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utopia as a vision of an ideal state
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Portrayal of Utopia in The Tempest
In The Tempest, Shakespeare allows the audience to appreciate the possibilities of utopian society and whatever this may posses. Being the good, and bad so that they can see that problems can arise in such a society. The Tempest can be thus seen as a window into the dimensions of utopian societies. While his characters take on the role of the leaders of the utopian societies, Shakespeare uses his creation to portray the social questions and beliefs of society of how a utopian environment should be.
Essential to the discussion of this aspect of The Tempest is the definition of a "Utopia". For different characters this "utopia" means different things. First of all and maybe most important of all, as it is she who says it, Miranda's utopia consists of a populated world with many other human beings in it. This can be seen as created by the way she has been kept in relative isolation due to her father’s action. Human beings, in whatever forms they come in are a fascination for her, and something that she longs to see. Other characters on the other hand have a whole manner of different ideas of utopia and versions of their "utopia". Caliban's utopia changes throughout the play and Gonzalo's utopia seems somewhat confusing as he has two ideas which seem to contradict each other. What is underlined here is that the view of Utopia does not remain stagnant, it is a constant changing process depending on one’s life experiences and points of view.
More specifically Prospero's utopia is a reflection of what society at that time believed to be a utopia. This being an easy existence, void of manual labor, with all of their time spent on the pursuit of greater knowledge and...
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...wn nature. He says ‘ All torment, trouble, wonder and amazement/Inhabits here. Some heavenly power guide us/Out of this fearful country.’
Works Cited and Consulted
Boss, Judith E. "The Golden Age, Cockaigne, and Utopia in The Faerie Queene and The Temepest." Georgia Review 26 (1972) 145-55.
Cohen, Walter. "Shakespeare and Calderon in an Age of Transition." Genre 15 (1983), 123-37.
Davidson, Frank. “The Tempest: An Interpretation.” In The Tempest: A Casebook. Ed. D.J. Palmer. London: Macmillan & Co. Ltd., 1968. 225.
Kermode, Frank. Introduction. The Tempest. By William Shakespeare. Cambridge: Harvard UP, 1958. xlii.
Solomon, Andrew. “A Reading of the Tempest.” In Shakespeare’s Late Plays. Ed. Richard C. Tobias and Paul G. Zolbrod. Athens: Ohio UP, 1974. 232.
Shakespeare, William. The Tempest. Ed. Frank Kermode. Cambridge: Harvard UP, 1958.
Happiness has always been a desirable goal throughout our lives, but each actions we take might just affect the happiness of others. When humans seek happiness, we always seek for things that make us feel alive, or things that brings us the greatest comfort. Our contentment comes with the act of selfishness since we choose to prioritize our happiness above all other. We willingly classify happiness in two different types of meaning, both physical and mental happiness. People ought not be in title to happiness because it is classified in general as a physical desire by many people. Contentment is always known to be a physical satisfaction in life instead of a self-inducing satisfaction for life.
In the field of philosophy there can be numerous answers to a general question, depending on a particular philosopher's views on the subject. Often times an answer is left undetermined. In the broad sense of the word and also stated in the dictionary philosophy can be described as the pursuit of human knowledge and human values. There are many different people with many different theories of knowledge. Two of these people, also philosophers, in which this paper will go into depth about are Descartes and Plato. Descartes' Meditations on First Philosophy and Plato's The Republic are the topics that are going to be discussed in this paper.
The island is full of noises; Sounds and sweet airs, that give delight,” says Caliban. The responses which the characters in The Tempest offer to their immediate surroundings reveal much about their individual traits, at the same time they allow the audience glimpses of Prospero's island as different parts of the island are isolated in the play. The island itself and the sea that surrounds it may be seen as encompassing elemental nature and throughout the play, the elements are used to emphasize the inherent nature of characters (notably Ariel and Caliban) as these elements to an Elizabethan audience possessed "primarily certain qualities attributable to matter" (Tillyard's Elizabethan World Picture). The imagery of clouds dissolving and melting, or reason that had ebbed flooding back, and in changes of state between sleeping and waking all draw on images from the natural environment that extend the main thematic concerns in The Tempest. Analogies may also be drawn between the macrocosm and microcosm and how disorder in one corresponded to disorders in the other.
I believe that by Socrates complying with he sentence order by Athenians, he got his point across and he stood up for what he believe in and he never back down.
Shakespeare's play, The Tempest tells the story of a father, Prospero, who must let go of his daughter; who brings his enemies under his power only to release them; and who in turn finally relinquishes his sway over his world - including his power over nature itself. The Tempest contains elements ripe for tragedy: Prospero is a controlling figure bent on taking revenge for the wrongs done to him, and in his fury he has the potential to destroy not only his enemies, but his own humanity and his daughter's future.
One traditional theme of The Tempest is Utopianism. Whether it be of physical significance, as Walter Cohen suggests in his essay "Shakespeare and Calderon in an Age of Transition," or of literary significance, as Judith Boss suggests in her essay "The Golden Age, Cockaigne, and Utopia in the The Faerie Queene and The Tempest," it is an important piece of literature in contribution to Utopianism. Judith Boss does an excellent job in breaking down Utopianism within The Tempest into three different categories, the Golden Age, Cockaigne, and Utopia. All three are implemented, or can be derived from The Tempest. In Walter Cohen’s essay, he suggests that Shakespeare wrote The Tempest by no coincidence near the end of his career and life because it was an argument, or representation, of what England’s foreign policy was. It also predetermined in a way where England was headed politically.
Shakespeare, William. The Tempest. Ed. Barbara A. Mowat and Paul Werstine. New York: Washington Square Press, 2004.
There are many elements in Shakespeare's play, The Tempest, which one cannot reconcile with the real world. The main theme in The Tempest is illusion, and the main focus is the experiment by Prospero.
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.
Nesbit, E.. "The Tempest." The Best of Shakespeare: Retellings of 10 Classic Plays. Oxford University Press, 1997. n.pag. eLibrary. Web.
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.
Shakespeare, William. The Tempest. The Norton Shakespeare: Based on the Oxford Edition. Ed. Stephen Greenblatt, Walter Cohen, Jean E. Howard and Katharine Eisaman Maus. New York: W.W. Norton and Company, 1997. 3055-3107.
According to Webster dictionary the word Happiness in defined as Enjoying, showing, or marked by pleasure, satisfaction, or joy. People when they think of happiness, they think about having to good feeling inside. There are many types of happiness, which are expressed in many ways. Happiness is something that you can't just get it comes form your soul. Happiness is can be changed through many things that happen in our every day live.
The Tempest is a play that serves as a window into what it was like during the Age of Exploration as well as what encounters between the old and new world were like. Through Shakespeare’s characters it is evident what interactions between Europeans and natives were like during this time, as well as what society thought of such experiences.
Novak, Maximillian, and George R. Guffey, eds. The Tempest, or The Enchanted Island. Works of John Dryden vol. X. Berkeley: U of California P, 1970. 1-103.