Khonu's Rat Babies Ending

Khonu Alternate Ending
~Long Island, New York. Wednesday October, 1967.~ ~Khonsu's point of view ~
It was cool, crisp, and damp. The air outside was cold. You could see your breath, as if it was smoke
coming out of a dragon's mouth, as it took its last fiery breath.
"Settle down, settle down." Mrs.Baker said, and the entire class immediately silenced each other, as
it looked as if Mrs.Baker had something important to say. There was a moment of complete silence
where you could hear nothing but the heavy breathing of the students who had sprinted to get back
to their desks. Mrs.Baker stood up in the front of the room. She held up a slip of paper, and began to
speak. "Class," She stopped for a moment as if to attain the class's attention once more. "I have ...
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They would tear up books and assignments, and Caliban even bit a kid. But Mrs.Baker insisted we
kept Hathor, Bast, and Anuket. But that aside, the three little rat babies were angles. The complete
opposite of their parents. They were beautiful. They kept their fur, had pearly white teeth, and
behaved like angles. They never tried to escape. Not once. The class loved them. Everyone loved
them. And that's why Mrs.Baker was so sad to see them go when their time came four years later.
They lived a long life. Longer than expected. They were beautiful angles. Now that, ladies and
gentlemen, is where I took my leave.
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Essay The Tempest Play Verse Movie
The movie and the play of "The Tempest" both have many similarities in areas such as the
characters, the plot, the theme, and style. Although, the issue is that there are some rather large
discrepancies between the movie and the play, such as in the setting, some of the events, and even
missing characters. The first major similarity between the play ands the movie of "The Tempest" is
in the characters. To start, there is Prosper in the movie, who is Prospero in the play, both men are
wise old magically men who after being secluded to an island, show their indignation by trapping
many other characters with him using his magic in an odious way to conjure a storm. Then there is
Prosper(o)'s brother(s) who both use the ebbing political power ... Show more content on
Helpwriting.net ...
Also, the play is set on a large island in the middle of a large ocean, or sea; while the movie is set on
a little tiny island in the middle of a swamp in Louisiana. Although there are definite similarities
between the characters in the movie and the play, Prosper(o)' abominable brother for example, there
are many discrepancies between the movie and the play. One of the differences is that the far from
abstemious butler, Stephano; as well as the bard Trinculo. Another difference is that in the movie,
Ariel is a man, while in the Play; Ariel is an apparition or a spirit. Also, Adrian and Francisco , who
hardly have enough lines to give their salutations in the play, are not in the movie at all either. There
are also some differences, and some similarities between the play and the movie with some of the
events. One similarity is when Gata–Man/Caliban tries to get an indulgence out of Miranda when
she is young. There are many dissimilarities between the play and the movie, many of these are
caused by the absence of many characters. Even the absence of the malignant characters Stephano
and Trinculo are missing, removing the scene of Stephano finding Caliban and Trinculo, and
multiple other scenes. In the end, the movie and the play of "The Tempest" are very similar,
although they still have many discrepancies. Overall, "The Tempest" shows the precursors of many
movies, and remakes to

Examples Of Prospero's Use Of Power In The Tempest
While one could argue that Prospero is not justified in his use of power because he torments and
tantalizes individuals on the island, this position fails to account for the past in which Caliban,
Antonio, Sebastian, and Sycorax betrayed Prospero, his daughter, and other men. For example,
Prospero "pinch[s]" (1.2.392) Caliban and uses Ariel's magic to startle him. Then, Prospero enslaves
Ariel after rescuing him and later makes Ariel serve him despite the fact that Ariel did not commit
any crime towards anyone. Finally, Prospero launches a tempest that brings Antonio and Sebastian
to the remote island Prospero has been living on for the last twelve years of his life. Although these
examples seem brutal, this is Prospero's form of revenge after

An Ecological Translation of Shakespeare’s The Tempest Essay
IV
The Tempest places forward the rhythms of the dynamic Nature in the context of ever changing
society and the inconsistent human mind, but also how they reflect both elevated and distorted
symbolic association of humans and Nature: allusions to "pinch–spotted.... Than pard or cat o'
mountain", "welkin's cheek", "rotten carcass of a butt", "Jove's lightnings", "King's son, Ferdinand/
With hair up–staring then like reeds, not hair, –", "veins o'th'earth" and "bak'd with frost". Caliban's
lethargy is associated with the movement of a tortoise. Charms and omens of Sycorax are associated
with hateful creatures as "toads", "beetles" and "bat". In the lines "Temperance was a delicate
wench", weather and climatic condition of the island is ... Show more content on Helpwriting.net ...
Jumping out of the ship into the sea driven by fear of drowning reflects Nature's mockery of an
ostentatious human contraption. Man's boastful clinging to his materialistic exhibits and possessions
get transformed into his surrender and plea to Mother Nature for mercy. The island symbolizes
Nature's unbounded bountiful, magnanimous realm, which influences and motivates positively in an
individual way, the psychology of an individual: "the enchantment of the island purposely makes its
appearance correspond with the several natures of the ship–wrecked men who come
ashore....Gonzalo finds his "garments rather new dyed than stained with salt water", but "Antonio
and Sebastian cannot see them so. Gonzalo's comment on the abundance of greenery in the island,
'how lush and lusty the grass looks! How green!" (2.1.51) Apart from Gonzalo's eco–affability, it
also shows how amidst Nature, man's outlook/ perception broadens, refreshens, vitalizes and
advances to a considerable magnitude towards spontaneity of Man–Nature bonding. It stands in
sharp contrast to the monotony and stagnancy of man–made confinements/ enclosures that
predominantly manufacture people with clumsy, constricted, non–pragmatic, callous and self–
centered attitude.
Prospero's cell in the island etches the intrusion

How Does Shakespeare Present Caliban In The Tempest
In William Shakespeare's The Tempest, Prospero the real Duke of Milan is betrayed by his brother
Antonio and forced out of Milan with his daughter Miranda by Antonios army. Antonio is hoping
Prospero dies on his way out to sea in the wrecked boat he put him in. Prospero then lands on an
unknown island where he takes over but little did he know others had already lived there. He
proceeds to explore the island with his daughter and decides to take over it. That led to him also
taking over Caliban and Ariel, who were the ones who had been living on the island first. Later on,
Prospero causes a storm with his magic causing King Alonso of Naples boat to collapse with his son
Ferdinand and others in it. Caliban after discovers Trinculo and Stephano offering himself as their
servant, got drunk, and convinced them to kill Prospero. Miranda then later runs into Ferdinand
falling in love with him immediately thinking he was the only man existent besides his father.
Prospero then gives Ferdinand the blessing to marry his daughter after testing him in many ways as
Ariel gathers the spirits to make the wedding come to life. ... Show more content on Helpwriting.net
...
Which is how Prospero manipulates him to perform his deeds whether they are awful or acceptable,
he talks to Ariel about how he should follow all of his commands and if Ariel ever tries to disobey
him or thinks about it he should remember the story of the Sycorax and how prospero took care of
Ariel after that incident with the Sycorax. Specifically, in act ll Prospero states "thou liest, malignant
thing! Hast thou forgot the foul witch sycorax, who with age envy was grown into a hoop? hast thou
forgot her?"(522, lines 528). the quote speaks on how he convinces Ariel into achieving whatever he
pleases as a way to show him that he is effective on providing ariel his freedom, which is the only
concept Ariels ever

