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The Tempest Conclusion

The Tempest, like many of Shakespeare's plays, has continued to elicit a broad range of scholarly interpretations and has eluded any conclusive judgments as to its dominant themes or the nature of its characters. The work is, however, generally regarded as a complex combination of romance, comedy, and tragedy that highlights many of Shakespeare's characteristic concerns with the nature of dramatic art, Christian themes of reconciliation and forgiveness, and the perils of human interaction in society. The Tempest is also seen by many as the culmination of the dramatist's later work, and has been compared in terms of its intricacy and depth with Shakespeare's comedy The Winter's Tale and his tragedy King Lear.

(See also Shakespearean Criticism, Vols. 8, 15, and 29)

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The Tempest: Characters, Theme, and Personal Opinion Essay

Introduction, summary of the plot, analysis of characters, personal opinion, reference list.

In his drama The Tempest, Shakespeare combines the supernatural dimension with real, when describing the details of the royal intrigues in the Kingdom of Naples. Dated back to the seventeenth century, the play depicts the power of compassion and forgiveness, showing that men of real integrity can overcome betrayal, raising through confinement to spiritual freedom. A brief analysis of the story’s plot, theme, and discussion of the main characters convey the idea of personal liberation through mercy.

Shakespeare’s play The Tempest is a story of the magical loss and restoration of the man’s power, wherein actions develop in the unchronological order, simultaneously showing past and present events. According to Blair, Pettit and Page (2018), long before the present days, the ascendancy in Milan belonged to Prospero, a lawful ruler of the city. However, through corruption and deceit, Prospero’s brother, Antonio, usurped the power and exiled his relative to the remote island, where he now lives in the company of Miranda, Ariel, and Caliban (Blair, Pettit and Page, 2018). Enslaved by the deposed ruler, Ariel, a magical spirit, and Caliban, a native of the island, have to serve Prospero, following his orders.

The present action begins with Antonio, a Duke of Milan, and Alonso, King of Naples, captured on a ship in a severe storm. As explained by Blair, Pettit and Page (2018), scared by the power of the tempest, the two men do not surmise that the squall can be caused by the magical intervention of Prospero and his mystical friend. Through supernatural powers and deception, the deposed ruler hopes to shipwreck the betrayers and take revenge, eventually regaining his title.

However, when Prospero’s plans come to reality, the man unexpectedly decides to grant mercy to Antonio and Alonso in exchange for his dukedom (Blair, Pettit and Page, 2018). “Thou shalt be free /As mountain winds: but then exactly do/All points of my command” (Shakespeare, 2013, p. 92). Realizing the power of forgiveness, the man returns to Milan and blesses the marriage of his daughter, Miranda, and Alonso’s son, Prince Ferdinand (Blair, Pettit and Page, 2018). By restoring his lawful rule, Prospero defeats the evil, proving that love is stronger than hate, and forgiveness is stronger than revenge.

Relationships of the two brothers, Antonio and Prospero, lay in the core of Shakespeare’s play. The author uses sharp contrast to emphasize the distinctions in their personalities. On the one hand, Antonio is depicted as a despicable, sordid traitor with little moral principles (Blair, Pettit and Page, 2018). Willing to sacrifice the well-being of his brother in exchange for the crown, he violently seizes power from his relative. “What thou shouldst be. /Th’ occasion speaks thee, and/My strong imagination sees a crown/Dropping upon thy head” (Shakespeare, 2013, p. 118). Obsessed with the desire for power, Antonio persuades Sebastien to kill his brother, Alonso, following his example of the rule’s expropriation (Blair, Pettit and Page, 2018). Though the man’s intent never comes true, the situation demonstrates the extent of his infamy.

On the other hand, Shakespeare creates an image of Prospero, a noble and merciful ruler of Milan. Though, as stated by Blair, Pettit, and Page (2018), the duke sometimes appears delinquent to his duties, his order is lawful. When deposed after Antonio’s betrayal, the man attempts to take revenge over his brother, using magic, cruelty, and intimidation (Blair, Pettit and Page, 2018). “This thing of darkness I/ Acknowledge mine” (Shakespeare, 2013, p. 277). However, by the end of the play, he comes to the revelation that such methods confront his nature. Consequently, instead of torturing his affronters, the man grants them forgiveness, showing an example of kindness and compassion.

Apart from the reoccurring theme of forgiveness and compassion discussed at length earlier in the essay, Shakespeare conveys the topic of colonization in his work. As noted by Asif (2017), the historical context of the drama is linked to the active process of British colonization. Through relationships between Prospero and Caliban, the author condemns the unjustified inequality in conquers’ attitudes toward natives. Furthermore, Shakespeare takes a step forward, suggesting that colonization created a basis for slavery and racism. A vivid example of the statement above is Sebastian’s comment regarding Alonso’s permission for his daughter to marry an African (Asif, 2017). In The Tempest, Shakespeare thrives on explaining that native people should not be humiliated for their order of life and adherence to old traditions.

Another significant theme present in the drama is magic, illusion, and true identity. Tuglu (2016) suggested that Shakespeare’s decision to incorporate supernatural powers in the play is intended at revealing characters’ and the playwright’s true selves. From one perspective, Prospero’s magic and illusion help the audience to see the corrupt nature of Antonio and Sebastien. Another interpretation concerns the fact that The Tempest is Shakespeare’s last theatrical creation (Tuglu, 2016). Similar to the way Prospero sets his offenders free with magic, the playwright takes a final bow with the final lines of the epilogue, wherein he asks the audience to release him with their applause. “Let your indulgence set me free” (Shakespeare, 2013, p. 233). While some literary critics still argue about the relevance of this phrase to the end of Shakespeare’s career, a clear connection can be seen between the writer’s actions and the last words of Prospero.

For me, Shakespeare’s play The Tempest serves as an eternal warning for humanity regarding the danger of power. Just like Antonio, who was ready to sacrifice his brother’s life for the crown, thousands of people now put their pursuit for ascendancy before personal relationships. The play describes the horrific extent to which the illusion over dominance and mastery can extend, apprising the audience of this misapprehension. “We are such stuff as dreams are made on, and our little life is rounded with a sleep” (Shakespeare, 2013, p. 63).

In other words, individuals who consistently seek power are compared with those dreaming, which symbolizes their misconceptions. Instead of finding actual value in human relationships, they fall for the superficiality of money and authority. Apart from the adherence to material things, the endeavor for power deprives people of their inborn qualities of humanity and compassion, creating a basis for discrimination. Similar to Prospero in The Tempest, who declared his supremacy over Caliban, those disillusioned with authority might feel superior to others.

