Air: Queen of the Sky In creating adaptations of preexisting works, directors are given agency to manipulate and take advantage of any details of the script or play. William Shakespeare’s The Tempest contains a massively character driven plot, yet many of these characters’ basic qualities, mannerism, and motivations are not outlined by the playwright himself. The ambiguous language of The Tempest allows for interpretation and manipulation of the characters to transcend the page and mold to the vision of the director. The character of Ariel is among the cast’s most ambiguous. With little detail given about the appearance and performance of this character, the director is left with a plethora of aspects to define. Ariel is mainly referred to …show more content…
/ His tears run down his beard the winter’s drops / From eaves of reeds”. The powerful metaphor of Gonzalo’s sadness leads to an interpretation of some degree of criticism of Prospero’s actions on Ariel’s part. This metaphor also draws upon Ariel’s connection with nature, as he is not only an air spirit, but also was once trapped within a tree by a witch for many years until Prospero arrived on the island and released him. The final piece of the speech before Prospero responds reads, “Your charm so strongly works ‘em / That if you now beheld them, your affections / Would become tender”. This last sentiment is something that Ariel has not expressed in the past; discontent with his master’s lack of feeling. Not only is Ariel telling his master how to feel, but also he gives the impression that he feels as if what is occurring is unjust and …show more content…
Following this scene of dramatic beauty, making reference to the gods and creating a spectacle magnificent magical proportions, Prospero calls to Ariel and during the conversation Ariel claims to have “presented Ceres”. Ariel playing Ceres in the masque would be in character for Ariel as Ceres is referred to as “air—the Queen o’ th’ sky”. In this case Ariel would be playing a goddess, yet another roll he molds himself into in order to please Prospero. The submissive nature of Ariel is receding in his final speech, as he gives his opinion on Prospero’s feelings. The transition from unfeeling spirit to human emotion is mirrored in the transition from subservience to freedom exemplified is Ariel’s speech. After Ariel finishes, “That if you now beheld them, your affections / Would become tender”, Prospero replies “Dost thou think so, spirit?” and Ariel answers, “Mine would, sir, were I human”. The theoretical suggestion of Ariel’s humanity is compelling, as he recognizes and sympathizes with the struggle of the men. It suggests that, just because Ariel is not human does not mean he has not take on aspects of humanity. The delivery of the line regarding Ariel’s humanity is vital and should be said in an understated, but confident tone. Prospero’s humanity is what places him above Ariel, the spirits, and Caliban, Prospero’s slave, yet Ariel shows
The works of William Shakespeare have been one of the most diligent hotspots for adaptation and appropriation. We see dramatic adaptations of Shakespearean playtexts that began as early as the Restoration period. Different fields like poetry, novels, advertisements, and movies have connected themselves with Shakespeare as well. The adaptation of Shakespeare makes him fit for new social settings and distinctive political philosophies. After about one century of adaptation Shakespeare, there is undoubtedly 'The Tempest' is one of his plays that have dependably been adjusted in interstates.
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 first difference between the play and the movie “The Tempest” is; the protagonist Prospero, the Duke of Milan, is played by a female character named Prospera in the movie filmed in 2010, directed by Julie Taymor. He is a complex character in the play however the personality that Shakespeare created was slightly changed in the movie. The key point of this gender difference is to highlight the role of women’s empowerment over the last two hundred years. Taymor’s movie is making a statement on how Prospera’s power is limited for the island, she is still able to empower throughout the text sexually,...
Before considering the purpose of Prospero's experiment, we should note how central to all his magic Ariel is. And Ariel is not human but a magical spirit who has been released from natural bondage (being riven up in a tree) by Prospero's book learning. The earlier inhabitants of the island, Sycorax and Caliban, had no sense of how to use Ariel, and so they simply imprisoned him in the world which governs them, raw nature. Prospero's power depends, in large part, on Ariel's release and willing service. In that sense, Ariel can be seen as some imaginative power which makes the effects of the theatre (like lightning in the masts of the boat) possible. One of the great attractions of this view of the play as a celeb...
Prospero is a god. He mirrors the "Bible's personification of a God who commands the elements and the angels, who teases his offspring mercilessly, and who fabricated nature and people out of words"(2 Marx). Both gods rely heavily upon the use of words to maintain their kingdom. Caliban sees Prospero's power hailing from the magic books. The reader learns this as Caliban is speaking to Stephano about usurping Prospero's place on the island:
To expound, after running Alonzo’s ship aground, Ariel verbally demonstrates his opposition to Prospero’s forced servitude, thus alluding to the anti-colonial nature of The Tempest play. Believing that his master will free him one year earlier as agre...
