Category: The Tempest

Introduction

The postcolonial interpretation of The Tempest is an interpretation that gained popularity in the second half of the twentieth century. This particular reading of the play implies that Shakespeare was deliberately expressing a view of colonialism in the New World in the guise of Prospero the magician, usurping Caliban, the slave. It could be argued that Caliban represents a native American, while Prospero could be seen as a European imperialist. This interpretation questions the values and opinions of the past. It casts Caliban in a sympathetic light, and it shows a greater understanding of his plight as well as raising questions about Prosperos rule of the island.

The language of the piece and the characters demonstrate the desire to have power over others, to dominate. This is expressed in the words:

You taught me language, and my profit on

Is, I know how to curse (Shakespeare 14).

The protagonist expresses his passion, inner tension, and despair by talking about curses. The mood is also conveyed through an emotional description of nature, the way it is perceived by someone with a vivid mental experience.

Language Analysis

Many people see Caliban as much more than just unpleasant: there is reason to consider him inherently evil. His instincts are to satisfy his appetite and avoid discomfort, and to do all these things he will lie, betray kindness, deceive, and base himself to any degree. This idea belongs to Prospero, and, indeed, Shakespeare does not seem to intend to form a high opinion of this character. According to Prospero, Calibans evil nature cannot be changed by good deeds-he has already tried it, but to no avail. Instead, he takes the view that Caliban is a slave, by whom stripes can move, not goodness (Shakespeare 14). It seems that the only thing Caliban will fully respond to is physical punishment since he does not appreciate the acts of kindness done to him by Prospero and Miranda.

Calibans abuse of language also significantly underscores his abuse of Prosperos kindness. The attitude toward Caliban is expressed in the following lines:

Thou poisonous slave, got by the devil himself

Upon thy wicked dam, come forth! (Shakespeare 14)

The hero uses emotionally colored, evaluative vocabulary, showing his disregard and disrespect. Indeed, he is a savage who would like to play like the rudest thing before Prospero makes the effort to make him speak and endows his aims with words that make them known. The same attitude to Caliban can be viewed through Mirandas and Ariels vocabulary. They see in the protagonist the implicit desire to be evil and show their hatred. However, Caliban took the tongue with its infinite possibilities and advantages and said that its only benefit was that it could swear. The fact that Caliban disparages such a useful tool, which we assume was painstakingly taught to him, further emphasizes that Caliban does not appreciate the efforts of others.

Play Analysis

Balinese Tempest production uses many artistic devices to convey the peculiarities of the characters relationships and the overall atmosphere of the work. Passion, hatred, and contempt are expressed in vivid pictorial ways. Particular attention should be paid to the gestures and movements of the actors, and in general to the non-verbal components of acting (University of Hawaii Center for Southeast Asian Studies). The general atmosphere is revealed through the shades and lighting mode. Ariel is positioned as a follower of Prospero, supporting his views and always ready to follow him. The character is also filled with hatred and contempt for Caliban, but the actors convey his essence as subtler and capable of understanding and compassion; this is evidenced by the ease of gesticulation and movement.

Conclusion

Since the spectators mainly see the shapes of actors, and the colors are practically invisible, the poses, the intonation, and the way people interact with each other on stage have become vital for understanding the message. They fully express the peculiarities of the characters relationships with each other, as well as the authors relationship with the protagonist.

Works Cited

University of Hawaii Center for Southeast Asian Studies. Balinese Tempest (Indonesia). Internet Archive, 2008. Web.

Shakespeare, William. The Tempest. 1806.

Little Women

Little Women is a film that has been remade countless times, and the most recent remake was released in 2019. The previous film Little Women was shown on the screens in 1994 and starred such Hollywood stars as Wynona Ryder and Kirsten Dunst, while the 2019 version involves Saoirse Ronan and Florence Pugh. The main difference between the two versions is the depiction of characters. For example, the mother in the family in the 2019 remake is presented as a kind woman without any sins, with her daughters claiming that she is never angry and her partly corroborating this statement, claiming that she is learning to not let it get the better of [her] ( 00:52:31). On the contrary, in 1994 version, Marmee is illustrated as an ordinary person. In one part, one of the sisters even mentions that Beth needs Marmee. She depends on her, which illustrates the importance and strength of the mother (Little Women, 00:51:09). Thus, here, Marmee, the mother, is the person on whom the household relies.

