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Forbidden planet and the tempest comparison
Forbidden planet and the tempest comparison
The tempest forbidden planet parallels
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Comparison of Shakespeare's Tempest and Forbidden Planet
On first glance, Forbidden Planet can easily be seen to parallel many other
works relating to technology, nature, or both. One of the most obvious
parallels is, of course, to Shakespeare's The Tempest, the story of a man
stranded on an island which he has single-handedly brought under his control
through the use of magic. Indeed, the characters, plot, and lesson of Forbidden
Planet mirror almost exactly those of The Tempest, with the exception that where
The Tempest employs magic, Forbidden Planet utilizes technology. At this point,
it is useful to recall one of Arthur C. Clarke's more famous ideas, which is
that any technology, when sufficiently advanced, is indistinguishable from magic.
Indeed, the technology presented in Forbidden Planet is not meant to be
understood by the audience, but rather is, for all intents and purposes, magic.
This is undoubtedly in part because the technology doesn't exist and therefore
cannot be explained to us. What is more important, however, is that how the
technology works is irrelevant for the purpose of the movie, which is to
entertain and to teach us a lesson about man's control over the elements and
over his own technological creations.
At this point a brief synopsis of the movie would seem to be in order,
with special attention as to how it relates to The Tempest.
In The Tempest, a man named Prospero and his daughter Miranda have been
exiled to a remote island which is completely uninhabited, save for an evil
monster and her son Caliban, and which is in a state of primal chaos. Using the
magical powers he has cultivated all his life, Prospero gradually brings the
forces of nature on the island under his control, and manages to somehow enslave
Caliban, whose mother has died in the interim. (Some of these details are fuzzy
because I am familiar with The Tempest only through Marx). A group of sailors
is shipwrecked on the island, one of whom falls in love with Miranda, the lovely
daughter of Prospero. Eventually, Caliban and other servants plot to overthrow
Prospero, but are thwarted and taken back into servitude, thankful to get off
that easily.
Having summarized The Tempest, it is easy to summarize Forbidden Planet.
A man named Dr. Morbius and his daughter Altaira are stranded on a distant
planet when a government ship lands there, whose commander falls in love with
the beautiful Altaira. The only significant difference in the two works, other
then setting, is the conclusion of each. Before we look at the differences
With the semester coming to an end, many students are excited. This especially includes those who will be graduating soon. However, graduation can be seen as a bittersweet moment. On one hand, the graduates enter into a new chapter in their lives. On the other hand, they may lose communication with some of their friends. Unfortunately, this is a natural aspect of each person’s life. Everyone will experience some kind of loss in their life, whether it is person or an object. In The Tempest, Shakespeare discusses the topic of loss. While this theme is not talked about much compared to other themes in the play, it is very important since it is a theme that is included in the 1956 movie adaptation Forbidden Planet. While both works illustrate the ways people deals a loss, the later work demonstrates how the advancement in the world have affected the way modern society
The island is full of noises; Sounds and sweet airs, that give delight,” says Caliban. The responses which the characters in The Tempest offer to their immediate surroundings reveal much about their individual traits, at the same time they allow the audience glimpses of Prospero's island as different parts of the island are isolated in the play. The island itself and the sea that surrounds it may be seen as encompassing elemental nature and throughout the play, the elements are used to emphasize the inherent nature of characters (notably Ariel and Caliban) as these elements to an Elizabethan audience possessed "primarily certain qualities attributable to matter" (Tillyard's Elizabethan World Picture). The imagery of clouds dissolving and melting, or reason that had ebbed flooding back, and in changes of state between sleeping and waking all draw on images from the natural environment that extend the main thematic concerns in The Tempest. Analogies may also be drawn between the macrocosm and microcosm and how disorder in one corresponded to disorders in the other.
Brutus’ flaws are not numerous, but the flaws that he does have are major. He is easily manipulated, as shown by Cassius’ trick letters from Roman citizens. Cassius says, “I will this night/ In several hands, in at his windows throw,/ As if they came from several citizens,/ Writings, all tending to the great opinion/ That Rome holds of his name” (899). Brutus holds the opinions of his fellow Roman citizens in high regard and will defend their views with all his might. Cassius sends him these letters to effectively manipulate him. Brutus also does not make good decisions regarding the conspiracy. He allows Mark Antony to speak after he does in the short time following Caesar’s death. Antony has harsh and unforgiving words toward Brutus and the other conspirators during his speech which cause the ultimate decline of Brutus. His speech is a eulogy to Caesar and a belligerent attack on his enemies. “You all did see that on the Lupercal/ I thrice presented him a kingly crown,/ Which he did thrice refu...
... present in all eras of literature. The tragic hero has been present almost as long. Hamlet, Oedipus, and Ralph all are tragic heroes. If this is true, then I feel it is safe to say that Brutus is a tragic hero as well. He shares many character qualities with the other tragic heroes. So, if we say that Brutus is a tragic hero, then we are once again at that same question: “What is his tragic flaw?” I would say that Brutus’s tragic flaw is his pride. He is too proud as a Roman to let Caesar take control of the empire, too proud to let Antony be killed, and too proud to be taken prisoner. It is because of this pride that he takes his own life, finishing the tragedy. Brutus leads the action in the play. Brutus causes the play. Brutus dies to end the play. Brutus is absolutely a tragic hero.
