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The tempest imagery of power
The tempest caliban and prospero relationship
The tempest imagery of power
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Psychoanalytic Analysis of Caliban and Trinculo of The Tempest
From a psychoanalytic perspective, both Caliban and Trinculo of Shakespeare’s The Tempest are interesting characters. Caliban is very sexual and bitter, while Trinculo is at odds with everything: his situation of being washed ashore and wrongly accused of saying things when he did not utter a word, as well as Caliban’s worship of an unkingly man, his drunken friend Stephano. Caliban has obviously not had all of his desires trained to stay within him, despite Prospero’s punishments and Miranda’s schooling. Trinculo, on the other hand, wastes his emotions in a bottle of liquor and knows better than Caliban who is and is not fit to worship.
Caliban is rude, crude, ugly and lazy. Speaking in a psychoanalytic manner, Caliban is going to be remembered as bitter and obsessed with sex. This sexual desire is going to be coincided first with thoughts of his mutation-- a feeling of inadequacy-- and then more significantly with the absence of his mother. That he had no parents on which to form an Oedipal complex and knows only who his mother was (nothing is mentioned of his father) makes for interesting observations on how he deals with sexuality. We learn that he does not deny that Prospero is the only barrier between him and the rape of Miranda. It is clear that he has developed only so far as Freud’s theory of id, with small touches of the superego. Caliban’s development of the superego is evident only when he does not wish to receive Prospero’s pinches and cramps. He is otherwise all for anything that will bring him pleasure. Being free of Prospero, fulfilling his sexual desires with Miranda and drinking liquor are all on his menu.
Trinculo is unable to forget, as the butler Stephano does, all of his woes into the bottom of a bottle. He is upset by the way that Stephano allows himself to be carried away by the worship and praise of Caliban. He is also dismayed in the unjust treatment Stephano dispenses on Caliban’s behalf as Ariel plays Puckish tricks. Clearly, there is no problem with this jester’s ego. He wants himself to be taken care of. He does not appreciate the way he is treated on the monster’s behalf, because he knows he has done no wrong. Later, Trinculo’s id takes over somewhat as he becomes more intoxicated and no longer has the will to let his ego control his id.
Cocaine is a crystalline tropane alkaloid acquired from the leaves of a coca plant. It is thought to work ...
...eally wonderful and unique stories. In 2009, IGN placed Gargoyles #45 on their list of “Top 100 Animated Series of All Time”, stating, “ A decent success at the time, Gargoyles has maintained a strong cult following since it ended more than a decade ago”. Gargoyles is classic and prime example of a cartoon having deep undertones and serious episodes, yet considered one of the greatest cartoons ever put to screen. It proves that a show can be serious, yet still be great and enjoyed by kids and adults. But the darkness isn’t what should elevate to that status. When looking at the type of material Disney put out, such as Gummy Bears, Duck Tales, Chip ‘n Dale, it’s made more and more apparent just how unique Gargoyles is. Their first “serious show” that had not been made before, and debatebly, has not been made since. It is a blast from the past that is sure to live on.
As you can see, while Macdonald takes inspiration from Shakespeare's play Othello while writing her own play Goodnight Desdemona (Good Morning Juliet) she does not characterize her characters in the same manner, instead she draws upon underdeveloped characteristics on his characters and places the character on one character into another, an example being Desdemona. Not only does MacDonald play upon and underdeveloped sense of strength and adventurousness in Shakespeare's version of Desdemona, she also modeled her version in light of Shakespeare's character Othello, Desdemona's polar opposite. This is done to create humour and irony which make the play impossible to put down until every last word has been consumed.
In discussing Derrida's view of Western literature, Geoffrey Hartman writes that "Western tradition has been marked . . . by a metaphysics of light, by the violence of light itself, from Apollonian cults to Cartesian philosophies. In the light of this emphatic light everything else appears obscure; especially the Hebraic development of aniconic writing and self-effacing commentary of textuality" (xix). This point is well illustrated by the nature of Prospero's power in The Tempest for his control of natural and supernatural forces is achieved through book-learning the bringing to life of Logos. That which Prospero does not control completely is the vilified character of Caliban. The denigrated and unwilling servant seems to represent Prospero's shadow, and in light of the above statement, perhaps Caliban represents the shadow of our light-infused Greco-Roman style of domination of the material world. The text tells us that when Prospero first arrives on the island Caliban willingly reveals its secrets to him. Only when Caliban threatens the chastity of Prospero's daughter, Miranda, does the relationship turn into one of master and slave. Prospero thus draws the line between the shadow realm and purity. His action suggests that sexuality, too, must be kept in a role of servitude if one is to retain control of one's kingdom. In affirming this schism, Prospero simply enforces the dualistic nature of the Western tradition. In heaping scorn upon Caliban, Prospero embodies the West's extreme dualistic nature vis-a-vis its perceived schisms existent between light and dark, mortal and immortal, good and evil.
