The+Tempest+background

Write about your understanding of the play that has changed and/or developed as a result of your background reading. Copy and paste on the //Wiki//.

Remember to provide (holistically, doesn't have to be in a particular order)
 * What you thought before your background reading
 * Your developed understanding/interpretation
 * example of background information that helped you make that interpretation //and the source// (provide paranthetical reference and full bibliography)
 * specific example from within the work that supports that interpretation
 * Analysis of that example--showing how it helps to develop Orwell's ideas

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Fay:

I had previously studied Shakespearean plays such as Macbeth and Midsummer night's dream before The Tempest, hence my first interpretation of the play was the similarity of the themes which constantly arise in Shakespeare's play; the theme of power, romance and magic being most apparent in the plays. Usually when being told to study a play, we would examine the language, characters, plot, dramatic techniques etc however I realize that studying the background of a play, and the history in which era it was written in is also very important as I discover many linkages between the socio-historical context during Shakespeare's time and the plot and themes in The Tempest.

My interpretation of the play has changed through my research ranging from the history of slavery to the launch of the Royal Navy in the Elizabethan era. The Tempest contains many aspects of the Elizabethan era, which at that time may have been very obvious. Slavery is a very ongoing theme where many characters such as Caliban and Ariel carry the occurrence of slavery throughout the play. Caliban and Ariel are important characters as they demonstrate the monstrosity of slavery in the society, and the great contrast played between them (Caliban being dark and crude whereas Ariel, a fairy like servant) may suggest the different social classes in not only slavery, but the society as a whole. Shakespeare may be using Ariel to symbolize slavery in the modern world where it is more servant-like, where obedience will bring rewards, (in the case of Ariel, she is rewarded with freedom) not so much as crude slavery where Caliban is used to suggest slavery in Elizabethan times. We can see a great contrast in the depiction of the master and slave relationship during the 17th century and nowadays in the 21st century. Background research on slavery in Shakespeare's time (late 1500, early 1600) shows that slavery was actually introduced in Britain by a Englishmen, John Hawkins and Sir Francis Drake in 1560s. They were both sea captains (we can see the linkage between this and the tempest) and are also slave traders, in fact, the first englishman to capture people in Sierra Leone and sell them as slaves to Spanish settlers in the Carribean.

The word "Tempest" literally means 'a violent windy storm'. Shakespeare's idea of a violent storm and subsequent shipwreck as an opening scene to the play creates great atmosphere and tension as it suggests to the audience a stormy adventure is ahead of them. Shakespeare may have got the idea from the events of the Royal Navy and the Spanish Armada which had occurred in late 1500s, not long before The Tempest was written. Actually, through further background research, I find that many shipwrecks had occurred during Shakespeare's time and one that is rumored to be linked with The Tempest is the shipwreck in Bermudas in 1609. A savage storm had struck an English fleet sailing for Jamestown where passengers and crew members ended up stranded in a deserted island for months. Even though Shakespeare's works are full of imagination and are definitely unique, we can see that he applies many aspects of socio contexts in his era onto his plays, creating not only an outstanding opening and plot, but also appeals to readers as they realize the in depth meaning of the play.

Prospero is a very powerful character in the play where he has the possession and control over everything through his sorcery. Colonialism is a major theme throughout the play, and background research of colonization of the British Empire in the 16th century suggest that Shakespeare's theme of colonialism was intentional. It is important to understand the historical and political background that had such a big impact on Shakespeare during the time period it was written. The Tempest is thought to be based on colonialism because he takes over Sycorax's island, rules the island, labels it as his own, and even imposes his own culture into it. The domination of the island by Prospero suggests the great influence of British colonization as England first colonized Virginia in 1609.

The portrayal of women in the play shows a great contrast of women nowadays. The main female protagonist is Miranda, the beautiful daughter of the old duke and magician, Prospero. She is lacking in real world experience as she lives her whole life in a shell, with rarely any human contact. She is a naive girl although she also shows great strength, e.g. when pleading her father to save the people in the shipwreck. However Prospero is also seen as overprotective over his daughter; even though he gives her more than enough of an education, however she rarely interacts with the human world where the only men she has met are Caliban (who had once tried to rape her) and Prospero. However when reading such historical plays like these, we must keep in mind that this may have been normal behavior for fathers during that period. However Miranda is not like those typical maiden type women who are usually reserved and quiet, instead, she expresses her feelings well, and is truthful and loyal to her father.

After studying the background socio-historical context of The Tempest extensively, I have a deeper knowledge on the important social issues that occurred during Shakespeare's time. The way the social issues are reflected from his plays are not only meaningful during the time the play was written and performed, but also allows readers nowadays to look back and think view the play at a different perspective.

"Shakespeare and the Shipwreck." Folger Shakespeare Library: Shakespeare in American Life. Web. 11 Sept. 2011. <[]>.

"Slavery In The Tempest." :: Free Essays :: Paper Writing :: Book Reports ::. Web. 11 Sept. 2011. <[]>.

"The Tempest as a Play about Colonialism." The Most Popular Online Literature Library. Web. 11 Sept. 2011 <[]>.

__Benedict's Reflection__

This is the first time I have studied Shakespeare’s work. While quite frequently referring to translated versions and notes, I found the piece to be highly symbolic.

The Tempest was written in 1610-1, which addresses issues of legitimacy and authority that were emerging in the time that Shakespeare lived. The British took over the role of colonizing the Americas as a result of their victory over the Spanish Armada in 1588. Shortly after, the educated such as Shakespeare began to doubt the moral and legal authority of Britain to do so. Subjugated peoples were mistreated, despite their precedence over the land, as international law states that explorers can only claim land if it was previously uninhabited. The natives who had lived in the Americas for centuries were not regarded as “human”, giving the colonizers license to declare the land as their own.

Being interested in politics and government myself, I found that Shakespeare subtly questioning colonialism – writing of an unnamed island in the Mediterranean and the suppression of an indigenous man by the Europeans that arrive there – very dynamic. Through his character Caliban, a man that readers can relate to, he disputes the common attitude towards natives, challenging racial bias that the reader may have. He also shows the corruption of authority by Prospero, a magician that highlights the faults of a government with one central power.

Also linked to politics and power, I found “greed” as powerfully expressed as colonialism. Antonio and Sebastian both very greedy as they are willing to kill their own brothers to inherit the power they seek. Caliban, as well, seeks to rule the island, and uses that as another incentive to attempt to kill Prospero. His cohorts, taken with the thought of being leaders and not servants, go along with him and are willing to commit heinous crimes for it. The only two characters in the play who are not greedy are the ones who fall in love. Since love is often associated with innocence, this is not surprising. Even Prospero, though often thought of as a righteous character, creates the plot in order to gain things for himself. Ariel too, helps Prospero in hopes of buying his freedom from his servitude. The message which Shakespeare was trying to deliver is also true in the modern world, not just in places of diplomatic dictatorship or simple dictatorship, but also in everyday life – greed being a large constituent of life.

Another theme I found interesting was divine, which is parallel to Prospero's magic in The Tempest. Like nature, the divine is often given credit for Prospero's work, yet it has a special meaning for Prospero in particular. He is the only one that grasps the limitation of his power, and he knows that it stops shy of making him a god. To celebrate Miranda and Ferdinand's union, Prospero brings spirits in the shape of gods before them, hoping to impress the young lovers. Prospero admits, perhaps with some sadness, that these are not the real deal. Prospero, as everyone else, is subject to the divine. His magic is only a tinkering tool in the face of the larger project designed for him by powers higher than his own.

In conclusion, I have found this initial encounter with Shakespearean texts difficult but thought-provoking. The element of dictatorship and the consequences it brings is rightfully delivered and it portrays the emotions and resultant action of the modern “man”.

