HSC English Advanced – The Tempest and Hag-Seed Toolkit

Compiled by jimmysmith560 – French, Business Studies & Arabic tutor

https://boredofstudies.org/members/jimmysmith560.1611337881/

What is this?

A document featuring an extensive set of notes targeting Shakespeare’s “The Tempest” and
Atwood’s “Hag-Seed”, consisting of the following:

 Quotes/techniques/effects organised according to theme

 Analytical notes
 Sample essay questions
 Sample essay responses

All the best with English Advanced! 😊

 Resonances
Desire for control/power - Protagonists  
The Character of Prospero in ‘The Tempest’ is reconstructed through ‘Hag-Seed’ in order to
exhibit the personality traits associated with the concurrent audience; expressing that though
societies are ever changing; the flaws of human nature do not.

Quote/s Technique  Effect 

Prospero: “mantle” and “staff”  Irony  - The characters are shown as fragmented
Caliban: “must obey,” for His art reflections of one another 
is of such power.”  - Both use a form of “art” to manipulate
surroundings and people…
Felix: “Animal cloak” to evoke Metaphor
the “elemental nature” of his
- Shows Felix’s theatrical power and his
“supernatural yet natural ability to trick crowds in a different way. 
powers'' 

Prospero’s desire to be a Adjective  - Shows Prospero’s disgust for his subjects,

“prince of power” making displaying his lust for superiority even on an
Caliban his “abhorred slave” and almost-deserted island 
Ariel his “servant”
Prospero: “Let them be hunted - Direse for revenge through his power as he
soundly. At this hour Lies at my taunts his enemies through the Island. 
mercy all mine enemies.”
Childish
Felix: passive control over the connotations - Shows a sense of authority to undermine the
“spirits and goblins'', telling
Fletcher Correctional Players. Uses the
them “here I come… ready or Fletcher Correctional Players to selfishly plot
not!” his revenge against his ex-coworkers.

Values of Imprisonment vs Freedom: Jacobean Era 

 Atwood recycles values of the Jacobean Era in ‘The Tempest’, demonstrating their eternal
significance to humanity. With colonialism on the sharp rise, the seventeenth century context of
Shakespeare's day emphasised the important values of imprisonment versus freedom, as many
new nations were “discovered” and their native inhabitants enslaved.

Quote/s Technique  Effect 

Felix: “My island Metaphor - He is trapped in a metaphorical sense, as he works in

domain. My place of Intertextuality  the gaol and is isolated in his cottage, yet ironically it is
exile. My penance. My Anaphora  his joy, his theatre.
theatre.”
“You don’t say “set me
free” unless you’re not Dramatic - Prospero is physically imprisoned by the isolation of
the “island”, while simultaneously metaphorically
free. Prospero is a contrast 
trapped in his own “evil nature” and lust for revenge
prisoner inside the play (master and against his Usurpers. No only this, but Felix also
he himself has poor cell) suggests he is also confined to the prison of the play
composed.” itself. 
Prospero: “evil
nature” 
“This Island” 
“master of a full poor
cell” 

Prospero: “Forgive - Only when Prospero is able to come to terms with his
[Antonio’s] rankest Juxtaposition  vengeful nature and he is “relieved by prayer”, — both
fault.” forgiven for his “crimes” and the forgiver of his
“The rarer action is in wrongdoers — is he freed both from the confinement
of the island and his metaphorical cell; “a place of
virtue, than in
trial”. 
vengeance.” 
Prospero: “I bid A
hearty welcome.” 
Prospero: “Thou shalt
be free” - to Ariel 
Prospero: “set Caliban
and his companions
free” 
Prospero: “Unless I be
relieved by prayer”  - Felix lets go of the resentment that has built up
Intertextuality  within him and is “set [...] free” from his physical
isolation and “his dear one”; Miranda’s persistent
Felix: “how selfish he
ghost and the accompanying grief. This echoes the
has been” importance of forgiveness to the audience, a value that
“To the elements be has stemmed and been recycled from the Colonialism
free… and finally she period of Shakespeare’s day — especially through the
is”  lens of a Judeo-Christian worldview.
Felix: “The rarer
action is / In virtue
rather than in
vengeance” 

