definition. is shown ultimately to have done "no harm".] under pretence of pietie and religion" than "to roast and eat him after he is dead"." Consider the debate between Art and Nature in the play The Tempest. (cf. Shakespeare does not go to either extreme in The Tempest. if the natural man is a brute. he does not only "indicate corruption and degeneracy in the civilized world". is chiefly used for benevolent purposes (i. While his portrayal is not totally unsympathetic (cf. the natural man functions like the virtuous shepherd of normal pastoral. Even the tempest at the beginning of the play . though not without some questionable aspects.. and consequently -- albeit not unjustifiably -. refers specifically to Prospero's magic. "Art" can also refer. idyllic image created by Montaigne and those who thought similarly. [good] As such. In this case. for while he "must restore" the dukedom to Prospero. is hardly a "virtuous shepherd of normal pastoral".much a form of "Art" as Prospero's. being already in a privileged position. and therefore not even totally "human". he will presumably still be in a position to subvert society. Nevertheless. and as such is more dangerous. as Antonio can. while the need for control over Nature is asserted continually. hardly in a position to alter the social hierarchy significantly. He does not have power. when debased. However. and has no intention to do otherwise . there is not much danger from a butler and a jester particularly susceptible to inebriation.hence Antonio. they certainly cannot be accused of being evil. while serving to "indicate corruption and degeneracy in the civilized world". however. the only of the "villains" to be consistently and unflinchingly evil with the full conscious knowledge that he is choosing evil. If used properly. . since it is extremely dangerous if misused.an example of how he abuses "Art" for self-interest) and justified by the Machiavellian concept of virtù . but does not speak much to. moreover. the ending suggests that Art must ultimately come to terms with Nature [yes!] (hence Prospero's "this thing of darkness I / Acknowledge mine"). In any case. for while Caliban's limitations are apparent. unrepentantly silent at the end of the play. This fact may perhaps partially account for Prospero's acknowledgement of Caliban at the end of the play and his relatively cold treatment of Antonio. and is incapable of understanding "virtue" as a concept. he already has this awareness. Nature as personified in Caliban. his wish to improve himself is promising.an extraordinary persuasiveness aided by his superior education (when trying to persuade Sebastian to kill Alonso. it can also be equivocal. or at least will not be when back in Milan. Similarly in the case of Stephano and Trinculo. and. lack Antonio's intellect. However. since none has had the advantages of birth and breeding. for while the rest can be brought to an awareness of their mistakes. Caliban. not only because of his birth. albeit a form perverted for reasons of self-interest and to serve the cause of evil [good]. whom he forgives. less distressing than Antonio's taste for evil. he uses Renaissance rhetoric -. moreover. Art. being born from a union of an incubus and a witch. The Tempest presents "Nature" as being far from the idealistic. though they (though perhaps to a lesser extent) are also bound to "Nature". in fact. Stephano and Trinculo put together. and his new relationship with Prospero seems to be more stable and more reassuring than the resentment-filled and extremely uneasy jailor-prisoner / master- slave relationship shown earlier. but also because of his form of "Art" [good] -. as a result. not with any sort of reasoning above that of the most elementary. is infinitely more dangerous and more subversive of the social hierarchy. being without either version of "Art". and is. "so much more terrible is the sin of the nobleman who abases below the natural" -. so to speak. since they can be easily controlled. All three. His behaviour also makes one all the more uneasy because he does not always have the same apparent motivation as Iago and Edmund. his behaviour is comparatively less worrying than Antonio's. is congenitally disadvantaged by fact of his parentage alone. on the other hand. He behaves in accordance with his instinctual urges. while they can be accused of being ill-behaved and ill-natured at worst. have. for example. moreover. do not pose a serious threat. He is. is more sinister than the conspiratorial buffooneries of Caliban. it can control Nature and curb its baser urges or at least prevent them from being carried out. Their "natural" tendencies are. if "Art" is taken in the wider sense. making him a natural slave. While Nature calls forth the authoritative power of Art to correct it. if the natural man is a brute. "."a freckled whelp hag-born.who are as much inferior to others as the body is to the soul. so much more terrible is the sin of the nobleman who abases below the natural. custom and artificial restraints would be a happy one. 13 May 1996. Though gentle birth predisposes man to virtue. There are also two opposing views of the nobility. The Tempest . The first belief is that nobility comes by birth.Art vs. the other members of the nobility who belong to the court party and their servants.. In the play. among those of better birth. Nature Written by Sia Rouh Phin. The world of the court is synonymous with the world of Art in the play. Montaigne's essay. civility and virtue. He exists at the most rudimentary level of pain and pleasure. and manifest in the form of Caliban and the natural world. Of Cannibals. is a representative of Nature in many ways. Caliban." Consider the debate between Art and Nature in the play The Tempest. It cannot be uniformly maintained that where there is high birth. Shakespeare has portrayed neither Nature nor Art as perfect but as having a complex relationship where one is reflected in the other.. debate between the two is inevitable. Gonzalo's talk of his "commonwealth" mirrors this opinion in the play. In The Tempest.are slaves by nature. which is a term for the savage inhabitants of the New World. he is also natural in character. is an undisputed source of the novel which supports the former view. there are those who might beget an evil nature and noblemen can do wrong because they are free to choose. and like them he is amiable at first but treacherous under provocation. This links him with Indian natives. Shakespeare supports the second view which sees nobility as the perfection of nature in each thing. It is represented by Prospero.. and even sink below. One sees the natural as that which is corrupted by