Discoveries can have a significantly meaningful impact on an individual’s sense of self, as it can induce a transformation for the individual, epitomised particularly through Shakespeare’s play The Tempest, Robert Stevenson’s 1886 novel The Strange Case of Dr Jekyll and Mr Hyde, as well as Christopher Nolan’s film Interstellar. Through this critical study of texts my knowledge of the impact of discovery has been extended, as I can now understand that discoveries can allow for a renewed perception of one’s self, stimulates new values and also can emotionally transform one to re-evaluate their existing ideals.
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
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Dr Jekyll reassess his beliefs about the malicious life he is living through Mr Hyde, a realisation/transformation catalysed through the short supply of his potion; “the insurgent horror… caged in his flesh… felt it struggle to be born”. Through the metaphor “caged in his flesh”, the audience is able to perceive Hyde’s sinful nature, but the dramatic tone in “struggle to be born” highlights Jekyll’s confusion in which life to lead. Thus he emotionally discovers the difficulty in him resolving his moral compass, with his evil indulgences, drawing Jekyll to reassess his existing ideals of morality; “Then these agonies began swiftly to subside, and I came to myself as if out of a great sickness”. Furthermore I have come to the understanding that discoveries can be intensely meaningful, as they can induce an emotional transformation, consequently impacting an individuals’ sense of self, as they are positioned to re-evaluate there existing
“The Strange Case of Dr Jekyll And Mr Hyde” is a novella written in the Victorian era, more specifically in 1886 by Scottish author Robert Louis Stevenson. When the novella was first published it had caused a lot of public outrage as it clashed with many of the views regarding the duality of the soul and science itself. The audience can relate many of the themes of the story with Stevenson’s personal life. Due to the fact that Stevenson started out as a sick child, moving from hospital to hospital, and continued on that track as an adult, a lot of the medical influence of the story and the fact that Jekyll’s situation was described as an “fateful illness” is most likely due to Stevenson’s unfortunate and diseased-riddled life. Furthermore the author had been known to dabble in various drugs, this again can be linked to Jekyll’s desperate need and desire to give in to his darker side by changing into Mr Hyde.
Jekyll is respectable man with a very good career. He is a doctor that is highly regarded in his community for what he does as far as charity and his manners. As young man growing up, he was secretly involved in weird behaviors that made him a bit questionable. Dr. Jekyll finds his other side to be quite bothersome and he decides to experiment so he could try a separate the good from the evil. He creates potions and other things that really do not help. After so many attempts of trying to restrain his evil side, he brings forth Hyde through his failed experimentation. Therefore, he only accentuates his evil self to come forth. Hyde is an extremely ugly creature that no one could stand the sight of. He is deformed, violent, and very evil. Throughout the story, he fights against Jekyll to take over his life eventually causing Jekyll to murder one of his good friends, Mr.
Jekyll and Mr. Hyde as Dr. Jekyll, a reputable man who followed all the rules in life who itches for pleasure and sin goes through trials and experiments in order to let his alter-ego free. The result of this is Mr. Hyde, the man who lets his sinister side roam free and who fulfills all of the doctor's bad intentions. The creation of Mr. Hyde was due to Dr. Jekyll's realization that "man is not truly one, but truly two" because all individuals have a good and bad side, and each side is independent from each other (Stevenson 10). In duration of the story, Dr. Jekyll begins to see that his transition to Mr. Hyde becomes a more natural change, meaning that Mr. Hyde is getting stronger with every sin committed. Unlike Victor Frankenstein, Dr. Jekyll has a conscience, he was fully aware of the damage he was doing but he just could not help himself and he had to participate in the world of
Jekyll unveils his story, it becomes evident that Dr. Jekyll’s efforts to keep Mr. Hyde, his immoral outlet, reticent are in vain. Dr. Jekyll succumbs to Mr. Hyde once and eventually the pull of his worse self overpowers Dr. Jekyll completely. His futile attempts to contain Mr. Hyde were more damaging than auspicious, as Mr. Hyde would only gain a stronger grip on Dr. Jekyll. Dr. Jekyll writes, “I began to be tortured with throes and longings, as of Hyde struggling after freedom; and at last, in an hour of moral weakness, I once again compounded and swallowed the transforming draught… My devil had been long caged, he came out roaring” (115). Dr. Jekyll’s inevitable passion for debauchery is only further invigorated by his repression of Mr. Hyde. By restraining a desire that is so deeply rooted within Dr. Jekyll, he destroys himself, even after his desires are appeased. Like a drug, when Dr. Jekyll first allowed himself to concede to Mr. Hyde, he is no longer able to abstain, as his initial submission to depravity resulted in the loss of Dr. Jekyll and the reign of Mr.
