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In Shakespeare’s The Tempest, the background characters hold great importance in the overall plot of the play. Characters such Sycorax establishes the setting of the play, providing the readers with background knowledge leading up to the play. Sycorax, in many ways, serves as a mirror image to Prospero. However, as Frey and Skura suggests in their literatures, The Tempest reflects much about the events happening in the real world (Frey, Skura). The life of Sycorax is a representation of what’s happening in the Old World as well as the New World.
In Act I Scene 2, we learn about the nature of Sycorax through the speeches between Ariel, Caliban and Prospero. Caliban claims that Sycorax was the first to arrive upon the island, and thus giving her the ownership to the island (Shakespeare 1,2,331). Trained in the arts of magic like Prospero, Sycorax takes over the island through her witchcraft. Prospero describes Sycorax as an old and foul witch, whom is feared and hated by the residences of the island (Shakespeare 1,2,258). It was Sycorax whom maliciously enslaved the spirits of the island in the first place, and her actions would lead to a series of events which explains the existence of Caliban and his savage behaviours, as well as the bonds between Prospero and the local spirits. Without the existence of Sycorax, Prospero would not have had the services of Caliban nor the spirits. Thus the survival of Prospero and Miranda would’ve been jeopardized, and the events to follow would not have occurred. As well, the great tempest conjured by Ariel would not have been present, and the King and his men would’ve had a safe passage, unaware of Prospero’s presence. Without the existence of Sycorax, the play cannot exist.
Sycorax also ref...
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...rospero again. Caliban would never have been born, and Prospero would not have lived to tell his tale. Sycorax also provides the reader with the opportunity to evaluate the potential hidden meanings of the play. Maybe it is a reflection on the North American settlement, or maybe it is to criticise the fascist ideologies. Nevertheless, just because Sycorax is not present in the actual production of the play does not mean her roles can be replaced or ignored, for she is the source of speculations.
Work Cited
Frey, Charles. The Tempest and the New World. (1979): page 30-41. JSTOR. Web. 04 Feb 2011
Shakespeare, William. The Tempest. Second Revised Ed. United States of America: First Signet Classics Print, 1998. 1-87. Print.
Skura, Meredith A. Discourse and the Individual: The Case of Colonialism in the Tempest. (1989): page 42-69. JSTOR. Web. 06 Feb 2011
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.
Carlisle, Carol J. "Providence, Authority, And The Moral Life In The Tempest." Shakespeare Studies 16.(1983): 235. Academic Search Complete. Web. 19 Nov. 2013.
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 reflects Shakespeare's society through the relationship between characters, especially between Prospero and Caliban. Caliban, who was the previous king of the island, is taught how to be "civilized" by Prospero and his daughter Miranda. Then he is forced to be their servant. Caliban explains "Thou strok'st me and make much of me; wo...
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.
In Shakespeare’s play, "The Tempest," an underlying theme of barbarism versus civilization appears. Shakespeare creates characters that exemplify symbols of nature or nurture. The symbolism of the characters is derived from their actions. These actions show Shakespeare’s view of the uncivilized and the civilized, as well as help the reader develop his own opinion of each side.
Davidson, Frank. "The Tempest: An Interpretation." In The Tempest: A Casebook. Ed. D.J. Palmer. London: Macmillan & Co. Ltd., 1968. 225.
2.) Lamming, George. " A Monster, a Child, a Slave." The Tempest: Sources and Contexts,
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 was intending to represent several different groups of people in society through his plays and “The Tempest” was no exception to the rule. I aim to show how the “human” relationships in the play reflect real life relationships within Shakespeare’s own society (as well as his future audience), for which his plays were written and performed.
Nesbit, E.. "The Tempest." The Best of Shakespeare: Retellings of 10 Classic Plays. Oxford University Press, 1997. n.pag. eLibrary. Web.
colonising discourse and expanding territory. The Tempest thus incorporates concerns of the Jacobean 17th century context, used to naturalise the resolution.
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.
Novak, Maximillian, and George R. Guffey, eds. The Tempest, or The Enchanted Island. Works of John Dryden vol. X. Berkeley: U of California P, 1970. 1-103.
Shakespeare, William, and Robert Woodrow Langbaum. The Tempest: With New and Updated Critical Essays and A Revised Bibliography. New York, NY, USA: Signet Classic, 1998. Print.