Category: The Tempest

These years proved to be an age of new discoveries. The exploration of the New World was accompanied by intellectual breakthroughs that meant the beliefs and views previously held by society was changing and evolving (Prf. Steppart). Perhaps the most important theory for this discussion is the theory of the Great Chain of Being. This idea hypothesized that everything in the world had its place in a “divinely ordered hierarchy” (Graff Phelan 94). In overly simplistic terms, the hierarchal order was; God, Angels, Humans, Animals, Vegetables, and Minerals (Prf. Steppart). Humans sat in between Angels and Animals and therefore had the ability to sway to both sides. In order to remain human, they had to balance their animalistic appetites and separate themselves through intelligence and restraint (Prf. Steppart). Therefore, the defining factor between humans and animals was that animals were described as having “limited intelligence and awareness of their surroundings… unlike humans, they were thought to lack… the ability to use logic and language” (Prf. Steppart). This is interesting when considering the role of Caliban and the fact that the basis of Prospero and Caliban’s relationship relies on Prospero sitting higher than Caliban.

Caliban is introduced as being animalistic and his humanity is often questioned as Prospero states he is a “devil, a born devil, on whose nature nurture can never stick: on whom my pains, humanely taken, all, all lost, quite lost” (Shakespeare 4.1). Despite these claims, Caliban has the characteristics previously described as fitting into the human category. He is aware of his surroundings, and as he makes the claim that the island is rightfully his, he uses logic in deducing the only way to get his island back is to kill Prospero, and he also has the same language ability as all the other humans on the island. Regardless of this, Caliban’s humanity is still uncertain, and this is because he attempts to rape Miranda. This is the perfect example of a human who was swayed by animalistic desires and therefore fell from the human to the animal category. This led him to be punished by Prospero and forced into being his slave. Caliban resents Prospero for the shift of power but also resents Miranda for her efforts to educate him in their language. Miranda views this as a selfless attempt to civilize Caliban, while he views it as an extension of her father’s imperialism. Caliban makes it clear the only good thing about being forced to learn their language is “I know how to curse” (Shakespeare 1.2). It is also important as only through communicating with Stephano and Trinculo is Caliban able to orchestrate the rebellion against Prospero. The importance of this discussion comes down to Caliban’s fate. Shakespeare writes the ending which suggests Prospero is the winner in this situation, as Caliban’s plot was spoiled, he admits defeat and is dunked in horse urine. In summary, it seems as if the character of Caliban was written to affirm the values of the time that civilization and art are superior to animalistic impulses (Greenblatt 115). This is also apparent through the quote above from Prospero, that even though he has attempted to civilize Caliban, his nature overpowers nurture.

From this, a traditionalist would argue that Shakespeare presented a play that yes, is about imperialism, but also reveals the message that rather than one human having superiority over the other, it is more about civilization and culture being superior to the wild impulses of nature, which therefore leads to the discussion about the role of art in society. A post-colonial critic would argue Shakespeare wrote Caliban’s character with complexity in order to prompt the audience to question the validity of their current beliefs, which has the main political message that the colonizer didn’t necessarily win. Another important aspect to consider is that Prospero gains his power from his books, and in fact, his fall from Dukedom was due to him having more attention to his books than his duties. His books are symbolic of his unique use of power to control the world toward his desired ends. This can be linked to the role of the literary canon. Post-colonialists believe it is a record of the sex, class, and race relations at the time of each publication, and all literature is political whether it is intended to be or not (Will 111). Traditionalists argue this ideology “devalues authors and elevates the ideologists” (Will 111). The hybrid theory meets in the middle by agreeing to analyze the contextual politics, but at the same time take into consideration how the play functions in society throughout time, as a consequence of these integral and ever-present themes of sex, class, and race.

Therefore, it can be deduced that Shakespeare did indeed write The Tempest with the current ideologies surrounding colonization in mind. It can be assumed he buried them behind a false wall of agreeance in order to portray it in a realistic manner. Beliefs and values are fluid, and Shakespeare was well aware of this. He wrote a play that showed the minority living in a scenario where he was ultimately defeated, but he was heard, he is educated, and he nearly accomplished freedom. In some cases, the audience may have even grown to sympathize with his character and therefore question why they were dissatisfied with the ending even though from what they were taught, Prospero was the rightful ruler. In this case, Shakespeare also believed the function of literature was to create timeless truths because he acknowledged that artists are the ones with the power to say what cannot be said. Artists are the voices of the people, and so yes, their work is inundated with influence from their social conditioning, but social views are constantly moving and art is what propels them. That is why post-colonial and traditional criticism on their own is too constricting and narrow. One fails to acknowledge the importance of the aesthetic, and the other fails to acknowledge the universal and timeless political truths.

