Sycorax

“language of misogyny as well as racism” (328). Loomba also defines Sycorax as black woman and states that her racial difference makes her feminine identity more colorful: “Therefore Prospero as colonialist consolidates power which is specifically white and male, and constructs Sycorax as a black, wayward and wicked witch in order to legitimize it” (Loomba 329). As Loomba claims, Sycorax’s racial features oppose Prospero’s. If Sycorax is a different color

Brown’s insistence that The Tempest is a play of steeped in ambivalence and contradictions is not entirely unfounded, however. Prospero himself is an extremely powerful magus whose power borders on the transcendent and divine; he is also a man obsessed with perfecting his “art” that, at times, can be base and wicked. He demonstrates compassion and generosity, yet his apathetic and sometimes contemptuous treatment of other characters raises questions about his moral sensibilities. Within the drama

In Shakespeare’s The Tempest, in Act 5 Scene 1, lines 33-57, Prospero’s speech shows his redemption by giving up his book, the oak tree, and his power over water. At this point in the play, Prospero is about to get his revenge on the people who have caused him pain. However, as he is giving the soliloquy, he seeks redemption and attempts to reject his powers and revenge. Though he has been living for the past twelve years with wrath and a desire for revenge, he turns away from that path and seeks

The Sublime Savage: Caliban on Setebos       "Caliban my slave, who never / Yields us kind answer."  (The Tempest, I.ii.310-1)    "Caliban on Setebos" was one of Robert Browning's more popular poems among the Victorians, for its presumed satire of orthodox Calvinism, Puritanism, and similarly grim Christian sects. And Browning as Shakespeare's savage does indeed seem to hurl a few barbs in that direction, but the poet's exercise seems to be as

also had a daughter her name was Miranda.She was brought to the island at an early age and has never seen any men other than her father and Caliban. Prospero’s spirit helper. Rescued by Prospero from a long imprisonment at the hands of the witch Sycorax,

carcass of a butt”, “Jove’s lightnings”, “King’s son, Ferdinand/ With hair up-staring then like reeds, not hair, -”, “veins o’th’earth” and “bak’d with frost”. Caliban’s lethargy is associated with the movement of a tortoise. Charms and omens of Sycorax are associated with hateful creatures as “toads”, “beetles” and “bat”. In the lines “Temperance was a delicate wench”, weather and climatic condition of the island is

Numerous interpretations of William Shakespeare’s play The Tempest depict its main protagonist, Prospero in a negative light. Many such renderings of Prospero’s character are identified in the introduction of The Tempest. The introduction makes reference to Dryden’s and Davenant’s rewriting of the play. Their rewriting portrays Prospero as a very controlling and deceptive individual whose character is stagnate. Accordingly, the foreword also mentions the possible employment of the narrative, by

The Tempest is about an ousted Duke of Milan ,Prospero, who has been living in exile on a remote island for the past twelve years with his daughter Miranda. He is a powerful magician, who happens to be the master of Ariel and Caliban, and a guy who really likes his books. When Prospero's enemies wash up on shore, he uses his black magic to seek revenge and restore himself to power. The Tempest belongs to the genre of Elizabethan romance plays. It combines elements of tragedy with those of romantic

Language in the Tempest is a tool of subjugation. Prospero uses language as a way to control Caliban and Ariel. So too Caliban language reminds him how different he really is from both Miranda and Prospero. Language also remind Caliban how much Miranda and Prospero changed him. Language reminds him of his time when he wasn’t a slave. In some weird way when Prospero taught Caliban language he took away dome of Caliban freedom. Now that Caliban know how to speak the difference between him and Prospero

The passage below is found in the opening act of one of Shakespeare's most illusive plays of control and manipulation. The word "deception" is defined as "the act of misleading" or "to trick, cheat, lie, and mislead". From this definition, it is obvious that deception is normally perceived to be evil and results in the harm of others mentally and physically. It leads to broken hearts, untold truths, or even unpunished murder. However, in Shakespeare's The Tempest, deception is used as a virtuous