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Recommended: Essays on the tempest
The Tempest was Shakespeare’s final play and as a result has been read many different ways. One character that has sparked discussion among scholars is the original inhabitant of the mystical island, Caliban. I hesitate to describe Caliban because he has been called many things, but Shakespeare certainly intended him to be a savage and a servant of Prospero. Since Caliban was the original inhabitant, many view the interactions between Prospero and him as a representation of conquest and colonization. Aime Cesaire wrote a critique of the The Tempest titled A Tempest, which portrayed Prospero as a slave-owner on a Caribbean island . Aime Cesaire’s A Tempest focuses on Caliban as a black slave, who is treated unjustly by his master, Prospero. …show more content…
The name “Caliban” was given to him and is not his real name. This was common practice in colonial times in order to dehumanize conquered subjects and make them easier for the masters to command. When Prospero and Caliban are arguing Caliban exclaims: “Put it this way: I’m telling you that from now on I won’t answer to the name Caliban...It’s a name given to me by your hatred, and every time it’s spoken it’s an insult.” Caliban realizes the derogatory position that Prospero is trying to put him in and decides to protest. Cesaire wants to show the reader the pride that conquered peoples had in their culture. They were not ready to submit to European colonizers easily and were going to fight them every step of the way because of their unjust treatment. Of course, Prospero responds to further try to delegitimize Caliban’s argument: “I’ve got to call you something. What will it be? Cannibal would suit you, but I’m sure you wouldn’t like that would you. Let’s see...what about Hannibal? That fits. And why not...they all seem to like historical names.” He first taunts him by threatening to call him Cannibal. In Adolphus William Ward’s A History of English Dramatic Language, he states that “Caliban is indisputably a metathesis of Canibal (i.e Caribee) which is the Spanish word for the Carib people. Naming an entire group of people after cannibals make them seem like the “other” and create a dichotomy, which in the seventeenth-century European world is the clash between the orient and the occident. Cesaire brings to light the entrenched beliefs that that natives were of a lower class by not only showing that they were named by the colonizers, but also that they were named derogatorily. Secondly, the part about liking “historical” things serves to further demean Caliban because the word “historical” in this context does not mean related to history, but rather means something
We can clearly sense Caliban's resentment of what he sees as a colonial occupation of his island. The story of his upbringing is not so simple, however. It seems that when Prospero and his infant daughter arrived on the island twelve years before, Caliban was an orphan, his mother having died. This is not entirely clear: in conversation with Ariel (formerly Sycorax's spirit) Prospero recalls the 'blue eyed hag', 'The foul witch Sycorax, who with age and envy, Was grown into a hoop' (1.2.258-259), but it is not clear wheth...
And blister you all o'er! " The audience warms to this disrespectful rebuke. Caliban the underdog is threatening the authoritative Prospero with no power to carry out his curses. His bravado and disrespect in the face of such authority first surprises then amuses the audience. Prospero gives reason for hi... ...
Caliban is, of course, the "salvage and deformed slave" of Shakespeare's dramatis personae in The Tempest, son of the deceased witch Sycorax, servant of the mage Prospero, consort of and bootlicker for Stephano and Trinculo, failed plotters and drunken buffoons. "As disproportion'd in his manners / As in his shape" (V.i.290-1), he has tried to ravish Prospero's daughter Miranda before being exiled to his cave, and in the course of the play attempts to overthrow Prospero himself and install Stephano on the throne of the island. At last, though, Duke Prospero comes to pardon even Caliban -- "This thing of darkness I / acknowledge mine" (V.i.275-6), and his drudge promises to "be wise hereafter, / and seek for grace" (V.i.294-5) or favor with his master.
In Shakespeare’s The Tempest, Caliban is enslaved by Prospero and Miranda. He is taught the language in order to communicate. In a slight act of defiance, Caliban curses at Prospero and Miranda in the language they have taught him. He believes this is a way for him to benefit from his new knowledge. Caliban’s cursing is a symbol of resistance as it symbolizes the Native Americans opposition to European colonization.