Through the transformation of character archetypes, both Hag-seed and ‘The Tempest simultaneously challenge the perspectives and assumptions of individuals, drawing insights gained in relinquishing control/power. Shakespeare’s perspective is shaped by Renaissance humanist values individuals value education and forgiveness. Shakespeare’s The Tempest is a pathetic fallacy of Prospero’s injustice and anger. 

Throughout Prospero’s epilogue, the structure and series of rhyming couplets draw significance to the theatric element that mimics internal change in Prospero. The peculiar rhyming scheme elevates the artistic value present in literature, “I deliver all.. catch the royal, let the elements be free”, “pardoning the deceiver”. The, doubled notions of freedom, from ‘The Tempest’ juxtaposes the turbulent vengeful storm and action, to calmness. As the ‘The Tempest’ calms so does he, indicated by stage directions [Exceunt]. By extension suggests that the element doesn’t control him. He becomes the metaphorical and literal jailor. The epilogue has a sense of catharsis releasing/removing all the values, and characters that inhibited his ability to inherit Christian humanist values, redeeming himself in the epilogue. Further, the metatheatrical element is hinted at via the altered conventions of Jacobean drama in stage directions, [EPILOGUE SPOKEN BY PROSPERO] “let your indulgence set me free”. 

It displays Prospero coming to the stage thematically linking him to Shakespeare and the play himself. The dialogue with the audience asks them to release him symbolically leaving literature. Atwood diverges from these values through her contextual issues, of emotional isolation and grief, arguing that these values are overcome by educating and selfless actions. Indeed, evident that Hag-seed finds foil characterization in the literature between Prospero and Felix, however, collides via the interpretation of literary appreciation. This is made explicit by the allegorical relationship with Ariel in The Tempest. “If you fix up what I have in mind,” says Felix, “I’m pretty sure I can get you early parole.” 8handz much like Ariel is presented as a respected assistant and colleague after doing Felix’s bidding. Felix’s selfless action reveals his intention to release the authority of 8Handz illustrating the extent of his moral conscience. More heavily implied in “The end game of this obsession wasn’t to bring his Miranda back to life. 

The endgame was something quite different”. The repetition of ‘Endgame’ implies that Felix’s character arc is inherently about the stages of grief. The experience of Fletcher’s correctional has fundamentally changed him, it has helped him overcome the desire to cling to his daughter, recognized in the third person narration “Already she’s fading, losing substance: he can barely sense her”. “What has he been thinking – keeping her tethered to him all this time? Forcing her to do his bidding”, The rhetorical question creates an aura of guilt forcing him to grapple with his grief. Rather than continuing the memory of his daughter, he sets her free. ‘to the elements be free” intertextual reference mirror Prospero’s relinquishment of control, aiding in the growth of Felix. Thus, Atwood unveils the effects of educating and processing grief on individuals. 

The Tempest is a play written by William Shakespeare. In this play, Prospero, who is the former Duke of Milan, uses his magic to signal a storm and plague the survivors of a shipwreck which includes his brother, Antonio, the King of Naples. Caliban, who is Prospero’s slave plans to free himself of his master but is prevented by Ariel, Prospero’s spirit servant. The young son of the King, who was thought to be dead, falls in love with Prospero’s daughter, Miranda. Their joy is short-lived when Prospero steps forward and reveals that he is the appropriate Duke of Milan. Once the families are reunited, Prospero grants freedom to Ariel and prepares to leave the island.

Most of the play is written in iambic pentameter, however, some of the play is also written in verse. Shakespeare used this to expose the density of Caliban. In The Tempest, when Caliban speaks in prose, he is conspiring with Stephano, and Trinculo, however, when he talks about how beautiful the island is, he speaks in verse.

Act I begins with a ship at sea during a terrible storm which is the product of Prospero’s magic. Aboard the ship are King Alonso with his two sons Ferdinand and Sebastian along with Antonio, who is the King of Milan as well as Prospero’s brother Gonzalo. The shipwrecks upon a Mediterranean island where Prospero lives with his 15-year-old daughter, Miranda. Prospero tells Miranda the story of how they came to live on the island and about the betrayal of his brother. He explains how they were removed from the island of Milan after Antonio made a deal with King Alonso. Prospero speaks with his spirit servant, Ariel about the shipwreck, she assures him that all the passengers are safe and unharmed. On the island, King Alonso fears that his son Ferdinand is dead, however, he is on the other side of the island. While there, he meets Miranda, and they fall in love. Prospero fears for his daughter’s fate and kidnaps Ferdinand and makes him carry wood. During all of this, Ariel starts to seek independence and Prospero promises her freedom after she completes more responsibilities.