Characters in The Tempest see Caliban as rude, while in the poem he sees himself as damaged by his past. People around Caliban see him as rude because he is never nice to them, but in the poem, he says his past is the reason he’s rude. On page
“Visions are worth fighting for. Why spend your life making someone else’s dreams?” These are the words of Tim Burton, a renowned director who plays by his own rules when creating a story for the big screen. Growing up different from most kids, Burton was influenced by many unique people and movies such as Edgar Allen Poe, Dr. Seuss, and German Expressionist films. He used their styles to create many memorable films himself, such as Edward Scissorhands and Alice in Wonderland. In these recognizable blockbusters, like most of Burton’s movies, the use of satire and visual features are present to support the thematic concept of conformity vs. individuality.
Shakespeare shows this by having Prospero, the rightful duke of Milan and Usurping ruler of the island, call Caliban. “A devil, a born devil on whose nature nurture can never stick” but then having Miranda, Prospero’s daughter, say. “I pitied thee, took pains to make thee speak, taught thee each hour one thing or another.” Prospero is saying that Caliban is a “savage” who can not be educated, yet we hear that Miranda has taught him to speak, amongst other things. This gives a conflicting view of the character of Caliban.
Barcodes are very labor intensive as they must be scanned individually but RFID tags can read faster and with minimal human participation. Barcodes have less security than RFID as they might be easily hammer out and imitate. Barcodes works with same accuracy irrespective of...
When Caliban is first introduced in the play it is as an animal, a lazy beast that tried to rape Prospero’s daughter, Miranda. Prospero wastes no time referring to him as, “Thou poisonous slave, got by the de...
In this whimsical play, Prospero, the former Duke of Milan, after being supplanted of his dukedom by his brother, arrives on an island. He frees a spirit named Ariel from a spell and in turn makes the spirit his slave. He also enslaves a native monster named Caliban. These two slaves, Caliban and Ariel, symbolize the theme of nature versus nurture. Caliban is regarded as the representation of the wild; the side that is usually looked down upon. Although from his repulsive behavior, Caliban can be viewed as a detestable beast of nature, it can be reasonably inferred that Shakespeare’s intent was to make Caliban a sympathetic character.
Delirious: in a state of delusion. She was delirious after she woke up from the anesthesia.
“Absolute natural evil of Caliban in The Tempest in the case of Caliban, it we accept the absoluteness of his natural evil, we must accept what Charney describes as a necessary (and absolute) ‘discontinuity in his character:. . .” (Bloom 128)
Prospero’s trust is broken with Caliban because he tried to rape Miranda. There is no evidence of rape, however Miranda was the only female on the island practically supports the idea. Caliban being a natural creature he would not know the different in societies rule against sexual engagement. Prospero learns from his second betrayal, apparently tyrannical state is revealed in verbal abuse ...
Caliban is evil is the fact that he tried to rape Miranda, Prospero’s daughter as states by Barbara Fuchs in her article Conquering Islands: Contextualizing the Tempest where it says, “Caliban’s attack on Prospero’s daughter once more genders the colonizing impulses” (61). This suggests rape and it is not inhuman and it shows that Miranda is not the first woman who this has happen to. It not right, it’s evil. Caliban’s character in this book is horrible in the things that he does, he starting off has an evil monster that was born from an evil parents and he goes around causing trouble wherever he goes. As a servant, he does evil deed and by himself he is evil.
In Shakespeare’s play The Tempest, there are two characters who appear to be polar opposites. The characters of Caliban and Ariel both play very important roles in the play. The term caliban is defined as “a brutish or brutalized man,” and the term ariel is defined as “a spirit of the air” (Dictionary). The definitions of these two characters names even show the huge difference in the two characters before readers or viewers even get to know the characters. There are also differences in how the two characters feel about the self-proclaimed king of the island, Prospero. However, regardless of their many differences the one thing that they do have in common is the fact that they are both oppressed by Prospero who has deemed himself king of the island and seek freedom.