The first topic covered will be the plot which was mostly accurate despite the shortened aspects of the film. The
The tragic flaw of naivety dooms Brutus to make a tragic error in judgment. He only joins the conspiracy because he is manipulated by C...
need to see the whole film to know the story line to back the film see
In discussing Derrida's view of Western literature, Geoffrey Hartman writes that "Western tradition has been marked . . . by a metaphysics of light, by the violence of light itself, from Apollonian cults to Cartesian philosophies. In the light of this emphatic light everything else appears obscure; especially the Hebraic development of aniconic writing and self-effacing commentary of textuality" (xix). This point is well illustrated by the nature of Prospero's power in The Tempest for his control of natural and supernatural forces is achieved through book-learning the bringing to life of Logos. That which Prospero does not control completely is the vilified character of Caliban. The denigrated and unwilling servant seems to represent Prospero's shadow, and in light of the above statement, perhaps Caliban represents the shadow of our light-infused Greco-Roman style of domination of the material world. The text tells us that when Prospero first arrives on the island Caliban willingly reveals its secrets to him. Only when Caliban threatens the chastity of Prospero's daughter, Miranda, does the relationship turn into one of master and slave. Prospero thus draws the line between the shadow realm and purity. His action suggests that sexuality, too, must be kept in a role of servitude if one is to retain control of one's kingdom. In affirming this schism, Prospero simply enforces the dualistic nature of the Western tradition. In heaping scorn upon Caliban, Prospero embodies the West's extreme dualistic nature vis-a-vis its perceived schisms existent between light and dark, mortal and immortal, good and evil.
The theatre metaphor also helps to explain why, in the last analysis, Prospero has to surrender his magical powers. Life cannot be lived out in the world of illusions, delightful and educative as they can often be. Life must be lived in the real world, in Milan or in Naples, and Miranda cannot thus entirely fulfill herself on the island. The realities of life must be encountered and dealt with as best we can. The world of the theatre can remind us of things we may too easily forget; it can liberate and encourage youthful wonder and excitement at all the diverse richness of life; it can, at times, even wake people up to more important issues than their own Machiavellian urge to self-aggrandizement, and, most important of all, it can educate us into forgiveness. But it can never finally solve the problem of evil, and it can never provide an acceptable environment for a fully realized adult life.
The textbook defines evolution as the way a species or a population is changing throughout time through the allele frequencies of a gene pool. The gene pool is what makes the species different from others in genetic information carried by the population. The way about the change in species is the explained through the mechanisms of evolution. These mechanisms can be described with these four terms: mutation, gene flow, genetic drift, and natural selection.
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.
“The Tempest” is a play written by William Shakespeare in early 1600s that has been previewed in different kinds of movies, such as the one made in 2010, directed by Julie Taymor. It is a play containing themes such as; revenge, allusion, retribution, forgiveness, power, love and hatred. When it is compared to the play, there are specific differences seen in the movie, such as; Prospero is reflected as a woman in the movie. The time differences between the play and the movie and how the spirit Ariel is shown as a white man in the movie. The play starts with the story of Prospero, the Duke of Milan. He gets banished from Italy and was cast to sea by his brother Antonio. He has perfected his skills during twelve years of exile on a lonely island. Prospero creates the tempest to make his enemies’ ship to wreck and lead them to the island. Meanwhile, Antonio takes Prospero’s place and starts to make everyone believe he is the duke and makes an agreement with the King of Naples, Alonso. Besides the drama happening in the island, Prospero forgives Alonso and the others.
It makes sense to me to see in this Shakespeare's sense of his own art--both what it can achieve and what it cannot. The theatre--that magical world of poetry, song, illusion, pleasing and threatening apparitions--can, like Prospero's magic, educate us into a better sense of ourselves, into a final acceptance of the world, a state in which we forgive and forget in the interests of the greater human community. The theatre, that is, can reconcile us to the joys of the human community so that we do not destroy our families in a search for righting past evils in a spirit of personal revenge or as crude assertions of our own egos. It can, in a very real sense, help us fully to understand the central Christian commitment to charity, to loving our neighbour as ourselves. The magic here brings about a total reconciliation of all levels of society from sophisticated rulers to semi-human brutes, momentarily holding off Machiavellian deceit, drunken foolishness, and animalistic rebellion--each person, no matter how he has lived, has a place in the magic circle at the end. And no one is asking any awkward questions.
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.
During England’s Elizabethan period, people were captivated by magic and the supernatural. During this period there was little distinction between science and magic. Educated people practiced medicine, astrology, alchemy, sorcery, and tried to control the elements. Some scholars conclude that controlling the elements of nature is an underlying basis for early science and some religions (Hopfe). One of the most famous Elizabethan scientists, and one who Queen Elizabeth herself kept on staff was Dr. John Dee (Woolley). John Dee was also known as a magus, a title given to someone who was considered a master magician or adept in astrology, alchemy, or sorcery (Melton). Evidence for this cultural preoccupation with magic during the Elizabethan period can be found in many of William Shakespeare’s plays, including his final work, The Tempest, which was written between 1610 and 1611. It is widely believed that Shakespeare may well have had Dr. John Dee in mind when creating the character of Prospero (Woolley). Prospero, the play’s protagonist, is a master magician. At its core, The Tempest entertains an underlying theme of justice and forgiveness for Prospero’s brother usurping and exiling him and his daughter to a desolate foreign isle, but more prominent is Prospero and Ariel’s use of magic and manipulation of the elements. Magic plays such a key role in the play, that it could be defined as an additional character. In fact, if it weren’t for the plays heavy use of magic, The Tempest Would be boring and uneventful, and we would be left with only a man stranded on an island with his daughter and a helpful and deformed native inhabitant named Caliban.