The Tempest the Play by William Shakespeare Ruler’s in general face many problems, as is the nature of having power and authority. However rulers like Prospero face even more difficulties, as Prospero has the ultimate power of magic and can control and manipulate people and their actions, more so than a natural ruler. The first difficulty presented is an issue, which is dealt with throughout the play: the idea of how much or how little to intervene? From the beginning of the play we are told of how and why Prospero is usurped from his dukedom, “I thus neglecting worldly ends, all dedicated/ To closeness, and the bettering of my mind/ With that which, but by being so retired, O’er-prized all popular rate, in my false brother.” Namely because he did not get involved in running the country and possibly felt that his job was not to intervene but to be a figure-head for the country and leave the country to run itself, a ‘laissez faire’ attitude to ruling. This short speech by Prospero raises the idea that perhaps we should remember that being a ruler involves both rights and responsibilities; Prospero wanted the former but not the latter. The idea of intervention and responsibility is presented in Act 2, Scene 1, where Prospero intervenes telling Ariel to wake Gonzalo before Antonio and Sebastian draw their swords and kill him. This issue, is particularly difficult for a ruler such as Prospero as he has the power to manipulate the situation to suit him self, raising moral as well as personal dilemmas? This raises yet another problem faced by rulers, specifically Gonzalo; of how much trust you can give your subjects or more appropriately those who are next in line to the throne? This idea of trust was ... ... middle of paper ... ...have alcohol. Caliban gives his only power, knowledge of the island, as a pledge to his new masters. His hope is that by exchanging masters, he will be able to better his life. This continues the idea of trust and the problems faced by those ruler’s such as Prospero who have slaves who have an inherit need to be incarcerated by a ruler, but unfortunately by any ruler at all and are therefore not faithful. In conclusion, Act 2 reveals the difficulties faced by ruler’s such as Prospero, through cleverly interwoven narrative threads which are developed gradually throughout the play. This is especially true of the themes of trust and the fixed natures of characters, which both pose a problem for those in power. Prospero of course has the added dilemma of possessing supernatural powers which brings with it additional problems when placed in the role a ruler.
Early on in the play, the text strongly indicates that the relationship between Prospero and Caliban is far from loving o...
It is clear that the race of Othello is a factor in his downfall. A
In everyones life there is always the one person who you think you can trust, and later come to find that they have been playing you all along. This is the exact case for Othello. Iago, whom Othello thought was a person he could trust, betrayed him in many horrific ways.As you read the famous Shakespearian play, Othello, the Moor of VeniceI, you come to realise pretty quickly that Iago is the evil charecter in this play. The readers do not actually get to see a good side of Iago, if there is any, because he is constantly using and playing people. Readers will also come to learn that no matter how evil Iago may be perceived as that he is very much a coward, using other people to do most of his dirty work for him.
“I asked her to wear something revealing, so she showed up in a prophet's toga.”(CITE) Jarod Kintz’s words are an example of miscommunication, or failure to comprehend meaning. In this case, it is implied that one person misunderstood the message of another, but incomprehension also applies to problems other than falsely interpreted requests. Incomprehension can occur when people misinterpret another’s words or intentions, or when a person misreads situations or events. The outcome described in Kintz’s quote is unexpected and unintended, but there are instances of incomprehension that have consequences of greater severity. Perhaps a classic tragedy with a high body count falls under these parameters.
To be able to support either argument there must be evidence that backs-up each of the analysis of Prospero's character and why he is seen in such a way.
Throughout the play, Prospero is a figure who talks at rather than to the other characters, including his daughter Miranda, Prince Ferdinand, and Ariel, his airy servant. At the end of Act IV Prospero is caught up in the ecstasy of punishing and determining the fate of his foes. The beginning of Act V, however, marks a change in the character of Prospero, which averts a possible tragedy. Prospero is unsettled even though his plans are reaching fruition. In his talk with Ariel for the first time we see an actual conversation take place. In addition, in the line "...And mine shall." (Shakespeare V.i.20) we see a change of heart on the part of Prospero, and in the following monologue the audience is privy to introspection and contemplation even beyond that of the end of the masque in Act IV "We are such stuff as dreams are made on..."(Shakespeare).
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.
Prospero, as I see it, doesn't start the play fully realizing all this. He launches his experiment from a mixture of motives, perhaps not entirely sure what he going to do (after all, one gets the sense that there's a good deal of improvising going on). But he learns in the play to avoid the twin dangers to his experiment, the two main threats to the value of his theatrical magic.
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.
The theme of the play is also change. At the end of the play when
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. When Miranda asks why they were not killed, Prospero sighs, "Dear, they durst not,/ so dear the love my people bore me" (1:2, p.7). From the beginning, Prospero portrays himself as a distinguished scholar and beloved leader unjustly victimized by his power-hungry brother. Who would suspect such a humble man of being psychologically manipulative? Prospero succeeds in deceiving many with this credible guise.
The character of Miranda in "The Tempest" is extremely compelling for two reasons. First and foremost it is important to note that the Miranda is the only female character who appears in the entire play. This is the only Shakespeare play where a character has this kind of outstanding distinction. This is not just a fluke on the part of Shakespeare, for it is very important that the character of Miranda appear by herself. The reader is not able to compare her beauty and virtue to any other female in the world of "The Tempest", and this serves both to show her value as a character and the fact that no other living women has the virtue of Miranda. While Miranda may not have many outstanding lines or solioquys, she makes up for this in sheer presence alone. Miranda's character encompasses all the elements of perfectionism and goodness which is lacking in all the other respective characters. All of the other characters in "The Tempest" are reflected by Miranda, and even if she did not speak one line she would still serve this important purpose.
Prospero is really the key character about which the nature of illusion and reality centers. He is the one who appears to have been stripped of all his power, and yet he is truly the most powerful; he lives in a world where he can conjure up an illusion of a storm; he lives between a course of regular human action and magic; and he is perceptive about philosophies on the topic of illusion and reality.
...also helped Prospero twelve years earlier by supplying him with food. He had the best outlook throughout the play and for the future of his company.
Prospero presents himself as a victim of injustice, however his belief of justice and injustice is somewhat contradicting. He takes advantage of this authority over other people and situations he encounters while using his integrity and compassion to mask his dangerous plans and to retain love and respect. The Tempest in the end suggests that love and compassion are more effective political tools than violence, hatred or even abusive magic.