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.

Tags:tempest, power, drama

Abstract
This paper discusses how the theme of Eden/Paradise is developed in Shakespeare's "The Tempest", with reference to the island and other attributes of Paradise. Additionally, the paper analyzes allegorical characters, with Ferdinand as Adam, Miranda as Eve, Prospero as God.

From the Paper
"This research examines the theme of paradise in Shakespeare's "The Tempest." The research will briefly set forth the general pattern of ideas in the work and then discuss the means by which it elaborates metaphorically on the setting of the action as a kind of Eden. The manifest action of "The Tempest" turns on the issues of isolation, rebellion, reunion and authority with the exiled Prospero positioned as the rightful duke of Milan and Antonio, the fraternal usurper, and the ruler of his isolated..."

Tags:paradise, Tempest, Shakespeare, allegorical, eden, metaphor

Abstract
The paper relates that the "The Tempest" and "The Winter's Tale" are generally considered to be two of Shakespeare's latest plays and also two of his most complex, showing the playwright in the full flower of his mature style. The paper explains that like other plays of Shakespeare's late period, they contain elements of romance, magic, and proto-operatic interludes of song and dance. What they also contain, and what is looked at in this paper, is a thread of concern with matters of kingship, rulership and command, and the effects that result when sovereignty is challenged or overthrown.

From the Paper
""The Tempest" and "The Winter's Tale" are generally considered to be two of Shakespeare's latest plays and also two of his most complex and interesting, showing the playwright in the full flower of his mature style. Both were first published in the First Folio of 1623, The Tempest being the very first play printed therein (at the head of the "Comedies" section) and The Winter's Tale printed as the last play of the "Comedies" section. It is important to remember that in the terminology of the period, a comedy referred not to a farce but simply to a narrative that ended on a positive note, and this is the case for both of these plays,..."

Tags:tempest, winter's tale, kingship

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."

Tags:tempest, colonial, post, traditional, Prospero, Caliban, Antonio

Abstract
This paper is a study of Act 3 of the Tempest by William Shakespeare. The paper explores one of the themes of the play, namely, what is justice? The paper discusses the plot, characters and finally the outcome.

From the Paper
"The Tempest is a morality play based on the idea of reestablishing justice after an unjust act. The classical definition of comedy relies on reestablishing order. Shakespeare tells a fairly straightforward story involving the usurping of Prospero's throne by his brother and Prospero's quest to re-establish justice by restoring himself to power. However, the idea of justice that the play works toward seems highly subjective since this idea represents the view of one character that controls the fate of all the other characters."

Tags:shakespeare, play, tempest, english, justice, act 3, prospero, revenge, magic

Abstract
This essay is about the theme of magic in the Shakesparean play, "The Tempest". The writer provides a short summary of the play and quotes lines which show how the power of magic influenced developments in the plot.

From the Paper
"Prospero was the legal duke of Milan. His brother, Antonio, stole his title and banished him and his daughter, Miranda, from Milan. While in exile, on an isolated island, he harnessed powers of magic for he was a great lover of arts and in particular, magic. Prospero was a very powerful man and by using his spell books, he was able to summon mighty magic. The most powerful creature he controls is Ariel who aids him in executing some of his magic spells."

Tags:magic, tempest, theme, Propero, Miranda

Abstract
This paper looks at William Shakespeare's "The Tempest" and focuses on the way the characters speak to one another and what types of speech are used in communication with equals and with servants.

From the Paper
"This paper will analyze the way characters in The Tempest by William Shakespeare speak to one another and what types of speech are used in communicating to one another. First however there will be a brief outline of both the plot and the historical context of.."

Tags:The Tempest, Shakespeare, poetry, prose, magic, language, plot

Abstract
This paper discusses the play "The Tempest" by William Shakespeare and contends that no matter how much a reader may wish to see "The Tempest" as a fairytale or a metaphor for Shakespeare's own magic with words, the colonial subtext prevents many modern readers from fully enjoying the play. The paper supports this contention by pointing out how metaphors of "The Tempest" do not suggest the dangers of human beings assuming godlike power and control. Instead, it validates the absolute authority of older men like Prospero over 'inferior' peoples and makes unacceptable the rule of women or lower-class individuals. The paper also points out how the plot and structure of the play validates conventional ideas about ruling. For example, the play makes Prospero's domination over the sea seem acceptable. The paper concludes that a modern observer who knows about the lies of the ideology of colonialism, is likely to feel angry rather than charmed when reading "The Tempest" today.

From the Paper
The ways that "The Tempest" validates conventional ideas about ruling is first manifest with Prospero's seemingly rightful domination over the sea, which enables him to bring the ship full of Europeans to the island and to reclaim his title and property from home. This is morally supported by the plot structure of the play, rather than seen as a hubristic and artificial exercise by a human being overcoming the laws of nature. Miranda, rather than learning about the world through her own experience by choice, learns about it only through her father's eyes, and he selects and controls her first sight of a man of her own race, and creates a situation where Ferdinand will have to woo and win her that is just difficult enough to incite their passions, without proving to be a real, uncontrolled obstacle.

Tags:metaphor colonialism, social hierarchy, domination european

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."

Tags:agency, alonzo, ariel, caliban, colonial, colonialism, colonization, drama, langauge, miranda, order, prospero, renaissance, tyranny

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)."

Tags:renaissance, noble, savage, moor