Furthermore, while Miranda is very much subservient to Prospero's power, some critics argue that her obedience is a conscious choice. This paper compares these two plays, which are separated by over 150 years, and examines the conflict between the characters of Prospero and his slave, Caliban, who represent the colonizer and the colonized. The language used by Prospero and Caliban changes slightly as the act progresses. The monstrous image we have of Caliban is created in part through his lecherous sexuality. He feels that if he does not act now, he may never have a chance again. Prospero goes into great depth in describing Prospero's brother and how he overthrew him.
Prospero wishes for Miranda to have the right man and for her to be happy. Ariel might have been stuck in that tree forever if Prospero had not freed him. Her last appearance is in the play's final scene. Is it possible that this deranged, inhumane creature and native is simply a kind soul struggling to find quality of life, respect and love amongst men who do not understand or value him? These could be the ration explanations to why Prospero is incredibly secretive. There are also many different ways in interpreting what Shakespeare has said, so sometimes, we have to choose what we, ourselves think is right.
Shakespeare very deliberately inter-relates several different forms of power during the course of the play. Disregarding the ship at the beginning of the play, the unity of place is used by the player being staged on an island the whole time. Therefore, he was betrayed by his brother a treacherous man So, he was cast out of dukedom with his daughter to an island where he found his zenith. She might also be so kind and caring to her father, because it might be in her personality. In the Tempest, nearly every scene in the play conveys a relationship between someone who possesses a great deal of power and someone else who is admittedly a subject of the power. Prospero the magician becomes the archetypal mad scientist Dr Morbius, stranded on the planet with only his daughter Altaira until the arrival of an expedition team from Earth.
The daughter's name is Miranda. We are made to believe that Ferdinand thinks honourably of Miranda and, as he is assumed to be a member of the nobility, the audience would expect the character to be well-mannered and follow the strict rules of the more civilised in society. The relationship in the Tempest is more controlling, although Prospero love his daughter but he has more control instead of care as it was written in the seventeenth century by Shakespeare, the tradition then implied as such. Perhaps because Prospero rescued Ariel from a worse imprisonment, while Caliban previously had been free and powerful. This is known as the omission of syllables when an unstressed syllable is sometimes omitted.
The play is simply about a man who was taken away from his dukedom, and was cast on an island. He wants to protect her in the traditional paternal sense, as he does when he scolds Caliban for trying to rape his daughter. One such example can be seen in the topography, flora, and fauna described of the island by Shakespeare himself as well as by the geographical origins of the characters. This brings out many psychological themes such as male dominance and the need to exert power and authority over Ferdinand. Apart from this, we have very little information on this particular character at this time. Shakespeare, thankfully, never made it easy. Whereas a serious relationship involves two people who really want to be together, both care for each other and want more than just sex.
In other words, Prospero is like a master to Ariel and Ariel is a spirit which is a servant to Prospero. We are made to believe that if Prospero had ruled Milan better and had not been overthrown, the bond would not have been as strong. Prospero took him into their home and Miranda spent time teaching Caliban 'one thing or another' while he taught them both about the intricacies of the island. Prospero wants to be in full control of Miranda and her emotions and sexuality and both Caliban and Ferdinand are threats to this paternal power. She is, furthermore, the only female character within a cast of strong male figures, and much of her interaction on stage is dominated by the male figures around her.
Although I believe Prospero had some kind of faith which rendered him change his approach, yet it is important to mention that religion was more predominant compared to today. The way he reacts to the situation he has been placed in, makes us sure that Shakespeare is suggesting that the suffering or labour undertaken creates an everlasting and enduring love between the two characters. When , Prospero's servant, appears, Miranda is placed into a magically induced sleep. She is also a central figure in her father's revenge, enabling Prospero to gain political through her marriage to the Prince of Naples, Ferdinand. Disregarding the ship at the beginning of the play, the unity of place is used by the player being staged on an island the whole time. Although Clarke knows her daughter being out in the dark skating and she is posed by little or no danger, yet she opposes her daughter because she is anxious. In the modern world the relationships are to some extent redefined as opposed to the era when Shakespeare lived.
This means that they have equal status and that he does not feel as superior as before. Prospero fears the that would link his lineage with that of the witch Sycorax. Prospero also asks many times if Miranda is listening. Critics also argue that the language used by Miranda in this speech is out of character for her, given her lack of knowledge of the world that makes Caliban's behaviour so shocking, as well as the fact that her style of speaking strongly resembles Prospero's. I will talk about how Prospero is commanding and violent at the start of the play and then slowly how he gains trust with the spirit, slowly becoming softer, his want for him to be free and finally how he does indeed love Ariel. The Tempest can also be seen as a critique of imperialism represented by the several situations in the play that make references to colonial power between the characters.
The relationship between Prospero and Ariel is one of a master and a servant. Moreover, Ariel led these people to another place by playing them a music which they followed. The pair survived only through the generosity of Gonzalo, an advisor to Alonso, who provided them with necessities like fresh water, clothing, blankets, and food, as well as Prospero's beloved books. When she meets Ferdinand, Prospero creates a masque for them. Nearby, the invisible Ariel sings a haunting song to Ferdinand, Alonso's son, who has awakened to find himself alone on the island. He is to some extent in control over her sexuality and her thoughts.
Both Caliban and Ariel want to be free of their master which suggests he is not easy to work for. It is incumbent on the audience to exhibit the same sort of mercy as he has just shown, indicating that we too have learnt to be magnanimous. There are several displays of family love in Twelfth Night and in a way open and close the story. There are many arguments that say Caliban is not from America. Similarly, we see an equally controlling relationship between Desdemona and Othello. I believe that the relationship between Prospero and Caliban is one that shows many different themes within from magic to enslavement to fully express and present important dramatic methods.