The conditions of hard-labour that were subjected to black people by white supercilious people during colonization are mentioned by Cesaire were Prospero “forgives” Ferdinand and excuses him from his afore imposed state of slavery on the basis that they are of the same race and rank and the manual labour that was intended for Ferdinand is passed on to Caliban. Caliban is naïve and gullible, he trusts Stephano and Trinculo upon meeting them for the first time in spite of the ordeal he undergoes with Prospero. Caliban’s woes are echoed throughout the play and draws sympathy from the reader, whereas in “The Tempest” Shakespeare makes it difficult for the audience to consider Caliban as anything further then the perpetrator
Prospero's indifference about how Caliban felt, meant that Caliban's emotional distress was one sided. In addition to Caliban, Prospero's yearning for vengeance also creates internal issues for himself. After Ferdinand and Miranda announce their marriage, Prospero claims his "rejoicing / At nothing can be more," because he must "perform / Much business appertaining," (Shakespeare, 95-99). Usually, a father focuses more on his daughter getting married, however Prospero can only focus on his plans for vengeance. Some believe that the characters internal struggles were caused by the wrongdoers, and not a lack of forgiveness; however, at the end of the play, after Prospero becomes a more virtuous character, his conflicts with his brother and Caliban are resolved, clearly showing that their focus on vengeance is what caused the internal struggles.
A theme we could look at is the total control of power. Throughout both stories both Prospero, and Morbius are noticed to contain amounts of knowledge and power. In the beginning of The Tempest you can view Prospero as someone who is evil, and uses his power only for revenge which was his whole plan in the first place. Morbius, in the beginning he didn’t want the crew there in the first place. Morbius was not as inviting or seemed to want the Commander and his crew off the Island as quickly as possible, showing he was up to no good.
Caliban 's dehumanization continues when Prospero then deliberately mocks him as a "tortoise" and as "Thou most lying slave, whom stripes may move, not kindness" (Act I, Scene II), both claims diminishing the personhood of Caliban due to his position on the island. These remarks equate Caliban with a lazy animal, one who moves slowly to his master 's commands, responds to physical force only, and is incapable of reason. Prospero
The Tempest can often be seen as a play about colonialism primarily because Prospero came to the island that belonged to Sycorax, Caliban's mother. Prospero subdued her, ruled the land and placed himself as its new ruler. He had full control over everything on the island. Caliban actually loved Prospero at first and was fine with an autonomy but not slavery as he lamented: This island’s mine by Sycorax my mother, Which thou tak’st from me. When thou cam’st first, Thou strok’st me and made much of me......and then I loved thee... Cursed be I that did so... For I am all the subjects that you have, Which first was mine own king; and here you sty me In this hard rock, whiles you do keep from me the rest o’th’island.
Prospero finds out that he was once himself the Duke of Milan, and Miranda was basically a princess. Although instead of fulfilling his tedious government duties, he was too busy reading books, studying, and being scholarly in general. He handed all the government work that he was avoiding to his brother, Antonio. However, Antonio had greater ambitions and persuaded King Alonso, King of Naples, that Prospero was not fulfilling his duties and that he should be exiled- more of like set adrift in a tiny, rickety boat to die out at sea, and Antonio would take over as full-time Duke of Milan. King Alonso agreed to the plan, meanwhile Gonzalo, an overall swell nobleman, took pity on Prospero and Miranda, his three years old daughter at the time.
Ferdinand’s cry of “Hell is empty and all the devils are here” clearly illustrates the psychological destruction that Propsero’s art can carry. His constant threats towards Caliban demonstrate the capacity of his magic, such as the infliction of “side-stiches that shall pen thy breath up”, and this supports Kermode’s view on Prospero as an exerciser of the “supernatural powers of the holy adept.” However, as G. Wilson Knight rightfully states, The Tempest “is itself a metaphor.” Prospero’s control over the characters both on and offstage, his management of the island’s natural phenomena and the orchestrated structure of the play cause many critics to view him as a self-portrait of the playwright. The Tempest is arguably Shakespeare’s last play, and the symbolic breaking of Prospero’s staff could represent Shakespeare’s departure from his
In Shakespeare’s The Tempest Prospero is seen as a “noble” (1.2 120) and all-knowing father with uplifting characteristics that endows him the power to control nature (Fei 119). In both plays Prospero takes the moral high-ground and ignorantly believes that he has saved Caliban by teaching him their “language” (1.2 362), noting “what would you be without me?” (Cesaire 17). In the original text Caliban is
She is beautiful and obedient other than being virgin and these virtues make her imminent wedding and marriage a great possibility. 2- To what degree is Prospero responsible for his own downfall? Prospero played a key role in his own downfall. He, for example, failed to manage his authority. He admits enabling his brother 's treason happened because he gave him a lot of powers and neglected his own duties as the head of state as he concentrates on
The hierarchical relationship seen between Prospero and Caliban is used as the foundation for the poem. Browning uses the briefly mentioned god that Caliban’s mother, Sycorax, worshipped and establishes a similar rank relationship but in a religious aspect. The purpose of this is to show Caliban’s more humanistic side but also to discover his own thoughts and identity. In the poem, Caliban creates a ranking system where he is a slave to Prospero who is under Setebos’ command, who is beneath The Quiet. Caliban in the play swears to be Stephano and Trinculo’s slave upon their first meeting and degrades his sense of self going so far as to kiss their shoes without even being asked.