...“Beyond the Traditional Analysis” In his play, The Tempest, Shakespeare conveys themes through different character pairs. Each pairing is a guise for a different theme in the play's plot. For instance, Ariel and Caliban are thought to be grouped together because they show two contrasting sides of servitude. Other examples lie behind Miranda and Ferdinand's "love at first sight", as well as the forgiveness that Alonso, Antonio, and Prospero receive. Each grouping of characters is placed strategically throughout the play by Shakespeare to exemplify different themes. Ariel and Caliban are both under Prospero's servitude, and are actually foils for one another. However, while Ariel abides by Prospero's rules willingly, Caliban only serves Prospero out of fear. They are both obligated to serve Prospero and do his bidding, but while Caliban is only trusted to do the simplest of tasks, Ariel is the equivalent to Prospero's second in command. He is constantly a major aide in Prospero's grand plan, and he is privy to Prospero's secrets. "All hail great master! Grave sir, hail! I come to answer thy best pleasure,"(Shakespeare 14). Ariel says this to his master, living with the hope of soon being free. He could behave as Caliban, but Ariel is trusted enough to help Prospero complete his master plan. Ariel even influences Prospero's decision on whether to forgive the ones who have wronged him. At the end of the play, Prospero's other servant Caliban, turns out to be one of the ones who...
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...Just under fifteen years old, Miranda is a key and ever present character in ‘The Tempest’. Miranda is a gentle and compassionate, which leads to her submissive nature, but also has a fight and inner strength in her to achieve what she's passionate about. As a female she is the only one that has any stage time - as a feeble representation of women, who seemingly exist to serve. Shakespeare reflects the roles of women during jacobean times through Miranda, by serving first her “dearest father” and next declaring “I’ll be your maid” to Ferdinand. The lack of female identity in “The Tempest”, the only others referenced in the play are Sycorax, Miranda’s mother and Alonso’s daughter Claribel suggest that she will serve a pivotal role in the play. To explore shakespeare's presentation of Miranda I will use the the following points: tendency to be submissive; sudden forthrightness and finally Miranda’s repetition of the word ‘suffer’ displays a meek, emotional nature that underscores her compassion for those on the ship. These characteristics are clearly displayed in her opening scene which ultimately lead her to become a target for some, as she is easily submissive to commands because of her nature towards others. One such person is Prospero, who's use of the anaphora indicates his intent of manipulating her. He persists her to become “collected” and dictates that he has “done nothing but in care of thee” and “of thee, my dear one, thee my daughter” .The repetition of “thee” that...
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...The Tempest written during the 1600s by one of the most influential writers of his time, William Shakespeare, takes us deep in to the Renaissance, in which questions of religion and man’s place in the world were the cause of much conflict. There are many insinuations that the character of Prospero is a cover for Shakespeare himself and through the protagonist, Shakespeare voices some of his views about the world he was living in. Along with themes of power, men and control, colonization also seems to be a main focus of Shakespeare throughout The Tempest, as almost every character ponders upon how he would rule the island on which the play is set if he were its king. Dr Faustus was written during the reign of England’s Queen Elizabeth I by Christopher Marlowe. It focuses on the main character, Dr Faustus, selling his soul to the devil in exchange for all the luxuries the world has to offer “twenty-four years of all voluptuousness.” Both plays present men questing for power and have left their mark on the modern world of literature. Shakespeare highlights the dominant themes power and control through the characters of Prospero and Antonio. Throughout the play many of the characters are in constant battle for power and freedom sometimes resulting in them succumbing to malevolent deeds. Prospero personifies the imperialist omnipotent ruler as he enslaves Caliban son of Sycorax and rightful ruler of the island. He uses the informal pronoun and pejorative phrase “thou most lying...
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...This is a good article. Click here for more information. The Tempest From Wikipedia, the free encyclopedia (Redirected from The tempest) This article is about the Shakespeare play. For other uses, see The Tempest (disambiguation). The shipwreck in Act I, Scene 1, in a 1797 engraving by Benjamin Smith after a painting by George Romney The Tempest is a play by William Shakespeare, believed to have been written in 1610–11, and thought by many critics to be the last play that Shakespeare wrote alone. It is set on a remote island, where Prospero, the rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skilful manipulation. He conjures up a storm, the eponymous tempest, to lure his usurping brother Antonio and the complicit King Alonso of Naples to the island. There, his machinations bring about the revelation of Antonio's lowly nature, the redemption of the King, and the marriage of Miranda to Alonso's son, Ferdinand. There is no obvious single source for the plot of The Tempest, but researchers have seen parallels in Erasmus's Naufragium, Peter Martyr's De orbe novo, and eyewitness reports by William Strachey and Sylvester Jordain of the real-life shipwreck of the Sea Venture on the islands of Bermuda, and the subsequent conflict between Sir Thomas Gates and Sir George Somers. In addition, one of Gonzalo's speeches is derived from Montaigne's essay Of the Canibales, and much of Prospero's renunciative speech is taken...