A Modest Proposal

In the excerpt from Jonathan Swift, the author uses satire to raise the issue of human value. He proposes an outrageous method of rearing male children for them to be reserved for breed, and to nourish them, to make them plumper, as if one cares for the cattle. Here, the satire can be seen with the phrases such as the remaining hundred thousand may, at a year old, be offered in sale to the persons and let them suck plentifully in the last month, so as to render them plump, and fat for a good table, which seems as if one is talking about animals. This is where the underlying message is, which is to stop treating the malnourished and poor part of society as animals and, instead of perceiving them in this way, start to help them.

The Tempest

The central themes of the drama The Tempest are mercy and revenge. For example, the first theme can be seen from the approach of Prospero, who seeks revenge on others, praying to let them be hunted soundly (Shakespeare 77). However, in another scene, Prospero shows mercy to Antonion by claiming, I do forgive thee, and stating that they, as brothers, have a bridge between them, and Prospero abandoned the love he once had for his sibling (Shakespeare 81). Therefore, the author draws a parallel between the beliefs of the characters.

Works Cited

Little Women. Directed by Gillian Armstrong, performances by Wynona Rider, Kirsten Dunst, Columbia Pictures 1994.

• Directed by Greta Gerwig, performances by Saoirse Ronan and Florence Pugh, Columbia Pictures, 2019.

Shakespeare, William. The Tempest. Collins, 1806.

In his play The Tempest, William Shakespeare illustrates the transformation of many characters who have to re-evaluate their values, attitudes, and perceptions. This paper is aimed at discussing such a person as Ferdinand whose love for Miranda is one of the main themes explored in this play. He has to discover several important qualities such as responsibility and ability to love. These are the things that he lacks at the beginning of this play. This person is important for the author because he demonstrates how love can change an individual, his behavior, and perception of the world. These questions should be examined more closely.

It should be noted that Ferdinand is present in the first scene, but he does not take part in the conversation. Certainly, one can assume that he is frightened. Moreover, Ferdinand is forced to accept that his life can soon end. Nevertheless, it is not possible to make accurate conjectures about his experiences. Overall, one can argue that Prospero is able to test Ferdinands qualities and intentions. Aerial, who serves Prospero, separates Ferdinand from his father; as a result, Ferdinand comes to the belief that his father and friends have perished. Therefore, he is forced to act independently. This character quickly forgets about his loss, when he sees Miranda and falls in love with her.

To a great extent, this example indicates the flippancy or light-mindedness of this character. He promises to make Miranda the queen of Naples without even mentioning his father Alonso, who could have died (Shakespeare 45). Moreover, it does not even occur to Ferdinand that he cannot fulfill his promise. This is one of the details that can attract readers attention.

Additionally, Fernandos affection for Miranda bears a close resemblance to lust at least at the beginning. He does not think about the need to care about Miranda However, he eventually understands that Miranda is different from other women. The following quote illustrates Ferdinands experiences,

for several virtues

Have I liked several women; never any

With so full soul (Shakespeare 93).

In other words, he sees that this girl can transform him. By allowing Ferdinand to talk to Miranda, Prospero enables this character to reject his previous outlook. In particular, Ferdinand learns that he can be fully dedicated to another person. Moreover, he understands that love implies some responsibility for the wellbeing and dignity of a woman. For instance, he assumes an obligation to arrange a formal marriage with Miranda (Shakespeare 121). In the past, he did not act in this way, because his behavior was driven mostly by lust, rather than love. This is the main change that Ferdinand undergoes. To some extent, this transformation was caused by Prospero manipulations. His magic makes other people discover their true selves. This is one of the main arguments that can be put forward.