Theme Of Feminism In The Tempest
In Gender, Race, Renaissance Drama Ania Loomba discusses William Shakespeare's play The
Tempest looking through postcolonial and gender problem criticism point of view. In her book
Loomba points out "The harshness of the colonial conflict cannot be stressed by ignoring the
complexity of the adversaries" (157). Looking at the characteristics of female and black oppressed
characters as Caliban, Sycorax, and Miranda she explores the cruelty and affection of colonialism.
By exploring post–colonialism and feminism, Loomba also argues that there are stereotypes in the
play and the author believes this kind of duality in the play in the play reveals Shakespeare's offer to
critique the major ideas of that timing.
Ania Loomba's selection begins of the ... Show more content on Helpwriting.net ...
Like Sycorax is the opposition of Prospero, with her "black feminity" she is also opposed to
Miranda, contrasting with her "passive purity" (150). Through the entire play, Miranda is seen as
under the absolute control of her father. According to Ania Loomba, "In the colonial situation,
patriarchalism makes specific, and often apparently contradictory demands of its "own" women"
(153). Prospero is trying to watch Miranda's every move, by commanding her when to sleep or talk,
and also wanting Miranda to participate in the colonial action. As Loomba stresses out, "Editors of
The Tempest have often sought to transfer Miranda's verbal assault on Caliban beginning "Abhorred
slave" (1.2.354–365) to Prospero on the grounds that Miranda is too delicate and not philosophical
enough to speak so harshly ... On the contrary, these lines underline Miranda's implication in the
colonialist project. She has been taught to be revolted by Caliban"(154). From this point, it reveals
the Miranda's impossibility to improve her will at any point through entire play, although Miranda
expressing her will concern Ferdinand, but also with her father's permission. Loomba says,
"Miranda thus conforms to the dual requirements of femininity within the master–culture; by taking
on aspects of the white man's burden the white woman only confirmed her own subordination"
(154). Miranda could be concerned as

In William Shakespeare's The Tempest, the line between the...
In William Shakespeare's The Tempest, the line between the realm of reality and illusion is blurred
by Prospero, who through the use of his magic is able to manipulate and control both the island and
those who are stranded on it. The duality between illusion and reality, the contrast between the
natural and unnatural are being represented and questioned by Prospero's magic. Throughout the
play, Shakespeare is stating that illusions can distort reality, but in the end reality will always makes
itself apparent. Prospero orchestrates the events of the play with ease, his magic giving him the
power to manipulate the characters and environment around him. This almost omniscient power that
is presented pushes the audience to question what is ... Show more content on Helpwriting.net ...
"From the moment they arrive on the island to the time of their release and pardon, they are almost
continually guided, prompted, and motivated by visions that Ariel, acting for Prospero, weaves
before them and by the spells he casts upon them". Prospero's motivation behind all this
manipulating is to provide the group of nobles, mainly Alonso and Antonio, to become of aware of
their wrongdoings, repent for stripping away his dukedom and casting him out to isolation. The first
illusion that Prospero casts is planting the idea that Ferdinand has drowned during the shipwreck
firmly within the mind of his father Alonso. It doesn't take much for Alonso to be thoroughly
convinced that his son is head, batting away any words that offer any hope. "No, no, he's gone" At
this point in the play, Alonso has not associated the drowning and loss of his son with Prospero. He
believes that this is the result of marrying off his daughter Claribel to an African prince. Losing both
his children and heirs to the throne, he feels as though he cannot go on "O thou mine heir/Of Naples
and of Milan, what strange fish/Hath made his meal on thee?" Antonio and Sebastian fall victim to
Prospero's illusions as well. Ariel enters the scene and uses his music to put the entire group of
nobles to sleep, with the exception of Antonio and

The Tempest by William Shakespeare
In Shakespeare's The Tempest, in Act 5 Scene 1, lines 33–57, Prospero's speech shows his
redemption by giving up his book, the oak tree, and his power over water. At this point in the play,
Prospero is about to get his revenge on the people who have caused him pain. However, as he is
giving the soliloquy, he seeks redemption and attempts to reject his powers and revenge. Though he
has been living for the past twelve years with wrath and a desire for revenge, he turns away from
that path and seeks to become a better person. Shakespeare shows the complete reversal of
Prospero's character through the breaking or giving up of things that are symbolic of his power.
As a form of redemption, Prospero states that he would break his staff and drown his book after one
last spell. The book that Prospero refers to has various symbolic meanings (Act V. Scene 1. 57). It
symbolizes power and Prospero's source of magic. With the help of the book, Prospero was able to
cause an eclipse, create a tempest and destroy Jove's tree. It also shows his withdrawal from the
world, since the whole reason that he was exiled was because he neglected his people to study
magic. It represents the barrier between him and his dukedom. He realizes in order to get his
dukedom back, he must sacrifice his magic. To show his change of view, he states "By my so potent
art. But this rough magic/ I here abjure" to describe his power (Act V. Scene 1. 50). When Prospero
says "potent" it could represent "powerful", and

The Tempest By William Shakespeare Essay
What do we think about monsters? Monsters are part of our popular culture and have been used
invidious media since our earlier times. They have been used to instill fear in us, and to make us
timid to our approach of the unknown and the unnatural. This fear of monsters and the unknown has
unfortunately also applied to other humans as well. Shakespeare's The
Tempest uses one character, Caliban, to represent the imagery of the unknown and as a savage
monster in the viewpoint of exploring Europeans. Using The Tempest and other works such as
Cesaire's A Tempest and Achebe's An Image of Africa, I will describe the struggles of Caliban from
the story lens and a post–colonial lens and to identify how he is being described as monster in
Shakespeare's final work. In The Tempest, along with being an enslaved being of the magical
Prospero, Caliban is also noticeably the only known native of the island in which Prospero and his
daughter have inhabited since "their betrayal" a decade plus before. According to Caliban himself
(and also Prospero and Ariel), he is the offspring of a witch who's name is Sycorax. "Yes, Caliban,
her son." (338, Act I Scene II) Sycorax, along with Caliban, was one of the few natives of the
secluded island and was a very powerful witch. Several interpretations of Sycorax are widespread in
historical mythology and cultures, but one of the most noticeable is being a witch who is a native
from Africa. Because of fear over her abilities, Sycorax is

The Power Of Sycorax
Without gender there are other forces that make these two characters differ from each another. There
is also racial discourse which connects with the degree of the power. The power of The Tempest
could be considered as the power of the oppressor. Ania Loomba mentions Prospero's language as
"language of misogyny as well as racism" (328). Loomba also defines Sycorax as black woman and
states that her racial difference makes her feminine identity more colorful: "Therefore Prospero as
colonialist consolidates power which is specifically white and male, and constructs Sycorax as a
black, wayward and wicked witch in order to legitimize it" (Loomba 329). As Loomba claims,
Sycorax's racial features oppose Prospero's. If Sycorax is a different color ... Show more content on
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Furthermore, as long as someone brings Prospero negative emotions, they firstly invoke Sycorax's
name in his mind. Caliban uses her name to curse Prospero reminding him of the threatened society,
saying "As wicked dew as e'er my mother brushed" and "All the charms / Of Sycorax, toads,
beetles, bats, light on you!" (342–43). Her character is so strong, that her name or character does not
necessarily need a description, which is leaving her as a symbol in the minds of both Prospero and
her son Caliban, as a strong and powerful reminder of her sons values and Prospero's beliefs that
clearly opposes hers. The opposition of both Sycorax's and Prospero's beliefs are associated with
Prospero's fears – she being a mother could made a reverse in Prospero's patriarchal ruling. Prospero
managed to take over not only the property of an island, but also the rights of all living creatures
over there. Ania Loomba this kind of taking over criticizes as colonial, notwithstanding the fact, that
Prospero dismissed that after Sycorax's absence, the potential ruler of the island should have been
Caliban, her son. This makes Prospero both colonialist and patriarch, by claiming his rights to an
island and dismissing the heredity through the Sycorax, which Caliban understands perfectly by
stating: "This island's mine, by Sycorax my mother, / Which thou tak'st from me" (1.2.334–35).
These lines reveal

