A discovery can shatter an individual’s perception of self and world, forcing them to accept the truth within their reality. This allows for a transformation within the individual from a perspective clouded by values present in the human folly, such as revenge and idealism. However, for the individual to achieve a re-evaluation of perspective they require a level of acceptance and receptiveness towards the discovery. This multifaceted concept of discovery is evaluated and paralleled throughout the two texts, ‘The Tempest’ and ‘American Beauty’.
The separation of reality due to the individual’s own human folly is evident within Shakespeare’s portrayal of Prospero in The Tempest. Prospero is blinded by his pursuit of magic and later revenge,
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This occurs through Ariel challenging Prospero’s revenge on the men. “Your charm so strongly works ‘em that if you now beheld them, your affections would become tender.” The personification of affections emphasises Ariel’s questioning of Prospero’s morality as the implication of a non-human creature feeling sympathy in consequence of Prospero’s action is a sudden and provocative discovery for Prospero. Consequentially, the result is the shattering of Prospero’s obsession with revenge and magic which allows for the rediscovery of his morality and humanity. For instance the revengeful nature of Prospero that wished to “plague them all even to a roaring” is now juxtaposed with his forgiveness of the men. “Yet with my nobler reason 'gainst my fury do I take part. The rarer action is in virtue, than in vengeance.” The antithetical ideas of virtue and vengeance embody the transformation endured by Prospero as he regains his morality by replacing revenge with virtue. This rediscovery of morality is coupled with his newfound humanity as symbolised by his rejection of magic. The newfound perspective “I’II drown my books” contradicts Prospero’s earlier value of the books wherein he referred to them as “books I prize upon my own dukedom.” It’s through these opposing statements that the concept of Prospero reconnecting with his humanity and rejecting the delusions of grandeur he gained from his magic is emphasised. In culmination the juxtaposition of Prospero’s perspectives before and after his rediscovery of humanity and morality reiterates the transformative power discovery can have on an individual as long as they allow
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.
Discovery has the power to transform individual’s lives to allow the individual to re-discover themselves and therefore give them a different perspective on their own life. This concept is demonstrated in William Shakespeare’s play ‘The Tempest’ and Julio Cortazar’s short story ‘The Night Face Up’. Shakespeare through the main protagonist, Prospero demonstrates that discoveries can cause individuals to become merciful and cooperative, even if they were out for revenge initially. In contrast Cortazar through his nameless protagonist conveys that the discovery of tragedy and danger can transform the individual into one who escapes reality to the extreme. Through both Prospero and the nameless protagonists, different transformations are illustrated
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.
In Shakespeare’s play, The Tempest, the character Prospero embarks on a journey of self discovery, undergoing a transformation that allows him to achieve a renewed perception of himself and others Prospero who was initially a duke, but later overruled by
There are many elements in Shakespeare's play, The Tempest, which one cannot reconcile with the real world. The main theme in The Tempest is illusion, and the main focus is the experiment by Prospero.
The Tempest by William Shakespeare is one of the most relevant and studied plays of the Elizabethan period among scholars, from both, ancient and actual times. One of the many readings that have prevailed suggests that the play’s protagonist, Prospero, and his two su-pernatural servants, Ariel and Caliban, can work as a single psychological unit is constantly discussed by the academics. This reading is not new; it has been considered for longer than the idea of The Tempest as an autobiographical allegory, being first proposed by Thomas Campbell in 1838 (Yachnin).
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.
Prospero enslaved the spirit Ariel or other-worldly figure of sorts. And in-turn Ariel causes a violent storm that causes the shipwreck in the opening scene, due to Prospero's request, thus bringing those back that caused Prospero to lose his dukedom. After which Ariel asked for his freedom having done his deed for Prospero, but Prospero denied his request, saying to Ariel time must be served first. Prospero continues with something of a guilt-instilling speech, reminding Ariel that he had freed him and Ariel becomes submissive once again saying, “all hail, great master, grave sir, hail! I come to answer thy best pleasure; beat to fly, to Swim, to dive into the fire, to ride, on the curled of clouds”(1,2,189-190). This shows Ariel’s language is that of someone being oppressed imprisoned or enslaved and such is the relationship that of a slave and a master. Prospero does not only oppress Ariel but also enslaves Caliban the once ruler of the island simply because Prospero believed his new ideas were much better meaning slavery over freedom, which he did impose on Caliban by saying “Dull thing, I say so; he, that Caliban, Whom now I keep in my service.” (Act. I, Sc. II, Ln. 285-286). Furthermore Prospero makes it even clearer what he thinks of Caliban the native that had helped Prospero to survive on the Island has
Having been usurped and wrecked on an Island Prospero and his young daughter Miranda have to settle. It is here in Prospero's past that it first clear to see where any confusion about his character may appear. As a learned and powerful man Prospero is able to take direct control of the island, he frees a trapped and tortured spirit (Ariel) and befriends the inhabitants (Caliban). Prospero 'helps' Caliban, he tries to educate him and teaches him to communicate, in exchange Caliban helps Prospero to survive on the Island. But in taking power of the Island Prospero is committing the same act that happened to him as Duke of Milan, now Prospero himself has become the usurper. In this act of goodness Prospero has unknowingly shown his evil side.
Prospero's magic is a display of power, a power which he only foretells renouncing. While in some stage productions Prospero will break a staff or burn a book, the text itself switches from a future tense first person description of the renunciation, in the play, to a past tense description, in the epilogue; the event itself is never enacted. The precise moment at which Prospero destroys his books, however, is irrelevant, as his power lies not so much in them as in Ariel. Ariel is not given freedom until the King's ship "shall catch/ [the] royal fleet far off . . . Ariel . . . that is thy charge" (V.1 315-17). By retaining Ariel after the reconciliation Prospero remains empowered, a necessity in the event that Alonso suffers ...
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.
This essay will discuss the part that illusion and reality plays in developing and illuminating the theme of Shakespeare's The Tempest. This pair of opposites will be contrasted to show what they represent in the context of the play. Further, the characters associated with these terms, and how the association becomes meaningful in the play, will be discussed.
After Ariel finishes, “That if you now beheld them, your affections / Would become tender”, Prospero replies “Dost thou think so, spirit?” and Ariel answers, “Mine would, sir, were I human”. The theoretical suggestion of Ariel’s humanity is compelling, as he recognizes and sympathizes with the struggle of the men. It suggests that, just because Ariel is not human does not mean he has not take on aspects of humanity. The delivery of the line regarding Ariel’s humanity is vital and should be said in an understated, but confident tone.
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