On the whole, these examples indicate that Prosperos actions prompt Ferdinand to discover the hidden qualities. In particular, Ferdinand discovers that he can be committed to the needs of another person. Shakespeare focuses his attention on the behavior of this character because in this way he tries to show love should not be confused with lust. Ferdinands transformation highlights the difference between these notions. This is one of the main aspects that should be taken into account by the readers of this play.

Works Cited

Shakespeare, William. The Tempest, New York: Simon & Schuster, 2004. Print.

William Shakespeares play The Tempest provides an in-depth description of the extent to which humans have subjected their fellow humans to injustices.

One of the most well described forms of injustice is slavery. Throughout the play, the theme of servitude is shown by the inability of various characters to obtain personal freedom. However, Acts III and IV move the theme of servitude into deeper and more complex levels, describing various forms of servitude.

In Act III, scene 1, different forms of servitude are evident. First, the reader is able to recognize that Ferdinand is committed to serve Prospero, a fact that he does not like. To make his duties to Prospero look pleasant, he assumes that he is working for Miranda, the woman he loves. In Ferdinand, the reader can perceive different forms of servitude. For instance, the love he has for different women clear indicates service to humanity.

Although he feels that his love for Miranda is real, he sees the love he has for other beautiful women as a form of slavery. For instance, in this act he is quoted saying, &Full many women/ I have had best regards, and many times, the harmony of their tongues has taken me into bondage&

In addition, Ferdinand is used to show the theme of service to duty. For instance, his loyalty to Prospero is for a reason- he wants to win Mirandas heart. Although he does not like his status, Prospero agrees that Ferdinand has loyalty and endures the wooden slavery (carrying heavy logs).

In the conversation between Prospero and Ferdinand, it becomes clear that Prospero sees Ferdinand as a loyal servant rather than a slave. In this case, it is clear that the reference to Caliban is used to show the different forms of servitude. For instance, Caliban is a total slave, whose entire life revolves around his services to Prospero. On the other hand, Ferdinands service to Prospero is not forced but dedicated to win Miranda.

The fact that Ferdinand humbles himself, both literally and physically, when he talks about his dedication to Miranda, is a clear indication of another form of servitude. He has mentally been enslaved by his love for the girl. On the other hand, Miranda speaks of a similar form of servitude, but in her own accord.

For instance, she says that her fathers precepts are somewhat a form of bondage to her, but she disregards them. In fact, it is clear that Prosperos presence in the scene is used to show his control Miranda.

In Act III scene II, the theme of servitude is elaborated further, but in the form of service to man. For instance, Caliban has become a servant to Stephano, who refers him as servant monster. In addition, Stephano, who is now the lord of the Island, controls Trinculo.

He threatens to kill him if he disobeys. Secondly, the Scene also reveals that a sorcerer in the island has held the invisible Ariel hostage. He is not able to leave the island, thus becoming the sorcerers slave.

In Act IV, it is clear that Prospero has been enslaved by his commitment to protect Miranda. In fact, he protects her virginity. He believes that it is his duty to ensure that she gets the right man at the right time, and is protected from lust displayed by love-hungry men.

In conclusion, the theme of servitude is portrayed in a deeper and more complex level. There is evidence of slavery versus duty. While such characters as Caliban are actual slaves, others like Ferdinand and Prospero are held hostage by their dedication for such issues as love and duty for Miranda respectively.

In The Tempest, William Shakespeare shows how Prospero magic and manipulations prompt other people to re-evaluate their values, attitudes, and world views. This paper is aimed at discussing the way in which Ferdinand develops a new perception of his inner world. Overall, it is possible to argue that he begins to appreciate love since this feeling has not been familiar to him. In particular, he understands that love implies responsibility and willingness to make sacrifices for another person. More importantly, Ferdinand understands that he is capable of such actions. This is the main thesis that should be examined more closely. His transformation can be illustrated by looking at Ferdinands relations with Miranda. Moreover, one should discuss his response to situation when he is separated from his father and friends.