Sarah's Reflection:

Shakespeare’s plays - its intricate plots and well-developed characters - have always been very engaging to me. During my primary school years, I frequently read Shakespeare plays, including The Tempest, as story books just for interest; however, I have never read them in depth and therefore only knew the plays on the surface by its plot and characters. I'd always thought The Tempest's plot was one of the more interesting ones among Shakespeare's works, because it is so unlike his other plays in that it transports the reader to another dimension of magic, storms and power, and studying The Tempest now has allowed me to gain further insight into the Shakespeare’s time and the hidden meaning and themes that he creates.

Initially, after the first time reading the play in depth, the theme of justice struck me; The Tempest is a story which plot is triggered by an unjust act, the usurpation of Prospero’s throne by Antonio, and the plot revolves around Prospero’s quest to restore his power and re-establish justice. However, here Shakespeare shows that “justice” is clearly highly idiosyncratic; although Prospero is supposedly a victim of injustice, he himself imposes injustice on others - particularly Caliban and Ariel - as the island’s owner. Although he is completely furious about his brother taking his position as the Duke of Milan, on the other hand he does not hesitate about enslaving spirit Ariel and Caliban, the only native left on the island and the true owner. This strong irony really added to the intricacy of the play, and made it all the more captivating.

With the second reading, I was able to explore more of Shakespeare’s world and his opinions. I found the theme of power particularly interesting. During Shakespearean times, where hierarchy and royalty were of utmost importance in the society, power was inescapable; and this very power is clearly displayed by the characters of the play. Shakespeare plays with master/servant relationships throughout the story; for example, Prospero is master to Ariel and Caliban, and although the latter two are unwilling, both are acutely aware of their subservience. Power relationships are inescapable in the play, and indeed when Gonzalo envisages an equal world with no sovereignty, he is mocked by others. Sebastian then reminds him that he would still be king, and would therefore still have power over everyone, even if he did not exercise this. Perhaps Shakespeare here has projected and critiqued the prevalence of power in old England, suggesting that it is impossible to break free from.

In relation to the theme of power, the characters’ competition for colonial control of the islands can perhaps be said as a reflection of England’s colonial expansion in Shakespeare’s time. Each character has a unique plan for the islands if they were in charge; for example, Caliban wants to “people the isle with Caliban’s,” Stefano plans to kill to obtain his power, and Gonzalo imagines an idyllic and mutually controlled society. Each has his own unique perceptions and idealistic dreams about the future of the islands, reflecting different personalities in the society. Ironically, Gonzalo is one of the few characters in the play who is loyal, kind and honest throughout the storyline; he is the only potential king. The way Shakespeare subtly introduces the debate of what qualities a good ruler should possess is extremely engaging and also a reflection of his opinions of old England.

[1] McNamara, Joel. “Introduction to the Tempest.” The Complete, Unofficial TEMPEST Information Page. February 22, 2002.

[2] Reitz Mullenix, Elizabeth. Illinois Shakespeare Festival. “The Tempest.” 1996. [|__http://www.arts.ilstu.edu/shakespeare/research/ISFtempest.html__]

**Bibliography**

1. “The Tempest” //enotes//. Web. <[|__http://www.enotes.com/tempest__]>


 * 1) “The Tempest” //Wikipedia.// Web. 6 Sept 2011. <[|__http://en.wikipedia.org/wiki/The_Tempest__]>
 * 2) Shakespeare, William and Rex Gibson. //The Tempest.// 5th ed. Cambridge: Cambridge UP, 2000. 145. Print.

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Agnes:

The first time I ever casually read The Tempest, the mist of my impression on the play was that it is just about fantastical events on a desert island with the theme of magic and revenge, with supernatural beings like those in Midsummer Night’s Dream. Coming back to it now, I was struck by additional themes including slavery, forgiveness, challenge of class and of roles, etc. Along with some research, I further uncovered elements of the play which I had not noticed before in the following.

At the time that the play was written was the event of the shipwreck in Bermuda in 1609. In fact, the word ‘tempest’ refers to “a violent windstorm”. The playwright was exploring the possibilities of the discovery of a new land after a horrible shipwreck, where the sailors are “providentially cast away into a region of delicate and temperate fruitfulness… where Nature provided abundantly”. Building onto this is the theme of colonization. By understanding the characters and what they represent, readers may see clearly the dominant themes of power. Most characters in the play are trapped into a struggle, either for their own freedom, or for the power over the island where the story is set. On arrival of the island, Prospero enslaves its inhabitants, especially Caliban, and usurps control over the entire island. In the quote said by the character Caliban to Prospero “//This island’s mine by Sycorax my mother,/ Whichh thou tak’st from me.//”, it clearly states Caliban as the original owner of the island before Prospero’s arrival. Along with the quote in the dialogue between Prospero and Ariel, where Prospero describes Caliban as “//he, that Caliban whom now I keep in service//”, it portrays colonial expansion during Shakespeare’s time, where the native people of the land were usually stripped of their freedom and held under servitude of the newcomers.

However, the playwright also describes Prospero as a cultivated and measured man, his Art representing gentleness and humanity, in contrary to Caliban the “natural man without benefit of nurture… savage and capable of all ill”. Additionally, following an essay of Montaigne’s “Of the Cannibals in 1603, the name Caliban, portrayed as to be with monstrous appearance, even seems to be “an anagram or derivative of ‘Cannibal’”. Within the play, Prospero was described to “//teach (Caliban) how to name the bigger light, and how the less, That burn by day and night//” and to have //“taught (him) language//”. Through these interactions between the colonizer and the colonized within the play, a beneficial perspective of colonialism is expressed, perhaps a justification of the act, where the newcomers may remove the natives of their barbarism and introduce to them civilization. In this way, I find that the play does not show a strong opinion towards colonial expansion, and instead inspires the audience to judge the issue by their own views, asking them to reflect on their country’s colonizing, a reflection still valid to people of this day.

Moreover, The Tempest is believed to be the very last play that Shakespeare had written on his own, giving me an explanation for the theme of forgiveness in this play. It strikes me when Prospero forgives his enemies towards the end of the play, since in other plays by Shakespeare like Hamlet, Othello, and so on, vengeance and death almost always happen. An interpretation I hold now is that Shakespeare is asking his audience for forgiveness through the play regarding his retirement from his occupation of a playwright. At the end of the play, Prospero turns to the audience to ask them to free him, as in the quote “//But release me from my bands/ With the help of your good hands//”, and to forgive him, “//As you from crimes would pardoned be,/ Let your indulgence set me free//.” This possibly echoes Shakespeare’s personal message to his supporters as well, asking them to free him for his ties and burdens within the theatre. Resembling the last lines of the play to those in the Christian prayer “Our Father” where it says “Forgive us our sins as we forgive those who sins against us”, he appeals to the Christian value of forgiveness familiar to his audience.

As shown above, understanding the context of the piece of artwork may reveal many underlying significances within the text in literature, which are all worth exploring on. Without knowing any socio-historical background of the work, one’s personal interpretation of the play would really have missed the details and left out most of those significant themes.

 Shakespeare, William, and Frank Kermode. //The Tempest. // Cambridge: Harvard UP, 1958. xxvi. Print.  //Dictionary.com.// Web. 9Sept 2011.   Shakespeare, William and Frank Kermode. xxv.  Shakespeare. “Act I Scene II”. 29.  Shakespeare. “Act I Scene II”. 27.  Jamieson, Lee. “‘The Tempest’ Power Relationships” About.com Guide. Web. 8 Sept 2011.  <span style="font-family: Calibri,sans-serif; font-size: 10pt;"> Shakespeare, William and Frank Kermode. xxiv. <span style="font-family: Calibri,sans-serif; font-size: 10pt;"> “The Tempest”. //Spark Notes.// Web. 9 Sept 2011. <<span style="color: black; font-family: Tahoma,sans-serif; font-size: 9pt;">http://www.sparknotes.com/shakespeare/tempest/context.html> <span style="font-family: Calibri,sans-serif; font-size: 10pt;"> Shakespeare. “Act I Scene II”. 29. <span style="font-family: Calibri,sans-serif; font-size: 10pt;"> Shakespeare. “Act I Scene II”. 31. <span style="font-family: Calibri,sans-serif; font-size: 10pt;"> “The Tempest” //Wikipedia.// Web. 6 Sept 2011. <http://en.wikipedia.org/wiki/The_Tempest> <span style="font-family: Calibri,sans-serif; font-size: 10pt;"> Shakespeare, William and Rex Gibson. “Act V Scene I Epilogue” //The Tempest.// 5th ed. Cambridge: Cambridge UP, 2000. 145. Print.