man while the other regards it as that which is defective in itself and must be corrected by nurture. He is "deformed" -. not honoured with/ A human shape". He is described in the Dramatis Personae as "a salvage and deformed slave". unchastity is a conventional attribute. As he is "salvage". With two such extremes brought together. In contrast. there is virtue. and hence one of noble birth is virtuous by extension. Shakespeare agrees more with the latter view which is propounded by Aristotle in the following lines. Art is that which is composed of grace. and it is advantageous for them always to be under government" and Caliban is Shakespeare's example of this. Nobility is shown by the manners and merits of the individual. There are two opposing views of the natural. Art can descend to. the natural man functions like the virtuous shepherd of normal pastoral. "men.. the level of Nature. because he is a product of a sexual union between a witch and an incubus. it is not necessary to virtue.. His name itself fascinates regardless of whether it is an anagram of 'cannibal' or if it originates from "Carib". brutish and evil. Montaigne believed that a society without the civilised 'additives' of law. 2A13A.. Not only is Caliban natural in origin. Lust and lechery are all that he knows because love is . the natural man. Nature is bestial. Thus. to indicate corruption and degeneracy in the civilized world. fair issue and long life"."an airy spirit". Caliban seems even more loathly in the presence of Ferdinand and Miranda's comeliness. it charms him as it does a beast without reason. it can be seen that members of that world can sink to the level of Nature. . analyse. Debate between the two takes the form of a series of antitheses with Caliban frequently recurring as the representative of nature which allows comparison between the two worlds. Not only does Prospero have the seed of nobility. In contrast. Such is the manifestation of Nature in The Tempest. Stephano's lustful nature reveals itself when he is tempted into murdering Prospero in the hope of getting a "brave. Physical appearance is an index of a character's nobility or vileness. Prospero only deals with spirits high in the scale of goodness like Ariel -.. Caliban is a measure of the incredible superiority of the world of Art and also a measure of its corruption and degeneracy. In the practice of magic. the continence of the world of Art is marred by Stephano's unchaste designs. As a duke. His powers are magnified by the control he has gained because of his ability to place reason over passion. Unfortunately. and such the cultured representation of Art. the world of Art is indisputably superior. This corroborates the belief that the natural is often sexually promiscuous. this Art of Prospero's has control over Nature in the form of Caliban. Symbolically.his Art. he is also wrapped up in the pursuit of knowledge. Prospero's Art is the antithesis of the black magic of Sycorax. Prospero's divine magic achieves supremacy over the natural world through the exercise of virtuous knowledge gleaned through studious observation. Nonetheless. Prospero's beneficent magic far outshines Sycorax's evil one. Distinct from it is Sycorax's black magic which has limited power and can only pronounce "grand hests" or command the lower order of spirits. Ferdinand markedly differs from Caliban in his insistence that his desires are under control despite Miranda's exceptionally frank professions of love. This serves to emphasise the incomparability of the world of Art to the world of Nature in terms of physical appearances.beyond his depth. it stands for the world of better qualities and achieves the restoration of harmony at human and political levels. In terms of physical appearances. the court party are used to grace. Requiring virtue. The contrast of the lustful incontinence of natural man with the love and restraint of the nobleman once again displays the incredible superiority of the world of Art. Sycorax was powerful enough to trap Ariel. Caliban is naturally lustful as seen in his attempt to defile Miranda. learning and temperance of its practitioner to succeed. Even where the world of Art is supposed to have preeminence. Prospero himself is a nobleman and "the right Duke of Milan". Prospero's highly developed mind also allows him to hatch a plan to give the court party a chance to learn. Caliban is deformed as a result of evil magic and "with age his body uglier grows". Miranda is especially beautiful because the divine quality of nobility and her virtue illuminates her physical body such that both Ferdinand and Alonso take her for a goddess. feel and sense. Yet. "The white cold virgin snow upon my heart/ Abates the ardour of my liver".. he naturally assumes the right to rule the island -. The noble (and often virtuous) are beautiful while the vile are ugly. civility and every refined comfort."to be lord on't". Although he appreciates music.lass" who "will become [his] bed". As Ferdinand assures Prospero. Able to reason. He is such an accomplished mage that he gains special powers -. Ferdinand is able to restrain his appetite in the hope of enjoying "quiet days. Perhaps this can be accounted for by the fact that Stephano is not a member of the nobility but just one of their servants. But though it is a civilised world. This action of Antonio's is contrary to the spirit of the world of Art. "You taught me language. here Nature shows itself to be superior to Art for Stephano and Trinculo are persuaded to follow the leadership of Caliban in a plot to murder Prospero. Instead. Antonio is part of the courtier stock which is endowed with grace and nurtured in refinement through centuries in the world of Art. all.. both the qualities of nobility and the ability to learn are united in happy conjunction. Prospero's attempts to cultivate Caliban has only brought out in the worst in Caliban. Here indeed we can see men of the world of Art stooping below natural man. and my profit on't/ Is I know how to curse". it allows freedom of action. But Caliban has neither and nurture appears to be not only useless but harmful to him. and to even lower levels. on whom my pains/ Humanely taken. Thus. Antonio has not changed with the passage of time. Thus. There are also points in the play where Shakespeare uses Caliban to show how much baser corruption of the world of Art can be than the bestiality of Nature. Stephano and Trinculo are servants who belong to the world of Art. Yet once they are away from the watchful eye of their master. Caliban is not totally incapable of learning at a sensory level of pain. a born devil. quite lost". and tutors not so careful". While Antonio