Ferdinand begins to lose his identity at the time, when he is separated from his father and friends by Ariel. The author does not let readers see his experiences during the storm because he does not participate in the conversation with other people. One can say that Prosperos manipulations reveal the light-heartedness of this character and his inability to take responsibility for his words and actions. For instance, Ferdinand promises to make Miranda the queen of Naples and it does not even occur to him that he may not be able to fulfill his promise (Shakespeare 45). Moreover, he is quick to forget that his father could have perished. To a great extent, these examples indicate that Ferdinand is a flippant person who is driven by the desire or last, rather than by love and responsibility.

Nevertheless, the encounter with Miranda transforms Ferdinands outlook since he understand that there is a person who he can love. Furthermore, he discovers that this feeling has not been familiar to him. The following quote can throw light on his experiences:

Full many a lady
I have eyed with best regard and many a time
The harmony of their tongues hath into bondage
Brought my too diligent ear: for several virtues
Have I liked several women; never any
With so full soul, but some defect in her
Did quarrel with the noblest grace she owed (Shakespeare 93).

To a great extent, this experience has a transformative effect on this character since he learns that there are some feelings that he did not know before. This is one of the main aspects that can be identified.

More importantly, Ferdinand understands that he should make sacrifices for the woman he loves. This is the main change that he undergoes. For instance, Prospero forces him to haul wood, but Ferdinand finds this activity very pleasant because it is for the benefit of Miranda. Later, he assumes an obligation to arrange a formal marriage with Miranda (Shakespeare 121). In this way, Ferdinand shows that he is willing to take responsibility for his actions. This is one of the main aspects can be identified. To a great extent, this character plays an important role in this play. By looking at his behavior, Shakespeare shows how a person can acquire a new understanding of love. Ferdinand discovers that he can be dedicated to the needs of another person.

Thus, Ferdinands experiences on the island transform many of his attitudes and worldviews. In particular, he discovers that he can be fully devoted to another person. Prosperos magic and trick make him discover such a feeling as love. By looking at his relations with Miranda, Shakespeare shows how this person reveals his true self. This is why the role of this character should not be overlooked.

Works Cited

Shakespeare, William. The Tempest, New York: Simon & Schuster, 2004. Print.

Introduction

The postcolonial interpretation of The Tempest is an interpretation that gained popularity in the second half of the twentieth century. This particular reading of the play implies that Shakespeare was deliberately expressing a view of colonialism in the New World in the guise of Prospero the magician, usurping Caliban, the slave. It could be argued that Caliban represents a native American, while Prospero could be seen as a European imperialist. This interpretation questions the values and opinions of the past. It casts Caliban in a sympathetic light, and it shows a greater understanding of his plight as well as raising questions about Prosperos rule of the island.

The language of the piece and the characters demonstrate the desire to have power over others, to dominate. This is expressed in the words:

You taught me language, and my profit on

Is, I know how to curse (Shakespeare 14).

The protagonist expresses his passion, inner tension, and despair by talking about curses. The mood is also conveyed through an emotional description of nature, the way it is perceived by someone with a vivid mental experience.

Language Analysis

Many people see Caliban as much more than just unpleasant: there is reason to consider him inherently evil. His instincts are to satisfy his appetite and avoid discomfort, and to do all these things he will lie, betray kindness, deceive, and base himself to any degree. This idea belongs to Prospero, and, indeed, Shakespeare does not seem to intend to form a high opinion of this character. According to Prospero, Calibans evil nature cannot be changed by good deeds-he has already tried it, but to no avail. Instead, he takes the view that Caliban is a slave, by whom stripes can move, not goodness (Shakespeare 14). It seems that the only thing Caliban will fully respond to is physical punishment since he does not appreciate the acts of kindness done to him by Prospero and Miranda.