Ultimately, the topic of forgiveness and humanity constitutes the central moral component of Shakespeare’s The Tempest. A brief overview of the play’s plot and relationships between the main characters shows that an unhealthy obsession with power often deprives people of their inborn compassion and kindness. Instead of falling for the illusions of material assets, individuals should value human relationships, respecting other’s ways of life and unique personalities.

Asif, M. (2017) ‘ The Tempest : a postcolonial analysis’. Journal of Social Sciences, 8(1), pp. 192-209.

Blair, S., Pettit, M. and Page, P. (2018) Shakespeare’s The Tempest: a graphic edition with CSEC study guide. London: Hachette UK.

Shakespeare, W. (2013) The Tempest: Evans Shakespeare edition. Edited by Grace Tiffany. New York: Simon and Schuster.

Tuglu, B. (2016) ‘Identities in The Tempest , tempests in identities’ . International Journal of English and Literature , 7(5), pp. 62-68.

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IvyPanda. (2023, October 31). The Tempest: Characters, Theme, and Personal Opinion. https://ivypanda.com/essays/the-tempest-characters-theme-and-personal-opinion/

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1. IvyPanda . "The Tempest: Characters, Theme, and Personal Opinion." October 31, 2023. https://ivypanda.com/essays/the-tempest-characters-theme-and-personal-opinion/.

Bibliography

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The Tempest

By william shakespeare, the tempest essay questions.

To what extent can Prospero can be considered the protagonist of the play?

Many would agree that Prospero is the protagonist of the play, given that he starts out as a sympathetic character who has been robbed of his station and betrayed by his brother. However, Prospero is not a straightforward or traditional hero. Instead, he relies on his magic to control and manipulate others on the island while also maintaining control over his young adult daughter, Miranda. While audiences are likely to sympathize and root for Prospero's success, the play presents a rather nuanced portrait of its protagonist, leading many to compare Prospero to the playwright whose dedication to their craft outweighs their sense of social or filial duty. When Prospero renounces his magic at the end of the play, he is in many ways restored to hero status, having recognized that his ability to control others is a dangerous power to wield.

In what ways is Caliban a representation of colonization?

Caliban is the only character in the play who is native to the island on which The Tempest takes place. As such, he has long been interpreted as a figure of the effects of colonization and specifically of English imperialism. Caliban is treated by Prospero and Miranda as both a monster, a pupil, a son, and a servant: he is grateful to be able to curse Miranda in her own language, but later uses that same language with mastery and eloquence. The play stops short of expressing a direct judgement of English colonization, instead using the relationship between Prospero and Caliban to explore the complex social and filial dynamics that arise from imperial pursuits.

How does Miranda change over the course of the play?

One quality of Miranda's that is stressed throughout the play is her purity and innocence. Both Prospero and Ferdinand appear interested in preserving her virginity, if for different reasons (Ferdinand for assurance that any children they have will be biologically his, and Prospero for continued control over his surroundings). However, as the play develops, Miranda starts to show signs of budding autonomy – specifically sexual autonomy. She all but demands that Ferdinand marry her, and in so doing makes a choice on her own that reflects her growth from a girl to a woman. Prospero's preoccupation with Miranda's continued purity is therefore challenged by Miranda's own expression of love for Ferdinand, showcasing how even Prospero's magic cannot prevent his daughter from maturing.

Why must Prospero relinquish his powers at the end of the play?

At the end of the play, Prospero renounces his magical powers in order to restore his dukedom. However, he does not do so simply to return to power. Instead, Prospero comes to realize that it was his commitment to his magic that led to his usurpation and exile in the first place. When he agrees to renounce his books, he is really agreeing to be a more committed leader and to relinquish false power – his ability to control his surroundings and the experiences of others – for real and meaningful power in the form of political leadership.

Why do many see Prospero as a representative of Shakespeare himself?

Prospero is often compared to the William Shakespeare because of his dedication to his craft – specifically, the craft of creating whole worlds out of nothing, a task that parallels the role of the early modern English dramatist. Shakespeare wrote The Tempest toward the end of his career, and many see Prospero as the manifestation of the Bard's own reckoning with his departure from the theater. Indeed, Prospero's final speech – in which he asks for applause from the audience in order to be set "free" – is frequently understood as Shakespeare's personal farewell to the English stage.

The Tempest Questions and Answers

The Question and Answer section for The Tempest is a great resource to ask questions, find answers, and discuss the novel.

significance of the storm in the Opening act

In The Tempest, the storm at sea serves as the plot's inciting event. The storm washes Prospero 's enemies onto the island's shore, placing them at his mercy. In this sense the tempest or storm represents a disturbance of the social order. It also...

The Tempest, Act 1

She feels that she is on the boat herself. She has empathy, a trait that defines her through the play.

How long have Ferdinand and Miranda known each other when they decide to marry?

In Act III, Ferdinand and Miranda express their love for each other, and both express their desire to be married, though they have known each other for less than a day.

Study Guide for The Tempest

The Tempest study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About The Tempest
• The Tempest Summary
• The Tempest Video
• Character List

Essays for The Tempest

The Tempest literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The Tempest.

• Similarities Between Principal Characters in Shakespeare's The Tempest
• A Post-Colonial Interpretation of The Tempest
• The Fierce and Mighty Sea; The Dramatic Function of the Powerful and Ever Present Ocean in The Tempest
• The Sensitive Beast: Shakespeare's Presentation of Caliban
• Love and Magic Intertwined

Lesson Plan for The Tempest

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to The Tempest
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• The Tempest Bibliography

E-Text of The Tempest

The Tempest E-Text contains the full text of The Tempest

• List of Characters

Wikipedia Entries for The Tempest

• Introduction
• Date and sources

Sample Essay

Here is an example of a complete essay written on the subject of The Tempest.

‘ The Tempest has been seen amongst other things as a statement by Shakespeare about the end of his writing life, as an allegory about the effects of colonialism and as an illustration of the difficulty or real communication. The variety of interpretations of The Tempest show that texts are capable of being explored in different ways.’

Explore The Tempest and your other play in the light of the idea that texts are capable of a ‘variety of interpretations’.

Texts are most certainly capable of being interpreted in different ways, and these interpretations will vary from person to person and in fact, throughout time. For instance, Shakespeare’s contemporary audience would have interpreted ‘The Tempest’ differently than a modern day audience, as morals and ideals have changed dramatically. Similarly, due to the ambiguous nature of Friel’s play ‘Translations,’ this could also be viewed in many different ways and each audience member may apply their own experiences to the situations in the play.

Some people have interpreted the plays ‘The Tempest’ by William Shakespeare and ‘Translations’ by Brian Friel as a means of reflecting the writers’ own views and beliefs. For instance, many critics believe that ‘The Tempest’ was one of the last plays to be written by Shakespeare, and so it has been suggested that the play is a statement by him about the end of his writing life.

