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Preface to shakespeare analysis
Comparing and contrasting characters in shakespeare
Preface to shakespeare analysis
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Prospero in William Shakespeare's The Tempest
In act 1 we learn that Prospero is a very complex character with many
different aspects to his presentation. The first and probably the most
obvious aspect to his character is that of the magician.
Some critics argue that the 4 main characters on the Island can be
said to represent different attributes to humanity: Caliban represents
instinct, Miranda represents love, Ariel represents spirit and
Prospero represents power. Prospero's incredible magical powers
contribute to this interpretation of his character. His character is
also interpreted as being like a puppet-master. I think this is an
appropriate image of Prospero as he uses his incredible powers to rule
over people, influencing and controlling them with his magic for his
own personal purposes.
He controls Caliban with threats and acts of physical violence saying:
" Tonight thou shalt have cramps, side stitches that shall pen thy
breath up."
This shows Prospero's puppet-master side using his incredible power to
control people and making them afraid of them. The author also uses
the rule of three to show the extent of Prospero's threats towards
Caliban.
He also controls Miranda, this time though he does not resort to
physical pain or violence he puts a spell on her instead.
He says, " Thou art inclined to sleep"
This again shows his incredible power he possesses as a magician being
able to control people's actions easily as a puppet-master would his
puppets. I believe he does this to show off and feed his ego. Also he
does this to suit his personal interests.
In this way Prospero often abuses his power. A ...
... middle of paper ...
...r. I
believe Prospero is very human in some ways. His human attributes
mainly being seen in the aspects "The man" and also "The father" this
is probably Prospero's weakest side. It shows him to be foolish and
weak. But away from his human side Prospero is seen to be extremely
powerful. This side of his character is seen in the aspects "The
magician" and also "Thee master of slaves."
Despite having many negative aspects I believe that Prospero is not
completely negative. When it comes to the aspect of "The father" I
believe he is just overprotective.
Also as "The man" I believe that he is just very human and made
mistakes.
All together I believe that Shakespeare has managed to create an
extremely real character in Prospero. He is not entirely perfect but
tries hard in everything he does but makes mistakes.
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.
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 literature as in life, characters are multi-dimensional beings. They possess a wide variety of character traits that make them who they are. In the Tempest written by William Shakespeare, Prospero traits resemble those of the Europeans that came during the exploration of the Americas. Thus, Prospero’s treatment of Caliban is similar to the way Europeans treated the Native Americans.
In the short story, The Masque of Red Death by Edgar Allen Poe, Prince Prospero, the main character, seems to be a flat character. Prince prospero is a flat character because the story doesn't give a lot of background information about him, besides the fact that he is indeed a Prince with no worries. Prince Prospero can also be characterized as a dynamic character and a static character. He is a dynamic character because in the beginning of the story, the Prince is happy and doesn't have any worries but he changed when the red death comes to his party. The Prince’s mood changes to anger because the red death is scaring everyone at his party and disturbing the peace. Edgar Allen Poe uses both direct characterization and indirect characterization.
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.
The Relationship Between Miranda and Prospero in The Tempest Works Cited Missing Act one scene two opens with Miranda and Prospero standing on an island, after having just witnessed a shipwreck. Right from the first line we can establish the relationship between Miranda and Prospero. "My dearest father" (line 1). As the scene commences, we begin to learn a great deal about the two roles. Miranda opens the scene as she questions her father about the huge storm.
Through a historical lens, Shakespeare’s The Tempest revolves around the evolving times of England during the Tudor Dynasty in 1552-1603. During those times Queen Elizabeth I was the newly appointed ruler of England after her half-sister, the previous ruler had died. This new change was the new beginning for England. It allowed many opportunities to arise such as a new stock company, provisions for the poor, and a chance for many to explore the world with their new wealth. To thank and impress their new Queen, many set sail to conquer new lands. Similar to history, The Tempest did contained a few curious Englishmen and their king discovering new land but the exact location is unknown. At the time of Shakespeare’s
Shakespeare's Othello is not simply a play which embodies the conflict between insider and outsider. The paradigm of otherness presented in this play is more complicated than the conclusion, "Othello is different; therefore, he is bad." Othello's character is to be revered. He is a champion among warriors; an advisor among councilmen; a Moor among Venetians. Yes, Othello is a Moor, but within the initial configuration of the play, this fact is almost irrelevant. His difference is not constructed as “otherness.” Othello, by his nature, is not an “otherized” character. Besides being the dark-skinned Moor, Othello varies in no real way from the other characters in the play. Further, Othello and Iago can be seen as two sides of the same destructive coin. With Iago as a foil and subversive adversary, Othello is not faulted for the indiscretions he commits. It is the invention and projection of otherness by various characters in the play, especially Iago, which set the stage for the tragedy of dissimilarity which is to ensue.
