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Short note about prospero
How is caliban portrayed in the tempest
How is caliban portrayed in the tempest
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It is often nice to encounter a piece of prose that challenges our minds to search for deeper underlying truths then finish the text with a sense of accomplishment at having been able to detect these truths with little effort. However, when the creator of the work is under pressure to cater to their society's standards, it becomes more difficult to determine which of the ideas presented are truly accurate and are still currently relevant in our own society. A very common example is when we analyze works by William Shakespeare in high school or in college, or sometimes even just in one's leisure time. In Shakespeare's time, society valued colonialist ideas, which comes through in his work The Tempest when we analyze the roles he assigns for …show more content…
This is evident in the way he potential for Caliban, the son of a witch, to have acquired knowledge magical abilities is not explored in The Tempest. The idea that a savage, one without even the slightest knowledge of the English language, could have magical abilities is not an idea that Shakespeare’s audience would have appreciated in his work. These racial prejudices also become evident when we examine the way Sycorax is mentioned very little in the play and happens to be the one African with magical ability. Of course, neither Sycorax nor her god can compare to the Italian man’s magic, knowledge, and power. Shakespeare portrays Sycorax’s arrival to the island as an abhorrent and negative change in the island’s environment and she seems to have only arrived with malicious intent for the island and to torment Ariel. On the other hand, Prospero’s freeing of Ariel is presented as a work of art stemming from Prospero’s compassionate qualities highlighted in Act 1 Scene 2 during his initial conversation with Ariel. In the quote "It was mine art … that made gape the pine, and let thee out" we see Prospero's magic portrayed to be a work of art, rather than an evil curse (1.2.291-293). Even though only a few lines later Prospero is again threatening Ariel, an argument can be made that Prospero is a "good" character while no such case can be made for Sycorax. Because we hear so little of her, and only negative things, she serves a foil to Prospero and a character to make Prospero look better by
According to author Chinua Achebe, “The whole idea of a stereotype is to simplify. Instead of going through the problem of all this great diversity…you just have one large statement; it is this.” These broad simplifications have been found throughout history and often reflect the attitudes of an entire society at a specific time period. In particular, one can discover much about the prevailing attitudes of a society through its literature. Shakespeare, specifically, has written multiple works that incorporate generalizations of his era. For example, Shylock from The Merchant of Venice served as the archetypal Jew of the late 16th century. Othello explicitly includes race and religion as a fundamental part of the motivations behind the characters’ actions. In Othello, Shakespeare portrays Othello as a character that transcends stereotypes yet still has some connections to his cultural and religious origins. Shakespeare illustrates how early 17th century Venetian stereotypes are not entirely accurate but have some basis and history behind them. In doing so, Shakespeare is able to convey how stereotypes do have some historical basis surrounding them; however, but one cannot be expected to act in a manner solely defined by others. Othello attempts to depict and break down stereotypes of a particular group of people who were viewed as strange and dangerous to a traditional, prejudiced audience and does so successfully.
Shakespeare does not go to either extreme in The Tempest. The "natural man" (i.e. Caliban) is savage, intemperate and brutal, incapable of higher reasoning and lacking the innate intelligence for nurture to "stick" (as Prospero says in frustration) responding only to something that in effect could be considered, not inaccurately, as what would in modern terms be called a form of Pavlovian conditioning. While his portrayal is not totally unsympathetic (cf. the touching passage in Act III Scene II where he speaks of his "cr [ying] to dream again", it can also be argued that Prospero's alighting on the island, installing himself as ruler, and consequently -- albeit not unjustifiably -- depriving Caliban of his rights and liberty is per se somewhat questionable, depending on how one views colon...
Social activist Audre Lorde articulates the detrimental impact of oppression on society as a whole and exemplifies it as a perpetual cycle in humanity through the context of the gender inequality. Lorde states, “I am not free while any woman is unfree, even when her shackles are very different from my own.” She advocates for marginalized voices through solidarity over charity, and expressing inequality as a two-way street: even the oppressor is not free until all are free. She articulates that by setting free the oppressed, people can set themselves free. While she places this idea in the context of gender inequality, by nature it applies to all forms of inequality in society. These aspects of oppression are fundamental to understanding inequality,
Many believe that Shakespeare, personified his character into Prospero, because Prospero ultimately created the entire plot of the play with his magic, which he obtained shortly after being marooned on the island. Because The Tempest was one of only two of Shakespeare’s works that were entirely original, one could see why this would be the easiest position to take; after all, Prospero basically writes the play himself, by creating a complicated plot to regain his dukedom from which he was usurped. He also controls every character in the play, some with loving relationships, some with just the opposite. “Watching” Prospero create and work through the play, is almost like watching the playwright write the play, from start to finish. His extremely manipulative control over all characters in the play, and his delicate and sometimes hard to understand strategy in “capturing” the king is symbolized in the end in which Miranda and Ferdinand are revealed playing chess. Because of this, his dukedom is surrendered back to him, for which matter he also surrenders his magic in order to fit in with the world which he is about to rejoin after twelve years. This play very much does show the magic and ability to create anything in the world of theatre, even a barren theatre like the Globe, before the wonders of technology could create special effects and realistic scenery. This is ironic because the vivid descriptions that the characters give of the island, whether good or bad, are not achievable through primitive scenery as there was in Shakespeare’s day, so therefore are left up to the audience for interpretation. For instance:
William Shakespeare’s Othello, The Moor of Venice is a captivating tragedy that not only keeps the audience entertained by the drama and scandal, but also sheds new light on the perspective of the Europeans during the Elizabethan era and Othello’s role as an Englishman. Othello, based off of the controversial representation of blacks, was written in a manner that perfectly displays the true nature of the Europeans during this time period. Shakespeare opens the first act with Iago, the antagonist, yelling to Brabantio a visually graphic description of his “daughter covered with a Barbary horse” and racial inferences of Othello as “an old black ram/ Is tupping your white ewe” (I.1.87-110). This prevailing imagery of racism gives us a glimpse into the stereotypes and prejudices that have been happening for centuries and that continue to persist in the present. The use of the word ‘black’ throughout Othello had multiple meanings that the audience would understand in connotation, but this also included the larger scale audience of Elizabethan England. Othello portrays the Moor; although contradictory in context of this play, it shows how the Elizabethan society treated the minority or “difference” race during this time period.
