S.T Coleridge refers to Shakespeare’s swan song, The Tempest, as a play “for all ages,” and this quote rings true in the light of the fascinating study of the presentation of Prospero, the play’s protagonist. Prospero’s complexity stands out against the binary archetypes of Jacobean drama, and this great wizard not only teaches the audience about accepting humanity, but embracing it. He reveals a reflection of the Bard himself, as well as that of our very being. To quote Gooder, Prospero “could
exercise of power can be either legitimate or immoral, and the mechanics governing this authority can be inscrutable, elusive and incredibly hard to discern; similar to Shakespeare 's play, The Tempest, the exercise of power is often illustrated with unclarity. One means of gauging the legitimacy of power [acquisition?] is to scrutinize the motive and the result? if the person is driven by what William Golding called “mankind’s essential illness” and he/she committed crimes with these powers, then it
holds the power to reveal the same nuances throughout ages. Be it the 17th or the 20th century, domination, control, authority have arisen the interest and curiosity of both writers and readers. What makes these concepts exceptionally luring and mesmerizing? Power and more precisely, gender power, has gradually been invested with great significance. Providing their writings with various meanings of the noun “power” John Fowels’s “The Collector” and William Shakespeare’s “The Tempest” have fully
William Shakespeare’s The Tempest was predicted to be Shakespeare’s last play. Prospero’s Epilogue at the end of the play was predicted to be the words of Shakespeare saying goodbye to the stage. Much like The Tempest, the 1956 Science Fiction Film the Forbidden Planet by Fred M. Wilcox seems to use the same ideas/plot, situation, and setting. “Forbidden Planet” is not necessarily a reworking of The Tempest, but a loose adaptation creating an allusion or Parallel Universe to Shakespeare’s The Tempest
Shakespeare’s The Tempest is often considered fiction and finds content in expressing characteristics of both the main character, Prospero and differences in the power dynamics affecting his characters. Shakespeare often uses groups of characters to emphasize the complexity of their surroundings and effects on their behavior. The overall repetition of complications faced or caused in relation to Prospero and play an enormous role in the plot, helping to develop both the his feelings and the emotional
effect on the reader of Cesaire’s alteration of Shakespeare’s The Tempest in his adaption A Tempest: paying particular attention to Cesaire’s characterisation of Prospero and Caliban, and to Cesaire’s changes to the plot of the ending of his play. Cesaire employs Shakespeare’s The Tempest as a vehicle to voice his opinion on colonial discourse in an attempt to educate and inform his readers of black consciousness and Negretude in his adaption A Tempest. In his alteration Cesaire appropriates and explores
and culture, specifically the cultural artifacts of language and literature. Shakespeare’s The Tempest has to offer, as it also speaks the issue of morality, primogeniture and even carrier some interesting Eco-critical reading. The play explores the relationship between man and nature further probes the destruction of the original social when the ecological balance is broken. This paper analyse Shakespeare’s The Tempest by an ecocritical interpretation. INTRODUCTION William
regarded as the ‘Other’, the passive ones whose value lies in their virginity and their reproductive power. William Shakespeare, one of the great dramatists, too has followed this pattern. His play The Tempest revolves around a male character Prospero and the identity of other characters lies in relation to this male character. Julie Taymor’s movie The Tempest can be regarded as a re- reading of Shakespeare’s play. She brings in a major change in her adaptation. She changed the gender of the main character-
In A Tempest, Aime Cesaire subverts the master-slave relationship initially presented in William Shakespeare’s The Tempest. His alterations in characterisation and ending, result in the reader’s inability to sympathise with Prospero and lend autonomy to Caliban; and encourage the reader to question Shakespeare’s motives in relation to the ending of The Tempest. By altering Propsero’s backstory, Cesaire expresses his imperial ambitions and hypocrisy; thereby preventing the reader from empathising
THE PLAY The onset scene of The Tempest is one of astonishingly brutal realism. Without warning, we are immersed into the fury and confusion of a storm at sea, in which the shouts of the agitated passengers and crew have to make themselves heard against a raging noise of thunder and lightning and the shrilling of the Master’s whistle. Those are all the figures Shakespeare uses. Where the modern stage would employ refine lighting and maybe even cinematic effects, Shakespeare, even at the Blackfriars