Okonkwo in “Things Fall Apart” utilises direct imperatives to instruct those subordinate to him. This is seen throughout the text, such as when Okonkwo orders one of his wives to ‘get me a pot’ and ‘to leave the child alone’. The language used by Okonkwo serves as a tool of subjugation, with the coarse use of direct imperatives and harsh remarks serves to overpower them to the point of them becoming his slaves. Hugh as a societal and familial patriarch is presented in light of a failing patriarch, such as the way in which he represents a static, inward-looking, self-satisfied way of life, whose response to modern outside influences is to ignore them. For example, he is in denial about the colonisation that’s taking place, to the degree that he is refusing it is even happening. In contrast to Hugh, Prospero controls the characters in the play and remains in firm control of the island, he is a learned scholar who has powerful magical abilities and uses his knowledge to keep control of the island and is feared and revered. Okonkwo as a familial patriarch would have been seen as a successful patriarch, due to his domination of those subordinate to him, such as his wives and children, ordering his daughter to ‘sit like a woman’ and nearly killing his wife, ‘is it true that Okonkwo nearly killed you with his gun?’ Thus, his constant efforts to maintain his status also serve to reinforce his power and status. Colonisers are considered the upmost authority and any authority below is answerable to the coloniser. Likewise, Prospero is the coloniser, serving as the main figure head, compared to Hugh and Okonkwo who as societal patriarchs, only encompass certain levels of authority. Thus, being answerable to a higher authority is a clea... ... middle of paper ... ...oth audiences and overall, it is clear that patriarchy is a dominant theme in both texts, and it beautifies the flow of each text in a uniquely definitive approach. The play, written in 1611, showed all the qualities that a Jacobean court audience would have admired. Prospero, much like King James I, is a learned man, in possession of natural authority and an understanding of magic. He was considered by E. Dowden in Shakespeare: His Mind and Art (1875), to be a ‘harmonious and fully developed will.’ And yet a modern audience struggles to consolidate their understanding of Prospero with the archetypal Shakespearean hero. In fact, E. Baughan wrote in a Daily News Review (Jan 8, 1926), he calls Prospero both an ‘insufferable bore’ and a ‘cruel egotist.’ It’s that latter description of the protagonist and hero Prospero that a modern audience is likely to relate to.
...the introduction of the English forces introduces another level of patriarchy. It is clear that patriarchy is a dominant theme in both texts, and it beautifies the flow of each story in a unique approach. Despite all the similarities and differences between characters, the success and failures comes down solely to the audience viewing it.
Within the Obi tribe, Okonkwo is an important man, who has risen from nothing to a man of great wealth and social status. Okonkwo is obsessed with masculinity, and he has a very narrow view of “manliness”. Okonkwo's relationship with his dead father is the root of his violent and ambitious conduct. He wants to rise above his father's legacy of laziness, which he views as weak and therefore feminine. This drive and fierce pride made him a great man, but they are also the source of all of his faults.
In Shakespeare’s play, The Tempest, the character Prospero embarks on a journey of self discovery, undergoing a transformation that allows him to achieve a renewed perception of himself and others Prospero who was initially a duke, but later overruled by
Masculinity is a major theme in Things Fall Apart. The epitome of masculinity and power is Okonkwo himself. As a high village elder, he exemplifies the coveted attributes of
Okonkwo’s fear leads him to treat members of his family harshly, in particular his son, Nwoye. Okonkwo often wonders how he, a man of great strength and work ethic, could have had a son who was “degenerate and effeminate” (133). Okonkwo thought that, "No matter how prosperous a man was, if he was unable to rule his women and his children (and especially his women) he was not really a man" (45).
Having been usurped and wrecked on an Island Prospero and his young daughter Miranda have to settle. It is here in Prospero's past that it first clear to see where any confusion about his character may appear. As a learned and powerful man Prospero is able to take direct control of the island, he frees a trapped and tortured spirit (Ariel) and befriends the inhabitants (Caliban). Prospero 'helps' Caliban, he tries to educate him and teaches him to communicate, in exchange Caliban helps Prospero to survive on the Island. But in taking power of the Island Prospero is committing the same act that happened to him as Duke of Milan, now Prospero himself has become the usurper. In this act of goodness Prospero has unknowingly shown his evil side.
