¶ … Tempest and "On Cannibals" have something to say to the emerging modern world order of the 16th century about non-Western peoples. What is Shakespeare trying to say about such peoples through the character of Caliban? What is Montaigne trying to say through the figure of the cannibal?
The Western Empire began to spread more through its use of knowledge than power. Through great explorations and intellectual predictions nations began to spread, conquering lands that lay beyond their borders and taking over people who were natives to these lands. The superiority of the West began to emerge and the concept of 'civilization' took a new form as the Western people invaded foreign lands, subjugating the natives with the notion of 'civilizing the savages'. It was considered a 'higher purpose', for the natives were seen as savages who had to be shown the path to knowledge and thus, salvation. The concept people of the times had of natives or foreigners was that they were all barbarians. No one could accept the intricate differences apparent between the nations of the West and those yet to develop and this led to a condemnation of the way of life of the foreigners.
Consider the words of MICHEL DE MONTAIGNE in his essay,...
Tempest Shakespeare's the Tempest and Chamoiseau's Solibo Magnificent Slavery Slavery is one of the central themes in The Tempest. However, there are many different levels of slavery included other than the typical master and servant relationship that is based on ownership. There are also instances of mental kind of slavery that it carried out by Prospero who can control the minds of others. The two forms of slavery are closely intertwined in a
Tempest In Act I, scene 2 of Shakespeare's The Tempest, the protagonist Prospero explains his case to both his daughter and his familiar spirit Ariel. Thus, the main themes of the play are elucidated in this one scene more than any other. The concept of power, of power overused and power usurped are evident and constant in Act One, scene 2 of The Tempest. This early in the play, before the
Tempest In the epilogue of A Midsummer's Night Dream, Puck speaks to the audience directly not as an actor or a character in a play, while in The Tempest, Prospero is still in character but begs the audience to set him free so he can return to Naples. For Puck, King Oberon and all the other actors are mere shadows, exactly as Theseus described the actors in the play-within-a-play, and his
Miranda even says, "My father's of a better nature, sir,/Than he appears by speech" (I.ii.500-501). Shakespeare may have been writing Prospero like this only to juxtapose his warm nature at the end of the play, which gives the play a "and they lived happily ever after" feel. Prospero uses his magic to control the spirit Ariel, which gives him a lot of power. Prospero knows of Caliban, Stephano, and Trinculos'
This is, in fact, the basis of colonization as the natives are subdued and forced to abandon their language and traditions in favor of the colonizers'. Critics who supported the thesis of "The Tempest" being a description of the Spaniards' experience in the Americas considered Caliban to be a Native American despite the multitude of details that differentiate him from the Indians as they were described in the travelers' reports
The similar treatment of these very different minor characters highlight's Prospero's obsession with control, as well as his own return to the human world. Consider that although Prospero mourns his exile, he even uses captivity as an enticement for Miranda and Ferdinand's courtship, forcing the young man to carry wood like he does Caliban. The young man responds cheerfully, "There be some sports are painful, and their labor/Delight in
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