Discoveries are shaped by an individual’s attitude to confronting or provocative discoveries which may challenge an individual’s existing values. William Shakespeare’s tragicomedy The Tempest (1611) and Herbert George Well’s scientific novel The Island of Doctor Moreau (1896) both examine the transformative capabilities of provocative discovery in promoting a re-evaluation of the importance of power. However, they hold differing views of the influence of an individual’s receptiveness to change in determining their personal transformation.
Confronting experiences may prompt inner discoveries which result in the re-evaluation of the importance of power. Shakespeare’s The Tempest follows Prospero, an exiled megalomaniac’s plan to exact revenge
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Wells’ The Island of Doctor Moreau examines the dynamic relationship between Moreau and the creatures which he has produced through experimentation. Initially, Moreau’s authoritarian rule over the creatures is established through a biblical motif when the monsters repeatedly recite “Learn the Law. His is the hand that makes. His is the hand that heals”. In contrasts to the animals’ acceptance of authority, Shakespeare’s Caliban repeatedly confronts Prospero, demonstrated through the historical allusion to the lethal Red Plague when Caliban snarls “The red plague rid you (Prospero) / For learning my language” following his realisation that he has been exploited by Prospero emphasising the influence of discovery in promoting the challenging of authority. However, the confronting, physical discovery of Moreau bleeding questioning his supposed immortality catalyses a shift in the existing power structures accentuated using synecdoche when the Leopard-man symbolically “with eyes aflame and curling lips, leapt towards his tormentor (Dr Moreau)”. Furthermore, discovery may prompt a change in an individual’s mannerisms such as the creatures who adopt increased authority and transform to the point the island resembles a new world revealed through Wells’ denouement where “at night the air was hideous with their calls and howling” substantiating the supremacy of the animals through the temporal setting. Provocative discoveries are able to transform the world we live in by prompting shifts in
An idea such as power establishes itself in most societies throughout the world. Power sets the basis for order and civilization, but it also causes chaos and collides with other human instincts such as greed and ambition. Power presents itself in William Shakespeare’s Macbeth in a confusing manner. Macbeth yearns to gain power and has the means to gain it, but the method of his gaining of power have been questioned by critics since its inscription in 1623. Macbeth, while tyrannical in gaining his power in the murdering of Duncan, sets the premise of the story and in this murder makes a name for himself on his leadership qualities. A man’s gain of power should not determine who they are as a ruler or even
One leading contribution for Macbeth’s tragedy is the inability to have his power kept in check. According the Berger, a position of authority can directly affect the individual’s sense of self, status, and their role in society. This also touches this individual’s sense of not only others, but also that of the world surrounding this person (1). A position of power directly impacts those around that person. These characters surrounding this power, who are close enough, can also maintain a power check over that person. Yet these characters holding such a position in the play are not able to keep this power in check. Under the influence of unchecked power, Macbeth takes actions that have serious and devastating consequences for other characters in the play.
Several aspects of Marxism can be seen over the course of the play The Tempest. There is a social and economic divide between characters, which creates tension between them throughout the play. Readers can see what is means to have power and how this power can be abused in order to mistreat others. In particular, Marxism ideologies can be applied specifically to the characters Prospero and Caliban. Prospero, a magician uses his power, to treat Caliban in an inhumane way. No matter what Caliban does, he will always be placed on the lower end of the economic ladder. Shakespeare’s powerful play, gives readers a new way to look at and appreciate reading and analyzing this piece, by looking at it through the perspective of a Marxist theorist.
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.
The Tempest by William Shakespeare, among other themes, is a play very centered around rivalries, an important one being the one between Prospero and Caliban. As one would naturally expect, the triumphs and failures of the ongoing conflict yield different reactions for the two different characters. The conflict illustrates a dichotomous view of the way in which people respond to failure or defeat. Whereas Caliban responds to defeat instinctively with furious acts of retaliation, Prospero reasons that when those kinds of acts are examined under the scope of logic, they appear to be unlike that of a noble and therefore, should not be undertaken.