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...Ferdinand and Miranda have to fall in love? It simply could not have been love at first sight. Yes, perhaps there is such a thing as love at first sight, but for Ferdinand and Miranda, there is much more to the story. Ferdinand and Miranda’s love for each other was born out of necessity; there are no other simple reasons for them falling in love. There is much reason to stipulate their love was born out of necessity. One such argument is since Prospero wants them to fall in love; they have to because he is in complete control of the island and controls the entire plot of the play. Another such reason for their marriage is that they are ideal characters for each other, all the other primary characters are corrupt, yet Ferdinand and Miranda being young and innocent are the ideal candidates for each other. As well I shall explore one commonality between two of Shakespeare’s plays. One final reason to support these views is of the very nature of this play, which is the nature of Shakespearian Comedy. All Shakespearian Comedies must end in a marriage, and this is no exception. Drawing on my first two arguments to support my third it is quite evident why Ferdinand and Miranda simply have to be. On the island Prospero wields complete power, over the forces of nature and even to some extent over the wills of others. What Prospero wants, Prospero gets. He accomplishes this through his magical powers and sorcery, and to a certain extent- his cunning. So how does all of this...
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...The Tempest: How is the theme of power and control demonstrated through out the tempest. In “The Tempest” , power is demonstrated through various forms. Shakespeare presents the theme of power through the social power held by Sebastian and Antonio as they demonstrate the abuse of their power towards those they may deem socially lower. Shakespeare also presents power through Prospero’s magic and manipulation as he crafts his return to as the duke of Milan as well as his treatment of Miranda and Prospero. Prospero is a character that throughout the play consistently seeks to maintain and gain power, and as such has sought to regain power that was taken away from him in the form of his dukedom. His study in magic may have been the cause for this loss of control, however to some extent, magic has made sure he has maintained his power. The concrete nouns of “thunder” and “lightning” used as stage directions firstly demonstrate Prospero’s manipulation of the elements through his magic. This ties in with the theme of power as Prospero shows the extent to which his magic can reach. His manipulation of the elements is consistent throughout the play and portrays him as trying to play god in influencing nature, these nouns portray Prospero as a character to be feared as these nouns emphasises the wrath and power of Prospero’s magic. The clause “I made shake” reinforces how Prospero views himself and also how influential and fearsome his magic was. The pronoun “I” emphasises Prospero’s...
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...plays in the healthy upbringing of a child. A father in the past was looked at as a man who literally owned a daughter and was someone who should not be disobeyed. Overtime the father was looked at as a person who helped mold a child emotionally and intellectually. Recent studies show that a father is more likely to play with a child than a mother. Almost anyone who looks back on their childhood who had a father or father figure would likely say they can remember how playful their father was. This paper will also look into the plays written by Shakespeare and the father – daughter relationships within them. A Father’s Role The need for a father has stayed the same, but the role of a father has changed since Shakespeare’s time to today’s society. There are many great quotes on the father-daughter relationships that some hold on to for inspiration. Some examples are, “There is no love like a father’s love for his daughter” and “A father’s job is not to teach his daughter to be a lady. It is to teach her how a lady should be treated.” Clearly these quotes did not come from Shakespeare’s time. In Shakespeare’s time a father looked at his daughter was looked at as a subject who was owned by their father (Richmond, 2005). The father would own his daughter until she was married. A young daughter could be auctioned off to the family or man who was able to bring the most dowries, or goods to prove worthiness. Arranged marriages were common in Shakespeare’s time. Often...