Shakespeare's Use of Language, Imagery and Setting to...
Shakespeare's Use of Language, Imagery and Setting to Illuminate Prospero's Journey from
Revenge to Reconciliation
The Tempest opens on 'a ship at sea' caught in 'a tempestuous storm'. This setting would
immediately suggest to the Elizabethan audience, the presence of danger and evil, as they would be
familiar with other Shakespearian plays where storms have been used in this way, for example,
Macbeth and King Lear. The desperate language of the characters in the opening scene would
further reinforce the audience's sense of evil afoot. The panic of the Boatswain is illustrated when he
cries 'A plague upon this howling' and the terror of the passengers down below can be heard as they
cry 'Mercy on us!' ... Show more content on Helpwriting.net ...
This very active opening establishes the theme for the play and the audience is left anticipating a
story of revenge and evil.
In Scene II, Shakespeare introduces a contrast to the storm through the setting of the island. At the
time Shakespeare wrote the Tempest, such a setting would have been significant to the audience as
many new lands and cultures were being discovered. These places were surrounded by myth,
superstition and fear of the unknown. The exchange between Miranda and her father Prospero
establishes that this is no ordinary island or plot. Miranda's opening speech suggests that her father
has magical powers, 'if by your Art, my dearest father, you have put the wild waters in this roar,
allay them'. This suggestion that Prospero was responsible for the storm further reinforces the idea
introduced in the previous scene, that he is out for revenge, although the reason for his desire for
revenge is not clear at this point. The island's setting evokes ideas of magic and strange happenings
and suggests to the audience that anything can happen. Miranda's language contains much dark
imagery, which adds to the air of foreboding. Her statement that the sky 'would pour down stinking
pitch' has unnatural overtones, suggesting that this was no normal storm.
Prospero's expositional speech, which begins on line 36 in Scene II,

Creative Writing: Tangelo Middle School Respiratory System
One good old day in tangelo Middle Schools ventilation system, there were three rats Sycorax male,
white fur, blue eyes, and 2 normal ears¸ and there was Caliban female, gray and dark speckled fur,
hazel eyes, and 2 small ears, and Prospero black, grayish fur, light blue eyes, and average ears.
Today Sycorax said we are going to scavenge from the hall of food when the intruders (intruders are
humans) go. Do you think there will be those creamy, warm, sugary, sweet smelling cream puffs
there? No, there is almost no chance we will find them they are so rare even though once your
mother and I got or stumbled upon so we scavenged before the intruders came we ate two of them
and then million of intruders came we stood up and snarled at them but then we realized that there
was to many so ran to the ventilation system and your mother took a piece of one ad this kept us
feed till we found their hall of food, we ... Show more content on Helpwriting.net ...
When they arrived, he woke his parents and said look I found the other rat you were talking about
mom, and she said great and when they meet they greeted each other and introduced each other and
let her stay, and they became good friends. One day Jennifer said how did you guys get here were
you ever trapped or something like that. Sycorax and Caliban said yes once we were trapped and we
escaped because of a miracle we'll tell once we were getting our cages cleaned. When he was trying
to get us back in someone I think screamed, and he turned, and we saw our chance so we ran and
escaped in there ventilation system and escaped. A few years later Prospero's dad Caliban and his
mom Sycorax died it took a while to get over this, but Jennifer cheered him up a little time later he
became a dad and got a child called Ariel from

Sarah Calver Dance Analysis
Sarah Calver is a notable dance educator and choreographer, widely known for her contribution to
not only dance, but also to the arts industry in the Northern Territory from 1984. Awarded with the
2012 'Services to Dance' award by Ausdance, Calver has been vital in integrating dance into the
everyday lives of those living in Australia's far north. Taking inspiration from figures such as Maggi
Phillips and Evelyn Hodgkinson, whose discipline and passion drove her practice in an isolated
region1, Calver continues to educate and inspire Australia's young dancers. She is adept at creating,
producing, and remounting dance theatre works as part of SLiDE Youth Dance Theatre ( a
collaborative effort run with Joanna Noonan and Katie Cawthorne(now Canberra ... Show more
content on Helpwriting.net ...
She became an Executive Officer of Ausdance NT from 2005–2007, and was a strong supporter of it
until its demise in 2013. Following this, she became the head of dance at Darwin High School; a
position she holds to this day, teaching senior secondary students contemporary and modern dance
technique. Following Joanna Noonan's (a past student of Calver's) return to dance in Darwin in the
late 2000's, SLiDE Youth Dance Theatre was created, and was, at the time, run by Calver, Noonan,
Cawthorne (mentioned earlier) and Julia Quinn (another past student). This company continues to
run, and has so far added three works to the repertory, all focused on issues that affect the youth of
Australia; such as BRAVE, which focuses on teenage alcoholism, bullying, and sexual assault5+6,
or TIME, the story of a young girl who loses her life to drink–driving. These works have been
remounted numerous times in the effort to engage the public through dance, and they are received
each year with large audiences and wet eyes, with funding from the Australia Council and the NT
Government. At the same time, although she was no longer a director with Tracks, she continued to
be involved in many of their Festival and community projects, such as Angels of Gravity7, a group
work in which Sarah had a filmed solo, in which Calver describes different stages of her life through
movement. In all other respects, Calver continues to be an inspiration to young and old alike, and is
fast becoming something of a matriarch of dance in the Northern Territory; someone to be admired
and to be inspired

Hag Seed Analysis
Unexpected occurrences take place that are negative, and these might be things which one does not
have control over. Authors often use internal struggles as a mental imprisonment that one much
conquers in order to achieve their full potential. In Hag Seed, Felix is backstabbed, kicked out of his
job as the director of the Makeshiweg theater festival, and put on his journey to prove to those who
betrayed him that they were wrong but most importantly he has to show himself that he can
overcome the harsh obstacles of failure and rejection. The psychotic break Felix suffers after his
termination, and Miranda's death, motivates him to direct The Tempest, which ultimately heals him.
With the acceptance that his career, in his mind, is over, Felix leaves the theater and consumed with
revenge. Humiliated, he retreats from society. Alone in a tiny hut, he mourns his lost little girl,
Miranda, who died not long before he was ousted from his position, and he plots his revenge on his
replacement, Tony Price. Refusal to tackle the situation head on leads to a path of self–wallowing.
Felix's mind is clouded with possibilities of how he can hurt Tony because forgiving takes more
work and effort. He starts to realize "that his spying is a little deranged, though only a little"
(Atwood 44). With hopes of bettering himself, Felix searches for a job hoping to gain control back
to his life. He could not have found a more suitable position. He starts his own theatre with the
inmates who are

