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Conflict in shakespearean tragedy
Conflicts in shakespeare
Conflict in shakespearean tragedy
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Often times, it is difficult to decipher if an act is morally just, or completely wrong. In The Tempest, Prospero’s actions are disputed whether they are justified with good reason, or if they are adding on to the list of wrongdoings by the characters in the play. While some people may argue that Prospero had strong reasons for his actions, in reality Prospero’s act of creating the tempest, enslaving Ariel and Caliban, and testing Ferdinand are unjust.
By creating the Tempest, Prospero uses his magic unfairly without true reason. He imprisons and terrorizes both innocent people and family. “All lost! To prayers, to prayers! All lost! … ‘Mercy on us!’-- ‘We split, we split!’-- ‘Farewell, my wife/ and children!’ -- ‘Farewell, brother!’ … Let’s
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all sink wi’th’ king. (I.i.48, 57-58, 60)” All men on the ship fear they will lose their lives, and begin to pray for the best. They do not realize this storm is a mere trick of Prospero and, therefore, are terrorized, thinking they have lost loved ones. This act is purely unjustifiable. There is a good reason for creating the storm in order to confront his brother, but it is still not able to be justified. “O thou mine heir/ Of Naples and of Milan, what strange fish/ Hath made his meal on thee? (II.i. 107-109)” Alonso is truly sorrowful for his son, and constantly wishes Ferdinand is still alive. Alonso did help Antonio steal the crown from Prospero, but by no means does this make it fair for Alonso to think he has lost his son to the sea. Worse, Prospero’s storm also drags innocent crew onto the island and they are not able to go back to their lives, even though they have done nothing wrong and do not deserve this. Prospero wrongly enslaved Caliban and Ariel, even though they do not disobey Prospero without reason.
Ariel is always helping Prospero with all of his needs and does not ask for anything in return, except for his freedom. Caliban does not necessarily help Prospero during the time of the play, but may very well have aided him with all the in’s and out’s of the island when he first washed up on shore twelve years before. But, Prospero does not view his servants with reasonable eyes and therefore thinks it is morally permitted to keep them as his servants. “How now? Moody?/ What is’t thou canst demand?/ My liberty./ Before the time be out? No more./ I prithee,/ Remember I have done thee worthy service,/ Told thee no lies, made no mistakings, serv’d/ Without or grudge or grumblings. Thou did promise/ To bate me a full year. (I.ii. 244-250)” Ariel states multiple good reasons why he should be released from Prospero’s rule, but Prospero overlooks all these deeds that Ariel has done for him, and treats Ariel as a lowly being. By overlooking everything that Ariel has done for him, Prospero shows how he lets his power get to his head, and does not use his power within reason. By keeping Ariel and Caliban as his servants, he is metaphorically overstaying his welcome. It is fair that Ariel helps Prospero because he did save Ariel from the evil witch Sycorax, but Ariel fulfils his duty yet is still Prospero’s slave. Ariel should have been let go a while ago, but Prospero continues to …show more content…
wrongly enslave his spirits, even with good reasons not to. Prospero proves to be a very one-sided person when he tests Ferdinand.
He tells Ferdinand that his father is dead through the song of Ariel. “Full fathom five thy father lies,/ Of his bones are coral made; (I.ii. 397-398)” With the “death” of Alonso, Ferdinand no longer has to ask approval for marriage, and later sees Miranda who he wants to marry. This is all a part of Prospero’s test, and Prospero later enslaves Ferdinand to further test his love for Miranda. This entire testing of Ferdinand is completely unfair. He has no reason to think Ferdinand is bad other than being associated with Alonso but still uses his power to wrongfully test Ferdinand before he allows Ferdinand to marry Miranda. This would be the equivalent of stalking your daughter’s boyfriend to see if he is a good person, even if he has no criminal record and has done nothing wrong. The entire concept would be illegal today, and therefore based on our society’s norms, Prospero’s actions are unacceptable. Due to the harsh testing of Ferdinand with physical and mental labor without reason, Prospero’s acts are considered
unjust. Overall, while others may argue differently, Prospero proves to be a very prejudiced man, based on his actions of creating a deadly storm, enslaving Caliban and Ariel, and testing Ferdinand. He does justify some of his actions in the end of the play by releasing everyone for his power, but this deed still does not vanquish his previous wrongful actions. Shakespeare’s The Tempest may very much mirror our everyday lives and the unfair judgements that we receive or give daily.
