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The Roles of Ariel and Caliban in "The Tempest", 2004.
Analysis of William Shakespeare's "The Tempest" and the importance of the characters, Ariel and Caliban.
982 words (approx. 3.9 pages), 3 sources, MLA, $ 34.95
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Abstract
The actions of Prospero in relation to his two servants, Ariel and Caliban, very much contradict his motivations and goals throughout the play, "The Tempest," by William Shakespeare. The paper shows that, while Prospero is trying to fight injustice and restore his own life, he is, in a sense, stealing the power and lives of his servants.
From the Paper
"In Shakespeare's The Tempest, one of the main characters in the play, Prospero, has been exiled to an island. While living there he encounters two inhabitants of the island and makes them his servants. Caliban, one of Prospero's servants, has lived his whole life on the island after being left there by sailors with his mother, Sycorax. The other servant is Ariel, a mischievous spirit who Prospero found trapped in tree by a spell cast many years ago by Sycorax. The relationships between Prospero and his two servants are very different, although he maintains his control over both of them through his use of words. Prospero promises Ariel his freedom after he is done serving Prospero's desires, but Caliban is treated very differently. He is looked down upon and treated cruelly with no promise of ever being free. Unlike Ariel, Caliban is not content to serve Prospero and attempts to remove him of his power in order to restore his own life and rule over the island, but in his attempt to do so he offers to become a servant of Stephano. Throughout the play Prospero is attempting to fight the injustice of losing his power as Duke of Milan, but the way he treats his servants and steals their power is unjust."
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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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Caliban, 2005.
A discussion on whether William Shakespeare intended us to feel sympathy for the character, Caliban, in his play "The Tempest".
2,569 words (approx. 10.3 pages), 0 sources, $ 77.95
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Abstract
This paper discusses how, by ultimately giving the character Caliban, in "The Tempest", repentant language and showing he is an intelligent creature, Shakespeare has given Caliban his approval and recognised that despite the fact he cannot be civilised, he is a creature of sensitivity deserving sympathy. The paper also argues that, by writing "The Tempest", Shakespeare wanted to make a philosophical and moral point about the taming of people who were considered to be savage and in need of civilisation. It also contends that Shakespeare had a humanitarian view towards undeveloped people and therefore created Caliban to represent an uncivilised creature being controlled and oppressed by people from society, represented by Prospero, who consider themselves to be superior.
From the Paper
"However, it is not only Caliban who has an uncontrollable and bestial side. Sebastian and Antonio, educated and civilised members of the Kings court, plot to kill the king while he is sleeping in order to take the throne. This raises Shakespeare's argument of nature versus nurture, which influences the play significantly. For example, the reader might take Shakespeare's descriptions of Caliban's instinctive behaviour and interpret him as an evil creature, but he is not as insensitive as characters such as Sebastian and Antonio. Both men are from an educated and civilised society but they still produce corruption and evil even though they know better, whereas Caliban does not have a clear concept of right and wrong and does not realise his actions are inappropriate. Fundamentally, Caliban's behaviour is horrifying in the eyes of civilized people; nevertheless, his background and the environment in which he grew up in justify his acts."
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The Oppression of Caliban, 2002.
This paper analyzes the role of Caliban in Shakespeare's "The Tempest."
2,410 words (approx. 9.6 pages), 8 sources, MLA, $ 73.95
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Abstract
This paper is about how the characters in Shakespeare's "The Tempest" see Caliban as a monster. The writer examines the character and proceeds to compare and contrast him to each of the other characters in the play.. The writer also debates about whether or not their treatment of Caliban is justified.
From the Paper
"William Shakespeare?s, ?The Tempest,? provides insight into the hierarchy of command and servitude by order of nature. This play uses the relationship between its characters to display the control of the conqueror over the conquered. It also shows how society usually places the undesirable members at the bottom of the chain of command, even though they may be entitled to a higher social status. For example, the beginning of the play opens with a scene on a boat in the midst of a terrible storm. The boatswain, who is under the command of the royal party, attempts to keep the boat from sinking. Members of the royal party, however, persist in interfering with his duties. The boatswain retorts, ?What cares these roarers for the name of the king? To cabin! Silence! Trouble us not?(I, I, 16-18). He is trying to warn his superiors that if he does not let him do his job, everyone will die, and it will not matter who has power over whom. The superiors, however, still take offense to this comment and label him a blasphemer. Caliban, an unfortunate character in this play, suffers from similar constant abuse because he is of the lowest social rank in his community. Critic John W. Draper describes Caliban?s position in relation to the other characters when he says, ?Of all the characters in Shakespeare, Caliban is the most fully and repeatedly/ described, though not always consistently; and his bodily parts seem to show little/ relation to his humor or his character except that both are monstrous. Monsters/ were popular; and, as Trinculo remarks, any ?holiday fool? in England would pay out/ ?silver? for the sight of one. Caliban?s monstrosity, however, out-Herods Herod?(Draper 89). According to the other inhabitants of the island, Caliban is a monster. He is a symbol of what they never want to become. Caliban reminds them to act as though they are worthy of their high social status. He is the painfully realistic entity around whom the other rulers on the island silently rally in order to maintain a social balance. They abhor him but desperately desire to possess at the same time. On a narrower scale, the oppression of the underdog is obvious in the undesirable Caliban and his relationship to Prospero, Miranda, Ariel and Ferdinand. "
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The Two Tempests, 2002.
