Essay on the Importance of Language in The Tempest

     In Shakespeare's The Tempest, Prospero's magic is the means that Prospero teaches his lessons to the plays various characters. Whether or not those lessons were learned or not is irrelevant. The main issue is that Prospero's character is indeed a complex one, and one that deserves much attention. Two essays that look at the complexity of Prospero and his magic are Stephen Miko's "Tempest," and Barbara Mowat's "Prospero, Agrippa, and Hocus Pocus." Both of these essays, in dealing with Prospero and his magic reveal things about Prospero that only enhance the mystery of his character.

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.

Antonio's dethroning of Prospero is not only the reason why Prospero is alienated but it also is a great example about the theme of betrayal that is prominent in the book. Antonio's betrayal in particular, serves as the source of conflict for the play. Prospero creates

   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 island of magic and mystery that Shakespeare creates in The Tempest is an extraordinary symbol of both the political and social realities of his contemporary society, and of the potential for a reformed New World. Shakespeare’s island is a creation which allows the juxtaposition of real and idealised worlds, and shows his audience both what they and what they ought to be. The seventeenth century was a time of ideological upheaval in Europe, with Medieval ideas of a hierarchical and ordered society being challenged by Renaissance thinkers. For the dynastic powers, including England under Elizabeth I, colonialism was an important opportunity to realise territorial ambition and prove religious

Prospero taught to reduce his monstrosity to only his appearance by teaching how to talk but Caliban, in return, uses language to “curse” Prospero (I.ii.437-9).Prospero throughout the book complains how untamable he is and that he despises him. Caliban later plots an aggressive revenge, inclined to his beastly nature (III.ii.51-60). Shakespeare incorporated the view of his time that nature represented by Caliban is an opposite force of human that leads to a chaos, describing Caliban hideous, the threat. Both The Tempest and Of Deformity clearly expressed the stance that deformity is a negative existence.

The role of language in Shakespeare’s play “The Tempest” is quite significant. To Miranda and Prospero the use of language is a means to knowing oneself. Caliban does not view language in the same light. Prospero taught Caliban to speak, but instead of creating the feeling of empowerment from language, Caliban reacts in insurrectionary manner. Language reminds him how different he is from Miranda and Prospero, and also how they have changed him. It also reminds him of how he was when he wasn’t a slave. He resents Prospero for “Civilising” him, because in doing so he took away his freedom.

     Through the years there has been much debate as to whether Shakespeare’s The Tempest is an Allegory to European colonization and colonial life, or if it is his “farewell to the stage” with a complete overview of the stage and a compilation of all of his characters into a few, in which the playwright himself being presented as Prospero. Is The Tempest an allegory to European colonization, or is it Shakespeare, presenting his formal farewell to the stage?

Prospero’s ability to mold or control nature and human wills is derived from his books and his staff. With these instruments, he wields the spirits of nature. Therefore, these instruments can be said to be the main sources of his power. The idea of Prospero’s power solely coming from his books is even expressed in the play by the character Caliban in the following lines: “Remember / First to possess his books, for without them / He’s but a sot, as I am, nor hath not / One spirit to command” (3.2.79-82). What can be taken from this and other references throughout the play, then, is that Prospero’s power comes from the possession and knowledge of the aforementioned books. Caliban, in a sense, simplifies Prospero’s power by believing that only the possession of the books gives Prospero the power to control nature and its spirits. If anything, it is the study and knowledge of the books in Prospero’s possession that give him his true power. In addition, Caliban does not take the wizard’s staff into account, which does provide

The similarities and differences between Aime' Cesaire's ATempest and William Shakespeare's The Tempest gives the reader an idea that it is a political response. From the way that both of the titles of these works of literature differ, an idea of concept is offered. They share a similar story line yet, after some one has read A Tempest : a different perspective is gained. A Tempest is actually considered a post colonial period piece of writing and one can acquire and prove this by the forms in which Aime' Cesaire portrays the characters and switches around their personalities and their traits,the time periods and the acquisition of language, and the ways power is used reveals that it is indeed a political response from a post

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.

Prospero's Judgment of Caliban in Shakespeare's The Tempest “A devil, a born devil, on whose nature

The Significance of Sound and Music in The Tempest ‘The Tempest’ is on a basic level a play about a magical island, complete with its own wizard, monster and handsome prince. However, it is much more than a fairytale. Complex themes such as usurpation, colonialism and the supernatural are interwoven into the plot to produce a play so diverse that it is widely considered to be one of Shakespeare’s finest works. Music and sound are dramatically significant in this diversity. This makes ‘The Tempest’ very different to other Shakespeare plays.

William Shakespeare's The Tempest Generally acknowledged as one of Shakespeare's final plays, 'The Tempest' may be described as a romantic tragi-comedy - where love and contentment prosper despite the threatening presence of evil forces. However, beyond the almost 'fairy-tale' like exterior lies a seemingly direct approach to a greatly topical debate at the time. This was the supposed contrast between civilised and uncivilised persons, brought to the fore as a result of recent expeditions overseas. Although pioneering voyages of discovery were not a recent commodity since the travels of Christopher Columbus, almost a century earlier, it wasn't until the early sixteen hundreds that such voyages