The Theatre Metaphor in The Tempest
The theatre metaphor also helps to explain why, in the last analysis, Prospero has to surrender his magical powers. Life cannot be lived out in the world of illusions, delightful and educative as they can often be. Life must be lived in the real world, in Milan or in Naples, and Miranda cannot thus entirely fulfill herself on the island. The realities of life must be encountered and dealt with as best we can. The world of the theatre can remind us of things we may too easily forget; it can liberate and encourage youthful wonder and excitement at all the diverse richness of life; it can, at times, even wake people up to more important issues than their own Machiavellian urge to self-aggrandizement, and, most important of all, it can educate us into forgiveness. But it can never finally solve the problem of evil, and it can never provide an acceptable environment for a fully realized adult life.
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.
The first I have already alluded to, namely, the danger of using of his powers purely for vengeance. Prospero, like Shakespeare, is a master illusionist, and he is tempted to channel his personal frustrations into his art, to exact vengeance against wrongs done in Milan through the power of his art (perhaps, as some have argued, as Shakespeare is doing for unknown personal reasons against women in Hamlet and Lear). But he learns from Ariel that to do this is to deny the moral value of the art, whose major purpose is to reconcile us to ourselves and our community, not to even a personal score.
The second great threat which we see in this play is that Prospero may get too involved in his own wonderful capabilities, he may become too much the showman, too proud of showing off his skill to attend to the final purpose of what he is doing.
Throughout Into the Wild, Krakauer portrays Christopher McCandless as an infallibly eager young man hoping to distance himself from the society he so obviously loathes, to "live off the land," entirely independent of a world which has "conditioned [itself] to a life of security." Chris, contrarily to this depiction, is disparagingly viewed by some as a "reckless idiot" who lacked the sense he needed to survive in the Alaskan wilderness. This derogatory assessment of Chris's mindset is representative of the society he hopes to escape and contains all the ignorance that causes him to feel this way. Nevertheless, he is misjudged by these critics, allowing Krakauer to hold the more accurate interpretation of Chris's character, his goals, and his accomplishments.
McCandless set out for this adventure because of his anger, therefore he did not actually sit and rationalize his plan. He did not have food, water, hunting supplies, clothing to keep him warm. His death was an accident of not being prepared for nature’s harshness. Krakauer also explains that McCandless’s death was an unplanned accident. Krakauer compared his young adulthood story to McCandless stating what his suspicions were of his death, his theory is based off of the letters McCandless left behind. Their adventure stories are very similar, they both were caught in a life or death situation, the tragedy is that McCandless’s did not have as happy of an ending as Jon Krakauer. Krakauer explains that it was a matter of chance that McCandless did not survive. He also explains that they were similarly affected by their relationships with their fathers. Their stories are also very similar with their father, they were both
...emselves. They endure mosquitoes and rain and tough walking and bad river crossings and the possibility of bears. The burden the pilgrims carry to the bus is so heavy, laden with their frailties and hopes and desires, with their lives that don’t quite satisfy. Well, so many of them are young, and they’re lost, somehow, just as he was.” What makes Chris McCandless such a hero to young men is that he is easily relatable to those young men. As Neal Karlinsky writes of Chris McCandless,“McCandless tramped his way across North America determined to live completely free of the trappings of modern society. He was intoxicated by nature and the idea of a great Alaskan adventure — to survive in the bush totally on his own. In his last postcard to a friend, he wrote: "I now walk into the wild."
He took everything in his life to the extreme. As stated earlier, “It is hardly unusual for a young man to be drawn to a pursuit considered reckless by his elders; engaging in risky behavior is a rite of passage in our culture no less than in most others. Danger has always held a certain allure….”(Krakauer 182). People want to live while their young, therefore they take risks. However, what McCandless did was more than just risk taking. He contained something along the lines of an excessive hubris. ‘“He didn’t think the odds applied to him. We were always trying to pull him back from the edge,” vocalizes Walt McCandless (Krakauer 109). Trudging into the vast Alaskan wilderness without proper provisions is taking the extreme too far. As Krakauer states, “...[Chris] was fully aware when he entered the brush that he he had given himself a perilously slim margin for error” (182). Only someone with an extensive hubris would commit an act so dangerous and be confident in their survival. Although he lent himself to a handful of stupid mistakes, McCandless was far from an idiot. Even though the extreme he took his Alaska adventure to was ill-advised, there is something about Chris that is almost admirable. Many people have dreams and passions that get shoved into an old chest and are never to be visited again. In today’s society it seems as though everyone is
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...
