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The Tempest Symbolism
The Tempest Symbolism
Symbolism in the tempest
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Representation of Servants in the Tempest Tempest is Shakespeare’s last play, which was written in 1610. Prospero is the Tempest main protagonist. He is exiled to an isolated island after his brother (Antonio) conspires to kill him for the desire of taking his position as a duke of Milan. Prospero manages to escape with his three-year-old daughter to the island. The play starts after 12 years of Prospero’s living in the Isle. The play is more like a test for Prospero to discover his wickedness and find a typical way to adjust them. In the beginning, Prospero has two servants: Ariel, who has a godlike power and serves him in fulfilling his magical plan, and Caliban, half human half beast, supports him in fetching wood and water. Later on in the play, Prospero receives another servant, Ferdinand, the prince of Naples, who wishes to serve him in order to marry his daughter Miranda. The three servants, are totally different from each other, therefore; they represent three different things for Prospero and the audience as well. The play reflects the rule of the Great Chain of Being in the Renaissance philosophy of the universe. This paper argues about the different representations of Prospero’s three servants: Ariel, Caliban, and Ferdinand. And who is the typical representation for him to follow?
Prospero has two servants: Ariel, the soul; the
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Despite the fact that, Antonio betrays him, takes his position and plots to murder him, but Prospero’s response to that is quite positive. First he put the blame on himself for not taking the responsibility of his duties and following his study. Second, he thought of him as a brother or a human being. His decision is more in the sense of humanity and morality. He forgives his brother since he returns his position as a duke of Milan. Prospero
The study of Shakespeare’s The Tempest raises many questions as to its interpretation. Many believe that this play shows Shakespeare’s views on the colonization of the new world whereas others believe that this is a play about the ever elusive “Utopian Society”. I believe that this is a play about the European views of society and savagery at that time. I also believe that, if this is true, the play doesn’t portray a “conventional” view of native peoples. Shakespeare shows this by having Prospero, the rightful duke of Milan and Usurping ruler of the island, call Caliban,
Power: it is something that everyone wants and so few know how to justly maintain. Power causes blood to be shed and divisions to be created among friends and family that may be irreversible. In Shakespeare’s The Tempest, Prospero, Antonio, Sebastian, and Alonso grapple with the effect power has on them and how to remain just. All four lose their sense of morals and harm others in order to have personal gain. Power, whether it is the idea of possessing it or the possession of it, will cause individuals to become corrupted and immoral, thus losing their attachments to others.
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.
The Tempest raises many questions regarding the formation of authority and power. Is hierarchy understood as natural or as constructed? Also, what are the consequences when authority is usurped? This paper will attempt to answer these questions in a succinct manner using textual references to solidify its arguments. As the play progresses, Prospero constructs the hierarchy in such a way as to return things to their "natural" state. Any type of usurpation, whether attempted or successful, will always end up with power back in its rightful place, and most of the time with a lesson learned.
Literature has always been a source of exploring the world and the history of mankind. In Daniel Defoe’s Robinson Crusoe and William Shakespeare’s The Tempest, both authors use the concept of slavery, race and class. In Defoe’s story, the relationship between Crusoe and his slave, Friday, is one of mutual respect and trust. In the second selection by Shakespeare, the master-slave relationship is one that is characterized by force, violence and power. These two works share the common theme of servantship and slavery, which were largely based on differences in class and race. In both stories, differences in character, race and class have an influence on the servants and in their relationship with their master.
The Tempest reflects Shakespeare's society through the relationship between characters, especially between Prospero and Caliban. Caliban, who was the previous king of the island, is taught how to be "civilized" by Prospero and his daughter Miranda. Then he is forced to be their servant. Caliban explains "Thou strok'st me and make much of me; wo...
