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Character of prospero in tempest
Major themes in the tempest
Character of prospero in tempest
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On first glance, The Tempest is a romp through a fantasy land, everyone coming out unscathed and changed for the better. However, the two slaves in the work are ill-treated by their masters, and learn (and in turn, teach) a much different lesson than the lovers or the would-be murderers. Everyone in this play is either a man or a monster, and often times, the monster is not the one we would expect. William Shakespeare examines the idea of man vs. monster in The Tempest by challenging preconceived notions of good and evil within the moral codes of each main character. Shakespeare wrote many plays, and his morals seemed to fit with that of the time period - “faith in human reason was unshakeable”, and they preferred an “empirical and analytical approach” to issues (Dewald, et. al., vol 4: 460-461). “The Tempest was intended as Shakespeare’s farewell to the theatre” (“William Shakespeare”), and many scholars interpret the character of Prospero as being Shakespeare himself, as “He behaves like a dramatist in charge of the whole play as well, arranging her life and that of the other characters” (“William …show more content…
Prospero is falsely sweet with Ariel, but doesn’t bother to do the same with Caliban. He seems to have wanted Caliban to revolt, in order to teach him a lesson before he leaves him and the other spirits on the island. He continues to dangle freedom in Ariel’s face like a carrot on a stick: “Shortly shall all my labors end, and thou / Shalt have the air at freedom” (Tmp. 4. 1. 295-296). It is worth contemplation that Prospero never really carries out the magic himself - he commands Ariel to do it for him. Perhaps Prospero never had magic powers, he was merely clever enough to use his book learning to make those less knowledged than him obey
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).
Both of these novels the Tempest and Frankenstein demonstrate an extreme violation of nature and a use of powers outside our natural world that cause unnecessary destruction to themselves and the lives of others also. The authors of these books use the creatures’ appearance and manner to emphasize that they are outcasts and must therefore serve as slaves for those who do fit into society. The superiors in the relationship display greedy and immoral actions throughout by challenging nature and mankind, the subordinates experience the horrific effects of this. However the duplicity between them of selfishness and revenge helps us to understand how reliant they are of one another and as the novels progress the hierarchy between them begins to subvert.
Having been usurped and wrecked on an Island Prospero and his young daughter Miranda have to settle. It is here in Prospero's past that it first clear to see where any confusion about his character may appear. As a learned and powerful man Prospero is able to take direct control of the island, he frees a trapped and tortured spirit (Ariel) and befriends the inhabitants (Caliban). Prospero 'helps' Caliban, he tries to educate him and teaches him to communicate, in exchange Caliban helps Prospero to survive on the Island. But in taking power of the Island Prospero is committing the same act that happened to him as Duke of Milan, now Prospero himself has become the usurper. In this act of goodness Prospero has unknowingly shown his evil side.
The definition of ‘monstrosity’ and what it means to be ‘monstrous’ can be understood to mean something that is visually unattractive, malformed and/or terrifying. However, monstrosity is not exclusively about something aesthetically ugly, it can also apply to what differs from what is considered ‘normality’. What is ‘normal’ versus what is ‘monstrous’ is closely linked when exploring ideas about the human condition. The representations of monstrosity in Frankenstein and in The Tempest reveal how what is monstrous and what is normal are often found side by side, challenging the idea that it is limited to outcasts who do not ‘fit-in’, and that deep down, a desire to be understood, accepted and included and to live life with meaning are central to the human condition and that monsters in society often reveal our deep seated fears and anxieties about our own existence.
John Wilders' lecture on The Tempest given at Oxford University - Worcester College - August 4th, 1999.
During Shakespeare's time social classification was much more rigid than today and some members of society were considered superior to other members. Shakespeare provides an example of this rigid social structure through his play, The Tempest. Shakespeare illustrates how superior men differentiated themselves from lesser beings on the basis of race, financial status, and gender. Through the character of Prospero, Shakespeare provides and example of one, who had reason to feel superior, yet treated others equally and with the respect due to them.
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.
2.) Lamming, George. " A Monster, a Child, a Slave." The Tempest: Sources and Contexts,
Nesbit, E.. "The Tempest." The Best of Shakespeare: Retellings of 10 Classic Plays. Oxford University Press, 1997. n.pag. eLibrary. Web.
Shakespeare, William. The Tempest. Second Revised Ed. United States of America: First Signet Classics Print, 1998. 1-87. Print.
In this brief examination of the Tempest, it becomes obvious that the play is a mirror image of the progression of events in the Bible. This use of Christian elements in the play is not obvious upon first reading the play, but becomes undeniable as the action progresses. The motif of Christianity in other Shakespearean works is not as structured and in-depth as the motif found in the Tempest.
In The Tempest, Art is that which is composed of grace, civility, and virtue. It is represented by Prospero, the other members of the nobility who belong to the court party and their servants. The world of the court is synonymous with the world of art in the play. In contrast, Nature is bestial, brutish and evil and manifests itself in the form of Caliban and the natural world. With two such extremes brought together, debate between the two is inevitable.
Prospero’s trust is broken with Caliban because he tried to rape Miranda. There is no evidence of rape, however Miranda was the only female on the island practically supports the idea. Caliban being a natural creature he would not know the different in societies rule against sexual engagement. Prospero learns from his second betrayal, apparently tyrannical state is revealed in verbal abuse ...
The Tempest. Arden Shakespeare, 1997. Print. Third Series Smith, Hallet Darius. Twentieth Century Interpretations of The Tempest; A Collection of Critical Essays, Englewood Cliffs, NJ: Prentice-Hall, 1969.
Shakespeare, William, and Robert Woodrow Langbaum. The Tempest: With New and Updated Critical Essays and A Revised Bibliography. New York, NY, USA: Signet Classic, 1998. Print.