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Miranda the tempest diary essay
Write briefly on Shakespeare s characterization of prospero in The Tempest
Write briefly on Shakespeare s characterization of prospero in The Tempest
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Recommended: Miranda the tempest diary essay
Defending Prospero in The Tempest
In William Shakespeare's The Tempest, the character of Prospero brings about a great deal of debate. Modern literary critics are quick to use him as a poster child for English colonial practice in the sixteenth and seventeenth century. Many see him as person who desires complete control of everything around him from the fish-like monster Caliban to his spirit servant Ariel, even his own daughter Miranda. Others believe that Prospero's sole motive is revenge on his brother Antonio and those associated with the established power in Naples and Milan. Taken out of context, these are reasonable conclusions. However, in the development of the play, it is quite clear that these critics are incorrect. Shakespeare does not use Prospero as the symbol of European expansion westward and although Prospero is quite powerful, he is not a power hungry egomaniac. Instead, Prospero is the very figure of a noble father. He loves his daughter so much that he sacrifices everything to give her the best opportunities for a good life. He is the slave of duty, working for the good of his people. His desire for revenge is also clearly not a motivation as he finds the strength to forgive his brother at the play's conclusion. Therefore it seems that Shakespeare's character is not being used to show the dark side of humanity, but rather the nobility of humanity and the model of a seventeenth century father.
When it comes to Miranda, Prospero can never do enough for her. Prospero's second lines states, "I have done nothing but in care of thee, of thee, my dear one, thee, my daughter" (Prospero, I, ii, 19-20). Although this line can be interpreted many ways, even as an outright lie, the assumption has to b...
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...ritical Study. " 336-82. Cambridge: Cambridge UP, 1991.
Curry, Walter C. "The Characters of Shakespeare's The Tempest," Early Early Modern Literary Studies. Vers. 5.1. May 1999.
Dzelzainis, Martin. "Shakespeare and Political Thought." A Companion to Shakespeare. Ed. David Scott Kastan. Massachusetts: Blackwell Publishers Ltd., 1999. 100-116.
Gervinus, G.G. "A review of The Tempest." Shakespeare Commentaries. (1877):787-800. Rpt. Scott. 304-307.
Sacks, David Harris. "Political Culture." A Companion to Shakespeare. Ed. David Scott Kastan. Massachusetts: Blackwell Publishers Ltd., 1999. 100-116.
Shakespeare, William. The Tempest. Ed. Rex Gibson. Cambridge: Cambridge UP, 1995.
Snider, Denton J. "A review of The Tempest." The Shakespearian Drama a Commentary: The Comedies. (1890). Rpt. Scott. 320-324.
Iser, Wolfgang. Staging Politics: The Lasting Impact of Shakespeare's Histories. New York: Columbia University Press, 1993.
An upcoming Chartist founder in 1832, Henry Hetherington had quoted that the ‘Reform Act was never intended to do you one particle of good.’ Opinions like Henry Hetherington’s after the passing of 1832 Reform Act eventually led to the emergence of Chartism as a national movement in 1837, who were predominately working class and depicted the ‘Great ‘Reform Act of 1832 as a betrayal and a failure, rather than being ‘Great’. The Reform Act was hoped by many to be a ‘remedy’ for many of those from the lower end of the social classes and finally a chance for them to get their voices heard by the government through enfranchisement, however many thought they were ‘deceived’ by it when it was passed. On the other hand, Historians have contended
We again view his ignorance and irresponsibility when after spending two years of work on his creature he disowns and abandons the creature. He runs out of the room after seeing the creature come to life. He fled the room because he thought the creature was so hideous, even though he had chosen all the best body parts for its creation. When Frankenstein returns to the house when he “became assured that my enemy had indeed fled, I clapped my hands for joy”(55). Even after all his work he is ecstatic that this horrible beast has left him.
Men don’t quit. Men aren’t weak. This idea can lead one to believe that if these qualities are only related to men, then they cant be demonstrated through women, which is what Quincy ultimately thinks. Monica is a girl who can play basketball better than Quincy (causing him to react violently, pushing her down). She wants to do the same things he does (play basketball), can do everything he can, and won’t allow him to boss her around. These early scenes serve multiple purposes: we see how Monica and Quincy meet, their childhood courtship, and we see Monica tear down all of the masculine nonsense his father has taught
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
But with Prospero informing Miranda of this at such a late stage in her life is this Prospero as a control freak only allowing his daughter Miranda to know the truth when he feels it is time or is it Prospero being caring keeping this information from Miranda until she is of an age when she can fully understand who she is and where she came from?, again it is not clear to see if Prospero's intentions are for his own good or the good of his daughter.
Many of the reforms put in place by the White Revolution had a direct impact on the ulama and went against the ideology of the Islam. One of the “major grievance” the ulama had against Pahlavi’s regime was the continuous attempts to mitigate the “power and influence” of the ulama, as well as the “growing power of Western Infidels and their ways”. One policy that the ulama felt was an attempt to mitigate their influence was the land reform policy. The land reform policy allowed landowners to have “one village, or a total of six dongs (each dong is one sixth of a property)”. The government purchased the excess land, and then would redistribute the land to peasant farms. However, this policy directly affected the ulama economically. The ulama relied heavily on waqf lands, and used the revenues in order to maintain mosques and seminaries. Another policy that affected the ulama financial and contributed to their discontent with the Shah was in 1977, when Iran was in the middle of an economic crisis. The Shah appointed a new Prime minister, Jamshid Amuzegar, who imposed the austerity program. In the austerity program, Amuzegar decided to “substantially lower the allocation of a secret fund from which the ulama received lucrative stipends”. This act shut off an important source of capital that the ulama used to carry out their day-to-day operation. Further
In the comedic, yet thrilling play, The Tempest, William Shakespeare uses characters such as Caliban, Alonso, and Ariel to show Prospero’s immense cruelness and pure monstrosity. Moreover, these Shakespearean characters are also used to highlight Prospero’s change in character into a kinder and more forgiving person. Prospero starts the play out as a vengeful monster, after an illuminating moment however, his persona transforms into his true identity of a compassionate man.
Shakespeare, William. The Tempest. The Norton Shakespeare. Ed. Greenblatt, Stephen. New York: W.W. Norton & Co. Inc., 1997.
Shakespeare, William. The Tempest. Second Revised Ed. United States of America: First Signet Classics Print, 1998. 1-87. Print.
Mowat, Barbara A. & Co. "Prospero, Agrippa, and Hocus Pocus," English Literary Renaissance. 11 (1981): 281-303. Shakespeare, William. The. The Tempest.
Knight,G.Wilson. “The Shakespearean Superman: An essay on The Tempest.” The Crown of life: Essays in Interpretation of Shakespeare’s Final Plays. Oxford: Oxford University Press, 1947. 203-255
...on seeing Ferdinand for the very first time, Miranda says that he is “the third man that e’er I saw,” (1.2.449) This shows the audience that Prospero’s power of love and magic have worked again, since Miranda has fallen in love with Ferdinand. This time however, Prospero used his daughter as bait in order to draw Ferdinand closer in the hopes of getting them married. He wants to regain his title as the Duke of Milan.
The Tempest. Arden Shakespeare, 1997. Print. Third Series Smith, Hallet Darius. Twentieth Century Interpretations of The Tempest; A Collection of Critical Essays, Englewood Cliffs, NJ: Prentice-Hall, 1969.
Shakespeare, William, and Robert Woodrow Langbaum. The Tempest: With New and Updated Critical Essays and A Revised Bibliography. New York, NY, USA: Signet Classic, 1998. Print.