In Act II all of the people, except for Ferdinand, are gathered in one place on the island. Gonzalo is the only one who believes that Ferdinand is safe. It is revealed that the shipwreck happened on a return trip home to England from Italy where they were attending the wedding of Ferdinand’s sister. Unable to be seen, Ariel interferes and puts all of the men to sleep, with the exception of Sebastian and Antonio. Sebastian and Antonio plot to kill Alonso while the others sleep, but Ariel begins to sing into Gonzalo’s ear and wakes him. Gonzalo screams and alerts the others. The two claims that they heard a terrible noise, and their excuse is accepted. On a different part of the island, Trinculo has discovered Caliban. Trinculo uses Caliban to shelter himself from an incoming storm and from the ship’s butler. A drunk Stephano finds them under the cloak with only their legs sticking out. Caliban is intoxicated as well and recognizes Stephano as a God. With Trinculo drunk as well, he does not like Caliban making a God of a drunken butler. The trio explores the island looking for food and water.

One of the themes of Post-colonial theory deals with identity in a personal and social context. The way an individual thinks of their own character and how they interact with the surrounding environment and society, has a major impact on the whole population.

The theoretical perspective or “lens” is described as a set of attributes and assumptions that are made about the reality of the world and how it functions.

It is closely tied to the culture, social structure, people’s roles within a nation, but most importantly, the unique characteristics that each person brings into the common collective. “The Epic of Gilgamesh” and “The Tempest” clearly illustrate the internal battle of a person with own “demons”, as well as with the surrounding world.

In “The Epic of Gilgamesh”, the main character is shown to be sure of his own strength and righteousness of feelings and thoughts. Gilgamesh takes what he wants without considering the personal feelings of women, who he forcefully abuses. His character is made up of human and God characteristics, which can be said about the modern people also, as everyone is a part of nature and divinity of the universe.

Often, people struggle between what a person wants for themselves, in a selfish and careless way, in relation to the greater truth and help that can be devoted towards other people. Gilgamesh goes through several epic changes within himself and the world he lives in.

When Enkidu is sent to control Gilgamesh’s temper, they battle, but later, become friends and this is a clear indication of the change that takes place in Gilgamesh’s character. He realizes that there are more important things in the world than own wants and needs.

Eventually, he loses his friend to an illness and learns the true value of friendship, pain and loss. This is very much true in the modern world, as even though the times have been modernized, people still learn through pain and suffering.

This is one of the reasons the story of Gilgamesh is applicable in the current days. Another connection to the present is the search for immortality. People want to become immortal without really appreciating the moments that must be valued every day and each instant.

“The Tempest” also describes a person’s character and the struggles one goes through in life. In the play, Antonio is Prospero’s brother but acts as a person who does not care about family and all he thinks about is greed and power. He will step over any obstacle to follow his own goals without paying attention to others. The first instance the audience experiences his character is when he hides his fear by blaming others.

He focuses all his attention on the faults and mistakes that other people make without giving much consideration to his own actions. This shows that a person has no want or need to think about own character and instead, thinks about other people and ways of finding wrongdoings in their behavior.

This sort of attitude is often exhibited by foolish and angry people who are unable to better themselves and so, they try lowering others to make their own individuality seem higher. These qualities can be observed in all human nations, as the interconnection between individuals and societies is still based on greed, power, class and insecurities.

Written by William Shakespeare, Tempest is a poem that exhibits the intriguing features of humankind. The poem is set on an island and it explores the characters by giving them a chance to experiment the human nature. Through the island, Shakespeare is able to describe the themes of power while Prospero explores his leadership skills. On the other hand, the poem the rape of the lock by Alexander Pope ridicules the habits of the upper-class people.

Shakespeare uses the island to experiment human qualities of different characters in his poetry. For instance, when Prospero’s brother is forcefully evicted from kingship, he moves to the island, which is like a testing ground for him and Shakespeare uses the island to promote the theme of power.

While on the island, Prospero eventually dominates all the other people on the ship yet his brother had taken his kingship away during his reign in Milan. Shakespeare seems to nurture both the negative and positive qualities of human nature. Intellectually, Shakespeare uses the events at the island to explore betrayal that exists among kingdoms and rulers on earth.

