Allusions In The Tempest

Juxtaposition places two things side by side to compare, contrast or to create a interesting effect. One example of juxtaposition was a old man having enormous wings. He was a weak old looking man which made the fact that he had enormous wings contrast. “...it was an old man, a very old man, lying face down in the mud, who, in spite of his tremendous efforts, couldn’t get up, impeded by his enormous wings” (p1). This contrasted because you would expect someone with enormous wings to be strong and well. Another example of juxtaposition is that the old man is very dirty, his wings were plucked and he was in very bad shape. “His huge buzzard wings, dirty and half plucked, were forever entangled in the mud.” This contrasts because he was a angel, and

Allusions are used in literature for multitudes of reasons; usually to foreshadow an event in the novel, or to give the piece a deeper meaning. Sometimes, allusions are used to prove authorial purpose. In The Grapes of Wrath, Steinbeck uses allusions to prove the resiliency of the human spirit and how hope can persevere through even the worst of situations.

Explain how Ariel and Caliban serve as character foils for each other. Be sure to consider their physical appearance and their roles as servants to Prospero.

The Great Chain of Being has been around since the Classical period and places people of society in a certain order. A person’s position is controlled by how spiritual they are, where God is at the top, then angels, which furthermore leads to a king, men, winged animals, and all the way down to the Devil. For anyone desiring to move up the social ladder, that action will cause commotion to the uniformed chain and would lead the other divisions to also move up. In Shakespeare’s drama, The Tempest, the use of ambition reiterates the importance of how a gluttonous desire can conduct disorder or align the Great Chain of Being. Overdosage of this impulse causes The Tempest’s “cake” to have a repugnant aftertaste. Yet removing the unnecessary cups of ambition and replacing it with only good intentions and motivations, overall leads the “cake” to taste satisfying in the end.

An allusion is a expression designed to call something to mind without mentioning it explicitly; an indirect or passing reference.Allusions to saints,miracles and religion in the novel Fifth Business by Robertson Davis is imperative in the character development of Dunstable Ramsay. Robertson Davies allusions to Saint Dunstan ,Dunstan's life long quest to prove that Mary Dempster is a saint and religious allusions are a very important component in the novel.

Discovery is the act of detecting something new, or something old that had been unrecognised as meaningful. The nature of discovery allows an individual a new perspective and view of themselves, others, and the wider world. In The Tempest, William Shakespeare reveals how discovery can lead to a new-found identity, position and view on society. Whilst, in The Eagleman Stag, composer Michael Please reveals how a discovery allow a change in perception of themselves and relationship with others. Regarding both texts, it can be said, from the discovery of the truth, the individual is given the opportunity of a new perspective of themselves, others, and the wider world.

Aime Cesaire’s A Tempest is a ‘new world’ response to Shakespeare’s The Tempest. In Cesaire’s adaptation, the characters and plot are generally the same. However, there are a few small deviations from Shakespeare’s The Tempest that make a significant impact on the play as a whole, and lead the play to illustrate important social issues occurring in the time of the adaptation.

In this motif tracing, I argue that the epithet “monster” is used as an agent of othering, a way to remove Caliban from the other characters and depict him as something other than human. In Shakespeare’s The Tempest, Caliban’s name is only said eight times, while he is addressed as “monster” the rest of the 34 times he is spoken to. This motif is used to belittle and dehumanize a unique character that plays an essential role in the plot. Shakespeare’s use of this epithet combined with Caliban’s servile role, restraint of his speech to simple diction, and portrayal as an insurgent, causes the uncultured native to be born. This plays into the 16th century view of the native: one who is there to serve the more sophisticated, knowledgeable masters.

