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Character of Prospero in The Tempest
Prospero character in the tempest
Prospero character in the tempest
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My main association I have made between the Tempest and Greek Mythology was the banquet in act three, scene three, and the story of King Phineas who abused a wonderful gift and was punished for it. While Shakespeare is highly published, the story of Phineas took me several different texts to get a full story because there seemed to be only fragments of the story.
For example, in William Shakespeare’s, The Tempest after being shipwrecked and being magically separated to various parts of the island by Prospero. King Alonso of Naples, Sebastian, Alonso’s brother who schemes constantly to kill Alonso, and Antonio; Prospero’s younger brother and Duke of Milan. They search for his son Ferdinand on the island; they become weary from searching and primarily the King soon loses hope in his search all the while his party is plotting against the King to overthrow and kill him as they had done to Prospero twelve years before. Strange music begins to play as Prospero senses that the party is tired and was losing focus in searching for Ferdinand. Prospero appeared invisible to the eyes of the party with
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several visible spirits that set a meal before their eyes, or “banquet” as it’s stated in the play inviting the party in to take part in the meal. As the party approaches the table Ariel, a sound of thunder and Prospero’s servant and magical sprite appears as a harpy and “claps” her wings on the table and the banquet disappears, cursing the men and saying this: “You are three men of sin, whom Destiny, that hath to instrument this lower world And what is in't, the never-surfeited sea; Hath caused to belch up you; and on this island.
Where man doth not inhabit; you 'mongst men; Being most unfit to live. I have made you mad;
And even with such-like valour men hang and drown; Their proper selves.” (Shakespeare Act 3, Scene 3 pg164). Ariel calling himself a device of “Fate and Destiny”. Cursing them for driving Prospero and his daughter out of Milan and left at the mercy of the sea those many years ago. For this immorality, Ariel informs King Alonso that his son has perished at sea rather than the truth that Ferdinand was fine and well on the other side of the island.
Which led me to the story of Phineas. It brought back a memory of when my father and I used to go to the movies or watch afternoon TV and Jason the Argonauts, an old cheesy movie shows this story of how the harpies were conquered in the “Hollywood
version”. King Phineas of Salmydessus in Thrace had been graced with a gift of prophecy by Apollo. However, Zeus became angry as Phineas revealed too much of the plans of the Gods to mortals. Zeus punished him by putting him on an island with a buffet of food. He could eat none of it, however, because three harpies, vicious, fat, bird-like creatures with women’s heads either “defiled” the food to a stinking pile so that it could not be eaten or they took it out of his hands right before he could eat it. “Phineas looked like a lifeless dream, bowing over his staff and feeling the walls. His limbs trembled for weakness and age as he crept on his withered feet, and his skin was caked with dirt. The Harpies starved him to such an extent that nothing but the skin held his bones together. “(D’Aulaire P165) No one in his kingdom could keep the harpies away. He was visited by the Argonauts, explorers on a quest; they set a trap and got rid of the harpies so Phineas could eat in peace and regain his strength.
At this point a brief synopsis of the movie would seem to be in order,
“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.
There are many elements in Shakespeare's play, The Tempest, which one cannot reconcile with the real world. The main theme in The Tempest is illusion, and the main focus is the experiment by Prospero.
The Tempest by William Shakespeare is one of the most relevant and studied plays of the Elizabethan period among scholars, from both, ancient and actual times. One of the many readings that have prevailed suggests that the play’s protagonist, Prospero, and his two su-pernatural servants, Ariel and Caliban, can work as a single psychological unit is constantly discussed by the academics. This reading is not new; it has been considered for longer than the idea of The Tempest as an autobiographical allegory, being first proposed by Thomas Campbell in 1838 (Yachnin).
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.
Allan Gilbert’s article summarizes about the multiple parallels that can be found in Shakespeare’s The Tempest. While some of these parallels are more obvious in The Tempest, some require a scholar to fully comprehend them.
The play opens with a fearful tempest threatening to destroy the king's ship and all of its passengers. This situation along with the terrified emotions of the characters appears to the reader to be very real. However, in the second scene, the reader meets Prospero and his daughter Miranda. Through their conversation we learn of Prospero's magical powers, his brother's unjust claim as the Duke of Milan, and the exile of the two to this mysterious island. Next unveiled is Prospero's plot of revenge to regain his rightful title, the first step being to shipwreck the royal party on his island with the creation of the magical tempest. The reality of the situation is that there never was any danger from the storm at all.
Prospero's intent throughout the course of The Tempest is neither to revenge himself upon his enemies, nor to reconcile himself with his estranged brother. It is, rather, to orchestrate the reclamation of his lost duchy, Milan, through both his magic and a shrewd manipulation of both the shipwrecked party and the islanders (Caliban and Miranda).
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 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.
It makes sense to me to see in this Shakespeare's sense of his own art--both what it can achieve and what it cannot. The theatre--that magical world of poetry, song, illusion, pleasing and threatening apparitions--can, like Prospero's magic, educate us into a better sense of ourselves, into a final acceptance of the world, a state in which we forgive and forget in the interests of the greater human community. The theatre, that is, can reconcile us to the joys of the human community so that we do not destroy our families in a search for righting past evils in a spirit of personal revenge or as crude assertions of our own egos. It can, in a very real sense, help us fully to understand the central Christian commitment to charity, to loving our neighbour as ourselves. The magic here brings about a total reconciliation of all levels of society from sophisticated rulers to semi-human brutes, momentarily holding off Machiavellian deceit, drunken foolishness, and animalistic rebellion--each person, no matter how he has lived, has a place in the magic circle at the end. And no one is asking any awkward questions.
Shakespeare's "The Tempest" forms a world within itself. Within this world, many topics regarding government, power and colonization are addressed. Shakespeare tackles the discovery of new places and races, the relationship between the colonized and the colonist, old world ideologies on new soil, as well as theories on civilization and government. These aspects at the core reveal a very clear struggle for political power. Prospero's first major monologue creates the foundation of such a theme. In 1.2 lines 30-175 Prospero tell his story recounting the usurpation of the power he had as Duke of Milan, then quickly renews his power on the island. Prospero beings his story with an authoritative tone stating: "Obey and be attentive" (1.2 48). Desiring political power and authority becomes the core from which other themes derive.
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.
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.
Novak, Maximillian, and George R. Guffey, eds. The Tempest, or The Enchanted Island. Works of John Dryden vol. X. Berkeley: U of California P, 1970. 1-103.