Felix: “viral on the Metaphor  - Unlike Prospero, Felix takes his vengeance a step
internet”  further by blackmailing his ex-coworkers into giving
Felix: “Let’s call it Misleading him his job back, revealing the more common
balancing the scales” contemporary worldview that revenge should be
phrase  
served in the ebbing absence of Judeo-Christian values
Won’t “feel sorry for
of forgiveness. 
them”
“Pleasure” in his
“enemies suffer[ing]”
Felix: “Demand my job
back” 
 Dissonances:
Magic/illusions  
Shakespeare’s understanding of seventeenth century magic — believed to be genuine — heavily
influenced the character Prospero’s magician’s hood, displaying him as a figure of authority to
the audience. Contrastingly, Atwood’s Felix exploits magic in the form of drug culture and his
ability to craft “illusions” through technological enhancements, to better suit the contemporary
audience’s context.

Quote/s Technique  Effect 

Felix:  Juxtaposition - This reprocessed concept of magic allows for the

“Felix the cloud-riding   audience of our current society to better understand the
enchanter”  Foreshadow weight of the human capacity to be deceived by that which
Felix: “Felix brushes does not exist; whether that be literal magic or fantasies
created by drugs and special effects.
his teeth. Then he
- Chiefly the tone of the music, the echoing, the use of
brushes his other teeth, cameras, the skills of pickpockets, the drugs and the
the false ones…” Symbolism tension created. 
“He smiles: the illusion - Chapter 16 presents the power of special effects and
of a smile. Pretence, technology as a force of magic.
fakery, but who’s to
know”

8Handz: “Special
effects guy”
“See without being
seen” 
“illusions” 

Prospero: “Dark arts”  Literal 

“Magic garment…
staff… books” 

Ariel: “To fly, to swim,

to dive into the fire, to
ride on the curled
cloud” 

Felix: “To evoke the Repetition  - Creates companionship for the onlookers, by enhancing
collective indrawn Metaphor their understanding of what the text means to them while
breath, the collective impacting and challenging their values and beliefs.
sigh”
Masculinity/Feminism  

The mountainous themes of masculinity and power are thoroughly dismantled and dissected in
Atwood’s ‘Hag-seed’, in order to reflect the changing world views of feminism and equality in
the 21st century. This is particularly portrayed through the character of ‘Miranda’ in the
Tempest and ‘Ann-Marie’ in Hag Seed. 
Quote/s Technique  Effect 

Ann-Marie: Harsh - ‘Anne-Marie’, who features as ‘Miranda’ in Felix’s

“muscular” woman Imagery production of ‘The Tempest’, violently contrasts with the
“plaguey tattoo” Metaphor  whimsical persona of Miranda in Shakespeare’s comedy.
“a hefty pull at her
beer” Juxtaposition  - Atwood does this for the purpose of conveying the major
Swears with “foul shift in the worldviews of different time periods, from
extreme masculinity to the rise of feminism — displaying
mouth”
the belief that the female is equal to her male counterpart.
“Being a girl is the Metaphor  
pits, trust me.”
Miranda: “poor
worm”
“innocent child”
“Promoted [by
Prospero’s] soul” to
marry the “Prince of
Naples.” 

The Alienated ‘Other’   

Quote/s Technique  Effect 

Prospero: (To C): “demi- representation of “The Alienated Other” in “The

devil”  Tempest”, a symbolic synonym to draw attention to
“He’s a bastard one”  the injustices of the imperialist society in which his
“This thing of darkness” original play was set.