Deception in The Tempest Essay
The passage below is found in the opening act of one of Shakespeare's most illusive plays of control
and manipulation. The word "deception" is defined as "the act of misleading" or "to trick, cheat, lie,
and mislead". From this definition, it is obvious that deception is normally perceived to be evil and
results in the harm of others mentally and physically. It leads to broken hearts, untold truths, or even
unpunished murder. However, in Shakespeare's The Tempest, deception is used as a virtuous art to
manipulate an unjust situation and rectify it.
"Know thus far forth. By accident most strange, bountiful Fortune (Now my dear lady) hath mine
enemies Brought to this shore; and by my prescience I find my zenith doth depend upon A ... Show
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Although, the normally "evil" deception is used, Prospero uses it in such a way so that no harm is
brought to anyone, and all the characters are brought to their rightful positions by the play's
conclusion. "Through his own works he changes the minds of his enemies" (Tillyard 120). All of the
action develops in a world which defies nature, so the events are more "believable". The island is
"not only uncharted, it is one on which anything can happen" (Knox 128). In the words of Gonzalo:
"All torment, trouble, wonder, and amazement Inhabits here. Some heavenly power guide us Out of
this fearful country!" (Shakespeare 78)
Miranda "had been bred up in the island with her father and a monster only: she did not know, as
others do, what sort of creatures were in a ship" (Coleridge 109). In fact, Miranda knew basically
nothing about her past or her identity until the start of the play. Her father has, in a way, been
deceiving her throughout her entire life. Even throughout the course of the play, Prospero is not
completely open with his daughter. Instead, he puts her to sleep for a period of time so that she does
not interfere with his plan. Through this deception her father was not trying to harm her in any way
but rather to protect her from the vicious truth.
The characters which were on the ship are now separated into various groups and spread apart from
one another across the island. The first group Prospero

How Does Prospero Change In The Tempest
In Shakespeare's play, "The Tempest", Prospero, the main character, is the rightful Duke of Milan.
He found refuge on a distant island after his brother, Antonio, seized Prospero's title and homeland.
These events and experiences of being exiled advance character to become isolated and enriched at
the same time. As a comic hero, Prospero start off as being frustrated and vengeful due to his
separation from his title and homeland, but is later refined due to those experiences.
Antonio's dethroning of Prospero is not only the reason why Prospero is alienated but it also is a
great example about the theme of betrayal that is prominent in the book. Antonio's betrayal in
particular, serves as the source of conflict for the play. Prospero creates ... Show more content on
Helpwriting.net ...
Prospero's intentions throughout the play was to seek out vengeance towards his brother and all
those who helped him in his betrayal. Through the work of Ariel, Prospero was able to capture those
he shipwrecked but decides to forgive them. He also forgives Caliban after plotting to kill him while
serving another master, these acts of change are key to the improvement and empowerment
Prospero learns after being on the island. The is a growth and arch shown about the character as he
states, " The rarer action is in virtue than in vengeance." Prospero also shows enrichment of
character when he sets Ariel free after commanding him to make smooth sailing upon the return to
Naples and Milan, contrasting to the beginning of the play when Prospero seems ungrateful about
the service of Ariel. The problem Prospero had that paved the way to him being exiled, was his
obsession with studying his art/magic. It is through his experience on the island where he finally
comes to realize that the source and self–improvement that he needed to make was giving up his
magic. This is symbolized by the throwing away of his books and his plea to the audience to
"release him from his bands". By giving up his magic,the reason he couldn't be an affective Duke,
shows how his alienation on the island benefited him by allowing him to focus on his role and duty
as

The Tempest By William Shakespeare
Brown's insistence that The Tempest is a play of steeped in ambivalence and contradictions is not
entirely unfounded, however. Prospero himself is an extremely powerful magus whose power
borders on the transcendent and divine; he is also a man obsessed with perfecting his "art" that, at
times, can be base and wicked. He demonstrates compassion and generosity, yet his apathetic and
sometimes contemptuous treatment of other characters raises questions about his moral sensibilities.
Within the drama of the play, these paradoxes create a dynamic that highlights the contrast between
Prospero and those who (seek to) foil him–Stephano, Trinculo, and Caliban–characters that Brown
demarcates as "masterless" or "othered" (273). While he correctly identifies such instances of
doubling, Brown conflates these binaries as markers of colonial discourse, the colonizer and the
colonized, and entirely elides the binary of the noble and the natural. This dichotomy, which is
staunchly embedded in the Renaissance conception of natural order–the great chain of being–is
eminent throughout the play and integral to its thematic purpose of restoration and redemption.
Brown's failure to address the great chain of being in any capacity throughout his argument is
indicative of his limited understanding of the historical context in which The Tempest was written
and the corresponding philosophical ideology that informed Shakespeare's manifold intentions.
Great Chain of Being Intro Historical According

Essay on The Tempest
Explain how Ariel and Caliban serve as character foils for each other. Be sure to consider their
physical appearance and their roles as servants to Prospero.
In the world of The Tempest , Ariel, the airy spirit, and Caliban, the earthy monster, can be
described as character foils. Unlike and contrasted as they are, they have some traits in common.
They both have an aversion to labor and a longing for liberty. Also, they have a primitive sense of
humor, a fondness for tricks and pranks, and a spontaneous and unsophisticated love of nature.
Furthermore, deeper inside them, one has a fear of a higher power and the other a craving for
affection and approbation. Thus, the contrast between them is heightened. ... Show more content on
Helpwriting.net ...
Yet her compassion, as real as it is, also has a certain element of shallowness, or at least
inexperience about it. She has lived the majority of her life in isolation, on an island known with her
only companionship being that of her father. Growing up on this deserted island, Miranda learns to
live and abide by the example set by Prospero. He is her only contact with the humanity and
therefore he is her only friend and teacher. She knows no other woman and therefore had no female
figure to aid the process of raising her. She is naïve and unaware of life's experiences, having been
shielded from the rest of the world.
Throughout her life, which began at age three on the island, to the time in which she met the only
other human contact, Ferdinand, at age fifteen, she learned many things from her father about life
and all its complexities. Living on this island, Miranda is a product of " nurture" rather
than that of "nature."
The term nurture refers to the upbringing or raising of a child. Miranda's father is her upbringing.
He guides her from her early years on the island all the way through her first meeting of human
contact. Miranda had to grow up on a deserted island with no other human contact and having to
live by and trust only one person's point of view. It is hard for us the

Compare And Contrast The Two Versions Of The Tempest
The Tempest, the play written by Shakespeare in the 17th century, has invited numerous critics over
centuries to interpret the text based on their contemporary cultural context. This allows the birth of
numerous adaptations as a method of literary criticism. Julie Taymor's version of The Tempest and
Aime Cesaire's version of A Tempest are examples of adaptation as a method of literary criticism.
First, Aime Cesaire takes a post–colonial perspective on The Tempest by Shakespeare. This is
evident with his characterization of Caliban. Cesaire's characterize Caliban as strong and resistance
individual reflecting author's philosophy of colonization. Caliban reflects people of a colonized who
suffers by the domination of colonial power. This representation ... Show more content on
Helpwriting.net ...
A different representation of Sycorax's in the adaptation reflects a change in cultural values with a
feminist attitude. Taymor's The Tempest is faithful to the setting and plot but deviates in order to
create characters relatable to the real world of the audience, particularly regarding discriminatory
ideologies against women. Taymor's The Tempest changes her audience's understanding of the
representation of gender stereotypes between protagonists and antagonist. By making Prospera
magic darker, Taymor "blurs the opposition between Prospero's supposed white magic and Sycorax's
black magic" (Vinson 53). Most significantly, Taymor's inclusions and exclusions of lines and
representations of Sycorax make the character more sympathetic because it softens the
representation of Sycorax. Including explicit similarities between Prospera and Sycorax's as a
witches. There is a space generated for an excuse of their magic and explanations for their exile.
This further makes Sycorax sympathetic because "her identity and role as an evil witch are reshaped
and she can begin to be understood not as an implicit antagonist" (Vinson 53). The result of
Taymor's adaptation is not plugged by gender stereotype and She put efforts to remove gender
stereotypes embeded in the characters. By removing stereotypes, Taymor allows audiences to