Calibans abuse of language also significantly underscores his abuse of Prosperos kindness. The attitude toward Caliban is expressed in the following lines:

Thou poisonous slave, got by the devil himself

Upon thy wicked dam, come forth! (Shakespeare 14)

The hero uses emotionally colored, evaluative vocabulary, showing his disregard and disrespect. Indeed, he is a savage who would like to play like the rudest thing before Prospero makes the effort to make him speak and endows his aims with words that make them known. The same attitude to Caliban can be viewed through Mirandas and Ariels vocabulary. They see in the protagonist the implicit desire to be evil and show their hatred. However, Caliban took the tongue with its infinite possibilities and advantages and said that its only benefit was that it could swear. The fact that Caliban disparages such a useful tool, which we assume was painstakingly taught to him, further emphasizes that Caliban does not appreciate the efforts of others.

Play Analysis

Balinese Tempest production uses many artistic devices to convey the peculiarities of the characters relationships and the overall atmosphere of the work. Passion, hatred, and contempt are expressed in vivid pictorial ways. Particular attention should be paid to the gestures and movements of the actors, and in general to the non-verbal components of acting (University of Hawaii Center for Southeast Asian Studies). The general atmosphere is revealed through the shades and lighting mode. Ariel is positioned as a follower of Prospero, supporting his views and always ready to follow him. The character is also filled with hatred and contempt for Caliban, but the actors convey his essence as subtler and capable of understanding and compassion; this is evidenced by the ease of gesticulation and movement.

Conclusion

Since the spectators mainly see the shapes of actors, and the colors are practically invisible, the poses, the intonation, and the way people interact with each other on stage have become vital for understanding the message. They fully express the peculiarities of the characters relationships with each other, as well as the authors relationship with the protagonist.

Works Cited

University of Hawaii Center for Southeast Asian Studies. Balinese Tempest (Indonesia). Internet Archive, 2008. Web.

Shakespeare, William. The Tempest. 1806.

Little Women

Little Women is a film that has been remade countless times, and the most recent remake was released in 2019. The previous film Little Women was shown on the screens in 1994 and starred such Hollywood stars as Wynona Ryder and Kirsten Dunst, while the 2019 version involves Saoirse Ronan and Florence Pugh. The main difference between the two versions is the depiction of characters. For example, the mother in the family in the 2019 remake is presented as a kind woman without any sins, with her daughters claiming that she is never angry and her partly corroborating this statement, claiming that she is learning to not let it get the better of [her] ( 00:52:31). On the contrary, in 1994 version, Marmee is illustrated as an ordinary person. In one part, one of the sisters even mentions that Beth needs Marmee. She depends on her, which illustrates the importance and strength of the mother (Little Women, 00:51:09). Thus, here, Marmee, the mother, is the person on whom the household relies.

A Modest Proposal

In the excerpt from Jonathan Swift, the author uses satire to raise the issue of human value. He proposes an outrageous method of rearing male children for them to be reserved for breed, and to nourish them, to make them plumper, as if one cares for the cattle. Here, the satire can be seen with the phrases such as the remaining hundred thousand may, at a year old, be offered in sale to the persons and let them suck plentifully in the last month, so as to render them plump, and fat for a good table, which seems as if one is talking about animals. This is where the underlying message is, which is to stop treating the malnourished and poor part of society as animals and, instead of perceiving them in this way, start to help them.

The Tempest

The central themes of the drama The Tempest are mercy and revenge. For example, the first theme can be seen from the approach of Prospero, who seeks revenge on others, praying to let them be hunted soundly (Shakespeare 77). However, in another scene, Prospero shows mercy to Antonion by claiming, I do forgive thee, and stating that they, as brothers, have a bridge between them, and Prospero abandoned the love he once had for his sibling (Shakespeare 81). Therefore, the author draws a parallel between the beliefs of the characters.

Works Cited

Little Women. Directed by Gillian Armstrong, performances by Wynona Rider, Kirsten Dunst, Columbia Pictures 1994.

• Directed by Greta Gerwig, performances by Saoirse Ronan and Florence Pugh, Columbia Pictures, 2019.

Shakespeare, William. The Tempest. Collins, 1806.

