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the character of prospero in the tempest
main themes in the tempest
the character of prospero in the tempest
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The Theme of Colonization in The Tempest
Colony-A member or inhabitant of a colony. A body of emigrants who settle in a remote region but remain under the control of a parent country. --Webster's Dictionary
Can Prospero be defined as a type of colonist? He does, after all, impose his presence onto an island already inhabited by somebody else, take over control and enslave his predecessor, while at the same time still remaining under the control of his native land. If Prospero represents the colonist, or the white man, then Caliban serves as his counterpart in this discussion. Critics have argued in the past that The Tempest's representation of Caliban relates Caliban to the black man, because Caliban, like African Americans of early times, is conquered and forced into slavery against his will. Caliban thus becomes a representative of the colonized man. Critics have pointed out that this device seems to fit the bill because of the Caribbean like location of the play; it is foreign and strange and not the native home of the white man who comes to discover it and claim it as his own. At the same time, if the audience takes this interpretation to light, Prospero thus emerges as the white man, or the colonist. Caliban thus serves to represent native cultures, while Prospero serves to represent colonizing cultures, like the British of Shakespeare's time. The parallel of Prospero's domination of Caliban as compared to the Europeans colonization of the Africans, which was a topic of Shakespeare's time, becomes relevant upon closer examination.
This interpretation can be found within the consistent arguments between Prospero and Caliban. Prospero feels the island is his; he rightfully won it fro...
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... they were the original owners of the island, without the power to regain the island or their native land, they will never have the ability to be able to call the land solely their own again.
Works Cited
Brown, Paul. "This thing of darkness I acknowledge mine: The Tempest and the discourse of colonialism." New York: Collimore and Sinfield, 1985. pp. 48-71.
Davis, Angela. Women, Race and Class. London: Women's Press, 1982.
Fanon, Frantz. Black Skins, White Masks. London: Pluto Press, 1986.
Griffiths, Trevor. "This island's mine: Caliban and Colonialism." Yearbook of English Studies 13. New York: Harcourt Brace. Pp. 159-80.
Mannoni, O., Prospero and Caliban: The Psycholgoy of Colonization. New York: Praeger, 1964.
Nixon, Rob. "Caribbean and African appropriations of The Tempest." Critical Inquiry 13 Spring 1987 pp. 557-77.
Have you ever fallen in love with the wrong person? How about falling in love with your family’s worst enemy? This tragedy happened to Romeo and Juliet, two adolescents that were doomed to unhappiness since the moment they were born. Two powerful and respectable families that have had hatred for each other for so long that the reason for how their hatred began is forgotten. Romeo and Juliet were the ones who had to pay the consequences for their families’ feud. Baz Luhrmann’s Romeo and Juliet adaptation is both faithful and unfaithful to mise-en-scène in the beginning, middle, and end of the scene.
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.
Analysis of Luhrman's Production of Romeo and Juliet Baz Luhrman has effectively transported Shakespeare's, 'Romeo and Juliet' from a 16th century play to a 20th century film. Using the same text but different settings and resources, the film contains the essence of the play with technological advances. There are many things to consider when analysing the adaptation of a scene. Baz Luhrman has adapted the party scene by using many methods whilst still holding on to the original Shakespearian mixture of love, hate, excitement, foreboding and passion.
Griffiths, Trevor R., "This island's mine: Caliban an Colonialism," Yearbook of English Studies 13(1983), pp. 159-80
In a play which usurpation is a dominant theme, Shakespeare endorses Prospero’s appropriation of the island and it’s aboriginal population. The representation of Caliban and his brother Sycorax reveals the extent to which racist and sexist ideologies function to maintain the balance of power in the hands of a small, ruling, elite. Indeed, it should be noted that The Tempest is more than a simple play. Rather, it is a complex and multi-layered literary construction. As it cannot be reduced to the single issue of race to investigate the imbalance of power in the play. Attention must be given to the way patriarchal notions of gender inform racial representations in order to understand the imbalances of power i...
Prospero and Miranda were exiled from their homeland and forced to flee. Caliban is the only being on the island they find themselves in. Similar to how the Native Americans treated the colonists when they first arrived to the Americans, Caliban is kind and respectful to Prospero. He teaches Prospero about the island and Prospero
Upon Prospero’s arrival, he teaches Caliban language as to make this “savage” more civilized and obedient, however, Caliban uses the language he has learned to “curse” his master and refuse to accept the commands from Prospero, showing his rebellion. Moreover, even though Caliban is under the punishment of “apes that mow and chatter” and “hedgehogs which lie tumbling in [his] barefoot”, which significantly shows that he is far less powerful than Prospero, he is still uncompromised: he is very eager to conduct his “revenge” and “bite [Prospero] to death” because, at his first encounter with Stephano and Trinculo, Caliban immediately suggests that. Though Caliban’s attempt to “destroy [Prospero]” ends up in failure, this endeavor is rebellious. And Caliban’s rebellion against the oppression from “tyrant” reveals his nobility that he is courageous to fight against Prospero, even though Prospero is much more powerful than him. This rebellious and uncompromising character of Caliban in The Tempest sharply differs from the “waned and left” indigenous people in Indian Place-Names.