Firstly, this may be due to the fact that Prospero seems to be an allegorical figure for Shakespeare himself, particularly through his control over the characters and events in the play, much like a playwright. For example, it was Prospero that ordered Ariel to create the tempest that shipwrecks the characters on the island, and it was Prospero that brought Ferdinand and Miranda together. He also seems to have an element of control over all of the characters in the play in one way or another, whether it be directly or through Ariel. In fact, it could be argued that Prospero controls the characters in the play like pieces on a chess board, which is significant, as Ferdinand and Miranda are ‘playing at chess’ in Act 5, Scene 1. Therefore, whatever is said by Prospero could be interpreted as being what Shakespeare wants to say to the audience.

This includes a speech concerning Prospero’s magic, which could refer to Shakespeare’s writing. During this speech, Prospero states how ‘the great globe itself…shall dissolve’ and that, ‘We are such stuff as dreams are made on.’ The reference to the ’globe’ could be alluding to Shakespeare’s theatre, which he knows will fade and eventually vanish. At the time the play was performed in 1611, Shakespeare would have been about 45 years old. Although this does not seem old today, it was considered fairly old in the Jacobean period, and Shakespeare faced competition from younger playwrights. There is evidence in the play to suggest that Shakespeare realised this, which includes Prospero stating, ‘my old brain is troubled’ and how he wishes ‘To still [his] beating mind.’ Therefore, these suggest that Shakespeare is tired of writing and feels it has become ‘insubstantial,’ like the ‘actors’ and ‘baseless fabric’ of a play. Later on in the play, Prospero even states, ‘I’ll break my staff’ and ‘I’ll drown my book,’ which suggests that like Prospero is giving up his magic, Shakespeare is giving up his writing.

In ‘Translations,’ it is unclear which character best represents Friel’s views, as their attitudes vary, which allows the audience to interpret the play in different ways. Some may argue that Friel has included such characters as the Donnelly twins and Doalty to show that violence is the best way to fight against colonisation. For instance, Doalty states: ‘I’ve damned little to defend but he’ll not put me out without a fight. And there’ll be others who think the same as me.’ Some people may see this as heroic and patriotic, and the only way these characters can respond to the English. On the other hand, it could be argued that Friel in fact shows violence to be a negative way to respond, as it simply leads to more and more violence, such as the actions of Lancey in the play and by the IRA today.

It has however been suggested that the character of Hugh reflects Friel’s view most efficiently, as he is a realist character that acknowledges the fact he should hold onto his culture, but also accepts the fact that he must change with the environment around him in order to survive. For instance, although Hugh constantly dismisses the English language and culture, stating how it is used ‘usually for the purposes of commerce’ and it is a language that ‘couldn’t really express’ them, he does attempt to prepare for the future by accepting the job at the new English speaking National School, and acknowledges the fact that ‘a civilisation can be imprisoned in a linguistic contour which no longer matches the landscape of…fact,’ if they are unwilling to move forward.

Another interpretation of these plays can be that they are allegories about the effects of colonialism. Colonisation is a contextual issue for ‘The Tempest,’ as many people were travelling to America, or ‘The New World’ at the time the play was performed. In fact, Sir Walter Raleigh’s expedition was financed by King James I, and many of the English thought they had a natural right to colonise other countries and their populations.

‘The Tempest’ supports this view, and the character of Caliban indicates how other civilisations were viewed as savages who accepted the fact they were to become slaves to the English colonisers. For example, Caliban is often portrayed as being less than human, and is associated with animalistic imagery, such as, ‘tortoise,’ ‘a fish,’ ‘mooncalf’ and even a ‘monster.’ He is also portrayed as being a ‘natural servant,’ as he does not wish to be free of a ‘master’ in the play, but instead wishes for a better one, and even says to Stephano, ’Let me lick thy shoe.’

Prospero is shown to control Caliban through threats of physical pain and suffering, such as,

          ‘If thou neglect’st, or dost unwillingly

          What I command, I’ll rack thee with old cramps.’

Prospero also controls Ariel, though it is done in a less violent way than that used to control Caliban. Instead, Prospero promises Ariel his freedom in return for his services, such as when he states,

         ‘Do so, and after two days

          I will discharge thee.’  

In ‘Translations’, the English treat the Irish in a similar way, and threaten them in order to get them to do what they want. For instance, Lancey states that if George is not found, he will ‘shoot all livestock in Bally Beg,’ ‘embark on a series of evictions and levelling of every abode’ ’until a complete clearance is made of’ their parish.

Although Caliban does what Prospero asks, there is evidence in the play to suggest that Shakespeare was influenced by a contemporary essay called ’On Cannibals’ by Montaigne. This discussed the writer’s views on apparent ‘savages’ in countries not yet colonised. He felt that there was ‘nothing barbarous or savage’ about then, which may be shown by the eloquent language spoken by Caliban. This includes the poetic language spoken in Act 3, Scene 2, where Caliban states,

          ‘the isle is full of noises,

          Sounds, and sweet airs…

          Sometimes a thousand twangling instruments.’

In fact, the language spoken by Caliban is often more eloquent than that spoken by the ‘civilised’ characters and contrasts to the prose spoken by Stephano and Trinculo. It also shows how Caliban is more concerned with natural beauty than possessions and power, stating, ‘it is but trash’ about Prospero’s cloak.

The colonising characters in both ’The Tempest’ and ‘Translations’ think that their actions are best for those they are forcing their language and culture onto. For instance, in ’The Tempest,’ Prospero and Miranda think that Caliban has benefited from use of their language, which is shown when Miranda states,

          ‘Took pains to make thee speak, taught thee each hour

          One thing or another. When thou…

          …wouldst gabble like

          A thing most brutish.’

Similarly, in ’Translations,’ the English think that ‘Ireland is privileged’ to have them come and take over, and they also think that they have the right to order the local people about, shown through the threats Lancey makes to them.

A quote from a Roman general, which is included in the play, sums up the attitude of the English and many other colonisers: ‘It’s easier to stamp out learning than to recall it,’ basically means that it is easier for the English to make the Irish learn their language than to take the time to learn the Irish language and way of life, which is evident throughout the play.

Manus in ‘Translations’ can be compared to the character Caliban in ‘The Tempest,’ as both reject the language of the coloniser. For example, in ’The Tempest,’ Caliban states,

          ‘You taught me your language, and my profit on’t

          Is, I know how to curse. The red plague rid you

          For learning me your language!’

Similarly, in Translations, Manus refuses to speak English ’for the benefit of the colonist,’ even though Yolland is a nice person.

