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How are the characters in the tempest portrayed
The tempest characters essay
The tempest characters essay
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Discoveries may or may not be enlightening for the individual, though the context of colonisation of others and migration to new lands. William Shakespeare’s The Tempest, presents various ideas through the context of European colonisation, where an individual is faced with the issues of discrimination, language barriers and the overall idea of others perceiving them contemptuously. Shakespeare presents the native ‘Caliban” using harsh language and the invaders using negative imagery to describe him; yet the intellectual transformation of Caliban is seen through his discovery of poetic language. In Juxtapose to Shakespeare’s text, Shaun Tan’s picture book Eric deals with the context of an individual migrating to a new place, in oppose to the …show more content…
Upon arrival onto new land, Stephano and Trinculo discover Caliban, describing him as “most poor, credulous monster.” Shakespeare uses the modal verb “most” and the allusion of a “monster,” to generate a strong visual representation to the reader that Caliban is not viewed as a “civilised and ordinary” human being, but as a four-legged monster, in the context of early European exploration of undiscovered/conquered land. In addition, Stephano speculates that he will profit by taking the “monster” back to Naples as he says “He’s a present for any emperor that ever trod on heats leather.” Thus, discovery in The Tempest is presented in such converse to the picture book Eric, as Shakespeare presents the context of European colonisation as an opportunistic, moneymaking venture for the wicked colonial exploiting the native individuals of the land, instead of trying to shift attitudes towards …show more content…
William Shakespeare’s The Tempest, presents various ideas through the context of European colonisation, where an individual is faced with the issues of discrimination, language barriers and the overall idea of others perceiving them prejudicially. Shakespeare presents the native ‘Caliban” using harsh language and the invaders using negative imagery to describe him’; yet the intellectual transformation of Caliban is seen through his discovery of poetic language. In Juxtapose to Shakespeare’s text, Shaun Tan’s picture book Eric deals with the context of an individual migrating to a new place, in oppose to the idea of colonisation. The persona is made to feel welcomed into the country by the narrator – natives of the land, as he/she constantly acknowledges the persona’s culture and questions the comfort of his stay through the utilisation of rhetorical questions, symbolism and repetition of speech. Thus, both texts deepen our understanding on how various individuals make discoveries within or outside their native lands, which may ultimately lead to enlightenment or
Before White Teeth begins its journey in exploring the roots of a specific and collective history through various ideological stances, Zadie Smith opens with a reminder that “What is past is prologue”. The novel’s epigraph, a gravid phrase taken from Shakespeare’s The Tempest, tells us the story about to unfold is an inevitable one, a fated account. Smith’s narrator, from the very start knows this—she knows everything there is to know. She is blunt, bemused, casual and almost shaking their head at the stories she is relaying as if trying her best to elude the true sentiment attached and rooted at its very core. Searching for meaning, Smith’s listless characters bumble about, talking at each other through ideological vagaries and crusades of self-validation—all convenient and performative social veils. White Teeth succeeds in emphasizing these themes with its idiosyncratic narrator and a stylistic use of irony, carefully weaved in the novel’s long sentences, thick paragraphs, often interrupting thoughts and added anecdotes. It is an
The Tempest by Shakespeare is his most fanciful of works. There are elaborate tricks and ideas that Shakespeare has put into play. That’s what many might see on the surface when reading The Tempest for the first time. But what some might be able to explore when digger deeper into the work, is the theme of colonization that Shakespeare bestows upon his characters.
The European Renaissance forever changed the life of the contemporary individual. Explosive advancements in education, technology, and trade broadened geographic and mental horizons; however, in England these developments were paired with population crises of poverty and unemployment. In addition, the increased interaction with foreign cultures fomented by various commercial and diplomatic engagements gave rise to apprehension in English sensibility. Eventually, Christian England would attempt to reshape these ‘strangers’ in their image and modern racial tensions sprung forth. Recursion of the trope of race, under the guise of blackness, heathenry, or even femininity occurs extensively in literary tradition, and especially within Shakespeare’s oeuvre. “There exists in all literature an archetypal figure who escapes both poles of the classic definition – appearing sometimes as hero, sometimes as villain, sometimes as clown…[he] has been named variously the ‘shadow,’ the ‘other,’ the ‘alien,’ the ‘outsider,’ the ‘stranger.’” It is with this borderline figure, mired in ambiguity, that this investigation is concerned: primarily with the stranger as the Moor in Othello, the Welsh in Henry IV, Part 1, and the woman in both.
Texts and their appropriations reflect the context and values of their times. Within Shakespeare’s Othello and Geoffrey Sax’s appropriation of Othello, the evolution of the attitudes held by Elizabethan audiences and those held by contemporary audiences can be seen through the context of the female coupled with the context of racism. The role of the female has developed from being submissive and “obedient” in the Elizabethan era to being independent and liberated within the contemporary setting. The racism of the first text is overtly xenophobic and natural, whilst the “moor” is unnatural whereas the updated context portrays Othello’s race as natural and racism as unnatural. Therefore these examples show how Shakespeare’s Othello, and it’s appropriation, Geoffrey sax’s Othello, reflect the context and values of their times.
