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The character of prospero in the tempest
Character traits of prospero in the tempest
The character of prospero in the tempest
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Prospero in William Shakespeare's The Tempest Prospero's character dominates Shakespeare's play The Tempest, and can be said to convey an image of greed and selfishness. He goes to any length in order to keep control of the island and its inhabitants whilst using his powers to benefit his needs, whether it hurts others in the process or not. However, some may see an element of forgiveness in his personality and feel sympathy for him when his control breaks down. A change in character may be the answer to this, although a huge change would be needed to forgive someone for the crimes he pursued, let alone to sympathise for him. When Prospero realised he was loosing his powers, he knew he had to act quickly to try and save any control he may have left. He turned to Ariel for advice, which is a spirit. We could choose to sympathise here, as previously Prospero had always been extremely dominating and in control of everything and everyone. Now he shows a desperate sign of weakness when turning to a spirit for help. Perhaps his character is more desirable because of this? It can be said that by speaking to Ariel he is admitting to a defeat. On the other hand, some may think that he has planned to agree with what Ariel is asking for, and forgive the other characters purposely knowing that if he does, he will still be in control without the need of magic and have his Dukedom returned to him. This continues his egocentric personality, making us everything but pity for him. But still people believe his forgiveness is a sign of him acting more humane, and that he should be given a chance to show his true colours. At this point we are drawing ... ... middle of paper ... ...eness and his Dukedom is restored to him. Prospero reveals to Alonso that his son is alive and the friendship between Alonso and Prospero is sealed by the marriage of Ferdinand and Miranda. Prospero frees Ariel and decides to renounce his magical powers. I believe he was given a second chance to prove to the audience that he could be a fair and honest person, without power. Instead he took the opportunity to continue mistreating others, he made plans and formed ways to regain power he did not deserve. Prospero carried on dominating the characters feelings; as a consequence, he did regain his Dukedom. This was unjustified for him to win the battle against power, but predictable, you can't reverse all the bad you have done if you still carry the traits and behaviours of such evil, and Prospero is a prime example of this.
his head, whereupon he turned and caught it with trembling fingers and set it back in
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.
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.
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.
One might think of a tragedy being a terrible and destructible event in one’s life that causes great pain and may contain great loss. One particular play written by William Shakespeare – one of the most well known poets in history, happens to be a tragedy-filled story. Othello, the Moor of Venice, set during the captivating renaissance era portrays a character named Othello who reveals characteristics of a tragic hero. The brilliant philosopher Aristotle from the fourth century B.C. developed his own definition and idea of what a tragic hero is. Eric Engle, author of “Aristotle, Law and Justice: The Tragic Hero,” said, Due to Aristotle’s influence, his tragic flaw has distorted western thought ever since its conception” (Engle). “The enquiry of whether Othello is a true tragic hero is debatable. Aristotle’s definition of a tragic hero was a protagonist who is socially superior to others, but then has a downfall due to a “tragic flaw,” typically caused by the character’s solitary weakness. Due to Aristotle’s definition of a tragic hero, Othello possesses the qualities from his definition that fulfill the role of being a tragic hero.
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.
Shakespeare has been a part of the American Society for many years. Compared to other Authors, he has a different style of writing but within his own writings, they are all very much alike. He has written many plays including Othello and Romeo and Juliet. Shakespeare was a man who wrote plays that followed the same literary conventions. These conventions included tragic hero, fallacy, irony, and also suspense.