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In Shakespeare’s The Tempest, the background characters hold great importance in the overall plot of the play. Characters such Sycorax establishes the setting of the play, providing the readers with background knowledge leading up to the play. Sycorax, in many ways, serves as a mirror image to Prospero. However, as Frey and Skura suggests in their literatures, The Tempest reflects much about the events happening in the real world (Frey, Skura). The life of Sycorax is a representation of what’s happening in the Old World as well as the New World.
In Act I Scene 2, we learn about the nature of Sycorax through the speeches between Ariel, Caliban and Prospero. Caliban claims that Sycorax was the first to arrive upon the island, and thus giving her the ownership to the island (Shakespeare 1,2,331). Trained in the arts of magic like Prospero, Sycorax takes over the island through her witchcraft. Prospero describes Sycorax as an old and foul witch, whom is feared and hated by the residences of the island (Shakespeare 1,2,258). It was Sycorax whom maliciously enslaved the spirits of the island in the first place, and her actions would lead to a series of events which explains the existence of Caliban and his savage behaviours, as well as the bonds between Prospero and the local spirits. Without the existence of Sycorax, Prospero would not have had the services of Caliban nor the spirits. Thus the survival of Prospero and Miranda would’ve been jeopardized, and the events to follow would not have occurred. As well, the great tempest conjured by Ariel would not have been present, and the King and his men would’ve had a safe passage, unaware of Prospero’s presence. Without the existence of Sycorax, the play cannot exist.
Sycorax also ref...
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...rospero again. Caliban would never have been born, and Prospero would not have lived to tell his tale. Sycorax also provides the reader with the opportunity to evaluate the potential hidden meanings of the play. Maybe it is a reflection on the North American settlement, or maybe it is to criticise the fascist ideologies. Nevertheless, just because Sycorax is not present in the actual production of the play does not mean her roles can be replaced or ignored, for she is the source of speculations.
Work Cited
Frey, Charles. The Tempest and the New World. (1979): page 30-41. JSTOR. Web. 04 Feb 2011
Shakespeare, William. The Tempest. Second Revised Ed. United States of America: First Signet Classics Print, 1998. 1-87. Print.
Skura, Meredith A. Discourse and the Individual: The Case of Colonialism in the Tempest. (1989): page 42-69. JSTOR. Web. 06 Feb 2011
Carlisle, Carol J. "Providence, Authority, And The Moral Life In The Tempest." Shakespeare Studies 16.(1983): 235. Academic Search Complete. Web. 19 Nov. 2013.
In a play which usurpation is a dominant theme, Shakespeare endorses Prospero’s appropriation of the island and it’s aboriginal population. The representation of Caliban and his brother Sycorax reveals the extent to which racist and sexist ideologies function to maintain the balance of power in the hands of a small, ruling, elite. Indeed, it should be noted that The Tempest is more than a simple play. Rather, it is a complex and multi-layered literary construction. As it cannot be reduced to the single issue of race to investigate the imbalance of power in the play. Attention must be given to the way patriarchal notions of gender inform racial representations in order to understand the imbalances of power i...
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.
Shakespeare's play, The Tempest tells the story of a father, Prospero, who must let go of his daughter; who brings his enemies under his power only to release them; and who in turn finally relinquishes his sway over his world - including his power over nature itself. The Tempest contains elements ripe for tragedy: Prospero is a controlling figure bent on taking revenge for the wrongs done to him, and in his fury he has the potential to destroy not only his enemies, but his own humanity and his daughter's future.
Since the 1960s, several critics have found a critique of colonialism in their respective readings of Shakespeare's The Tempest. The most radical of these analyses takes Prospero to be a European invader of the magical but primitive land that he comes to rule, using his superior knowledge to enslave its original inhabitants, most notably Caliban, and forcing them to do his bidding. While the textual clues concerning the geographic location of Prospero's island are ambiguous and vague, there is a prominent references to the "Bermoothes." We know that shortly before he wrote his final play, Shakespeare read a contemporary travel account of the Virginia Company's 1609 expedition to the New World and its experience after being run aground on the island of Bermuda. Enslavement does surface in Prospero's realm. The grand magician/scholar inflicts "pinches" and "cramps" upon Caliban to keep him in line and he manacles the young prince Ferdinand's neck and feet together. The servile state in which he keeps Caliban is plainly and understandably a cause of the "ridiculous monster's" deep resentment toward his overlord, and it is with some justification that the spawn of Sycorax invokes nature's wrath upon his tormentor, as in his curse, "all the infections that the sun sucks up/From bogs, fens, flats on Prospero fall..." (II, ii., ll.1-2).
When Caliban is first introduced in the play it is as an animal, a lazy beast that tried to rape Prospero’s daughter, Miranda. Prospero wastes no time referring to him as, “Thou poisonous slave, got by the de...
In discussing Derrida's view of Western literature, Geoffrey Hartman writes that "Western tradition has been marked . . . by a metaphysics of light, by the violence of light itself, from Apollonian cults to Cartesian philosophies. In the light of this emphatic light everything else appears obscure; especially the Hebraic development of aniconic writing and self-effacing commentary of textuality" (xix). This point is well illustrated by the nature of Prospero's power in The Tempest for his control of natural and supernatural forces is achieved through book-learning the bringing to life of Logos. That which Prospero does not control completely is the vilified character of Caliban. The denigrated and unwilling servant seems to represent Prospero's shadow, and in light of the above statement, perhaps Caliban represents the shadow of our light-infused Greco-Roman style of domination of the material world. The text tells us that when Prospero first arrives on the island Caliban willingly reveals its secrets to him. Only when Caliban threatens the chastity of Prospero's daughter, Miranda, does the relationship turn into one of master and slave. Prospero thus draws the line between the shadow realm and purity. His action suggests that sexuality, too, must be kept in a role of servitude if one is to retain control of one's kingdom. In affirming this schism, Prospero simply enforces the dualistic nature of the Western tradition. In heaping scorn upon Caliban, Prospero embodies the West's extreme dualistic nature vis-a-vis its perceived schisms existent between light and dark, mortal and immortal, good and evil.
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.
There are many elements in Shakespeare's play, The Tempest, which one cannot reconcile with the real world. The main theme in The Tempest is illusion, and the main focus is the experiment by Prospero.
The Tempest, like any text, is a product of its context. It is constructed in relation to moral or ethical concerns of 17th century European Jacobean society. The resolution of conflict appears 'natural' or an inevitable consequence if regarded in relation to the concerns of its context. The resolution of conflict in this play incorporates Prospero being returned to his 'rightful' or natural position as Duke of Milan, his daughter Miranda getting married to Ferdinand, and the party returning to Milan leaving the island to the 'monster', Caliban. The resolution is a consequence of the concerns of the time, including the idea of the divine right of kings, courtly love, and colonisation.
In Shakespeare’s play, "The Tempest," an underlying theme of barbarism versus civilization appears. Shakespeare creates characters that exemplify symbols of nature or nurture. The symbolism of the characters is derived from their actions. These actions show Shakespeare’s view of the uncivilized and the civilized, as well as help the reader develop his own opinion of each side.
The opening and closing scenes in William Shakespeare's The Tempest are crucial to the significance of the play as a whole. Through the deconstruction of the court system in the tumultuous opening scene, and its eventual superior reconstruction in the closing scene, Shakespeare is able to better develop and display inherent character traits in the major roles.
Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton & Company, 1997.
The Tempest is a play that serves as a window into what it was like during the Age of Exploration as well as what encounters between the old and new world were like. Through Shakespeare’s characters it is evident what interactions between Europeans and natives were like during this time, as well as what society thought of such experiences.
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.