In the beginning Prospero and Caliban got along well; Prospero would teach Caliban language and manners and in return Caliban would show him around the island. Prospero and Caliban maintained an unhealthy relationship because Caliban is convinced that Prospero stole the island from him, and now treating him disrespectfully. Caliban is described to be a disrespectful, disobedient, brutal, always plotting something behind Prospero’s back. As his urge to procreate was developing, he attempted to rape Miranda without regret. Prospero forgiving characteristic seemed to have developed when he was trying to teach obedience to his servant Caliban, but always resulting in misbehaviour.
He treated Caliban fairly, until he tried to rape Miranda. He made Caliban his servant because he could not trust him, he had lost respect, and had no other choice. Even when Caliban was serving Prospero, he was still treated fairly. Prospero freed Ariel from being eternally stuck in a tree, and in return he asked that for a year, Ariel would serve him and help him get off of the island, and then he would be freed. Prospero did not take partial control of Caliban and Ariel without a reasonable purpose, where the Europeans had no real reason at all.
Montag’s mental loss of freedom can be contrasted with Caliban’s physical entrapment in “The Tempest”. Caliban's desire to be free is one that is based around physical beings. He wants the spirits to stop tormenting him and he wants to be free of the physical slavery that he is forced to do. Montag just wants to be free in his mind. Additionally, Caliban was once free and so has a better idea of what he wants.
Prospero constantly claims that Caliban is incapable of doing anything right and is only capable of committing malicious acts. In the text, Shakespeare states, “Which any print of goodness wilt not take, being capable of all ill.” This statement further emphasizes Prospero’s revulsion towards Caliban. They have both endured neglection and verbal abuse throughout their lifetimes, which has led them to commit wrongful acts of violence upon
While Captain Delano observes the slaves in their various tasks, his opinion of what an African slave’s traits are become glaringly clear, he explains while looking at the six Ashantees that there is a “peculiar love in negroes of uniting industry with pastime” and that they “had the raw aspect of unsophisticated Africans” (2902). Captain Delano truly believes that Africans merely enjoy working hard for their masters and that they are not intelligent enough to conceptualize wanting something more than this. Nothing more accurately articulates Captain Delano’s perspective on the benevolence of slavery then the ‘benevolent’ relationship he views between Benito and Babo—master and slave. Captain Delano finds a “humane satisfaction” when he “witnessed the steady good conduct of Babo” (2903) the seemingly loving nature of Babo reassures Delano of his own interpretations of slaves and how that relationship is supposed to be perceived. Analogously, Benito Cereno explains to Captain Delano that “it is Babo here to whom, under God, I owe not only my own preservation, but likewise to him, chiefly, the merit is due, of pacifying his more ignorant brethren, when at intervals tempted to murmurings” (2907), in which the purported benevolence of Babo has empowered Cereno to keep control of his ship.
Derogatory representations of nationalities has been a staple of theatre for along time. In Shakespeare 's 'The Tempest ' the monster Caliban (a rough anagram of cannibal) is a clear caricature possessing the projected animalism of 'savage ' people. He is part of a 'vile race ' not 'honoured with human form ' was littered rather than born and not even able to speak unto his white master taught him how. The play is a study of power relationships, between the servants and noblemen, between Prospero and Ariel and between Prospero and Caliban until Caliban attempts to rape his daughter in order to people the island with 'little Calibans '. After this incident
This is surprising because when Benito was asked about the slaves he tried to remember the story one of his slaves --- Babo told him about the American and was threatened when he was shown the bloody razor. Also, the dismissing of Delano’s suspicions were interesting because he his ideology was the same as
They both used their magic to protect their children and tend to keep them in one place so that they can watch over them. However selfish their actions were, Prospero was good all along and just wanted to take back the position that was stolen from him. Yubaba acted out of greed. As well as this, Haku and Caliban were both slaves, and were finally freed at the ends of their stories, free to go wherever they wanted without being under the command of magic that could control them. In Spirited Away, there were many elements of fantasy that were very interesting.
The inevitable human desire for power and its prevalence across all sectors of society is exemplified throughout the Tempest in the parallel narratives of the low-status characters Stephano and Trinculo and the high-status characters Antonio and Sebastian. However, their unrightful claim to a position of power in conjunction with their ineptitude is illustrated through Shakespeare’s portrayal of these characters as arrogant and foolish. With the setting of the island acting as a reflection of one’s nature, Antonio’s perception that the island is “indeed tawny” highlights his arrogant nature as his preconceived ideas of native land leads him to be unable to see beauty on island. Also, the derogatory language of “A pox o’your throat, you bawling blasphemous, uncharitable dog” and the insensitivity in the callous tone of “he receives comfort like cold porridge” highlights Sebastian’s arrogant and rude disposition, thus rejecting their system of values and exemplifying the unworthiness of corrupted individuals towards a position of
Pullman uses the myth of Charon and gives his character the same characteristics. Pullman describes Charon as aged beyond age, huddled in a robe of sacking bound with string, crippled and bent, his bony hand crooked permanently around the oar-handles, and his moist pale eyes sunk deep among folds and wrinkles of grey skin. This boatman, too, is frank and harsh in the way he speaks to Lyra when telling her that her daemon cannot come to the underworld with her. He is “indifferent” to the pain that everyone felt when entering the land of the dead and leaving their souls behind. Other works have been influenced by the underworld and Charon, such as Dante’s Inferno.