<span style="color: black; display: block; font-family: Tahoma,sans-serif; font-size: 10pt; text-align: center;">Christine's reflection

<span style="color: black; display: block; font-family: Tahoma,sans-serif; font-size: 10pt; text-align: center;">Having studied A Midsummer’s Night Dream extensively for my HKCEE English literature exam, the first thought I got from reading the Tempest was that it was vaguely similar, being another play where romance and magic take center stage.

<span style="color: black; display: block; font-family: Tahoma,sans-serif; font-size: 10pt; text-align: center;">After some background reading on the social historical background of the play and the time it was written, I discovered that the Tempest is quite likely to be based on a 1690 shipwreck of an English ship in the Bermudas<span style="color: black; font-family: Tahoma,sans-serif; font-size: 10pt;">, which has always been a source of mystery and speculation. It is also probably inspired by the travelers’ reports about the Bermuda islands and the mariners’ ordeals. The seventeenth century was an age of exploration, and perhaps this play is something of a commentary by Shakespeare on European exploration of new lands. When European explorers found new lands, many possibilities surfaced, and one of them is allure of colonialism.

<span style="color: black; display: block; font-family: Tahoma,sans-serif; font-size: 10pt; text-align: center;">In the Tempest, the nearly uninhabited island presents to anyone who winds up there a sense of infinite possibility. Prospero was sent there and he made it his home, raising his daughter Miranda. Caliban’s mother, Syrocax, lived there and did her magic there after being exiled to the remote island from Algeria. Caliban became Propero’s slave after Prospero’s arrival. He was once the lone inhabitant of the island and in Act 1 Scene ii, he laments the fact that he was once his own king, ‘This island’s mine by Sycorax my mother, Which thou tak’st from me…Which first was mine own king’<span style="color: black; font-family: Tahoma,sans-serif; font-size: 10pt;">. In Act II Scene I, Gonzalo envisions a utopian society on the island while he comforts Alonso, ‘I’th’ commonwealth I would by contraries execute all things…no sovereignty’ and Sebastian says ‘Yet he would be king on’t’<span style="color: black; font-family: Tahoma,sans-serif; font-size: 10pt;">. In Act III Scene ii, Stephano imagines himself ruling a utopian society on the island as he was suggested by Caliban to kill Prospero: ‘Monster, I will kill this man. His daughter and I will be King and Queen’<span style="color: black; font-family: Tahoma,sans-serif; font-size: 10pt;">. Prospero, Caliban, Gonzalo, Stephano, these characters all envisioned ruling the island and building a utopian society there, with all its infinite potentials. Also, while Prospero, Gonzalo and Stephano can represent the colonial impulses in the Tempest, there is only one character which can represent the colonized and that is Caliban who is enslaved by Prospero.

<span style="font-family: Calibri,sans-serif; font-size: 10pt;"> http://www.penguinclassics.co.uk/nf/shared/WebDisplay/0,,82548_1_10,00.html <span style="font-family: Calibri,sans-serif; font-size: 10pt;"> <span style="color: black; font-family: Arial,sans-serif; font-size: 9pt;">Shakespeare, William, and Rex Gibson. "Act I Scene II" //<span style="color: black; font-family: Arial,sans-serif; font-size: 9pt;">The Tempest //<span style="color: black; font-family: Arial,sans-serif; font-size: 9pt;">. 5th ed. Cambridge: Cambridge UP, 2000. 25. Print <span style="font-family: Calibri,sans-serif; font-size: 10pt;"> <span style="color: black; font-family: Arial,sans-serif; font-size: 9pt;">Shakespeare, William, and Rex Gibson. "Act II Scene I." //<span style="color: black; font-family: Arial,sans-serif; font-size: 9pt;">The Tempest //<span style="color: black; font-family: Arial,sans-serif; font-size: 9pt;">. 5th ed. Cambridge: Cambridge UP, 2000. 25. Print <span style="font-family: Calibri,sans-serif; font-size: 10pt;"> <span style="color: black; font-family: Arial,sans-serif; font-size: 9pt;">Shakespeare, William, and Rex Gibson. "Act III Scene II." //<span style="color: black; font-family: Arial,sans-serif; font-size: 9pt;">The Tempest //<span style="color: black; font-family: Arial,sans-serif; font-size: 9pt;">. 5th ed. Cambridge: Cambridge UP, 2000. 25. Print

<span style="display: block; font-family: 'Times New Roman',serif; text-align: center;">Whitney's Reflection <span style="font-family: 'Times New Roman','serif';">Shakespeare’s “The Temepst” and its <span style="font-family: 'Times New Roman','serif'; font-size: 16px;">historical context of colonialism

====<span style="font-family: 'Times New Roman','serif';">Before I started my reading on the context of the play, I saw that the roles and significance of the characters were clearly defined. Prosper, the rightful ruler of Milan, was the protagonist. While Caliban the barbarian, Antonio and Sebastian the usurpers were the antagonists that causes disorder in the plot. ==== ====<span style="font-family: 'Times New Roman','serif';">However, after reading about the historical context of colonialism in the play, I found out that as <span style="font-family: 'Times New Roman','serif'; font-size: 16px;"> inspired by the significant Bermudas shipwreck in 1609, Shakespeare wanted to raise practical issues of colonization and foresee the ethical issues that could possibly arise from the phenomenon through his play //The Tempest//. <span style="color: #000000; font-family: 'Arial','sans-serif'; font-size: 14.6667px;">[1] <span style="font-family: 'Times New Roman','serif'; font-size: 16px;"> Shakespeare himself was acquainted with members of the Virginia's company, which sent the ship to the Bermudas. He knew men who gave serious consideration to the whole problem of Colonization of America ; as well as others financially interested in the plantation. <span style="color: #000000; font-family: 'Arial','sans-serif'; font-size: 14.6667px;">[2] <span style="font-family: 'Times New Roman','serif'; font-size: 16px;"> The play was also Shakespeare’s personal response to the burgeoning presence of sea travel literature, such as “The True DeDeclarationIt was a publication that served a propaganda: defending colonization by emphasizing the importance of faith in God for provision, and has authority from solomon's trade to Ophir. There is room for all, and in no case should the natives be considered civilised people. <span style="color: #000000; font-family: 'Arial','sans-serif'; font-size: 14.6667px;">[3] ==== ====<span style="font-family: 'Times New Roman','serif'; font-size: 16px;">The presence of pre-established plantations through colonialism raised urgent practical problems, but were colored by biblical, classical and medieval or Mandevillian connotations that provided possibilities to Shakespeare. This reflects the paradox in the RaRenaissancettitude to natural man which is examined in the play. The confusion of interests are harmoniously shown in Shakespeare's play. <span style="color: #000000; font-family: 'Arial','sans-serif'; font-size: 14.6667px;">[4] ====

====<span style="font-family: 'Times New Roman','serif';">This significantly changed my interpretation of the roles in the play, especially that of Prospero and Caliban. Before my reading, I interpreted Shakspeare’s view on European colonization as a benevolent role to ‘civilize’ primitive society. This was shown through examples such as how Miranda teaches Caliban her language, which explains why he speaks in prose similar to that of the royals. ====