Felix: Throw “cast

parties” 

Caliban: “You taught me Irony  In ‘Hag-Seed’ the character of Caliban is represented

language, and my profit
on ’tis I know how to
curse. The red plague rid
you for learning me your
language!”
Felix: “Literary skills” as a
powerful form of
rehabilitation.  Jacobean era and present day society.
“Grins, nods of thanks,
shy smiles.” 
Intertextuality  collectively by the prisoners. Unlike Shakespeare’s
Caliban, the characters of 8Handz, WonderBoy, Red
Coyote and the others fully utilise their new
understanding of language to find their voices;
empowering them to gain respect. Hence, they are
given an opportunity to feel as though they are of
equal worth in society as anyone else. Atwood
utilises extreme contrast to greater highlight the
'progressiveness' of equality between the 1600's
When studying the inherent relationship between the texts ‘Hag-seed’ and ‘The Tempest’,
the resonances and dissonances present the fundamental human values and flaws that
bridge across time and space.
 Sample essay questions:
 Question: Texts will inevitably have similar content and thus reveal similar
messages about certain issues. Discuss this statement with reference to your two
prescribed texts.

 Question: Explore the influences of context on the perspectives explored in your

texts.

 Question: The text’s context has a profound impact on the values presented.
Evaluate the accuracy of this statement by referencing your two texts.

 Question: Having studied two texts in various forms, explore how a text’s form
influences the message and values it presents.

 Question: “A comparative study of your texts can allow you to realise the impact of
context on the text’s values and ideals.”

Do you agree with this statement? Evaluate with reference to your prescribed texts.

 Question: A thorough analysis of the contextual influences upon a text allows for a
greater understanding of the ideas presented within the text. Evaluate this statement
with reference to your two prescribed texts.

 Question: By comparatively analysing your text’s, do they convey contextually

appropriate values? Make reference to your prescribed texts.

 Question: How similar are the meanings and values presented in your prescribed
texts? Make detailed reference to the contextual influences upon both texts.

 Question: The composer’s perspectives are shaped by their respective contexts.

How true is this of the two prescribed texts?

 Question: Similar perspectives do not lead to similar content. Discuss how relevant
this statement is to the two prescribed texts.

 Question: The values of the text and its perspective is shaped solely by the context.
Discuss the accuracy of this statement is to the two prescribed texts.

 Question: Discuss how the treatment of similar content can heighten out
understanding of the values present within each text. Make reference to two
prescribed texts.

 Question: How does the form and the context of a text influence the projection of its
values and attitudes? Provide detailed reference to the two prescribed texts.

 Question: Context, perspective and values are all central to developing a text’s
inherent message. Discuss how this influences the two prescribed texts studied.

 Question: Intertextual connections reinforce that certain values transcend time. How
accurate is this statement with reference to your two prescribed texts?
 Question: Intertextual connections illustrate the changes in values over time. How
accurate is this statement with reference to your two prescribed texts?

 Question: How are opposing values discussed through intertextual connections?

Discuss this statement in reference to the two prescribed texts.

 Question: Despite changes in context and composer, the meaning conveyed does
not change. How accurate is this statement with reference to your two prescribed
texts?

 Question: How has your knowledge of intertextual connections improved by

analysing your two prescribed texts?

 Question: Regardless of context, values presented in canonical texts remain

relevant. Discuss this statement with reference to your prescribed texts.

 Question: To what extent do the texts you have studied demonstrate that the values
a text presents are shaped by its context? How true is this statement of the two texts
you studied?

Respond to this question in relation to your prescribed text

 Question: “Context determines the ways in which similar issues are explored across
texts.”

Discuss this statement in relation to your prescribed texts.

 Question: “How has your comparative study enhanced your understanding of the
ways in which texts are influenced by other texts in how they shape meaning?”

Discuss this statement in relation to your prescribed texts. 

 Question: “Changes in form inevitably lead to different perspectives on the same

issues.”

Discuss this statement in relation to your prescribed texts.

 Question: Has your comparative study revealed more similarities between the ways
your texts explore common themes, or differences?

Respond to this question in relation to your prescribed texts.

 Sample essay responses:
Question: Everything is being dismantled, reconstructed, recycled. To what end? For what
purpose? 

To what extent is this statement true of the texts you have studied in this module?

