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The character of prospero in the tempest
Main themes in the tempest
The character of prospero in the tempest
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The Theme of Colonization in The Tempest
Colony-A member or inhabitant of a colony. A body of emigrants who settle in a remote region but remain under the control of a parent country. --Webster's Dictionary
Can Prospero be defined as a type of colonist? He does, after all, impose his presence onto an island already inhabited by somebody else, take over control and enslave his predecessor, while at the same time still remaining under the control of his native land. If Prospero represents the colonist, or the white man, then Caliban serves as his counterpart in this discussion. Critics have argued in the past that The Tempest's representation of Caliban relates Caliban to the black man, because Caliban, like African Americans of early times, is conquered and forced into slavery against his will. Caliban thus becomes a representative of the colonized man. Critics have pointed out that this device seems to fit the bill because of the Caribbean like location of the play; it is foreign and strange and not the native home of the white man who comes to discover it and claim it as his own. At the same time, if the audience takes this interpretation to light, Prospero thus emerges as the white man, or the colonist. Caliban thus serves to represent native cultures, while Prospero serves to represent colonizing cultures, like the British of Shakespeare's time. The parallel of Prospero's domination of Caliban as compared to the Europeans colonization of the Africans, which was a topic of Shakespeare's time, becomes relevant upon closer examination.
This interpretation can be found within the consistent arguments between Prospero and Caliban. Prospero feels the island is his; he rightfully won it fro...
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... they were the original owners of the island, without the power to regain the island or their native land, they will never have the ability to be able to call the land solely their own again.
Works Cited
Brown, Paul. "This thing of darkness I acknowledge mine: The Tempest and the discourse of colonialism." New York: Collimore and Sinfield, 1985. pp. 48-71.
Davis, Angela. Women, Race and Class. London: Women's Press, 1982.
Fanon, Frantz. Black Skins, White Masks. London: Pluto Press, 1986.
Griffiths, Trevor. "This island's mine: Caliban and Colonialism." Yearbook of English Studies 13. New York: Harcourt Brace. Pp. 159-80.
Mannoni, O., Prospero and Caliban: The Psycholgoy of Colonization. New York: Praeger, 1964.
Nixon, Rob. "Caribbean and African appropriations of The Tempest." Critical Inquiry 13 Spring 1987 pp. 557-77.
Baz Lurhmann’s creation of the film Romeo and Juliet has shown that today’s audience can still understand and appreciate William Shakespeare. Typically, when a modern audience think of Shakespeare, they immediately think it will be boring, yet Lurhmann successfully rejuvenates Romeo and Juliet. In his film production he uses a number of different cinematic techniques, costumes and a formidably enjoyable soundtrack; yet changes not one word from Shakespeare’s original play, thus making it appeal to a modern audience.
One of the characteristics of Elizabethan and also Jacobean drama is the low number of stage directions and the lack of details they contain. As a logical consequence theatrical representations or film versions of these ages may allow an important quantity of freedom in the performance. In other instances stage directions and other important theatrical elements are consciously left aside in order to create totally different visions of the original idea. That is not the case of Baz Luhrman´s version of Romeo and Juliet filmed in 1996, which despite the numerous alterations of the original play still retains Shakespeare's initial conception.
In the play, The Tempest by William Shakespeare, Prospero took control of Caliban and made him his servant. Prospero was able to do this because he viewed Caliban as an uncivilized being; Caliban was portrayed as a beast. Thus, Prospero was able to assume power over Caliban. It can be seen from Prospero’s speech that he thinks that Caliban is inferior to him when Prosper says, “I have used thee, Filth as thou art, with human care […]” (1.2.348-349). Prospero tries to justify enslaving Caliban, but all he really does is place Caliban into a category of bestial and uncivilized and as a result enslaves him.
Another way that the treatment of Caliban by Prospero is similar to the treatment of Native Americans by the Europeans is the adaptation of the language. When the Europeans came to the New World they forced the Native Americans to learn their languages and live according to the European culture. People who had spoken one language all their lives, now had to learn another. They had to live by customs they have never heard of even before. In the Tempest, Prospero does this also. When Prospero came to the island he forced Caliban to learn the language that he spoke. Caliban had to adapt to a style of living that he had never experienced before. Caliban had to change completely to adapt to the life forced upon him.