====<span style="font-family: 'Times New Roman','serif';">Though both Calibana and Miranda are both first generation of native islanders, descended from their immigrant parents, there is a strong contrast in their behavior. Miranda took pity on Caliban, yet he never took gratitude for her compassion. Instead, he attempted to take her virginity. This seems to label Miranda and her father, the Europeans as the fraction of society that are civilized by nature. They are obligated to either educated other primitive races to become “cultured”, or enslave them so their “barbaric instincts” may remain in check, which became the case for Caliban. I initially saw Shakespsare’s stance as coinciding with that of the western Imperialists, that just as Prospero enslaved Caliban to control his wild nature, the colonists should do the same to the natives of the plantations.====

====<span style="font-family: 'Times New Roman','serif';">However after reading, I realize when Shakespeare addresses the issue of colonization, his stance on the role of the colonizer is ambiguous. He invites the audience to freely interpret where the colonizer is the oppressor, the usurper or the ambassador for civilized society. In the play, the Europeans (namely Prospero, Antonio, Golanzo, and Sebastian) are portrayed as colonizers. Surprisingly, as are Sycroax and her son Caliban. Sycroax enslaves the native spirits of the island when she arrives from the cottage. While Prospero uses Ariel as his servant in repayment for emancipating him from Sycroax, and enslaves Caliban as punishment for attempting to rape his daughter. In the play, thel conflict between Caliban and Prospero are parallel to that between Prospero and his usurpers. The original possessor of power, let it be over the kingdom of Milan or the island, is displaced then replaced by another individual. Such parallelism questions the lines of ethics: if it was correct for Prospero to remove Caliban from power over the island, then was it justified for Antonio to usurp Prospero for neglecting political matters? Hence, I learnt how “The Tempest”, as intended by Shakespeare, is an open piece of text that raises numerous issues, but invites the audience’s opinion. ====

<span style="color: #000000; font-family: 'Arial','sans-serif'; font-size: 14.6667px;">[2]. ibid.

<span style="color: #000000; font-family: 'Arial','sans-serif'; font-size: 14.6667px;">[3] ibid.

<span style="color: #000000; font-family: 'Arial','sans-serif'; font-size: 14.6667px;">[4] <span style="font-family: 'Times New Roman','serif'; font-size: 16px;">Shakespeare, William, and Frank Kermode. P.xxxiii

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//**Ray Jang's reflection**//

<span style="font-family: Georgia,serif;">Given that I had studied, interpreted, and performed //Romeo and Juliet// and Shakespearean theatre for my Honors English Class, I was definitely excited about assimilating what I had learned to my readings of //The Tempest.//

<span style="font-family: Georgia,serif;">After my first read, I wanted to discover the socio-historical context and develop my understanding of the play. //The Tempest// was first performed on November 1st, 1611 in Whitehall with the attendance of King James I. Having sponsored Sir Walter Raleigh’s trip to South America, James I was interested in colonization. Although King James wrote a treatise on magic in 1603, it is important to note that the themes of love and reconciliation superseded Prospero’s magical powers.

<span style="font-family: Georgia,serif;">During Shakespeare’s time, witches were being burnt. It is important to stress that there were people who still believed in the power of magic. This was strongly due to the fact that education was lacking for the greater population and there was no natural explanation for events.

//<span style="font-family: Georgia,serif;">Themes //

<span style="font-family: Georgia,serif;">After my second read of //The Tempest,// there were a few recurring themes that I found particularly intriguing.

<span style="font-family: Georgia,serif;">The theme of God and humanity is suggested in an allegorical manner by Prospero’s probable representation as God and the island as the Garden of Eden. Some modern readers have interpreted Prospero, at best, as a character of omniscient paternalism; at worst, a cruel manipulator. In relation to the recasting of a few biblical stories, the usurpation of Prospero reminded me of the story of Cain and Abel and to a lesser extent, Satan’s battle against God.

<span style="font-family: Georgia,serif;">From the socio-historical context, //The Tempest// may have represented the usurping of Richard III’s throne by Henry VII. At the Battle of Bosworth Field in 1485, Richard was killed and it was through this that Henry VII became king.

<span style="font-family: Georgia,serif;">Magic is another recurring theme that is used by Prospero and Ariel. The tempest is indicative of the control Prospero has over everyone in the play. Although no one is hurt, they all suffered to a certain degree. Prospero’ magic is disciplined through is learning and temperance during his liberal art studies, and in a sense, a symbol of his control of nature. The strong supernatural presence is likely to also control the sense of captivation, curiosity, and bafflement to both readers and audiences alike.

<span style="font-family: Georgia,serif;">Historically speaking, //The Tempest// had to follow the 27 May 1606 statue that prevented swearing in plays. One could be fined 10 pounds (a lot of money at the time) for profane use of God, of Jesus Christ, of the Holy Ghost or of the Trinity. Thus, the references to Christianity were minimized, but Shakespeare still made some allusions to the gods of classical mythology.

//<span style="font-family: Georgia,serif;">Quotes // <span style="font-family: Georgia,serif;">An American feminist once wrote in 1984 that Shakespeare’s plays are ‘symbolic transformations of ambivalence about gender relations’.

<span style="font-family: Georgia,serif;">Kermode wrote that ‘Art is not only a beneficent magic in contrast to an evil one, it is the ordination of civility, the control of appetite, the transformation of nature by breeding and learning; it is even, in a sense, the means of Grace’ (p. xlviii)

//<span style="font-family: Georgia,serif;">Structure // <span style="font-family: Georgia,serif;">To a certain extent, //The Tempest// is a ‘fairy tale with magical occurrences, suspension of the laws of nature and a happy ending, but it is more than this.’ It provides a connection between suffering and purification, the mere difference between civilized and uncivilized people, and the effects of colonialism.

<span style="font-family: Georgia,serif;">Shakespeare employed what is called the ‘classical unities of time, place and action’. By definition, the unity of time is the length of time taken by the //action// in a play that should match up to the length of time taken to perform the play. For example, //The Tempest// could be performed in less than two hour, while the action can be calculated to last for less than four hours.

<span style="font-family: Georgia,serif;">We are given background information on Claribel’s marriage to a Muslim, Sycorax’s past ownership of the island, and etc. Thus, //The Tempest// provides a silenced resonance that may force the audience to question the play in more depth. For example, why is Prospero’s wife never mentioned? How has Prospero transformed in the last Act of the play?

<span style="font-family: Georgia,serif;">Besides the first scene, the rest of //The Tempest// takes place on the island. It also has only one plot, which is Prospero’s desire to regain his dukedom and to break loose from the evil that has been imposed on Prospero and Miranda. Critics have suggested that Shakespeare adhered to the structure of //unities// mainly because he wanted to prove his ability as a playwright in his last play.

<span style="font-family: Georgia,serif;">Thus, the play concentrates more on the ‘ability to emphasize the themes rather than for strict, naturalistic accuracy.’ The exact location of the island is never specified, but the island’s strangeness, mystery, and romance allows it to exercise the freedom to portray magical charms that can invoke a tempest.

//<span style="font-family: Georgia,serif;">Title of the Play //

<span style="font-family: Georgia,serif;">As mentioned above, //The Tempest// is, at its most basic level, a fairy tale. Shakespeare has employed the tempest and the storm as tools to transport characters from their natural world and into a mysterious island where ‘love and reconciliation are magically allowed to conquer hatred and envy.’

<span style="font-family: Georgia,serif;">Critics are almost certain that //The Tempest// was Shakespeare’s last play and that it was probably written in 1611. It was performed once on November 1611 at the court of King James and was presented again at the court during the winter of 1612-1613 as part of the entertainment provided by King James in celebration of the betrothal of his daughter Elizabeth to Fredrick, Thus, the play has certain ‘courtly elements’, as suggested in Act IV.