Hemingway provides the reader with insight into this story, before it is even read, through the title. The girl in the story mentions the hills that can be seen from the train station and describes them as looking like white elephants. Jig is at a crossroads in her life, accompanied by her partner. She is pregnant and cannot decide whether to choose life for the baby, or to get an abortion. Throughout the story, she experiences persistent uncertainty over what she wants to do with her life. Whatever decision she makes will have a drastic impact in her later years as a woman. While seated at the bar inside the train station, the girl says, “The hills look like white elephants” (Hemingway). The hills that are spotted in the distance directly parallel the decision that Jig must make. Critic Kenneth Johnston was recorded stating, “A white elephant is a rare pale-gray variety of an Asian elephant held sacred by the Burmese and Siamese. The girl’s reverence for life is captured by this meaning of the phrase.” Johnston also says, “A white ...
Ariel’s use of subtext communicated to Prospero that his power and consumption with vengeance was causing him to become inhumane. Prospero experiences an epiphany when Ariel says, “[m]ine would, sir, were I human” (V i, Shakespeare). Ariel points out to Prospero that his power is so strong and the revenge consuming him is making him into an evil person. Once Prospero has this moment of realization, he turns his behavior around by first denouncing his magic. Prospero shows how he is done using magic when he says, “[b]ut this rough magic I here abjure; and, when I have required…And deeper than did ever plummet sound I’ll drown my book” (V i, Shakespeare). This illuminating episode and reveal of Prospero’s true character is used by Shakespeare as the casement to emphasize the inner meaning of the work. Shakespeare’s intended meaning of the work as a whole was that things such as hatred or revenge should never overcome and alter your true identity. Prospero exemplifies that revenge is a dangerous tool and can consume the one who uses it. Prospero’s epiphany allows him to find the human part of himself again and he has a realization that he should no longer be a
First of all, to start out with these two characters from two great plays, they both are great protagonist in their own respects. Macbeth is a different kind of main character. He doesn’t necessarily play the hero in the story. But we focus on his choices, his fates, and his faults. That’s why readers like him so much and why normal people relate to this story. Because Macbeth has his faults, a lot of them, and so does the normal human being. He is a great protagonist, while he is alive. According to many “Macbeth is his own worst enemy.” (Newton) Prospero, from Tempest is a very powerful Duke, magician, and speech giver. He is in fact a very powerful magician, but does he always use his power for good? That point can be argued for hours. Prospero is basically the definition of a good main character in my eyes. He and Macbeth have some similarities and some differences. They are both in positions of power. They both die tragically. Except one may be bad and the other is good. But which one is which? “...
...elligence to help him last an extended period of time in the Alaskan wilderness. In truth, McCandless was someone who wanted to find himself. He wanted to get away from a life in which he could not find fulfilment, which is something many others would be able to relate to. Although most people would not go to such extremes to find fulfilment, everyone has a different way of finding happiness and going after what their heart truly desires. For McCandless, his desire was to live out in the wild. Unfortunately, this man of great character did not succeed in getting out alive. However, that does not change the fact that he tried. McCandless knew what he wanted for himself and he persisted, regardless of the obstacles he faced. He put an incredible amount of effort into accomplishing his goals and never gave up, and that is why Christopher McCandless is someone to admire.
As stated previously, McCandless had a deep bravery that protected him from the darkness of fear or negative thought. Never once in this story does he seem frightened in that he might lose his life, grow ill or become hurt, and in one way he proves this by his insatiable habit of hitchhiking, I mean, with all do respect he could have been picked up by a serial killer and that probably would have cut his adventure a little short. In addition, he does not cower to much of anything, his bravery led him to some pretty interesting place such as digging dead rats from farm equipment, diving waist deep in grime, muck, and not to mention stench, that is if you would consider all of that to be brave.
There is one common aspect to all of Prospero's relationships in the play: he exploits every character, despite his attempts to hide this fact. For example, Prospero utilizes Caliban as a slave, making him cut wood:
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...
McCandless was a fearless human being. I think that most of the people’s ideologies and personalities have to do with how they were raised by the parents and everything that was taught to them. When a lack of love exists from a parent towards his child, a hate can be created without knowing it. McCandless could have gone away from society to escape reality or, for being in a place where he could find himself at peace. Either one, we can assume that he obviously had different ideas about civilization; the idea of having a life full of danger and adventure inspired and excited him.
After he graduated from Princeton, Jeff joined a high-tech startup in New York called FITEL, which was building a network to facilitate international trade. After two years at FITEL, he joined Bankers Trust Company. At Bankers Trust, he setup computer systems that managed $250 billion in assets and eventually became the company's youngest vice president.
Regarding one of Shakespeare’s plays, The Tempest, the conflict Illusions vs. Reality becomes a critical part of the story’s development. Illusions are things that we our senses would wrongly interpret. As a part of life, one might think about seeking revenge on someone who has sinned against him, however, in reality we only prove that we are no better than the person who has sinned against us in the matter. Sometimes, our sense of justice can trick our sense of humanity and create a twisted and disastrous state of mind.