A comparison of the novel "A Tempest" by Aime Cesaire and William Shakespeare's play "The Tempest".
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
This paper presents an overview of the novel "A Tempest" by Cesaire in comparison with Shakespeare's play "The Tempest". "A Tempest" by Aime Cesaire is an attempt to confront and rewrite the idea of colonialism as presented in Shakespeare's "The Tempest." The author finds that he is successful at this attempt by changing the point of view of the story.
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"The Tempest", 2001.
This essay looks at Shakespeare's final play, "The Tempest", from a colonial perspective.
1,326 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This essay analyzes William Shakespeare's final play, "The Tempest." The essay explores the organic nature of Shakespeare's art and poses a thesis regarding themes of colonization and homogeny in Shakespeare's final work. Art, Drama and Literature all begin as a great artistic tempest, but without a powerful agent like Prospero or Shakespeare and helpful sprite like Ariel or the muse, it would be difficult to tie the artistic tempest into a feasible order. This essay attempts to look at "The Tempest" from a colonial perspective and explain how diverse entities come to merge into one cohesive mass.
From the Paper
"Somewhere in the shadows of every masterful creation, there lurks a steadfast draftsman with an extraordinary proclivity to build things formerly unimagined. A pivotal moment dividing substance from nonexistence resides at the fundamental core of all things real. In Shakespeare?s The Tempest, chaos serves as a facilitator of order. Following Antonio?s rebellious usurpation of power, a merciless storm dispels his ambition. Antonio and the subjects of Alonso are left to redefine a gravely ruptured social hierarchy and erect a government philosophy when they find themselves heedlessly discarded on a sparsely inhabited island. Performed in 1611 at the height of British colonization, The Tempest functioned ?as a fascinating tale that served as a masquerade for the creation of a new society in America? (Takaki 142). Completed at the end of his career, The Tempest brilliantly epitomizes the organic nature of Shakespeare?s art by cultivating his various genres into one adeptly seasoned play."
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"Othello" vs. "The Tempest", 2004.
A comparative essay of Shakespeare's plays, "Othello" and "The Tempest".
1,566 words (approx. 6.3 pages), 6 sources, MLA, $ 51.95
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Abstract
This paper claims that, at first glance, Shakespeare's "Othello" and "The Tempest" could not be more unlike. "Othello" is a tale rooted very firmly in the here-and-now, the actual city of Venice, an important and central location for the Renaissance man. "The Tempest" is a fantasy taking place on a "marvelous" island. However, the paper explains, a closer look reveals that Venice, too, is marvelous and is, moreover, the perfect link between the civilized and the savage. It is no wonder then that the story of the 'noble savage' in the character of "Othello" was placed there. Nor is it any wonder that the less noble savage, Caliban, is found on an island that, while not straddling the literal old and new world orders, nonetheless bears representatives of each. The paper contends that both "Othello" and "The Tempest" are indeed exemplary of the statement, "Europeans contact with people of other cultures during the Renaissance period had a disorienting effect, as it raised the question of who was truly 'civilized,' and who was truly 'savage'." Shakespeare seems to answer that question in both plays, often in ways that may, at first, like the true meaning of Venice, be hidden.
From the Paper
"The Renaissance was about discovery, artistic, scientific and geographic. The geographic discoveries led to European's 'finding' new lands-although the lands had clearly been there long before any Europeans sailed to them-and thus to European culture bumping into cultures far different. The Europeans, since they had 'discovered' those other people, found it easy to set themselves up as superior to the discovered populations; that being the case, they then began to colonize the natives of those places, to civilize them (or, as one might say in a more politically sensitive age, Europeanize them, although that sounds even more paternalistic than colonizing). Cefalu argues that hierarchy was central to the European concept of civilization; any culture that lacked masters and subordinates was, therefore, uncivilized. Such as the culture found in "The Tempest"; it paralleled, Cefalu argues, the lack of stratification in the American colonies at the outset (Cefalu 2000)."
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'The Tempest', 2006.
A discussion regarding the theme of political corruption in the play 'The Tempest' by William Shakespeare.
675 words (approx. 2.7 pages), 4 sources, $ 26.95
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Abstract
This drama study examines the play 'The Tempest' by William Shakespeare. The paper discusses how by unveiling the political corruption that Prospero must face with Caliban, Shakespeare brings forth plans of murder and usurpation within the plot of the story. Although many attempts are made to steal the power that Prospero's Dukedom offer, the play ends with the triumph of royalty over political rivals. In essence, 'The Tempest' offers a great deal of political corruption as the island survivors of the shipwreck battle for power.