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...
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.
Before considering the purpose of Prospero's experiment, we should note how central to all his magic Ariel is. And Ariel is not human but a magical spirit who has been released from natural bondage (being riven up in a tree) by Prospero's book learning. The earlier inhabitants of the island, Sycorax and Caliban, had no sense of how to use Ariel, and so they simply imprisoned him in the world which governs them, raw nature. Prospero's power depends, in large part, on Ariel's release and willing service. In that sense, Ariel can be seen as some imaginative power which makes the effects of the theatre (like lightning in the masts of the boat) possible. One of the great attractions of this view of the play as a celeb...
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.
Prospero, as I see it, doesn't start the play fully realizing all this. He launches his experiment from a mixture of motives, perhaps not entirely sure what he going to do (after all, one gets the sense that there's a good deal of improvising going on). But he learns in the play to avoid the twin dangers to his experiment, the two main threats to the value of his theatrical magic.
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.
Prospero frees Ariel from a tree and then enslaves the spirit to do his bidding under the promise of total freedom. Caliban’s main speech (1.2.331-344) reveals the nature of his enslavement and treatment. “Here you stay me in this hard rock, while you keep me from the rest o’th’island.” Though it is not clear, it seems to me as though Prospero has imprisoned Caliban in a cave and is keeping him from the rest of the island. The reason for this treatment is much clearer, as Prospero tells us.
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.
Symbolism plays a large role in the theme of the Tempest. Throughout the play, there is reference to Prospero's books. Prospero's books are what give him his magic. Although the Tempest evidently shows that when one is exposed to uncontrolled power, they will inevitably abuse it. Prospero begins to use his power to seek revenge. Through the duration of the play, the audience observes Prospero's internal debate, as to how to use his magic. He wants to kill Antonio as payback for banishing him to the island. Prospero's desire to kill Antonio comes from his id. Yet by the end of the play, Prospero realizes that he has been consumed by his need for revenge and consequently decides to throw away his books. The act of throwing away the books symbolizes Prospero's freedom from the constraints of revenge and greed. He lets go of his overwhelming
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.
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.
The nucleus of the plot in Shakespeare's The Tempest revolves around Prospero enacting his revenge on various characters who have wronged him in different ways. Interestingly enough, he uses the spirit of Ariel to deliver the punishments while Prospero delegates the action. Prospero is such a character that can concoct methods of revenge but hesitates to have direct involvement with disillusioning his foes. In essence, Prospero sends Ariel to do his dirty work while hiding his involvement in shipwrecking his brother, Antonio, from his daughter, Miranda.
Prospero’s conduct from the moment the play begins seems to contradict the basic lessons of Christian forgiveness. Prospero’s enemies are within his grasp and Prospero seizes the opportunity for revenge. “Desire for vengeance has apparently lain dormant in Prospero through the years of banishment, and now, with the sudden advent of his foes, the great wrong of twelve years before is stirringly present again, arousing the passions and stimulating the will to action” (Davidson 225). Though Prospero does not intend to harm anyone and he asks his servant, "But are they, Ariel, safe?" (1.1.218), he does want to put the men through the pain and agony of what they believe is a horrible disaster resulting in the death of the prince, Ferdinand.
Sometimes it takes any advantage to attain power. Prospero secures power on the island through his use of magic and manipulation. He is in control of all of the events in the play since he essentially has all of the power. It is also revealed how he maintains his power by exploring the use of his manipulative magic and the hold he has over those around him. By using his magical influence over the natives he has enslaves, Prospero invokes fear in Ariel by stating, “If you complain any more, I’ll split an oak tree and lock you up in it till you’ve howled for twelve years” (Shakespeare 37). He uses his power as a fear tactic to make the native people do his bidding for him. He also uses his magic against those he has shipwrecked on the island. He puts them in a trance to keep him busy until he needs them again, “My magic powers are in full swing, and my enemies are confused and running around in circles. They’re under my control, and I’m keeping them in their crazy fits” (Shakespeare 143). By entrancing the men from the boat, Prospero can keep them under his bid until he sets himself on a course of action. As he states, “.., my enemies have happened to wreck their ship on this island. As I see it, my fate hangs on this lucky event”, he must be precise in how he handles cultivates these people or he will risk the possibility of his plan unraveling before him (Shakespeare 27). The idea behind him having magic is to set him apart