He is a poetic paradigm. When performed properly, he can take an audience from tears of laughter to tears of sorrow within a few paragraphs. Caliban is an actor’s dream, a scholar’s vision. Sighted as being both the missing link, but also portrayed in adaptations as more human than Prospero, Caliban is commentary, character and caricature. However, there is a question that plagues authors, directors, actors, and stressed out, indignant English professors: What is Caliban?
The Tempest presents an argument against the concept of the noble savage through the character of Caliban. Caliban is the main focus as far as the notion of "nature" and "natural man" is considered in the play. Proof of this can be found in his name--"Caliban" sounds very similar to "cannibal," and hence serves to link him with primitive, natural man. In the first scene of the play, Caliban's character is connected with the lower objects of the planet, including the "springs, brine-pits, barren place and fertile." Caliban thus appears to be beneath most human men because of his bestial nature. His mother's background also indicates that there may be quite a bit of evil in him. Characters in the play call him a "monster," however, at times, Caliban speaks some of the most beautiful and lyrical language in the play. Thus, Caliban, as the representative of nature, emerges as a very complex character.
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.
Another way that the treatment of Caliban by Prospero is similar to the treatment of Native Americans by the Europeans is the adaptation of the language. When the Europeans came to the New World they forced the Native Americans to learn their languages and live according to the European culture. People who had spoken one language all their lives, now had to learn another. They had to live by customs they have never heard of even before. In the Tempest, Prospero does this also. When Prospero came to the island he forced Caliban to learn the language that he spoke. Caliban had to adapt to a style of living that he had never experienced before. Caliban had to change completely to adapt to the life forced upon him.
Ariel and Caliban, are two of the main characters in the famous play The Tempest, written by William Shakespeare. They both serve the function of being enslaved to the same master known as Prospero. While they are servants to Prospero they are different in the way they obey him. For example Ariel is much obedient and sensitive. He believes that the ultimate goal is to serve and that true freedom comes in the service of others, therefore he complies with everything that Prospero wants of him.
The authority and criterions of Prospero are in direct conflict with the natural liberties of Caliban. The play demonstrates the defiance of the colonized to the governance of the colonizer and the hostility to preserve ones culture contrary to oppositional
This means that from a modern perspective, Prospero’s treatment of Caliban makes him a monster, due to the cruelty of his actions. The human want of justice, however, can justify the poor treatment of Caliban by Prospero, given that his status as slave is a punishment for the attempted rape of Prospero’s daughter. In this way, Prospero is not a monster, only a man seeking justice for a perceived wrong. Stephano and Trinculo are ignorant to the evils that make Caliban a monster independent of his appearance, making their actions towards Caliban inexcusable. Upon seeing Caliban, Trinculo states, “Were I in England now… and had but [Caliban] painted, not a holiday-fool there but would give a piece of silver.” (Act 2, Scene 2). Trinculo jests about the worth of Caliban, as if he were no more than a strange creature to take and sell. Stephano is no different in his first appraisal of Caliban, “If I can recover him, and keep him tame, and get to Naples with him, he’s a present for any emperor…” (Act 2, Scene 2). Stephano, like Trinculo, plans to take Caliban away from his native Isle and sell him for a profit. This assessment of his worth comes from little more than a first glance at his person, selling a person for material gain is an act of evil, and considering it as seriously as both Trinculo and Stephano did, makes them not so much men as monsters. This assessment, however, is a product of modern perspective, and it puts into question the intentions of Shakespeare as to the portrayal of these three characters. In an earlier Shakespearean text, Macbeth, the character that exemplifies man, Macduff, says to Macbeth, “We’ll have thee, as our rarer monsters are, painted on a pole, and underwrit, ‘Here may you see the tyrant.’” (Act 5, Scene 8) This shows that the displaying of monsters as exhibits is not rare, and nor is it frowned upon by the general public. This would mean that perspectives of
Prospero begins by attacking Caliban’s appearance. He then states that he would educate Caliban and would treat him as a human until Caliban tried to rape Miranda. Prospero explains that he is not the one who is evil. In his assessment of himself, Prospero believes he is kind and did his best to educate Caliban. Prospero believes it is Caliban’s savage nature that does not allow Caliban to conform to a civilized society.
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.
Prospero appears to be a ruthless tyrant that strikes fear into Caliban to make him work but further on in the text we learn that this is not the case. Caliban's foul-mouthed insults,
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.