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'The Tempest', 2005.
This paper is a deconstruction analysis of Shakespeare's 'The Tempest'.
1,800 words (approx. 7.2 pages), 3 sources, APA, $ 63.95
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Abstract
In this article, the writer discusses Shakespeare's "The Tempest" and focuses on how Prospero imposes English values and beliefs on Caliban primarily because they are "English" and not absolute truths.
From the Paper
"The modernist view of human identity believed that human beings through independent thought and ration developed their ideas, beliefs and values. Following the modernists, Postmodernists like the founder of deconstruction, Jacques Derrida maintained that all values are a product of culture. To the deconstructionist, meaning is out there but is not knowable through a Western valuation of beliefs, truths or meaning. From the perspective of the deconstructionist, a text cannot be read as a clear communication from one author with a distinct message but must be ... "
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The Tempest, 2005.
This paper provides a deconstruction analysis of Shakespeare's "The Tempest."
1,350 words (approx. 5.4 pages), 3 sources, MLA, $ 47.95
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Abstract
A deconstruction analysis of Shakespeare's play "The Tempest." The paper focuses on how Prospero imposes English values and beliefs on Caliban primarily because they are "English" and not absolute truths.
From the Paper
"The modernist view of human identity believed that human beings through independent thought and ration developed their ideas, beliefs and values. Following the modernists, Postmodernists like the founder of deconstruction, Jacques Derrida, maintained that all values are a product of culture. To the deconstructionist, meaning is out there but is not knowable through a Western valuation of beliefs, truths or meaning."
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"The Tempest", 2004.
An examination of the role of learning in a text of the Renaissance,
Shakespeare?s ?The Tempest?.
1,887 words (approx. 7.5 pages), 1 source, MLA, $ 60.95
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Abstract
The writer of this paper explains that one of the fundamental themes of the play is the transmission of learning through the process of education and the aims and outcomes of that process, both intended and unforeseen. The paper notes that if the island of "The Tempest" can be read as a microcosm of human society, one of the key aspects of Prospero?s character is as an archetype of the teacher who, in terms of Renaissance educational thought and practice, is charged with forming character as much as imparting knowledge, while Miranda and Caliban serve as contrasting images of the effects of education upon its recipients.
From the Paper
"The Tempest? respects the dramatic principle of the unity of time: the action of the play takes place over the course of a single afternoon. Everything that occurs during that limited period of time, however, is profoundly an outcome of events that stretch back twelve years previously. It was twelve years earlier that Prospero, Duke of Milan, entrusted the government of his city to his brother Antonio, in order that he might devote himself entirely to the pursuit of learning in ?the liberal arts ? those being all my study, / The government I cast upon my brother? [1.2: 73-5]. The ?liberal arts? referred to here are those aspects of learning seen in Renaissance humanism as worthy of a free man of high social status: the study of grammar, logic and rhetoric (the ?trivium?) and arithmetic, geometry, music and astronomy (the ?quadrivium?). It was this decision to seclude himself in study that has led to Prospero?s enforced seclusion on his desert island, for Antonio did not follow his brother?s love of learning, but was rather in love with power ? as a Renaissance ruler he is in the cast of Machiavelli?s ?Prince? rather than Castiglione?s ?Courtier? and ?needs will be / Absolute Milan? [1.2: 109]."
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Conflicts in "The Tempest", 2002.
Examines the nature of conflict and the question of resolution in William Shakespeare's "The Tempest"
1,400 words (approx. 5.6 pages), 7 sources, $ 53.95
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Abstract
This paper will argue that the form of "The Tempest" is one of conflicts unresolved and (quite literally) disharmony. As will be seen, the play suggests that harmony and closure are themselves illusions. In this analysis, resolution may be seen as an artificial construct, an act of power imposed from without upon a place or an action - such as Prospero's/Caliban's island or life itself - that is naturally chaotic and without form.
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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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"The Tempest", 2002.
A new critical reading of William Shakespeare's "The Tempest".
1,150 words (approx. 4.6 pages), 1 source, $ 44.95
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Abstract
In this work, "The Tempest" is subject to a New Critical analysis that yields interesting results with respect to its religious symbolism and political paradoxes. This paper will argue that the form of "The Tempest" is rather one of unresolved stresses and (quite literally) disharmony.
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"The Tempest", 2006.
An analysis of William Shakespeare's "The Tempest".
920 words (approx. 3.7 pages), 5 sources, MLA, $ 31.95
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Abstract
This analysis of Shakespeare's "The Tempest", uses literary criticism and evidence from the text of the play to demonstrate that in this work Shakespeare is bidding farewell to creative pursuits and to the theater itself. A conclusion maintains it may not be Shakespeare's final work but "The Tempest" definitely provides contemplation of retirement or leave taking from artistic endeavors.
From the Paper
"According to Magill, a majority of scholars see Shakespeare's The Tempest as Shakespeare's farewell to the stage, one that encompasses his farewell as well as the playwright's views on life Tempest. Indeed as one scholar maintains..."
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