Gender roles and racism play a big part in Shakespeare’s Othello. “Othello is unique among Shakespeare's great tragedies. Unlike Hamlet, King Lear, and Macbeth, which are set against a backdrop of affairs of state and reverberate with suggestions of universal human concerns, Othello is set in a private world and focuses on the passions and personal lives of its major figures. Indeed, it has often been described as a "tragedy of character" (Locklear). Adding well-developed female characters to the play Othello creates a dimension of gender conflict and feminist views. The play’s behavior towards sexual differences as well as gender roles both solidifies Othello’s racist tones and complicates ethnic tensions.
William Shakespeare's Othello is only moderately interested in questions of race and racism. For Shakespeare, Othello's blackness was mainly a plot device. Though the bard did demonstrate concerns about racial and religious prejudice, in Othello and The Merchant of Venice, his interest in the tragedy of the Moor was principally psychological. For Shakespeare and his contemporary audience, Othello was about jealousy, hatred, and vindictiveness.
Racism in William Shakespeare's Othello. The play, Othello, is certainly, in part, the tragedy of racism. Examples of racism are common throughout the dialogue. This racism is directed toward Othello, a brave soldier from Africa and currently the supreme commander of the Venetian army.
In the play ‘Othello’, the characters attitudes to race generally result in the play being seen as a ‘race’ play. As the play was originally published in 1622 it would be expected the play would have some racial slurs/epithets as well as some bad attitudes to women. Therefore it would not be a surprise if the play is to be regarded as a ‘race’ play. The book does include some attitudes to racism however the book also reveals a lot about women. The book has many examples of both attitudes to women and racism. The book’s theme of race starts in the opening lines of the play.
What makes you a certain race? Does it signify biological differences or is it the product of social categorization? Race cannot be truly interpreted without reflecting on the purpose of the division of races. We functionally use the concept of race to distinguish or set apart certain groups based upon identifiable physical traits. The idea in hindsight seems practical; in the same way we label animals or even food groups. However, the act of defining races as it applies today, maintains a much less inclusive origin.
Racism is just one of the many problems that we have here in the United States today. Racism isn’t as bad as it used to be but it’s still here. In Othello, written by the one and only William Shakespeare, racism is the main theme and focus. England became involved in the slave trade during the late sixteenth and seventeenth centuries (Slights 377). Racism started in the twentieth century after this was written but the way the Elizabethan era viewed black people was similar to how racism is today (Bartels 433). Othello struggled a lot during the play because of his dark skin color. He was called several racist names like “the Moor,” “Old black ram,” “Barbary horse,” and “Thick lips.”
one must need to define the word “race”. As the definition and concept of race
Racism in The Tempest & nbsp;& nbsp; & nbsp; One manifestation of racism that Cesaire surfaces is the proliferation of negative Black stereotypes. Cesaire uses Prospero to expose the feeble, racist stereotypes many Whites propagate about Blacks. Prospero, presenting a common White opinion, says to Caliban, "It [Caliban's living quarters] wouldn't be such a ghetto if you took the trouble to keep it clean" (13). Such a statement is clearly racist and plays into the stereotypes many Whites have about Blacks (i.e., they are lazy and dirty). These stereotypes are white lies.
The theme of racism has played a paramount role in works of literature throughout the ages. Othello by William Shakespeare is no exception to this. Race takes up many different roles in order to have a major effect on the play. Viewing the play through a racial lens one can see; the prejudices of Shakespeare’s time, Shakespeare’s own prejudices, the true meaning of Othello’s “blackness”, and the effects of each characters own prejudices. Racism leads to Othello’s downfall and other tragic endings and is thus a highly prevalent theme in Othello.
In Shakespeare’s play The Tempest, there are two characters who appear to be polar opposites. The characters of Caliban and Ariel both play very important roles in the play. The term caliban is defined as “a brutish or brutalized man,” and the term ariel is defined as “a spirit of the air” (Dictionary). The definitions of these two characters names even show the huge difference in the two characters before readers or viewers even get to know the characters. There are also differences in how the two characters feel about the self-proclaimed king of the island, Prospero. However, regardless of their many differences the one thing that they do have in common is the fact that they are both oppressed by Prospero who has deemed himself king of the island and seek freedom.