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Characters metamorphosis in literature
Narrative essay on theatre
Narrative essay on theatre
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Recommended: Characters metamorphosis in literature
Marcel Proust once said ‘The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.’ Through this unceasing process of discovery, individuals attain the opportunity to the acquisition of greater knowledge and a renewed perspective of oneself and one’s relationship with the world. These broader concepts are accentuated in the play ‘The Tempest’ by William Shakespeare, the novel ‘The Bell Jar’ by Silvia Plath as well as James Marsh‘s film ‘The Theory of Everything’. The capability of a person to discover is ultimately inalienable. However, these discoveries can only be beneficial when individuals are able to experience realisations, remove wrong presumptions and courageously make potentially life-changing decisions …show more content…
In The Tempest, Prospero comes to a realisation that there is a limitation to his magic and the importance of love, familial relations and forgiveness as the fundamental components of humanity. The title suggests the play is concerned with the destructive forces of nature, but mostly it is about the continuous fight an individual undergoes in the recognition of a man’s virtue. Prospero repents in the confrontation of his own negligence and failure in fulfilling the responsibilities of a ruler. The utilisation of hyperbole reflects Prospero’s determination to redeem himself, shown in ‘I’ll break my staff, Bury it certain fathoms in the earth…I’ll drown my book.’ Through the dramatic device of the masque and Ariel’s music, the power of discovery is highlighted in Prospero’s case as he relieves from a self-transformation, gaining a renewed perspective and further understanding about himself and his position in his …show more content…
Through an incidence, Stephen rediscovers his passion for life and science. In the film, his progressively weakening muscles forces Stephen to become entrapped in a sweater as he tries to wear it without external assistance. The extreme close-up and the blurring of the visuals of both the human eye and the fire through the sweater allow the audience to view the discovery from Stephen’s point of view. Although trapped and imprisoned in a wheelchair, Hawking nonetheless enjoys a degree of freedom because his imagination and motivation drives him forward. This evidently shows that everyone has the equal power to discover and this rediscovery of passion can result in a transformation of the
The innumerable freedoms that movie producers have taken while adjusting The Tempest are clarified by the way this is "one of Shakespeare's most unrealistic plays". The Tempest has experienced a wide range of changes in the hands of various directors who have approached the play. In this film we see a colossal reconsideration of Shakespeare's dramatic measures, for example, magic, and his themes, such as the Renaissance disclosure of the 'New World' or the power of the Renaissance ruler and patriarch. One pleasure this film offers is the acknowledgement of such unique Shakespearean elements in their modern cinematic appearance.
In Shakespeare’s play, The Tempest, the character Prospero embarks on a journey of self discovery, undergoing a transformation that allows him to achieve a renewed perception of himself and others Prospero who was initially a duke, but later overruled by
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).
Since the seventeenth century many interpretations and criticisms of William Shakespeare’s The Tempest have been recorded. Yet, since the play is widely symbolical and allegorical Shakespeare’s actual intentions behind the creation of the play can never be revealed. But it is precisely this ambiguity in intention that allows for so many literary theorists, historians, and novelists to offer their insight into the structure and meaning of the play. For many years much of the critical treatment of the play has come from an educated European heritage, like the play itself. However, beginning in the nineteenth century with the re-emergence of the original text of the play and a growing global awareness in Caribbean and African nations, many attitudes were arising about the apparent cultural associations of the play’s characters and the largely heretofore unchallenged European views that had dominated popular ideology. What was once superficially taken as a play about the expansion of European culture into the Americas, was now being explored for its commentary about the inherent dominance and oppression of the natives of the Barbadian islands (the geographical setting of the play), and further as a commentary on slavery and oppression as a whole. The plays main characters, Prospero and Caliban, have come to personify the thrust of the oppressors vs. oppressed debate.
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.
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.
The Tempest by William Shakespeare, among other themes, is a play very centered around rivalries, an important one being the one between Prospero and Caliban. As one would naturally expect, the triumphs and failures of the ongoing conflict yield different reactions for the two different characters. The conflict illustrates a dichotomous view of the way in which people respond to failure or defeat. Whereas Caliban responds to defeat instinctively with furious acts of retaliation, Prospero reasons that when those kinds of acts are examined under the scope of logic, they appear to be unlike that of a noble and therefore, should not be undertaken.
The Tempest presents the character of Prospero the usurped duke of Milan. In the beginning Prospero’s character can be described as foul, spiteful, and selfish. This can be seen in various scenes in acts one and two of the play where he treats the people around him as his servants especially the fateful Ariel who reminded him of his promise only to be threatened of imprisonment. He’s selfish in the sense that he would do anything to accomplish his goal of executing his plan. Like a master puppeteer he is manipulative and deceptive. He even manipulates his daughter to fit according to his scheme. However, all of his foul characteristics left him as his plan nears its end. It is as if the shedding of his clothes represented his change is personality and attitude. After Prospero discarded his staff, drowned his magic book, and wore his duke garments he became more responsible and sympathetic. Instead of exacting revenge on the king of Naples a...
In summary, Shakespeare’s The Tempest play explores the theme of opposition to the colonial-style authority of Prospero based on various characters’ covert and overt reactions to the master’s antics. For instance, Ariel opposes Prospero’s continuous detention of the former regardless of an earlier agreement to the contrary. Moreover, Caliban expresses his dissatisfaction with the forced labor that her does for Prospero. To prove his opposition to Prospero’s authority, Caliban plans the master’s death. Miranda also makes a statement that indicates her displeasure with the way Prospero executes his authority especially with regard to Ferdinand. The imprisoned Ferdinand also indicates his opposition to Prospero’s power through a disproving statement made before Miranda.
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 manifest in the form of Caliban and the natural world. With two such extremes brought together, debate between the two is inevitable.
The nucleus of the plot in Shakespeare's The Tempest revolves around Prospero enacting his revenge on various characters who have wronged him in different ways. Interestingly enough, he uses the spirit of Ariel to deliver the punishments while Prospero delegates the action. Prospero is such a character that can concoct methods of revenge but hesitates to have direct involvement with disillusioning his foes. In essence, Prospero sends Ariel to do his dirty work while hiding his involvement in shipwrecking his brother, Antonio, from his daughter, Miranda.
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 play, The Tempest, by William Shakespeare is a very cleverly thought out piece of work. Shakespeare very deliberately inter-relates several different forms of power during the course of the play. There is political power, shown through the plethora of political characters and their schemes, while at the same time parodied by the comic characters. The power of magic and love, and its ability to reunite and absolve also plays a major role in the play. Throughout the play, Prospero, the main character, takes great advantage of his power and authority, both properly and improperly. The epiphany of this however, is realized at the end of the play.
In this essay I intend to explore the ways that William Shakespeare has presented the relationships between the main characters within his play “The Tempest”. I shall investigate Ferdinand and Miranda’s relationship, the father/daughter bond between Miranda and Prospero and Caliban’s lust after Miranda.
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.