Through the poem/island, Shakespeare highlights the observations he has made in most kingdoms. Shakespeare uses the island to provide the failures of human leadership whereby, throughout his life he has seen betrayal/fights among the royal classes. Furthermore, Shakespeare describes the sexuality and abuse of humanity that goes on in many kingdoms; for instance, Caliban has not only attempted to seduce Miranda, a young girl, but also tried to rape her.

Through the author’s voice, the reader is able to condemn the evil or betrayal of human beings in the society. Additionally, using the island to symbolize the kingdom, the author provides conspiracy that occurs in most kingdoms because Antonio and Sebastian plot to kill Prospero yet he is the ruler/owner of the island. Therefore, Shakespeare not only uses the island as a kingdom to explore his themes, but also to nurture and reveal the characters of different people, which exists in the world.

Prospero is Shakespeare’s principal character who runs for his life after his brother attempts to eliminate him and take over the kingdom (Langbaum 20). Finally, he settles in the island and calls all people to board a ship. He invites people of all classes to live with him in the island ranging from servants/maids to royal class.

Therefore, the island is a testing ground, which gives him an opportunity to learn, nurture, and provide his leadership skills that his brother overlooked. While in the island, he uses his magical power to rock a ship, which has boarded many people.

Thus, through the island he manipulates the psychology of other people to emerge as the leader (king). While on the island, he cultures his genuine qualities as a leader. Moreover, his godly like character while on the island leaves the reader to categorize his behavior as a human leader because although he and powers to stop his brother’s hostility, he leaves him to take over, and decides to move to unknown island.

In addition, while in the island, Prospero cultivates the character of his daughter by giving her reasons why the island is the apparent home for them. Therefore, the island acts as a rescue home where he experiments his leadership powers testing the people and eventually emerging as a true leader.

On the other hand, the rape of the lock is a comical poem that ridicules the elite community especially the leaders/upper class. Though holding high position in the society, the high and might let petty issues to sweep their emotions; something that connects the upper social class with the lower social class. The first people that Pope ridicules are women who are self-centered; they care so much their physical appearance rather than their morality.

For instance, though beautiful, Belinda has a wide collection of beauty accessories meant to attract men, which not only makes her outstanding, but also leads her to seek fame through competition. Pope uses trivial events like playing cards to highlight the extent that people in the society can go to seek fame. Due to envy, women are unable to protect each other; for instance, Clarissa conspires to bring down Belinda’s beauty.

Therefore, the competition for trivial things like husbands makes paints women as evil people in the society. Pope also ridicules high men in the society who take pleasure in devouring the innocent young women by sexually assaulting them. In the first stanza, section I, Pope mocks the great or upper class in the society when he says, “what mighty contest rise from trivial things” (line II par.1).

Moreover, by using the element of juxtaposition, Pope belittles the hero nature of Belinda especially when he says, “nymph shall break Diana’s law or soma frail china’s jar” (section II, stanza VII, lines 106-107). Thus, with the use of funny object or non-important things, Pope undermines the mighty in the society achieving his goal of pointing out the loss of virtues among the leaders.

In summary, both Shakespeare and Pope communicate effectively to their societies through poetry. While Shakespeare uses the island to explore his themes, Pope uses comic and juxtaposition to ridicule the elite in the society.

Works Cited

Langbaum, Robert. Shakespeare’s The Tempest. New York: Signet Classic, 1998.

Pope, Alexander. The rape of the rock, 2009. Web.

In his play, The Tempest, Shakespeare poses a range of ethical questions to the readers. The most peculiar ones concern the use of people and the manipulation of their actions and emotions for the “greater good” of the other characters. Although the reasons behind these manipulations seem rather legitimate, Shakespeare makes it clear that the ends never justify the means.

For example, Prospero uses Ariel in the course of the entire play instead of granting the spirit the long desired freedom, which is a rather mean thing to do.

Even though Prospero managed to accomplish much with Ariel’s help, the fact that he had been deceiving the latter makes the results look rather cheap. It would be much more ethically appropriate if Prospero granted the spirit his freedom and then asked to help him. However, Prospero prefers an easier and much more unethical method:

“Thou and thy meaner fellows your last service
Did worthily perform; and I must use you
In such another trick” (Shakespeare 194).

It is also important, however, to consider the situation from Prospero’s perspective. This leads to yet another ethical problem related to the use of people by convincing them in a specific idea. Prospero’s use of Alonzo after misinforming the latter about his son’s presumable death is the first problem that comes to mind.

