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"No man is an island, entire of itself; every man is a piece of the continent, a part of the main” - John Donne. The english poet and satirist of the sixteenth century was particularly known for his inventive metaphors that resonate with various cultural themes, imperialism being a constant. By definition imperialism implies the maintenance or creation of unequal relationships based on law, economy and territory between states working on the ideas of domination and subordination. Machiavelli and Shakespeare both had actively investigated the distinctively warped conflict of imperialism. Although they approach the topic differently, both agreed that political power and ruling of anything involves more that just a “divine right” and royal lineage. …show more content…
Machiavelli wrote, “ [...] (a prince) must be discreet enough to know how to avoid the reproach of those vices that would deprive him of his government…” (Witt 36) The philosopher means that an appropriate and ideal ruler must strive to stay away from the things that impede on his leadership and if he does not, then action will be taken place for the people and the governments sake. Prospero speaks of Antonio, “Being once perfected how to grant suits, to deny them, who t’advance and who to trash for over-topping…” (i.ii.79) Prospero realizes that it was right for Antonio to assume the role of the Duke of Milan as he knew how to run the position. Prospero’s fall from power can be attributed to his lack of investment in his people, and his almost obsessive investment in his magical books. Many, including Prospero himself, view Prospero as the undeserving victim of a stolen kingdom and Antonio is labeled as underhanded and conniving. “Conniving” clearly has a negative connotation, but Machiavelli would argue that Prospero’s denial of the duke-ship due to his obsession of magic and Antonio assuming the rule was the right course of action for the benefit of the
Prospero can be used to exemplify the Prince’s principles of how a ruler should not conduct his business. Prospero was an unfit ruler of Milan because he did not invest his time in politics but instead in “the liberal arts” (Shakespeare I.ii.91). Machiavelli states that a ruler should be invested in the well being of his people. Even though Prospero inherited the power to rule over Milan, Machiavelli would argue that Antonio rightfully acquired this power through prowess (Machiavelli 20). Machiavelli would justify Antonio’s action when he overthrows Prospero for power over Milan. Machiavelli would state that Antonio did what needed to be done in order to attain power. Prospero was not acting as a rightful ruler, so Antonio had the opportunity
With the semester coming to an end, many students are excited. This especially includes those who will be graduating soon. However, graduation can be seen as a bittersweet moment. On one hand, the graduates enter into a new chapter in their lives. On the other hand, they may lose communication with some of their friends. Unfortunately, this is a natural aspect of each person’s life. Everyone will experience some kind of loss in their life, whether it is person or an object. In The Tempest, Shakespeare discusses the topic of loss. While this theme is not talked about much compared to other themes in the play, it is very important since it is a theme that is included in the 1956 movie adaptation Forbidden Planet. While both works illustrate the ways people deals a loss, the later work demonstrates how the advancement in the world have affected the way modern society
Niccolò Machiavelli was a man who lived during the fourteen and fifteen hundreds in Florence, Italy, and spent part of his life imprisoned after the Medici princes returned to power. He believed that he should express his feelings on how a prince should be through writing and became the author of “The Qualities of a Prince.” In his essay, he discusses many points on how a prince should act based on military matters, reputation, giving back to the people, punishment, and keeping promises. When writing his essay, he follows his points with examples to back up his beliefs. In summary, Machiavelli’s “The Qualities of a Prince,” provides us with what actions and behaviors that a prince should have in order to maintain power and respect.
In Maryse Condé novel, I, Tituba, Black Witch of Salem, Tituba is the victim of the spread of colonial ideology. Colonial ideology is established early in the novel and plays a role throughout. Colonial ideology is the reason Tituba is a slave to white men throughout the play. Colonial ideology is the reason why Tituba’s opinion is considered irrelevant by other characters in the play. Tituba’s life is filled with lost, misery, and disappointment because of the ideology shared by other characters in the novel. The spread of colonial ideology leads to Tituba’s low role in every society she lives in during her life.
Although Machiavelli gives numerous points on what it takes to excel as a prince, he also shows some raw examples of how he feels a prince should act in order to achieve maximum supremacy. First, when he says, "ought to hold of little account a reputation for being mean, for it is one of those vices which will enable him to govern" proves Machiavelli feels mighty adamant about his view that being mean will help a prince achieve success (332). It is absurd to imagine the meanest prince as the most successful. Also, when Machiavelli states, "our experience has been that those princes who have done great things have held good faith of little account, and have known how to circumvent the intellect of men by craft" revealing his attitude to manipulate people into fearing and respecting the prince (335). Also, Machiavelli shows that for a prince to be successful, he must not think about good faith.
