Resolution of Conflict in The Tempest
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.
Conflict between the two brothers, Prospero and Antonio, for the powerful position of Duke is resolved when Prospero is crowned; this is presented as 'natural' through the idea of the 'divine right of kings'. In Jacobean society, the religious belief was that the King (James I at the time of this play) was divinely willed to have this position, and that there was a connection between God and the King. Shakespeare mimics this idea by often relating Prospero to God throughout The Tempest, with stage directions such as
'Prospero on top, invisible' which positions him 'close to God' and by his power to manipulate and control the lives of others:
'mine enemies are a...
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... conflict.
The resolution of conflict in The Tempest is thus naturalised and constructed as an inevitable consequence through the use of moral and ethical concerns in the play, including the 'divine right of kings', the 'great chain of being', courtly love,
colonising discourse and expanding territory. The Tempest thus incorporates concerns of the Jacobean 17th century context, used to naturalise the resolution.
Bibliography
Shakespeare, W. The Tempest. Ed. Sutherland, J.R. (1990)
"Tempest & Court Masques" By H. C. Sherwood
Meller, A., Moon, G.T. Literary Shakespeare (1993) Sydney: Canon Publications
Lecture on "The Tempest" (1988) C. Holmes
Holden is also aware of the image the hat projects to others, and he often takes it off when he is around someone familiar. This functions as a metaphor for Holden’s struggle between his need for independence and his need for companionship. Holden doesn’t want people he knows to see him with the hat on because he wants them to continue to be friends with him, and he fears loneliness. However, when nobody is around, Holden has no problem wearing the hat and embracing its quirkiness, because he feels a strong connection to the hat. As he is walking down the street in the middle of the night, Holden states that “It was freezing cold, and I took my red hunting hat out of my pocket and put it on--I didn 't give a damn how I looked. I even put the earlaps down” (Salinger 88). Here, Holden doesn’t care how he looks because the only people who might spot him on the desolate street are strangers to him. His image around strangers doesn’t faze him as much as his image around people his is familiar
The color of Holden’s cap is very important. I believe that Holden chose a bright color hat in order to distract people and not let them see who he really is, which is one of his greatest fears in life. On the brim of his hat, Holden imagines children running carelessly through the rye field, into the darkness and uncertainty of adulthood. Holden relates to the children who join adulthood too early, so is there to catch them with Allie's baseball mitt. He wants to protect them and not let them feel the pain he has in his life.
First, when Holden watches Phoebe go around in the carousel, it starts raining and he himself admits that his "red hunting hat really gave [him] a sort of protection, in a way" 212-213. Holden's hat symbolizes protection from childhood - not just from the sun or weather. Interestingly, Holden likes to wear the hat backwards. There are many special occasions where Holden wears the hat. For example, he wears it when he is writin...
In the beginning of the novel, Holden exclaims “I put on this red hunting hat that I had bought that morning [...] right after i lost the foils” (number here). Here he is telling us that same morning he proceeded to lose the whole fencing team’s equipment he happened to pick up the hunting hat at a local sports store just off the subway. This is no coincidence, the hat has to assume the position of comfort for holden after his failure. The novel takes place around Christmas time in New York City, so the weather conditions are undoubtedly cold. Holden has no sort of paternal guidance and help throughout his journey. The hat is an important protection aspect in getting him by the couple of frigid night he endures. In the same quote from above he states “it was freezing cold, and I took my red hunting hat out of my pocket and put it on--I didn't give a damn how I looked. I even put the earlaps down. I wished I knew who'd swiped my gloves at Pencey, because my hands were freezing” (88). This is only one of the many cases Holden uses the hat out of desperation to stay warm and even alive. At the end of The Catcher in the Rye Phoebe "reached into [Holden’s] coat pocket and took out [his] red hunting cap and put it on [his] head" (212). Holden then stated that his "hunting hat really gave [him] quite a lot of protection, in a way, but [he] got soaked anyway" (213). Holden became extremely happy once Phoebe puts the hunting hat on
Prospero’s Abuse of Power in The Tempest. 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.
As the novel progresses, it becomes apparent that Holden Caulfield uses isolation as a form of self-preservation. Holden uses his red hunting hat to symbolize his individuality. As he is leaving Pencey, he puts his “red hunting hat on, and turn[s] the peak around to the back” to advertise that he doesn’t care what the people at Pencey think of him anymore (ch. 7). The hat is obviously ridiculous and represents Holden's need to separate himself from others. While in New York, he decides to put his hunting hat on because he knew that he “wouldn't meet anybody that knew” him (ch. 16). Holden doesn’t want to wear the hat when he is with people he knows because he is insecure about his uniqueness.
The Tempest reflects Shakespeare's society through the relationship between characters, especially between Prospero and Caliban. Caliban, who was the previous king of the island, is taught how to be "civilized" by Prospero and his daughter Miranda. Then he is forced to be their servant. Caliban explains "Thou strok'st me and make much of me; wo...
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 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. Shakespeare shows this by having Prospero, the rightful duke of Milan and Usurping ruler of the island, call Caliban,
Snider, Denton J. "A review of The Tempest." The Shakespearian Drama a Commentary: The Comedies. (1890). Rpt. Scott. 320-324.
In this essay I intend to explore the ways that William Shakespeare has presented the relationships between the main characters within his play “The Tempest”. I shall investigate Ferdinand and Miranda’s relationship, the father/daughter bond between Miranda and Prospero and Caliban’s lust after Miranda.
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.
Shakespeare, William. The Tempest. Second Revised Ed. United States of America: First Signet Classics Print, 1998. 1-87. Print.
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 Tempest. Arden Shakespeare, 1997. Print. Third Series Smith, Hallet Darius. Twentieth Century Interpretations of The Tempest; A Collection of Critical Essays, Englewood Cliffs, NJ: Prentice-Hall, 1969.