The Parallels of Ariel

The Little Mermaid, 1989

When we view the two Ariels, one from Shakespeare’s The Tempest, in comparison to Disney’s adaptation of The Little Mermaid, I think that it’s absolutely fascinating how both Ariels’ seem to have a similar desire—freedom. I personally don’t deem this as coincidence; I think that there is an extensive amount of character traits and goals that overlap between the two Ariels, and how they are essentially establish their individuality and rebel against their societies. In this blog, we’ll break down these comparisons.

Constriction

A significant point is that they are both in the realms of empire, yet they both feel constricted in the one that they currently reside. Shakespeare’s Ariel can be seen begging for his freedom, after doing a multitude of deeds that fulfil the desires of the cruel Prospero. To compare, Disney’s Ariel is trapped within the responsibilities of her own empire; she is expected to follow the status quo and shun her curiosities of the human world. Both Ariels’ are chastised when they bring up their desires, which can effectively be seen as the other world. It is deemed as the other because their deemed mentors, Prospero and Triton, respectively, are effectively out of reign of the power they are able to exhibit over their Ariels.

Water

It’s quite amusing to note that both Ariels’ have a relationship to water. Water, symbolically is the most flexible element, and the most complaisant of the physical elements on earth. Yet, it is quite ironic when we consider both of the character’s demeanors. Disney’s Ariel is not what we could reasonably consider as flexible in nature at all; in fact, she’s so set on discovering the human world that she agrees to leave her old life behind and incapacitate herself in order to become a part of it, giving up her voice and her tail for the ability to explore the new world.

Self-Liberation

Another significant note is the extent of the measures that both Ariels are willing to take in order to free themselves from the world in which they currently reside. The freedom that Disney’s Ariel is granted—the freedom to walk among humans, without festering over her duties and responsibilities she is expected to uphold—is liberating; in similar comparison, Ariel’s freedom from Prospero’s manipulating reign allows them to express their sense of individuality, and to physically take part in the world without being under another’s control. In this case, we can claim the notion of the humanization of both Ariels’ are granted through freedom, appropriate. For Disney’s Ariel, this can be taken literally, as the princess must physically change species in order to become a part of the human world. However, in the case of Shakespeare’s Ariel, they go as to create a massive illusion of a tempest. Shakespeare’s Ariel does so to fulfil the wishes of their master, with the hope that Prospero would one day set Ariel free.

Expression through Song

Another humanizing factor present in both Ariels is in how they express their desires through song. Music has been a popular and effective method in communicating a message, which are both effectively brought through the lyrics of both the inquired singers. But whereas many animals have the ability to generate song, singing with cohesive words is a major power statement that emphasizes the power of human voice. Both Ariels are able to take reign and exhibit this power; their voices are significant because it is the attribute that makes them special. When they are forbidden to speak, they are essentially rendered powerless. We can interpret this when Ursula, the sea witch, takes away Ariel’s voice. Here, at the end of Ursula’s impossibly catchy ballad, Ariel is powerless, and left to fend for herself without a voice. For a more physical approach Hans Christian Anderson’s original tale, the mermaid had to physically cut off her tongue, “rendering her mute,” and effectively taking away her power to communicate through speech. Her hindering of language is what dehumanizes her. In both the original and the Disney animated versions of this tale, the humans take pity on her, and effectively dehumanizes her nature. This is highly degrading, especially when she once had the ability to express herself before.

The Power of Voice

It is not until she regains her voice that she is able to fight back and resist against her oppressor. The similar can be said with Shakespeare’s Ariel: when Sycorax trapped Ariel in the tree, Ariel was left powerless until Prospero was able to free them. The ability to express oneself is the ultimate power because it allows one to defy against one’s oppressor without physical means. This sort of active resistance without physical combat serves a more powerful message to the audience; whereas physical action does external damage, the inflictions caused through the manipulations of words and language are what make the individuals able to free themselves from the tyrant.

Ariel’s Relationship to Witch

Another interesting point that we can explore is the fact that they were at one point under the influence of a witch. When we look into the origins of the symbolization of witches, we are able to draw from Shakespeare’s other works for more inference. For the sole purpose of the explanation of the representation of witches, we see that Shakespeare puts a negative connotation on their existence in his other play Macbeth; the witches in that play symbolize darkness and depravity of the human soul. When we use this inference to compare to the Ariels’ in The Tempest and The Little Mermaid, we see that there is an extensive correlation in how the witches served as a bridge that either humanized or dehumanized these characters.

Gender

It’s interesting how Disney’s Ariel is gendered, as well. Whereas Shakespeare’s Ariel remains an androgynous spirit, Disney’s Ariel is forthright about the gender of the little mermaid. It’s fascinating, especially when we consider that both spirits and mermaids are mythological creatures. Here, we see that power is employed differently; as a woman, Disney’s Ariel was prohibited to speak, which effectively reflected social issues at the time. On the flipside, Shakespeare’s Ariel is given a longer leash and a larger platform, as they are free to physically wander the island, so long as they respond to when they are called.

Yet despite the numerous parallels, there is a significant difference in the two works. In addition to the vast time difference in the creation of these two works, we can take note that Disney’s Ariel already has a sense of individuality and a want for something. However, Shakespeare’s Ariel isn’t quite sure how to position himself with the notion of being free. Instead, they do as Prospero commands, without a lead that guarantees that they would receive freedom in return. Ariel in Disney’s adaptation is a symbol of rebellion, curiosity, and adventure. Her free spirit and her brave nature encapsulates the very goals that Ariel from Shakespeare’s the Tempest wishes to attain. When they are both essentially liberated from their empires, they are given the ability to speak once again, and to express themselves as they please.

Works Cited

“Becoming Ariel, Becoming Ursula.” Making a Splash: Mermaids (and Mer-Men) in 20th and 21st Century Audiovisual Media, by Philip Hayward, Indiana University Press, Bloomington, IN, 2017, pp. 21–50. JSTOR, www.jstor.org/stable/j.ctt200605w.6.

Shakespeare, William, 1564-1616. The Tempest. Cambridge: Harvard University Press, 1958. Print.

The Little Mermaid. Dir. Ron Clements and John Musker. Walt Disney Pictures, 1989.

Lewis, Jayne. HumCore Lecture. 18 February, 2019.