Through The Tempest play, William Shakespeare weaves together a tale that is characterized by anti-colonialist sentiments. Prospero - the deposed Milan Duke - adopts a colonialist mentality by treating his colleagues as slaves who have no rights. Characters who suffer mistreatment under Prospero include: Ariel - the spirit creature; Ferdinand - the Naples Prince; and Caliban - Sycorax’s son. Prospero possesses much magical power which he uses to oppress his compatriots. Consequently, Prospero is portrayed as a colonial tyrant who abuses his immense power. Anti-colonialism feelings are especially evident through the actions, utterances and disposition and of Caliban, Miranda, Ferdinand and Ariel. To illustrate, Caliban berates Prospero for the former’s forced labor. Likewise, Ariel protests Prospero’s reluctance to release the former as earlier agreed. Miranda also expresses her dissatisfaction with Prospero’s unfair imprisonment of Ferdinand. Similarly, Ferdinand appears to challenge Prospero’s authority by briefly stopping dragging timber so as to flirt and chat with Miranda. The foregoing four characters exhibit conduct that highlights their displeasure with Prospero’s colonial-style authority over them. From the preceding expose, it can thus be concluded that Shakespeare’s The Tempest play is about anti-colonialism based on its depiction of Caliban, Miranda, Ferdinand and Ariel’s opposition to Prospero’s oppressive authority.
He takes advantage of his authority over the people and situations he encounters while wearing a facade of integrity and compassion to disguise his wily intentions and to retain love and respect. In Act I of the play, Prospero finally tells Miranda the woeful story of how she and he arrived on the island. From the beginning, Prospero plays his subjects and his sympathetic audience as pawns in his game of manipulation. He explains that twelve years ago he was the Duke of Milan, but being enthralled with his studies, he left most of the governmental responsibilities to his brother Antonio. Antonio, hungry to be "Absolute Milan" himself (1:2, p.6), proceeded to betray him with the help of King Alonso of Naples.
In The Tempest, Art is that which is composed of grace, civility and virtue. It is represented by Prospero, the other members of the nobility who belong to the court party and their servants. The world of the court is synonymous with the world of Art in the play. In contrast, Nature is bestial, brutish and evil; and manifest in the form of Caliban and the natural world. With two such extremes brought together, debate between the two is inevitable.
The illusions of justice and freedom, and what they truly are, has been a reoccurring theme throughout the works. The definitions of justice and freedom have become so construed throughout the times. In William Shakespeare’s The Tempest, Prospero tries to enthrall his audience in his narrative of social justice. The idea of justice the play portrays represents one individual who controls the fate of all others. Their freedom is controlled by the interference of those around them. Although he spends most of the play righting the wrongs done to him, he is misdirecting so to hide his true motive. Prospero misconstrues the definitions of justice and freedom by enslaving Ariel and Caliban, using magic for his own good, and creating a false happy
The play, The Tempest, by William Shakespeare is a very cleverly thought out piece of work. Shakespeare very deliberately inter-relates several different forms of power during the course of the play. There is political power, shown through the plethora of political characters and their schemes, while at the same time parodied by the comic characters. The power of magic and love, and its ability to reunite and absolve also plays a major role in the play. Throughout the play, Prospero, the main character, takes great advantage of his power and authority, both properly and improperly. The epiphany of this however, is realized at the end of the play.
Shakespeare’s play, The Tempest is set on a mysterious island surrounded by the ocean. Here the magician Prospero is ruler of the isle with his two servants Caliban and Ariel. Caliban is the abrasive, foul-mouthed son of the evil witch Sycorax. When Prospero was shipwrecked on the island Prospero treated him kindly but their relationship changed when Caliban tried to rape Prospero's daughter, Miranda. Caliban then became Prospero's unwilling servant. Caliban serves his master out of fear Prospero's wrath. Prospero's other servant Ariel is a graceful spirit who has courtesy and charm. Ariel has put her services at Prospero's disposal out of gratitude for his kind actions towards her. Prospero saved Ariel from the confinement of Sycorax who held her prisoner.
The Tempest, like any text, is a product of its context. It is constructed in relation to moral or ethical concerns of 17th century European Jacobean society. The resolution of conflict appears 'natural' or an inevitable consequence if regarded in relation to the concerns of its context. The resolution of conflict in this play incorporates Prospero being returned to his 'rightful' or natural position as Duke of Milan, his daughter Miranda getting married to Ferdinand, and the party returning to Milan leaving the island to the 'monster', Caliban. The resolution is a consequence of the concerns of the time, including the idea of the divine right of kings, courtly love, and colonisation.
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.
Prospero goes through the motions of forgiveness, but his sincerity is lost to us. Moreover, there is clearly no reconciliation amongst Prospero, Sebastian, and Antonio. Prospero still considers Antonio a "most wicked sir" (5.1.130) and Antonio, focused on slaying the island fiends, will not even acknowledge Prospero.