I Know I Am But What Are You?
Cultural Differences in The Tempest, Montaigne’s Essays, and In Defense of the Indians
Paper #2
The Tempest, In Defense of the Indians, and Montaigne’s essays each illustrate what happens when two very different worlds collide. As Europe begins to saturate New World soil, the three authors offer their accounts of the dynamic between the European invader and native other. Though each work is unique in its details, they all share a common bond: Shakespeare, de Las Casas, and Montaigne show the reader how European colonialists use differences in appearance and language to justify theft and slavery.
The Tempest’s Caliban serves as an instrument to highlight the colonialist notion of the other. Caliban is the original inhabitant of the island; it is his native land. But Caliban is ugly. Prospero claims that he is "not honored with human shape" (p. 17), and so the new European inhabitants never think of him as a potential equal- they see him as their inferior. This initial incongruity between characters supports further dehumanization of the native for the remainder of the play.
Caliban’s appearance does not only contribute to the Europeans’ poor estimation of him, but it also serves as the justification of his slavery. When Trinculo says, "Wilt thou tell a monstrous lie, being but half a fish and half a monster" (p. 55), he communicates two important concepts. First, Trinculo reinforces the idea that Caliban is more animal than man. Next, he assumes that Caliban’s exterior mirrors Caliban’s interior. Caliban’s physical deformities, according to Trinculo, also indicate deformity of character. Together, these faults aid Prospero’s justification of forcing Caliban to "serve in offices that profit us" (p. 18).
A second factor of Caliban’s oppression is language. The ability to communicate that ends man’s isolation from others and leads to civilization. When Prospero discovers Caliban, the native has no knowledge of Europe, much less its tongue. Miranda and Prospero take it upon themselves to educate Caliban in "civilized" language. Miranda says:
"I pitied thee, took pains to make thee speak, taught thee each hour one thing or other, When thou didst not, savage, know thine own meaning, but wouldst gabble, like a thing most brutish, I endowed thy purposes with words that made them known." (p. 20)
Miranda believes that communication indicates that one is civilized. She does not for a moment consider that Caliban’s "gabble" was most likely his own language, the language he used to with Sycorax.
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.
The study of Shakespeare’s The Tempest raises many questions as to its interpretation. Many believe that this play shows Shakespeare’s views on the colonization of the new world whereas others believe that this is a play about the ever elusive “Utopian Society”. I believe that this is a play about the European views of society and savagery at that time. I also believe that, if this is true, the play doesn’t portray a “conventional” view of native peoples. Shakespeare shows this by having Prospero, the rightful duke of Milan and Usurping ruler of the island, call Caliban,
In the play, The Tempest, there are characters that are that represent the colonization of the new world. Ariel and Caliban are characters that depict how Native Americans were viewed and treated during colonization. Europeans thought of them as savages that would not be able to adopt their culture. However, this was not true, and Europeans were able to introduce their culture to them. The Native Americans were a great help to them. They taught the Europeans how to survive on the land and build a colony. The characters Ariel and Caliban are similar because they represent the Native American people as they both have their uses, and this causes Prospero to treat them differently.
The Tempest is a play that has various characters that can be considered “outsiders” in a dominant group throughout the play, such as Ariel, however, I feel like Caliban fits into this category the best. Prospero enslaved Caliban, a native of the island, and since he is an outsider, Prospero treats him like a pariah. Caliban is not welcome to live in the world of Prospero and Miranda, nor the other Europeans who end up on the island; he is only still there because he is basically their servant. For example, in Act 1 Scene 2, Prospero wants
The Shakespearean play, The Tempest, is one of the most controversial in terms of relationships in the play. The play was written in 1611 soon after the English arrived in America in 1607, launching the colonial period. This was the beginning of colonization to America, which lead to the evolution of indentured servants into slaves. Many critics have stated that the relationship between Prospero and Caliban was that of a slave and master and a representation of how the English colonized foreign lands that belonged to the indigenous Americans. Each situation could be argued and validated according to the portion of the play being analyzed. Both roles are applicable and I will provide evidence of both to prove that they are synonymous in a sense.
...for food and shelter. Whether barbaric or civilized, the actions of both Caliban and Prospero combine in a most interesting manner.
