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In William Shakespeare's Tempest the main protagonist Prospero acts as a manipulator, just like the scientists Frankenstein from Mary Shelley's Frankenstein and Crake from Margaret Atwood's Oryx and Crake. In each novel, the authors show how these knowledgeable characters go beyond what humans should be allowed to do. They forcefully taint nature and the author reflects these actions as negative. In Tempest, Prospero learns magic and while doing so cuts himself from society and in turn his role as a duke. Both Frankenstein and Crake share these similarities. Each pursues knowledge and while doing so isolates them from society. The personalities of the characters also reenforce this comparison. Prospero before he sees the evil in his magic …show more content…
was abusive and overpowering with his magic. He was revengeful but ultimately kept his goal of having the best interest of his daughter, Miranda, at heart. Similarly, Frankenstein is arrogant but closely attached to his close family, the people he loves.
Crake is manipulative of Jimmy, but seems to have to goal of saving humanity in his own way. Overall these scientists defy and test nature with their knowledge. Prospero’s hand manipulation, Ariel, who is a supernatural spirit analyzes Prospero’s revenge on the people he is manipulating. Ariel declares that he feels his actions of revenge and manipulation have gone too far. He says that “He would feel bad for the recipients of his manipulation if he were human”. This changes Prospero’s mind about being an all powerful wizard and realizes that he is better off not acting as God. Unfortunately Frankenstein and Crake face repercussions for playing with nature as God would. Frankenstein after creating his creature and not fostering it as it’s creator faces a miserable end. His creation kills each one of the people dear to him. This is especially tragic because in the first place the people he loved were the only people in his life that mattered to him. Perhaps this is why he could not open his heart to the creator he created. Crake’s ending is a little more complicated. It is hard to see that Crake’s end was tragic because it seems that his death was the result of his own
planning. He wanted Jimmy to shoot him. He succeeds in confining Jimmy to a life of protecting his creatures, the Crakers, but loses in how his creatures turn out. According to Crake his creatures would never elect a leader or develope religion. Jimmy finds that both these things happen. Crake was so confident in his creatures that he eliminated the human race along with himself. His creatures failed what he thought they would be and thus his ultimate goal was destroyed. He eliminated humanity with no cause. (Not that it was a good reason in the first place) They are both unable to overcome the fault in their actions against nature. Defy nature and nature defies you. Instead they should have been like Prospero and seen that a simple life, without playing with Godly, can lead a life of freedom and blissful happiness.
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.
Frankenstein is a fictional story written by Mary Shelly. It was later adapted into a movie version directed by James Whales. There are more differences than similarities between the book and the movie. This is because, the movie is mainly based on the 1920’s play, other than the original Mary Shelly’s book Frankenstein. A text has to be altered in one way or the other while making a movie due to a number of obvious factors. A lot of details from the book were missing in the movie, but the changes made by Whales were effective as they made the movie interesting, and successful.
In Mary Shelley’s novel Frankenstein, Victor and his creature share many characteristics although they are opposing forces because of their differences. Even though our perception of Frankenstein is a creature created by a mad scientist during dark stormy day, waiting for a lightning bolt to strike the creature and yelling “It’s Alive!” the actual story in Mary Shelley’s novel, Frankenstein, has more depth and meaning to what Frankenstein and his creature really is. The story takes place during the late 18th century during Robert Wilson voyage through the Arctic Ocean. After many weeks at sea his ship suddenly gets stuck in ice, and becomes stranded as they wait for the ice to thaw out Wilson and his crew see a man on the verge of death on
Most Americans have some idea of who Frankenstein is, as a result of the many Frankenstein movies. Contrary to popular belief Mary Shelley’s Frankenstein is a scientist, not a monster. The "monster" is not the inarticulate, rage-driven criminal depicted in the 1994 film version of the novel. Shelley’s original Frankenstein was misrepresented by this Kenneth branagh film, most likely to send a different message to the movie audience than Shelley’s novel shows to its readers. The conflicting messages of technologies deserve being dependent on its creator (address by Shelley) and poetic justice, or triumph over evil (showed by the movie) is best represented by the scene immediately preceding Frankenstein’s monster’s death.