<span style="font-family: Georgia,serif;">During the class discussions, I remember I questioned the originality of //The Tempest.// I discovered in my research that Shakespeare might have developed his ideas from Montaigne’s essay ‘Of Cannibals’, a play called ‘A Discovery of the Bermudas, and the German contemporary play ‘//Die Schone Sidea (The Lovely Sidea)//’.

<span style="color: #333333; font-family: Georgia,serif;">Todd, Loreto. //<span style="color: #333333; font-family: Georgia,serif;">"Tempest": William Shakespeare (York Notes Advanced) //<span style="color: #333333; font-family: Georgia,serif;">. 1st ed. Longman, 2003. Print.
 * <span style="color: #333333; font-family: Georgia,serif;">Bibliography **

<span style="color: #333333; font-family: Georgia,serif;">Daniell, David. //<span style="color: #333333; font-family: Georgia,serif;">An introduction to the variety of criticism – The Tempest //<span style="color: #333333; font-family: Georgia,serif;">. New Jersey: Humanities Press International, 1989. Print.

<span style="color: #333333; font-family: Georgia,serif;">Kermode, Frank. //<span style="color: #333333; font-family: Georgia,serif;">The Tempest (Arden Shakespeare) //<span style="color: #333333; font-family: Georgia,serif;">. Van Nostrand Reinhold, 1989. Print.

Zareen's Reflection
With experience in performing few Shakespeare’s tragedies such as Macbeth, I can claim to have truly experienced Shakespeare on the stage. Despite this, I had not extensively studied The Tempest before, and I was struck by the power of the play and the unusual combination of wit, tragedy and romance.

Initially, having conducted limited socio-historical research onto the last few years of Shakespeare's play, I interpreted The Tempest as a great masque with allusions to mystical creates and Greek and Roman gods (Juno and Ceres) and spectacular stage effects, which led me to compare the play with to A Midsummer Night's Dream, known for the inclusion of mythological characters and surreal scenes, which was written 17 years before.

However after second reading of The Tempest, it was evident that Shakespeare delves deeper into the greed-ridden and corruptibility of human nature through the rounded characters of Alonso and Caliban to name a few. Political and authoritative conflicts were also explored in different contexts between Prospero and Antonio, brothers, and Prospero and Caliban, master and slave. This adds a new shade of meaning to the chosen title of "The Tempest", representative of the political and emotional calamities befalling Prospero, Alonso and other conspiring members of the royal courts of Milan and Naples. I compare this to my previous study of the modernized version "The Enchanted Island" where the element of tragedy was unfortunately dampened through the introduction of more comedic elements and music.

I could merely identify superficial themes in my first reading, the most obvious of which was freedom and enslavement. The enslavement of Caliban and Ariel, natives of the island by Prospero was perhaps the most literal interpretation of the above theme, to highlight the duties of a servant and the responsibilities of a master in the social hierarchy of the island. Dramatic tension in the dialogues between master Prospero and slave Caliban characterizes Caliban to be a 'hag-seed' who attempted to rape Miranda, leading the audience to believe Caliban to be an irresponsible slave deserving of ill treatment throughout the play. Considering that Caliban is indigenous to the island, his enslavement came across as unjustified in my initial reading. Another injustice done to Caliban is that the audience sides with protagonist Prospero as he suffers his great misfortune of exile and dethronement, where Prospero is no better than Sycorax who imprisons Ariel in a pine tree. Great irony lies in the fact that she is considered as a “blue-eyed hag” and “foul witch” in Act I by Prospero himself, a magus who also confines Ariel into his servant-like role for twelve years.

Admittedly, before conducting socio-historical research on 17th century Britain, I knew little about the paradigm of hierarchal constraints of social classes at that time and consequently found the derogatory treatment of Caliban highly unfair. Upon realising that in Elizabethan times, absolute social order protected the monarch and aristocracy in the highest tiers of society, the divine right of kings was unquestionable and hence embedded the mentality that complete respect and servitude for one ’ s masters was required of the lower classes. Relating this back to Caliban’s treatment, I realise that Prospero’s comparatively more reputable and learned background automatically places him in a higher class than Caliban, who to Prospero and Miranda, is uncivilised and uneducated. While Prospero educates Caliban on astronomy and civilized language, Shakespeare weaves in the Elizabethan mindset that Caliban is automatically required to serve Prospero and is subject to any form of treatment including dispossession of his island and language.

Delving deeper into the theme of enslavement, the events of May 1609 where a number of shipwrecked members of the //Sea-Adventure// attempted a mutiny of ship supplies to stay in Bermuda while the others successfully attempted to sail on and colonize Virginia have certain influences on the play.

Firstly, Shakespeare alludes the events of the shipwreck to the tempest in Act I, where the fates of both royal ships carrying Prospero and Miranda and also the Italian sovereigns many years later are very much akin to the //Sea-Adventure//, surviving and being washed up ashore on an island against all odds. From this, I can assume that Shakespeare may have based the events of the play in the lush setting of Bermuda.

Secondly, the involvement of attempted mutiny by Antonio and Sebastian against the sleeping Neapolitan king Alonzo alludes to of the failed British mutiny on the Bermudas. This scene once again supports the theme of supreme authority of higher social classes and that attempted rebellion against authority is representative of disorder that must be rectified. By delving further into the history of 17th century Britain, I discovered that the failed Gunpowder Plot by Guy Fawkes against the British parliament occurred in 1605, a few years before The Tempest was written. This may have also helped develop the above theme where rebellion against authority is doomed to fail as society favours balance.

Lastly, referring back to the style of the play and its unusual incorporation of mystical elements, this may be explained by the governing monarch King James I and the popularity of masques within the court. Shakespeare incorporated spectacular stage effects such as the re-enactment of the tempest in Act I and the grandeur of banquet and wedding settings in Acts III and IV, pandering to audiences of upper as well as lower classes at that time.

Finally, noticing that that this play marks the finale of Shakespeare’s writing career, I believe he may have wished to put on a spectacular montage of a complex tragicomedy with rounded characters in addition to visually appealing stage effects as a montage of his writing career, explaining why all the varying elements of humour, tragedy, romance are present in this play. Perhaps Prospero was a vessel of communication between Shakespeare and his audience, announcing his retirement in a soliloquy in the dénouement of the play.

To conclude, after reading the original version of The Tempest multiple times, and after socio-historical research into 17th Century British events and class structure, I have come to understand how the above have inspired Shakespeare into shaping the plot to reflect the themes of absolute authority and portrayals of freedom and enslavement through the interactions of various characters, and also how the type of audience and theatrical conventions influenced the incorporation of a balance mystical elements and true reflections of human nature.

1. Shakespeare, William, and Rex Gibson. "Act I." //The Tempest//. 5th ed. Cambridge: Cambridge UP, 2000.Print.
 * Bibliography:**

2. Sommerville, J. P. "Absolutism and the Divine Right of Kings." History Department, University of Wisconsin. Web. 31 Aug. 2011. <http://history.wisc.edu/sommerville/351/351-172.htm>.

4. "Shakespeare and the Shipwreck." //Shakespeare in American Life//. Folger Shakespeare Library. Web. 31 Aug. 2011. <http://www.shakespeareinamericanlife.org/identity/shipwreck/shipwreck.cfm>.

6.Gerard, John. //What Was the Gunpowder Plot?// London: Osgood, McIlvaine, 1897. Print. 190.

Shakespeare, William, and Rex Gibson. "Act I." //The Tempest//. 5th ed. Cambridge: Cambridge UP, 2000. 25. Print. Sommerville, J. P. "Absolutism and the Divine Right of Kings." History Department, University of Wisconsin. Web. Shakespeare 31 "Shakespeare and the Shipwreck." //Shakespeare in American Life//. Folger Shakespeare Library. Web. Shakespeare Act II 61 Gerard, John. //What Was the Gunpowder Plot?// London: Osgood, McIlvaine, 1897. Print. 190.

