An Examination of Music in The Tempest Essay

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.

 Soon after we learn that Prospero controls Miranda, we discover that he magically controls the weather and that he also commands a spirit named Ariel to do tasks for him.  When a ship carrying

Antonio and Sebastian fall victim to Prospero's illusions as well. Ariel enters the scene and uses his music to put the entire group of nobles to sleep, with the exception of Antonio and

But Prospero (through Ariel) has done more than simply arrange for Miranda and Ferdinand to meet. He has cast a glamour on Ferdinand ("our garments . . . drenched in the sea, hold . . . their freshness" (II.1 60-61)), which leads Miranda to "call him a thing divine" (I.2 418). Miranda herself has been groomed by Prospero to be what men desire (pure, virtuous, beautiful), even men as unmanlike as Caliban. The question of whether or not Gonzalo, in his benevolence, thought to pack along with the books and food and the clothes that fit yet more clothes, for Miranda when grown, raises the question of whether or not a glamour might have been cast on her as well. (It is safe to say that Ferdinand's mistaking a child who has been raised immersed in magic a goddess is not as far off base as it may at first seem.) Ferdinand and Miranda experience a "love at first sight"; their affections are based solely off physical attraction. If a glamour has been cast upon Miranda, then the girl Ferdinand is falling for does not exist outside of Prospero's allowing her to exist (i.e., outside of the spell which has been cast upon her). If one has not

The Tempest, the play written by Shakespeare in the 17th century, has invited numerous critics over centuries to interpret the text based on their contemporary cultural context. This allows the birth of numerous adaptations as a method of literary criticism. Julie Taymor’s version of The Tempest and Aime Cesaire’s version of A Tempest are examples of adaptation as a method of literary criticism. First, Aime Cesaire takes a post-colonial perspective on The Tempest by Shakespeare. This is evident with his characterization of Caliban. Cesaire’s characterize Caliban as strong and resistance individual reflecting author’s philosophy of colonization. Caliban reflects people of a colonized who suffers by the domination of colonial power. This representation

In “The Tempest”, Prospero is the one controlling everyone and everything for his own personal reason. He controlled the tempest (1.2-195), the spirit Ariel (1.2-246-249), the monster Caliban (1.2-310-313) and the men of the ship; Alonso, Sebastian, Antonio, Gonzalo, Adrian and Francisco (3.3.82-90). Prospero’s control is at it’s highest when it comes to Ariel. In this passage, Ariel responds to Prospero after refusing his liberation “I prithee, Remember I have done thee worthy service, Told Thee no lies, made no mistaking,

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.

The role of motherhood in the movie is powerful than the play, which we can see in Act 4, Scene 1 when Prospero approves the love Miranda and Ferdinand declares, however points out a harsh warning to Ferdinand. In the movie, because of the female character, it is easier to make the connection of mother and daughter. By switching the gender in this movie, it lead women characters have a sexual power and empowerment, which was none in the play caused by the pressure made in the Elizabethan Era. Taymor, director of “The Tempest” adds; “I didn't really have a male actor that excited me in mind, and yet there had been a couple of phenomenal females—Helen Mirren being one of them—who [made me think]: 'My God, does this play change? What happens if you make that role into a female role?” (Roger) By casting Prospera, instead of Prospero changed the main themes such as power and sexual empowerment, also the voice of Shakespeare in Prospero, whom he is sometimes occurred as.

To make such a production work, it seems to me that a large degree of spectacle and illusion are in order, but falling short of any sort of attempt at realism. Keeping a sense of wonder at the spectacle and the unlikely action taking place through the play could keep the audience thoroughly absorbed and yet still aware of the demonstration of the ideals being conveyed. When I consider this as a possibility, I think of a movie I saw recently called American Beauty. In this film, most of the characters start out highly stylized and almost stereotypical. As the film progresses, these stereotypes begin to break down. The action becomes more and more absurd and at times, to me, almost surreal. In this film, comedy is used to keep the audience entertained and involved with the story. But throughout, they remain aware that there are deeper issues at work. Only near the end did I truly realize that I was witnessing what was essentially a stylized parable. This realization near the end caused a desire in me to better demonstrate the ideals at issue in the film within my own life. I think that The Tempest is equally capable of delivering this sort of meaningful, enjoyable experience and tell it's story on a number of different levels.

Ariel is Prospero's servant, yet he is also his assisting companion. Ariel voluntarily does Prospero's work. He is loyal and yet Prospero sees him as a means to an end and manipulates Ariel's willingness. His manipulation is seen where he affirms: "Dost thou forget, from what a torment I did free thee? (1.2. 383-383) Prospero’s actions are contradictory. This exemplifies the idea that justice in the Tempest is primarily depicted as what is best for Prospero.

Prospero holds authority over several characters in the play in order to control them to satisfy his evil plans. Prospero has power over Ariel, who is a spirit that he enslaves after saving him from the witch of the island. He uses this debt to control Ariel to do his bidding. He also uses force by threatening Ariel with his knowledge of magic to remind him how powerful he is. Prospero has authority over Caliban by claiming that he gave Caliban the ability to speak and the gift of knowledge. Lastly, Prospero has authority over Ferdinand by using magical powers to make his daughter Miranda fall in love with him. He accuses Ferdinand of being a spy which in turn causes Miranda to protect Ferdinand. Ferdinand is willingly to become Prospero's slave for Miranda's sake. Prospero manipulates their relationship and this time his control over other characters is justified by his love as a father. He wants to test their love and make them covet it very much so that when they are allowed to be together they will appreciate it more.

Although the King’s son, Ferdinand loses his luxury life and has to face the test of survival, his determination and valor enables him to live a time of jubilation. Living in Naples, Ferdinand struggled to find his true love, but shortly after he arrives on the island, a spirit named Ariel uses his mellifluous voice to guide Ferdinand towards Prospero’s daughter, Miranda. With one glance, Ferdinand falls for Miranda, who he claims as, the “perfect and… peerless” (III, i, 47) lady he’s been waiting for. In addition to love, Ferdinand is also living every adolescent’s dream; being away from their parents. Without his father next to him on the island, Ferdinand gets to make his own decisions and lives his life without his father’s ruling; obtaining the feeling of independence and discovering what he is capable of doing on his own. Ferdinand finds pleasure with the feeling of freedom, wanting to “live here [forever]”

Ferdinand doesn't know Miranda, but wishes he could get to know her. They gaze deeply into each others' eyes, and instantly they feel a passion burning that can not be hidden. Prospero expects this to happen, but he doesn't cast any spells. Ferdinand does physical labor to prove that he is in love with Miranda. This shows the power

It helps the audience to gain an insight into the minds of the characters and to empathise with the emotions that they are experiencing. Whilst Prospero is the composer of the play, Ariel is his main performer. He/ she is the main musical contributor to the play, and this is much of what his role involves.