If I told you when it all began; Id tell you about his blank canvas of a skin which my fingertips could paint. Id tell you about how much heart would jump every time our paths cross. I'd tell you about my pounding heartbeat any time our bodies would come close, close enough to feel the breathing on each others lips. Id tell you about his rich blue eyes which held back wisdom and secrets. Id tell you about how every time out lips neared, he would turn away, and fade to black. That's when I'd come back to reality. It was not a happy reality. It was a disgustingly hot summers night, the ceiling fan whirred apathetically as it did nothing to ease the humidity. My arms hung off either side of the bed as I wrestled with my mind to disengage and …show more content…
Most significantly, discoveries stem from the individuals journey to discover, or rediscover something they once lost. William Shakespeare through his play 'The Tempest' has manipulated the characterisation through motifs, allegory and symbolism to convey his ideas about the individual and their relationship with the community. Similarly, Michael Gondry through his film 'The Eternal Sunshine of the Spotless mind' (ESOSM) laments the destruction of the individual and indicates that our lives are predetermined and discoveries are merely experiences which cannot be altered. However, both texts condemn the destructive nature of cowardice and strongly emphases the need for personal rediscovery. Similarly, Shakespeare and Gondry scathingly criticises the effects of greed in relation to the wider world, and the effects on the …show more content…
Through Shakespeare's contrasting characterisation, Shakespeare crafted the aptly named 'Prospero' and Miranda to symbolise the transformation which individuals can undergo throughout a journey. Shakespeare also creates many antagonists; Caliban, a monster who attempted to sexually assault Miranda. As well as Trinculo and Stephano who portray the demons which arise from succumbing to temptation and greed. Caliban doesn't show repentance for his actions, rather he condemns Prospero saying 'Now that you taught me language, the O'nt thing I can do is curse' which exemplifies Calibans resistance to change. This, in combination to the fact Caliban was native, suggests that he has not made any meaningful discovery, and hence lives a poor quality life. Prospero is not exempt from criticism, however, with 'The Tempest' being written during the midst of the 'new lands' discoveries, the Elizabethan audience may have condemned Prospero for his colonisation and imperial attitudes. It must me mention, however, that Prospero relinquished his magic; a symbol for power and control, when it was no longer necessary. These simple actions demonstrate the ability for individuals to change and rediscover themselves. Thus, the discoveries of the individual leads toward a stimulated, new idea of individuals and their
The Tempest by William Shakespeare is one of the most relevant and studied plays of the Elizabethan period among scholars, from both, ancient and actual times. One of the many readings that have prevailed suggests that the play’s protagonist, Prospero, and his two su-pernatural servants, Ariel and Caliban, can work as a single psychological unit is constantly discussed by the academics. This reading is not new; it has been considered for longer than the idea of The Tempest as an autobiographical allegory, being first proposed by Thomas Campbell in 1838 (Yachnin).
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 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.
In the play, The Tempest by William Shakespeare, Prospero took control of Caliban and made him his servant. Prospero was able to do this because he viewed Caliban as an uncivilized being; Caliban was portrayed as a beast. Thus, Prospero was able to assume power over Caliban. It can be seen from Prospero’s speech that he thinks that Caliban is inferior to him when Prosper says, “I have used thee, Filth as thou art, with human care […]” (1.2.348-349). Prospero tries to justify enslaving Caliban, but all he really does is place Caliban into a category of bestial and uncivilized and as a result enslaves him.
Critics have offered varying evaluations of the characters in William Shakespeare's The Tempest. Some consider Prospero to be magnanimous for forgiving his enemies, for freeing Ariel from the confines of a tree, and for treating Caliban with great sympathy until the monster's attempted rape of Miranda. Others view Prospero as an oppressive colonizer and consider both Caliban and Ariel to be his innocent and mistreated subjects. In his article "Reading The Tempest," Russ McDonald argues that the new orthodox interpretation of The Tempest, "which exalts the colonized, is as narrow as the old, which idealizes and excuses the colonizer" (117). He argues that the actual status of the characters is considerably more ambiguous, and he supports his view by analyzing the rhetorical devices present in the play. However, a close examination of the various sounds disbursed throughout the work--including speech, silence, and music--tends to support a less ambiguous view of the characters. Indeed, it tends to lend support to the new orthodox view that Prospero is an oppressive colonizer, for he often threatens his enemies and servants with unpleasant sounds and demands silence from others, including his daughter.
The Tempest reflects Shakespeare's society through the relationship between characters, especially between Prospero and Caliban. Caliban, who was the previous king of the island, is taught how to be "civilized" by Prospero and his daughter Miranda. Then he is forced to be their servant. Caliban explains "Thou strok'st me and make much of me; wo...
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 "The Tempest" forms a world within itself. Within this world, many topics regarding government, power and colonization are addressed. Shakespeare tackles the discovery of new places and races, the relationship between the colonized and the colonist, old world ideologies on new soil, as well as theories on civilization and government. These aspects at the core reveal a very clear struggle for political power. Prospero's first major monologue creates the foundation of such a theme. In 1.2 lines 30-175 Prospero tell his story recounting the usurpation of the power he had as Duke of Milan, then quickly renews his power on the island. Prospero beings his story with an authoritative tone stating: "Obey and be attentive" (1.2 48). Desiring political power and authority becomes the core from which other themes derive.
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.
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
The relationship between master and slave is embraced by Shakespeare in his play The Tempest. Conflicts and complexities of authority are portrayed by the characters Prospero and Caliban. As one gains power, the other loses it. In the play, Prospero rises to power, while Caliban loses it. The legitimacy of Prospero’s authority over Caliban is, however, questionable. What gives Prospero the power over Caliban? What are the reasons that Caliban should obey his masters’ orders? These questions can be answered through investigating the possession of the island, the justice of punishing Caliban, and Prospero’s right to use or abuse his power.
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.
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, 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.