The Sublime Savage: Caliban on Setebos
The Sublime Savage: Caliban on Setebos
"Caliban my slave, who never / Yields us kind answer." (The Tempest, I.ii.310–1) "Caliban on
Setebos" was one of Robert Browning's more popular poems among the Victorians, for its presumed
satire of orthodox Calvinism, Puritanism, and similarly grim Christian sects. And Browning as
Shakespeare's savage does indeed seem to hurl a few barbs in that direction, but the poet's exercise
seems to be as much one in alternative theology. Caliban's bog–bound conjectures, in their
significant departures from standard religious doctrine, serve as both an interesting repudiation of
Archdeacon Paley's attempts to rationalize God, and as an ... Show more content on Helpwriting.net
...
26) as almost a creative afterthought. The concept of a deity who "dwelleth i' the cold o' the moon"
(l. 25) influences all of what is to come, for Caliban's unhappy living conditions become Setebos',
Caliban's yoke of drudgery in an unhappy home the kernel for a limited deity "ill at ease: / He hated
that He cannot change His cold / Nor cure its ache" (ll.31–33). From the very beginning, Caliban's
nocturnal habits and marginal humanity have produced an interesting variant on traditional religion:
that the eventual result will have some resemblances to Browning's rejected orthodox Calvinism is
both an interesting philosophical twist and an effective satire.
Caliban proceeds, Descartes–like, to further deduce the existence, personality, and behavior of his
deity, all based on his own condition. Archdeacon Paley's similar "natural theology" soon becomes
ridiculous–looking in comparison with Browning's counter–example. For what Caliban's musings
most reveal is Caliban's own self–serving egotism: with almost every point he proposes, he relates a
story or theory of himself in a similar situation, describes his behavior, then attributes the same to
Setebos with the recurrent, terse refrain "so He."
Caliban dislikes his condition and wishes he could create servants, distractions, "baubles": so
Setebos. Caliban, enslaved by a sometimes capricious Prospero, believes in the power of the
stronger working

The Tempest Quote Analysis
The Great Chain of Being has been around since the Classical period and places people of society in
a certain order. A person's position is controlled by how spiritual they are, where God is at the top,
then angels, which furthermore leads to a king, men, winged animals, and all the way down to the
Devil. For anyone desiring to move up the social ladder, that action will cause commotion to the
uniformed chain and would lead the other divisions to also move up. In Shakespeare's drama, The
Tempest, the use of ambition reiterates the importance of how a gluttonous desire can conduct
disorder or align the Great Chain of Being. Overdosage of this impulse causes The Tempest's "cake"
to have a repugnant aftertaste. Yet removing the unnecessary cups of ambition and replacing it with
only good intentions and motivations, overall leads the "cake" to taste satisfying in the end. For the
majority of the play, Prospero holds a grudge on the noble court and revolves around a revengeful
personality. Multiple scenes throughout the play contain disbalance in the GCOB due to someone
craving to be a king. After Prospero brews up a rigid and eye–opening storm, Miranda finds out it is
his "[awakened] evil nature" (1.2.113) that triggered ... Show more content on Helpwriting.net ...
Both order and disorder would not have been possible without ambition, the make it or break
ingredient. After the trials of stirring the ingredients together and baking it, it all comes down to the
result of the "cake". Destructive ambition versus healthy aspiration is revealed in the character's
desires of moving up the Great Chain of Being. The cake in this context represents the product of all
the good and bad events in The Tempest. The repulsive items include the grudges, emotional pain,
disorderment of the Great Chain of Being, and excessive ambition. Opposed to the appalling
elements, a good cake must be balanced with sweet ingredients such as: forgiveness and

The Tempest Research Paper
The Tempest was one of Shakespeare's best plays. He wrote this play without the help from
anyone.The play was originally performed in late 1611. It was set on a remote island. The sorcerer
Prospero , rightful Duke of Milan , plots to restore his daughter Miranda to her rightful place using
illusion and skillful manipulation. The Tempest is a powerful play that moves the vanes release of
emotion. I can tell i will enjoy writing a essay on The Tempest.
The Tempest has over 30 characters in it. There is Prospero he is the play's protagonist.Twelve years
before the events of the play. Prospero was the Duke of Milan. Prospero also had a daughter her
name was Miranda.She was brought to the island at an early age and has never seen any men other
than her father and Caliban. Prospero's spirit helper. Rescued by Prospero from a long imprisonment
at the hands of the witch Sycorax, ... Show more content on Helpwriting.net ...
Womp womp.
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.
Perspective plays a large role in The Tempest. The island is dominated by magic, and it clouds the
ability of all the new arrivals to tell the difference between reality and the magical illusions they see.
Reality is also tempered by the outlook of the individuals–Gonzalo is relentlessly positive, and so
sees the island as beautiful. Ariel revels in the island's naturalness, while Sebastian and Antonio see
it as an inhospitable place because of their negative outlooks. Reality is clouded by magic, and this
duality is only furthered by the influence of personal perspective over each individual's

The Tempest Feminist Analysis
The Undermining Power of Masculinity in The Tempest "The more people argue loudly, against
feminism, the more they prove we need it" –Caitlin Moran, How to Be A Woman Sycorax is
ostensibly absent from Shakespeare's The Tempest. The witch does not appear on stage once, as she
dies long before the actions of the play begin. She is, however, invoked frequently, through
memories and retellings and secondhand accounts, primarily by the character of Prospero. Many
critics have used Sycorax's absence as undisputable proof that The Tempest, with few traditionally
powerful female characters, is, at its core, an anti–feminist play. However, while it may seem as
though the easiest way to absolve women of their power is to exclude women from the ... Show
To further manipulate Ariel by invoking Sycorax, Prospero adds, "Refusing her grand hests, she did
confine thee...and in her most unmitigable rage / Into a cloven pine" (1.2.322–25). It seems as
though Prospero creates or at least embellishes what Ariel knows firsthand about Sycorax. But
Prospero lacks firsthand observation or concrete evidence about Sycorax; thus, Prospero constructs
Sycorax as simply his opposite and tool. Because Prospero never knew Sycorax, his detailed
descriptions of her can only be his own construction, which he manipulates for his benefit,
specifically to legitimize his power. The more emphatically Prospero tries to demonize Sycorax's
powers, the more he evokes her permeating presence. For any structure to be created and sustained,
it is necessary to have an "other" on the opposite side–– thus, by damning Sycorax, Prospero does
two things; a) solidifies Sycorax as the 'other' or a competitor, and b) confirms the existence of a
structure or ulterior motive–– in this case, patriarchal power. Thus, the implicit power struggle,
which seems to be gendered, between Sycorax and Prospero is revealed. Although Sycorax is dead,
Prospero's struggle to be the stronger power is an undercurrent throughout the play. There are some
commonalities between their powers,

William Shakespeare 's The Tempest Essay
Numerous interpretations of William Shakespeare's play The Tempest depict its main protagonist,
Prospero in a negative light. Many such renderings of Prospero's character are identified in the
introduction of The Tempest. The introduction makes reference to Dryden's and Davenant's
rewriting of the play. Their rewriting portrays Prospero as a very controlling and deceptive
individual whose character is stagnate. Accordingly, the foreword also mentions the possible
employment of the narrative, by Prospero to further dominate all those around him. In essence,
history has attributed many villain–like characteristics to Prosporo. However, the interpretation of
the play performed at the DeBartolo Performing Arts Center at the University of Notre Dame
directed by Wess Hyler, depicts Prospero's character in a way that moves from the vision of
Prospero shown historically. Wess Hyler's production of The Tempest utilizes the stage elements of
costuming, blocking, and the actors' performance to reveal the transformative agency that has
changed Prospero into a tyrannical, enslaved individual who loses control over his power. Hyler's
The Tempest then shows the impact that others can have on an individual through its portrayal of
Ariel influence as the catalysis of Prospero's ultimate change into a freed individual.
Hyler's Tempest employs the stage elements of the actors' performance and their costumes to
identify the events that have occurred in Prospero's past that have turned him