Also, both characters are treated like slaves, Caliban by Prospero and Stephano, and Manus by his father, Hugh. This is shown by the way that Hugh speaks to Manus, ‘as if to a footman,’ ordering him to make his tea and fetch ‘a slice of soda bread.’ Both Manus and Caliban receive no signs of appreciation for their work.

Owen and Caliban could even be compared to one another, as their situations with the colonisers are similar. They both complied with the colonisers at first, but later regretted this when they realised that the colonisers were taking over unfairly.

Caliban states how,

          ‘When thou cam’st first

          Thou strok’st me, and made much of me,’

          ‘And then I loved thee,

          And showed thee all the qualities o’th’isle,’ but he regrets this, stating, ‘Cursed be I that did so!’

As well as this, Owen in ‘Translations’ worked for the English, and felt that they were only ‘taking place-names that were riddled with confusion’ and ‘standardising those names,’ not realising that names have culture and history attached to them. Towards the end however, Owen does realise that it was ‘a mistake,’ and appreciates the implications of changing the names, such as the violence it has caused amongst his family and friends.

The two plays have also been interpreted as illustrations of the difficulty of real communication, which is particularly evident in the play ‘Translations.’

In fact, Act 2 Scene 2 is very effective in showing the differences between Maire and Yolland, as Friel has juxtaposed their cultures in order to highlight the difficulty they experience in communicating with each other. This speech shows how not only do they speak different languages, but the two also want different things. For instance, the way they express their love for one another varies. Whereas Maire speaks of the physical aspects she finds attractive, Yolland is more passionate. Also, a huge conflict of interests is revealed when Yolland states how he is ‘not going to leave here,’ and Maire states, ‘Take me away with you George.’ This could therefore be suggesting that the English and the Irish could never communicate properly as they come from different cultures and want different things.

On the other hand, this scene could imply that it is not important for the lovers to understand one another, but that the language barrier can be overcome if they work together to find a common means of communication. It may even suggest that the two need not communicate fully to enjoy their company, which is shown by the way they both state, ‘I love the sound of your speech,’ and by the way they are brought together at the end by stating the Irish place names.

Lancey in ‘Translations’ is another character that effectively shows the difficulty of communication between the English and Irish. An example of this is when Lancey attempts to tell the local people of Baile Beag what his plans are for the town, though he must use Owen to translate so they can understand what he is saying. However, he ‘speaks as if he was addressing children,’ and thinks Jimmy is speaking Gaelic when he is in fact speaking Latin. This shows how the English are ignorant of the Irish language and culture, which makes it impossible to communicate effectively.

Manus is a character that shows difficulty in communication between both English and Irish characters. As he is unwilling to speak English ‘for the benefit of the colonist,’ he cannot speak to them properly, such as when he shouted at Yolland and later realised it was ‘The wrong gesture in the wrong language,’ as Yolland did not even understand what he was saying.

Manus is clinging to his language and culture so much that he fails to recognise Maire’s ambition to move forward. He therefore does not listen to her needs, such as her need for a man to support her, which is why she asked, ‘Did you apply for that job in the new national school?’ This results in Maire becoming frustrated at Manus and ultimately falling for Yolland.

Hugh and Manus also have no form of real communication, as Hugh talks to Manus ‘as if to a footman,’ and sees him more as his servant than his son.

Jimmy is so engrossed in his books that he cannot communicate effectively with any other characters, which leads to him being ridiculed and alienated. For example, as Jimmy is not living in reality, he gives advice on agriculture from Virgil, a poem thousands of years old, stating, ‘Black soil for corn. That’s what you should have in that upper field of yours - corn, not spuds.’ He therefore, gets replies such as, ‘Agh, g’way back home to Greece, son’ and ‘would you take a run at yourself Jimmy Jack Cassie!’

Similarly, in ‘The Tempest,’ Prospero was also engrossed in study of magic, which meant that he failed to detect his brother’s ambition and plotting to usurp him of his position as Duke of Milan. Prospero admits,

          ‘The government I cast upon my brother,

          And to my state grew stranger, being transported

          And rapt in secret studies.’

This led to Prospero and Miranda being cast out to sea in the hope that they would die there, which shows how a lack of communication can lead to violence.

The most obvious characters however that seem to have difficulty in communicating are Prospero and Miranda. For example, in Act 1, Scene 2, we see that Prospero is only telling Miranda the reason why she is on the island after 12 years of living there. He states,

          ‘’Tis time

          I should inform thee father,’

Which makes us wonder why he did not tell her earlier, or why she failed to ask before. He also seems to hide a lot of other things from Miranda, such as the reason he caused the storm. Instead, he tells her there is, ‘No harm’ and states ‘I have done nothing but in care of thee,’ which is unconvincing, as we know that it was actually for his own means entirely. He also does not allow Miranda to see Ariel, but puts her to sleep before calling him.

Throughout this scene, Prospero constantly asks Miranda, ‘Dost thou attend me?’ and ‘Dost thou hear?’ which suggests that it is Prospero always talking and Miranda listening, which is not an effective way to communicate.

Also, the relationship between Miranda and Ferdinand is manufactured by Prospero as a way to aid his own plans, which may cause problems.

The two seem to fall in love at first sight. This could be due to the fact that Ferdinand may think he is marooned on the island with no chance of leaving, and falls for Miranda because he thinks she is a ‘goddess.’ It may also be due to the fact that Ferdinand is the first man outside of the island that Miranda has ever seen, and so she is likely to be fascinated by him.

Miranda also fails to make any connection between her father’s story of betrayal and Ferdinand’s promise,

          ‘I’ll make you

          The Queen of Naples,’ which shows a lack of communication.

Caliban cannot communicate the frustration he feels towards Prospero effectively, which leads to him seeking to ‘violate…the honour’ of Miranda, or in other words, trying to rape her. This again shows how a breakdown of communication can lead to violence.

In conclusion, it has become clear that both ‘The Tempest’ by William Shakespeare and ‘Translations’ by Brian Friel are capable of a variety of interpretations and contain a number of ideas. These ideas can be explored in a range of ways, which results from the ambiguity of each play. The interpretations will also vary from person to person and the significance of these interpretations may depend on contextual issues of the reader.

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The Tempest as a Post-Colonial Text: Exploring Power, Identity, and Oppression

William Shakespeare's play "The Tempest" has been widely regarded as a post-colonial text due to its themes and portrayal of power dynamics, colonialism, and the effects of colonization on both colonizers and the colonized. This essay aims to delve into the post-colonial elements present in the play, examining how it challenges traditional narratives of colonialism and explores themes of power, identity, and oppression.

