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The role of prospero in tempest
The role of prospero in tempest
The role of prospero in tempest
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The Character of Prospero in The Tempest
The presence of Prospero is felt continuously in The Tempest, even in those scenes in which he does not appear personally. He is the manipulator of the action of the play, and occupies the center of the stage very markedly, especially if one compares his position with that of the central characters of, say, most of Shakespeare's history plays. For in the latter plays, England itself becomes the hero - the English crown, in its resistance to civil war and factionalism, and therefore there is usually no one character of quite the same stature as Prospero.
In Latin, the name Prospero would mean, "I hope for." That which a member of English Renaissance society would generally have hoped for would be salvation, in the terms of Christian theology. Another meaning of his name would be "prosperity," implying that everything which he attempts will prosper. There is certainly a connotation of hopefulness in his name.
Prospero is purified intellect. He is a "white" magician; he practices theurgy, not goety. (Curry 137). By the practice of white rather than black magic we mean that Prospero's magic is always turned to good ends, and that he seeks only good. At the end of the play Prospero seems somewhat to abdicate his role as the embodiment of pure intellect, as he returns to Milan to resume his role as an active chief magistrate, or Duke.
The question then arises: is Prospero a renegade to the status he has throughout the play - the status of pure intellect? For an answer, we must turn to the concept advanced earlier in this study: that everyone on the enchanted island, including even the man - monster Caliban, learns and is educate...
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...mmentaries. (1877):787-800. Rpt. Scott. 304-307.
Hartman, Geoffrey H. Saving the Text: Literature/Derrida/Philosophy. Baltimore: Johns Hopkins UP, 1981.
More, Sir Thomas. "Utopia." The Longman Anthology of British Literature. Vol 1. Ed. David Damrosch. New York: Addison-Wesley Educational Publishers Inc., 1999. 637-706.
Platt, Peter. "Shakespeare and Rhetorical Culture." A Companion to Shakespeare. Ed. David Scott Kastan. Massachusetts: Blackwell Publishers Ltd., 1999. 277-296.
Sacks, David Harris. "Political Culture." A Companion to Shakespeare. Ed. David Scott Kastan. Massachusetts: Blackwell Publishers Ltd., 1999. 100-116.
Shakespeare, William. The Tempest. Ed. Rex Gibson. Cambridge: Cambridge UP, 1995.
Snider, Denton J. "A review of The Tempest." The Shakespearian Drama a Commentary: The Comedies. (1890). Rpt. Scott. 320-324.
The Red Badge of Courage and The Blue Hotel: The Singular Love of Stephen Crane
Though in his short life Stephen Crane was never a soldier, his novel The Red Badge of Courage was commended by Civil War veterans as well as veterans from more recent wars not only for its historical accuracy but its ability to capture the psychological evolution of those on the field of battle (Heizberg xvi). Walt Whitman, on the other hand, served as a field medic during the Civil War. He was exposed perhaps to the most gruesome aspect of the war on a daily basis: the primitive medical techniques, the wounded, the diseased, the dying and the dead. Out of his experiences grew a collection of poems, "Drum Taps" , describing the horrors he had witnessed and that America suffered. As literary artists, a wide chasm of structure and style separates Crane and Whitman. The common cultural experience, the heritage of the Civil War connects them, throwing a bridge across the darkness, allowing them, unilaterally, to dispel notions of glorious battles and heroic honorable deaths. By examining Crane's Henry Fleming and the wound dresser from 'Whitman's poem of the same name, both fundamental literary differences and essential thematic consistencies emerge.
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.
Crane, Stephen. The Red Badge of Courage. New York, New York: Signet Classic from Penguin Putnam Inc., 1997.
“The Red Badge of Courage” was written by Stephen Crane in 1985 as a fictional tale of a soldier of the Civil War. With its accurate depictions, readers were led to believe that Crane had at one time been a soldier. This was however not the case. Crane has a unique way of using themes and symbols in “The Red badge of Courage” to relay a very realistic portrayal of war.