Although the method that he used to take control over Alonzo is unreasonably cruel, the outcomes of this deception might actually prove worth Alonzo’s pain. In The Tempest, after the ship crashes, Ferdinand wakes up to see only its remnants and come to the conclusion that he was the only one left alive. Alonzo, on the other hand, never knew if his son stayed alive until Prospero came to announce that Ferdinand was dead:

In their distractions; they now are in my power;
And in these fits I leave them, while I visit
Young Ferdinand, whom they suppose is drown’d,
And his and mine loved darling. (Shakespeare 186)

That being said, it is clear that Prospero has no right to force Alonzo into following his directions by convincing him that his son was dead. While the given lie has served its purpose well, allowing Prospero to take control of Alonzo’s actions for a while and at the same time contributed to the development of Ferdinand’s relationships with his true love, the given lie came at the cost of the father’s emotional tortures and incredible pain of losing his only son.

Ferdinand also considered his father dead, and must have gone through the same emotional turmoil, suffering just as hard. However, in Ferdinand’s case, the emotional pain was the result of a misunderstanding – after the ship wrecked, Ferdinand came to the assumption that he was the only survival completely on his own. Therefore, no one was to blame in Ferdinand’s case.

As for Alonzo, Prospero was carrying a burden of considerable moral responsibilities. Despite the “happy ending” and the eventual reconciliation, Prospero’s deception of Alonzo was not worth the suffering that the latter had to go through, which once again proves that the ends never justify the means.

In general, Prospero’s ends never justify his means. As a result, it is not surprising that Prospero refuses to use magic in the end of the play:

Yet with my nobler reason ‘gainst my fury
Do I take part: the rarer action is
In virtue than in vengeance: they being penitent,
The sole drift of my purpose doth extend
Not a frown further. Go release them, Ariel.
My charms I’ll break, their senses I’ll restore,
And they shall be themselves. (Shakespeare 226)

The given excerpt shows how wrong the situation can get when too much power is offered to the wrong person. While Prospero possessed amazing magic skills, he failed to use them so that none of the people involved could get harmed. Thus, the wise decision that he makes at the end is the most reasonable step possible.

Works Cited

Shakespeare, William. The Tempest. Washington, DC: Washington Square. 2004. Print.

William Shakespeare’s “The Tempest” has several characters that can be seen as “the bad guy”. Both Caliban and Antonio might seem as unpleasant but Caliban has his reasons, which could be understood while Antonio’s are much different.

In the play, Antonio is Prospero’s brother but acts as a person who does not care about family and all he thinks about is greed and power. He will step over any obstacle to follow his own goals without paying attention to others. The first instance the audience experiences his character is when he hides his fear by blaming others.

When he says: “Hang, Cur, Hang! You whoreson, insolent noisemaker…” (Shakespeare 9) it is made clear that he has no respect for others and considers himself the wisest person around. He focuses all his attention on the faults and mistakes that other people make without giving much consideration to his own actions.

This shows that a person has no want or need to think about own character and instead, thinks about other people and ways of finding wrongdoings in their behavior. This sort of attitude is often exhibited by foolish and angry people who are unable to better themselves and so, they try lowering others to make their own individuality seem higher.

Comparing to Caliban this is much different because for Caliban his island is his home and all he wants is to protect it. At the same time, he is made a slave and now belongs to Prospero. Anyone in his position would do the same, as he was used to enjoying a relative freedom whereas now, he has to serve, on his own island nonetheless.

William Shakespeare creates a great contrast between Antonio and others by involving him in a plot to take over the ownership of the island and by his constant foolish, coward and selfish actions.

The diminishing tone in which he speaks of other people is present throughout the play and gives the audience a constant look at his true character. Among other negative characteristics, Antonio is shown as being deceiving and conniving. The way he talks to Sebastian and persuades him to commit murder is another example of his character. He is very sneaky and knows how to reach his own goals over others’.

The contrast is again made with Caliban where the latter is sensitive in his speeches about the island and its beauty. This shows that he also cares deeply about his some and has a sense of belonging to something outside himself. The story with Antonio is much different because all he cares about is his persona and wants everything for his egotistical individuality. A clear fact that he loves only himself can be seen when he states:

• And look how well my garments sit upon me;
• Much feater than before; my brother’s servants
• Were then my fellows; now they are my men. (Shakespeare 71).

There is no doubt in the audience’s mind that all the tricks that Antonio thinks of are his own and he only expects to have all the riches to himself. Even though he seems to be friends with Sebastian, people like him can never respect others.

The effect that Antonio creates is very negative and evil. He is the worst person amongst others and Shakespeare made sure that all the characteristics of “the bad guy” are present.