Shakespeare’s Elizabethan stage production ‘The Tempest’ (1611) has been reiterated through
Margret Atwood’s 21st century novelisation ‘Hag-Seed’, for the ultimate purpose of
revealing the enduring values and changing world views from the Jacobean era to that of
today's society. Specifically, Atwood creates extensive resonances and dissonances through
her reframing and contextualising of the famous play, displaying how values shape meaning
for the audience at the times in which they were produced and understood. The implicit
conversation created between the texts exhibit the dialogical relationship created by Atwood;
particularly through Shakespeare’s influence on her compositional choices. Utilising
masterful metatheatre, she reconstructs the character of ‘Prospero’ to express the enduring
common flaws of human nature. Furthermore, by recycling contextual values of Jacobean
England and dismantling themes from ‘The Tempest’, the changing worldviews of
contemporary society are meticulously illustrated through the fictional novel. 

The Character of Prospero in ‘The Tempest’ is reconstructed through ‘Hag-Seed’ in order to

exhibit the personality traits associated with the concurrent audience; expressing that though
societies are ever changing; the flaws of human nature do not. The protagonist characters of
Felix in ‘Hag-seed’ and Prospero in ‘The Tempest’ are fragmented reflections of one another;
a fantastical powerful magician living on an enchanted island reintegrated asian “Artistic
Director” living in Ontario, Canada. Despite their explicit differences; the fallacious
personalities of the two characters are eerily parallel. Ironically, the characters both utilise a
form of “art”; not only to manipulate their surroundings, but also their subjects. Prospero
uses his magical “mantle” and “staff” to exploit his vengeful plans, mirrored through the
creation of Felix’s animal cloak — in order to evoke the “elemental nature” of his
“supernatural yet natural powers'' in his theatrical masterpiece. Additionally, Prospero’s
desire to be a “prince of power” in making Caliban his “abhorred slave” and Ariel his
“servant” clearly shines through Felix’s character, who, perhaps more subtly, uses the
Fletcher Correctional Players to selfishly plot his revenge against his ex-coworkers. This is
especially shown when Felix exercises passive control over the “spirits and goblins'', telling
them “here I come… ready or not!”, the childish connotation displaying a sense of authority
aimed to undermine the prisoners. In this way, it is shown that the ugly human tendency; not
only to crave dominion over others but to wield that power to satisfy selfish aspirations has
resonated throughout history. 

Atwood recycles intelligible values of the Jacobean Era in ‘The Tempest’, demonstrating their
eternal significance to humanity. With colonialism on the sharp rise, the seventeenth century
context of Shakespeare's day emphasised the important values of imprisonment versus
freedom, as many new nations were “discovered” and their native inhabitants enslaved. This
translates in a physical and metaphorical sense in ‘The Tempest’, as Prospero is physically
imprisoned by the isolation of the “island”, while simultaneously metaphorically trapped in
his own “evil nature” and lust for revenge against his Usurpers. Like Shakespeare’s Prospero,
Atwood’s Felix resides within a prison setting that is both real and imagined. Firstly, in his
isolated cottage, the job at the gaol; “[His] place of exile”, and in his hate against his
coworkers, who stripped him of his title of “Artistic Director”. Only when Prospero is able to
come to terms with his “evil nature” and he is “relieved by prayer”, — both forgiven for his
“crimes” and the forgiver of his wrongdoers — is he freed both from the confinement of the
island and his metaphorical cell; “a place of trial”. Only when Felix realises “how selfish he
has been” and that “the rarer action is in virtue [rather] than vengeance” does he lets go of
the resentment that has built up within him and is “set [...] free” from his physical isolation
and “his dear one”; Miranda’s persistent ghost and the accompanying grief. This echoes the
importance of forgiveness to the audience, a value that has stemmed and been recycled from
the Colonialism period of Shakespeare’s day — especially through the lens of a Judeo-
Christian worldview — to today’s society. 