In his play The Tempest, William Shakespeare illustrates the transformation of many characters who have to re-evaluate their values, attitudes, and perceptions. This paper is aimed at discussing such a person as Ferdinand whose love for Miranda is one of the main themes explored in this play. He has to discover several important qualities such as responsibility and ability to love. These are the things that he lacks at the beginning of this play. This person is important for the author because he demonstrates how love can change an individual, his behavior, and perception of the world. These questions should be examined more closely.

It should be noted that Ferdinand is present in the first scene, but he does not take part in the conversation. Certainly, one can assume that he is frightened. Moreover, Ferdinand is forced to accept that his life can soon end. Nevertheless, it is not possible to make accurate conjectures about his experiences. Overall, one can argue that Prospero is able to test Ferdinands qualities and intentions. Aerial, who serves Prospero, separates Ferdinand from his father; as a result, Ferdinand comes to the belief that his father and friends have perished. Therefore, he is forced to act independently. This character quickly forgets about his loss, when he sees Miranda and falls in love with her.

To a great extent, this example indicates the flippancy or light-mindedness of this character. He promises to make Miranda the queen of Naples without even mentioning his father Alonso, who could have died (Shakespeare 45). Moreover, it does not even occur to Ferdinand that he cannot fulfill his promise. This is one of the details that can attract readers attention.

Additionally, Fernandos affection for Miranda bears a close resemblance to lust at least at the beginning. He does not think about the need to care about Miranda However, he eventually understands that Miranda is different from other women. The following quote illustrates Ferdinands experiences,

for several virtues

Have I liked several women; never any

With so full soul (Shakespeare 93).

In other words, he sees that this girl can transform him. By allowing Ferdinand to talk to Miranda, Prospero enables this character to reject his previous outlook. In particular, Ferdinand learns that he can be fully dedicated to another person. Moreover, he understands that love implies some responsibility for the wellbeing and dignity of a woman. For instance, he assumes an obligation to arrange a formal marriage with Miranda (Shakespeare 121). In the past, he did not act in this way, because his behavior was driven mostly by lust, rather than love. This is the main change that Ferdinand undergoes. To some extent, this transformation was caused by Prospero manipulations. His magic makes other people discover their true selves. This is one of the main arguments that can be put forward.

On the whole, these examples indicate that Prosperos actions prompt Ferdinand to discover the hidden qualities. In particular, Ferdinand discovers that he can be committed to the needs of another person. Shakespeare focuses his attention on the behavior of this character because in this way he tries to show love should not be confused with lust. Ferdinands transformation highlights the difference between these notions. This is one of the main aspects that should be taken into account by the readers of this play.

Works Cited

Shakespeare, William. The Tempest, New York: Simon & Schuster, 2004. Print.

William Shakespeares play The Tempest provides an in-depth description of the extent to which humans have subjected their fellow humans to injustices.

One of the most well described forms of injustice is slavery. Throughout the play, the theme of servitude is shown by the inability of various characters to obtain personal freedom. However, Acts III and IV move the theme of servitude into deeper and more complex levels, describing various forms of servitude.

In Act III, scene 1, different forms of servitude are evident. First, the reader is able to recognize that Ferdinand is committed to serve Prospero, a fact that he does not like. To make his duties to Prospero look pleasant, he assumes that he is working for Miranda, the woman he loves. In Ferdinand, the reader can perceive different forms of servitude. For instance, the love he has for different women clear indicates service to humanity.

Although he feels that his love for Miranda is real, he sees the love he has for other beautiful women as a form of slavery. For instance, in this act he is quoted saying, &Full many women/ I have had best regards, and many times, the harmony of their tongues has taken me into bondage&

In addition, Ferdinand is used to show the theme of service to duty. For instance, his loyalty to Prospero is for a reason- he wants to win Mirandas heart. Although he does not like his status, Prospero agrees that Ferdinand has loyalty and endures the wooden slavery (carrying heavy logs).