How Does Prospero Use Language In The Tempest
Language in the Tempest is a tool of subjugation. Prospero uses language as a way to control
Caliban and Ariel. So too Caliban language reminds him how different he really is from both
Miranda and Prospero. Language also remind Caliban how much Miranda and Prospero changed
him. Language reminds him of his time when he wasn't a slave. In some weird way when Prospero
taught Caliban language he took away dome of Caliban freedom. Now that Caliban know how to
speak the difference between him and Prospero grow clearer. Caliban can now fully understand his
difference while also feeling trapped by the language because he sees it as something that took away
his freedom. In the tempest language is a symbol of being civil, and before Caliban was thought

Intersections of Race, Class, and Gender in the Tempest
ENG 225 C
(De) Constructing the Other
Intersections of Race, Class, and Gender in The Tempest
In Shakespeare's play, 'The Tempest', the characters of Prospero and Caliban, represent two different
extremes on the social spectrum: the ruler, and the ruled. Their positions on the social hierarchy are
largely due to the fact that Caliban responds almost wholly to passions, feelings of pleasure; his
senses, while Prospero is ruled more by his intellect and self–discipline; his mind. Within 'The
Tempest' there are obvious social implications regarding this social hierarchy, with the
representations of characters such as Caliban and Prospero. During Shakespeare's time social
classification was much more rigid than today and some members ... Show more content on
Helpwriting.net ...
Essentially Prospero lands on Caliban's island, takes away everything he has, and then forces him to
become his slave proclaiming he saved him from his witch mother. This is yet another perfect
example of how Prospero displays the obvious social hierarchy and is also the typical colonizer.
These actions and consequent reasoning's are also prime examples of Prospero's horrible tyrannical
ways from the beginning of the play. Prospero and Caliban's relationship is strained from the
beginning of the play when Prospero's strong authoritative beliefs begin to surface. Caliban has the
right of ownership of the island; however, Prospero firmly believes in the superiority of the white
European over the half–devil islander. While this puts a strain on their relationship from the start,
the boiling point came when Caliban attempts to rape Miranda, Prospero's daughter. Even after
attempting to rape Miranda, Caliban was brutally honest in not denying his malicious intent. "O ho,
O ho! Would't had been done!/ Thou didst prevent me; I had peopled else/ This isle with Calibans"
(I.2.349–51). In response to Caliban's attempted rape and his obvious total lack of remorse for it,
Prospero states, "I have used thee / with humane care, and lodge thee/ In mine own cell till thou
didst seek to violate / The honor of my child" (I.2.345–8). Prospero recounts here that he has cared
for

Possession Is Nine Tenths Of The Law
Possession is nine–tenths of the law. This statement means that determining the proper
proprietorship of an item is easier to regulate if one of the people claiming ownership of the item is
in possession of said item. However what transpires if the item in question is actually an entire
landmass? Well, in William Shakespeare's play The Tempest, this is exactly what happens. Two
characters in the play, Prospero and Caliban, lay claim to the island in which they both are
inhabiting. Both Prospero and Caliban give reasons to why they believe that the island is entitled to
them, some reasons good and others bad. Looking at the reasons given it is clearly shown that one is
slightly more entitled to the island than the other.
Prospero puts forth reasons as to why his in the entitled ruler of the island. Prospero main reasons
for his alleged leadership is that he has and teaches knowledge, and Caliban tried to rape his
daughter. To begin with, Prospero is the former Duke of Milan; and the reason he and his daughter
his on the island is because Prospero was overthrown by his brother while he kept to his books. This
establishes that Prospero is smart and throughout the story Prospero is seen as sort of a teacher to
some of the characters, one of which being Caliban. Because Prospero teaches Caliban, Prospero
feels that he is more deserving and capable to be the ruler of the island. Prospero bestowed Caliban
with the "gift of language" but he uses this action to show that he is

Prospero's Caliban As A Victim
In my opinion, I can see Caliban as a victim. This is because if Prospero was not there, he did not
has to listen someone and being a slave. His mom, Sycorax took care of this Island which means it
is also Caliban's Island. One day, Prospero appeared and everything changed. Caliban said "this
island, by Sycorax my mother. At this point, I could realize that Caliban is a victim and I felt sorry
for him. In addition, Prospero did not treat Caliban and Ariel equally. Therefore, this is an another
reason that Caliban is a victim.
The book "Popol Vuh" is translated as a book of the community. This book was written by people
who lived in Guatemala area. There are five stories and It talks about the world creation, human
origins come from corns, two

How Does Shakespeare Present Caliban In The Tempest
In William Shakespeare's The Tempest, Caliban is the slave of Prospero. About twelve years ago
Prospero and his daughter, Miranda, were exiled by Prospero's brother, Antonio. At first, Caliban
and Prospero was treating each other like they were equals, Prospero taught Caliban how to speak
and Caliban taught Prospero everything about the island. As he is fetching wood for Prospero, he
sees Trinculo and believes he is a fairy from Prospero. Caliban believes that Prospero has sent out
fairies to pinch Caliban for him to work faster so he says "..."(pg). Caliban thinks the fairy will
pinch him because he has felt continuous pinching when he tried to sleep some nights before.
Caliban struggles to gain freedom from others because at first Caliban

A Feminist Reading of the Tempest
William Shakespeare's The Tempest provides dialogue that portrays the social expectations and
stereotypes imposed upon women in Elizabethan times. Even though the play has only one primary
female character, Miranda, the play also includes another women; Sycorax, although she does not
play as large a roll. During many scenes, the play illustrates the characteristics that represent the
ideal woman within Elizabethan society. These characteristics support the fact that men considered
women as a mere object that they had the luxury of owning and were nowhere near equal to them.
Feminists can interpret the play as a depiction of the sexist treatment of women and would disagree
with many of the characteristics and expectations that make Miranda ... Show more content on
Helpwriting.net ...
Stephano has no sense of respect toward women. In his song he is talking about a woman named
Kate that none of the sailors like because she speaks her mind to them but yet they sleep with her as
they please, as if she is an object to be passed around. In the scene when Prospero and Caliban are
fighting, Prospero accuses Caliban of trying to rape his daughter, Miranda. Prospero says, "Thou
most lying slave,/Whom stripes may move, not kindness! I have used thee,/Filth as thou art, with
humane care, and lodged thee/In mine own cell, till thou dist seek to violate/The honor of my child"
(1.2.348–351). Caliban responds. "O ho! Oh ho! Wouldn't had been done!/Thou didst prevent me; I
had peopled else/This isle with Calibans"(1.2.352–354). Prospero had taken Caliban into his home
until one night finding him attempting to rape his daughter. Caliban is telling Prospero that if he had
not stopped him from raping Miranda, he would have continued with the act. He does not have any
sense of remorse as he tells Prospero that he would have impregnated Miranda, filling the island
with many children. In today's society, rape is a serious offense that is punishable by many years in
jail. When Caliban was caught trying to rape Miranda, Prospero simply forced him to leave the
house. This moment can be an example of how women are punished far worse than men for their
crimes. Sycorax was banished and left to die because of her witchcraft, whereas Prospero tried to
rape a young girl and