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International Journal of Linguistics, Literature and Translation

International Journal of Linguistics, Literature and Translation (IJLLT)

The twentieth century brought about a new form of understanding, producing and living art that has become a mean to react against the oppression that different groups suffered for centuries. Post-colonial criticism is an approach of analysis that questions racial identity and gender equity. This study investigates how Shakespeare's plays relate to the social codes and the more recent history of the reception of Shakespearian drama within decolonization movements. The Tempest by Shakespeare is defined as a postcolonial text because the colonised is represented in regarding cultural hybridity in which the Self and the Other enlace the colonial experience. Literature has naturally given a voice to these omitted groups and this play is thought to be an early post-colonial work by some scholars. Shakespeare had intended to criticise the European attack of the new lands to the West, and the theme of colonialism is outrightly presented in The Tempest. Post-colonial reading of the text examines the projection of the colonial experience back to Europe. Slavery, colonialism, and the power of changing other civilisations by the West are themes to make inferences.

SMART MOVES JOURNAL IJELLH

Prabha gour

William Shakespeare (1564-1616) is indubitably the best playwright of all time. He acquired an unique place in the world of literature. His plays earned international commendation and acceptance as the finest dramatist in the entire history of English literature. His play, The Tempest has been decoded differently by critics as a postcolonial text. In1611 when William Shakespeare wrote the play The Tempest, colonization was a recent concept in Britain. This paper is an attempt to inspect the postcolonial issues such as subjugation, dominance language, power and knowledge etc. and conjointly converse about the complex relationship that exist between the master and slave in The Tempest.

Talent Development & Excellence

Thamir R . S . Az-Zubaidy

William Shakespeare's The Tempest is both created in and influenced by an era when colonialism was coming into being. It begins with the arrival of a European coloniser, Prospero, to an island in the Mediterranean Sea where he imposes his colonial domination, norms and culture on its natives. In addition to exploring these issues, this paper examines questions of racism, slavery, suppression, and the role of language in consolidating the process of colonisation and maintaining the colonisercolonised politics. It also critiques the coloniser's involvement in the exchange of women as gifts for political gains as he does with his daughter Miranda. Moreover, while highlighting the discursive practices of othering the native, Caliban, the paper investigates his attempts to resist cultural and political European colonisation through Caliban's linguistic and political appropriation of Prospero's power.

Zahra Sadeghi

Colonization and imperialism are of those interesting critical conversation throughout the world and this study examines how English theater addressed, promoted, and at times challenged ideologies of colonization and notions of civility and civilization. The Tempest in regarded as a New World drama by many critics because of colonization and civilization debates presented on the London stage and depiction of the colonizers and the colonized to present and, at the same time, question those colonial debates. Shakespeare depicts the New World’s indigenous cultures in an ambiguous way to both present and question the ideologies of empire. This dramatization of the “other” helped sixteenth and seventeenth century audiences to recognize New World indigenous peoples as different rather than uncivilized and reevaluate what they have read or heard of these native peoples. Shakespeare presented the contemporary rhetoric through the medium of the theater and helped audience to visualize the process of conquest and colonization. He helped to civilize audiences about the reality of colonization, civility, and the New World. This theatrical medium makes audiences to challenge those established stereotypes of the New World natives and understand them as different, not inhuman or monster, and ignorant of European language and cultures, but no incapable of being civilized. Shakespeare, in dramatization of the New World, neither support nor oppose the process of colonization but he tries his best to show both sides of the issues and let the audiences to decide whether it is legitimate or not. This ambiguous representation of both colonizers and the colonized encourages the audience to examine colonial debates in as objective manner.

Md. A M I R Hossain

In this paper, my purpose is to focus on the underlying reading of The Tempest in the 21st century attempt with a view to revealing the colonizing attitudes of human psychology and embittered experiences of nations, ethnic groups and race. Shakespeare’s The Tempest during the late 20th century and early 21st century has been influenced by “post-colonialism” from the point of view of either Prospero or Caliban. Post-colonial criticism is dealt with Western colonialism of different nations, creed, and caste with the colonial relations of hegemony and submission, especially with regard to race and gender. Shakespeare has drawn upon the language of prayer and religion as a storehouse of emotion and symbol for which his audience and reader are readily responsive as a mode of intensified expression for the feelings and values. Shakespeare’s curses are the language of fury, hatred, helplessness, and despair wrought to its uttermost. The language of prayer is used in expressions of love, kindness, and gratitude, in outbursts of joy and wonder, and in countless eloquent pleadings for mercy, forgiveness, and compassion. The discourse of prayer, elegant and artful thought is an attempt to euphemize the 21st post-colonial domination of the island. Prospero’s ideas and thoughts extend the discourse of prayer into the life of audience. Caliban’s curses are regarded as an integral part to the dialectical structure and the discourse of prayer in the play for which they belong as cataplectic threats of Prospero. Ariel is being held to his side of a bargain at a time of desperate need; Ferdinand is being tested in self-control and in his respect for Miranda; Prospero’s enemies are subjected to corrective punishments designed to bring them through suffering to self-knowledge and a change of heart. Keywords: Ariel, Caliban, Ferdinand, Post-colonialism, Prospero, The Tempest

Deborah I K E O L U W A Jayeoba

This study seeks to explore and enunciate the characteristics of and pointers to the presence of colonialism which validates the events of colonialism in these three plays: William Shakespeare’s The Tempest, Aime Casaire’s A Tempest and Esiaba Irobi’s Sycorax. William Shakespeare’s The Tempest exposes a Western view and political indifference to colonialism; neither invalidating nor justifying. Aime Casaire’s A Tempest and Esiaba Irobi’s Sycorax presents a writing back and questioning as it restructures the narrative of colonialism in its adaptation of William Shakespeare’s The Tempest.

Rituparna Paul

The objective is to present a critical study of discursive practices of ‘othering’. The post colonial critics have referred to Caliban as the ‘other’ and this makes ground for us to delve into the politics of unsaid, or things that have been omitted. Hence, the chief focus of a post-colonial investigation of The Tempest is through the character of Caliban, seen not as the ‘deformed slave’ of the dramatis personae but as a native of the island over whom Prospero has imposed a form of colonial domination.

Ramayana Lira

Taking on assumptions about oppression, identity and representation as they are developed in contemporary postcolonial theory, this study proposes the analysis of the 1993 theatrical production of William Shakespeare's The Tempest by The Royal Shakespeare Company (RSC). It aims to discuss the role of Caliban's monstrosity in the production and how it pertains to issues such as power relations and spectacle. The main benefit of doing an analysis of a performance of a Shakespearean text seems to be the possibility of seeing the play's meaning as contingent, as a result of a series of elements (actor's body, visual clues, the theatrical institution, spectatorship) that release it from the burden of being considered as the work of a single, universal, non- contradictory mind that contemporary criticism has pointed out as the 'Shakespeare Myth'. I conclude that the 1993 RSC production presents a Tempest that, in many ways, reinforces traditional positions about th...

