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Metaphors in the tempest
The tempest symbol and imagery
The tempest as an allegory
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’You taught me language and my profit on’t is I know how to curse.’’Discuss this statement in relation to Pygmalion
Inspired by the quote ‘’You taught me language and my profit on’t is I know how to curse.’’ by Caliban in the Tempest by William Shakespeare, this paper will analyze how language can change people’s perspectives about themselves and the world. Caliban delivered this speech to Prospero and Miranda, with whom he has a relationship we can describe as master-slave. Caliban is Prsopero’s slave since he tried to rape his daughter without having to know that this is an unapproppriate action. Prospero taught Caliban a new language, so they could communicate better. Learning a new language did not make Caliban a better or different person. Eventually, having a language gave him a confidence. Now that he knows their language, he uses language as a tool to go against and curse at them. Having contextualize the quote by Caliban, this paper
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Eliza is no more the old Eliza, she transforms and becomes a woman with a upper-class language. She is a respected woman and has a new identity in the society. Higgins doesn’t realize she is not the same. In fact he still threats her as he did the first day they met in his office. However Eliza is different and changed. Higgins careless actions led Eliza swear at him. She throws his slippers and him and tell him ‘’You don’t care. I know you don’t. ‘’(431) This slipper scene can be seen as symbolical as if she finally cut off her umbilical cord with Higgins. Now that she has made it clear she is not his servant. He should respect her the way he respects other people who also speaks proper language. Furthermore, now that Higgins won his bet, Eliza does not know what is going to happen to her. She asks if ‘’my clothes belong to me or to Colonel Pickering’’ (434). She is still curious about her new identity and she does not want someone to accuse her for
...good man, which she ruined by running away with Sanford. Eliza made her own choices and caused her own demise.
One might question if Eliza really had any choice in her situation. Early in the novel she declares, "What a pity . . . that the graces and virtues are not oftner united!" (Foster 22). While Sanford possessed all the suavity she desired and Reverend Boyer all the integrity, she could find no companion who possessed both. This lack of options seems to be what truly destroys Eliza. It may have been within Eliza's power to be a True Woman, but due to the societal constraints imposed upon her, it does not seem at all possible for her to have been a happy woman.
Eliza Wharton has sinned. She has also seduced, deceived, loved, and been had. With The Coquette Hannah Webster Foster uses Eliza as an allegory, the archetype of a woman gone wrong. To a twentieth century reader Eliza's fate seems over-dramatized, pathetic, perhaps even silly. She loved a man but circumstance dissuaded their marriage and forced them to establish a guilt-laden, whirlwind of a tryst that destroyed both of their lives. A twentieth century reader may have championed Sanford's divorce, she may have championed the affair, she may have championed Eliza's acceptance of Boyer's proposal. She may have thrown the book angrily at the floor, disgraced by the picture of ineffectual, trapped, female characters.
Have you ever thought about the reason behind the way a person acts. Quotes in this paper are from William Shakespeare’s The Tempest, and Virgil Suarez’s “En El Jardin De Los Espejos Quebrados”. This paper will contain a comparison between Caliban’s character in The Tempest, and “En El Jardin De Los Espejos Quebrados”. The poem “En El Jardin De Los Espejos Quebrados”, and The Tempest, shine different lights on Caliban’s character, by going in depth about his appearance, thoughts, feelings, and actions.
At the beginning of The Coquette, Eliza vehemently resists the notion of succumbing to the demands of domesticity, expressing a fervent desire to maintain her independence and autonomy: “I recoil at the thought of immediately forming a connection, which must confine me to the duties of domestic life, and make me dependent for happiness. upon a class of people, who will claim the right to scrutinize every part of my conduct” (783). Here, she directly opposes the expectations held by her friends and family, prioritizing her own autonomy. She “recoils” at the prospect of immediate marital attachment, fearing the loss of freedom and the imposition of societal expectations that would bind her to the perceived prison of domestic life. Her apprehension is palpable as she contemplates the prospect of being scrutinized and controlled by others, relinquishing her agency and potentially her happiness in the process.