The most astounding aspect of The Prince is Machiavelli’s view that princes may indeed, be cruel and dishonest if their ultimate aim is for the good of the state. It is not only acceptable but necessary to lie, to use torture, and to walk over other states and cities. Machiavellianism is defined as “A political doctrine of Machiavelli, which denies the relevance of morality in political affairs and holds that craft and deceit are justified in pursuing and maintaining political power (Def.)” This implies that in the conquest for power, the ends justify the means. This is the basis of Machiavellianism. The priority for the power holder is to keep the security of the state regardless of the morality of the means. He accepts that these things are in and of themselves morally wrong, but he points out that the consequences of failure, the ruin of states and the destruction of cities, can be far worse. Machiavelli strongly emphasizes that princes should not hesitate to use immoral methods to achieve power, if power is necessary for security and survival.
Throughout the play The Tempest there is a relationship that pits master and slave in a harmony that benefits both parties. Though it may sound strange, these slaves sometimes have a goal or expectation that they hope to have fulfilled. Although rarely realized by its by its participants, the Master--Slave, Slave--Master relationship is a balance of expectation and fear by the slaves to the master; and a perceived since of power by that of the master over the slaves.
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. In Act I of the play, Prospero finally tells Miranda the woeful story of how she and he arrived on the island. From the beginning, Prospero plays his subjects and his sympathetic audience as pawns in his game of manipulation. He explains that twelve years ago he was the Duke of Milan, but being enthralled with his studies, he left most of the governmental responsibilities to his brother Antonio. Antonio, hungry to be "Absolute Milan" himself (1:2, p.6), proceeded to betray him with the help of King Alonso of Naples.
The appropriation of culture: Throughout the play many times Caliban and Ariel have their culture stepped on. Instead of accepting their way of life and integrating it with his own Prospero not only shames them for their culture but forces his own on them. He makes them feel as if they are outsiders on what appears to be their former home now overrun by Prospero. We see this first appear when Prospero yells at Caliban for speaking in his native tongue . Caliban greets him by saying “Uhuru” (Cesaire 11). Prospero responds “Yet another return to your savage tongue. I've already told you, I don't like it. You could be polite, at least: hello wouldn't kill you.” (Cesaire 11). He is forcing Caliban to speak in a language unfamiliar to him without even considering how Caliban might feel uncomfortable in doing so. Another example is when Trinculo and Stephano refer to Caliban as a “Nindian” because of the color of his skin. Stephan exclaims “Think about it -- a Nindian like that -- that's filthy lucre in abundance. Exhibited in a fair, between the bearded
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.
This time however, Prospero used his daughter as bait in order to draw Ferdinand closer in the hopes of getting them married. He wants to regain his title as the Duke of Milan. Prospero presents himself as a victim of injustice, however his belief of justice and injustice is somewhat contradicting. He takes advantage of this authority over other people and situations he encounters while using his integrity and compassion to mask his dangerous plans and to retain love and respect. The Tempest in the end suggests that love and compassion are more effective political tools than violence, hatred or even abusive magic.
If there were no king the country would be in chaos for there would be
The lines selected for analysis are Act II, Scene I, lines 277-291, when Antonio is trying to reassure Sebastian that killing his brother—the King of Naples—is a good idea and well worth the effort. As the reader knows, Antonio usurped his brother, Prospero, and became the Duke of Milan. This sets the stage for his attitude towards Sebastian’s wanting to kill his brother, King Alonso. Because of Antonio’s past actions he sees nothing wrong with getting rid of a family member for personal gain, but his reasons for doing so began at a young age and have been etched into his brain. Antonio’s psychological depth reveals that he is a man jealous of his brother’s rightful power, and stemming from that is his insecurity and lust for power wherever he may find it (in this case, having power over Sebastian). Antonio is not a good person, has few conscientious thoughts, and is now trying to convince his companion to follow his lead. If Antonio’s brother, Prospero, was to hear the selected lines, he would say that the only time Antonio thinks about performing acts that will get him power, by eliminating those who currently have it, is when it is to his advantage. He would say that Antonio devises plans to get rid of leaders when they are at a disadvantage, and he at an advantage, because he doesn’t feel that he could succeed otherwise—his insecurities kicking in. I don’t think Shakespeare agrees with Antonio, and there are two examples in the play to support that.
The Tempest, by Shakespeare, offers the reader a variety of themes. The one theme that stands out the most is that of colonialism. During the time of Shakespeare, many European countries such as Spain, France, and England, were expanding their borders by taking over less developed countries, referred to as colonies. During this time of exploitation, there was skepticism concerning the possible success of the colonies. While some scholars believe that the play is about the Americas, I argue that the play reflects on colonialism in general and how it is destined for failure which is shown through the character’s relationships throughout the play.
The novel Jane Eyre by Charlotte Bronte and Wide Sargasso Sea by Jean Rhys were produced at different times in history. Indeed, they were created in different centuries and depicted extensively divergent political, social and cultural setting. Despite their differences, the two novels can be compared in the presentation of female otherness, childhood, and the elements that concern adulthood. Indeed, these aspects have been depicted as threatening the female other in the society. The female other has been perceived as an unfathomable force that is demonic in nature but respects these enigmatic threatening characters. The female other has been portrayed as intensely alienated while grows knowing that their actions are subject to ridicule, rumor,