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...or very subtle. All the themes seem to flow together and are often times created from the effects of another theme. For example, oppression can be an effect of identity. Identity is how a person sees themselves and those that are not at the same class or level of knowledge as them. This starts the theme of oppression. Oppression is when someone has control or power over someone or a group of people and controls their actions and way of life. In The Epic of Gilgamesh, the city of Uruk is ruled by Gilgamesh, who is part god and part human that was created by the gods. With his power as a ruler of Uruk, he created his own set of rules for the people of Uruk to follow that may not have been a part of their everyday lives before Gilgamesh arrived in their city. In The Epic of Gilgamesh, a townsperson tells Enkidu “Gilgamesh the king is about to celebrate marriage with the Queen of Love, and he still demands to be first with the bride, the king to be first, and the husband to follow”(6). This is one example of how Gilgamesh uses his power to oppress the lives of the people of Uruk to do as he says. Gilgamesh also takes the young sons of the townspeople to use as he sees fit. The fact that the men of Uruk complain about the rules that Gilgamesh has in place, proves that they are not happy with how most things are within their city. Since Gilgamesh knows he is part god, he uses this as an advantage and thinks it gives him the right to have authority and power over the people of...
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...1. W. Shakespeare « Hamlet» (Renaissance) Character List Hamlet - The Prince of Denmark, the title character, and the protagonist. About thirty years old at the start of the play, Hamlet is the son of Queen Gertrude and the late King Hamlet, and the nephew of the present king, Claudius. Hamlet is melancholy, bitter, and cynical, full of hatred for his uncle’s scheming and disgust for his mother’s sexuality. A reflective and thoughtful young man who has studied at the University of Wittenberg, Hamlet is often indecisive and hesitant, but at other times prone to rash and impulsive acts. Hamlet is extremely philosophical and contemplative. He is particularly drawn to difficult questions or questions that cannot be answered with any certainty. Faced with evidence that his uncle murdered his father, evidence that any other character in a play would believe, Hamlet becomes obsessed with proving his uncle’s guilt before trying to act. Claudius - The King of Denmark, Hamlet’s uncle, and the play’s antagonist. The villain of the play, Claudius is a calculating, ambitious politician, driven by his sexual appetites and his lust for power, but he occasionally shows signs of guilt and human feeling—his love for Gertrude, for instance, seems sincere. Gertrude - The Queen of Denmark, Hamlet’s mother, recently married to Claudius. Gertrude loves Hamlet deeply, but she is a shallow, weak woman who seeks affection and status more urgently than moral rectitude or truth. Polonius - The...
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...Chapter II: literature of the renaissance (End of the 15th - beginning of the 17th century) In the 15th - 16th centuries capitalist relation began to develop in Europe. The former townspeople became the bourgeoisie. The bourgeoisie fought against feudalism because it held back the development of capitalism. The decay of feudalism and the development of capitalist relation were followed by a great rise in the cultural life of Europe. There was an attempt at creating a new culture which would be free from the limitation of the feudal ideology of the Middle Ages. The epoch was characterized by a thirst for knowledge and discoveries, by a powerful development of individuality. It was then that great geographical discoveries of Columbus, Magellan and other travelers as well as astronomical discoveries of Copernicus, Bruno, Galilei were made. The invention of the printing press (Fyodorov in Russia, Guttenberg in Germany, Caxton in England) contributed to the development of culture in all European countries. Universities stopped being citadels of religious learning and turned into centers of humanist study. There was a revival of interest in the ancient culture of Greece and Rome ("Renaissance" is French for "rebirth"). The study of the works of ancient philosophers, writers, and artists helped the people to widen their outlook, to know the world and man's nature. On the basis of both the ancient culture and the most progressive elements of the culture of the...
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...William Shakespeare The Tempesthttp://shakespeare.mit.edu/tempest/full.html) LIST OF CHARACTERS ALONSO, King of Naples SEBASTIAN, his brother PROSPERO, the right Duke of Milan ANTONIO, his brother, the usurping Duke of Milan FERDINAND, son to the King of Naples GONZALO, an honest old councilor ADRIAN and FRANCISCO, lords CALIBAN, a savage and deformed slave TRINCULO, a jester STEPHANO, a drunken butler MASTER of a ship BOATSWAIN MARINERS MIRANDA, daughter to Prospero ARIEL, an airy spirit IRIS, the rainbow, messenger of Juno CERES, goddess of the harvest JUNO, queen of the gods and wife of Jupiter: the goddess of riches, the air and of marriage NYMPHS REAPERS SPIRITS The scene: an uninhabited island The Tempest ACT I SCENE I. On a ship at sea: a tempestuous noise of thunder and lightning heard. Enter a Master and a Boatswain Master Boatswain! Boatswain Here, master: what cheer? Master Good, speak to the mariners: fall to't, yarely,or we run ourselves aground: bestir, bestir. Exit Enter Mariners Boatswain Heigh, my hearts! cheerly, cheerly, my hearts!yare, yare! Take in the topsail. Tend to themaster's whistle. Blow, till thou burst thy wind,if room enough! Enter ALONSO, SEBASTIAN, ANTONIO, FERDINAND, GONZALO, and others ALONSO Good boatswain, have care. Where's the master?Play the men. Boatswain I pray now, keep below. ANTONIO Where is the master, boatswain? Boatswain Do you not hear him? You mar our labour: keep yourcabins:...