Higgins and Eliza still sharing the archetypes of the teacher and student get into an argument. The argument starts with Higgins explaining that he does not specifically treat her poorly but treats everyone poorly. Higgins explains, “the question is not whether I treat rudely, but whether you ever heard me treat anyone else better,” (Shaw, 77). Eliza threatened to leave although Higgins explained that she has no money or skill besides speaking properly and proposes that she marry someone rich. Insulted, Eliza threatened to marry Freddy which deeply bothers Higgins because he feels that the idea is a waste of his work on specifically on someone like him. This particular detail shows how Higgins does value his creation and work of art not wanting it to be wasted. In the end, Eliza leaves and later ends up marrying Freddy who together opens a flower shop. Even though there is some similarity in the theme of loving one’s own creation, Shaw’s Pygmalion does not compare to the archetypes in the myth Ovid’s Pygmalion as the movie did.
In Pygmalion, the two professors decided to help Eliza Doolittle, only because Professor Pickering made a bet with Professor Higgins that he would be able to change Liza into a lady by the time the ambassador’s garden party came around. Pickering
Prospero appears to be a ruthless tyrant that strikes fear into Caliban to make him work but further on in the text we learn that this is not the case. Caliban's foul-mouthed insults,
...epresents every person that has been colonized by Europe, and their attempt to civilize the savages. Their method of civilizing and to maintain a firm grip on their savage labourers was language. It was their means to communicate and control the people who they didn’t consider as themselves and a means to discriminate against it. This is reason why Caliban resists and rebels against Prospero and disparage the language he has been taught. To him it is the loss of freedom and the agency through which he is being discriminated against.
As seen through Cora, Eliza also shows biological determinism when she transforms from a stereotypical passive slave to a brave and courageous woman who risks everything for her son. Eliza’s desire for freedom leads her to running away with her son, a desire which is supported using melodrama. It is her fiery and brave mixed race soul which gives her the courage and strength to do such a dangerous and traitorous act, knowing that if she was to get caught she and her son would be punished. Stowe’s use of hybridity in Eliza’s racial representation makes her determination and intelligence a form of genetic inheritance, an insight into her “white blood”. Eliza’s partly white genetics mean she is highly able to succeed in her rebellious escape.
People are always in the pursuit of erasing their flaws and becoming what society would say is "perfect." In the play Pygmalion by George Bernard Shaw the main character Eliza Doolittle was not content with her life and her lamentable speech and manners. In order to become what she considered "perfect" Eliza relied on Higgins to change her into a proper and sophisticated woman. Higgins pounded lessons of proper speech and how to conduct one 's self with eloquence into Eliza 's head minute after minute and day after day. Although Eliza was being transformed externally, as she continued to grow from her lessons, she also began to transform internally and realize that she deserved respect, whether she was a kerbstone flower girl or a duchess.
A full change for Eliza comes when she begins being able to take care of herself and others. Berst explains “Eliza grows as a woman (not a lady) though progressively rising to the engaging this counter force and coming to grips with alternatives--Freddy and independence” (Berst 133). The differences between Eliza and Cinderella are that we see a happily ever after for Cinderella marring the prince. A similarity is that Eliza has reached her goal and she may not be at the top of society.
For example, she gets lessons from Pickering. She starts speaking more gracefully and is more mannered. However, throughout the time of her taking these lessons, she starts to dispose Higgin’s more and more. She even states towards the end of the play that Pickering taught her how to be more like a lady by teacher her how to be well mannered. Another way Shaw shows Eliza’s transformation is through the way people perceive Eliza throughout the play.
Higgins, a teacher of proprietary manners, lacks those very manners which others pay to learn from him. Ironically, Higgins believes that he is the greatest teacher of manners. He announces that in “three months [he] could pass [Eliza] off as a duchess.” Higgins thinks that he can take any lower class girl and pass her off as a duchess. He truly believes that he is capable of transforming Eliza. Once the teaching begins, Higgins shows no respect for others in his life. When he goes to see his mother, she reminds him that “[he] promised not to come on” her days when she is having guests. He ignores this promise to his mother because he believes that his newest experiment is more important than his mother’s insignificant visitors are. This behavior continues throughout the ...
...nd an upper-class gentleman while she is ignorant and a lower-class flower girl. The man is superior, intelligent and reasonable whereas the woman is inferior, stupid and emotional. However, in Act 5, which can be considered as a climax, Eliza begins to disobey Mr. Higgins and oblige him to treat her equally and respectfully. This shows Eliza’s independence and maturity. This self-confidence and revolution against the existing conventions is a plain criticism of Shaw on the existing ideas at that time.