persuades Sebastian to secure accession to the throne by killing off all opposition (i. However. Prospero compensates for this as it is his learning which eventually gives him the means to return to Milan. However. The malicious ambition of Antonio sinks him to the level of Caliban. However. thy schoolmaster. blessed with the benefit of education and equipped with the ability to learn. Prospero laments that Caliban is "A devil. More significantly. Alonso and Gonzalo).here/ Have I. "want of nature ( the nature of nobility acquired by birth) can be partially supplied by education". made thee more profit/ Than other princess' can that have more time/ For vainer hours. Miranda is endowed with the seed of noble race. such as lust for Miranda and discontent at his inferior position. As stated in the . to usurp the dukedom of Milan from his brother. Edward Phillips offers some hope.. it is possible for Antonio to indulge in an act of treason.e. In Miranda. especially since Prospero fell from his kingdom because of an inordinate thirst for education and learning. Fortunately. ". they lose all discipline and control. he has learnt to abuse the gift of language which can be seen in his biting return to Miranda. Caliban leads Stephano and Trinculo in a scheme to murder Prospero in his sleep. on whose nature/ Nurture can never stick. all lost. Caliban would take Stephano for his master and the three treacherous servants merrily drink themselves into drunkenness. he seems to have degenerated still more for there is a parallel between Antonio's treacherous behaviour with that of Caliban's in their plots to murder Alonso and Prospero respectively. Shakespeare carefully sets up a comparison between Miranda and Caliban who both have Prospero as their tutor. As Prospero proudly tells her. Consequently. beginning to drink freely of the king's wine. This indicates that learning is not necessarily a desirable thing. This is not unlike Caliban who cannot wait to be out of the service of Prospero. After Prospero's punishment. The disparity of birth between the world of Art and Nature seems to be an impassable abyss. Instead. the name of the world of Art is most sullied by the ambition of Antonio. Caliban knows he must never touch Miranda although he does not understand why. But Caliban soon perceives Stephano's infirmity of purpose and scorns both Stephano and Trinculo for being distracted from their mission by such material things as fancy clothes. However. That is not all. primacy of the world of Art over Nature is not complete. Won over by the "celestial liquor". Nobility is shown by the manners and merits of the individual. There are also two opposing views of the nobility. It is represented by Prospero." Despite the benefit of birth and education. Antonio is a degenerate nobleman. and manifest in the form of Caliban and the natural world. In contrast. In the words of Aristotle. brutish and evil. As Miranda points out to Prospero.. While Nature calls forth the authoritative power of Art to correct it. he is impervious to the actions of grace and alienates himself from Prospero's forgiveness. the other members of the nobility who belong to the court party and their servants. the ongoing debate between Art and Nature in The Tempest establishes the incredible superiority of the world of Art over nature and also that Art is not so far above Nature that it cannot stoop below it. . the level of Nature. Montaigne believed that a society without the civilised 'additives' of law. Antonio degrades himself below of those who live unaided at the level or nature. among those of better birth. there are those who might beget an evil nature and noblemen can do wrong because they are free to choose. custom and artificial restraints would be a happy one. and even sink below. But Caliban knows better than Antonio that it is imprudent to resist grace and he declares it. debate between the two is inevitable. and therefore sees no difference between good and evil". it is not necessary to virtue. civility and virtue. Caliban has no choice but to be vile. Antonio is predisposed to virtuous conduct.essay title. A Discussion of Art and Nature in The Tempest In The Tempest... With two such extremes brought together. Shakespeare has portrayed neither Nature nor Art as perfect but as having a complex relationship where one is reflected in the other. Art can descend to. "men. "bestial man has no sense of right and wrong.. Art is that which is composed of grace.are slaves by nature. Thus. It cannot be uniformly maintained that where there is high birth. Of Cannibals. Gonzalo's talk of his "commonwealth" mirrors this opinion in the play. so much more terrible is the sin of the nobleman who abases himself below the natural". there is virtue. In contrast. one has to agree with Aristotle's conclusion that the state of bestial man is "less guilty and more hopeless than those of incontinence and malice since it cannot be improved". To conclude. Montaigne's essay. is an undisputed source of the novel which supports the former view. In the play. As such.who are as much inferior to others as the body is to the soul. since "natural man is a brute. Yet. Shakespeare agrees more with the latter view which is propounded by Aristotle in the following lines. and hence one of noble birth is virtuous by extension. and it is advantageous for them always to be under government" and Caliban is Shakespeare's example of this. Though gentle birth predisposes man to virtue. Juxtaposed with Caliban the vileness of his conduct as opposed to the nobility of his birth is sorely felt. One sees the natural as that which is corrupted by man while the other regards it as that which is defective in itself and must be corrected by nurture. "Good wombs have borne bad sons". Being a nobleman. Shakespeare supports the second view which sees nobility as the perfection of nature in each thing. There are two opposing viewsof the natural. Nature is bestial. The first belief is that nobility comes by birth. The world of the court is synonymous with the world of Art in the play. "I'll be wise hereafter/ And seek for grace. this Art of Prospero's has control over Nature in the form of Caliban. because he is a product of a sexual union between a witch and an incubus."to be lord on't". This serves to emphasise the incomparability of the world of Art to the world of Nature in terms of physical appearances. Symbolically. His name itself fascinates regardless of whether it is an anagram of 'cannibal' or if it originates from "Carib". learning and temperance of its practitioner to succeed. the world of Art is indisputably superior. Prospero's divine magic achieves supremacy over