In the conversation between Prospero and Ferdinand, it becomes clear that Prospero sees Ferdinand as a loyal servant rather than a slave. In this case, it is clear that the reference to Caliban is used to show the different forms of servitude. For instance, Caliban is a total slave, whose entire life revolves around his services to Prospero. On the other hand, Ferdinands service to Prospero is not forced but dedicated to win Miranda.

The fact that Ferdinand humbles himself, both literally and physically, when he talks about his dedication to Miranda, is a clear indication of another form of servitude. He has mentally been enslaved by his love for the girl. On the other hand, Miranda speaks of a similar form of servitude, but in her own accord.

For instance, she says that her fathers precepts are somewhat a form of bondage to her, but she disregards them. In fact, it is clear that Prosperos presence in the scene is used to show his control Miranda.

In Act III scene II, the theme of servitude is elaborated further, but in the form of service to man. For instance, Caliban has become a servant to Stephano, who refers him as servant monster. In addition, Stephano, who is now the lord of the Island, controls Trinculo.

He threatens to kill him if he disobeys. Secondly, the Scene also reveals that a sorcerer in the island has held the invisible Ariel hostage. He is not able to leave the island, thus becoming the sorcerers slave.

In Act IV, it is clear that Prospero has been enslaved by his commitment to protect Miranda. In fact, he protects her virginity. He believes that it is his duty to ensure that she gets the right man at the right time, and is protected from lust displayed by love-hungry men.

In conclusion, the theme of servitude is portrayed in a deeper and more complex level. There is evidence of slavery versus duty. While such characters as Caliban are actual slaves, others like Ferdinand and Prospero are held hostage by their dedication for such issues as love and duty for Miranda respectively.

Such notions as personal identity or the Self have always been a subject of thorough psychological analysis. It is believed that under certain circumstances, the way in which a human being defines oneself may change. Writers and philosophers have always tried to explore this transformation. This process has been eloquently described in Platos book The Phaedrus and in Shakespeares play The Tempest. Naturally, the two authors try to do in drastically different ways.

Overall, it is quite possible for us to say that in terms of plot development, The Tempest is not a typical play of Shakespeare. The thing is that, as a rule, the dramatist gave preference to direct chronological order, but this comedy differs from the rest of his works. In particular, the opening scenes in the majority of Shakespeares comedies outline the development of the plot, whereas in The Tempest, the first scene gives the reader vertically no clues about what the play is mostly about. Only as the story progresses we may learn some information about the main characters. In this respect, Shakespeare wants Prospero to act as a narrator because the author wants to make the reader look through the eyes of the protagonist.

We may say that Prospero, the protagonist redefines himself several times: first, when he is forced to live on an isolated island, secondly, when he finally meets his rival and brother Alonso. When Prospero is exiled from his dukedom, he is still able to act as a true master. In fact, he becomes a true master of this place, where everyone under his command. It seems that Prospero has invented a new dukedom for himself, where he may have unlimited authority. In order to substantiate this statement, we refer to Gonzalos words, who says that Prospero has found his dukedom in a poor isle (Shakespeare, 138)

The second transformation is mostly connected with his daughter Miranda, when he finally analyzes that he has something more precious than power, particularly his daughter. However, it seems that the protagonist is still more concerned with authority.

Shakespeare describes the genesis of Prospero, showing how the views and beliefs of the main character change with time passing. In addition to that the playwright attracts the readers attention to this inner development by means of some stylistic devices and symbols, whereas Plato gives preference to logical argument. Socrates, the protagonist of many Plato works (and his teacher) represents the philosophers views. First, it should be pointed out that Prospero is a former Duke of Milan, and certainly once, he was a man of power, however, he was banished from the country, and now he has to live on the isolated island. This man is accompanied only by his daughter Miranda, who does not anything about his past. Although it is not explicitly stated in the text, it is quite possible for us to say that Shakespeare stresses the idea that in the overwhelming majority of cases, people define themselves in the wrong way or attach importance to some minor aspects of their life. As a result, they are not able to evaluate their actions in an adequate way. For instance, he calls his brother perfidious (Shakespeare, 14). It should be also taken into consideration that he refers to oneself in the third person, he says,

