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Prospero, 2004.
An examination of the character, Prospero, in William Shakespeare's "The Tempest".
1,321 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
William Shakespeare?s character, Prospero, in "The Tempest", proves to be one of the playwright?s most baffling and interesting creations through his dramatic transformation. This paper shows that, while Prospero is an interesting mix of power, magic, and knowledge, he becomes an example of one of the most humane individuals we encounter in Shakespeare?s plays. One of the most striking aspects of Prospero?s character is the fact the he abandons his power and decides to return to being a regular human being. His actions clearly demonstrate a desire to return to his humanity rather than become like a god. An analysis of his actions throughout this paper indicate that Prospero does indeed change for the better and, as a result, changes our perception of him, as well as his world of magic. The paper also compares Prospero's traits with other Shakespearean characters, such as King Lear and Macbeth.
From the Paper
"While many may find Prospero?s sincerity at the end of the play problematic, a close examination of his actions reveals his true intentions. We can assume that since Prospero spared his enemies, his goal was not simply punishment for the sake of punishment. Certainly Prospero was aware that he could easily destroy them with his magic if he intended to punish them. A grander scheme would have included destroying them while saving the ship, which would have provided the means for Prospero to return safely to Naples. Prospero also comes to the realization that revenge may not be worth its intended results. In some of his last lines he hopes that his final acts assault ?Mercy itself and frees all faults/As you from crimes would pardoned be,/Let your indulgence set me free? (V.i.18-20)."
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A Comparison of Lear and Prospero, 2002.
A detailed essay comparing and contrasting the Shakespearean characters, King Lear and Prospero.
905 words (approx. 3.6 pages), 2 sources, MLA, $ 32.95
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Abstract
This paper examines the similarities and differences between King Lear of Shakespearee's "King Lear" and Prospero of Shakespeare's "Tempest". Through critical analysis, they can almost be seen as two scenarios for the same man whereby Prospero becomes a better man through self-realization and Lear discovers himself too late.
From the Paper
"The doomed title character in Shakespeare's King Lear and the magical Prospero in The Tempest may at first seem to not have much in common. Contrary to first glance, one is in fact the opposite of the other. Each represents an elderly man's interactions with his surroundings; his loved ones, and even himself. It can even be said that if King Lear had lived, he might, because of the transformation brought about by so many painful realizations and experiences, have turned into a Prospero-like character. This is to say a man who, after having been through painful ordeals over which he has no control, finally uses these experiences to manifest his own destiny and create his own domain."
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King Richard and Prospero, 2004.
An analysis of discourse between the characters, King Richard II and Prospero, in plays by William Shakespeare.
1,453 words (approx. 5.8 pages), 2 sources, MLA, $ 48.95
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Abstract
When considering matters of discourse in William Shakespeare?s plays, "The Tragedy of King Richard II" and "The Tempest", King Richard displays stronger leadership skills because he always speaks with eloquence. King Richard speaks with a grace and style that cannot be matched by Prospero. This paper examines how speech is an important part of how a leader is perceived through King Richard and Prospero.
From the Paper
"This soliloquy also illustrates how Richard has come to terms with the fact that he is not destined to be king, as he once believed. He has resigned himself to the fact of how he must live out the rest of his life. This soliloquy is beautiful and heart wrenching. It is through Richard?s speeches that Shakespeare is able to make Richard stand out. King Richard would be an ideal candidate for any political position in the world today. He was always able to deliver moving speeches and this is a valuable asset to any king. In fact, it is proof that a man?s words can carry him far even if they cannot save his life."
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Prospero, Ariel and Caliban, 2005.
An analysis of the relationship between Prospero, Ariel and Caliban in William Shakespeare's "The Tempest" in the light of competing critical interpretations of the play.
1,941 words (approx. 7.8 pages), 4 sources, MLA, $ 61.95
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Abstract
This paper examines how "The Tempest" has attracted a vast array of critical attention, possibly because of its intriguingly ambiguous message which naturally invites conjecture. It looks at how it is a text loaded with nuances and ambiguities which make it impossible to pin down Shakespeare's original motivation or world view. By contemplating the relationship between Prospero, Ariel and Caliban it considers the author's views of their relationship in comparison with those of major critics.
From the Paper
"Caliban's attitude to Prospero is one of absolute terror of his power rather than mere subservience. Mannnoni's argument of a "predisposition to dependency ", supported by Caliban's quick acceptance of Trinculo as "... a new master whose 'footlicker' he can become..." (quoted in Reader, p. 284) is hard to accept. Shakespeare's text is surely more light-hearted than this. Caliban's comic simplicity leads him to believe that Stephano and Trinculo are gods to be worshipped, not just men to be obeyed. In the magical surrounding of the island where the fantastic often happens, the naive Caliban can surely be forgiven for believing that Stephano and Trinculo are "...dropped from heaven" (2.2.134) or "Out o'th'moon" (2.2.135)."