There is not many a time when men like Stephen Crane come by and take the whole world by surprise. His ideas are not popular for thinkers at the time but very realistic and down to earth. In his time, his short stories were not very prevalent but were read by many people. Stephen Crane found it very difficult to make money off of them and in that way, was inspired to write vigorously even to the point of his death. Stephen Crane craved the attention and support of the people and so gave birth to Naturalism literature. Interestingly, Stephen Crane found his own voice when he wrote The Red Badge of Courage at just twenty years old, and became very famous for the novel. This war novel was followed by a tremendous amount of short stories that had nature as a main theme. Stephen Crane felt nature all around him and felt that, even as a child Methodist, nature is an overwhelming force that should not be meddled with. Stephen Crane’s religious upbringing and life-changing experience led him to incorporate recurring themes of nature in his short stories as seen in The Open Boat.
He wrote his most famous work The Red Badge of Courage, in 1895, at the age of twenty-four. Much of his work was not recognized as acclaimed writing until The Red Badge of Courage. This novel won him international fame. Because of the realistic and vivid writing, he became well known for his emotional writing about fear, courage, and pride. Although he did not use firsthand experiences as he did in his first novel, he used descriptive words to make believable that he was there for first hand experiences. Crane had never been to war, so he used combat on the football field for his descriptions. It was not until later, after he published his novel that...
Shakespeare, William. The Tempest. The Norton Shakespeare. Ed. Greenblatt, Stephen. New York: W.W. Norton & Co. Inc., 1997.
Mowat, Barbara A. & Co. "Prospero, Agrippa, and Hocus Pocus," English Literary Renaissance. 11 (1981): 281-303. Shakespeare, William. The. The Tempest.
Shakespeare, William, Stephen Greenblatt, Walter Cohen, Jean E. Howard, Katharine Eisaman Maus, and Andrew Gurr. The Norton Shakespeare. Second ed. New York: W.W. Norton, 1997. Print.
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 treats his two servants in very different ways as their behavior and attitudes towards him are contrasting. From this, the question arises why he treats his equally hard-working servants in different ways and if he is wise in his actions.
Unlike so much literature preceding Crane’s work, his writings insist “that we live in a universe of vast and indifferent natural forces, not in a world of divine providence or a certain moral order” (Vanouse). His second novella, Red Badge of Courage, did immensely better in the public reception. This story of a young war soldier became “renowned for its perceived authenticity and realistic depictions of violent conflict”, even though Crane had never been in military combat upon its publication (Stephen Crane Biography”). He simply created the vivid images expressed in his novella through extensive research. This work, published abridged in newspapers in 1894, is often likened to an Impressionistic painting due to “his episodic narrative structure and his consistent use of color imagery” while others argue that it is solely symbolic imagery (“Stephen Crane”). With either view, however, the work is a great tribute to the genre of naturalism as it studies “human beings governed by their instincts and passions” while applying the scientific principles of objectivity and detachment (Campbell). Crane, a founding father of naturalism, discovers “the extraordinary and excessiveness in human nature” through the tragedy of war
Prospero presents himself as a victim of injustice, however his belief of justice and injustice is somewhat contradicting. He takes advantage of this authority over other people and situations he encounters while using his integrity and compassion to mask his dangerous plans and to retain love and respect. The Tempest in the end suggests that love and compassion are more effective political tools than violence, hatred or even abusive magic.
In 1888 Stephen entered the Claverack College military school. Stephen distinguished himself on the drill and baseball field, but not in academics. Without graduating, Stephen transferred to Lafayette University and later Syracuse. While living in his fraternity, Delta Upsilon, Crane started his first major novel. He would eventually flunk out of college. At the age of 20 Crane moved back to Asbury Park to work as a reporter for the New York Tribune with his brother. Crane’s first experiences with his literary ideals started when he attended Hamlin Garland’s lectures on realism. Crane was deeply influenced by Garland’s guidance and tutelage. In 1891 Crane’s mother died. He then moved to Sullivan County, New York where another brother of his was studying law. Crane’s first magazine appearance was a set of poems called “Sullivan County Sketches,” printed in the Tribune and Cosmopolitan. Crane frequented the slums of New York City, haunting the labyrinth of streets in sear...