Essay on Isolation of the Individual in Society in The Tempest

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Isolation of the Individual in Society in The Tempest In William Shakespeare's play, The Tempest, characters such as Caliban, Prospero, Miranda and Ferdinand, experience varying degrees of consequences, due to their change in behaviour, while isolated from society. Although isolation from society affects the characters in different ways, some see it as being advantageous while others see it as being a curse. This essay will show how characters in The Tempest suffer consequences due to their isolation from society. Caliban is possibly the only character in The Tempest who is not originally affected by his isolation from society. Caliban is the only character that is native to the island and he…show more content…
Caliban's problems only began when he was introduced to, and included into society. Caliban: You taught me language, and my profit on't Is, I know how to curse. The red plague rid you For learning me your language! (Shakespeare 77) Caliban is now a slave to Prospero because of being brought into society, yet when he was isolated he was a free spirit and could do whatever his heart desired. Throughout the play, Caliban is regarded as a monster and he only receives negative treatment from the other characters. For Caliban, the consequences of being isolated within a society or in other words, being ostracised from that society, is far worse than not having been exposed to society at all, and to live in a world without society. Caliban has to continuously live with Prospero's orders, threats and harsh words ( Caliban's only wish is to yet again be without society and to escape the consequence of being ostracised from that society because of his monster-like appearance, and to escape from his slave status imposed upon him by Prospero. Prospero is also isolated from society, yet his reasons are far different to those given for Caliban. Prospero and his daughter, Miranda, were banished to and island due to Prospero's irresponsibility and his meddling with magic (Shober 46).
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