Works Cited

Shakespeare, William. The Tempest. New York, United States: Washington Square Press, 1994. Print.

Introduction

In his drama The Tempest, Shakespeare combines the supernatural dimension with real, when describing the details of the royal intrigues in the Kingdom of Naples. Dated back to the seventeenth century, the play depicts the power of compassion and forgiveness, showing that men of real integrity can overcome betrayal, raising through confinement to spiritual freedom. A brief analysis of the story’s plot, theme, and discussion of the main characters convey the idea of personal liberation through mercy.

Summary of the Plot

Shakespeare’s play The Tempest is a story of the magical loss and restoration of the man’s power, wherein actions develop in the unchronological order, simultaneously showing past and present events. According to Blair, Pettit and Page (2018), long before the present days, the ascendancy in Milan belonged to Prospero, a lawful ruler of the city. However, through corruption and deceit, Prospero’s brother, Antonio, usurped the power and exiled his relative to the remote island, where he now lives in the company of Miranda, Ariel, and Caliban (Blair, Pettit and Page, 2018). Enslaved by the deposed ruler, Ariel, a magical spirit, and Caliban, a native of the island, have to serve Prospero, following his orders.

The present action begins with Antonio, a Duke of Milan, and Alonso, King of Naples, captured on a ship in a severe storm. As explained by Blair, Pettit and Page (2018), scared by the power of the tempest, the two men do not surmise that the squall can be caused by the magical intervention of Prospero and his mystical friend. Through supernatural powers and deception, the deposed ruler hopes to shipwreck the betrayers and take revenge, eventually regaining his title.

However, when Prospero’s plans come to reality, the man unexpectedly decides to grant mercy to Antonio and Alonso in exchange for his dukedom (Blair, Pettit and Page, 2018). “Thou shalt be free /As mountain winds: but then exactly do/All points of my command” (Shakespeare, 2013, p. 92). Realizing the power of forgiveness, the man returns to Milan and blesses the marriage of his daughter, Miranda, and Alonso’s son, Prince Ferdinand (Blair, Pettit and Page, 2018). By restoring his lawful rule, Prospero defeats the evil, proving that love is stronger than hate, and forgiveness is stronger than revenge.

Analysis of Characters

Relationships of the two brothers, Antonio and Prospero, lay in the core of Shakespeare’s play. The author uses sharp contrast to emphasize the distinctions in their personalities. On the one hand, Antonio is depicted as a despicable, sordid traitor with little moral principles (Blair, Pettit and Page, 2018). Willing to sacrifice the well-being of his brother in exchange for the crown, he violently seizes power from his relative. “What thou shouldst be. /Th’ occasion speaks thee, and/My strong imagination sees a crown/Dropping upon thy head” (Shakespeare, 2013, p. 118). Obsessed with the desire for power, Antonio persuades Sebastien to kill his brother, Alonso, following his example of the rule’s expropriation (Blair, Pettit and Page, 2018). Though the man’s intent never comes true, the situation demonstrates the extent of his infamy.

On the other hand, Shakespeare creates an image of Prospero, a noble and merciful ruler of Milan. Though, as stated by Blair, Pettit, and Page (2018), the duke sometimes appears delinquent to his duties, his order is lawful. When deposed after Antonio’s betrayal, the man attempts to take revenge over his brother, using magic, cruelty, and intimidation (Blair, Pettit and Page, 2018). “This thing of darkness I/ Acknowledge mine” (Shakespeare, 2013, p. 277). However, by the end of the play, he comes to the revelation that such methods confront his nature. Consequently, instead of torturing his affronters, the man grants them forgiveness, showing an example of kindness and compassion.

Themes

Apart from the reoccurring theme of forgiveness and compassion discussed at length earlier in the essay, Shakespeare conveys the topic of colonization in his work. As noted by Asif (2017), the historical context of the drama is linked to the active process of British colonization. Through relationships between Prospero and Caliban, the author condemns the unjustified inequality in conquers’ attitudes toward natives. Furthermore, Shakespeare takes a step forward, suggesting that colonization created a basis for slavery and racism. A vivid example of the statement above is Sebastian’s comment regarding Alonso’s permission for his daughter to marry an African (Asif, 2017). In The Tempest, Shakespeare thrives on explaining that native people should not be humiliated for their order of life and adherence to old traditions.

