With the ascent of postcolonial criticism, Prospero – the formerly undisputed protagonist of Shakespeare’s The Tempest – has been increasingly viewed as a character of at best dubious morals, and at worst, an “arrogant and ill-tempered magistrate”: far from the “inspiring magus” of traditional criticism (Kastan 270). In particular, the relationship between Prospero and his servant-monster Caliban has been ever more called into question, the prevailing view being that Shakespeare “clearly wants us to feel Caliban’s claim on us” and to sympathize with him in his struggles for freedom (Willis 259). Furthermore, Prospero’s personality is problematic in and of itself for many critics in that he is hardly the sort of character a modern audience considers heroic: Prospero is portrayed throughout the play as largely devoid of emotion, insistent upon controlling every aspect of the island (including everything from the local weather to the movements of his enemies), and he uses magic to accomplish his every whim. While postcolonial commentary on The Tempest certainly offers interesting perspectives on how the play and Prospero can be viewed, its over-reliance on current trends in political and social thought is lamentably restrictive. To remove The Tempest from the time and place of its original conception – as postcolonial criticism effectively does in neglecting to consider the play within the context of Renaissance England – is to sorely limit any possibility of fully understanding Prospero’s character. Although it is impossible to discern for certain Shakespeare’s intentions for the…
Analyzing Shakespeare’s The Tempest
Joseph Warton’s literary criticism, “Observations on the Tempest of Shakespeare”, praises Shakespeare’s creativity and poeticism. Reading the criticism gave me a new appreciation of the beauty behind Shakespeare’s well crafted play. Warton discusses Shakespeare’s inventiveness, variety, and consistency of characters, and calls him the “only poet who possesses the power of uniting poetry with propriety of character” (Warton). Overall, Warton’s criticism speaks…
Act #2 Conspiracy
Thesis/Interpretation: In Act 2 of Shakespeare’s The Tempest illustrates conspiracy. So much fighting among the crew members, leads to fight for power amongst themselves for themselves.
1. The conspiracy to murder Alonso is developed, which established that Antonio is still an unpleasant character.
b. With everyone trying to be the next king, plotting to get the next man out of office seems like the best way to gain power. Being that, Sebastian is trying conspire with…
In this essay I will be explaining the different things we did in our six assessed weeks in our Drama lessons. We were exploring the play ‘The Tempest’ throughout the six weeks. I will be explaining fully only some of the activities, the things I enjoyed and didn’t enjoy about it and exploring the difficulties of turning the text of the tempest to a performance.
The purpose of us doing this unit was to use the practical drama methods and techniques we had learnt about like Commedia…
How does Shakespeare use language to convey Prospero’s character in Act 1 Scene 2?
The Tempest is one of Shakespeare’s most famous plays. It was written in 1610 and it is also his last play. One of the main characters in the ‘Tempest’ is Prospero, an old wizard. The play opens with a mighty Tempest strikes the ship when Alonso the King of Naples, Ferdinand the prince of Naples, Sebastian Alonso’s brother and the current duke of Milan, Prospero’s brother Antonio along with Trinculo…
September 15, 2014
“Good wombs have borne bad sons.”
Act 1, Scene 2, Lines 119
This quotation means that ethical women can give birth to dreadful sons. During
Shakespeare’s time, a good woman could also mean a woman from a noble or royal family.
So a man from a noble bloodline, in this case Antonio, can be as disobedient or mischievous
as a man from a lower class, giving the reader a glimpse of who Antonio really is.
“You taught me language…
(Production by: Emad Alzahrani)
(Adopting William Shakespeare play “The Tempest”)
A new production for William Shakespeare play is always a challenge because William Shakespeare plays have been overdone and bring something new to it to wow the audience is a quite difficult. In this production, I generally prefer to use comedian plays, having also magic as an essential element. These kinds of plays have the contrast flavour of bitter sweet and the charm of the powerful magic, used…
with the view that Prospero is an unsympathetic hero?
Prospero is a powerful magician In ‘The Tempest’ and is in control of all others on the Island. It appears he suffers from two major betrayals, however, the sympathy one would feel for him is marginalised by his actions.
Prospero was the Duke of Milan, an extremely powerful between the 13th and 15th century. Although Prospero’s betrayal and banishment, by his brother Antonio, is unfair, Prospero is by part responsible. Prospero neglects his Dukedom…
the sole purpose of power. This kind of exploitation towards others keeps them oppressed because they never question their beliefs or what appears to be true. This is true for Prospero, the bourgeoisie who plots against everyone and other characters which are the proletariats in The Tempest written by Shakespeare. Prospero keeps everyone in the island in a state of false consciousness while he manipulates them with his power of the arts. Firstly, isolation has a destructive impact on Miranda’s and…
The modern audience may feel that Caliban draws our sympathy as he is the rightful ruler of the island. Examine Shakespeare's characterisation of Caliban and say whether you would agree with this point of view.
Caliban, a central character in Shakespeare's 'The Tempest' is a very complex character, if not the most complex character of Shakespeare's play. The audience is first introduced to the character of Caliban in Act 1 Scene 2 and first impressions of Caliban are gained by the audience…