And Prospero the prime duke being so reputed
in dignity. and for liberal arts
Without a parallel ! (Shakespeare, 15)

The main character believes that he was unjustly deprived of his title and, what is more important the power. He claims that his brother Alonso is a usurper, however as it turns out, Prospero also wants to assume full control over other people, surrounding him. It will not be an exaggeration to say power is a sort of entertainment for him. In order to substantiate this statement, we may discuss the way in which he treats Ariel, whom Prospero is very reluctant to set free in spite of all his appeals. Moreover, he chooses to play with Ferdinand and his daughter Miranda, the protagonist departs the protagonist separates them for a while, though he knows it perfectly well that they are in love with each other.

To a certain degree, Prospero believes himself to be a playwright or even puppeteer. In this respect, it should be mentioned that Shakespeare deliberately makes Ferdinand and Miranda play chess, to emphasize the idea that these events remind a game of chess, and Prospero is the main player. This symbol also indicates that the main character mostly defines himself and a man, who above all desires power, which has become his main priority.

Only at the very end of the play, Shakespeare makes Prospero more compassionate and therefore more sympathetic. Namely, the main character is able to forgive his brother, Alonso, the person, who took his dukedom. In addition to that, he finally thinks about the happiness of his daughter. He also sets Aerial free, though very reluctantly.

Unlike Shakespeare, Plato does not focus on power in particular, he mostly stresses the idea that very often, a human being has a distorted image of oneself, why he or she may be unable to correctly identify his or her main goals. Socrates, Platos teacher and the main character of The Phaedrus says, I must first know myself, as the Delphian inscription says; to be curious about that which is not my concern, while I am still in ignorance of my own self (Plato, 5). Throughout the text, Socrates stresses the fact that that people may often be ignorant though they do not realize it.

The Phaedrus is constructed in the form of a dialogue or even dispute between Socrates and Phaedrus. The opponent of the famous philosopher attempts to prove that the art of rhetoric relies on the knowledge of truth:, Socrates rejects this idea by saying that the truth is a subjective notion and it can be easily distorted.

While speaking about Platos idea of the Self, we should say that he stresses the significance of doubt, which allows a person to a correct image of oneself. Socrates says that to some extent, every wise man is prone to doubt whereas fools always reject doubt deeming it unnecessary (Plato, 5).In Platos opinion, the ability to question the rectitude of ones actions is the necessary condition for any person, who claims to be wise.

In addition to that, Plato argues thatthat a person must realize that such notion as absolute truth does not exist. What a human being knows about oneself exists only in his or her consciousness. The author wants to prove that the perception of the world and oneself is often subjective, and thus it can easily be erroneous.

While arguing with Phaedrus, Socrates says the difference between the real and imaginary is almost impossible to see (Plato, 74). Thus, it is also difficult to see the difference between good and evil, justice and injustice. The main problem is that wise people know it, whereas fools are firmly convinced that reality and dream are quite distinguishable. Both, Plato and Shakespeare believe that a person prefers to live in the worlds of his dreams, deeming it the real one.

Therefore, it is quite possible for us to arrive at the conclusion that both authors explore the concept of personal identity in the following ways, first, in the Tempest, Shakespeare shows that a person is often inclined to redefine oneself as Prospero does. In particular, this character finds a new kingdom for oneself or even invents it. In his turn, Plato analyzes the nature of knowledge, particularly its subjectivity. Apart from that, he believes that a person must never reject doubt while defining oneself, ability to doubt distinguishes a wise man from an ignorant one. Finally, in Platos view, a human should first get a correct image of prior to influencing views of other people. If we try to draw the parallels between these two works, we may say that both Shakespeare and Plato show that we often create illusion for ourselves and believe them to be the real world.

Bibliography

William Shakespeare, John Edward Friend, Northrop Frye. The Tempest. Plain Label Books, 1959.

Plato. Benjamin Jowett. Phaedrus Forgotten Books, 1975.