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...metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references and index. ISBN 978-1-60413-723-1 (hardcover) ISBN 978-1-4381-3425-3 (e-book) 1. Shakespeare, William, 1564–1616—Criticism and interpretation. I. Bloom, Harold. II. Heims, Neil. PR2976.W5352 2010 822.3'3—dc22 2010010067 Bloom’s Literary Criticism books are available at special discounts when purchased in bulk quantities...
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...35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 Carl and the Passions changed band name to what How many rings on the Olympic flag What colour is vermilion a shade of King Zog ruled which country What colour is Spock's blood Where in your body is your patella Where can you find London bridge today What spirit is mixed with ginger beer in a Moscow mule Who was the first man in space What would you do with a Yashmak Who betrayed Jesus to the Romans Which animal lays eggs On television what was Flipper Who's band was The Quarrymen Which was the most successful Grand National horse Who starred as the Six Million Dollar Man In the song Waltzing Matilda - What is a Jumbuck Who was Dan Dare's greatest enemy in the Eagle What is Dick Grayson better known as What was given on the fourth day of Christmas What was Skippy ( on TV ) What does a funambulist do What is the name of Dennis the Menace's dog What are bactrians and dromedaries Who played The Fugitive Who was the King of Swing Who was the first man to fly across the channel Who starred as Rocky Balboa In which war was the charge of the Light Brigade Who invented the television Who would use a mashie niblick In the song who killed Cock Robin What do deciduous trees do In golf what name is given to the No 3 wood If you has caries who would you consult What other name is Mellor’s famously known by What did Jack Horner pull from his pie How many feet in a fathom which film had song Springtime for Hitler Name the legless fighter pilot of...
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...Chapter One A SQUAT grey building of only thirty-four stories. Over the main entrance the words, CENTRAL LONDON HATCHERY AND CONDITIONING CENTRE, and, in a shield, the World State's motto, COMMUNITY, IDENTITY, STABILITY. The enormous room on the ground floor faced towards the north. Cold for all the summer beyond the panes, for all the tropical heat of the room itself, a harsh thin light glared through the windows, hungrily seeking some draped lay figure, some pallid shape of academic gooseflesh, but finding only the glass and nickel and bleakly shining porcelain of a laboratory. Wintriness responded to wintriness. The overalls of the workers were white, their hands gloved with a pale corpse-coloured rubber. The light was frozen, dead, a ghost. Only from the yellow barrels of the microscopes did it borrow a certain rich and living substance, lying along the polished tubes like butter, streak after luscious streak in long recession down the work tables. "And this," said the Director opening the door, "is the Fertilizing Room." Bent over their instruments, three hundred Fertilizers were plunged, as the Director of Hatcheries and Conditioning entered the room, in the scarcely breathing silence, the absent-minded, soliloquizing hum or whistle, of absorbed concentration. A troop of newly arrived students, very young, pink and callow, followed nervously, rather abjectly, at the Director's heels. Each of them carried a notebook, in which, whenever the great man spoke, he desperately...
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...The Picture of Dorian Gray Oscar Wilde This eBook was designed and published by Planet PDF. For more free eBooks visit our Web site at http://www.planetpdf.com/. To hear about our latest releases subscribe to the Planet PDF Newsletter. The Picture of Dorian Gray Chapter I The studio was filled with the rich odor of roses, and when the light summer wind stirred amidst the trees of the garden there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pinkflowering thorn. From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as usual, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-colored blossoms of the laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flame-like as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid jade-faced painters who, in an art that is necessarily immobile, seek to convey the sense of swiftness and motion. The sullen murmur of the bees shouldering their way through the long unmown grass, or circling with monotonous insistence round the black-crocketed spires of the early June hollyhocks, seemed to make the stillness 2 of 250 The Picture of Dorian Gray more oppressive...
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