the natural world through the exercise of virtuous knowledge gleaned through studious observation. Requiring virtue. it stands for the world of better qualities and achieves the restoration of harmony at human and political levels. In the practice of magic. it charms him as it does a beast without reason. Caliban. Sycorax was powerful enough to trap Ariel. He is such an accomplished mage that he gains special powers -. he is also natural in character. Not only is Caliban natural in origin. Ferdinand markedly differs from Caliban in his insistence that his desires are under control despite Miranda's exceptionally frank professions of love. This corroborates the belief that the natural is often sexually promiscuous. His powers are magnified by the control he has gained because of his ability to place reason over passion. He exists at the most rudimentary level of pain and pleasure. Nonetheless. . Distinct from it is Sycorax's black magic which has limited power and can only pronounce "grand hests" or command the lower order of spirits. In contrast. is a representative of Nature in many ways. feel and sense. the natural man. As Ferdinand assures Prospero."a freckled whelp hag-born. Yet. Caliban is a measure of the incredible superiority of the world of Art and also a measure of its corruption and degeneracy. the court party are used to grace. The contrast of the lustful incontinence of natural man with the love and restraint of the nobleman once again displays the incredible superiority of the world of Art.his Art. fair issue and long life". which is a term for the savage inhabitants of the New World. he is also wrapped up in the pursuit of knowledge. Such is the manifestation of Nature in The Tempest. He is "deformed" -."an airy spirit". As a duke. unchastity is a conventional attribute. Prospero's highly developed mind also allows him to hatch a plan to give the court party a chance to learn. Not only does Prospero have the seed of nobility. making him a natural slave. Caliban is deformed as a result of evil magic and "with age his body uglier grows". "The white cold virgin snow upon my heart/ Abates the ardour of my liver". Prospero's Art is the antithesis of the black magic of Sycorax. Ferdinand is able to restrain his appetite in the hope of enjoying "quiet days. Prospero himself is a nobleman and "the right Duke of Milan". Caliban is naturally lustful as seen in his attempt to defile Miranda. The noble (and often virtuous) are beautiful while the vile are ugly. Physical appearance is an index of a character's nobility or vileness. not honoured with/ A human shape". Prospero only deals with spirits high in the scale of goodness like Ariel -. This links him with Indian natives. and such the cultured representation of Art. Miranda is especially beautiful because the divine quality of nobility and her virtue illuminates her physical body such that both Ferdinand and Alonso take her for a goddess. analyse. he naturally assumes the right to rule the island -. In terms of physical appearances. and like them he is amiable at first but treacherous under provocation. Caliban seems even more loathly in the presence of Ferdinand and Miranda's comeliness. Debate between the two takes the form of a series of antitheses with Caliban frequently recurring as the representative of nature which allows comparison between the two worlds. civility and every refined comfort. Able to reason. He is described in the Dramatis Personae as "a salvage and deformed slave". Prospero's beneficent magic far outshines Sycorax's evil one. As he is "salvage". Lust and lechery are all that he knows because love is beyond his depth. Although he appreciates music. Yet. This indicates that learning is not necessarily a desirable thing. Antonio is part of the courtier stock which is endowed with grace and nurtured in refinement through centuries in the world of Art. such as lust for Miranda and discontent at his inferior position. Miranda is endowed with the seed of noble race. However. and my profit on't/ Is I know how to curse". he is impervious to the actions of grace and alienates himself from Prospero's forgiveness. Prospero's attempts to cultivate Caliban has only brought out in the worst in Caliban. Yet once they are away from the watchful eye of their master. Shakespeare carefully sets up a comparison between Miranda and Caliban who both have Prospero as their tutor. Edward Phillips offers some hope. In the words of Aristotle. and tutors not so careful". Caliban leads Stephano and Trinculo in a scheme to murder Prospero in his sleep. Antonio is a degenerate nobleman. More significantly. beginning to drink freely of the king's wine. The malicious ambition of Antonio sinks him to the level of Caliban. to usurp the dukedom of Milan from his brother. Thus. This action of Antonio's is contrary to the spirit of the world of Art. After Prospero's punishment. But though it is a civilised world. Caliban knows he must never touch Miranda although he does not understand why. As Prospero proudly tells her. Antonio is predisposed to virtuous conduct. quite lost". especially since Prospero fell from his kingdom because of an inordinate thirst for education and learning. This is not unlike Caliban who cannot wait to be out of the service of Prospero. In Miranda. "want of nature ( the nature of nobility acquired by birth) can be partially supplied by education". "bestial . he seems to have degenerated still more for there is a parallel between Antonio's treacherous behaviour with that of Caliban's in their plots to murder Alonso and Prospero respectively.. Caliban would take Stephano for his master and the three treacherous servants merrily drink themselves into drunkenness. "You taught me language. and to even lower levels. Instead.. it can be seen that members of that world can sink to the level of Nature. all. Prospero laments that Caliban is "A devil. In contrast. Juxtaposed with Caliban the vileness of his conduct as opposed to the nobility of his birth is sorely felt.lass" who "will become [his] bed". Being a nobleman.e. Unfortunately. Antonio has not changed with the passage of time. "Good wombs have borne bad sons". Alonso and Gonzalo). he has learnt to abuse the gift of language which can be seen in his biting return to Miranda. Fortunately.. Perhaps this can be accounted for by the fact that Stephano is not a member of the nobility but just one of their servants. it allows freedom of action. on whose nature/ Nurture can never stick.. it is possible for Antonio to indulge in an act of treason. primacy of the world of Art over Nature is not complete. made thee more profit/ Than other princess' can that have more time/ For