Caliban is the id, the one who seeks instant gratification and has no concern for morality. Everyone has a love-hate relationship with the id because it is the part of the psyche that seeks biological necessities, however, it is also the part which can create socially unacceptable impulses. Prospero and Caliban initially had a loving relationship with each other; the relationship with the id is fostered because of biological needs. Prospero is forming a strong connection with the id but it takes over when Caliban “didst seek to violate / the honour of [Prospero's] child” (1.2. 347-348). Caliban acts based on the biological necessity of reproduction and this parallels the socially unacceptable circumstances that occur when one lets the id take control in one’s life. The ego must counteract this impulsive behaviour; Prospero decides to cage Caliban to prevent him from acting impulsively again. However, completely abolishing the id is never an option. The id is the embodiment of biological necessity thus it is impossible to live without it. This idea is paralleled in The Tempest because Prospero cannot simply rid himself of Caliban, the one who provides the food and wood which sustains life. This is a visual representation of the necessity of the id in the human psyche. This love-hate relationship between Prospero and Caliban exemplifies the dangers
In this whimsical play, Prospero, the former Duke of Milan, after being supplanted of his dukedom by his brother, arrives on an island. He frees a spirit named Ariel from a spell and in turn makes the spirit his slave. He also enslaves a native monster named Caliban. These two slaves, Caliban and Ariel, symbolize the theme of nature versus nurture. Caliban is regarded as the representation of the wild; the side that is usually looked down upon. Although from his repulsive behavior, Caliban can be viewed as a detestable beast of nature, it can be reasonably inferred that Shakespeare’s intent was to make Caliban a sympathetic character.
Caliban’s initial attempt to defy Prospero’s power via a verbal curse actually gives Prospero more authority as master in that the curse acknowledges the duke’s ultimate power. Caliban begins his speech with the vengeful request that all the evil "infections"(2.2.1) under the sun "fall"(2.2.2) upon the "tyrant"(2.2.160) Prospero. While Caliban wishes for Prospero to be so harmed by sickness, the slave does not have the power to make this happen. Instead, he must request that these evils "fall"(2.2.2) of their own accord upon Prospero. Caliban’s lack of authority because of his condition as a slave is immediately contrasted to that...
In her essay “Shakespeare's Tempest and the Discourse of Colonialism,” Deborah Willis argues that the play takes on a much more complex and complete identity concerning the aristocracy of colonialism, and she presents the idea that Caliban as the “other” (Willis, p.277) isn’t inherently wrong but rather misguided in readings. While her article brings up important issues concerning the reading of The Tempest, she ignores the vastness and all-consuming nature of colonialism. Her essay helped me to conclude that I perceive The Tempest as not only being solely about colonialism, but all of the issues featured in the play being tied back to colonialism, including those that Willis emphasizes aren’t as important or are ill-founded.
As soon as they encounter each other, Prospero begins ordering him around, making him his slave and does the same thing for the spirit of Ariel, whom he promises to release after he performs the duties requested. Throughout both stories, Caliban and Ariel continuously ask for freedom from slavery and get denied until the very end. Prospero eventually gives Ariel his freedom and Ariel gives Caliban his. In the ending of The Tempest, Prospero then delivers a speech essentially asking for forgiveness for his wrongdoings and asks for them to set him free. Caliban throughout both stories is angry and distraught because “This island’s mine, by Sycorax my mother, which thou takest from me.” (Page 13) which he states in The Tempest, and he essentially had no control over anything. This is where the freedom of oppression might be suggested as one of the themes and can even be used in modern
The role of language in Shakespeare’s play “The Tempest” is quite significant. To Miranda and Prospero the use of language is a means to knowing oneself. Caliban does not view language in the same light. Prospero taught Caliban to speak, but instead of creating the feeling of empowerment from language, Caliban reacts in insurrectionary manner. Language reminds him how different he is from Miranda and Prospero, and also how they have changed him. It also reminds him of how he was when he wasn’t a slave. He resents Prospero for “Civilising” him, because in doing so he took away his freedom.
Shakespeare’s play, The Tempest is set on a mysterious island surrounded by the ocean. Here the magician Prospero is ruler of the isle with his two servants Caliban and Ariel. Caliban is the abrasive, foul-mouthed son of the evil witch Sycorax. When Prospero was shipwrecked on the island Prospero treated him kindly but their relationship changed when Caliban tried to rape Prospero's daughter, Miranda. Caliban then became Prospero's unwilling servant. Caliban serves his master out of fear Prospero's wrath. Prospero's other servant Ariel is a graceful spirit who has courtesy and charm. Ariel has put her services at Prospero's disposal out of gratitude for his kind actions towards her. Prospero saved Ariel from the confinement of Sycorax who held her prisoner.
Caliban is evil is the fact that he tried to rape Miranda, Prospero’s daughter as states by Barbara Fuchs in her article Conquering Islands: Contextualizing the Tempest where it says, “Caliban’s attack on Prospero’s daughter once more genders the colonizing impulses” (61). This suggests rape and it is not inhuman and it shows that Miranda is not the first woman who this has happen to. It not right, it’s evil. Caliban’s character in this book is horrible in the things that he does, he starting off has an evil monster that was born from an evil parents and he goes around causing trouble wherever he goes. As a servant, he does evil deed and by himself he is evil.
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.