James Whale's Frankenstein is a VERY loose adaptation of Mary Shelley's 1818 novel. The spirit of the film is preserved in its most basic sense, but the vast majority of the story has been entirely left out, which is unfortunate. The monster, for example, who possesses tremendous intellect in the novel and who goes on an epic quest seeking acceptance into the world in which he was created, has been reduced to little more than a lumbering klutz whose communication is limited to unearthly shrieks and grunts. Boris Karloff was understandably branded with the performance after the film was released, because it was undeniably a spectacular performance, but the monster's character was severely diminished from the novel.
As time goes on, many things tend to change, and then they begin to inherit completely different images. Over the years, the character, created by Dr. Victor Frankenstein in Mary Shelley’s famous novel, has changed dramatically. The monster, regularly called “Frankenstein,” has been featured in numerous films, such as Frankenweenie and Edward Scissorhands. Although, the characters in today’s pop culture and the monster in the well-known 1800’s novel have similarities, they are actually very different. The many similarities and differences range from the character’s physical traits and psychological traits, the character’s persona, and the character’s place in the Gothic style.
Crake and Dr. Victor Frankenstein share many similarities, which are shown by their actions. Both Crake and Victor try to create a new race of people. Crake creates the Crakers, and Victor creates a monster. Neither Crake nor Victor realize what they are getting themselves into. In Crake's case, he wants to create a community of pure and innocent people; he strives for a world better then the one he lives in. In order to do this Crake does not teach the Crakers about war or any other brutal aspects of the modern society he lives in. Crake does not give the Crakers the knowledge of social status or competition against each other. For example, "Hierarchy could not exist among them, because they lacked the neural complexes that would have created it." (Atwood 305) Crake goes on to say, "there was no territoriality: the king-of-the-castle hard-wiring that had plagued humanity had, in them, been unwired." (Atwood 305) Crake takes what he believes are the problems of the society he lives in and applies that to make the Craker's life better then the one he lives in. As for Dr. Frankenstein, he realizes ...
In Shakespeare’s The Tempest, the focus throughout the story is on the “human law” as Prospero is seen as a manipulator. Near the beginning of the play, Prospero enslaves Caliban, and he obeys Prospero all the time when Prospero orders him to do so. After Prospero gives instructions what to do, Caliban says in an aside that, “[He] must obey. [Prospero’s] art is of such power/ It would control [his] dam’s god, Setebos, / And make a vassal of [Setebos]” (Shakespeare I.ii.448-450). When Prospero threatens Caliban that he, “would control [Caliban’s] dam’s god, Setebos” (Shakespeare I.ii.449), making Prospero more powerful than the gods. Prospero’s actions prove that he is the top of the Great Chain of Being. Thus, Shakespeare use of indirect characterization demonstrates to the au...
The characters all in some way made a mistake and learn from them. They were all able to make these mistakes because of free will. The texts demonstrate how powerful free will is and how the characters have a difficult time trying to live with the freedom. The constant battle between being good and evil. For every action that occurs, there is always a consequence of it that the characters learn from. When Adam and Eve consume the fruit from the tree of Knowledge, their punishment is being exiled from Paradise. Humanity now must prove their worthiness to be welcome to Paradise when they die. They have no choice, except to use their free will to perform righteous deeds to others and not commit any evil actions to please God. The monster strongly believes that his purpose in life is to ruin Frankenstein’s life by killing the ones close to him just for him to feel the loneliness and helplessness the monster has live through. However, Frankenstein eventually dies, and the monster is satisfied with the news, yet has no other reason for living and decides to end his
In William Shakespeare's The Tempest, Prospero lives with his daughter Miranda on a deserted island. On the surface, he appears to be a benevolent leader doing his best to protect and care for the inhabitants of the island, especially for Miranda. On closer inspection, however, Prospero plays God, controlling and creating each individual to fit the mold he desires. He takes advantage of his authority over the people and situations he encounters while wearing a facade of integrity and compassion to disguise his wily intentions and to retain love and respect.
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.
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.
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.
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.
The illusions of justice and freedom, and what they truly are, has been a reoccurring theme throughout the works. The definitions of justice and freedom have become so construed throughout the times. In William Shakespeare’s The Tempest, Prospero tries to enthrall his audience in his narrative of social justice. The idea of justice the play portrays represents one individual who controls the fate of all others. Their freedom is controlled by the interference of those around them. Although he spends most of the play righting the wrongs done to him, he is misdirecting so to hide his true motive. Prospero misconstrues the definitions of justice and freedom by enslaving Ariel and Caliban, using magic for his own good, and creating a false happy