vainer hours. The disparity of birth between the world of Art and Nature seems to be an impassable abyss. since "natural man is a brute. here Nature shows itself to be superior to Art for Stephano and Trinculo are persuaded to follow the leadership of Caliban in a plot to murder Prospero. Stephano and Trinculo are servants who belong to the world of Art. they lose all discipline and control. However. Caliban is not totally incapable of learning at a sensory level of pain. both the qualities of nobility and the ability to learn are united in happy conjunction. But Caliban has neither and nurture appears to be not only useless but harmful to him. Caliban has no choice but to be vile. on whom my pains/ Humanely taken. ". As Miranda points out to Prospero. But Caliban soon perceives Stephano's infirmity of purpose and scorns both Stephano and Trinculo for being distracted from their mission by such material things as fancy clothes. Prospero compensates for this as it is his learning which eventually gives him the means to return to Milan. Consequently. There are also points in the play where Shakespeare uses Caliban to show how much baser corruption of the world of Art can be than the bestiality of Nature. thy schoolmaster. While Antonio persuades Sebastian to secure accession to the throne by killing off all opposition (i. Stephano's lustful nature reveals itself when he is tempted into murdering Prospero in the hope of getting a "brave. Here indeed we can see men of the world of Art stooping below natural man. That is not all. However. However. all lost. Won over by the "celestial liquor". the name of the world of Art is most sullied by the ambition of Antonio. the continence of the world of Art is marred by Stephano's unchaste designs. blessed with the benefit of education and equipped with the ability to learn. Thus. Instead. As stated in the essay title. so much more terrible is the sin of the nobleman who abases himself below the natural".here/ Have I. a born devil. Even where the world of Art is supposed to have preeminence. Montaigne.. and therefore sees no difference between good and evil". that would suggest a certain one-sidedness to the argument." In The Tempest: A Casebook. but nevertheless hardly a reason for pretensions to moral high ground. Introduction. merely more adept at cloaking his vices. The Tempest. he does serve to show the implications of Antonio's conscious choice of evil despite being born of a "good womb" and having every advantage of mind and upbringing." Despite the benefit of birth and education. which he uses to control Nature. for the restoration and perpetuation of the appropriate social order. far from being a "noble" savage in any way. xlii. on whether “civilized man” or the "natural man" was superior. though not without some questionable aspects. New York: Signet Classic. for the edification of the others e. not inaccurately. The "natural man" (i. By William Shakespeare. 1994.. As such. and his excessive threats to punish Ariel in Act I for nothing more than a polite request that he remember to release him). London: Macmillan & Co. which were at best more refined. self-control and high-mindedness of the “civilized man”. installing himself as ruler. he does not only "indicate corruption and degeneracy in the civilized world". On the contrary.g. The Tempest. observes that it may be arguably more barbaric to "mangle by tortures and torments a body full of lively sense [. "graves at my command / Have wak'd their sleepers". The advocates of “civilized man” presenting the "natural man" as being savage. Davidson. incapable of higher reasoning and lacking the innate intelligence for nurture to "stick" (as Prospero says in frustration) responding only to something that in effect could be considered. (cf. However. 225. in his famous apologia for the "natural man". Caliban) is savage.albeit not unjustifiably -- depriving Caliban of his rights and liberty is per se somewhat questionable. albeit more towards the end) of untainted nobility. To conclude. Works Cited and Consulted: Coleridge. The advocates of "natural man" presenting him as what Rousseau was later to term the "noble savage" and the civilized man as being corrupt. the touching passage in Act III Scene II where he speaks of his "cr [ying] to dream again". using the stricter definition. 1958. he also serves as a contrast with the radiant virtue (Miranda and Ferdinand) and enlightened benevolence (Prospero. the ongoing debate between Art and Nature in The Tempest establishes the incredible superiority of the world of Art over nature and also that Art is not so far above Nature that it cannot stoop below it.e. "I'll be wise hereafter/ And seek for grace. and consequently -. D. Ed. But Caliban knows better than Antonio that it is imprudent to resist grace and he declares it. Palmer. Art vs. Alonso). Shakespeare does not go to either extreme in The Tempest. While his portrayal is not totally unsympathetic (cf. Ltd.J. Frank. Nature in The Tempest The debate between Art and Nature in The Tempest is very much based on the Renaissance debate. Kermode. intemperate and brutal in contrast to the nobility. It is in this context that the debate between Art and Nature takes place. is chiefly used for benevolent purposes (i. "The Tempest: An Interpretation.man has no sense of right and wrong. one has to agree with Aristotle's conclusion that the state of bestial man is "less guilty and more hopeless than those of incontinence and malice since it cannot be improved". "A Reading of the Tempest ". this Art. Art. Admittedly. depending on how one views colonization) he is nevertheless far from being admirable. 1968.] under pretence of pietie and religion" than "to roast and eat him after he is dead". intemperate and brutal. Samuel Taylor. Frank. Antonio degrades himself below of those who live unaided at the level or nature..e. Cambridge: Harvard UP. Even the . affected. refers specifically to Prospero's magic. as what would in modern terms be called a form of Pavlovian conditioning. it can also be argued that Prospero's alighting on the island. The Tempest is a very theatrical play.in which case Antonio's apparent intelligence can be considered. as Antonio can. being without either version of "Art". for while he "must restore" the dukedom to Prospero. since they can be easily controlled. while the need for control over Nature is asserted continually. Similarly in the case of Stephano and Trinculo.hence Antonio. they certainly cannot be accused of being evil. lack Antonio's intellect. is congenitally disadvantaged by fact of his parentage alone. is hardly a "virtuous shepherd of normal pastoral". Stephano and Trinculo put