Another significant theme present in the drama is magic, illusion, and true identity. Tuglu (2016) suggested that Shakespeare’s decision to incorporate supernatural powers in the play is intended at revealing characters’ and the playwright’s true selves. From one perspective, Prospero’s magic and illusion help the audience to see the corrupt nature of Antonio and Sebastien. Another interpretation concerns the fact that The Tempest is Shakespeare’s last theatrical creation (Tuglu, 2016). Similar to the way Prospero sets his offenders free with magic, the playwright takes a final bow with the final lines of the epilogue, wherein he asks the audience to release him with their applause. “Let your indulgence set me free” (Shakespeare, 2013, p. 233). While some literary critics still argue about the relevance of this phrase to the end of Shakespeare’s career, a clear connection can be seen between the writer’s actions and the last words of Prospero.

Personal Opinion

For me, Shakespeare’s play The Tempest serves as an eternal warning for humanity regarding the danger of power. Just like Antonio, who was ready to sacrifice his brother’s life for the crown, thousands of people now put their pursuit for ascendancy before personal relationships. The play describes the horrific extent to which the illusion over dominance and mastery can extend, apprising the audience of this misapprehension. “We are such stuff as dreams are made on, and our little life is rounded with a sleep” (Shakespeare, 2013, p. 63).

In other words, individuals who consistently seek power are compared with those dreaming, which symbolizes their misconceptions. Instead of finding actual value in human relationships, they fall for the superficiality of money and authority. Apart from the adherence to material things, the endeavor for power deprives people of their inborn qualities of humanity and compassion, creating a basis for discrimination. Similar to Prospero in The Tempest, who declared his supremacy over Caliban, those disillusioned with authority might feel superior to others.

Conclusion

Ultimately, the topic of forgiveness and humanity constitutes the central moral component of Shakespeare’s The Tempest. A brief overview of the play’s plot and relationships between the main characters shows that an unhealthy obsession with power often deprives people of their inborn compassion and kindness. Instead of falling for the illusions of material assets, individuals should value human relationships, respecting other’s ways of life and unique personalities.

Reference List

Asif, M. (2017) ‘The Tempest: a postcolonial analysis’. Journal of Social Sciences, 8(1), pp. 192-209.

Blair, S., Pettit, M. and Page, P. (2018) Shakespeare’s The Tempest: a graphic edition with CSEC study guide. London: Hachette UK.

Shakespeare, W. (2013) The Tempest: Evans Shakespeare edition. Edited by Grace Tiffany. New York: Simon and Schuster.

Tuglu, B. (2016) ‘Identities in The Tempest, tempests in identities’. International Journal of English and Literature, 7(5), pp. 62-68.

The relationships between fathers and daughters are usually particular. This connection is greater when a father have to bring up a daughter himself. It is obvious that no matter how old a daughter is a father always considers her as a small girl who needs care and protection.

The appearance of one more man near a lovely daughter is usually considered as the attempt to still the dearest person in the world, that is why many fathers are usually against their daughters’ relationships with other men no matter how good these men are. The denial is the first reaction fathers usually experience and their desire to check a man is understood.

One of the main conditions according to which a daughter is going to be protected in the future is the strong assuredness that a daughter is in good and loving hands, protected like under the father’s care. Reading the play The Tempest by William Shakespeare, it becomes obvious that the same situation is happening among Prospero, Miranda and Ferdinand.

Starting the discussion with Prospero and Miranda it should be mentioned that living on the island, Prospero understands how cruel the surrounding world may be. However, Miranda is really naïve and cannot distract the simple problem from the real disaster.

Taking care for a daughter, Prospero is ready to create the fake problems and put the intentions of loving Ferdinand under question just to make sure that the man is ready to fight for his daughter and to win in this battle.

At the very beginning of the play Prospero says the following to Miranda,

I have done nothing but I care of thee,

Of thee, my dear one, thee, my daughter, who

Art ignorant of what thou art, nought knowing

Of whence I am: nor that I am more better

Than Prospero, master of a full poor cell,

And thy no greater father (Shakespeare 7).

This phrase directs the further relations between Prospero, Miranda and the men who surround her. Everything Miranda knows is the merit of her farther. Being educated, polite and well bread, Miranda is a great example of an ideal daughter and a wife. It seems that father is going to be glad when she meets a person with whom they are going to live together, however, everything is absolutely different.

Trying to make sure that Miranda is going to be safe and protected, Prospero in interested in pleasing her at the island. Still, he could not predict the appearance of Ferdinand who spoiled all the dreams of the father. Each father wants their daughters to be happy, however, at the same time, many fathers are sure that their children are going to be near them all the time.

The appearance of Ferdinand on the island and the first scene where Miranda and Ferdinand meet each other seems too dangerous for Prospero. Prospero cannot trust Ferdinand and tries to check his intentions.

