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Revenge in the tempest
Revenge in the tempest
Abuse of power in the tempest by various characters and the lines
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The Oppression of Caliban in The Tempest William Shakespeare's, "The Tempest," provides insight into the hierarchy of command and servitude by order of nature. This play uses the relationship between its characters to display the control of the conqueror over the conquered. It also shows how society usually places the undesirable members at the bottom of the chain of command, even though they may be entitled to a higher social status. For example, the beginning of the play opens with a scene on a boat in the midst of a terrible storm. The boatswain, who is under the command of the royal party, attempts to keep the boat from sinking. Members of the royal party, however, persist in interfering with his duties. The boatswain retorts, "What cares these roarers for the name of the king? To cabin! Silence! Trouble us not"(I, I, 16-18). He is trying to warn his superiors that if he does not let him do his job, everyone will die, and it will not matter who has power over whom. The superiors, however, still take offense to this comment and label him a blasphemer. Caliban, an unfortunate character in this play, suffers from similar constant abuse because he is of the lowest social rank in his community. Critic John W. Draper describes Caliban's position in relation to the other characters when he says, "Of all the characters in Shakespeare, Caliban is the most fully and repeatedly/ described, though not always consistently; and his bodily parts seem to show little/ relation to his humor or his character except that both are monstrous. Monsters/ were popular; and, as Trinculo ... ... middle of paper ... ... "Monster Caliban.."Caliban. Ed. Harold Bloom. New York: Chelsea House Publishing, 1992. 89-94. Evans, G. Blakemore. Ed. The Riverside Shakespeare. by William Shakespeare. 1552- 1616. Boston: Houghton Mifflin Company, 1974. Leininger, Lorie Jerrell. "The Miranda Trap: Sexism and Racism in Shakespeare's Tempest." The Tempest: Critical Essays.Ed. Patrick M. Murphy. New York: Routledge, 2001. 223-229. Smith, James. "Caliban." Caliban. Ed. Harold Bloom. New York: Chelsea House Publishing, 1992. 124-150. Vaughan, Virginia Mason. "Caliban's Theatrical Metamorphoses." Caliban. Ed. Harold Bloom. New York: Chelsea House Publishing, 1992. 192-206. Vaughan, Alden T. & Virginia Mason. "Shakespeare's Caliban: A Cultural History." New York: University Press, 1991. Wilson, Daniel, LL.D. "Caliban: The Missing Link." London: Macmillan and Co., 1873.
Opposition to Charles’ personal rule between 1629 and 1640 was aimed at him from a number of different angles.
The Considerations that Influenced Cromwell's Decision to Reject the Offer of the Crown in 1657
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday
Bloom, Harold. William Shakespeare's Julius Caesar. Chelsea House Publisher; Connecticut, New York, & Pennsylvania. 1988, Pg. #33 - 36
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
Shakespeare, William. The Tempest. The Riverside Shakespeare. Ed. G. Blakemore Evans, et. al. Boston: Houghton Mifflin Company, 1974.
Death is a reality that can be interpreted in many ways. Some people fear the possibility of no longer living and others welcome the opportunity for a new life in the afterlife. Many poets have been inspired by death, be it by the approaching death of loved ones or a battle for immortality. Just as each poet is inspired differently, each poem casts a different hue of light on the topic of death giving readers a unique way to look at death.
Pip, through spending time with Estella, quickly picks up the desire for social improvement through games, whether physical or emotional, and it is not until he realizes the difference between fantasy and reality that he truly understands the game of life. Just as Estella uses card games to torment Pip, telling him that he is “a common labouring boy” Pip unknowingly begins to see every human interaction as a competition (Volume I, Chapter 8). His physical fight with Herbert represents Pip’s gradual addiction to always winning, never stopping until others are defeated. Pip takes his early, innocent ambition to improve himself and, without even realizing it himself, turns it into a ruthless fight for revenge. Parkinson argues that he sees “the role of chance” influencing his life, forcing himself to submit to whatever life throws at him (Parkinson, 121). Soon, however, Pip becomes the one who forces others, including Joe and Biddy, to simply accept his desire to become an “uncommon” gentleman through his unfailing faith in the wealthy (Volume I, Chapter 8). The problem is not his “fairy-tale expectations,” but his admiration in the wrong people; though he looks up to Miss...
Whalen, Richard F. Shakespeare-Who Was He? : The Oxford Challenge To The Bard Of Avon. Westport: Praeger Publishers, 1994. Print.
The Riverside Shakespeare: Second Edition Houghtom Mifflin Company Boston/New York G. Blakemore Evans and J.J.M Tobin eds.
William Shakespeare’s The Tempest provides dialogue that portrays the social expectations and stereotypes imposed upon women in Elizabethan times. Even though the play has only one primary female character, Miranda, the play also includes another women; Sycorax, although she does not play as large a roll. During many scenes, the play illustrates the characteristics that represent the ideal woman within Elizabethan society. These characteristics support the fact that men considered women as a mere object that they had the luxury of owning and were nowhere near equal to them. Feminists can interpret the play as a depiction of the sexist treatment of women and would disagree with many of the characteristics and expectations that make Miranda the ideal woman. From this perspective, The Tempest can be used to objectify the common expectations and treatment of women within the 16th and 17th Centuries and compare and contrast to those of today.
During the first encounter, Caliban comes across very bestial and immoral. While approaching Caliban’s cave, Prospero derogatorily says, "…[he] never/Yields us kind answer," meaning Caliban never answers respectfully. When Prospero reaches the cave, he calls to Caliban. Caliban abruptly responds, "There’s wood enough within." His short, snappy reply and his odious tone, reveal the bitterness he feels from leading a servile life. Caliban’s rudeness makes him seem like an unworthy and despicable slave. Also, Caliban displays an extreme anger toward Prospero. When Caliban is asked to come forth he speaks corruptly, "As wicked dew as e’er my mother brushed/With raven’s feather from unwholesome fen/Drop on you both!…And blister you all o’er!" Caliban’s attitude and disrespect is unfitting for a servant. However, his actions are justified.
Levin, Harry. General Introduction. The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton Mifflin Co., 1974.
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.