Examples Of Power In The Tempest
Shakespeare's retirement play 'The Tempest' mainly focuses on the used of power; the will to control
over others. Power seems to be the main theme throughout the play as it is manifested by different
characters either in a good way or as the case may be, bad. The protagonist Prospero is the main
character that holds majority of the power, both magical and political. Tempest, which was written
in the early 1600s, shows how characters like Prospero, Antonio and even Caliban plus others exert
power over the weak and the willing. The significance of the different elements of power; Political
power, Magical powers and most of all, the Power of Love is examined in Shakespeare's The
Tempest. Prospero, the Duke of Milan is in a power tussle with his brother Antonio that gets him
exiled from the City for not being more concerned about the welfare of Milan. Prospero was always
more interested in books and the supernatural things he entailed that he neglected his duties as the
Duke to pursue his quest for more power. 'The Government I cast upon my brother, And to my State
grew Stranger, being transported and rapt in secret Studies.' (Act I, Scene II). On getting to the
island, Prospero realizes that he can indeed have those magical powers he always read about and it
can use it as a defense mechanism against his enemies. Being exiled was a wake up call for the
duke, as he realized soon that his powers are more powerful than he had ever imagined.
Another character that

How Does Romeo Change Throughout The Tempest
At the end of William Shakespeare's, The Tempest, the main protagonist is faced with the subject of
whether or not he can return to his dukedom of Milan a good leader. In the beginning, Prospero's
brother, Antonio, dethrones Prospero as he lost sight of the limit of the power he possessed.
Becoming obsessed and primarily focused on his studies of magic, Prosperous gave the
management of his domain to Antonio in order to keep the nation running. Antonio soon took on a
larger role in the government, breaking the screen between a proxy to Prospero and the true duke to
Milan. Overthrown, Prospero was cast away to a desert island where he would spend the next ten
years awaiting his return to Milan. While on the island Prosperous has a change of ... Show more
content on Helpwriting.net ...
In Act V Scene 2, Prospero finally confronts all of the visitors of the island, from the King of Naples
to the boatswain and his crewmates. The two most important interactions that outline his change in
character are the ones between his brother Antonio, and the King of Naples, Alonso. Prospero takes
the initiative and forgives his brother, twice. He confronts Antonio, "I do forgive thee, / Unnatural
though thou art" (V.i.88–89) and, "I do forgive / Thy rankest fault, all of them" (V.i.151–152). Lines
like these show an overview of Prospero's new character at the end of the play. The first of change is
admitting the wrongs and moving on from the past, both of which Prospero does. Prospero's
opinions about Alonso is also decidedly different from the beginning of the play. When talking to
Miranda, Prospero refers to the Kind as "being an enemy" (I.ii.145) as well as Antonio composing
"A treacherous army" (I.ii.152) of both the forces of Milan and Naples. It is clear that Prospero
initially had strong feelings against the Naples family tree and kingdom. However, alongside the
marriage of Ferdinand, the prince of Naples, and Prospero's own daughter, relations between the two
seem to have bettered by the end. Prospero only treats Alonso with respect saying, "I embrace thy
body" (V.i.120) and, "Let me embrace thine age, whose honor cannot / Be measured or confined"
(V.i.135–136). Prospero already begins to deal with the politics of Milan has he ensures that the
relationship between the two countries is strong. These attempts show that Prosper is more disposed
to his people and no longer just

European Colonialism and Imperialism in Shakespeare's The...
European Colonialism and Imperialism in Shakespeare's The Tempest
William Shakespeare's play The Tempest reveals how ideologies of racial 'otherness' served to
legitimize European patriarchal hegemony in Elizabethan England. In the Elizabethan/ Jacobean
times of England there were many relevant ideologies relevant to this play. In examining the values
and ideologies this text endorses and challenges, the society of the time (Elizabethan England), and
a knowledge of how it operated serves a great purpose in analyzing these relationships. As in many
texts of this time, Shakespeare is endorsing many ideologies of his time, and, although many have
labelled him ahead of his time in many respects in his writing, he is, essentially writing ... Show
Sycorax and Miranda may appear odd choices, given that Sycorax is not physically present in the
play, while Miranda's role is quite minor. This is precisely why they have been chosen for discussion
of racial representations in the text. For these two characters, through their absence and silence
reveal the text endorses the white imperial rule.
Despite her physical absence from the play, Sycorax is a very real presence in a theoretical sense.
She performs a vital ideological function in the play. She is the wicked 'other' through which
Prospero's dominance on the island is legitimized. Sycorax functions as Prospero's evil, female non–
European other. Shakespeare draws a number of parallels between the two characters, which
ultimately privileges the role of Prospero, through the evilness of Sycorax. Prospero invokes her
when the island's aboriginal population goad him for their freedom.
Prospero's response to Ariel's request for freedom is to systematically list all of Sycorax's evil
qualities. "She's from Agier" where she was expelled from for "sorceries terrible". She would have
been executed, except for the pregnancy, and instead was sent to an island where she "littered" her
son Caliban. Sycorax imprisoned the spirit Ariel when she would not meet her "earthly and abhorred
demands".
The construction of Sycorax as an evil witch is therefore used to give Prospero's annexation of the
island moral authority. He reminds Ariel "once in a

Ethical Issues In The Tempest
The Tempest is widely considered to be one of Shakespeare's greatest works and is seen by many to
be the perfect finale to one of the greatest writing careers of all time. At time of writing in 1610 The
world was changing and full of turbulation much like the travelers among the tempest in the first
scene of the play. Old and New Worlds were colliding with the settlement of North and South
America and many civilians of Europe had little time to adjust to their evolving setting. Conflicts
arose with natives and some lay question to whether or not this exploring was ethical considering
these people had occupied this new land first. The newfound resources from these adventures served
as a focal point of discussion with the opportunities of national ... Show more content on
Helpwriting.net ...
It is evident that Caliban is claiming to have rightful ownership of the island, but Shakespeare gives
European audiences a response to this claim and similar ones of the real world. Prospero saved
Caliban from the witch Sycorax and should be thankful for all Prosper has brought him and not
worry about ownership of the island since the stronger, smarter European is here now. Caliban is
also portrayed as a moral less monster who rapes and smells of fish. This characterization was
brought upon many other natives during this time in history as well. The magic that came with the
island can be seen as a natural resource of the island that benefits Prospero. This is much like the
real natural resources discovered by the Europeans at this time in history when Shakespeare wrote
the play. Most critics of the play state that Prospero is a portrayal of Shakespeare himself, but it is
clearly evident based on the island comparisons to the new wolrd that Shakespeare's intention was
to not only describe the new world, but endorse the colonization of

The Tempest Critical Analysis
The Tempest is about an ousted Duke of Milan ,Prospero, who has been living in exile on a remote
island for the past twelve years with his daughter Miranda. He is a powerful magician, who happens
to be the master of Ariel and Caliban, and a guy who really likes his books. When Prospero's
enemies wash up on shore, he uses his black magic to seek revenge and restore himself to power.
The Tempest belongs to the genre of Elizabethan romance plays. It combines elements of tragedy
with those of romantic comedy, and like one of Shakespeare's plays previously, it asks deeper
questions that are not completely resolved at the end. The tone that seeps into the play is one of
wonder, amazement, and admiration. Mystery is still present , but the magic performed is not black
and scary. The version that seems to grasp my attention more, would have to be the Utah Valley
University interpretation because it takes Shakespeare's main purpose and tone but shows it in its
own unique way. Furthermore, with its silly drunkards, the play has a certain lightness to it and even
the so called killers of the King tell hilarious jokes and are lighthearted. But there is also the tone of
revenge and reconciliation in the play. We feel a revenge burning in Prospero while, at the same
time, a wish for forgiveness and reconciliation with those who have wronged him.
The Balinese production has a magical and mystical tone and is all caused by the effects the director
decided to use to help make the tone