Thomas's Reflection: Before my background reading, the tempest seemed to be an simple and straight forward play where Prospero manipulates all the other characters to achieve his ultimate 'happy ending' where he regains his status as the duke of milan.

However upon gaining a more comprehensive understanding of the social-historical background surrounding the play, some of the major themes within the play surfaced, allowing me to gain a greater understanding of the techniques used in the play to highlight these themes.

The English people of the Renaissance period were aware of the government's efforts to explore and colonize distant lands. Shakespeare may have been inspired to incorporate a shipwreck into the plot occurring since there was a manuscript on the matter circulating London at the time. Which may have lead him to include the themes of exploration of the new world within the play, as demonstrated through the characters on the shipwreck exploring the island.

When Shakespeare was writing the tempest, the Jamestown colony was established in America. Society was particularly interest in indigenous life and colonization at the time. This is reflected through some major themes established throughout within the play, where he tries to probe at controversial ideas such as power and rule, who has the right to rule a land, and is it just to forcefully establish a rule in foreign land.

The relationship between master and slave, Caliban and Prospero, allows Shakespeare to explore this issue. Caliban, representing the line of indigenous people who society is fascinated by, is the last inhabitant of the island and believes that he is the rightful owner and ruler of the island. As shown when he tells Prospero "This island's mine, by Sycorax my mother, Which thou takest from me. When thou camest first", indicating his belief that Propero forcefully taken his rule of the island away from him through his magic an sorcery. The manner in which Prospero gained his power is parallel to how countries would gain power of foreign nations in Shakespeare's time, through force and oppression. Prospero gains power over the island and Caliban through oppressive rule, showing no respect for Caliban, calling him "A freckle whelp-bag-not honored with A human shape", and constantly threatens him with physical harm by "Fill all thy bones with aches, make thee roar That beasts shall tremble at thy din.".

Shakespeare uses this scenario to draw a parallel with that occurs in society at the time. Prospero demonstrates oppressive rule of Caliban through his constant mistreatment and discrimination. The portrayal of Caliban reflects society's view on indigenous people, he is uneducated and when Trinculo and Stefano meet him, they want to make a profit off him by displaying him as an indigenous monster; it is evident that Caliban receives poor treatment and is an oppressed person throughout the entire play, he is also the son of a witch and devil, a heavy taboo in society at the time.

On the same note of power, Shakespeare further develops this theme through the plot where Prospero reclaims his dukedom through force. Prospero lost his dukedom to his brother Antonio when he was betrayed, he believes that his position was 'stolen' from him and should be rightfully his, and reclaims it through the use of force. Prospero believes that "The creature that were mine, I say-or changed' em,". This indicates Prospero's belief that Antonio changed his people to prefer Antonio's rule over his own. Shakespeare tries to present the question to his audience what defines 'rightful' when it comes to power and ruling. Antonio gained his dukedom through deception and thievery, while Prospero reclaimed is through force, but Prospero seems to believe that he is just by reclaiming his power through force. Shakespeare probes the topic of whether Antonio is 'rightful' to his dukedom also, or whether Prospero's methods are unjust.

"The Tempest: Background Info", //Lit Charts//, <http://www.litcharts.com/lit/thetempest/backgroundinfo> "English Renaissance", //Wikipedia, the Free Encyclopedia//, 31.Aug.2011. <http://en.wikipedia.org/wiki/English_Renaissance>

====<span style="font-family: Calibri,sans-serif; font-size: 12pt;">Throughout the read, The Tempest seemed to me simply as a tragic-comedy, and the whole setting and plot of the story appears to be imaginary and quite fantastical, especially with the use of magic and fairies. The plot also seems to be driven by Prospero regaining his rightful position as the Duke of Milan. Yet after the readings, ruling and colonization appeared to be a dominant theme in the play. Through the readings, the play is shown to draw upon the travel literatures of the days, specifically J <span style="color: black; font-family: Calibri,sans-serif; font-size: 12pt;">ourdain’s //A Discovery of the Bermudas (1610)//. Within the document, the journey to Virginia was recorded, and it was mentioned that “For forty-seven days the fleet proceeded without mishap; but as it neared the shores of the New World it was suddenly overwhelmed in "a most dreadfull Tempest." The "windes and seas," we are told, became "as mad as fury and rage could make them"; a "hell of darkness" settled upon the waters; crashes of thunder "overmastered the senses of all"; and, to the amazement of the superstitious, on the Admiral-ship appeared "a little round light, like a faint Starre, trembling and streaming along with a sparkling blaze, halfe the height upon the Maine Mast, and shooting sometimes from Shroud to Shroud... running sometimes along the Maineyard to the very end, and then returning." This "terrible tempest," almost supernatural in kind, continued for two full days and nights, during which time the ships were scattered "one from another"; some sprang leaks that treatened imminent disaster, others lost their masts overboard, and all were seriously damaged”(Jourdain, //A Discovery of the Barmudas (1610),// <span style="color: black; font-family: Calibri,sans-serif; font-size: 12pt;">Introduction, P5). Moreover, <span style="font-family: Calibri,sans-serif; font-size: 12pt;">in the readings, it is shown that in 1606, Jamestown in Virginia was colonized by the British Virginia Company Expedition (Wikipedia, Colony of Virginia - Jamestown). Throughout the Tempest, characters such as Lord Gonzalo and Stephano both ponder on how to rule the island. From lines 142-150 in Act 2 Scene 1, Lord Gonzalo demonstrates a more communist/utopian view of ruling, where everyone shares everything and there are no social hierarchies: “ <span style="color: black; font-family: Calibri,sans-serif; font-size: 12pt;">I' th' commonwealth I would by contraries, Execute all things. For no kind of traffic, Would I admit. No name of magistrate. Letters should not be known. Riches, poverty, And use of service—none. Contract, succession, Bourn, bound of land, tilth, vineyard—none. No use of metal, corn, or wine, or oil. No occupation. All men idle, all. And women too, but innocent and pure. No sovereignty—“. <span style="font-family: Calibri,sans-serif; font-size: 12pt;"> Contrary, in lines 100-104 of Act 3 Scene 2, the drunk Stephano demonstrates ruling the island as king: <span style="color: black; font-family: Calibri,sans-serif; font-size: 12pt;">Monster, I will kill this man. His daughter and I will be king and queen—save our graces!—and Trinculo and thyself shall be viceroys.—Dost thou like the plot, Trinculo? ”<span style="font-family: Calibri,sans-serif; font-size: 12pt;"> Through these two dialogues, it is evident that the English colonization seems to play a part in The Tempest as a theme for audiences at the time to ponder on how the colonizing nation should rule. ====

==== Jourdain, Silvester, and Joseph Quincy Adams. //A Discovery of the Barmudas (1610)//. Questia.com. Web. <http://www.questia.com/library/book/a-discovery-of-the-barmudas-1610-by-joseph-quincy-adams-silvester-jourdain.jsp>. ====

Cheryl’s Reflection

I’ve had a brief taste of Shakespearean works in literature courses before and I remember greatly admiring Shakespeare’s imagination before realizing that Shakespeare drew inspiration from previous existing tales for // Romeo and Juliet //. Imagine my pleasant surprise when, after exploring more about // The Tempest //, I found out that it was one of the only two works of Shakespeare with a completely original plot. However despite not borrowing from existing tales and history, // The Tempest // does draw heavily on events dating from the before the early 1600’s. It was written in the early 1600’s and a prominent event that featured in travel literature of that time was a tempest off the Bermudas that almost destroyed a fleet of colonial ships travelling from Plymouth to Virginia.

