The Tempest : An Uninhabited Island

Yet her compassion, as real as it is, also has a certain element of shallowness, or at least inexperience about it. She has lived the majority of her life in isolation, on an island known with her only companionship being that of her father. Growing up on this deserted island, Miranda learns to live and abide by the example set by Prospero. He is her only contact with the humanity and therefore he is her only friend and teacher. She knows no other woman and therefore had no female figure to aid the process of raising her. She is naïve and unaware of life's experiences, having been shielded from the rest of the world.      

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

Prospero enslaves Caliban and Ariel, seizing the island for him and Miranda, just like Alonso and Antonio had done to him. The rightful ruler of the island is Caliban, and although Caliban at one time tried to rape Miranda, Prospero repeatedly punishes him for this one event that occurred much before this play takes place. Prospero initially “helps” Caliban by educating him and in exchange, Caliban taught Prospero and Miranda how to survive on the island. Prospero uses the act of attempted-rape to justify his seizure of the island. This take-over should have been enough punishment but Prospero enslaves Caliban, threatening to hurt him if he does not do his bidding. By endlessly punishing Caliban, Prospero inadvertently shows his malicious side. Although Prospero freed Ariel from the tree he was bound inside, Prospero blackmails Ariel and essentially enslaves him too. Prospero repeatedly tells Ariel that he will set him free but, it seems as if that is an empty

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 concept "knowledge is power" is reaffirmed through Prospero’s character. As long as he has his books he has knowledge and thus power. Prospero uses his knowledge to attain reason and consequently power. The play begins with his creation of a storm, giving him the ability to initiate and control problems. Using his knowledge as a catalyst for power David L. Hirst argues, “From the extension of reason, Prospero derives a power which he uses in an attempt to influence everyone on the island” (9). To Miranda, he is the strong protective father, who educates; to Caliban he represents the colonizer. Prospero describes Caliban as “a poisonous slave got by the devil himself” (1.2 323-324) who serves as his oppressed slave. To Ariel he represents the rescuer and constantly reminds her that it was he who freed him, yet he fails to grant the very liberty from which he saved. To the shipwrecked “he is a surrogate providence who corrects errant aristocrats and punishes plebeian revolt” (Brown 59). Recognizing themselves as subjects to Prospero validates Prospero’s position as governor.

Prospero, the self-appointed king of the island upon which everyone eventually becomes shipwrecked, immediately oppresses Caliban and claims him as his slave, even though Caliban was the original inhabitant of the island. Prospero and his daughter are technically guests in Caliban's home. Caliban is the son of the devil and Sycorax, a witch. Prospero uses Caliban's unsavory origin as an excuse to enslave him. He claims that he is a bad seed, and he deserves a life of servitude. He never actually justifies the situation with a logical explanation, so he must use whatever information he can think of as a poor excuse to exploit Caliban for his own self-propagation. Prospero is even bold enough to suggest that by enslaving Caliban, he is actually extending charity towards him. He feels that

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's relationship with Caliban differs from that of Prospero and Ariel's. Prospero does not view Caliban as a being who could be his equal. He is blinded by his prejudice against Caliban's appearance and manners. Caliban is portrayed in a negative light. He can be seen as the depiction of the victims of colonial expansion. Although Prospero seeks this righteousness, he both mistreats and insults Caliban, who ultimately attempts to kill Prospero.  In comparison to Ariel who acts only when commanded by Prospero, Caliban is wild. He refuses to be colonized and tamed. This can be taken as a reference by Shakespeare towards those who were

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.

“The Tempest” is a Shakespearean play that takes play on a desert island somewhere between Tunis and Naples. A hazardous storm appears impacting a ship of European nobles and mariners; on board are Alonso, King of Naples, Gonzalo, Boatswain, Trinculo, Stefano, Antonio, Sebastian, and Ferdinand. The nobles are leaving Tunis, Africa after the wedding of Claribel, daughter of the King of Naples to the prince. Prospero, the former Duke of Milan uses his sorcery to conjure the very storm that bombards the nobles in order to bring them to the island. Frey interjects, “In 1808, Edmond Malone argued that Shakespeare derived the title and some of the play’s incidents from accounts of a storm and shipwreck experienced by Sir Thomas Gates and other Jamestown colonists on the Bermuda islands in 1609” (Frey 29).The play entails the romance of Ferdinand, Alonso’s son and Miranda, Prospero’s daughter; while also detailing a twelve year power struggle that is resurfacing itself in a treacherous plot for power. In comparison to the New World’s politics, “The Tempest” can be read as a play that deals with these same political issues: rebellion of constituted authorities, colonization of a new land, dehumanizing of the natives, marriages and romances of royalty, masters and servants, Christian virtues, and visions of a utopia.

The royal party’s boat is hit by a storm, which is all the doing of Prospero’s magic. He brings them to the island to confront them and perhaps redeem them. This play primarily focuses on the interaction between the characters, and what happens when each is put on trial and faces their own guilt and sin. But there are so many complex issues in this play, one of which is the relationship between Caliban the monster slave and Prospero the enlightened civilized man.

Caliban is treated as a slave of Prospero’s who is constantly tortured with Prospero’s magic. He contends that, “This island’s mine by Sycorax, my mother, which thou tak’st from me,” (1.2.396-397) implying that Prospero had no rightful claim to the island. This was an oft used point against colonialism of the time, however it is swiftfully countered by Caliban’s own words of the good that Prospero brought to Caliban. Caliban claims Prospero, “Strok’st me and made much of me, wouldst give me water with berries in’t, and teach me how to name the bigger light and how the less, that burn by day and night. And then I loved thee, and showed thee all the qualities o’ th’ isle,” (1.2.398-403). What Shakespeare is conveying here is the classic reasoning of Europeans as the saviors of native people. With Prospero bringing comfort to Caliban in the beginning and saving him from the witch Sycorax, Caliban should feel lucky Prospero came to this island. Any punishment brought upon Caliban is deserved in the eyes of Prospero, Shakespeare, and the audience Shakespeare is writing

     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

Miranda was the most important person in Prospero’s life, he loved and protected her throughout the play. When sharing with Miranda the tale of how they came to the island, Prospero tells her, “O, a cherubin, thou wast that did preserve me. Thou didst smile…” (I. ii. 182-183). He states that she made their exile easier by bringing him peace and comfort. The film adaptation captures

The Tempest is believed to be the final play written by English playwright William Shakespeare (Arnold 2009: 1). This allegorical play takes place on an exotic island and describes the master-slave relationship between Prospero the virtuous ruler and Caliban the ugly evil. Approximately three and a half centuries later, French poet and author Aimé Césaire, who objected to colonialism and was concerned about post-colonial issues, published A Tempest (‘Une Tempête’), a post-colonial adaptation of Shakespeare’s work.