The Tempest William Shakespeare

The utilisation of time and place is of great consequence in the late plays, The Tempest and The Winter’s Tale. In the former, Shakespeare creates unity of both time and place in order to explore his central concerns, whereas the latter is...

Orientalism, as defined by Edward Said, is the system by which the West comes to understand the East by “making statements about it, authorizing views of it, describing it, by teaching it, settling it: in short, [. . . by] dominating,...

Both William Shakespeare and Eamon Flack cleverly invite us to experience and explore discovery through their texts, the tempest and ghosts, respectively. It appears common in both texts that a discovery of family betrayal prompts both Prospero in...

Intrinsic to the human experience is our innate desire to uncover and discover aspects about the world. Inevitably, this also means we understand ourselves and the others around us even more greatly. This notion is reflected to a great extent in...

William Shakespeare's The Tempest, and its adaptation, Hag-seed, by modern novelist, Margaret Atwood collides two contexts together into the one tale. The key illusions created by Prospero and Felix with aid of Ariel and 8Handz prompts penitent...

As humanity has evolved, individuals have become increasingly self-interested and insensitive toward others; morals and values within texts are subconsciously adapted to reflect these changes to suit the modern society in which we live. Exposure...

The relationship between Miranda and Ferdinand both challenges and reinforces gender roles in ‘the Tempest’. By proposing to Ferdinand herself, Miranda challenges the feminine expectation to be obedient or timid and asserts her own authority....

“It is not easy to escape mentally from a concrete situation, to refuse its ideology while continuing to live with its actual relationships,” said Albert Memmi in his influential book entitled The Colonizer and the Colonized. This statement...

Given that William Shakespeare was writing in a period when ‘blackness [was] one of the many qualities, physical or otherwise, that isolate[d] and acutely degrade[d] those who possess[ed] it’, and ‘the male dominance over women and children in the...

Sounds and noises play an important role in any book. All kinds of noises and sounds used by the author are significant in adding “flavor” to the story. Without such noises, readers would perceive the book as “flat” and it may become hard to...

In “Arts of the Contact Zone,” Mary Louise Pratt proposes the idea of “contact zones” as areas of interaction between cultures in the New World. Pratt defines “contact zones” as areas where cultures “meet, clash and grapple […] often in contexts...

The Tempest, is about a marooned sorcerer, Prospero who was exiled from both his land and his ruling position in Naples. As a result of this, Prospero is seething with rage. He uses his magical powers to crash the king-who happens to be his...

Shakespeare’s work, “The Tempest”, under the framework of the 21st century, may seem like a normal –even boring– play about a powerful man who takes advantage of a native person in order to conquer his island. No contemporary person would think it...

In both the Tempest and the Dialogues of Plato, the protagonists, Prospero and Socrates, make references to dreams and death, often correlating them to each other. These similarities are evident in two specific quotes, one from each work, which I...

Foils are common in Shakespeare—a pair of characters, usually very different but sharing certain commonalities, each highlighting the other’s qualities by contrast. Ariel and Caliban, despite both being servants of Prospero, act as foils to each...

Opposing the inherent evilness in Antonio, Gonzalo proves to be the perfect foil for Antonio in the Tempest. Besides Miranda, Gonzalo is the only character in the play who is the epitome of all that is good and just, in contrast to Antonio, who is...

Throughout William Shakespeare’s The Tempest, various instances of Prospero’s dialogue go unheard by other characters in the play; these lines are delivered through selectively audible asides, which can only be heard by the audience. Once the...