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Prospero and Doctor Faustus, 2004.
Examines and compares the main characters in plays by Christopher Marlowe and William Shakespeare.
937 words (approx. 3.7 pages), 4 sources, MLA, $ 33.95
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Abstract
In both William Shakespeare?s play, "The Tempest", and Christopher Marlowe?s play, "Doctor Faustus", the principal characters, being Prospero and Doctor Faustus, respectively, equally employ elements of magic, conjuring, and the black arts to achieve the ends that they desire. This paper shows that, while Prospero is clearly reclaimed and ennobled at the end of Shakespeare?s work, Faustus, on the other hand, is seemingly damned to hell and certainly does not experience the esteemed return to power that Prospero enjoys. The paper explains that the difference has much to do with the genres of the plays and the positions of the characters. "The Tempest" is, by nature, a romance, which means that it is a fantastical work with a basically comedic ending, whereas Marlowe?s 'Doctor Faustus" is more properly considered a tragedy.
From the Paper
"Also, at the end of The Tempest, Prospero ultimately lays his use of the black arts aside, for they have already served his purpose, saying ?Now my charms are all o'erthrown,/And what strength I have's mine own? (Shakespeare V, I). Indeed, part of the thing that makes Prospero a redemptive character is that he ultimately seeks to end his use of his objectionable powers, because he doesn?t need them now that the wrong that was done to him has been righted. Unlike Faustus, he does not cling to his powers for the purposes of status and exploitation once his goal of just vengeance has been achieved."
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Prospero?s Slaves, 2001.
A study of enslavement in William Shakespeare?s "The Tempest".
5,635 words (approx. 22.5 pages), 8 sources, MLA, $ 136.95
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Abstract
This paper examines how "The Tempest" is, perhaps, Shakespeare?s most universally appropriate play in that its multicultural and colonial themes have attracted substantial study from all over the world and its characters have been employed as models for both further literary work. In particular it discusses how Caliban is, without question, a slave and how enslavement is a theme that pervades the play as a whole. It investigates this theme, not only in relation to Caliban, but also to the spirit Ariel and, to some extent, Prospero?s daughter Miranda.
From the Paper
"It would not be insensible to argue that any audience of The Tempest finds itself subject to Prospero?s rule. Knowledge of all action previous to the events which take place on stage is presented in the most part through Prospero. Indeed, all of the other characters, once upon the island, are only able to perform what is permitted them by Prospero. Caliban enters on his command, Ariel begins the play in creating a storm at his order, and the passengers of the King?s ship are lured into neat groups around the island in preparation for his plan for the recovery of his Dukedom. Most significantly, however, is the position of Prospero?s daughter, Miranda. She has lived on the island for nearly all of her cognizant life, taking all of her knowledge of human society from her father."
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Prospero's Philosophy in "The Tempest", 1993.
An analysis of the speech (IV.i.143-162) on the relationship between theater and real life.
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"William Shakespeare's The Tempest is usually placed with a set of plays written at the end of the playwright's life, plays that share not only this time period but also a difficulty in classification that has led them to be called tragicomedies, showing that there is a mixture of both comedy and tragedy inherent in their structure and characterizations. The passage to be considered--IV.i.143-162--involves an expression of Prosper's attitude toward life, contrasts with the attitude of certain other characters. In terms of the plot, it represents Prospero recalling the problem he faces and preparing for his important meeting with Caliban, who wants to kill him. Prospero at this point in the play has his enemies in his power. He has allowed the love between Ferdinand and his daughter, Miranda, to come to fruition, and they in their turn marvel at the changes..."
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Conrad and Shakespeare: Sense of Humanity, 1992.
An argument that in Shakespeare's "The Tempest" Prospero allows his positive sense of humanity to be rekindled and in Joseph Conrad's "Heart of Darkness" Kurtz does not. Thus Prospero may return to civilization while Kurtz dies when he touches it again.
1,575 words (approx. 6.3 pages), 6 sources, $ 55.95
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From the Paper
"The manner in which Kurtz, from Conrad's Heart of Darkness, and Prospero, from Shakespeare's The Tempest, exert their authority over their respective environments is highly influenced by the inner workings of their being -- their perception of their power and their corresponding response to the circumstances. Both men indulge in self-aggrandizement, seduced by their capacity to control people and dictate the turn of events. They claim a god-like authority in their relentless drive towards realizing their individual vision, placing themselves beyond judgment and treating others with contempt. However, while Kurtz is overwhelmed by the ugliness of the human world and sinks deeper and deeper into the darkness of his self-consuming power, Prospero chooses to celebrate the positive aspects and allows his dormant sense of humanity to be..."
