Sources
The source from which Shakespeare got the idea for Ariel is not known, though there have been many candidates proposed by scholars. Sprites or demons such as Ariel were viewed during the Renaissance from either religious or scientific points of view: religion seeing them as either agents of the devil or agents of God, and science viewing them as neutral subjects which could be brought under the control of the wise. Some scholars compare Ariel to demons of the air described in Renaissance demonology, while others claim that he is an archetype of a more neutral category of sprites. Several of these proposals are outlined below:
" can descend to lower regions quicker than thought, and, having taken on bodies from the denser air, appear visibly at times.... These spirits often disturb the air, stir up tempests and thunders. They do not retain one form, but take on various forms...."
— Randall Hutchins, on the nature of sprites in Shakespeare's day.The '-el' ending of Shakespeare's name translates in Hebrew as 'God', placing Ariel inline with more benevolent spirits, many of which were listed in sorcery books published in Shakespeare's day with similar suffixes. Jewish demonology, for example, had a figure by the name of Ariel who was described as the spirit of the waters. Another spirit, Uriel, is also comparable. In Isaiah 29, an Ariel is mentioned as another name for Jerusalem. In the Geneva Bible, which Shakespeare and others of the time would have known, the entry carries an interesting footnote describing this Ariel as the "Lyon of God." Further descriptions of this Ariel as having power to confuse and weaken his enemies with sounds and tempests increase the parallel.
The name Ariel might also be a simple derivation of aerial, though the character's abilities stretch beyond those of a typical air demon, encompassing fire and water demon abilities as well. Other scholars propose that the ca. 1589 play John a Kent and John a Cumber contains a character which may have been Shakespeare's inspiration. The character, named Shrimp, is also an air demon controlled by a magician. A few scenes of the play feature this demon performing tasks nearly identical to those Shakespeare's Ariel performed. Since it is very likely Shakespeare was familiar with the play, it is possible that Ariel is based on Shrimp, but evidence remains inconclusive.
Though the actual source Shakespeare used has not yet been determined, it seems clear that Shakespeare's Ariel and his relationship with Prospero reflects more closely the Renaissance idea of a neutral spirit under the control of a magician than the religious idea of a sprite. Shakespeare, however, refuses to make Ariel a will-less character, infusing him with desires and near-human feelings uncharacteristic of most sprites of this type.
Read more about this topic: Ariel (The Tempest)
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