The Roles of Trinculo and Stephano in The Tempest
Trinculo and Stephano have two major roles in The Tempest - comic relief and the theme of exploration. Because of this double nature to their characters, they are more important than they initially appear.
The Tempest is a comedy. The play may not seem to fit into the category of comedy as it exists today; but in the 17th century comedy was very different. Certainly, The Tempest would never be confused with a modern television comedy - the art of comedy has evolved too far. The main plot of the play - the plot involving Prospero regaining his rightful position as the Duke of Milan - seem to be overly serious for a comedy. The scenes containing Trinculo and Stephano, however are the exceptions here - their scenes are much closer to the modern interpretation of comedy than the majority of the rest of the play.
Trinculo and Stephano are introduced in act II, scene II. This scene is almost pure farce - the events are totally unrealistic but are, however, quite funny: A good description of modern comedy, in fact. While the previous scenes in the play have been mostly serious, detailing the back-story, this scene is blatantly visual comedy - in the hands of a good director and good actors, it could turn into a hilarious scene. This scene shows Trinculo and Stephano's main purpose in the play - to provide comic relief. As a direct contrast to the heavy plotting and comparatively serious themes being explored in the other scenes, the scenes involving these two men lighten the play's mood considerably. Without their impact on events, The Tempest would be a lot darker in tone.
If Trinculo and Stephano had been le...
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...use of this double nature to their characters, they are more important than they initially appear. It is for both these reasons that they are important to the play as a whole; without them the play would be missing some important aspects which help make it the success it is.
Works Cited and Consulted:
Primary Texts
William Shakespeare, The Tempest, ed. Frank Kermode, with an introduction by Frank Kermode, (Arden, 1964)
Montaigne, Selected Essays of Montaigne, trans. John Florio (1603) ed.Walter Kaiser, with an introduction by Walter Kaiser, (Riverside, 1964)
Secondary Texts
Curt Breight, " 'Treason doth never prosper': The Tempest and the discourse of treason, Shakespeare Quarterly, 41, no.1, (1990)
Eric Cheyfitz, The Poetics of Imperialism: Translation and Colonization from The Tempest to Tarzan, (Oxford University Press, 1991)
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 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.
Moore, Harry. “Offices of Love”: A New Look At the Ending of Hayden's THOSE WINTER SUNDAYS." Explicator 69.2 (2011): 56-59. Academic Search Premier. Web. 12 Apr. 2014.
Gervinus, G.G. "The Tempest." The Shakespeare Criticism Volume 8. Gale Research Inc., Detroit. 1989: 304-307.
Ivanov, K. V., & Geake, J. E. (2003). The Mozart effect and primary school children.
Mowat, Barbara A. & Co. "Prospero, Agrippa, and Hocus Pocus," English Literary Renaissance. 11 (1981): 281-303. Shakespeare, William. The. The Tempest.
During Shakespeare's time social classification was much more rigid than today and some members of society were considered superior to other members. Shakespeare provides an example of this rigid social structure through his play, The Tempest. Shakespeare illustrates how superior men differentiated themselves from lesser beings on the basis of race, financial status, and gender. Through the character of Prospero, Shakespeare provides and example of one, who had reason to feel superior, yet treated others equally and with the respect due to them.
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.
Healthy humans have two types of immune systems that protect the body from invading pathogens that cause diseases. The Innate Immunity is the first barrier of protection. It is similar to a force field. Its primary purpose is to destroy any pathogen that tries to enter the epidermis cells (the skin cells) and the mucosa (mucus secreting cells found in the GI tract, respiratory tract, urogenital tract and eyes. If the first defense does not work, the adaptive immunity steps in to eradicate the invading microbe. Yet, sometimes the body reacts to harmless agents as if they were pathogens. Every day, more adults develop allergies to things in their environment. Exposure to such things as pollen, grass, mold and pet dander1 can lead to mild or harmful reactions. Other allergens can cause tingling in the throat and mouth, and in many cases severe reaction that lead to death. 2 In the last couple of decades, 75 to 100 percent of asthma and 150 percent atopy have reported.4 17.7 million adults and 7.1 million were diagnosed with allergies and hay fever.5 There are no known reasons why people developed hypersensitivity to certain agents, yet, many adults are developing allergies later in life. Statistically, children are the ones who develop allergies the most. About 3.9 percent of children have allergies, whereas 2% of adults have it. 6 Then, why are adults becoming more and more susceptible to this affliction? One possible reason is foods and every day household products are making people sick. Could it be that constant exposure to known hypoallergenic agents are causing allergic reactions to develop in adults who have never displayed any allergic reactions in their lifetime?
Shakespeare, William. The Tempest. Second Revised Ed. United States of America: First Signet Classics Print, 1998. 1-87. Print.
Press, Golgotha. The Life and Times of Jules Verne. N.p.: CreateSpace Independent Platform, 2012. Print.
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.
Shakespeare, William. The Tempest, edited by Louis B. Weight and Virginia A. LaMar, published by Pocket Books, New York, 1961.
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.
Shakespeare, William, and Robert Woodrow Langbaum. The Tempest: With New and Updated Critical Essays and A Revised Bibliography. New York, NY, USA: Signet Classic, 1998. Print.