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Sycorax

Last updated: 2025-08-04 16:57:33

Sycorax

Sycorax
The Tempest character
A drawing of Sycorax by Robert Anning Bell.
Created byWilliam Shakespeare
In-universe information
FamilyCaliban (son)

Sycorax /ˈsɪkəræks/ is an unseen character in William Shakespeare's play The Tempest (1611). She is a vicious and powerful witch and the mother of Caliban, one of the few native inhabitants of the island on which Prospero, the hero of the play, is stranded.

According to the history provided by the play, Sycorax, while pregnant with Caliban, was banished from her home in Algiers to the island on which the play takes place. Memories of Sycorax, who dies several years before the main action of the play begins, define several of the relationships in the play. Relying on his filial connection to Sycorax, Caliban claims ownership of the island. Prospero constantly reminds Ariel of Sycorax's cruel treatment to maintain the sprite's service.

Scholars generally agree that Sycorax, a foil for Prospero, is closely related to the Medea of Ovid's Metamorphoses. Postcolonialist writers and critics see Sycorax as giving voice to peoples, particularly women, recovering from the effects of colonisation. Later versions of The Tempest, beginning with William Davenant's seventeenth-century adaptation, have given Sycorax a vocal role in the play, but maintained her image as a malevolent antagonist to Prospero.

Role in the play

Young woman in a flowing gown walks barefoot on a tiled floor upon which are a few doves. Marble walls and arched halls are behind her.
Medea (1889) by Evelyn De Morgan; Scholars see parallels between Ovid's Medea and Shakespeare's Sycorax.

In The Tempest, Prospero describes Sycorax as an ancient and foul witch native to Algiers, and banished to the island for practising sorcery "so strong / That [she] could control the Moon".[1] Prospero further relates that many years earlier, sailors had brought her to the island, while she was pregnant with her son, Caliban, and abandoned her there, as, due to her pregnancy, she was spared being put to death. She proceeded to enslave the spirits there, chief among them Ariel, whom she eventually imprisoned in a pine tree for disobedience. Sycorax birthed Caliban and taught him to worship the demonic god Setebos. She dies long before the arrival of Prospero and his daughter, Miranda. Caliban grows to hate Prospero's presence and power on the island, claiming that the land belongs to him since it was his mother's before Prospero appeared.

Sources

Scholars have unearthed very few facts about Shakespeare's sources for Sycorax. In fact, other than her connection to the magical sorceresses Medea and Circe of Greek mythology, nothing conclusive has been proposed.

Several competing linguistic theories have been put forth. Some scholars argue that her name may be a combination of the Greek sys ("sow") and corax ("crow" or "raven").[2] Another rough translation produces the phrase "the Scythian raven", an etymological description of Medea (Batman upon Bartholome,[3] a work which Shakespeare is likely to have used for reference, gives the name Corax for a raven[4]) Also, psychorrhax ("heartbreaker"), may be a play on the Greek word psychoraggia ("death struggle"). Another possibility is the Arabic transliteration shokoreth for "deceiver". Another recent idea suggests that, for thematic as well as historical reasons, the name is the reverberant combination of syllables in the name Corax of Syracuse, the often acknowledged founder of rhetoric, and the worthy, fictionalised rival of Prospero.[2][5] An especially odd and early guess at a meaning by one critic was sic or rex, a Latin homophone alluding to Queen Elizabeth's pride.[6][7]

The general idea for Sycorax's character may have come from the classical literature familiar to many in Shakespeare's day. Sycorax is similar to Medea, a witch in Ovid's Metamorphoses, in that both are powerful, magical female figures.[6][8] Scholars have also pointed out that Sycorax resembles the magical Circe from Greek mythology as well as perhaps a version of Circe found in the mythology of the Coraxi tribe in modern-day Georgia.[6][9]

Sycorax also draws on contemporary beliefs regarding witches. For example, she may embody the belief that all witches have blue eyes. The character may even be a reference to a specific historical personage. According to Romantic literary critic Charles Lamb, a witch, whose name has been lost to history, had been banished from North Africa about half a century before the time Shakespeare was writing the play; her similarity to Sycorax has struck a few scholars as notable. Lamb's claims, however, remain unverified.[6]

Analysis

Silent Sycorax

"[Sycorax is] a paradigm for all women of the Third World, who have not yet, despite all the effort, reached that trigger of visibility which is necessary for a whole society"[10] - Kamau Braithwaite.