Shakespeare’s understanding of seventeenth century magic — believed to be genuine —

heavily influenced the character Prospero’s magician’s hood, displaying him as a figure of
authority to the audience. Contrastingly, Atwood’s Felix exploits magic in the form of drug
culture and his ability to craft “illusions” through technological enhancements, to better suit
the contemporary audience’s context. This reprocessed concept of magic allows for the
audience of our current society to better understand the weight of the human capacity to be
deceived by that which does not exist; whether that be literal magic or fantasies created by
drugs and special effects. Paradoxically, the more prominent use of magic that exists in the
texts is illustrated through theatre. This metaphorical magic of the composers is conveyed
through the ability to fabricate alternate worlds and shape realities which have the potential to
relate to their audience. “To evoke the collective indrawn breath, the collective sigh” creates
companionship for the onlookers, by enhancing their understanding of what the text means to
them while impacting and challenging their values and beliefs. This is shown in ‘The
Tempest’ not only through the way Shakespeare constructs the plotline and characters, but
also how the characters themselves display the unification of people amidst shipwreck and
confusion. ‘Hag-seed’ symbolises community through the building of relationships within the
Fletcher Correctional Centre; as the variety of personalities and criminal backgrounds are
joined by the common fascination and appreciation of the arts. 

The mountainous themes of masculinity and power are thoroughly dismantled and dissected
in Atwood’s ‘Hag-seed’, in order to reflect the changing world views of feminism and
equality in the 21st century. During Shaksepeare’s time, women were generally viewed as the
property of their fathers, and thus, were often used as a way for fathers to strategically expand
their bloodline. As a result, Shakespeare’s inspiration for the character Miranda exists merely
as a pawn in Prospero’s grand plan for revenge. The notion of ‘The Great Chain of Being’,
which upheld the belief of the dominant ‘Divine Being’ as the underlying value, explains
Prospero's ‘god-like’ presence over the carefully orchestrated plot-line. Caliban — a “dull”
savage — is the representation of “The Alienated Other” in “The Tempest”, a symbolic
synonym to draw attention to the injustices of the imperialist society in which his original
play was set. In this way, the concept of supremacy is explored by Shakespeare, as Caliban
“must obey,” for His art is of such power.” 

While Atwood does display some themes of masculinity and power in ‘Hag-Seed’, she has
also deconstructed and changed them in a way that favours the expectations of a 2010s
‘progressive’ audience. The subsequent characterisation of the character ‘Anne-Marie’, who
features as ‘Miranda’ in Felix’s production of ‘The Tempest’, violently contrasts with the
whimsical persona of Miranda in Shakespeare’s comedy. The provocative and progressive
image of a “muscular” woman, with a “plaguey tattoo” taking “a hefty pull at her beer” is
described by Atwood to juxtapose the “poor worm” and “innocent child” of Prospero’s
Miranda. Atwood does this for the purpose of conveying the major shift in the worldviews of
different time periods, from extreme masculinity to the rise of feminism — displaying the
belief that the female is equal to her male counterpart. In ‘Hag-Seed’ the character of Caliban
is represented collectively by the prisoners. Unlike Shakespeare’s Caliban, the characters of
8Handz, WonderBoy, Red Coyote and the others fully utilise their new understanding of
language to find their voices; empowering them to gain respect for themselves and each
other. Hence, they are given an opportunity to feel as though they are of equal worth in
society as anyone else. In this way, Atwood utilises extreme contrast to greater highlight the
'progressiveness' of femininity and equality between the 1600's Jacobean era and present-day
society.
 Question: Everything is being dismantled, reconstructed, recycled. To what end? For what
purpose? 

To what extent is this statement true of the texts you have studied in this module?