In the comedic, yet thrilling play, The Tempest, William Shakespeare uses characters such as Caliban, Alonso, and Ariel to show Prospero’s immense cruelness and pure monstrosity. Moreover, these Shakespearean characters are also used to highlight Prospero’s change in character into a kinder and more forgiving person. Prospero starts the play out as a vengeful monster, after an illuminating moment however, his persona transforms into his true identity of a compassionate man.
Despite the fact that, Antonio betrays him, takes his position and plots to murder him, but Prospero’s response for that is quite positive. First he put the blame on himself for not taking the responsibility of his duties and following his study. Second, he thought of him as a brother or a human being. His decision is more in the sense of humanity and morality. He forgives his brother since he returns his position as a duke of Milan. Prospero
Through The Tempest play, William Shakespeare weaves together a tale that is characterized by anti-colonialist sentiments. Prospero - the deposed Milan Duke - adopts a colonialist mentality by treating his colleagues as slaves who have no rights. Characters who suffer mistreatment under Prospero include: Ariel - the spirit creature; Ferdinand - the Naples Prince; and Caliban - Sycorax’s son. Prospero possesses much magical power which he uses to oppress his compatriots. Consequently, Prospero is portrayed as a colonial tyrant who abuses his immense power. Anti-colonialism feelings are especially evident through the actions, utterances and disposition and of Caliban, Miranda, Ferdinand and Ariel. To illustrate, Caliban berates Prospero for the former’s forced labor. Likewise, Ariel protests Prospero’s reluctance to release the former as earlier agreed. Miranda also expresses her dissatisfaction with Prospero’s unfair imprisonment of Ferdinand. Similarly, Ferdinand appears to challenge Prospero’s authority by briefly stopping dragging timber so as to flirt and chat with Miranda. The foregoing four characters exhibit conduct that highlights their displeasure with Prospero’s colonial-style authority over them. From the preceding expose, it can thus be concluded that Shakespeare’s The Tempest play is about anti-colonialism based on its depiction of Caliban, Miranda, Ferdinand and Ariel’s opposition to Prospero’s oppressive authority.
In the novel Things Fall Apart, Okonkwo is portrayed as a respected and determined individual whose fatal flaw eventually works against him. Throughout the novel the readers are shown that Okonkwo has many of these Characteristics because he is obsessed with the idea of becoming just like his father. This becomes his flaw in the novel that puts him into exile and makes it hard for him to adjust to the changes that were made with in his village.
Shakespeare's "The Tempest" forms a world within itself. Within this world, many topics regarding government, power and colonization are addressed. Shakespeare tackles the discovery of new places and races, the relationship between the colonized and the colonist, old world ideologies on new soil, as well as theories on civilization and government. These aspects at the core reveal a very clear struggle for political power. Prospero's first major monologue creates the foundation of such a theme. In 1.2 lines 30-175 Prospero tell his story recounting the usurpation of the power he had as Duke of Milan, then quickly renews his power on the island. Prospero beings his story with an authoritative tone stating: "Obey and be attentive" (1.2 48). Desiring political power and authority becomes the core from which other themes derive.
Prospero and Lear are, without a doubt, the two most compelling mature figures in Shakespeare. In a way, one is the flip side, so to speak, of the other. Each represents an aging man's relationship to family, environment, and, most importantly, himself. One might even be so bold as to venture that had Lear lived, he might, through the enormity of his painful transformation, have become a character much like Prospero, a man who has learned bitter lessons from his intercourse with the world and has utilized them to create his own unique reality, becoming, finally, the true master of his destiny.
Within his portrayal of Prospero, Shakespeare skilfully displays this character as the embodiment of all characteristics that defined the true colonisers; strength, power, and of course the intense control of all relationships and land he is invested in. Although these characteristics can be seen in all Prospero’s actions and interactions it is those with his subject, Caliban, which present them most clearly.
Throughout history, there have been many instances of people struggling to identify and cope with change and tradition, and this is no different in Chinua Achebe’s Things Fall Apart.
Prospero presents himself as a victim of injustice, however his belief of justice and injustice is somewhat contradicting. He takes advantage of this authority over other people and situations he encounters while using his integrity and compassion to mask his dangerous plans and to retain love and respect. The Tempest in the end suggests that love and compassion are more effective political tools than violence, hatred or even abusive magic.