Baz Luhrmann’s 20th century model of Romeo and Juliet, still captures the essence and beauty of Shakespeare’s play. A pair of star crossed lovers, who's love will end the war, and conflict between the rivalling families of their own. The message given throughout both stories, is that love is most powerful, no matter what the scenario. In
The book “From Unincorporated Territory” [Saina] , by Craig Santos Perez, is an interesting story because it shows how colonialism is the destruction of the author’s culture and identity on his native island Guam. It forced the author’s family and himself to make a drastic change in their life and migrate from Guam to America on an outrigger. After leaving in the year 1995 and not returning until 2008, the author depicts to the audience what has changed due to colonization. My thought on colonialism is firm. That I am confused about it. The reason for my confusion is I believe it is necessary for a certain purpose most people cannot see. Even though know that it is wrong; I know it destroys somewhat the vast majority of the colonized culture but I can’t help to think that the author has a message of that purpose most people cannot see. After reading the book, what I just admitted even to me sounds a little cold hearted, but reading his point of view in this book, it made me realized I’m not too wrong for making such a confession. I believe the author has a hidden message about it. Once I had a gut feeling I wanted to expose that message in my essay.
Griffiths, Trevor R., "This island's mine: Caliban an Colonialism," Yearbook of English Studies 13(1983), pp. 159-80
Of Mice and Men by John Steinbeck Steinbecks novel, Of Mice and Men portrays the
An Analysis of the Opening Sequence of Baz Luhrmann's Interpretation of William Shakespeare's Romeo and Juliet
Analysis of Luhrman's Production of Romeo and Juliet Baz Luhrman has effectively transported Shakespeare's, 'Romeo and Juliet' from a 16th century play to a 20th century film. Using the same text but different settings and resources, the film contains the essence of the play with technological advances. There are many things to consider when analysing the adaptation of a scene. Baz Luhrman has adapted the party scene by using many methods whilst still holding on to the original Shakespearian mixture of love, hate, excitement, foreboding and passion.
In summary, Shakespeare’s The Tempest play explores the theme of opposition to the colonial-style authority of Prospero based on various characters’ covert and overt reactions to the master’s antics. For instance, Ariel opposes Prospero’s continuous detention of the former regardless of an earlier agreement to the contrary. Moreover, Caliban expresses his dissatisfaction with the forced labor that her does for Prospero. To prove his opposition to Prospero’s authority, Caliban plans the master’s death. Miranda also makes a statement that indicates her displeasure with the way Prospero executes his authority especially with regard to Ferdinand. The imprisoned Ferdinand also indicates his opposition to Prospero’s power through a disproving statement made before Miranda.
During this time Caliban loved Prospero and showed him the features of the island, "The fresh springs, brine-pits, barren place and fertile…" Caliban regrets helping Prospero as he says towards the end of his speech, "Cursed be I that did so!" Caliban feels this way due to his imprisonment.
Eric Cheyfitz, The Poetics of Imperialism: Translation and Colonization from The Tempest to Tarzan, (Oxford University Press, 1991)
Caliban is treated in a highly demeaning manner since Prospero is a man of magic and has infinite power to control Caliban in every aspect. It is seen early on in the play the amount of control that has been placed over Caliban, to the extent that memories make him cringe and satisfy all of Prospero’s needs. Prospero is obviously the Duke of that island similar to how he was Duke of Milan before being usurped and banished to the island, which is Caliban’s home. In general, the relationship of Prospero and Caliban is a model of early colonization into the New World considering Caliban is it’s only inhabitant. In reality, colonization is the chief reason slavery was implemented which was to maintain laborers in order to prosper in the New World.
The play follows just over a year in Rita's life and shows her gradual progress in an English Literature course. At first Rita knows she wants to do the course but not how to do well in it. It seems that she would rather do anything but talk about literature in the early lessons but she gradually gains confidence and skill in her speech and writing. A good example of her progress is her response to Macbeth. Initially she does not understand how to write about it and produces a 'crap' essay. Frank explains that the essay is not bad in terms of a personal response to the play but it does not fulfil the criteria of the course she is doing. Rita accepts this and resolves to write the essay again.