Themes in the Tempest
The Tempest is generally considered to be Shakespeare's last sole-authored play. The play draws a number of oppositions, some of which it dramatises, and some of which it only implies. Prospero, a figure exhibiting many resemblances to the Elizabethan idea of the 'Mage', (of whom the best known is probably Dr. John Dee), is opposed to both his corrupt brother, usurper of his role as Duke of Milan, and to Sycorax, an evil witch and mother of the 'deformed slave' Caliban. Sycorax does not enter the action of the play, having died before it opens, but enough is made of her evil disposition and behaviour to show Prospero as a model of human virtue in comparison. This despite Prospero's own use of magic to accomplish his will, and his bullying of the spirit Ariel and his threats to and punishments of Caliban. Prospero's role is central to the play, he is in control of the action throughout, through the exercise of his 'Art'. A further contast is drawn between Miranda, Prospero's daughter, and caliban. Bothe were brought up together by Prospero since his arrival on Caliban's Island, but Caliban has not responded suitably to Prospero's civilising education. Miranda, however, in line with the tenor of Shakespeare's late plays in particular, is a model of chastity and virtue. Caliban's 'ingratitude' would seem to result from what we would call his genetic inheritance. Miranda calls him
Abhorred slave
Which any print of goodness will not take (1:2:353-354) [FN1]
And Prospero
A devil, a born devil, on whose nature
Nurture can never stick; on whom my pains,
Humanely taken, all, all lost, quite lost. (4:1:188-190)
The opposition of nature and nurture is made...
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...ntual relinquishing of power which entitles him to regain it. In my opinion, Shakespeare is associating true authority with renunciation, not with the exercise of tyrannical power.
NOTES
1. All citations and references are to Frank Kermode's Arden Edition, to the excellent introduction of which I am indebted throughout.
2. In the Masque, the anti-masque is a comedic prelude in which the villainous characters (of lower-class origin) plot against virtue and established power-relations. In the Masque proper divine beings (frequently played by courtiers) would step in and defeat the evil plot, whereupon the cast would leave the stage and dance with the audience.
3. Paul Brown, 'This Thing of Darkness I Acknowledge Mine' (in) Political Shakespeare, (eds) J. Dollimore & A. Sinfield, Manchester University Press, Manchester, (1996), pp. 48-71.
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.
An article from the Ojibwe News, a Native American Magazine, gives a startling statistic discovered by research analysts for the Minnesota Private College Research Foundation. They found that a child from a family earning $25,000 or less annually is only one-half as likely to enroll in college as a child from a family with an annual income of $50,000 or more.
...mastery of imagery that helped Shakespeare lift himself in the world of literature and to give him a solid place as one of the greatest playwrights of all time.
The definition of ‘monstrosity’ and what it means to be ‘monstrous’ can be understood to mean something that is visually unattractive, malformed and/or terrifying. However, monstrosity is not exclusively about something aesthetically ugly, it can also apply to what differs from what is considered ‘normality’. What is ‘normal’ versus what is ‘monstrous’ is closely linked when exploring ideas about the human condition. The representations of monstrosity in Frankenstein and in The Tempest reveal how what is monstrous and what is normal are often found side by side, challenging the idea that it is limited to outcasts who do not ‘fit-in’, and that deep down, a desire to be understood, accepted and included and to live life with meaning are central to the human condition and that monsters in society often reveal our deep seated fears and anxieties about our own existence.
...rman N. Holland, Sidney Homan and Bernard J. Paris. Berkeley and Los Angeles: University of California Press, 175-190.
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