   A production of The Tempest should emphasize the idealized methods in which Prospero uses magic to solve the problem of revenge which is so prevalent throughout his tragedies, perhaps the production might be a direct allegory for the magic of the theatre itself.   In this conception of the play, the scattering and bringing together of the characters in the script is significant in that theatre also could be said to bring people together and allow them to share in an experience of emotion, magic, and finally, of resolution. In this way the production could be used as a vehicle for conveying the idealistic virtues of forgiveness, compassion, and of course knowledge. In his book, A

  The Tempest is generally considered to be Shakespeare's last sole-authored play. The play draws a number of oppositions, some of which it dramatises, and some of which it only implies. Prospero, a figure exhibiting many resemblances to the Elizabethan idea of the 'Mage', (of whom the best known is probably Dr. John Dee), is opposed to both his corrupt brother, usurper of his role as Duke of Milan, and to Sycorax, an evil witch and mother of the 'deformed slave' Caliban. Sycorax does not enter the action of the play, having died before it opens, but enough is made of her evil disposition and behaviour to show Prospero as a model of human virtue in comparison. This despite Prospero's own use of magic to

Prospero becomes the ruler of the only other two inhabitants of the island, Caliban and Ariel.  Cesaire uses the same series of events, but "confronts his readers with the unpleasant realities of slavery in the Americas" (Allison). While Prospero is cast in the role of a White slave owner, the natives, Ariel and Caliban, are transformed into his black slaves.  The presence of race in the play is also displayed when Cesaire exposes the "feeble, racist, stereotypes many Whites propagate about Blacks" (Dayan 134).  When referring to Caliban's living quarters, Prospero says, "It wouldn't be such a ghetto if you took the trouble to keep it clean" (Cesaire 13).  Such a statement is clearly racist and plays into the stereotypes many Whites have about Blacks, and also makes the presence of race in Cesaire's play more obvious.

Dale Carnegie once said “when life gives you lemons, make lemonade.” The ability to transform something appalling to alluring is a true indication of appreciation for life, but can at times result in consequences. In Shakespeare’s play The Tempest, Prospero commands one of his spirits, Ariel, to summon a tempest as an act of revenge for being deposed as the rightful Duke of Milan by Antonio and Alonso. Although the tempest causes isolation between characters, Ferdinand, Miranda and Ariel are blessed by the tempest; receiving opportunities achieve a better life.

Gonzalo states: "We are people of our own minds and no one else's," by this Gonzalo is telling everyone that no one can control what someone sees or does. This is true unless one is using magic to alter the minds and reality of anyone under the influence of magic. In the Tempest, by William Shakespeare, Prospero uses magic to alter the reality and delude the minds of characters. Love or guilt is a form of magic that naturally occurs in one's life. Prospero creates another magic that is placed in the audience's mind when he asks them to become the master magicians.

The Tempest is believed to be the final play written by English playwright William Shakespeare (Arnold 2009: 1). This allegorical play takes place on an exotic island and describes the master-slave relationship between Prospero the virtuous ruler and Caliban the ugly evil. Approximately three and a half centuries later, French poet and author Aimé Césaire, who objected to colonialism and was concerned about post-colonial issues, published A Tempest (‘Une Tempête’), a post-colonial adaptation of Shakespeare’s work.

Experiences encompassed in times of struggle can lead to a new transformative perspective of one’s relationship with self and the world. William Shakespeare’s last play “The Tempest” (1610), canvasses loss catalysing rediscovering the importance of life resulting in a greater understanding of how our flaws compromise our humanity. Prospero, the usurped Duke of Milan, shows this to be true, moving from a mindset focused on vengeance to a profound discovery of self. Similarly, in “Man’s Search for Meaning” (1946), fulfillment with discovering how we choose to cope and find meaning/purpose in life through unrelenting struggle is illustrated. The three-part non-fiction told by psychiatrist Viktor E. Frankl, depicts his ordeal inside of concentration camps during the Second World War, elaborating on finding true meaning in life even under the most horrific circumstances. Frankl shares his process of discovery demonstrating his ability to overcome the most overwhelming experience leading to doorway of meaning, purpose and happiness.