Prospero understands that Miranda is going to fall in love with Ferdinand as there is no another way out. A girl has been at the island for the last 12 years (since she was 15) and the natural desire of a young woman to love and to be loved is essential. However, Prospero does not want Ferdinand to get such a great woman as his daughter for free, without battles.

Prospero understands that being restricted from the whole world, Miranda is not going to reject Ferdinand’s courtship. At the same time considering his daughter as a great prize, too expensive and unique, Prospero uses his magic to force Ferdinand to suffer. Even though Miranda has never been fallen in love, she understands that she is ready to do anything for her lover,

[I weep] at mine unworthiness, that dare not offer

What I desire to give, and much less take

What I shall die to want. But this is trifling,

And all the more it seeks to hide itself

The bigger bulk it shows. Hence, bashful cunning,

And prompt me, plain and holy innocence.

I am your wife, if you will marry me.

If not, I’ll die your maid. To be your fellow

You may deny me, but I’ll be your servant

Whether you will or no (Shakespeare 60)

The further dialogue is the expression of the feelings where two young people exchange the desire to be together “a thousand thousand” hours (Shakespeare 60). Even though this scene presupposes that two lovers are not going to meet any difficulties, that these people are not going to suffer, Miranda’s father thinks differently.

The story of love discussed in the play is like any other love-story has to suffer greatly to have a happy end. Being able to control everything and everyone on the island, it is difficult to imagine that Prospero is not going to use an opportunity to create difficulties for the fiancé if the bride is not ready (or is not taught) to create those.

It is impossible to say whether it is the desire to make sure that all the rules are followed as when people love each other they are to be together. It seems that the author of the pay intentionally creates the sarcastic situation. Lovers can be together without any difficulties, however, the usual estate of affairs is different and there is a person who can create the complications.

Still, the lovers are predicted to be together. The author shows the reader that it is Prospero who unites two lovers to underline the fact that everything on the island is under his control.

Therefore, it may be concluded that the romantic relationships between Miranda and Ferdinand are possible only because Miranda’s father allows them. At the same time, looking at the situation from the perspective of the acknowledgeable audience, it becomes obvious that Prospero is exactly the person who has created additional circumstances on the way for lovers’ union.

Why is it necessary? Whether the desire to create the situation which usually appears is that great? Reading the final words Prospero expresses to the audience, it becomes obvious that Prospero believes himself the director of the destinies of people who surround him.

Miranda and Ferdinand’s love is neither predicted nor directed by Prospero, that is why he wants to make sure that all the occasions which happen on the island (like it was before Ferdinand and his family arrived) are caused or controlled by him.

“Our revels now are ended. These our actors…” (Shakespeare 82) are the final words in the play which support the idea of Prospero’s desire to control the whole island with people there. Therefore, the love of two people sometimes depends not on the circumstances which appear, but on people who surround them as sometimes the desire to be the main person in the lives of others may put under question the positive intentions.

Works Cited

Shakespeare, William. The Tempest. New York: Cricket House Books LLC, 2010. Print.

Ariel is one of the main characters in William Shakespeare’s play The Tempest. Considering that this character is not a person but a spirit, one should consider character traits and external features in revealing the character in the staged play. He is incredibly empathetic and quickly catches the eye, as he stands out with extreme empathy towards other characters.

In this case, this character should be shown in the form of an innocent child who has no evil intentions. Again, given that the surface is a spirit, it would make sense to leave him genderless and play around with his dialogue sometimes without the actor/actress being directly on stage. This character should be barely visible and yet be present in the final scene where he receives his freedom from Prospero.

The light and accompaniment of this character will play an important role. In Shakespeare’s play, Ariel always appears to music. In one of the scenes, he has to show the way to Ferdinand with his singing, giving clues and parting words to the latter about his father’s whereabouts. The light, in this case, should be as dim as possible, and the only light source should be the spotlights above the stage, which will especially emphasize the intangibility and invisibility of the character.

Also important is the costume and make-up of the actor or actress who will play the role of this hero. Its wings and body should be snow-white, shimmering in moments of golden hues. This will again give this character its inherent qualities, unlike other characters who rush from side to side, from good to evil, from evil to interest. Ariel is a highly positive character, which is why this choice will be justified and not cause additional questions from the viewer.

In conclusion, it is worth adding that the complexity of Ariel lies precisely in the transfer of its features. From the beginning of the first act to the end of the play, the viewer must understand when and how Ariel appears. Other actors must work in a unique way on their facial expressions and body language, creating the illusion of the presence of the spirit on stage when the actor or actress will not appear on the main stage.