The Shakespearean play, The Tempest, is one of the most controversial in terms of relationships in the play. The play was written in 1611 soon after the English arrived in America in 1607, launching the colonial period. This was the beginning of colonization to America, which lead to the evolution of indentured servants into slaves. Many critics have stated that the relationship between Prospero and Caliban was that of a slave and master and a representation of how the English colonized foreign lands that belonged to the indigenous Americans. Each situation could be argued and validated according to the portion of the play being analyzed. Both roles are applicable and I will provide evidence of both to prove that they are synonymous in a sense.
In her essay “Shakespeare's Tempest and the Discourse of Colonialism,” Deborah Willis argues that the play takes on a much more complex and complete identity concerning the aristocracy of colonialism, and she presents the idea that Caliban as the “other” (Willis, p.277) isn’t inherently wrong but rather misguided in readings. While her article brings up important issues concerning the reading of The Tempest, she ignores the vastness and all-consuming nature of colonialism. Her essay helped me to conclude that I perceive The Tempest as not only being solely about colonialism, but all of the issues featured in the play being tied back to colonialism, including those that Willis emphasizes aren’t as important or are ill-founded.
Baz Lurhmann’s creation of the film Romeo and Juliet has shown that today’s audience can still understand and appreciate William Shakespeare. Typically, when a modern audience think of Shakespeare, they immediately think it will be boring, yet Lurhmann successfully rejuvenates Romeo and Juliet. In his film production he uses a number of different cinematic techniques, costumes and a formidably enjoyable soundtrack; yet changes not one word from Shakespeare’s original play, thus making it appeal to a modern audience.
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.
The relationship between Prospero and Caliban is a perfect demonstration of the dependence relationship between a coloniser and the native of whichever colony he set his eye upon. Colonialism was a subject easily related to by Shakespeare's contemporary audience; with James on the throne the British Empire was beginning to thrive and would soon become the largest in not only the 17th Century world, but one of the largest in history. At the time 'The Tempest' was first preformed, 1611, Britain had begun to lay claim to North America and the smaller Caribbean isles, a fact the King was no doubt proud of and, similarly to his addition of the supernatural (a subject that fascinated James), aiming to impress Shakespeare chose to make colonialism a central theme in 'The Tempest'.
The book “From Unincorporated Territory” [Saina] , by Craig Santos Perez, is an interesting story because it shows how colonialism is the destruction of the author’s culture and identity on his native island Guam. It forced the author’s family and himself to make a drastic change in their life and migrate from Guam to America on an outrigger. After leaving in the year 1995 and not returning until 2008, the author depicts to the audience what has changed due to colonization. My thought on colonialism is firm. That I am confused about it. The reason for my confusion is I believe it is necessary for a certain purpose most people cannot see. Even though know that it is wrong; I know it destroys somewhat the vast majority of the colonized culture but I can’t help to think that the author has a message of that purpose most people cannot see. After reading the book, what I just admitted even to me sounds a little cold hearted, but reading his point of view in this book, it made me realized I’m not too wrong for making such a confession. I believe the author has a hidden message about it. Once I had a gut feeling I wanted to expose that message in my essay.
The Tempest, by Shakespeare, offers the reader a variety of themes. The one theme that stands out the most is that of colonialism. During the time of Shakespeare, many European countries such as Spain, France, and England, were expanding their borders by taking over less developed countries, referred to as colonies. During this time of exploitation, there was skepticism concerning the possible success of the colonies. While some scholars believe that the play is about the Americas, I argue that the play reflects on colonialism in general and how it is destined for failure which is shown through the character’s relationships throughout the play.
As some of essays about The Tempest would conclude, the core of The Tempest seems to be the colonialism. Then without any question, the most crucial character under this conclusion, Caliban becomes the symbol of oppressed occurs of colonialism. However, did Shakespeare address this issue intentionally? Is colonialism just an interpretation from a modern perspective? Probably we assert the statement too fast to contemplate author’s focus of his work. As Vaughan mentioned in his essay: “... most Third-World authors who borrow emblems from The Tempest ignore, as irrelevant, Shakespeare’s sources and intentions. The Third World interpretation of Caliban is symbolic, not historic; it adopts Caliban for What he represents to the observer, not for what Shakespeare may have had in mind.” (Vaguhan, 291). Building such a connection between colonization and the exotic characters and settings simply make the fantasy accessible to the audiences, yet it doesn’t necessarily fit the situation at that time. Since colonization evolved throughout the time. “New situations give the play’s characters new meanings.” {Vaguhan, 291). If we delete the cultural background of ourselves and focus on the age of Tempest being created exclusively, we might not see Caliban as a black