together. among Shakespeare's works. for example. music. hardly in a position to alter the social hierarchy significantly. monsters. while Prospero's Art (in the stricter sense) can be said to imply the self-discipline. but also because of his form of "Art" -. on the other hand. the only of the "villains" to be consistently and unflinchingly evil with the full conscious knowledge that he is choosing evil. idyllic image created by Montaigne and those who thought similarly. As such. which. Caliban. while they can be accused of being ill behaved and ill natured at worst. since it is extremely dangerous if misused. He behaves in accordance with his instinctual urges. is more sinister than the conspiratorial buffooneries of Caliban. moreover. and so on. and is. by extension. a rock and roll extravaganza or an opera) would turn naturally to this play. . while serving to "indicate corruption and degeneracy in the civilized world". However. and. special effects. and his new relationship with Prospero seems to be more stable and more reassuring than the resentment-filled and extremely uneasy jailor-prisoner / master-slave relationship shown earlier The Tempest as an Exploration of the Nature of Art By way of introducing the first popular interpretative approach to the Tempest. While the rest can be brought to an awareness of their mistakes. to the enlightened. without bothering about anything else. His behavior also makes one all the more uneasy because he does not always have the same apparent motivation as Iago and Edmund. And a number of productions. Nevertheless.tempest at the beginning of the play. being already in a privileged position. that is. Nature as personified in Caliban. Their "natural" tendencies are. not with any sort of reasoning above that of the most elementary. albeit a form perverted for reasons of self-interest and to serve the cause of evil. when debased. is rivaled only by Midsummer Night's Dream in this respect. his behavior is comparatively less worrying than Antonio's.an example of how he abuses "Art" for self-interest) and justified by the Machiavellian concept of virtù. is infinitely more dangerous and more subversive of the social hierarchy. since none has had the advantages of birth and breeding. Musical adaptations of The Tempest have a long tradition. have stressed mainly that element. however. "Art" can also refer. He is. his wish to improve himself is promising. "so much more terrible is the sin of the nobleman who abases below the natural" -. However. and as such is more dangerous. which as a traditional symbol of chaos in tragedy is somewhat sinister. not only because of his birth. it can also be equivocal. whom he forgives. he uses Renaissance rhetoric -. is shown ultimately to have done "no harm" and has created the foundation for sincere penitence. less distressing than Antonio's taste for evil. Anyone who wants a Shakespearean play to produce mainly as an extravagant theatrical tour de force (say. in a wider sense. magic. unrepentantly silent at the end of the play. In this case. dancing.an extraordinary persuasiveness aided by his superior education (when trying to persuade Sebastian to kill Alonso. though they are also bound to "Nature". the ending suggests that Art must ultimately come to terms with Nature (hence Prospero's "this thing of darkness I / Acknowledge mine"). drunken humour. All three. it can control Nature and curb its baser urges or at least prevent them from being carried out. if "Art" is taken in the wider sense. but does not speak much to. The Tempest presents "Nature" as being far from the idealistic. as much a form of "Art" as Prospero's. This fact may perhaps partially account for Prospero's acknowledgement of Caliban at the end of the play and his relatively cold treatment of Antonio. He does not have power. moreover. there is not much danger from a butler and a jester particularly susceptible to inebriation. he already has this awareness. moreover. and is incapable of understanding "virtue" as a concept. past and modern. Art. in fact. being born from a union of an incubus and a witch. If used properly. I want to begin with a very obvious point. storms. for while Caliban's limitations are apparent. refined intellect that can only be found with the advantages that civilization offers -. However. it is obviously a wonderful vehicle for displaying the full resources of the theatre: dramatic action. and therefore not even totally "human". and has no intention to do otherwise. do not pose a serious threat. or at least will not be when back in Milan. so to speak. he will presumably still be in a position to subvert society. as a result. temperance and virtue required to practice it. In any case. hateful money lenders. Cymbeline). but it resonates as well with issues that haunted Shakespeare's imagination throughout his career: the painful necessity for a father to let his daughter go (Othello. lighting. To give you a sense of what I mean. the treacherous betrayal of a legitimate ruler (Richard II. It is a very obvious one: the magic does not work in Milan. and in any conflict between rival interpretative possibilities one important criterion for judgment is the adequacy of each interpretation at providing a . Julius Caesar. the theatrical theme gets considerable impetus from the fact that The Tempest seems. on a magic island--in other words. As You Like It. which arises naturally from that first one. Prospero's magic can only become effective in a special place. a whole realm of "magic" (it may well have been written in response to the changing theatrical tastes of an audience that was requiring more theatrical effects in the presentation of dramatic productions). fantastic visions. especially by staging miniature plays-within-plays (1 Henry IV. away from the Machiavellian world of the court. a central issue of the Tempest is an exploration into the nature of theatre itself. it is effective only on the island. and enchantment. music and apparitions) they do not fully comprehend but whom they cannot resist until they all come together inside Prospero's magic circle. But I think there's more to the theatricality of the play than just its style. A bunch of political types and all their attendants (sailors. then why didn't he use it back in Milan to avoid having to be exiled in the first place? And the second one. Pericles. the dream of manipulating others by means of art. where they are led around by strange powers (above all. In my view. the threat of a radical loss of identity (The Comedy of Errors. of illusion. [There's a similar sense in the recent film Shakespeare in Love. The Winter's Tale. where miraculously things always come right.That