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William Shakespeare's "The Tempest", 2006.
An analysis of the Elizabethan theme of political corruption in William Shakespeare's "The Tempest".
1,350 words (approx. 5.4 pages), 2 sources, $ 53.95
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Abstract
This drama study historically critiques the theme of political corruption as it evolves in the play, "The Tempest", by William Shakespeare. The paper analyzes the various characters of this play to illustrate how the struggle for power is complex and that power and greed are the basis of corruption. The paper also points out that ,although Prospero dissolves the aggression set against him in the play, Shakespeare
uses "The Tempest" to reveal a commentary on political intrigue and corruption that reflects the historical Elizabethan monarchal class system and the politics of Shakespeare's times.
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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's "The Tempest", 2004.
This paper analyzes "The Tempest" to determine if post colonial readings of this play address the 'right' issues or not.
2,700 words (approx. 10.8 pages), 8 sources, MLA, $ 95.95
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Abstract
This paper analyzes whether post colonial readings of Shakespeare's drama "The Tempest" address the 'right' issues as compared with traditional readings. The paper explains the play as a justification of colonialism and brings the argument of traditionalists that 21st Century views should not be imposed on the play.
From the Paper
"William Shakespeare's play "The Tempest" presents an interesting study of the critical controversies that often arise when works of literature are reconsidered in a twenty-first century context instead of as simply a product of the time in which they were produced. Indeed much debate has centered around readings that posit "The Tempest" as a text concerned almost exclusively with the justification of colonialism."
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"The Tempest" by Shakespeare: Power Overwhelming?, 2002.
This analytical essay explores the relationship between acquiring true power and forgiveness.
820 words (approx. 3.3 pages), 1 source, MLA, $ 29.95
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Abstract
This paper looks at Shakespeare's play "The Tempest" and sets out to prove that Shakespeare believes that true power can only come from forgiveness. Prospero's transformation from a person blindly seeking revenge and questing for power, to someone who is finally able to forgive, is used to illustrate how these traits impede us from achieving our full potential.
From the Paper
"In order to accomplish his vengeance, Prospero combines the use of his magic with manipulation to deceive his enemies into a false sense of security while carrying out his own wishes. "He hath lost his fellows and strays about to find 'em."(Iii. 417418, dialogue) This passage shows Prospero's power over Ferdinand and his "fellows" by manipulating them into a false sense of security while they are separated and in a dangerous situation so that he can carry out his plot of vengeance towards them."
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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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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", 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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"The Tempest", 2006.
A discussion on Shakespeare's "The tempest" and the romance genre.
1,032 words (approx. 4.1 pages), 2 sources, MLA, $ 36.95
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Abstract
The paper gives a definition on the romance genre and then explains how and why Shakespeare's "The Tempest", fits this genre. It discusses the main theme of the play, that of forgiveness. The paper shows that "The Tempest" illustrates the importance and value of forgiveness and expands on Shakespeare's methods for making this point are linked closely to his use of the romance genre.
From the Paper
"Prospero is also an important character in terms of understanding the need for forgiveness, with this enhanced because of the use of the romance genre. Prospero acts as the ultimate example of someone who has achieved forgiveness. This is seen by the way that he does not choose to harm Antonio, Alonso, or Sebastian, despite the wrongs they have done to him. Instead, he chooses to make them realize their errors and repent. Prospero's role as the ultimate example of forgiveness occurs because his power on the island makes it clear that he could choose to kill or punish if he chose to. The fact that he does not choose to shows that his goal is not really to seek revenge. Instead, his goal is to force reconciliation. This makes it clear that the real solution to being wronged is not to seek revenge for those actions, since doing so would only lead to more wrongs."
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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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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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"The Tempest", 2004.
An analysis of the characters in William Shakespeare's play, "The Tempest".
1,238 words (approx. 5.0 pages), 2 sources, MLA, $ 42.95
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Abstract
This paper reviews Shakespeare's "The Tempest," depicting a world that seems to confirm the idea that there are 'no small parts', namely, that it is not the size or even the plot significance of a character that matters in terms of that character's impact upon the audience. The paper contends that what really matters is how significant that minor character is in terms of underlining the themes of the play and what that character represents in the world of the play. The paper explains that, by making all of his minor characters three-dimensional and multifaceted in their complex psychologies, Shakespeare creates an island world that is fully populated with beings who have a sense of psychological verisimilitude, even if they are airy sprites and earthly devils.
From the Paper
"At first, "The Tempest" depicts a world that is entirely dominated by the figure of Prospero. All of the other characters are dwarfed to his prominence as a figure of manipulation. He causes the tempest that propels the plot of the action on stage. But the emotional effect of the resolution of the play, that of Prospero's reinstatement to his former place in society that takes place after Act 5, is less intense that might be expected, given that Prospero only meets his usurper in front of the audience face-to-face at the end of the play, after his daughter Miranda has become betrothed. "The Tempest's" onstage conflicts are really more compelling in the way that minor characters are actively paired against one another as dual forces, more strikingly than the main plot of the play."
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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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"The Tempest": Love and Forgiveness, 2004.
Analysis of Shakespeare's last production, "The Tempest".
1,233 words (approx. 4.9 pages), 1 source, MLA, $ 42.95
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Abstract
This paper summarizes and analyzes "The Tempest" and looks at whether the analogy commonly used by critics, that the leading character in "The Tempest" can be compared to Shakespeare himself, deserves merit.
From the Paper
"?The Tempest? fills out the Shakespeare folio as the last production ?the bard? creates with his own witty craft. Numerous critics through the years liken the leading character Prospero to that of Shakespeare by making poignant, yet simple comparisons (1659). Shakespeare retires from playwriting and the theatre in real life, while the character Prospero relinquishes magic and an island. However, this general analogy only succeeds in being a basic argument such as all writing derives from the life of a writer. Innumerable and significant differences exist between the fictional and the factual that demand deeper analysis. With many complexities and nimble nuances the textual evidence implicates Prospero?s enchantments as being moral tools to accomplish virtuous deeds. Prospero renounces magic when he achieves a guarantee of overall good and simple virtuous actions themselves beget mystical moments."
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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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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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