Prospero's intent throughout the course of The Tempest is neither to revenge himself upon his enemies, nor to reconcile himself with his estranged brother. It is, rather, to orchestrate the reclamation of his lost duchy, Milan, through both his magic and a shrewd manipulation of both the shipwrecked party and the islanders (Caliban and Miranda).
The character of Miranda in "The Tempest" is extremely compelling for two reasons. First and foremost it is important to note that the Miranda is the only female character who appears in the entire play. This is the only Shakespeare play where a character has this kind of outstanding distinction. This is not just a fluke on the part of Shakespeare, for it is very important that the character of Miranda appear by herself. The reader is not able to compare her beauty and virtue to any other female in the world of "The Tempest", and this serves both to show her value as a character and the fact that no other living women has the virtue of Miranda. While Miranda may not have many outstanding lines or solioquys, she makes up for this in sheer presence alone. Miranda's character encompasses all the elements of perfectionism and goodness which is lacking in all the other respective characters. All of the other characters in "The Tempest" are reflected by Miranda, and even if she did not speak one line she would still serve this important purpose.
Shakespeare's Use of Language, Imagery and Setting to Illuminate Prospero's Journey from Revenge to Reconciliation
Shakespeare’s play, The Tempest is set on a mysterious island surrounded by the ocean. Here the magician Prospero is ruler of the isle with his two servants Caliban and Ariel. Caliban is the abrasive, foul-mouthed son of the evil witch Sycorax. When Prospero was shipwrecked on the island Prospero treated him kindly but their relationship changed when Caliban tried to rape Prospero's daughter, Miranda. Caliban then became Prospero's unwilling servant. Caliban serves his master out of fear Prospero's wrath. Prospero's other servant Ariel is a graceful spirit who has courtesy and charm. Ariel has put her services at Prospero's disposal out of gratitude for his kind actions towards her. Prospero saved Ariel from the confinement of Sycorax who held her prisoner.
Shakespeare wrote different types of plays such as comedies, tragedies, and historical plays. The play Othello is one of his tragedies. It is about a character named Othello who is a Moor, in the service of Venice. Throughout the play Iago, Othello's lieutenant, manipulates Othello to believe that Desdemona, Othello's wife, is cheating on him. Various characters in the play Othello appear to be virtuous, upstanding individuals, but their actions reveal that they are not as they appear to be.
Tragic heroes tend to have very pre-determined paths; usually making the most virtuous of characters destined to suffer. The hamartia or ‘tragic flaw’ is the typical reason the hero falls. Shakespeare was noted to be one of the best writers of tragedies, one of his most prominent to be Othello. In Othello, we find a number of tragic flaws two including pride and ambition. In William Shakespeare’s play, Othello, pride and ambition are used to identify the outcomes for the main characters in the play when seeing the resolution of the play, perceiving those who survive and those who don’t, and considering each character’s role in the turn of events.
Of the 38 plays Shakespeare has produced over his lifetime, his tragedies are the most heart-wrenching, horrifying productions the theater has ever seen. In these tragedies, there are gruesome ideas such as lethal love, megalomania, and the absolute corruption of heroes that were originally considered to be wholesome. The latter theme can especially be seen in the play Othello. In this tragedy, there is an ongoing theme of corruption in a considerable amount of characters in the play, the most significant change being in Othello. Othello undergoes a shocking transformation, as he starts off as the storybook hero, a reputable soldier who illustrates great passion towards his wife, but transforms to become a twisted