Examples Of Colonialism In The Tempest

• A fear of foreigners during Elizabethan times fostered misogynistic and racist values, which is evident in the way Othello’s blackness becomes a symbol of alienation to which all characters in the play must respond.

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

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.

This research paper will first discuss the working definitions and scope of postcolonial theory which the essay will use a tool and framework for comparing the two texts, Shakespeare’s comedy The Tempest written in 1610 and the epic poem the Epic of Gilgamesh. The paper will then individually discuss the postcolonial concerns and themes reflected both literary classics, along with the tensions that arise when applying these concepts of power, knowledge and ethics. Postcolonial theory refers to the critical discipline that responds to and analyses the cultural ramifications of colonialism and imperialism on nations and their people (Chegg, 2017). Colonialism, in the context of this paper, shall refer to the relationship between nations who seek to extend and further their authorial powers over other nations, lands or territories and their captive lands or peoples. By critiquing and analyzing the cultural ramifications of the role of colonialism, postcolonial works of literature seek to question and change the manner or lens in which the said culture is being perceived, and challenge the dominant narratives promulgated by the colonizer during the period of colony.

Known for producing the world’s most well-known explorer and colonizer, Christopher Columbus, Italy was no stranger to the concept of slavery which was unjustly propagated unto the natives of the island by Prospero in William Shakespeare’s The Tempest (1603) and Aime Cesaire’s A Tempest (1969). Just as the European culture was forced unto the inhabitants of “discovered” lands, Prospero made it his duty to enforce such a standard unto the island natives. To any European in the 18th century, being black served as a diabolic symbol of a person who could not be refined but only improved by the imposition of European language and culture. With the triangular slave trade already in effect, one must not be surprised at the objective of Prospero as he became blinded by power and authority.

   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

The Tempest, by Shakespeare, offers the reader a variety of themes. The one theme that stands out the most is that of colonialism. During the time of Shakespeare, many European countries such as Spain, France, and England, were expanding their borders by taking over less developed countries, referred to as colonies. During this time of exploitation, there was skepticism concerning the possible success of the colonies. While some scholars believe that the play is about the Americas, I argue that the play reflects on colonialism in general and how it is destined for failure which is shown through the character’s relationships throughout the play.

Racism seems to be a big concern in Shakespeare’s tragic play, Othello. Because the hero of the play is an outsider, a Moor, we have an idea how blacks were regarded in England, in Elizabethan times. There are many references that bring about the issue of racism from the very beginning to the end. In the tragedy, where Othello is coming from is not mentioned, yet through the descriptions the reader is informed that he belongs to one of the Eastern nationalities such as African, Ottoman Turk or Arab. In this paper I am going to analyze some episodes involving a prejudicial, racist attitude and try to discuss whether Shakespeare was a racist or not. Even though the play is full of offensive definitions of black

       The Tempest is a classic example of Shakespeare’s dichotomized notions of right and wrong within the context of racial inherencies, a social commentary of the colonialism of the New World. An important theme in the play is the racial differentiation between Caliban and the other antagonists, primarily, Prospero, who comes to the island and enslaves Caliban to enforce his own rule. This relationship, as portrayed through the play, is a reflection of the historical social and racial tensions that existed between the colonizers of New Europe and the Native Americans and is illustrated through the language employed by Shakespeare and the interactions that take place between the characters. The Tempest

     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?

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.

Since the 1960s, several critics have found a critique of colonialism in their respective readings of Shakespeare's The Tempest. The most radical of these analyses takes Prospero to be a European invader of the magical but primitive land that he comes to rule, using his superior knowledge to enslave its original inhabitants, most notably Caliban, and forcing them to do his bidding. While the textual clues concerning the geographic location of Prospero's island are ambiguous and vague, there is a prominent references to the "Bermoothes." We know that shortly before he wrote his final play, Shakespeare read a contemporary travel account of the Virginia Company's 1609 expedition to

The Tempest is widely considered to be one of Shakespeare’s greatest works and is seen by many to be the perfect finale to one of the greatest writing careers of all time. At time of writing in 1610 The world was changing and full of turbulation much like the travelers among the tempest in the first scene of the play. Old and New Worlds were colliding with the settlement of North and South America and many civilians of Europe had little time to adjust to their evolving setting. Conflicts arose with natives and some lay question to whether or not this exploring was ethical considering these people had occupied this new land first. The newfound resources from these adventures served as a focal point of discussion with the opportunities of national

     Shakespeare’s enchanted island in The Tempest is a restorative pastoral setting, a place where ‘no man was his own’ and a place that offers endless possibilities to the people that arrive on it’s shores. Although the actual location of the island is not known, the worlds of Seneca aptly describe it’s significance to the play – it represents the ‘bounds of things, the remotest shores of the world’. On the boundary of reality, the island partakes of both the natural and supernatural both the imaginative and the real. It allows the exploration of both man’s potential and his limitations, his capacity for reform through art and his affinity for political and social realities. It is constructing