The Power Of Power In Shakespeare's The Tempest

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).

The Tempest was Shakespeare’s last play that was written shortly after England colonized Virginia in 1609. Throughout the play, there are many different references to imperialism and colonialism within the characters. The Tempest analyzes the imperialistic relationships between England and America but applies it to personal human interaction between the central characters. The island gives newcomers a sense of endless possibilities like claiming the land for themselves because of the belief in the Great Chain of Being and the seventeenth century being an age of exploration. The idea of ruling a colony lured many people into the idea that having that kind of power over a large group of people is attainable. Master-servant relationships are

   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

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

He seeks for control in his nemesis towards his brother Antonio, control of the fate of his daughter Miranda, and the control of his servants Ariel and Caliban. Prospero uses force and debt to have greater authority over the spirit Ariel. When Ariel asks for his freedom and “liberty,” Prospero brings up the “damn’d witch Sycorax” from whom he saved him (1.2.247-264). Sebastian and Antonio also abuse their powers by plotting an attack on Alonso, the King of Naples, so they could gain even more political power in the real world. Eventually after all the words of encouragement from Antonio, Sebastian finally says, “Thy case, dear friend, shall be my precedent. As thou got’st Milan, I’ll come by Naples. Draw thy sword,” (2.1.270-272). The desire for political power and authority becomes the core from which other minor themes develop in this play. This improper use of power eventually only harms everyone, not benefit.

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.

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.

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.

Shakespeare's "The Tempest" forms a world within itself. Within this world, many topics regarding government, power and colonization are addressed. Shakespeare tackles the discovery of new places and races, the relationship between the colonized and the colonist, old world ideologies on new soil, as well as theories on civilization and government. These aspects at the core reveal a very clear struggle for political power. Prospero's first major monologue creates the foundation of such a theme. In 1.2 lines 30-175 Prospero tell his story recounting the usurpation of the power he had as Duke of Milan, then quickly

The Tempest is a play that has a theme of nature and civilization. It has a strong theme that deals with issues of colonizer and the colonized. While to many people this play may simply be just a play, it really has a story of what happens when nature and civilization collide. The character Caliban represents a being of pure nature. The character Prospero is civilization. These characters can also be seen as the colonized and the colonizer. The relationship they have is very complex and is a constant struggle, much like any relationship between a colonizer and colonized. It questions what is pure nature? Is it savage and monster like, as Caliban is? In this paper I will examine the relationship between Caliban

  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

    In William Shakespeare's The Tempest, Prospero lives with his daughter Miranda on a deserted island.  On the surface, he appears to be a benevolent leader doing his best to protect and care for the inhabitants of the island, especially for Miranda.  On closer inspection, however, Prospero plays God, controlling and creating each individual to fit the mold he desires.  He takes advantage of his authority over the people and situations he encounters while wearing a facade of integrity and compassion to disguise his wily intentions and to retain love and respect.

William Shakespeare’s “The Tempest” speaks about multiple authoritative relationships throughout the play and the abuse of power and authority. The main character Prospero lives on a deserted island with his daughter Miranda. Prospero used to be the Duke of Milan until he has been usurped by his brother Antonio with the help Alonso the King of Naples and his brother Sebastian. Prospero and Miranda were banished to sea in a rotten boat and eventually lands in a deserted island who was once ruled by a witch named Sycorax but is now only inhabited by her son Caliban and a spirit named Ariel. Since arriving at the island, Prospero has been ruling the island and enslaved Caliban and Ariel by the use of magic. He acts as if he is God by creating a storm in order to shipwreck the King of Naples and Antonio. Prospero uses his powers to get revenge on his brother for having been exiled to the island. Prospero is a controlling character who seems to be obsessed with getting revenge in order to regain his status. He abuses his authority and takes advantage of his slaves and his daughter Miranda to fulfil his evil plan.

Both plays are about the ultimate struggle for power. Power can be shown in many ways such as race, gender, ‘others’, social class, and most importantly through use of language. Power can be shown in both plays through the use of ‘otherness’. This can be associated with power as characters such as Othello or Caliban are ‘others’ because they are from ‘elsewhere’. One such character who could be described as an ‘other’ is Othello. Bill Bryson suggested that ‘before he reworked it ‘Othello’ was insipid melodrama’ and perhaps it was the addition of ‘others’ by Shakespeare that added to the drama. Characters such as Othello and Caliban were considered dangerous and unnatural because they

The Tempest, often regarded as Shakespeare’s last play, displaces the theme of possession of control and command over other, commonly known as power. Ariel, Caliban and the courtiers from Milan, all demonstrate different levels of control. Prospero, the protagonist of the play, especially displays his ability to cast influence and affect others psychologically. The characters, their relationships and their use of power can be compared to the English government and society of the 17th Century.