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Power Relations in "Antigone" and "The Tempest", 2000.
An examination of power relations in Sophocles?s "Antigone" and William Shakespeare?s "The Tempest", focusing on the characters, Creon and Prospero.
1,300 words (approx. 5.2 pages), 2 sources, MLA, $ 43.95
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Abstract
In Sophocles?s "Antigone" and William Shakespeare?s "The Tempest", two very different, yet similar, displays of power on the parts of Creon and Prospero are the basis of the plots of their respective stories. This paper explains how both Creon and Prospero use their power relations to impose their own ideals on the societies in which they live. Creon uses his power on the throne to impose his own laws and beliefs on the people, while Prospero uses his supernatural powers, ultimately, for the good of his community, as well as personal gain. It explains that these examples of power relations, as shown by Sophocles and Shakespeare, serve the purpose of demonstrating to the readers that authority figures and government are capable of imposing whatever they wish on the people, in some cases causing unnecessary grief for many.
From the Paper
"Traditionally, authority figures tend to flaunt their power in search of personal gain and intimidation. In The Tempest, Prospero uses his magical powers to employ the use of a servant and a spirit to assist him in his personal chores and to keep the island running smoothly. In Antigone, Creon uses his royal power, more or less, to his personal advantage, with no obvious benefit to society. Prospero?s supernatural abilities are made evident when Miranda accuses him, ?by your art thy dearest father, you have / put the wild waters in this roar.?(Shakespeare, I. ii. 1-2). In light of this, one may be led to believe that Prospero is trying to hurt those on the ship who have hurt him in the past but, in fact, Prospero only creates this storm out of love for his daughter who is in search of a mate, and Ferdinand, who is on board the ship seems to be a logical candidate. Prospero ensures that no one is harmed by the storm by sending his spirit, Aerial, to keep watch over the ship."
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Shakespeare's "The Tempest", 2007.
This paper analyzes the means of control used by the character of Prospero in Shakespeare's "The Tempest".
1,520 words (approx. 6.1 pages), 2 sources, MLA, $ 50.95
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Abstract
This paper points out parallels between philosopher Michael Foucault's work and "The Tempest" and relates that the topic of both works revolves around the topic of justice. The author argues that Prospero's behavior in Shakespeare's "The Tempest" represents a shift from a medieval power structure to one that is institutionalized and which takes power from the individual and gives it to society. The paper comments that Prospero's main conflict was not with his brothers but rather with the centralized power that they represented.
From the Paper
"Prospero has to design a tactic for each individual. This demonstrates great intelligence and adaptability. The first stage of the plan was to separate them and take away their power in numbers. He knew that he would be overthrown if he were not able to do this. Therefore he first isolated his "guests" and gave them a display of his power. The prison cell had much the same effect. Foucault goes to great lengths to explain and give examples of how the prison cell acts of isolate and convey the sense of power to the convict. The jailor has complete control over the prisoner."
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Shakespeare, 2006.
This paper looks at Shakespeare's semi-autobiographical work "The Tempest".
1,473 words (approx. 5.9 pages), 1 source, MLA, $ 48.95
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Abstract
In this article, the writer discusses "The Tempest" by William Shakespeare and discusses traits of Shakespeare himself that are portrayed within the play. Using references to the character, Prospero from the play, the writer examines the identity of the playwright, Shakespeare. The writer suggests what type of person Shakespeare might have been according to actions and attitudes of Prospero. The writer concludes that consciously or not, Shakespeare compared himself to Prospero, based on Prospero's isolation from society, his magical powers, and his control over others' lives.
From the Paper
"Shakespeare's true identity remains a mystery for most scholars and historians. However, the playwright's knowledge of the culture of nobility and monarchy suggest that Shakespeare may have been a member of the British noble court or at least someone close to it. Because writing and acting were not deemed respectable professions for a nobleperson, it is highly likely that Shakespeare was a pen name for someone within the regal realm. Even if Shakespeare was a common writer or actor, he may still have needed a nom de plume to cover up his true identity. Therefore, Shakespeare led a double life much like that of Prospero. Although Shakespeare was not exiled on an island, he was symbolically living in exile from his community. Like Prospero, Shakespeare might have been a former nobleman."
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Father-Daughter Bonds in "The Tempest" and "Othello", 2005.
A study of William Shakespeare's characters Desdemona and Brabantio from "Othello" and Miranda and Prospero from "The Tempest".