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.
William Shakespeare’s The Tempest provides dialogue that portrays the social expectations and stereotypes imposed upon women in Elizabethan times. Even though the play has only one primary female character, Miranda, the play also includes another women; Sycorax, although she does not play as large a roll. During many scenes, the play illustrates the characteristics that represent the ideal woman within Elizabethan society. These characteristics support the fact that men considered women as a mere object that they had the luxury of owning and were nowhere near equal to them. Feminists can interpret the play as a depiction of the sexist treatment of women and would disagree with many of the characteristics and expectations that make Miranda the ideal woman. From this perspective, The Tempest can be used to objectify the common expectations and treatment of women within the 16th and 17th Centuries and compare and contrast to those of today.
Having been usurped and wrecked on an Island Prospero and his young daughter Miranda have to settle. It is here in Prospero's past that it first clear to see where any confusion about his character may appear. As a learned and powerful man Prospero is able to take direct control of the island, he frees a trapped and tortured spirit (Ariel) and befriends the inhabitants (Caliban). Prospero 'helps' Caliban, he tries to educate him and teaches him to communicate, in exchange Caliban helps Prospero to survive on the Island. But in taking power of the Island Prospero is committing the same act that happened to him as Duke of Milan, now Prospero himself has become the usurper. In this act of goodness Prospero has unknowingly shown his evil side.
Leininger, Lorie Jerrel. “The Miranda Trap: Sexism and Racism in Shakespeare’s Tempest.” The Woman’s Part: Feminist Criticism of Shakespeare. Eds Carolyn Ruth Swift Lenz et al. Urbana: University of Illinois Press, 1983. 285-294
Richard Henze’s article in Shakespeare Quarterly, “The Tempest: Rejection of a Vanity” was very eye opening for my own reading and interpretation of "The Tempest". Not only did it awaken characters that I had considered to be “secondary” and somewhat irrelevant to the play, but it also opened up some questions for me about society at the time. While Henze did not dive into what Shakespeare’s angle or criticism would have been on his society, Henze’s article raised several questions for me that helped me make connections between the play and religious and societal norms at the time it was written. Though Henze's interpretation of the play is not the only interpretation available, by following his interpretation, I was able to link more ideas
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.
The nucleus of the plot in Shakespeare's The Tempest revolves around Prospero enacting his revenge on various characters who have wronged him in different ways. Interestingly enough, he uses the spirit of Ariel to deliver the punishments while Prospero delegates the action. Prospero is such a character that can concoct methods of revenge but hesitates to have direct involvement with disillusioning his foes. In essence, Prospero sends Ariel to do his dirty work while hiding his involvement in shipwrecking his brother, Antonio, from his daughter, Miranda.
Prospero has kept Ariel at his beck and call, so he can personally benefit from him/her. For instance, Prospero questions, “did I serve you well?”[594, line 241]. He is stressing himself and seeking acceptance from Prospero as he fears he might never get his freedom. Ariel also says “ I drink the air before me, and return Or ere your pulse twice beat,” [590, line 102]. Even as he has done all of prospero’s dirty work he still is afraid of not serving prospero to his liking.
Sometimes it takes any advantage to attain power. Prospero secures power on the island through his use of magic and manipulation. He is in control of all of the events in the play since he essentially has all of the power. It is also revealed how he maintains his power by exploring the use of his manipulative magic and the hold he has over those around him. By using his magical influence over the natives he has enslaves, Prospero invokes fear in Ariel by stating, “If you complain any more, I’ll split an oak tree and lock you up in it till you’ve howled for twelve years” (Shakespeare 37). He uses his power as a fear tactic to make the native people do his bidding for him. He also uses his magic against those he has shipwrecked on the island. He puts them in a trance to keep him busy until he needs them again, “My magic powers are in full swing, and my enemies are confused and running around in circles. They’re under my control, and I’m keeping them in their crazy fits” (Shakespeare 143). By entrancing the men from the boat, Prospero can keep them under his bid until he sets himself on a course of action. As he states, “.., my enemies have happened to wreck their ship on this island. As I see it, my fate hangs on this lucky event”, he must be precise in how he handles cultivates these people or he will risk the possibility of his plan unraveling before him (Shakespeare 27). The idea behind him having magic is to set him apart