In the literary writings “The Tempest” and “Lord of the Flies”, Shakespeare and Golding present a varitey of types of power. Both writers’ explore coercive power, referent power and the power of nature.
In Act 1 Scene 1 Caliban says “I must obey; his art is such power...” Shakespeare has already shown that Prospero has a certain amount of coercive power towards Caliban. Caliban’s fear is used to an advantage by Prospero. He knows that he has power over Caliban, he uses it to his benefit similarly in Lord of the Flies Jack has power over his choir and some of the older boys. “But Merridew. Please, Merridew... can’t we?” This quote shows us early on how much power Jack already has over these boys. Golding also shows a natural progression in Jack’s power early on only his choir obeys him as the novel naturally progresses most of the boys are fearful of Jack’s power even Ralph.
In The Tempest Prospero also shows coercive power towards Ariel. “Thou liest, malignant thing! Hast thou forgot The foul witch Sycorax...” Shakespeare shows the anger of Prospero which
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Ariel fears the most. Ariel worst fear is of being trapped in a tree again like she was when Sycorax the witch was in control of the island, we learn this from Shakespeare’s use of a flashback scene which shows how and why Prospero has power over Ariel however in Lord of the Flies Ralph is seen to have referent power over the group by Golding.”I’m chief.... don’t argue.” Unlike Jack who has power due to the boys fearing him, Ralph’s power is due to the respect and trust given my most of the boys. In The Tempest Prospero power is stronger than Ariel’s he is seen to have coercive power over Ariel. “Go make thyself....”Shakespeare use of imperatives shows us this, his use of imperatives shows the power of the characters. In Lord of the Flies Jack is shown to have palpable power to become the chief of the group. “The boy who controlled them was dressed in the same way though his cap badge was golden.” Golding distinguished Jack first from anyone in the choir showing how powerful his character is going to be. “I ought to be chief.... I’m chapter chorister and head boys. I can sing C sharp.” Golding immediately shows his leadership skills and why he should be the obvious choice for being the chief of the group. It’s simple to understand why Jack’s the smartest choice for being chief. “..... while the most obvious leader was Jack.” Similarly in The Tempest Caliban is seen to have palpable power over the island due to his mother Sycorax the witch having power over the island before. “As I told thee before, I am subject to tyrant, a sorcerer that by his cunning hath cheated me of the island” But like Jack, Caliban is cheated out of the power. Whereas Caliban has no power over the island he is a slave to Prospero, Jack has power over the hunter’s he is their leader. In Lord of the Flies the power of nature has a vast amount of control over the boys. “.... possession of the island.” Golding use of the word posses shows the power the island has over these boys. Possess means to keep in control off. These boys can’t escape from the island because of the sea, this plays a large in role how the boys are behaving the island. If the boys where somewhere else they wouldn’t have behaved this way because they are so far away from civilisation, they have lost their control to differentiate between what’s moral and immoral. Similarly in the island in The Tempest some of the characters are shown to lose their morals immediately after entering the island. “And I king shall love thee” Antonio and Sebastian plan to kill Alonso the king of Naples, Shakespeare shows the hunger for power by both of these character’s. Antonio stole Prospero’s dukedom from him now Sebastian is trying to take the throne from Alonso. In Lord of the Flies Golding uses “His mind was crowded with memories; memories of the knowledge that had come to them when they closed in on the struggling pig, knowledge that they had outwitted a living thing, imposed their will upon it, taken away its life like a long satisfying drink." Golding’s use of imagery gives us a strong sense of power the island has.
Lord of the Flies was set in the 1950’s where in the real world there was a Cold War going on from 1947 to 1953. The Cold War started immediately as World War II finished which Golding had seen the horrors of. Similarly The Tempest was written in the 16th century when Britain was colonizing other countries. Colonization is either invading or taking over sovereignty of another area. In the 16th Century Britain’s navy was the strongest of any other countries so they had the power to invade these new countries. “Had I plantation of the isle my
lord.....” “The real problem is that the way that power is given out in our society pits us against each other.”- Anita Hall
William Golding’s novel ‘The Lord of The flies’ presents us with a group of English boys who are isolated on a desert island, left to try and retain a civilised society. In this novel Golding manages to display the boys slow descent into savagery as democracy on the island diminishes.