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 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.
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...
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.
Everyone encounters the notion of discovery, however, those that confront previous philosophies result in the most humbling reflections and transformations. Confronting discoveries in both the physical and abstract spectrum lead individuals to re-assess their values and who they are as a person. William Shakespeare’s play, ‘The Tempest’ (1611); follows a group of stranded individuals who, as a result of their shared experiences with the abuse of power, rediscover the necessity for compassion and the need for revalued relations. Ang Lee’s film, ‘Life of Pi’, dictates the self-discovery of the protagonist, Pi, as he embarks on an unexpected journey of personal growth and changing
Jekyll experiences. For instance, Dr. Jekyll’s physical appearance begins to decline as he stops taking the draught. The text describes Dr. Jekyll’s physical characteristics as “looking deadly sick” when his is usually a “large well-made, smooth-faced man of fifty, with something of a slyish cast perhaps, but every mark of capacity and kindness” (Stevenson 19-25). Not only does Dr. Jekyll’s health begin to decline, but also his behavior changes as well. Normally, when Dr. Jekyll would have a visitor he would greet his guest with a warm welcome, but as the text illustrates in Chapter 4, Dr. Jekyll did not have the strength to greet Mr. Utterson: “He did not rise to meet his visitor but held out a cold hand and bade him welcome in a changed voice”( Stevenson 25). Another example of Dr. Jekyll’s behavioral change is seen when he physically separates himself from his colleagues for days on end locked in his laboratory resulting in his friends to repeatedly check on him. This act of withdrawal connects to the reality an addict faces during rehabilitation. The said addict has to seclude himself from temptation in order to be successful in the recovery stage. The final behavioral change for Dr. Jekyll is shown through his reiteration of him cutting off all ties to Mr. Hyde and his outburst of violence. During a conversation Dr. Jekyll has with Mr. Utterson shortly after the murder of Sir
Jekyll is given as a respected man raised in a wealthy family. During the era, people are meant to be well-mannered and polite without any sign or thinking of violence and crime; however, Dr. Jekyll secretly has a desire to perform evil. Conflicted with the ideal of society, he has repressed his emotion through many years and eventually he decided to conceal his pressure as he said, “And indeed the worst of my faults was a certain impatient gaiety of disposition, such as has made the happiness of many, but such as I found it hard to reconcile with my imperious desire to carry my head high, and wear a more than commonly grave countenance before the public. Hence it came about that I concealed my pleasures; and that when I reached years of reflection, and began to look round me and take stock of my progress and position in the world, I stood already committed to a profound duplicity of life.” (48) From this quote, Dr. Jekyll discloses that he’s not desired to be cheerful, as many do, and decides to fake his pressure in front of the public eyes. After many years, he then realizes he was only hiding his true emotion. Eventually, to resolve his situation, he is inspired to create a potion that could transform himself to Mr. Hyde that could free him from the struggle between protecting his reputation and following his emotion and
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. 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.
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
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 Tempest, like any text, is a product of its context. It is constructed in relation to moral or ethical concerns of 17th century European Jacobean society. The resolution of conflict appears 'natural' or an inevitable consequence if regarded in relation to the concerns of its context. The resolution of conflict in this play incorporates Prospero being returned to his 'rightful' or natural position as Duke of Milan, his daughter Miranda getting married to Ferdinand, and the party returning to Milan leaving the island to the 'monster', Caliban. The resolution is a consequence of the concerns of the time, including the idea of the divine right of kings, courtly love, and colonisation.