is clearly a legitimate approach. in the theatre. song. But there is more to this approach to the play than simply nostalgia. Macbeth). Remember that in such questions the Principle of Inclusiveness is an important guiding rule: the interpretation should make sense of as much of the play as possible. why does he abandon it before returning to Milan? I puzzled over these questions until I came to what seems to me the most satisfying answer. where plotting against each other. . And it is clear that The Tempest does depend for much of its effectiveness on a wide range of special effects-- sound. and there is never any suspense (well. King Lear). the harnessing of magical powers (. where daily life in London is often a hard business. the relation between nature and nurture (Pericles. for the sake of political power is the order of the day and where. something Stephen Greenblatt calls "a kind of echo chamber of Shakespearean motifs": Its story of loss and recovery and its air of wonder link it closely to the group of late plays that modern editors generally call "romances" (Pericles. Prospero controls the entire experiment through his ability to create and sustain illusions. with arranged marriages to brutal men. so that at times it comes across almost as a final summary look at some very familiar material. [2 Henry VI]. almost none). a world of spirits. the passage from court society to the wilderness and the promise of a return (A Midsummer Night's Dream. As You Like It). at the end of a course like this there is a natural tendency to want to link the concerns of the play with a celebration of the wonderful achievement we have been studying so far. after all. The first is this: If Prospero's power is so effective against his opponents as it appears to be. Much Ado About Nothing. all that changes in the theatre. since he has such absolute control of human beings through his control of what they see and hear and experience. For those who have read a certain amount of Shakespeare. a well-delivered theatrical extravaganza can make a satisfying night of theatre. even against one's own family. Hamlet. look what happens in this play. . The Winter's Tale). the murderous hatred of one brother for another (Richard III. at least for a time. He is throughout the master of the action. Hamlet). the wooing of a young heiress in ignorance of her place in the social hierarchy (Twelfth Night. and so on) from the busy court of Naples and Milan are lured away from their power political business into a world of illusion. A Midsummer Night's Dream. After all. butlers. is this: Given that Prospero is so keen on his magic and takes such delight in it and that it gives him so much power. Hamlet. The Winter's Tale). So. Richard II. King Lear). in some ways. even money lenders become enthusiastically cooperative and supportive and a love impossible in the world outside can thrive] If we accept this possibility as an interpretative metaphor. then we need to explore how that might make sense of other elements in the play. and so on. let me mention two questions that puzzled me about this play when I first read it. you may find yourself in a boat with a load of books heading to an unknown exile. King Lear). to revisit many earlier Shakespearean themes and characters. given this rich allusiveness to other plays. Macbeth). if you take your mind off the political realities for very long. In some ways Prospero's Art is a desperate remedy to a desperate situation: it is invoked to free himself from passion. the world of mind and the possibilities of liberating the soul. Having done so. it is stronger because of its radically different nature. Ferdinand and Miranda.. civilized man may rise above or sink beneath the savage. Conversely. Again we see his degeneracy in his knowing his curses have no power yet persisting in uttering them. Nature and Art The Tempest shows the distinction between the natural man. he can abjure "this rough magic". Miranda and Ferdinand appear god-like each to the other. His vileness is not chosen but is his nature. as a prince he conquers the passions which had excluded him from his kingdom and overthrown law. and it thus stands for the world of the better natures and its qualities. as Ariel harnesses the elements.his attempted rape of the child Miranda is reported to the audience as unambiguous evidence of Caliban's lack of conscience or soul. he cannot take "any print of goodness" . whom she serves. even. the representative of Art. by the examples of Prospero. although he knows the moral law. as a man he learns to temper his passions. Back to top On his arrival on the island. to create perfect self-discipline. Setebos. Antonio also claims to have no conscience .in some ways this is more shocking. has never approved of what was done to Prospero.which Sycorax could not again undo". for others his Art is used to restore harmony to human relationships and political hierarchies.. the transformation of nature by breeding and learning. Contrast this with the positive way in which Prospero makes the island more comfortable and delightful. As a mage he controls nature. but sees him as his inferior in respect only of learning.. as Caliban is of Nature. whether that be represented as coarsely natural or charmingly voluptuous. Caliban is not merely a slave in fact. as he has the outward beauty and eloquence of the civilized man. Antonio. and by those of Sebastian. expropriation of land and extremes of luxury. of enormous power.. and inviting "cramps" as punishment. "a torment. embraces wickedness for his own gain. drunkenness. He is a theurgist. He does not act for his own advantage but in order to produce what is good. But Caliban is able only to learn Prospero's language to utter powerless curses. To Miranda's untutored eye all the Milanese and Neapolitan nobles appear beautiful. Prospero is. Prospero tries to educate Caliban. I want to turn for a while to what happens in the play. gluttony. Art is not only a beneficent magic in contrast to an evil one.coherent and consistent sense of as much of the play as possible. echoing Montaigne's essay Of Cannibals) he expresses distaste for the more cynical and divisive features of government and society . i (on the ideal commonwealth. who does locally and swiftly what the natural universe or the supernatural power in it is striving to do always. Gonzalo. the control of appetite. but justly so. as a scholar he repairs his loss of Eden. Prospero. Back to top Prospero's Art controls nature. Prospero repeatedly refers to his "Art": his magic is creative. through her wickedness. therefore. as Act V shows. It is usually strongest when most malevolent. Caliban.exploitation