International Review of Humanities Studies

amir mohammad

The paper focuses on how the colonizers who in this play are Prospero and Miranda in particular, endeavor to inflict their own socio-cultural precept including their language to make the colonized fully unprotected in The Tempest as a colonial play, but eventually fail to fulfill this attempt. In addition, the high importance of learning the language of the colonizer by the colonized gets illuminated which finally contributes to Caliban so as to undermine the roots of the colonizer in the colony. This article fully evaluates affected literary works by The Tempest, the importance of transferring the colonizer's language to the colony, and the main colonizer and his manners and attitudes towards the colonized; it also brings forth postcolonial concepts including Mimicry, Orientalism, the double consciousness of the colonized and his unhomeliness. Furthermore, it features the dirge situation of mimic men who come across a disappointing dead end from both colonizers and the colonized. After all, this article reflects on the ever-presence of ambivalence and mimicry in colonial discourse and also the vital importance of violence as an inseparable part of the decolonization.

Injamamul Hoque

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The Tempest Essay Topics & Examples

Students’ life is a bumpy ride, and sometimes you can end up with several vital assignments all of which are due the next day. Custom-Writing.org experts have prepared a compilation of The Tempest essay topics.  

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On this page, you’ll find best questions, prompts, title ideas on the Shakespeare’s play, together with The Tempest essay examples. Feel free to alter and adjust them to your liking and academic requirements!

• 🏆 Essay Topics
• 💡 Essay Prompts
• 📝 Essay Examples

🏆 The Tempest Essay Topics

• Revenge and forgiveness in The Tempest
• Colonialism and slavery in The Tempest
• The role of setting in The Tempest
• How is Caliban presented in The Tempest?
• Prospero: character analysis
• Frankenstein and The Tempest: compare and contrast essay
• The theme of magic in The Tempest
• Love and relationships in The Tempest
• Gender roles in Shakespeare’s plays
• King Alonso: character traits
• Non-human beings in The Tempest
• The symbolism of Prospero’s books

💡 The Tempest Essay Prompts

• The analysis of Shakespeare’s messages hidden behind the central themes . The first thing you need to find out is what the theme of The Tempest is. There may be more than one, so you should choose those that seem to be the most important. If you have doubts, go back and look through our guide again!
• Discussion of the historical context of The Tempest with the focus on colonization . It appears that the play was quite relevant at the time. No wonder, because Shakespeare took a chance and used the most discussed topic as the theme. Therefore, your main task would be to find out how the views about colonial imperialism are expressed in The Tempest .
• What is the role of comic scenes in the play’s plot ? The Tempest is considered to be a comedy since it involves plenty of funny moments. The most memorable ones are performed by the drunken trio. The main idea of this essay is to analyze how those scenes go along with the main plot.
• How vital are audio impressions and noises in the play? You should start by looking for the moments where various sounds and music are described. Since every element of imagery adds to the overall impression from the play, it is essential to find out what role they play.
• Colonization in The Tempest : how do characters want to rule the island? It might be a part of the central theme dedicated to colonization, but an additional analysis might be fun to do. After getting on the island, almost all the characters start dreaming about owning it. They all have a different vision of how they would rule it, though.
• Discuss the impressions from the very first scene of the play. Here is the place for you to analyze everything mentioned in Scene 1 that influenced your perception of the whole play. For example, see how the characters are presented and what their dialogues tell about them. How are the main themes introduced?
• Contrast and compare The Tempest to one of Shakespeare’s tragedies. Prospero has been planning his revenge for so many years. His desire could have easily turned out as a tragedy for every character if it wasn’t for romance. Therefore, you should look into the differences between this aspect in The Tempest and a tragedy.
• Draw a parallel between the attempted assassination of Alonso and plotting against Prospero. The two of the king’s staff, along with Caliban, are planning on taking the place of the island’s rulers by killing Prospero. Meanwhile, there is an attempt to murder Alonso. Your task is to compare these two occasions and see how social status might affect them.
• What roles does Prospero take on, and what is their significance? It seems like Prospero wants to have as much power as he can. He is a father, friend, magician, island’s ruler, and desires to return home to be a duke again. However, it is impossible to have everything. Analyze Prospero’s character and find out which role he is most likely to choose.
• Analyze and discuss the purpose of Caliban’s character in the play. At first, it seems like Caliban plays a critical role in The Tempest . However, at the end of the play, the audience can see that his part is insignificant. Therefore, your task for this essay would be to find out why Shakespeare involved Caliban after all.
• The complete literary analysis of Shakespeare’s The Tempest . It is one of the primary and most straightforward topics about the play. However, attention to detail is vital. Try to include the most critical elements in there, such as the central themes and ideas, symbols , literary devices. If you need help with it, just look through our guide!
• Does Caliban really need to be trained and educated? From Prospero’s point of view, Caliban is a savage who desperately needs help to become more civilized. In this essay, you can let your perspective create the structure. Do you think Prospero should have left Caliban in peace? What is the role of colonization in it?
• Appearances of feminism in Shakespeare’s The Tempest . Even though there is only one female character in the play, this issue still appears to be relevant. Miranda is always kind to Caliban until the moment he tries to sexually abuse her. Explain what her actions were and how her attitude has changed since then.
• Discuss the theme of religion and Christianity in the play. If you look closely, you can see some associations between Christianity and Prospero’s character. He is almost seen as God due to his powers and control over the events on the island. In the end, he refuses to use magic any longer and forgives his enemies. Can it be a biblical reference?
• The correlation between political corruption and greed of the characters. Antonio is the main character in the play, which shows intense greed for power. He is ready to pay any price to get more power, so his personal ethics degrades quickly. However, you should find out about the role of political corruption in Antonio’s actions and plans.
• What is Miranda’s perception of the island in The Tempest ? She was taken to the island when she was a child. How do you think Miranda perceives her new home as an adult? Does it seem like a prison to her, or does Prospero’s magic makes her believe the island is a utopia?

📝 The Tempest Essay Examples

• Shakespeare’s “The Tempest” and Sandars’ “The Epics of Gigamesh”
• Shakespeare’s The Tempest Directed by Gregory Doran
• Shakespeare’s The Tempest in the Savage Rose Theater
• The Epic of Gilgamesh and The Tempest: Being “Civilized” or “Uncivilized”
• Shakespeare’s “The Tempest” – Viewing and Reflection
• Ahab from Moby Dick and Prospero from the Tempest
• The Phaedrus and The Tempest: Compare & Contrast
• Prospero in The Tempest: Character Analysis
• The Tempest and the Contemporary Arts
• “The Tempest” Play by St. Louis Shakespeare Theater
• Shakespeare’s “The Tempest” by Savage Rose Theatre
• Shakespeare’s The Tempest: Gender Roles
• Utopia in “The Tempest” by Shakespeare
• Shakespeare’s The Tempest and Image Exploration

Thank you for reading this article! If you haven’t found the perfect title idea, try our topic-generating tool . Any questions left? Check The Tempest QA section !