1,977 words (approx. 7.9 pages), 2 sources, MLA, $ 62.95
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Abstract
This paper explores Shakespeare's plays "The Tempest" and "Othello" and focuses on the father-daughter relationships of Desdemona and Brabantio and Miranda and Prospero. Direct quotes support the comparisons and contrasts of the characters' actions, emotions, and motives towards each other, which include anger, love, possessiveness, and manipulation.
From the Paper
"Prospero wants his daughter to marry Ferdinand, because he is of her status and is intelligent. Not only that, Ferdinand is looking for a wife to be Queen of Naples, and the marriage would mean Prospero could finally move back to civilization and out of isolation, and he could reclaim his title as Duke. So not only does Prospero see Miranda as his daughter and companion for the twelve years in isolation, but he sees her as a key part in his plan to get his dukedom restored. However, he wishes well for his daughter in every way possible, and is happy that love has blossomed between her and Ferdinand. "Fair encounter of two most rare affections. Heavens rain grace on that which breeds between 'em!" (Tempest, Act 3 Scene 1) "
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"The Tempest" Critiqued, 2005.
Examines the views of two critics on William Shakespeare's "The Tempest".
3,459 words (approx. 13.8 pages), 2 sources, MLA, $ 97.95
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Abstract
The play, "The Tempest" by Shakespeare, has elicited many and varied responses. Some believe that Shakespeare wrote the play to symbolize himself in Prospero. As Prospero is bidding farewell to his magician's staff, Shakespeare is bidding farewell to his magical pen. Some critics have emphasized the romantic and comic elements in the play, while others disagree by emphasizing the tragic. This paper presents a discussion of two such opinions, followed by a discussion of the play with these opinions in mind. The critics examined are E.M.W. Tillyard ("The Tragic Pattern") and J. Warton ("Amazing Wildness of Fancy").
From the Paper
"The further tragedy of Prospero's life unfolds. He had once been the Duke of Milan, trusted and respected by all his subjects. His main mistake was however that he failed to give sufficient attention to his politics, and that he trusted the wrong people. His mind was occupied by intellectual pursuits, mainly of the supernatural kind, and thus he freed some time for himself by delegating the tediosness of government to his brother, Antonio. Prospero's naivete in doing this is another typical element of tragedy. His brother thus takes advantage of the opportunity to further his own ambitions. Naivety and pride therefore work together for a tragic result."
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Shakespearean Conjuring, 2002.
A discussion of Elizabethan theatre and the magic that takes center stage in many of Shakespeare's works.
11,873 words (approx. 47.5 pages), 33 sources, MLA, $ 230.95
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Abstract
This paper explores the society of the period by examining the impact the Renaissance had on England, and the fact that its diverse trends had been elaborated into divergent and sometimes extreme forms.
The paper describes of the origin of the period?s obsession with the occult and the mystical, and explains the plethora of fantastic and mythic creatures running throughout the gamut of Elizabethan theatre.
- T A B L E - O F - C O N T E N T S -
INTRODUCTION
CHAPTER I ? The Magus in Society, The Life of John Dee
CHAPTER II ? Knowledge as Power, Representation of Magic as Knowledge
CHAPTER III ? Marlowe and the Magic of Faustus
CHAPTER IV ? Societal Instability and the Power of the Unknown
CHAPTER V ? The Connotations of Magic Use as Related to the Goals
CHAPTER VI ? Prospero?s Relation to the Magus in Renaissance Society
CHAPTER VII ? The Debate over the Morality of Prospero
CHAPTER IIX ? The Ambiguity of Prospero?s Morality
CHAPTER IX ? The Failure of Prospero
CHAPTER X ? The Meaning of the Magus
CONCLUSION
BIBLIOGRAPHY
From the Paper
The presence of mystical themes is prevalent throughout the theatrical works of the Elizabethan era, almost every play had a ghost, monster, witch, alchemist, etc. of some sort contained within it. What was the origin of the period?s obsession with the occult and the mystical, why is there such a plethora of fantastic and mythic creatures running throughout the gamut of Elizabethan theatre?
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"The Tempest", 2002.
Discusses concepts of language and power in William Shakespeare's play.
1,150 words (approx. 4.6 pages), 1 source, $ 44.95
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Abstract
Although the island of Shakespeare's "Tempest" is far removed from the political machinations of Milan, from where Prospero has fled, we discover that the island is not bereft of the political structure, which existed in the Dukedom. Prospero, in fact, dominates the island in a political manner and has subordinated his daughter, Miranda and the savage, Caliban, to his will. This occurs through the empowering force of language, which becomes a symbol of power in the play.
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