Although society’s view of what is good and what is not is in a pendulum of constant change,
it is substantially evident, through Atwood’s critical reinvention of The Tempest, that some
concepts will be eternal, such as the quest for control, unjust mistreatment and the vitality of
forgiveness. William Shakespeare's The Tempest thoroughly investigates the truth
surrounding the core of humanity, and what personhood is. Through his dramatic work, he
crafts a unique world of characters, whom he uses to identify enduring human attributes. In a
similar sense, Margaret Atwood’s Hag-Seed is an outstanding retelling of the 17th-century
work in contemporary, 21st century Canada. The novel appertains many of The Tempest’s
key concepts, successfully and significantly investigating the constant pattern of human
struggle. Hag-Seed breaks down The Tempest, and compellingly reconstructs and recycles it
to enforce the acknowledgement that these issues of human nature will pervade throughout
centuries to come. Atwood synthesises Caliban into prisoners of the ‘Fletcher correctional
facility’ and explores the timeless presence of mistreatment. Furthermore, through her
reconstruction of Prospero, she perfectly expresses the way in which people will always
strive for control. Lastly, Atwood recognises Shakespeare’s original concept about the
centrality of forgiveness and recreates prisons within the play to acknowledge the importance
of forgiving.

Atwood deconstructs and reforms The Tempest’s character Caliban, and through a
contemporary depiction, successfully displays the immutable notion of mistreatment. Caliban
— characterised as a ‘monster’ to resemble the European view of natives — is vital in the
plot of The Tempest. It's through this ‘beast’ that Prospero survives and increases his power.
Enslaved by ‘magic’, a metaphor for the forceful oppression of a new culture, Caliban
‘show’d [Prospero] all the qualities o’ th’ isle’, and assisted him in living. However, he
progressively becomes more oppressed and acts irrationally. Forcefully imprisoning Caliban,
Prospero shows no forgiveness or mercy, instead, he inflicts solitude. Prospero neglects how
Caliban served, and the truth that the island was Caliban’s, ‘by Sycorax, [his] mother’.
Shakespeare used the world around him and created this aspect of his dramatic work to
reflect the injustice of colonisation. He used a common description of natives — ’ignoble
savage’ and ‘slave’ — for his character, Caliban, highlighting this correlation. 
In Hag-Seed Atwood recognises the powerful statement Shakespeare makes about the
concept of mistreatment and creates a response that successfully exposes its presence in
modern-day society. Atwood reincarnates the face of injustice through the collective group of
prisoners. In particular, the actor for Caliban in the mise-en-abyme, Leggs, is a direct mirror
of the ‘demi-devil’. Leggs, a ‘vet [of] Afghanistan’, suffers greatly due to injustice. After the
failure to be provided with PTSD treatment, Leggs is betrayed by veteran affairs, and breaks
and enters as a result of substituting PTSD treatment with alcohol. He is then ‘convicted’ and
imprisoned, with no mercy or recognition of his service to the country. Leggs is Caliban.
Through this, one is able to acknowledge the imprisonment of this character, as he was
‘prison[ed] up to make [him] behave’. Atwood’s purposeful choice of illiterate, imprisoned
veteran is powerful, showing the correlation between mistreatment, once to the natives, and
now to those who sacrificed their wellbeing. It is through her adaptation of The Tempest that
the audience can now see the harm of mistreatment that pervades timelessly. 

To a significant extent, Atwood recycles Shakespeare's protagonist Prospero, resynthesizing

his authoritarian power into her own Felix Phillips to reinforce the concept of the human
struggle for control. Shakespeare represents the authoritative figure of his time, Europe,
through his characterisation of Prospero. Prospero, after “discovering” an island, claims it as
his own and takes control. He ignorantly ignores the truth that ‘This island’s [Caliban’s]’
‘which [he] tak’st from’. Prospero, like Europe, yearned for extensive control. He wanted his
enemies ‘all knit up’ and ‘in [his] power’. Shakespeare utilised Prospero to reveal the selfish
attitude of coveting authority. Prospero, after ‘neglecting worldly ends’ and the Dukedom of
Milan, finds himself usurped. He is dismissed, banished to the island, where he concocks his
revengeful ‘project’ . Ironically, instead of studying his ‘lov’d [books]’, he focuses on the
‘dukedom’ he once ‘prized [below]’, showing the true ‘evil nature’ of craving control. 

