A Jungian Interpretation of the Tempest
Shakespeare’s Tempest lends itself to many different levels of meaning and interpretation. The play can be seen on a realistic plane as a tale of political power and social responsibility. It can be seen as allegory examining the growth of the human spirit. The Tempest investigates marriage, love, culture. It is symbolic of man’s rational higher instincts verses his animal natural tendencies. This is a play of repentance, power, revenge and fate that can also be seen as fantasy, dream, imagination, metaphor or magic.
The Tempest should be allowed to represent many points of view, even those that the author was not consciously or unconsciously aware when he wrote it. One outlook does not invalidate the others. I propose to illustrate The Tempest as a play about what is occurring in the protagonist’s mind. To be more specific, it is the growth, maturing and individuation of Prospero. Shakespeare, in a sense of which he could not be conscious, was anticipating Freud and Jung. His servants, Ariel and Caliban, are the agents of synchronicity. By synchronicity, I mean meaningful coincidence; an acausal principle relating inner mind to the external world; a vehicle whereby the ego, if it is open, can glimpse the Self. In Jung’s terms, it is strongest when an emotional attachment exists and when there is an element of risk or death. When the subject is ready to learn, the unconscious mind can affect physical reality. By individuation, I mean, "becoming a single homogenous being …. Becoming one’s own self …. Coming into selfhood." 1
To begin showing how this process takes place in Prospero, I would like to take issue with some traditional views of the character. Many critics see Prospero as completely in control of everything that takes place on his island. He is seen as all-knowing, having a perfect plan in place, often seen as calm, as good, as the main force of reason and logic and Man’s highest qualities. I do not dispute all of this. Prospero is an amazingly talented, wise, mature man in control of himself and his environment, but he is not perfect. This is a play showing growth and education in its characters, but most of all, the growth and education of Prospero himself. At the outset, he is a man in struggle, an embittered man, a vengeful tyrannical man; not God, unless it is the cruel anthropomorphic God of the early Old Testament.
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Roosevelt, Franklin D. “Joint Address to Congress Leading to a Declaration of War Against Japan
Roosevelt used the rhetorical tools of logos, ethos, and pathos to create the foundation of his speech. On top of that he used contrasting words and statements, as well as the way he delivered his message to create a dynamic speech to rally the American people behind his decision to declare war on Japan. In the end, his speech was very effective and the crowd erupted into applause before he was finished. Furthermore, Congress did declare war on Japan. Roosevelt’s speech effectively communicated his points and he was successful in persuading the American people to rally behind
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 element of grace is not an anomaly among Christian Literature, but Flannery O’Connor presents redemption to her readers in a much darker, atypical way. No angels harking, no characters praising, not even church bells ringing. Considered a Southern Gothic author, O’Connor strategically displays the flaws of Christianity as a whole and Catholicism in particular. However, despite these flaws, both “Good Country People” and “A Good Man is Hard to Find” portray characters in devastating situations of unlikely grace. Dorothy Walters describes O’Connor’s strategy:
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Shakespeare's play, The Tempest tells the story of a father, Prospero, who must let go of his daughter; who brings his enemies under his power only to release them; and who in turn finally relinquishes his sway over his world - including his power over nature itself. The Tempest contains elements ripe for tragedy: Prospero is a controlling figure bent on taking revenge for the wrongs done to him, and in his fury he has the potential to destroy not only his enemies, but his own humanity and his daughter's future.
...eaming. They also possibly cannot deal with real world such as working, school and cleaning. Coping with these effects can be over whelming. Survivor may ultimately turn to alcohol or drugs to substitute the pain that they have.
It starts when Rainbow Fish, the most beautiful fish in the ocean is asked to share his shimmering scales, but he angrily denies them and turns all the fish reject him. All the other fish want nothing to do with him, nor do they want to befriend him. (As the story states) “From then on, no one would have anything to do with the Rainbow Fish. They turned away when he swam by” (Pfister 5). The author’s intention is to reveal to the audience how the other fish were not friends with Rainbow Fish due to his egocentric behavior. Rainbow fish was self-centered and believed to be better than all the other fish. He valued beauty, something that was of little value over his happiness. He then suffered consequences of those beliefs by being lonely.
“One woman dies every 7 minutes around the world due to an unsafe illegal abortion” (Abortion Statistics). Laws against abortion do not stop abortion; they just make them less safe. “For over 15 years, medical evidence has indicated that mifepristone is as safe or safer than commonly used medications” (Mifepristone Safety Overview). Mifepristone, also known as “RU-486” or the “abortion pill” is a prescription drug that is used to end a pregnancy that is less than seven weeks along. Mifepristone has been used, in combination with other medications for medical abortions since 1988. Mifepristone is a steroid that works by blocking the hormone progesterone, which is necessary to sustain pregnancy. Without this hormone, the lining of the uterus breaks down, the cervix (opening of the uterus or womb) softens and bleeding begins. I think that the RU-486 abortion pill should be encouraged because taking it is a pro-choice decision, the rare health risks and it could help reduce injuries and deaths caused by unsafe illegal abortions.
“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.
In this brief examination of the Tempest, it becomes obvious that the play is a mirror image of the progression of events in the Bible. This use of Christian elements in the play is not obvious upon first reading the play, but becomes undeniable as the action progresses. The motif of Christianity in other Shakespearean works is not as structured and in-depth as the motif found in the Tempest.
In the world of the Tempest, we have moved beyond tragedy. In this world Hamlet and Ophelia are happily united, the Ghost comes to life again and is reconciled with his brother, the old antagonisms are healed. Lear learns to lessen his demands on the world and to accept it with all its threats to his own ego. This is not a sentimental vision, an easily achieved resolution. It takes time--in this case sixteen years--and a measure of faith in the human community that one is prepared to hold onto in the face of urgent personal demands. This play seems to be saying that theatrical art, the magic of Prospero, can achieve what is not possible in the world of Milan, where everyone must always be on guard, because it's a Machiavellian world ruled by the realities of power and injury and there is no Ariel to serve us with the power of illusions.
Organisational culture is one of the most valuable assets of an organization. Many studies states that the culture is one of the key elements that benefits the performance and affects the success of the company (Kerr & Slocum 2005). This can be measured by income of the company, and market share. Also, an appropriate culture within the society can bring advantages to the company which helps to perform with the de...
This essay will discuss the part that illusion and reality plays in developing and illuminating the theme of Shakespeare's The Tempest. This pair of opposites will be contrasted to show what they represent in the context of the play. Further, the characters associated with these terms, and how the association becomes meaningful in the play, will be discussed.