Compare Prospera To The Tempest

The Tempest is about an ousted Duke of Milan ,Prospero, who has been living in exile on a remote island for the past twelve years with his daughter Miranda. He is a powerful magician, who happens to be the master of Ariel and Caliban, and a guy who really likes his books. When Prospero's enemies wash up on shore, he uses his black magic to seek revenge and restore himself to power. The Tempest belongs to the genre of Elizabethan romance plays. It combines elements of tragedy with those of romantic comedy, and like one of Shakespeare's plays previously, it asks deeper questions that are not completely resolved at the end. The tone that seeps into the play is one of wonder, amazement, and admiration. Mystery is still present , but the magic performed is not black and scary. The version that seems to grasp my attention more, would have to be the Utah Valley University interpretation because it takes Shakespeare’s main purpose and tone but shows it in its own unique way. Furthermore, with its silly drunkards, the play has a certain lightness to it and even the so called killers of the King tell hilarious jokes and are lighthearted. But there is also the tone of revenge and reconciliation in the play. We feel a revenge burning in Prospero while, at the same time, a wish for forgiveness and reconciliation with those who have wronged him.

    William Shakespeare wrote The Tempest, arguably his finest work, on the eve of European colonization of the New World in 1611 (Hollander and Kermode 445-46). As a result, common European ideas about the New World in the early 1600s are alluded to throughout the play (446). Through the propagandistic writings of explorers like Captain John Smith, who authored a sensational and unsubstantiated account of his dramatic rescue from death at the hands of Indians by the Indian chiefís beautiful daughter, Pocahontas, many Europeans developed an interest in the inhabitants of the New World (Smith 24-25). Indeed, from the various explorers' stories that trickled hack to Europe, two different

Prospero, the male lead of the Tempest, starts out as the victim of the play, but as the story goes on, it becomes apparent that he is actually the cause of all the problems and plots within the play. Prospero is important because he is the puppeteer that leads all of the characters to complete his orders. He strings all of the characters along to do his bidding, and by the end of the play, he is the only one who wins. Prospero is interesting because, without him, there would be no plot. He is the one who stirs up the Tempest and brings his usurpers to the island. Despite the original belief that Prospero is the victim of his brother’s commandeering of his throne, it becomes obvious that Prospero does not have good intentions, and is

Prospero's intent throughout the course of The Tempest is neither to revenge himself upon his enemies, nor to reconcile himself with his estranged brother. It is, rather, to orchestrate the reclamation of his lost duchy, Milan, through both his magic and a shrewd manipulation of both the shipwrecked party and the islanders (Caliban and Miranda).

A different representation of Sycorax’s in the adaptation reflects a change in cultural values with a feminist attitude. Taymor’s The Tempest is faithful to the setting and plot but deviates in order to create characters relatable to the real world of the audience, particularly regarding discriminatory ideologies against women. Taymor’s The Tempest changes her audience’s understanding of the representation of gender stereotypes between protagonists and antagonist. By making Prospera magic darker, Taymor “blurs the opposition between Prospero's supposed white magic and Sycorax’s black magic” (Vinson 53). Most significantly, Taymor’s inclusions and exclusions of lines and representations of Sycorax make the character more sympathetic because it softens the representation of Sycorax. Including explicit similarities between Prospera and Sycorax’s as a witches. There is a space generated for an excuse of their magic and explanations for their exile. This further makes Sycorax sympathetic because “her identity and role as an evil witch are reshaped and she can begin to be understood not as an implicit antagonist” (Vinson 53). The result of Taymor’s adaptation is not plugged by gender stereotype and She put efforts to remove gender stereotypes embeded in the characters. By removing stereotypes, Taymor allows audiences to

                 Miranda's schooling in The Tempest shows the audience the conflicting arrangement white women in the Shakespearean drama as well as Shakespearean times are forced to act within.  Paul Brown points out that "the discourse of sexuality…offers the crucial nexus for the various domains of colonialist discourse" (208) and the conduct in Prospero manipulates his followers' sexuality is the mainstay of his power.  The Miranda-Prospero relationship servers to represent a sort of patriarchy, which is unarguably the system many Renaissance women and women of Shakespeare's time found themselves in.  It is thus unsurprising that Prospero controls Miranda and her sexuality as well.  The

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.

Humans have often struggled to define their relationship with nature throughout history. In the early periods of their existence, humans were ruled by the brutality of untamed nature. They utilized nature to an extent of survival, but had not yet developed a system to thrive within it. As humans advanced, both mentally and technologically, their aptitude and desire to exploit nature increased dramatically. These two polar relationships between humans and nature are mirrored in William Shakespeare’s The Tempest and Aimé Césaire’s A Tempest. In The Tempest, Shakespeare fixates on Caliban’s attachment to nature and Prospero’s exploitation of it, while in A Tempest, Césaire employs nature as the dividing force between Caliban and Prospero. These two separate themes both represent the consequences that occurred throughout history as a result of two ideologies about nature colliding during colonization.

The play, The Tempest, by William Shakespeare is a very cleverly thought out piece of work. Shakespeare very deliberately inter-relates several different forms of power during the course of the play. There is political power, shown through the plethora of political characters and their schemes, while at the same time parodied by the comic characters. The power of magic and love, and its ability to reunite and absolve also plays a major role in the play. Throughout the play, Prospero, the main character, takes great advantage of his power and authority, both properly and improperly. The epiphany of this however, is realized at the end of the play.

In Shakespeare's play, “The Tempest”, Prospero, the main character, is the rightful Duke of Milan. He found refuge on a distant island after his brother, Antonio, seized Prospero’s title and homeland. These events and experiences of being exiled advance character to become isolated and enriched at the same time. As a comic hero, Prospero start off as being frustrated and vengeful due to his separation from his title and homeland, but is later refined due to those experiences.

  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

Throughout the years since The Tempest was first published in the 1623 Folio, there has been much debate among Shakespeare’s contemporaries and critics as to the significance of the figure of Prospero and other major characters featured in the work. In this paper, I want to examine the figure of Prospero and his relationship with the character Ariel. In doing this, I want to show how Prospero is a figure for the artist, how Ariel is a figure for the poetic imagination, and how the relationship between Prospero and Ariel explores the relationship between the artist and his or her poetic imagination. By showing this, I wish to argue that Shakespeare’s intention in portraying

The Tempest is full of many powerful people who climb over each other to get to the top. Arguments of who has the most power on the island vary and there is no one solid answer. Three people stand out the most: Ariel, Prospero, and Caliban. They all have power in different ways and it is disputed if some even have power or only give the illusion of it. Ariel, a ghost spirit, has power because s/he has magic. Prospero is powerful because he controls Ariel and many others. Caliban is physically powerful and could have power from his mother. As power varies, Ariel has the most through magic, but prospero has knowledge and control, and caliban is threatening and physically strong.

The Tempest, a tribute to Shakespeare’s life, contained many references his own personal life, as well as exciting elements such as revenge, romance and the use of magic, uncommon during the time period the play was written. After being exiled onto an island with his daughter, Prospero has to deal with his desire for revenge once his enemies are brought to shore by conjuring a tempest. The original play, written by William Shakespeare in 1611, was adapted by Julie Taymor in 2010. With the part of Prospero played by Helen Mirren, a new take on the classic story arose with the introduction of Prospera. The compassion and care for Miranda was more evident with Prospera due to the nature of a feminine and motherly character.