Apparitions and the Supernatural in Shakespeare's The Tempest

Langley, Michael. The Appropriation of the Tempest, 1700-1800." Shakespeare Survey 43 (1990): 99-109. Maguire, Nancy Klein. Regicide and Restoration: English Tragicomedy, 1660-1671.

This wild and surreal atmosphere prepares the characters and the audience for future encounters with supernatural beings. When the spirit Ariel wakes Gonzalo and the others, Gonzalo says, “’Tis best we stand upon our guard, or that we quit this place. Let’s draw our weapons” (II.i.317-318). The mortals are on guard against the supernatural, and this suspenseful atmosphere often returns when Ariel and the other spirits approach these unknowing men. When Prospero remembers ... ... middle of paper ... ...ory of D. Faustus are about the relationship of the two worlds.

appearance lends horror to the play and reminds all that the higher powers will triumph over mortal evils. The curses of the female royalties add psychological and supernatural forces to drive the character?s actions, thus furthering the plot. Dreams, ghosts, and curses ? these supernatural elements all have a natural place in Richard III, for they weave together the fascinating horror in the storyline and ensure that the tyranny of a mortal man will not reign in the end. WORK CITED Shakespeare, William.

Thus, Shakespeare uses Prospero’s magic to reveal the corruptive influence of power. Prospero’s use of magic to cause anguish reflects the abuse that often coincides with power. He exhibits such abuse when he uses his magical prowess to subjugate Caliban. Upon hearing the magician’s threats, Caliban says, “No, pray thee. / I must obey: his art is of such power…” (1.2.372-373).

Satan position as an empowered rebel is illustrated through his infernal mind, and it’s craving for authority; accordingly, Satan urges the shattered forces to “Receive thy new possessor” (line 252). Satan reveals his envious determination and desire to rule when blatantly declaring that it is “Better to reign in Hell, then serve in Heav’n” (line 263). Since his fall from Heaven, Satan no longer considers the location of his kingdom to be of monument importance; instead, it is one’s perspective that “Can makes Heav’n of a Hell, Hell of a heav’n (line 255). He believes that individuals create their own authority and control; it is a matter of perception. Satan driven by his envy of God’s position and power manipulates his fellow fallen “to confirm his words, out-flew millions of flaming swords, drawn from the thighs of mighty Cherubim,” soon they will erect Satan’s personal Kingdom in Hell (lines

(1984). The Tempest. Hauppauge, New York: Barron's Educational Series Inc. Deborah Willis, 'Shakespeare's Tempest and the Discourse of Colonialism', Studies in English Literature 1500-1900, 29, no.2, (1989) Eric Cheyfitz, The Poetics of Imperialism: Translation and Colonization from The Tempest to Tarzan, (Oxford University Press, 1991) Ritchie, D. and Broussar, A. (1997). American History: The Early Years to 1877.

Fallon, Robert Thomas. "A Second Defence: Milton's Critique of Cromwell?" Milton Studies 39 (2000): 167-83. ---. Divided Empire: Milton's Political Imagery.

Germani, Ian. Jean Paul Marat: Hero and Anti-hero of the French Revolution. Lewiston: The Edwin Mellen Press, 1992. Gottschalk, Louis R. Jean Paul Marat: A Study in Radicalism. New York: Benjamin Blom, 1927.

Cambridge: Harvard UP, 1958. xlii. Palmer, D. J. (Editor) The Tempest - A Selection of Critical Essays London: MacMillan Press Ltd., 1977. Shakespeare, William. The Tempest.

The next two lines of the sonnet tell how the revered Adonis i... ... middle of paper ... ...oble, 1968) 130. 2 William Shakespeare, Sonnet 53 The Sonnets (Waltham, Massachusetts: Blaisdell, 1968) 55. 3 Winny 130. 4 Shakespeare 55. 5 Shakespeare 55.