The Misunderstood Message of Aime Cesaire's A Tempest
A Tempest, by Aime Cesaire, has been the center of controversy for over twenty years now. The argument is not concerning whether the play has substance, or whether its themes are too racy; the criticism is about its parallel to another work. The work in question is that of The Tempest by William Shakespeare. Cesaire has been bluntly accused of mirroring, misrepresenting, and misinterpreting Shakespeare's last play. I challenge these critics to research Cesaire and his works, rather than pick apart this most insightful play. It is pertinent to understand a few key ideas when examining A Tempest because Cesaire was not attempting to mirror Shakespeare; he was merely using him as a reference. Cesaire, who understood that Shakespeare is an icon of the Western world, himself is iconoclastic. He knew by adapting The Tempest to his own voice, he would draw attention from the West and raise awareness of his intended audience, the oppressed blacks of the world. But valuing this idea requires the reader to be aware of who Aime Cesaire is, what ideas he embraces, and the message he wishes to convey to his readers.
Aime Cesaire was born in Martinique, that time an island under the rule of the French. He was heavily involved in the politics of his colony, being mayor of Fort-de-France, a member of the French Communist Party, and later founder of his own party, the Parti Progressiste Martiniquais (Davis). Cesaire grew up in the 1960's, a time when his country was fighting for independence, many African nations were doing the same, and blacks in America were pushing for the equality of races. He was a strong advocate for independence, and understood the effe...
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...uld take another look before rejecting one of the most profound works in Caribbean literature.
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...simov. Ed. Joseph D. Olander and Martin Harry Greenberg. N.p.: Taplinger, 1977. 32-58. Rpt. in Contemporary Literary Criticism. Ed. Jean C. Stine. Vol. 26. Detroit: Gale, 1983. 41-45. Print.
men as long as the war lasted. Now that the war was over, they were
In the book "Meditations on First Philosophy", author talks about knowledge and doubt. He considers doubt and knowledge a very strong tool and thus, states a philosophical method which is actually an extraordinarily powerful investigation of mind, body and rationalism. He formulates six meditations in this book, where he first discards all of his previous beliefs where things are not completely certain and then he tries to build things that can be surely known. He believed that people should do their own discerning and by using the process of simple mathematics, they could proceed on a path to an unquestioned knowledge. He wrote these meditations in a way supposing that he has meditated for six days, referring each last meditation as ‘yesterday’.
The Secret Diary of Lady Macbeth After receiving a letter from Macbeth earlier today, I received a most urgent letter from Macbeth. He told me that he was accosted by three witches on the night of the battle between Scotland and Norway. They greeted him "All hail Macbeth, hail to thee, Thane of Glamis! All hail Macbeth, hail to thee, Thane of Cawdor! All hail Macbeth, that shalt be King hereafter!" Macbeth was "rapt" with what the witches had said and tried to question them further, but they vanished into a haze of fog.
Texts and their appropriations reflect the context and values of their times. Within Shakespeare’s Othello and Geoffrey Sax’s appropriation of Othello, the evolution of the attitudes held by Elizabethan audiences and those held by contemporary audiences can be seen through the context of the female coupled with the context of racism. The role of the female has developed from being submissive and “obedient” in the Elizabethan era to being independent and liberated within the contemporary setting. The racism of the first text is overtly xenophobic and natural, whilst the “moor” is unnatural whereas the updated context portrays Othello’s race as natural and racism as unnatural. Therefore these examples show how Shakespeare’s Othello, and it’s appropriation, Geoffrey sax’s Othello, reflect the context and values of their times.
To pin these works against the idea of colonization, Cesaire and Hwang must greatly alter the content. They do so, but they also mimic the styles of the original versions. A Tempest is written in modern English, and Shakespeare's songs are substituted with slave tunes. Hwang dr...
Leininger, Lorie Jerrell. "The Miranda Trap: Sexism and Racism in Shakespeare's Tempest." The Tempest: Critical Essays.Ed. Patrick M. Murphy. New York: Routledge, 2001. 223-229.
Descartes' Views on the Topic of Philosophy of Mind Descartes has indeeed made some notable contributions towards the philosophy of mind. It is the aim of this essay to discuss these contributions. Descartes is well known for being an avid dualist. This is the view that the mind and body are understood to be seperate and distinct from each other, but in some way causally connected. Descartes was no exception and believed the mind and body to be two completely different substances.
The Tempest and The Second Discourse are inundated with the themes of inequality versus equality, nature versus nurture, and savage man versus civil man. Jean-Jacques Rousseau, a prominent philosopher of his time and author of The Second Discourse, attempts to pinpoint the origin of inequality. In doing so, he interestingly analyzes the differences between civilized man and natural man. William Shakespeare, a prolific writer during the Elizabethan Era and author of The Tempest, draws attention to issues facing mankind. While at first glance these two literary pieces appear to be unrelated, after analysis, they offer many similarities. What is most central is that both pieces offer insight into authority, power, and equality.
William Shakespeare’s The Tempest provides dialogue that portrays the social expectations and stereotypes imposed upon women in Elizabethan times. Even though the play has only one primary female character, Miranda, the play also includes another women; Sycorax, although she does not play as large a roll. During many scenes, the play illustrates the characteristics that represent the ideal woman within Elizabethan society. These characteristics support the fact that men considered women as a mere object that they had the luxury of owning and were nowhere near equal to them. Feminists can interpret the play as a depiction of the sexist treatment of women and would disagree with many of the characteristics and expectations that make Miranda the ideal woman. From this perspective, The Tempest can be used to objectify the common expectations and treatment of women within the 16th and 17th Centuries and compare and contrast to those of today.
Leininger, Lorie Jerrel. “The Miranda Trap: Sexism and Racism in Shakespeare’s Tempest.” The Woman’s Part: Feminist Criticism of Shakespeare. Eds Carolyn Ruth Swift Lenz et al. Urbana: University of Illinois Press, 1983. 285-294
Shakespeare was intending to represent several different groups of people in society through his plays and “The Tempest” was no exception to the rule. I aim to show how the “human” relationships in the play reflect real life relationships within Shakespeare’s own society (as well as his future audience), for which his plays were written and performed.
The Tempest. Arden Shakespeare, 1997. Print. Third Series Smith, Hallet Darius. Twentieth Century Interpretations of The Tempest; A Collection of Critical Essays, Englewood Cliffs, NJ: Prentice-Hall, 1969.
Literature is an intricate art form. In order to attempt to understand the meanings and ideas within literary work, there are many forms of criticism that propose different approaches to its interpretation. Each criticism is crucial to the understanding of how individuals interpret literary works. Since each criticism has a different approach to enrich the understanding literary works, the question is raised whether one criticism should be used over others, whether a certain combination of criticisms should be used, or whether all criticisms should be taken into account. This may all be dependent on the reader’s individual preference or opinion, but each criticism presented builds on the others to create a well-rounded and unique understanding
Shakespeare, William, and Robert Woodrow Langbaum. The Tempest: With New and Updated Critical Essays and A Revised Bibliography. New York, NY, USA: Signet Classic, 1998. Print.