(witches) that had been at the forefront of societal concerns since 1050. However, after 500 years of witch-hunts, a turning point occurred in 1584, at the publication of Reginald Scot's The Discouerie of Witchcrafte (The Discovery of Witchcraft). This book was the first major book to denounce witch-hunts and their ringleaders, and unquestionable the first book in English to actually hypothesize about the methods of these so-called witches. It contained one chapter of approximately twenty pages describing what we might view as unsophisticated, old-time magic tricks. One would assume that it was this text, and texts succeeding this (The Art of Juggling, written by Samuel Ridd in 1610 also presented a few how-to's of magic) were probably not only what suggested the idea of using magic as a them to Shakespeare, but in addition, provided methods as to how the magic in the play might be accomplished. Despite the fact that in retrospective analysis it is fairly clear that witches were nothing more that magicians with a slightly different presentation, audiences were not always aware of –and those that were, were rarely convinced by—the two aforementioned texts. Witches were still persecuted and witch-hunts did not actually stop until the end of the seventeenth century. Therefore, Shakespeare's use of magic was controversial, compounded by the fact that Prospero was presented in a largely good light—a move probably made as a political statement, as it is known that Shakespeare's plays were sometimes written to include political suggestions to King James. However, when Prospero relinquished his powers at the end of the play, those that did believe in the witch-hunts were satisfied. Everyone was happy. After considering the contention that the masque scene was added for the purposes of compliment to Elizabeth and Frederick's marriage, one could conclude that Shakespeare learned more about magic after he wrote The Tempest. The r...