In ‘Lord of the Flies’ and ‘The Tempest’ William Golding and William Shakespeare both present a strong theme of power throughout both of the literary texts including power represented through fear and through nature.
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.
Power is very dangerous, as shown in William Golding’s Lord of the Flies. The novel explores the use of power in both the hands of good and evil and for success and for failure. Also, how some characters respond to having power. An examination of William Golding’s LOTF will show how fear is powerful and how the characters use that to their advantage. Also, the power shifts between the characters and the aftermath of that.
The Tempest presents the character of Prospero the usurped duke of Milan. In the beginning Prospero’s character can be described as foul, spiteful, and selfish. This can be seen in various scenes in acts one and two of the play where he treats the people around him as his servants especially the fateful Ariel who reminded him of his promise only to be threatened of imprisonment. He’s selfish in the sense that he would do anything to accomplish his goal of executing his plan. Like a master puppeteer he is manipulative and deceptive. He even manipulates his daughter to fit according to his scheme. However, all of his foul characteristics left him as his plan nears its end. It is as if the shedding of his clothes represented his change is personality and attitude. After Prospero discarded his staff, drowned his magic book, and wore his duke garments he became more responsible and sympathetic. Instead of exacting revenge on the king of Naples a...
Shakespeare's play, The Tempest tells the story of a father, Prospero, who must let go of his daughter; who brings his enemies under his power only to release them; and who in turn finally relinquishes his sway over his world - including his power over nature itself. The Tempest contains elements ripe for tragedy: Prospero is a controlling figure bent on taking revenge for the wrongs done to him, and in his fury he has the potential to destroy not only his enemies, but his own humanity and his daughter's future.
Lord of the flies, William Golding best exemplifies the theme of the power through the conch shell and the pigs had as both control the boy’s emotions and actions throughout the course of the novel.
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...
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.
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.
Throughout the whole play there is evidence of power, someone in possession of it and another subordinate to the person with the power. Mostly this happens in the scenes with prospero, as he is almost an omniscient and omnipotent character, with god-like qualities. He has the means to change many things not possible for humans, because of his magic and his power over magical creatures such as Ariel. Caliban also does the will of Prospero;
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.
The Tempest by William Shakespeare, is full of symbolism, imagery, and point of view; throughout the play Shakespeare uses these literary devices to convey a message of betrayal, forgiveness, and lessons learned. In the first act, Prospero uses his magic to create a storm that shipwrecks the King of Naples on the island. Like the storm, Prospero's anger is apparent; yet he never wants to do any real harm to the crew. The crew is safely washed ashore on to what seems to be the ideal utopia. Prospero is not an evil guy, he may be controlling and bitter, but only because he lost his dukedom, to his own family. The purpose for his actions essentially lead to forgiveness and a lesson learned by Antonio and Alonso. In the end everyone seems to get what they deserve.
Sometimes it takes any advantage to attain power. Prospero secures power on the island through his use of magic and manipulation. He is in control of all of the events in the play since he essentially has all of the power. It is also revealed how he maintains his power by exploring the use of his manipulative magic and the hold he has over those around him. By using his magical influence over the natives he has enslaves, Prospero invokes fear in Ariel by stating, “If you complain any more, I’ll split an oak tree and lock you up in it till you’ve howled for twelve years” (Shakespeare 37). He uses his power as a fear tactic to make the native people do his bidding for him. He also uses his magic against those he has shipwrecked on the island. He puts them in a trance to keep him busy until he needs them again, “My magic powers are in full swing, and my enemies are confused and running around in circles. They’re under my control, and I’m keeping them in their crazy fits” (Shakespeare 143). By entrancing the men from the boat, Prospero can keep them under his bid until he sets himself on a course of action. As he states, “.., my enemies have happened to wreck their ship on this island. As I see it, my fate hangs on this lucky event”, he must be precise in how he handles cultivates these people or he will risk the possibility of his plan unraveling before him (Shakespeare 27). The idea behind him having magic is to set him apart