of labour. Shakespeare demonstrates. and the civilized man. on the other hand. Her imprisonment of Ariel in the cloven pine is typically cruel and destructive.. the means of Grace. it is. This is the world which is closed to Caliban. the baser promptings of unregenerate nature. As the play is a pastoral romance it is permissible for physical beauty or ugliness to represent beauty or ugliness of spirit. In order to pursue this idea of the Tempest as an celebratory exploration of the nature of theatrical art. Stephano and Trinculo how social. assured that it will not be needed again. not the world of sense. in a sense. it is the ordination of civility. it requires of the artist virtue and temperance if his experiment is to succeed. In his speech in II. Back to top Prospero's magic is not simply more powerful than that of Sycorax. So Caliban is a "salvage and deformed slave" while Sycorax. Sycorax is a goetist. an achievement essential to success in any of the other activities. "was grown into a hoop". but then she is comparing them with Caliban. he has no intention to enslave him. . Caliban is a kind of yardstick by which we can measure others. poverty. although her life was spared for "one thing she did" for Argier. This beauty results from an essential nobility which is tainted but not effaced by behaviour such as that of Antonio. her magic as potent as the demon. knack. it makes visible" [Paul Klee Inward Vision] "Art is a revolt against fate" [André Malraux Les Voix du silence] "Art is. Artful contrivance. Ariel and the spirits. and the latter's wisdom. craft. from Old French. The product of these activities. b. or to what is holy. aesthetic value. Back to top Theatrical qualities For a detailed reading of the theatrical qualities of the play. Skill arising from the exercise of intuitive faculties: "Self-criticism is an art not many are qualified to practice" (Joyce Carol Oates). human works of beauty considered as a group. or to what is good. The Arden Shakespeare.in Indo-European roots. or literature. a. specifically the production of the beautiful in a graphic or plastic medium. cunning. be discerned in comparing the education of Miranda with what passes for education in Caliban.. art for art's sake .. rather. under the heading Theatrical Presentation. stratagems. practice. 6. 5. [Middle English. alter.. art-. the sea. b. then. expertise... a. forms. the art long" [Hippocrates Aphorisms] "Art does not reproduce the visible. such as music. 1818] . But in answering questions about Shakespeare's stagecraft generally. a. xlviii Back to top Art and Nature as contrasting principles can. 1. and tricks. High quality of conception or execution. 3. you should consider the following: the comic interludes (mostly involving Trinculo. A trade or craft that applies such a system of principles and methods: the art of the lexicographer. Printing Illustrative material. 9. 7. technique Quotations "Art is a jealous mistress" [Ralph Waldo Emerson Conduct of Life] "All art constantly aspires towards the condition of music" [Walter Pater Studies in the History of the Renaissance] "Art is a lie that makes us realise the truth" [Pablo Picasso] "Life is short. c. A nonscientific branch of learning. The conscious production or arrangement of sounds. Human effort to imitate. 2.Frank Kermode. supplement.pattern informed by sensibility" [Herbert Read The Meaning of Art] "We must have . magic and music. it leads only to itself" [Victor Cousin Sorbonne lecture. ballet. from Latin ars. as found in works of beauty. art 1 (ärt) n. the beautiful cannot be the way to what is useful. arts Artful devices. one of the liberal arts. the language of the play. 4.] Synonyms: art1. The Tempest. 8. Prospero's books and staff. Ferdinand's chaste love and Caliban's lust. or other elements in a manner that affects the sense of beauty. Caliban. see ar. b. the tempest and the island. movements. Skill that is attained by study. the intemperance and folly of Stephano and Trinculo against the self-control of Ferdinand and Prospero.. the blacksmith's art. see the comments on the key scenes. b. or counteract the work of nature. a. colors. or observation: the art of the baker. The study of these activities. Stephano and Caliban. know-how. A system of principles and methods employed in the performance of a set of activities: the art of building. A field or category of art. Sycorax's lesser and Prospero's greater magic. from n tus. The essential characteristics and qualities of a person or thing: "She was only strong and sweet and in her nature when she was really deep in trouble" (Gertrude Stein). essential properties of a thing. temperament: "Strange natures made a brotherhood of ill" (Percy Bysshe Shelley). it cannot be stopped and thereby comprehended —Margaret Sutherland . The natural or real aspect of a person. The material world and its phenomena. The fundamental character or disposition of a person. The world of living things and the outdoors: the beauties of nature. 7.” 2. Nature like life. 8. [Middle English. 2. Macneile Dixon 4. A kind or sort: confidences of a personal nature. See Synonyms at disposition. or thing. 5. Nature is like a revolving door: what goes out in one form comes back in another —Anon 3. The forces and processes that produce and control all the phenomena of the material world: the laws of nature. that is nonsense in both cases.] Like a great poet. but seldom gives a verbatim translation" [Thomas Bailey Aldrich Ponkapog Papers] "Art enlarges experience by admitting us to the inner life of others" [Walter Lippmann The Golden Rule and After] na·ture (n ch r) n. 6. A primitive state of existence. she strips men of their pretensions and vanities. and might not reward our pains. from Old French. Nature. untouched and uninfluenced by civilization or artificiality: couldn't tolerate city life anymore and went back to nature. Science reassures" [Georges Braque Pensées sur l'art] "True art selects and paraphrases. 9. like lives while they are being lived. to be born. 3. 4. The processes and functions of the body. 10. past participle of n sc . seegen . exposes the weakness of the weak and the folly of the fool —W."Art is meant to disturb. from Latin n t ra. place. Theology Humankind's natural state as distinguished from the state of grace. 1. is subject to laws of motion. Nature is like a beautiful woman that may be as delightfully and as truly known at a certain distance as upon a closer view —George Santayana Santayana expanded on the simile as follows: “As to knowing her through and through.in Indo-European roots. Nature knows how to produce the greatest effects with the most limited means —Heinrich Heine 1.