Once threatened, Ariel seeks Prospero's pardon and departs to do his bidding. Miranda awakes to join her father in a meeting with Caliban. At first glance, the relationship between these three protagonist appear to Through Prospero's ability to control his magical powers, we can't help but question if While Ariel and Caliban are subordinate to Prospero and are. The Tempest – Ariel, Prospero and Caliban – a very wonky triangle and, Ariel – a spirit who Prospero commands to help with his magic but who naturally evil Caliban and who had a nice avuncular relationship with Ariel.
So, the Prospero and Ariel relationship is one of master-servant but the servant willingly obeys the master in exchange for later benefits in this case, Ariel obeys Prospero to obtain his freedom. The Epilogue is the only scene in the play in which we see Prospero ask others — the audience — for help.
It shows him as a mere mortal who, stripped of his magic powers, is as vulnerable as the rest of us. It is incumbent on the audience to exhibit the same sort of mercy as he has just shown, indicating that we too have learnt to be magnanimous. For some critics, this new Prospero inspires admiration and sympathy. For others, he is now an impotent tyrant who, without any method of self-defence, is in a position to be punished for the wrongs he has done to the others characters during the play.
Prospero treats Caliban as a slave. The general complaint by those who have read the play, including most college professors, use the alleged complaint of rape as a justifiable reason for the poor treatment Caliban receives at the hands of all who come into contact with him.
But this is taking political correctness too far, in my opinion.
Before we even meet Caliban, Shakespeare already builds suspense around him: We are already given information on Caliban so that we are prejudiced about him before he enters the story. The first few things we hear about Caliban forms an animalistic view of the man. His mother Sycorax was from Argier, and his father Setebos seems to have been a Patagonian deity. Sycorax was exiled from Argier for witchcraft, much like Prospero himself, and Caliban was born on the island.
Surprisingly, Caliban also mirrors and contrasts with Ferdinand in certain ways. Caliban wants to get rid of Prospero, when he comes upon Stephano he thinks he is some sort of God as Stephano gives him alcohol.
To Miranda and Prospero the use of language is a means to knowing oneself. Caliban does not view language in the same light. Shakespeare Birthplace Trust Insightful as ever, Christian. One of the things which I have always found interesting about the tempest is how well Caliban and Ariel know eachother.
Their relationship if such it is is a resounding blank. Your suggestion that Caliban and Ariel work together to overthrow Prospero is one oddly neglected by Shakespeare. Christian Smith I agree with Zsolt that there is more to the story than what I wrote in my comment and will take his suggestion to extend my interpretation in light of Hegel and Marx. In paragraph of Ph. After much time of being alienated from his labour power the worker loses the possibility of this philosophically-contrived consciousness and succumbs to an emptying of his Geist.
The Tempest – Ariel, Prospero and Caliban – a very wonky triangle - Blogging Shakespeare
It is emptied of its knowledge about its actual situation and of its history. Consequently it is emptied of the consciousness of its revolutionary future.
Marx uses quotes from and allusions to Shylock to describe a Geist with its heart cut out — the reified consciousness. Ariel sinks the ship and distributes the crew on the island. Ariel enchants Ferdinand and the others with his music and then saves the King from regicide.
He tricks the conspirators and then torments them with the Harpies. Ariel drives the characters all over the island and in the end, it is Ariel who attires Prospero.
Lurking under the surface of this play is the possibility that at any point, Ariel could have gone on strike, or, worse, united with Caliban and defeated the humans. Ariel seems to have become alienated from his power. When Ariel has acquired a mind of his own he tells Prospero to be empathic.
To see the suffering of his usurpers-turned-captives and to forgive them. Ariel moves Geist to the state of mutual recognition. It will, of course, take more work to rehabilitate Sebastian and Antonio.
Well, Gonzalo dreamed it up for us. Nevertheless, I think that this dialectic may be developed in another direction as well. This continuation of the story has not always been recognized, although this continuation may well be applicable to The Tempest too, if one intends to stick to reading the text in the light of the Master -Slave dialectic.
Also the work power that is required from Caliban is a complicated issue, as he is not represented as someone who would act as a proper slave. The revolutionary practice is also frustrating, at least with respect to the outcome of the revolutionary activity, since both Ariel and Caliban obtain what they needed: Arial is rewarded with freedom, Caliban receives his island back.
Thus, in the revolutionary perspective this outcome is rather pessimistic: Why be active, then? Thanks again for the post, and for the comment as well.