Existentialistic Analysis of the Epilog of The Tempest
One may find it ridiculous to contrast between Shakespeare and existentialism in its 20th century form, however one must keep in mind, that existentialism does not appear as a single philosophical system. It is more an attitude of life, a general vision - existentialist Jean-Paul Sartre is known to have stated that existentialism was never invented, it has always existed as the ultimate foundation. Upon that light, why not seek the foundations from the work of the forefather of all dramatists?
It is above all naïve to claim Prospero’s Epilogue in Shakespeare’s play The Tempest a mere conventional appeal for applause or the stripping of the imaginary glamour built up by the plays magic. Even the greatest of artists would rather give away his life than surrender his art to be judged solely by the public. Art for an artistic genius is practised for its own sake; art for the purpose of art. Existence for the sake of existence itself - stripped of meaning, of value and of subjective interpretation. In its bear meaningless form, something still remains: the necessary Natural Law, a philosophical concept considered the basis of human well-being, a system of the values that determine human existence.
Throughout The Tempest Prospero’s character portrays an image of a nearly Nietzchean superhuman capable of disclaiming authority, killing God. He is in control of every situation and event as if the chain of causes and effects would be a conductible melody waiting for an artist’s touch. On the other hand he is very human: a wronged duke and a father, a symbiosis which Shakespeare displayed with the use of Prospero’s garment as a theatrical tool. An artist is the creator, the maker of realities yet he remains human, an animal with feelings and urges, ties only waiting to be cut. The view implied is not far from the ideologies that emerged from the great suffering of the second world war: a man is capable of constructing himself a framework of personal and social meaning, but his true animal nature remains unchanged. In the heart of existence, life has no predefined meaning, it is a mere passage of survival from necessary birth to necessary death. Prospero's and his daughter's situation on the island was hopeless, however Prospero had chosen a function for his life - revenge. Prospero created a meaning for his life, built a synthetic reality to keep him sane on the path towards the finality of human death.
With the semester coming to an end, many students are excited. This especially includes those who will be graduating soon. However, graduation can be seen as a bittersweet moment. On one hand, the graduates enter into a new chapter in their lives. On the other hand, they may lose communication with some of their friends. Unfortunately, this is a natural aspect of each person’s life. Everyone will experience some kind of loss in their life, whether it is person or an object. In The Tempest, Shakespeare discusses the topic of loss. While this theme is not talked about much compared to other themes in the play, it is very important since it is a theme that is included in the 1956 movie adaptation Forbidden Planet. While both works illustrate the ways people deals a loss, the later work demonstrates how the advancement in the world have affected the way modern society
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
In the august of 58’ Paul tried promoting George Harrison, his young friend, to John, to play guitar in the band (The Beatles). It took awhile but, John decided to listen to him play (Glassman). Do to George’s raw talent John decided he could let him in (Glassman).
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.
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 William Shakespeare's The Tempest, Prospero lives with his daughter Miranda on a deserted island. On the surface, he appears to be a benevolent leader doing his best to protect and care for the inhabitants of the island, especially for Miranda. On closer inspection, however, Prospero plays God, controlling and creating each individual to fit the mold he desires. He takes advantage of his authority over the people and situations he encounters while wearing a facade of integrity and compassion to disguise his wily intentions and to retain love and respect.
Frank, Mike. “Shakespeare’s Existential Comedy.” Essays—Shakespeare: Late Plays. Tobias, Richard eds. Ohio University Press, 1974.
It makes sense to me to see in this Shakespeare's sense of his own art--both what it can achieve and what it cannot. The theatre--that magical world of poetry, song, illusion, pleasing and threatening apparitions--can, like Prospero's magic, educate us into a better sense of ourselves, into a final acceptance of the world, a state in which we forgive and forget in the interests of the greater human community. The theatre, that is, can reconcile us to the joys of the human community so that we do not destroy our families in a search for righting past evils in a spirit of personal revenge or as crude assertions of our own egos. It can, in a very real sense, help us fully to understand the central Christian commitment to charity, to loving our neighbour as ourselves. The magic here brings about a total reconciliation of all levels of society from sophisticated rulers to semi-human brutes, momentarily holding off Machiavellian deceit, drunken foolishness, and animalistic rebellion--each person, no matter how he has lived, has a place in the magic circle at the end. And no one is asking any awkward questions.
Symbolism plays a large role in the theme of the Tempest. Throughout the play, there is reference to Prospero's books. Prospero's books are what give him his magic. Although the Tempest evidently shows that when one is exposed to uncontrolled power, they will inevitably abuse it. Prospero begins to use his power to seek revenge. Through the duration of the play, the audience observes Prospero's internal debate, as to how to use his magic. He wants to kill Antonio as payback for banishing him to the island. Prospero's desire to kill Antonio comes from his id. Yet by the end of the play, Prospero realizes that he has been consumed by his need for revenge and consequently decides to throw away his books. The act of throwing away the books symbolizes Prospero's freedom from the constraints of revenge and greed. He lets go of his overwhelming
The nucleus of the plot in Shakespeare's The Tempest revolves around Prospero enacting his revenge on various characters who have wronged him in different ways. Interestingly enough, he uses the spirit of Ariel to deliver the punishments while Prospero delegates the action. Prospero is such a character that can concoct methods of revenge but hesitates to have direct involvement with disillusioning his foes. In essence, Prospero sends Ariel to do his dirty work while hiding his involvement in shipwrecking his brother, Antonio, from his daughter, Miranda.
What immediately strikes the audience about The Tempest is the use of the supernatural in the form of apparitions like Ariel and the Harpy. These apparitions are under Prospero's authority and the result of his Art, which is the disciplined use of virtuous knowledge. By invoking a masque to celebrate the betrothal of Ferdinand and Miranda, Prospero effectively brings to full circle the theme of re-generation by obliterating the evil done and suffered by one generation through the love of the next. However, this is juxtaposed against the anti-masque elements of the attempted usurpations of Antonio and Caliban, which hold the play in a delicate balance between a tragic or comic resolution, holding the audience in great suspense.
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
In William Shakespeare's The Tempest, the line between the realm of reality and illusion is blurred by Prospero, who through the use of his magic is able to manipulate and control both the island and those who are stranded on it. The duality between illusion and reality, the contrast between the natural and unnatural are being represented and questioned by Prospero's magic. Throughout the play, Shakespeare is stating that illusions can distort reality, but in the end reality will always makes itself apparent.
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, 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.