In Act 1, Scene 2, Prospero states “We’ll visit Caliban, my slave” (Greenblatt, 407). Prospero openly professes that he has captured Caliban, and now keeps him as a slave. Prospero then calls upon Caliban by stating “Thou poisonous slave, got by the devil himself upon thy wicked dam, come forth” (407). In this particular scene, Shakespeare clearly establishes the hierarchy that exists between characters, with Prospero visibly above Caliban in both power and status. This is then solidified by Prospero telling Caliban “thou most lying slave, whom stripes may move, not kindness” (408).
Bento envisions his life fitting exactly into the play, Jose Dias is Iago, Capitu is Desdemona and he is Othello. Modifying his life to fit the play shows to what extent his imagination runs his life, he is so engulfed in mirroring his life that he even went as far as to add the detail that Desdemona, Capitu is not innocent and therefore needs to die. Machado tries to make the connection between the handkerchief and Capitu’s eyes as they both serve as the device to reveal the theme of infidelity; “a handkerchief was enough to kindle the jealousy of Othello.” Capitu’s “undertow” eyes where the reason as to why Bento became increasingly jealous. The significance of this is to show how important this external influence is, this was a way for Bento to externalise his imagine theories about Escobar, Ezekiel and Capitu. Bento eventually becoming his own Iago does not register in his mind because of the fact that he has already given the role of the villain to Capitu and there is only one villain presented in Othello.Bento shows his victimisation mostly through referring to othello because it is what is meant to stand out to the
If vengeance was Prospero’s motive, there might have been more of an incentive to sink the ship along with its passengers at the beginning. Shakespeare makes it easy for you to put yourself in Prospero’s shoes and expect that he would want what is natural to man, revenge. The audience finds themselves wanting Prospero to enact justice on his enemies. The audience tends to get caught up in this, only to find themselves disappointed when they do not get the revenge plot they were expecting. Shakespeare creates an illusion that urges the reader to think a certain way.
Prospero is then reminded of how Caliban, Trinculo, and Stephano are pursuing to murder him, and usurp the island from him, so he sends Ariel to handle them. Shakespeare opens scene five with Prospero wondering how Alonso, Sebastian, Gonzalo, and Antonio are doing. Ariel says that if Prospero was to see them his “affections would become tender” (5.1.18-19) Prospero then decides that he will forgive them for all the evil they done to him, thus Shakespeare is showing how Colonization can be a good thing. Prospero turns to
He chooses safety for him and his court, hiding himself and them away and leaving his subjects to suffer with no guidance or help. By hiding away, Prospero leaves others to die in place of him and his friends.
Where’s your sister?” The author contends that in failing to know the whereabouts of his daughter, the play demonstrates Prospero’s loss of power (Murray 23). Moreover, the authors show that from the first time Prospero is on stage, he is unable to keep the female body within his sight, and therefore he cannot control them. Miranda informs Prospero of the pointed rock where she left Dorinda. Prospero calls the “pointed rock” that “dreadful thing,” which serves as a warning to Miranda against sexual desire (Murray 23). Thus, the first scene shows that Prospero’s power is already weakened because he cannot stop the female from pursuing her desires.
Through intense training and study, Prospero has gained a substantial magic ability and utilizes this in the play, largely for means of control. He uses this magic to control other characters, like Miranda, Caliban, the King and his associates. It should be noted that Prospero was overthrown by Antonio, due to his occupation with magic. There is an element of distraction and self absorption present within Prospero that magic only furthers, as it allows him to have domain and power over the people who surround him. By the end of the play, Prospero realizes that to live a peaceful and joyous life, he must relinquish his magic.
This is not the only instance where Romeo faces despair; in Act Five he also feels despair when Balthasar brings him the unfortunate news. Once again, Romeo goes to drastic measures to try to kill himself, succeeding in his attempt. Impatience is another factor in his intemperateness. In the last scene, Romeo rushes to Juliet’s tomb with
Similarly, in the Tempest, Prospero took over the island (which was caliban’s land at one point) and ruled over him. Caliban now had to live under Prospero’s rules and no longer can live his wild life. Prospero also saved Ariel from the imprisonment of Sycorax and then imprisoned him for himself. He controlled them and made them do whatever he wanted
Her names itself provides a contrast, meaning “worthy of admiration,” whereas Caliban’s name, considering either meaning does not entice the audience to admire him. Prospero was raised in Italy as a nobleman, “Thy father was the Duke of Milan/ and a prince of power.” Caliban was raised almost in isolation on the island. Therein already lies a contrast. The first description of him alone gives the impression that he is more animal than man; certainly from Prospero’s view, “A Freckled whelp, hag-born-not honoured with a human shape.”(The Tempest 1.2.285-286). Prospero, arguably erroneously so, would have believed from the onset that he was a better and more civilised man than