Conversely, Atwood’s Hag-Seed collides with this concept, recognising the way today’s
society is focused on achieving further control, whether it be of a company, group or even a
festival. She synthesises a character, Felix Phillips, who is a director at the upper-class
‘Makeshiweg [drama] Festival’. Though already ‘at the height of his powers’, Felix,
humanly, desires more and tries to create ‘the most beautiful, the most awe-inspiring …
theatrical experiences ever’. His plan was promptly halted, those above him ‘terminated [his]
contract … as Artistic Director’, and he found himself with no control at all. The effect is
destructive. Felix recludes to himself, ‘recognis[ing] his own act’ as a ‘sulking’, ‘suffer[ing]’
‘flagellant’. He Isolates himself. Hides. Embarrassed, Phillips chooses a new target to
control, and much like Prospero, claims power over those who cannot stop him: the ‘probably
desperate’ prisoners. He ‘confines’ their ‘spirits [to] enact [his] fancies’, his revenge. Both
Felix and Prospero dwell on their own ill-treatment ‘twelve years later’, ‘chewing over’ their
vengeful desire to reclaim their control, revealing the reality of chasing authority. In
contemporary society, people do not neglect power as Prospero did. Rather, they selfishly
desire more. Atwood’s novel, Hag-Seed, which is a reframing of The Tempest, informs
society of the damaging impact of this and confronts a parlous part of human nature.

Hag-seed is a clear appropriation of The Tempest, purposely recrafting the play’s prisons to
enforce the enduring nature of forgiveness. Shakespeare ultimately infused his dramatic work
with the 17th century, an age of western colonialism, breaking down the essence of
Humanism, and investigating its worth. He uses his protagonist to support the power of
forgiveness, and its centrality to humanity. Prospero, entangled in a web of ‘jealous[y]’ and
‘regret’, not only imprisons himself but also those around him. Because of his anger, the
island becomes a cell due to it prohibiting Prospero's act of revenge. Atwood reincarnates this
idea and utilises Felix to clearly present the importance of forgiveness. Felix, after losing his
daughter Miranda and his job, enslaves himself in an ‘island domain, [His] own place of
exile’. Felix metaphorically analyses his position, and it highlights his feelings of
imprisonment and isolation. He turns to the Correctional Facility, and subsequently, the
prisoners, as a vent for his own loss. The prisoners become the ‘spirits’ through which Felix
sets out to use as a key to his self-established cell. Not only this, but his desperation for his
deceased-loves causes the enslaving of his own mind and the thought of Miranda into an
illusory cage. The phantomess presence of Miranda almost subconsciously maddens him,
bringing himself to the belief that she ‘is in her room’. Real, breathing and human.

This is vital in Hag-Seed, as it's through this that Atwood recreates Shakespeare's
representation of the cruciality of forgiveness, further pushing its contemporary continuation.
Through her characters, she reveals that Prospero’s ‘magic’ is actually the ‘elemental nature’
of forgiveness. The symbolic metaphor that forgiveness is a natural human inclination is
effectively woven to enforce its value. Additionally, forgiveness is further displayed as
instinctive through the interaction between Felix and his imaginary daughter. When
questioned by 8Handz if he is repentant for ‘his enemies’, he is unremorseful. That is, until
he is visited by his daughter or rather, his innate human self. “Miranda” states that ‘she would
[feel sorry for the enemies] if she was human’. Atwood invokes upon the reader the
understanding that, even if one seems unforgiving, within them lies an entity that will
inculcate grace. As a consequence of this realisation, Felix ‘[acknowledges] this thing of
darkness’, an emblematic metaphor of his desire for revenge. He knows he must forgive. He
must ‘Bury [his magic]’ or his hateful desire for revenge ‘certain fathoms in the earth’.
Therefore, through Atwood’s reimagining of The Tempest, the effect of anger and resentment
is forcefully and significantly shown, which implicates the importance of forgiveness.

Atwood diligently examines Shakespeare's The Tempest, and through a vital

reconstruction, extracts concepts of human nature, revealing their enduring value. Hag-Seed
identifies the unjust maltreatment of people in postmodern society, the detrimental properties
of craving control — which still resonate today — and the enduring paramountcy of
forgiveness.