Indeed the theme of colonialism was prominent in // The Tempest. // At the time it was written, most of the known was being explored and Prospero can generally be seen as the colonizer, taking over the island from its original “king”, Caliban. The loss was greatly mourned by the latter when he proclaimed, “ This island’s mine by Sycorax my mother, Which thou tak’st from me…Which first was mine own king” [1] Seeing the play through the lens of colonialism during my second read gives meaning to all the characters habituating the island. The desire to colonize unexplored places is explored through the actions of the characters. Prospero takes over as the ruler of the island when he arrived and raises his daughter there. The shipwrecked sailors, from Lord Gonzalo to Stephano, all imagine themselves ruling the island and pondering its fate under their rule. Another colonist mentality shown by Prospero is his dislike of the island and the feeling of belonging to his true home in Milan. Despite residing and making a home on the island, Prospero does not attempt to disguise his feelings of dislike of the island that has sheltered him. In fact he keeps referring to it as "a poor cell" and "a poor court" [2]. His determination to retain allegiance to his old-world home is typical of an indifferent colonist, who after using the island for his own gains, abandons it at first opportunity. The characterization of the colonizers also helps to enhance the perception of the superiority of the European colonizers. Prospero and Miranda are both shown to be civilized and learned with integrity and strength of character, as shown by Prospero’s knowledge and Miranda’s compassion to Caliban. The original inhabitants of the island are also shown be similar to those colonized. Caliban and Ariel, original habitants of the island, were required be loyal to and to serve Prospero, who by virtue of being the colonizer, was entitled to their servitude and possession of their property. With colonialism as a theme in mind, I saw Caliban representative of a rebellious and suppressed race. Bitter at being enslaved by Prospero, he rejoiced at the idea of gaining his freedom. In his song, he sings of "freedom, high-day, high-day freedom..." [3]. Another solution to overcome colonialism, negotiation, is represented by the character Ariel. Colonialism can be seen in almost all the characters and reflect the attitudes of all those involved.

Historical records indicate that at the time // The Tempest //was finished, Shakespeare retired to Stratford to live a quiet life with his family. Like Prospero, Shakespeare was a creator and an artist. He created dramas and characters with something akin to Prospero’s magical conjuring. Prospero’s retirement and speech was often interpreted as Shakespeare’s farewell to the stage. In his farewell speech in Act 5 [4], Prospero described his feats of magic, as an acknowledgement of his genius and achievements. His renouncement of his magical powers can be seen as almost autobiographical on the part of Shakespeare who is renouncing the magic of his pen. Facing retirement, Shakespeare was probably just as plagued with the melancholy feelings of retirement and wistful resignation expressed by Prospero in the play.

[1]Shakespeare, William, and Rex Gibson. "Act II Scene I." //The Tempest//. 5th ed. Cambridge: Cambridge UP, 2000. 25. Print

[2] Shakespeare, William, and Rex Gibson. "Act III Scene I." //The Tempest//. 5th ed. Cambridge: Cambridge UP, 2000. 25. Print

[3] Shakespeare, William, and Rex Gibson. "Act II Scene II." //The Tempest//. 5th ed. Cambridge: Cambridge UP, 2000. 25. Print

[4] Shakespeare, William, and Rex Gibson. "Act V Scene I." //The Tempest//. 5th ed. Cambridge: Cambridge UP, 2000. 25. Print

Blibiography: "Study Guide for the Tempest". //The// //Glencoe Literary Library//. <http://www.glencoe.com/sec/literature/litlibrary/pdf/tempest.pdf> “The Tempest”. //Spark Notes.// Web. 10 Sep 2011. <<span style="color: black; font-family: Tahoma,sans-serif; font-size: 9pt;">http://www.sparknotes.com/shakespeare/tempest/context.html> "Post-colonial Literature in English". //Dennis Walder.// (Blackwell, 2002), pp. 7-10 "The Tempest Study Guide" //Absolute Shakespeare.// Web. 10 Sep 2011 <http://absoluteshakespeare.com/guides/tempest/tempest.htm> "The Tempest and Colonialism Revisited" //eNotes.// Web. 10 Sep 2011 <http://www.enotes.com/tempest/tempest-colonialism-revisited>

Prior to reading about the background and analyses of the play, //The Tempest// seemed merely a comedy of somewhat ridiculous and outrageous happening on a fictional island. Prospero seemed a mischievous character using his magical powers to torment the island’s new comers, creating sub-plots in the play.
 * Brandon**

However upon further background reading, the significance of Caliban and Miranda’s actions and as characters actually represent social norms and reinforces themes of power. Caliban’s character in contrast to Prospero provides an idea of social hierarchy of the Renaissance world, which man (Prospero) rules over beast (Caliban). Caliban is represented ambiguously, but I would agree mainly he represents the population of the disadvantaged - be it the victims of colonization or the social position of scholars and students during Elizabethan times. Miranda’s position as Prospero’s daughter also highlights the importance of the feminist movements which push for greater equality for women.

Shakespeare presents the idea of equality and challenging the social injustices of that period. Caliban, being one of the original inhabitant of the island is overpowered partly because of his appearance as a “moon-calf” which segregate and differentiates him from normal human beings, but also because of his advances on Miranda. If he had not been stopped, Caliban would have “peopled else / this isle with Calibans.” This quote denounces the humanity of Caliban and implies the inferiority of Caliban’s status that his basic “human” impulse to reproduce is thwarted by Prospero, a figure of authority. His actions are comparable to that of uncivilized beings or untutored animals, which reflects his perception of freedom. This brings out the theme which challenges the authority of Prospero to enslave Caliban. Relating to the historical background of the play, Shakespeare may have been expressing that the American’s colonization of Jamestown in 1963 was a abomination of human rights and the freedom of the location’s inhabitants.

Miranda or in another sense, Miranda’s body is regarded as a valued commodity which is traded amongst men - from father to husband. During Shakespeare’s writing of the tempest, women’s attempts for equality were suppressed and attacked by the King, Clergy and many male writers. With the improvements of printing during that period, distribution of these ideas found easier access to a wider audience. In the Tempest, Ferdinand’s main concern regarding Miranda was “If you be maid or no?”, her chastity. Shakespeare seems to be creating an image that women were merely reproductive tools and lost value after her virginity is taken. The marriage of Miranda and Ferdinand denotes the Elizabethan period in which political marriages were common and the husband of the daughter is chosen as the father desires. Upon focusing on the political implications of Miranda and her marriage, Shakespeare is offering the opportunity for audience to realize the situation of women’s status and the lack of equality during Elizabethan times.

“The Tempest” //Sunline Press - Roland Leach.// Web. Sept 4th 2011 < [] >

“The Tempest by Shakespeare” //essortment.// Web. Sept 2nd 2011< [] >

“The Tempest” //Cliffsnotes//. Web. Sept 2nd 2011 < [] >

__** Sunan's refelection: **__

=
When I first read the Tempest, I found Prospero to be a very interesting character. Despite all the injustice and hardships he goes through, he forgives those who were responsible for them. His kind and forgiving nature could be compared to that of Christ, especially for the former’s redemption of Alonso and Antonio. He makes peace with Alonso through marrying his only beloved daughter, Miranda, with Alonso’s son, Ferdinand. This act of his brings out the theme of reconciliation at the exposition of the play. He frees his subjects Caliban, Ariel and other spirits. Thus, it seemed to me at first that Shakespeare portrays Prospero, the protagonist of The Tempest, as a very admirable character. ======

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However, after a deeper level of analysis, I realized that many actions of Prospero can be criticized. He treats Caliban very harshly, and although Prospero is strongly against injustice, ironically his behavior towards Caliban and Ariel can be deemed as unjust. Just freeing Ariel and educating Caliban does not give Prospero the right to enslave them. Also Caliban and Ariel are only native of the island, and thereby can be considered to be its rightful owners. However, what gives one the authority to rule a land is a debatable notion. Thus his exploiting and dominating nature cannot be appreciated. When Ariel asks him for freedom, he treats her very harshly. It seems as though Prospero needs to learn to control his temper. Moreover, his main intension behind uniting Miranda and Prospero is to reclaim power over Italy. It can be said that he uses and exploits his daughter for his own benefits. Thus, he seems to be very selfish as well. ======