To pin these works against the idea of colonization, Cesaire and Hwang must greatly alter the content. They do so, but they also mimic the styles of the original versions. A Tempest is written in modern English, and Shakespeare's songs are substituted with slave tunes. Hwang dr...
Little, Arthur L. “’An Essence that's Not Seen’: The Primal Scene of Racism in Othello.” Shakespeare Quarterly 44.3 (1993): 304-24. JSTOR. Web. 17 Feb. 2014.
The Tempest reflects Shakespeare's society through the relationship between characters, especially between Prospero and Caliban. Caliban, who was the previous king of the island, is taught how to be "civilized" by Prospero and his daughter Miranda. Then he is forced to be their servant. Caliban explains "Thou strok'st me and make much of me; wo...
Through The Tempest play, William Shakespeare weaves together a tale that is characterized by anti-colonialist sentiments. Prospero - the deposed Milan Duke - adopts a colonialist mentality by treating his colleagues as slaves who have no rights. Characters who suffer mistreatment under Prospero include: Ariel - the spirit creature; Ferdinand - the Naples Prince; and Caliban - Sycorax’s son. Prospero possesses much magical power which he uses to oppress his compatriots. Consequently, Prospero is portrayed as a colonial tyrant who abuses his immense power. Anti-colonialism feelings are especially evident through the actions, utterances and disposition and of Caliban, Miranda, Ferdinand and Ariel. To illustrate, Caliban berates Prospero for the former’s forced labor. Likewise, Ariel protests Prospero’s reluctance to release the former as earlier agreed. Miranda also expresses her dissatisfaction with Prospero’s unfair imprisonment of Ferdinand. Similarly, Ferdinand appears to challenge Prospero’s authority by briefly stopping dragging timber so as to flirt and chat with Miranda. The foregoing four characters exhibit conduct that highlights their displeasure with Prospero’s colonial-style authority over them. From the preceding expose, it can thus be concluded that Shakespeare’s The Tempest play is about anti-colonialism based on its depiction of Caliban, Miranda, Ferdinand and Ariel’s opposition to Prospero’s oppressive authority.
2.) Lamming, George. " A Monster, a Child, a Slave." The Tempest: Sources and Contexts,
The title, The Interesting Narrative of the Life of Olaudah Equiano, Or Gustavus Vassa, shows a more explicit marriage between his two identities: Olaudah the free “English” man and Gustavus, the slave. Even though he seems dedicated to his English identity and although he tries to marry Englishness and slavery, Equiano also separates them. “Did [he] consider himself to be European, [he] might say that [his] sufferings were great” (Equiano, 1789, p. 2). Here he shows that although he engages and fully endorses the marriage of slavery and Englishness, or Europeaness, the two identities will never come to understand life in the same way although they rely on each other, Englishness more so on slavery than the other way around. They are so starkly different, the experiences the slaves went though were extremely grave, their living conditions and the way they were treated by whites was inhumane; even the basest of European society lived in better conditions than most if not all slaves. To Equiano, the things that he went through were not that bad when compared to another slave’s experience. One could say that the man was extremely lucky when comparing his experience to another slave’s. But when compared to a European “his sufferings were great.” Despite this, an attempt at the marriage of slavery and Englishness or Europeanness is not impossible. And it is this possible union that Equiano attempts to show in his
The author Shakespeare analyses the overcoming process of male ruling desire for the femininity in The Tempest. In the early modern period, colonization was the significant issues, especially in England and other imperialistic nations. They have been watching over the new world, in order to govern and control it as under their supervision. During the process of colonization, a colony and colonized people, especially women consider to be less important. The colonizers have no fear to feminine subversive power; even desire to maintain their male dominance over them. As the result, Colonialists civilizes the natives by taking advantage of a colony under the misrepresentation of enlightening.
One way in which The Tempest reflects Shakespeare's society is through the relationship between characters, especially between Prospero and Caliban. Caliban is the former king of the island, and Prospero and his daughter Miranda teach him how to be "civilized." Immediately thereafter, Prospero and Miranda enslave Caliban and he is forced to be their servant. Caliban explains "Thou strok'st me and make much of me...
William Shakespeare’s play The Tempest tells a story involving unjust acts, and Caliban trying to take over Prospero’s power of authority, Prospero’s mission to was to build righteousness and honesty by returning himself to rule. The idea of justice and injustice that the play works toward seems extremely independent meanwhile the impression of the play shows the view of one character who controls the purpose and fate of others.
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.
The elements of pastoral comedy in The Tempest are also linked to those of the masque. A natural man, Caliban, exists. So do a pair of noble young lovers, Ferdinand and Miranda, who are brought together in the pastoral setting of an island, unaffected by the corruptive influenc...