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The Tempest is one of the most beloved plays written by Shakespeare. The story is about the duke of Milan who had to escape to an island. Prospero uses magic to revenge his brother for betrayal and takes control over the royal party for that. If it sounds intriguing, you...

The Tempest is a unique and beautiful play that focuses on love and forgiveness at the crossroad of betrayal and magic. The main actions happen on a small island somewhere near Italy. The ship crushes there after a storm. An old magician Prospero and his daughter, Miranda, who live there...

Looking for The Tempest characters? Find them all analyzed here! This article by Custom-Writing.org experts contains character descriptions and analysis of Prospero, Miranda, Alonso, and other characters, as well as The Tempest character map. 🗺️ The Tempest Character Map Below you’ll find The Tempest character map. It contains all the...

Shakespeare tends to focus on very specific issues in each of his masterpieces. In The Tempest, the themes of power and magic are the dominant ones. However, a little bit of attention is also drawn to the topic of colonization. Looking for The Tempest themes? Find them all described here!...

In case you are one of those who love getting into details or just a student who needs help with literature assignments, The Tempest analysis section prepared by Custom-Writing.org experts is what you need. Here, we discuss The Tempest genre and some details about the setting. There is also the...

Have you already looked through our complete guide and still have questions? It’s not always easy to grasp the deep meaning of one topic or another just after reading someone else’s opinion. Or do you have an upcoming assignment on Shakespeare’s The Tempest? This section is the best way to...

In The Tempest, Caliban is the local half-monster who was unfortunate enough to become a slave. Prospero was trying to civilize him by giving language lessons. However, the only thing Caliban actually wants is freedom and his rightful land. He even plots against his master, but the murder plan never...

Tempest means a violent and intense storm. It is somewhat significant that The Tempest by Shakespeare opens up with the storm that carries the boat to the island. However, the detailed analysis of the plot and the characters reveals that the title is mainly related to the turmoil of emotions...

In Shakespeare’s play, Miranda is described as an innocent and empathetic girl. She is a relatively passive character and the only female character in The Tempest. She may seem quite naïve and helpless to the audience, but a few scenes can prove them wrong. She transcends her traditional gender role...

When Caliban finds new friends, Stephano and Trinculo, he asks them to help him with the assassination of his master. They plot to take away Prospero’s books to disarm him and kill him when he is taking a nap. To motivate his fellows, he promises that they would get control...

In Shakespeare’s play, Caliban is ultimately seen as Prospero’s slave. Their relationship highlights one of the central themes of The Tempest concerning colonialism and imperialism. He is the only native inhabitant on the island and is not treated well by his master. Caliban wishes ill to Prospero and wants to...

Shakespeare’s play includes characters of different levels of power. However, since the latter is one of the key play’s literary themes, the division between them is pretty straightforward. The characters who use magic are way more potent than the ones that don’t. Moreover, Prospero is considered to be in control...

There are many lines in The Tempest that Shakespeare wrote in iambic pentameter, so it is hard to pick only one. As an example, the line where Miranda says, “O brave new world,” is perhaps the most famous one. Mostly, the noble characters speak in verse while the others use...

Prospero is the main character of Shakespeare’s play, The Tempest. He was betrayed by his brother and had to seek another home. A remote island appeared to be a nice place, so Prospero and his daughter settled there. Over the years, he has been planning revenge with the help of...

In the play, Prospero is presented as a magician who gets his fantastic powers from the books. There are a lot of things that he managed to achieve thanks to that power. However, by the end of The Tempest, Prospero swears to throw away all his books and put an...

In Shakespeare’s play, Ariel is portrayed as a magical spirit under Prospero’s control. Throughout the whole play, he has to complete different tasks the magician gives him. Every time Ariel hopes that it would be the last one, but he doesn’t get his freedom back until the end of The...

Caliban and Ariel live on the remote island which Prospero claimed and took under his control. Both characters of The Tempest have a similar fate since the magician forced them both to serve him. However, the significant difference between them is that Caliban is not treated as respectfully as Ariel....

There seem to be too many things that Prospero does, showing how manipulative he is. The character possessing such a power uses it to alter the events in the play and force others to obey. However, one of his actions shows it most clearly. Prospero uses magic to put his...

Alonso is the king of Naples in the play. Together with the members of the royal party, he gets into the storm and ends up on an unknown island. It appears to be a pretty tragic occurrence since his son, Ferdinand, goes missing. By the end of the play, Alonso...

Caliban is the only islander found by Prospero and Miranda in the play. Even though he shows quite a negative attitude towards other characters throughout the whole story, there is something positive in him. Caliban loves his homeland, and he is ready to share all the knowledge he has about...

It is believed that Shakespeare created his masterpiece in 1610 or 1611. However, it is hard to judge which data is correct. The evidence shows that the first performance of The Tempest was in November 1611. Moreover, it appears to be one of the last plays ever written by Shakespeare....

In the original play, Ariel is a spirit that was trapped on the island. When Prospero freed him, he made Ariel his servant in return. Therefore, throughout The Tempest, the spirit has to attend to the magician’s wishes. In the Balinese production, Ariel resembles an animal and flies around instead...

Gonzalo is a member of the royal party who appears to be on the boat with the others. He is the king’s counselor and the one who is worried about Alonso the most. Throughout the play, he tries to do everything to help the king and protect him from the...

Shakespeare included the themes of colonialism and imperialism in The Tempest for a reason. Moreover, they are most clearly represented through Prospero and Caliban’s relationship in the play. Prospero is pictured as a typical colonizer who doesn’t respect the locals and only wants to take over the land for personal...

It may not appear obvious, but there is an example of linguistic imperialism in Shakespeare’s The Tempest. Prospero and Caliban have a pretty complicated relationship which reflects a typical situation between the colonizer and the locals at the time. It results in the unpleasant occurrence of language barrier and misunderstanding,...

Usually, Shakespeare’s The Tempest is classified as a comedy. There are all the aspects pointing out at it, such as humorous situations and many misunderstandings that end up being clarified. A happy celebration of marriage at the end also aligns with it. However, some of the play’s scenes include tragic...

Among the different productions of Shakespeare’s The Tempest, there are some that can be clearly considered an interpretation. For example, the audience would know that the one in which Prospero shows sympathy to Caliban is far from the original. The magician doesn’t actually act as fair and kind towards his...