=
Hence, I did some background research to find out why Shakespeare wants the audience to sympathize with and appreciate a character that has such flaws. And if Shakespeare does want the audience to approve of him, then why does he add those implicit flaws to his character? ======

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The Tempest was written in about 1610, the time when James I was the king of England<span style="color: black; font-family: Calibri,sans-serif; font-size: 12pt;">. It seems as though Shakespeare wanted to please the monarchs through his plays. Prospero, the rightful Duke of Milan can be considered to be a monarch. Hence, I feel that by making the audience sympathize with him, and in turn by portraying the character to be superior, powerful, kind and forgiving, Shakespeare wanted to please the king. ======

=
In fact I feel that in this play, Shakespeare refers to an event from history, known as the Gun Power plot. In 1605, a soldier named Guy Fawkes had tried to blow up the House of Lords, and assassinate James I and other important political personnels.<span style="color: black; font-family: Calibri,sans-serif; font-size: 12pt;"> However, his attempt failed, and he was discovered with 36 barrels of gunpowder with which Fawkes intended to blow up Parliament House. The conspirators were then arrested and they received the death penalty. Similarly, in the play, Stephano and Trinculo try to assassinate Prospero with the help of Caliban. But they fail, and Prospero punishes them very badly. Thus, it seems that Shakespeare is trying to flatter the king by depicting that attempts to over throw a monarch is likely to fail. Hence, he brings out the theme of social hierarchy, and power struggle. ======

=
<span style="color: black; font-family: Calibri,sans-serif; font-size: 12pt;">However, at a deeper level, Shakespeare is actually criticizing monarchy in <span style="font-family: Calibri,sans-serif; font-size: 12pt;">veiled ways, so as to get past the censor (the Stationer’s Register) who would not allow the play onstage if they determined that there was any kind of critique of the monarchy or seditious material.<span style="font-family: Calibri,sans-serif; font-size: 12pt;"> So, to get the play performed, it had to appear to flatter the monarch, while (so it is argued nowadays) on deeper analysis, the monarchs all display the worst tendencies of rulers. ======

=
Hence, although at first glance, Prospero appears to be a pleasing character, he does possess some of the worst traits that a ruler can have. He is manipulative, exploiting, dominating, selfish and has a short temper. His enslavement of Caliban and Ariel seems very wrong, and I feel that Shakespeare implicitly compares this to how monarchs often ill-treat their subjects; giving them orders after orders with nothing in return. Shakespeare also criticizes how one in the Elizabethan era could only thrive if he/she was a good subject. When Ariel asks for freedom, Prospero says, “If thou more murmur’st, I will rend an oak/ And peg thee in his knotty entrails till/ Thou hast howled away twelve winters.” However, Prospero promises to free her if she obeys him until he needs her. This brings out the theme that freedom needs to be earned. ======

=
So overall, it can be said that although Shakespeare portrays Prospero as an admirable character, it can be clearly seen that he has many flaws that an ideal ruler should not possess. At first glance, it seems that Shakespeare has been trying to please the monarchs; however a deeper level of analysis shows that Shakespeare has also pointed out many downsides of monarchy in The Tempest. Shakespeare has brought out many vital social issues through this play. ======

<span style="font-family: Calibri,sans-serif; font-size: 10pt;"> "Kings and Queens of England." // Historic UK - Living History and History Magazine //. Web. 11 Sept. 2011. <http://www.historic-uk.com/HistoryUK/England-History/KingsandQueens.htm>. <span style="font-family: Calibri,sans-serif; font-size: 10pt;"> "Gunpowder Plot." // Wikipedia, the Free Encyclopedia //. Web. 11 Sept. 2011. <http://en.wikipedia.org/wiki/Gunpowder_Plot>. <span style="font-family: Calibri,sans-serif; font-size: 10pt;"> "Shakespeare: Shakespeare's Plays and Monarchy, Shakespeare's Attempts to Flatter Monarchy, Chronicle Plays." // AllExperts Questions & Answers //. Web. 11 Sept. 2011. <http://en.allexperts.com/q/Shakespeare-3004/2010/10/shakespeare-plays-monarchy.htm>. <span style="color: black; display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">. [1]

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">[1] When I first read The Tempest, the play seemed like a simple drama play with a corny and happy ending where the protagonist ended with justice achieved. However, after reading the context of the books, I realize that it was a lot deeper and controversial that what may appear to me initially.
 * Frank**

1) The Tempest was written in the 17th century, also known as the era of colonization or age of discovery, where land mass foreign to Europe were discovered and colonized for their raw materials. <span style="font-family: 'Calibri','sans-serif'; font-size: 14.6667px;">[1] It also involved the enslavement of the indigenous settlers, which remains as a controversial event up to this date. From the Tempest, it is interesting to note that the issue of enslaving the natives was commonly pushed aside. In The Tempest, Prospero acts as the protagonist while his slave Caliban is portrayed as a weak, deformed monster. Prospero appears before the audience as God-like, possessing powers that eventually force his enemies from their positions, as well as punish Caliban for being disloyal to him. Although the message on whether enslavement is justified remains ambiguous, the play seemingly suggests that that authority can be placed on inferior races, as Prospero never explicitly regrets his actions against Caliban nor receives punishment. This may explain why the Europeans never stopped to coerce the natives and or why they continued to exploit them for their resources. It is interesting to note that while modern thinkers denounce slavery; this phenomenon was prevalent throughout Europe during the era of colonization.<span style="font-family: 'Calibri','sans-serif'; font-size: 14.6667px;">[2] The difference of moral judgments throughout history reflects on how people are inclined to change their perception of right and wrong in order to satisfy their needs. 2) The author of the Tempest, William Shakespeare, had fathered 2 daughters and baptized them at birth. Meanwhile, the protagonist Prospero, played by Shakespeare, was stranded alone with Caliban and his daughter Miranda on the island.<span style="font-family: 'Calibri','sans-serif'; font-size: 14.6667px;">[3] When Miranda meets Ferdinand, Prospero is quick to intervene, telling Ferdinand that he must not touch her before they wed. Ferdinand also judges Miranda on her virginity, stating that if she had not touched any other man, he would make her Queen of Naples. Considering that Shakespeare was playing the character of Prospero, it is very likely that he was suggesting his daughters to remain pure before marriage. Due to his religious principles, it may be probable that he placed importance upon the customs of Catholic, especially how one should not break to wedlock. What was curious was that Ferdinand was never required to be a virgin before marriage. In fact, he admits that he had many acquaintances during his princedom, none of whom could be compared to Miranda. This suggests that it was important whether the bride was virgin while it was not for the groom. This may be due to the rules imposed by the male-dominant society. 3) During the 1700s, the government of Italy was instable and weak, leading to several civil unrests as well as guerilla movements.<span style="font-family: 'Calibri','sans-serif'; font-size: 14.6667px;">[4] Corruption in Italy was also prevalent, leading to the poverty for the basic class. Curiously, the antagonist’s name is an Italian, which may be mocking the political instability of Italy during that period. Since Sebastian was responsible for the fate of Prospero, he is viewed as the nefarious character, which is strengthened when we realize he is also the cousin of Prospero. The nationality of Sebastian may refer to the unreliability of man and his greed and quest for power.

<span style="font-family: 'Calibri','sans-serif'; font-size: 13.3333px;">[1] [] <span style="font-family: 'Calibri','sans-serif'; font-size: 13.3333px;">[2] [] <span style="font-family: 'Calibri','sans-serif'; font-size: 13.3333px;">[3] [] <span style="font-family: 'Calibri','sans-serif'; font-size: 13.3333px;">[4] []