The Tempest raises many questions regarding the formation of authority and power. Is hierarchy understood as natural or as constructed? Also, what are the consequences when authority is usurped? This paper will attempt to answer these questions in a succinct manner using textual references to solidify its arguments. As the play progresses, Prospero constructs the hierarchy in such a way as to return things to their "natural" state. Any type of usurpation, whether attempted or successful, will always end up with power back in its rightful place, and most of the time with a lesson learned.
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.
...d leads to the deaths of many innocent characters and strips away each person’s individuality and trust, all for attaining power and recognition. Othello is not only a tragedy, but also an important reminder of how people are easily deceived to gain power and recognition. Shakespeare’s Othello stands as a warning to all generations. Some historians agree that William Shakespeare may have been one of the first psychologists in human history, since it enabled him to create a devious and Machiavellian character like Iago. Today, we study about psychopathic historic people like Adolf Hitler who annihilated millions of Jews in the name of revenge. It is in human nature to be vengeful and to attain what one desires. As said by Ghandi “An eye for an eye would make the world blind.”
Discoveries are sculpted by an individual’s attitude towards confronting or provocative discoveries which may challenge the current world and existing values. In addition, these new world or values can be life-changing, inspiring and transformative, that may shape the individual emotionally, physically and spiritually. The Door written by Miroslav Holub and Bill Bryson’s scientific novel A Short History of Nearly Everything both explores the transformative abilities of a provoking discovery in arousing a re-evaluation of the perception of the world. These two texts invite the reader to comprehend the profound ramification of confronting and provocative discoveries.
The Tempest presents the appropriation of the island and it’s inhabitants by Prospero’s imperial patriarchal regime as entirely natural and inevitable, based upon the inherent inferiority of the original population. In doing so, the play is a precise repetition of imperialist rhetoric, which legitimizes European annexation of ‘other’ lands and peoples over which they have no legitimate claim.
The illusions of justice and freedom, and what they truly are, has been a reoccurring theme throughout the works. The definitions of justice and freedom have become so construed throughout the times. In William Shakespeare’s The Tempest, Prospero tries to enthrall his audience in his narrative of social justice. The idea of justice the play portrays represents one individual who controls the fate of all others. Their freedom is controlled by the interference of those around them. Although he spends most of the play righting the wrongs done to him, he is misdirecting so to hide his true motive. Prospero misconstrues the definitions of justice and freedom by enslaving Ariel and Caliban, using magic for his own good, and creating a false happy
To become powerful, is to become corrupt and The Tragedy of Macbeth is a prime example. In William Shakespeare's tragic tale, a young noblemen soon becomes corrupt when he is given the opportunity to become king. His need for power and safety drives him to corruption, ultimately killing off anyone who stands in his path: innocent or not. Throughout the play, many characters portray the impact power has on a relationship: Lady Macbeth and Macbeth, Banquo and Macbeth, Macduff and Macbeth and many more. While all these characters were affected by power in the play, Banquo and Macbeth's relationship best demonstrates the effect of power. By examining the effect that power can have on relationships in The Tragedy of Macbeth, it is clear that Banquo and Macbeth's relationship represent best what the impact of power on friendship can be like. This ultimately illustrates that the need for power can drive people to take extreme measures in capturing that power.
The play, The Tempest, by William Shakespeare is a very cleverly thought out piece of work. Shakespeare very deliberately inter-relates several different forms of power during the course of the play. There is political power, shown through the plethora of political characters and their schemes, while at the same time parodied by the comic characters. The power of magic and love, and its ability to reunite and absolve also plays a major role in the play. Throughout the play, Prospero, the main character, takes great advantage of his power and authority, both properly and improperly. The epiphany of this however, is realized at the end of the play.
The Tempest was written in 1611 as Shakespeare’s last romantic comedy. This play is focused mainly on the theme of power. Shakespeare portrays an aging magician who has been living in exile with his young daughter on a remote island for the past 12 years. Shakespeare presents forms of power in different ways, but mainly through the characters of Prospero. In The Tempest Shakespeare shows 3 different types of power, which are through love, power over his slave Caliban, and power of magic.
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.