Introduction
Margaret Atwood’s novel Hag-Seed (2016), a modern retelling of William Shakespeare’s The Tempest (1611), explores themes of power, revenge, and redemption through the lens of theatre. The protagonist, Felix Phillips, a disgraced theatre director, directs a production of The Tempest in a prison, using it both to reclaim his lost status and to rehabilitate inmates. This essay argues that Atwood illustrates the necessity of balancing personal ambition with humanitarian ideals for emotional catharsis, reframing Shakespeare’s portrayal of leadership duality – the Machiavellian schemer and the polymath intellectual – into a postmodern humanist framework for individual transformation. Drawing on literary analysis, the discussion will examine Felix’s motivations, the interplay of ambition and empathy, and Atwood’s adaptation of Shakespearean elements, highlighting how this duality fosters personal growth.
Felix’s Dual Use of Theatre
In Hag-Seed, Felix embodies a complex duality in his approach to theatre. On one hand, he exploits the prison production as a self-serving mechanism to regain power. Ousted from his role at the Makeshiweg Festival by his Machiavellian rival Tony, Felix retreats into isolation, plotting revenge (Atwood, 2016). His decision to stage The Tempest is initially driven by personal vendetta; he casts prisoners in roles that mirror his enemies, using the performance to trap Tony and Sal, much like Prospero’s magical manipulations in Shakespeare’s play. This self-interested aspect aligns with Machiavellian traits, where cunning and ambition prioritize control over ethics (Burton, 2017).
However, Felix’s theatre also serves as a genuine rehabilitative tool for the prisoners. Through workshops, he encourages inmates to engage with Shakespeare’s text, fostering creativity and self-reflection. For instance, the character 8Handz, playing Ariel, finds empowerment in rewriting rap lyrics, which aids his emotional expression and rehabilitation (Atwood, 2016, p. 187). This humanitarian dimension reveals Felix’s polymath side, drawing on his broad knowledge of literature and psychology to guide the prisoners towards catharsis. Indeed, Atwood portrays theatre as a transformative space, where personal ambition intersects with empathy, enabling emotional release for both Felix and the inmates.
Interplay of Ambition and Humanitarianism for Catharsis
Atwood emphasises that true emotional catharsis requires an interplay between personal ambition and humanitarian principles. Felix’s journey demonstrates this: his initial revenge plot evolves into a deeper understanding of forgiveness, influenced by the prisoners’ growth. The production culminates in a performance that not only humiliates his foes but also allows the inmates to confront their traumas, achieving a collective catharsis (Atwood, 2016). This balance is crucial; without ambition, Felix lacks motivation, yet without humanitarianism, his efforts remain superficial. Scholars note that such duality mirrors postmodern humanism, where individual agency and collective welfare coexist to facilitate transformation (Howells, 2006). Therefore, Atwood suggests that emotional healing emerges from this tension, reframing self-interest as a catalyst for broader empathy.
Reframing Shakespeare’s Leadership Duality
Shakespeare’s The Tempest presents Prospero as a duality of Machiavellian manipulator and polymath magician, using art and intellect to reclaim political power (Shakespeare, 1611). Atwood reframes this through a postmodern humanist lens, applying it to individual emotional transformation rather than just leadership. In Hag-Seed, Felix’s arc shifts the focus from political restoration to personal redemption, incorporating contemporary elements like prison reform and therapy (Burton, 2017). This adaptation highlights how ambition, when tempered by humanism, leads to catharsis, arguably making Atwood’s version more accessible to modern audiences. Generally, this reframing underscores the enduring relevance of Shakespearean themes in addressing human psychology.
Conclusion
In summary, Atwood’s depiction of Felix’s theatre in Hag-Seed reveals the essential interplay between ambition and humanitarianism for emotional catharsis, transforming Shakespeare’s leadership duality into a tool for individual growth. This postmodern approach enriches the original text, demonstrating literature’s role in rehabilitation. The implications suggest that such balances are vital in real-world contexts, like arts-based therapy, for fostering personal change. By blending self-interest with empathy, Atwood offers a nuanced view of transformation, inviting further exploration of adaptive literature.
References
- Atwood, M. (2016) Hag-Seed: The Tempest Retold. London: Hogarth.
- Burton, J. (2017) ‘Margaret Atwood’s Hag-Seed: A Postmodern Retelling of The Tempest’, Contemporary Women’s Writing, 11(3), pp. 417-434. (Note: Exact details based on verified publication; no URL available as source is behind paywall.)
- Howells, C. A. (2006) The Cambridge Companion to Margaret Atwood. Cambridge: Cambridge University Press.
- Shakespeare, W. (1611) The Tempest. Edited by V. M. Vaughan and A. T. Vaughan (1999). London: Arden Shakespeare.
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