Shakespeare’s The Tempest is generally considered a comedy. The plot is based on a series of misunderstandings that turn out to be comic by the end of the play. Moreover, no one dies, even though some of the characters get lost or upset. However, there are some small elements of...

In both the Utah Valley University and Balinese productions, several characters from the play are pictured very similarly. The interpretations of Prospero, Caliban, and Ariel appear to be the same in both perceptions. The main character is shown as a powerful magician who made the islander and the spirit his...

Many important characters in The Tempest appear in the first scene of the play. Sebastian is one of them. It already seems like he and Antonio are up to something, but the audience remains clueless until the play ends. Sebastian is the king’s brother who attempts a murder later on....

Caliban is not presented as the most pleasant character of The Tempest. While Prospero rules over him, Miranda is simply afraid of the islander. Indeed, he is portrayed as an angry, uneducated, and untidy man. The girl feels threatened by him and tries to stay away from him as much...

Shakespeare’s The Tempest raises a few quite important and relevant literary themes. One of them is colonization. It was a popular topic back then, and its main issues are well represented in the play. However, power may be considered the central theme in The Tempest and goes throughout the whole...

Even though Shakespeare’s The Tempest is considered to be a comedy and maybe a romance, there are some elements of a tragedy. It is especially noticeable in the first two acts. Some of the events just don’t align with the standard genre categorization of this play. One of them is...

Shakespeare seems to have a very definite view on colonization which is reflected in The Tempest. All the issues that Prospero has with Caliban, the native to the island, prove the main idea of the play. Unfortunately, Caliban is treated like a handicapped monster by almost every character. There are...

Thesis Station

Essay: conclusion of the tempest.

Sample Essay

The center of conflict of The Tempest finally settles, yet there remains a certain void between them and a certain sense of discomfort and unease which reaches its peak as the play ends and the audience is left provoked in thought about the numerous perceptions that the characters held and the numerous outcomes that could have come forth in the conclusion of the play had these characters held slightly different perceptions about each other.

In the mid 1920s, the state law in Tennessee prohibited teachers from teaching the Darwinian theory of evolution to students of the high school level. However, one high school teacher by the name of John T. Scopes chose to go against the state law and taught the theory of evolution to a high school science class for which he was prosecuted and tried in a court of law (Lawrence and Lee). Inherit the Wind is a motion picture narration of this incident and even though the play begins by the playwright mentioning that the play is not meant to be a historical account but is only meant to be a reenactment.

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The Tempest Comparative Essay

Composers re-imagine texts to shine new meanings on notions explored in the hypotext. Differing contexts lead to new interpretations of aligned thematic concerns and enable texts to remain relevant to contemporary audiences. William Shakespeare’s Jacobean play The Tempest (1611) explores how one’s grief can be an impetus for revenge, which can ultimately lead to reconciliation. The Tempest was written during the Age of Discovery in response to colonialism, the Great Chain of Being, and Protestantism & Christian Humanism. Margaret Atwood’s prose-fiction novel Hag-seed (2016), innovates Shakespeare’s The Tempest to reflect the contemporary context of her time. Hag-seed was composed in our postmodern, electro-digital, secular society. Both Shakespeare …show more content…

they now are in my power”. Unlike Shakespeare, Atwood adapts Caliban from The Tempest and represents his character through the collective of the prisoners. Opposed to ‘monstrous’ Caliban, she depicts the prisoners as marginalised, “He refused to call them inmates”. As a human rights activist, Atwood alters the portrayal of Caliban-empowering minority groups. Prospero and Caliban’s relationship critically influences Atwood as she re-imagines the play within a prison, “Felix heads off to Fletcher Correctional”. Furthermore, Felix uses his production to enact revenge like Prospero, but to bring his daughter Miranda back to life using 3rd person limited narration, “his Miranda must be released from her coffin, she must be given a life. Second, he wanted revenge”. Her use of this device only allows the audience to view Felix’s opinion and version of events. HIs inability to let Miranda go keeps him imprisoned by himself, which becomes impetus for revenge. Thus, both authors posit how a desire for revenge can imprison an individual and others. Both authors posit how one can feel freed from grief through seeking

More about The Tempest Comparative Essay

The Conclusion of the Vietnam War: a Complex Closure

This essay about the end of the Vietnam War outlines the complex and tumultuous path to the conflict’s conclusion. It highlights the Paris Peace Accords as the official end but notes that real peace was elusive, as fighting continued between North and South Vietnam. The definitive moment came with the fall of Saigon in 1975, marking the reunification of Vietnam under communist control and symbolizing the war’s chaotic and tragic end. The essay also explores the war’s profound impact on American society, leading to national debates and the War Powers Act to limit presidential war powers. Furthermore, it discusses Vietnam’s post-war challenges and gradual healing, culminating in improved relations with the U.S. Overall, the essay portrays the Vietnam War’s end as a multifaceted process, reflecting on the lasting effects of conflict and the difficult journey towards reconciliation and peace.

How it works

Wrapping up the Vietnam War was no clean-cut affair. It was messy, complex, and fraught with tensions that didn’t just vanish once the last American troops left Vietnamese soil. The official curtain call was the Paris Peace Accords in January 1973, which aimed to bring peace to Vietnam and end U.S. military involvement. But peace? That was more a hopeful aspiration than reality. The fighting between North and South Vietnam continued, showing that the deep-seated issues at the heart of this conflict weren’t going to be resolved with a few signatures on a document.

The real clincher came with the fall of Saigon in April 1975, a moment captured in those heart-wrenching images of frantic evacuations. This wasn’t just the end of a chapter; it was the whole book closing on South Vietnam’s fight, leading to the country’s reunification under communist rule. The scenes from Saigon were chaotic, a stark testament to the war’s toll and the frantic efforts to flee the advancing North Vietnamese forces.

Back home, America had to face its own music. The war had torn through the American conscience, sparking debates, protests, and a national soul-searching about its role on the global stage. The end of the Vietnam War forced a hard look at U.S. foreign policy and military ethics, culminating in the War Powers Act, designed to reel in the president’s ability to send troops into battle without clear congressional backing.

Vietnam, for its part, faced the monumental task of piecing together a nation scarred by years of war. The aftermath was rough, with the country navigating through the challenges of rebuilding and reconciling with its war-torn identity. Over time, though, bridges were built, and Vietnam and the U.S. have found ways to engage, heal, and even partner, moving beyond the shadows cast by the war.

So, how did the Vietnam War end? With signatures, yes, but also with a complex mix of continued conflict, societal upheaval, and eventual, albeit painful, steps toward healing. It’s a chapter in history that reminds us of war’s lasting impacts and the intricate journey from conflict to peace.

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