William Shakespeare 's The Tempest
William Shakespeare was one of the world's greatest Renaissance era playwrights. His plays were a
part of culture in Renaissance England. Everyone from King James to peasants came to see his
works. However, his reign was coming to an end. With thirty eight plays written, Shakespeare
decided that 'The Tempest' was to end his illustrious, prolific career. It is known that throughout this
play the word 'cell' is used more frequently than in any of Shakespeare's works. The uses of the
word 'cell' throughout the Shakespearian play 'The Tempest' represents the common themes of
power and imprisonment. 'Cell' is most commonly used to describe a miniature, isolated room. This
reigns true as three individual groups of people are followed through ... Show more content on
Helpwriting.net ...
Caliban's mother, Sycorax, ruled the island before Prospero and his daughter. Therefore, the
deserted island technically belongs to him. Caliban says "This island's mine by Sycorax my mother,
which thou tak'st from me." (I.ii 19).
It is a common theme for the nobility to suppress the other people on the island to maintain their
status of power. While their subjects may not be kept in a physical cell, they are placed in a cell of
restrictions. Perhaps the most famous prisoners within the cells are Ariel and Caliban. Ariel was
trapped in a tree because of the sinful witch, Sycorax. Upon arriving on the island, Prospero frees
him from the trunk of the tree and makes Ariel his subject (I.ii 17). Ariel is sometimes hesitant to
perform Prospero's spiteful tasks. Another sign of captivity between Prospero and Ariel is the way
Ariel refers to Prospero. In line 318 of Act I Scene II, he obeys Prospero and says, "My lord, it shall
be done." However, the two benefit from each other. Ariel also acts as a guide for Prospero by
grounding him against his narcissistic tendencies while Prospero takes care of the ethereal spirit.
Caliban, however, despises the sight of Prospero. In Act I Scene II, Caliban describes the care that
was provided by Prospero: he taught him language; he cared for him as he grew, and he gave him
delicious wine. Bitter due to the usurping of his rightful kingdom, he manages to keep his distance
from Prospero (I.ii 19). Disobeying his master's rules, Caliban

Sycorax And Caliban Alternate Ending
Sycorax and Caliban are two rats that escaped from Camilo junior high, they hide In a box the was
being transported to Macon Georgia. When the box landed in Macon, a little farm town, the box was
delivered to a local farmer. The farmer was out of town so the mail man left it on the front porch. So
when they new it was ok to crawl out they did. It took them two hours to finally find a nice field
with nice neighbors, so when they got there they got straight to work. They built a little hut in the
very middle of a nice Ry field. The smell of smoke filled the den of Sycorax and Caliban as they
where sleeping in there den. The fire was a set of hunters named Blake and parker hunting for rats
so they can feed there snake. Sycorax and ... Show more content on Helpwriting.net ...
They finally got to the tree and called for Izzy. Izzy didn't hear the rats, so she just thought it was
two rats on the forest floor. She swooped down and grabbed them by there little necks. They yelled
out that the bass Drake sent them. Drake told us you could fly us to hour house in a field. So the
next morning, Izzy put on her sattle and put Sycorax and Caliban on her back and spread her
beautiful white wings across the canape of the tall green oak trees. They crossed two rivers one fire
and fourteen roads till they finally found there field. There field had been rutted up by blakes turbo
supper duty Ford with big "44's" on it. Izzy finally landed and helped both off . All three of them
walked and flew over to look at the damage done to the den. The den had been on fire for a short
period of time. Caliban went in and five min.s later came out this three tiny little babies . Caliban
told them every thing was rewand but the kids where ok. Izzy told them she would build a nest right
next to hers so they would always be protected from any type of danger. So that night Izzy built
them a nest and they lived happely ever after..... oh and for Blake and Parker, they grew up and grew
old together as best

What Happened To The Rats Research Paper
What Happened to the Rats! Remember back in 1967, when Lyndon B. Johnson was President?
Remember Camilo Junior High and Ms. Baker? Of course you remember Ms. Baker's precious rats,
Sycorax and Caliban. It was back in 1967 at Camilo Junior High when Sycorax and Caliban
disappeared. Poor Holling was cleaning out the rats' cage when they escaped. Sycorax and Caliban
were as fast as lightening as they ran off. The school year was ending and the rats have not been
found. Well fast forward to the year 1997, and the rats are still missing. Many things have changed
since 1967. The principal and all the other teachers are now grandparents or dead. Ms. Baker retired
five years ago, and now Holling is a teacher at Camilo Junior High. Holling's dad has died of a heart
attack, and Holling also manages the family business, Hoodhood and Associates. Doug Syteck is
now in prison on ... Show more content on Helpwriting.net ...
No one know if his son is just really dumb or just likes being in junior high. Doug Syteck son's
name is Jim. Jim is tall and overweight. Many people bullied him his whole life so he isn't very
friendly. He is still in the seventh grade and no one really knows him. Ms. Baker has been enjoying
her retirement, but never forgot about her missing rats. Now that Ms. Baker is no longer at the
school, she has asked Holling to figure out what happened to Sycorax and Caliban. Everyone
suspects Doug Syteck's son has the rats in captivity, but no one knows where though. It's been a
thousand years since anyone has seen them. What if they are dead? You'll find out later.... Mr.
Holling is going to figure out this mystery. Mr. Holling has his mind set on finding the rats, and he
won't stop until he does. Every time he hears a strange noise up in the ceiling, he wonders if it is
Sycorax and Caliban. If he smells something like rotten garbage, he wonders if it is the dead rats.
Finding the rats is always on his

The Theme of Colonialism in Shakespeare's Tempest Essay...
The Tempest, by Shakespeare, offers the reader a variety of themes. The one theme that stands out
the most is that of colonialism. During the time of Shakespeare, many European countries such as
Spain, France, and England, were expanding their borders by taking over less developed countries,
referred to as colonies. During this time of exploitation, there was skepticism concerning the
possible success of the colonies. While some scholars believe that the play is about the Americas, I
argue that the play reflects on colonialism in general and how it is destined for failure which is
shown through the character's relationships throughout the play. During the 1600's the English
decided to have people colonize in the Americas for the ... Show more content on Helpwriting.net ...
Due to these debates, it's possible that Shakespeare has contemplated on the different views on
colonization and decided not only to create the setting of the play on an island, but uses the storm in
the first act as way to create excitement and danger and also to reference to the perils of the struggle
of exploration. Also the title of the play is The Tempest which also hints how powerful the storms of
the ocean are, that it can determine the fate of many people as seen in the play; and is relatable to
real life events such as the one described earlier. The Tempest also reflect the concerns of the times
such as the exploration of foreign lands and struggles for power and the colonization of lands as
seen in the role of the characters in the play. The roles the characters have in the play are an
essential in the expression of colonization and how it destined for failure. In The Tempest,
Shakespeare shows hints of colonization problems in a subtle manner. The character Prospero, for
example, can be seen playing the role of the colonist, because he was usurped from his dukedom for
neglecting his duties as a duke, he sees the island as a way to be able to exercise the power he had
but did not exercise in his dukedom. In this case, he's able to use all the knowledge and magic he
knows to be able to conjure up the storm and to be able to control nature. His control over

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