Sycorax's silent role plays an important part in postcolonial interpretations of The Tempest. Because she is native to Algiers and her story is only heard through others (Prospero, Ariel, and Caliban), she is championed by some scholars as a representation of the silenced African woman.[11] Postcolonial authors have also claimed her; for example, Kamau Brathwaite, in his 1994 work Barabajan Poems, includes "Sycorax's book" as a counterpart to "Prospero's book" (mentioned in Act 5 of Shakespeare's play). In an attempt to give voice to unspoken indigenous cultures, Brathwaite's poems outline the history of the Caribbean through Sycorax's eyes. Sycorax is presented as Brathwaite's muse, possessing him and his computer to give full voice to the history of the silenced, who in Brathwaite's philosophy are not only Caribbean natives, but any culture under-represented during the colonial period.[12]

Other postcolonial scholars have argued that Shakespeare's audiences would have connected Sycorax with the threat of Islamic expansionism. Islam had successfully conquered and colonised much of the Middle East and some of southern Europe during the Middle Ages. The Algerian Sycorax may represent Christian Europe's fear of Islam and its growing political power. This interpretation inverts the traditional postcolonial interpretations of The Tempest, however. If Sycorax is viewed as an Islamic expansionist, then she herself is the coloniser, not Prospero (who becomes merely a re-colonizer of the island). However, Sycorax's portrayal as an absent, silent woman still allows the play to solidify the idea of European over Islamic power.[13]

Interpretations of Sycorax as silenced focus not only on her race but her gender as well. Most of what is said about her in the play is said by Prospero. However, as scholars point out, Prospero has never met Sycorax—all he learned about her he learned from Ariel—and his suspicion of women makes him an unreliable source of information. Skeptical of female virtue in general, he refuses to accept Caliban's prior claim to the island, accusing him of being a bastard "got by the devil himself / Upon thy wicked dam."[14]

Sycorax and Prospero

Prospero's methods of control are very similar to Sycorax's, making the supposed opposition between them less distinct.

In The Tempest, Shakespeare presents two powerful sorcerers, Prospero and Sycorax, who have both controlled the island. Initially it appears that the two characters are a contrasting pair: the benevolent Prospero and the rapacious Sycorax. However, upon closer analysis, the differences between the two characters disappear and the similarities grow. For example, Prospero, like Sycorax, coerces Ariel into doing his bidding, using the sprite to regain his inheritance as a duke, and tortures Caliban with magic the way Sycorax tortured Ariel. Also, both Prospero and Sycorax were exiled from their respective homelands and both have children, which was possibly the reason why they were both spared being executed. The fine line between Sycorax's black magic and Prospero's white blurs even further during his renunciation of magic in Act V, a speech which has strong parallels to one given by the dark witch Medea in the Metamorphoses. In comparing himself to Medea, Prospero is implicitly comparing himself to Sycorax. Emphasizing the relationship between Prospero and Sycorax demonstrates the ambiguity of Prospero's supposedly benevolent character.[14][15]

Sycorax as mother

Sycorax has been described as the matriarchal figure of The Tempest.[16] Modernist authors such as Sylvia Plath and Ted Hughes have alluded to Sycorax in their writing to illustrate destructive feminine power. As Hughes writes, "... the difficult task of any poet in English [is] to locate the force which Shakespeare called Venus in his first poems and Sycorax in his l

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