The abandoned damsel, the lonely daughter, the beautiful virgin... In The Tempest, Shakespeare depicts all of these ideal constructions of womanhood in his character Miranda. However, looking closely at the text reveals that Shakespeare had a...

The epilogue of Shakespeare's The Tempest, while separate from the body of work preceding it due to the nature of an epilogue, it is an integral part of the work. It provides resolution to an otherwise unresolved piece, and the piece actually...

Unholy Mothers: Mothers as Negative Characters in Richard III, Cymbeline, Hamlet, Macbeth and The Tempest

by, Barret Buchholz

April 15, 2005

The mothers presented in Shakespeare's plays encompass a broad range of social positions, personalities,...

While the magic of Prospero, the deposed duke of Milan at the center of Shakespeare's The Tempest, is frequently associated with art or creativity, this reading of the text seems incompatible with a substantial amount of textual evidence. Most...

The direful spectacle of the wreck, which touched

The very virtue of compassion in thee,

I have with such provision in mine art

So safely ordered that there is no soul-

No, not so much perdition as an hair

Betid to any creature in the vessel

Which...

The introduction of Ariel in the second scene of The Tempest raises some of the central issues in William Shakespeare's 17th-century play. Most notably, the themes of power, nature, and magic prove to be integral in shaping the audience's...

In the plays of Shakespeare, readers can find several issues of human nature addressed. In Othello, Shakespeare addresses jealously and racism. In King Lear, he addresses pride and love. In Romeo and Juliet, he examines fate. In The Tempest and...

One of the significant conflicts within Renaissance culture was how to rationalize the many instances of violence which took place in a society with such strong Christian values. While some preached from the New Testament of the importance of love...

Characters in Shakespeare’s Othello and The Tempest use stories to explain personal history or change the course of events. These are no simple tales; rather, they are complex and thought-provoking means of enriching each play and carrying action...

In William Shakespeare’s final play, “The Tempest,” the playwright spins a magical web of a story that, although being comedic and light-hearted, subtly addresses the issues of absolutism, power and the monarchy. The main character in “The Tempest...

Like a sculpture etched in bas-relief, the intrigue of The Tempest is depicted on raised stone, but the story’s substance depends entirely on a realm of negative space. To grasp the gender discourse present in Shakespeare’s drama, one must...

It is often noted that The Tempest is an odd play in Shakespeare’s canon; unlike any of his other works, with the exception of The Comedy of Errors, it observes classical unities of time and setting. Of all of Shakespeare’s opening scenes, the one...

Shakespeare writes many dimensions into the character of Prospero in The Tempest. He is loving and protective of his daughter, hard-hearted towards his enemies, and manipulative of his allies. Given the complexity of his character, rendering him...

In Shakespeare’s The Tempest, Prospero exerts wrathful influence over the island and his servants Caliban and Ariel cannot help but cower in humble obedience. Ariel is indebted to Prospero for freeing him from the dreadful darkness of the “cloven...

The concept of monstrosity, at an explicit representational level, has followed a set pattern in literature, but it has been politically deployed and modified differently in different contexts. Etymologically, the word “monster” is derived from...

The “fantastical” elements of The Tempest by William Shakespeare are made evident by the introduction of Ariel, the spirit, Caliban, the son of a witch, and Prospero, a banished duke who has mastered occult powers. Despite what seems to be an...

It appears that all comedies throughout all ages relies on the accuracy of its meta-commentary, all successful comedies inhabit a illusionary world filled with flickering shadows of truth and mirrors filled with elements of human behaviour. In...

“Be not afeard. The isle is full of noises,

Sounds and sweet airs that give delight and hurt not.

Sometimes a thousand twangling instruments

Will hum about mine ears, and sometime voices

That, if I then had waked after long sleep,

Will make me...

When analyzing two film adaptations of William Shakespeare’s 1610 play The Tempest, it becomes clear that the word “adaptation” is merely a broad term that barely describes the translations and deviations evidenced by the films themselves. Fred M....

A variant of prosperity, Prospero undoubtedly serves as the major manipulative authority throughout Shakespeare’s drama, The Tempest. Through a postcolonial reading of the text, one can discern that The Tempest is riddled with native characters,...

In Wertenbaker’s Our Country’s Good and Shakespeare’s The Tempest, techniques including scene titles, a play within a play, self-referencing and music are utilised in order to effectively convey messages that would not be as profound using only ‘...

Comic elements are often said to be integral in both in Our Country’s Good by Timberlake Wertenbaker and The Tempest by William Shakespeare. In The Tempest, the characters of Trinculo and Stephano are arguable almost entirely for comic effect,...

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...

During the 16th century, the court masque was a popular form of entertainment, one often used to celebrate the king and aristocracy. Shakespeare's greatest contribution to the genre was his play The Tempest, which masterfully wove the elements of...