Abstract
The paper shows that "The Tempest", by William Shakespeare, provides an arena for much interplay between illusion and reality. This interplay is facilitated by Prospero, Duke of Milan. Prospero uses the study of magic to disillusion the other characters brought to the island by way of the tempest. This essay discusses instances of illusion and their respective impact on the play in how they bring the theme of illusion versus reality to light.

From the Paper
"One of the most well-discussed themes in The Tempest is the theme of illusion versus reality. This theme initially appears as it relates to the opposing worlds of a primitive island and the civilized culture of Milan. All of the characters in this play have been brought to this island in one way or another, and they are forced to coexist in a new and unfamiliar setting. These men are accustomed to reigning over all things, yet they now find themselves in a realm where the reigning power is that of illusion. Throughout the play there can be found examples of the ever-present theme of illusion versus reality in the actions of the characters, as well as in events that take place. Some of the most important elements of the play are presented by way of illusion and, therefore, hold meaning outside of what they first appear to be. Magic plays a considerable part in the workings of the play, as do the sources of the magic. In recognizing the part played by this theme of illusion versus reality, one can more clearly understand why certain events take place in The Tempest."

Tags:caliban, ferdinand, miranda, storm, truth

Abstract
This paper is about how the characters in Shakespeare's "The Tempest" see Caliban as a monster. The writer examines the character and proceeds to compare and contrast him to each of the other characters in the play. The writer also debates about whether or not their treatment of Caliban is justified.

From the Paper
"William Shakespeare's, "The Tempest," provides insight into the hierarchy of command and servitude by order of nature. This play uses the relationship between its characters to display the control of the conqueror over the conquered. It also shows how society usually places the undesirable members at the bottom of the chain of command, even though they may be entitled to a higher social status. For example, the beginning of the play opens with a scene on a boat in the midst of a terrible storm. The boatswain, who is under the command of the royal party, attempts to keep the boat from sinking. Members of the royal party, however, persist in interfering with his duties. The boatswain retorts, "What cares these roarers for the name of the king" To cabin! Silence! Trouble us not"(I, I, 16-18). He is trying to warn his superiors that if he does not let him do his job, everyone will die, and it will not matter who has power over whom. The superiors, however, still take offense to this comment and label him a blasphemer. Caliban, an unfortunate character in this play, suffers from similar constant abuse because he is of the lowest social rank in his community. Critic John W. Draper describes Caliban's position in relation to the other characters when he says, "Of all the characters in Shakespeare, Caliban is the most fully and repeatedly/ described, though not always consistently; and his bodily parts seem to show little/ relation to his humor or his character except that both are monstrous. Monsters/ were popular; and, as Trinculo remarks, any "holiday fool" in England would pay out/ "silver" for the sight of one. Caliban's monstrosity, however, out-Herods Herod"(Draper 89). According to the other inhabitants of the island, Caliban is a monster. He is a symbol of what they never want to become. Caliban reminds them to act as though they are worthy of their high social status. He is the painfully realistic entity around whom the other rulers on the island silently rally in order to maintain a social balance. They abhor him but desperately desire to possess at the same time. On a narrower scale, the oppression of the underdog is obvious in the undesirable Caliban and his relationship to Prospero, Miranda, Ariel and Ferdinand. "

Tags:character, play, opression, monster, Prospero, Ferdinand, Miranda

Abstract
This essay is about the theme of magic in the Shakesparean play, "The Tempest". The writer provides a short summary of the play and quotes lines which show how the power of magic influenced developments in the plot.

From the Paper
"Prospero was the legal duke of Milan. His brother, Antonio, stole his title and banished him and his daughter, Miranda, from Milan. While in exile, on an isolated island, he harnessed powers of magic for he was a great lover of arts and in particular, magic. Prospero was a very powerful man and by using his spell books, he was able to summon mighty magic. The most powerful creature he controls is Ariel who aids him in executing some of his magic spells."

Tags:magic, tempest, theme, Propero, Miranda

Abstract
This drama study historically critiques the theme of political corruption as it evolves in the play, "The Tempest", by William Shakespeare. The paper analyzes the various characters of this play to illustrate how the struggle for power is complex and that power and greed are the basis of corruption. The paper also points out that ,although Prospero dissolves the aggression set against him in the play, Shakespeare
uses "The Tempest" to reveal a commentary on political intrigue and corruption that reflects the historical Elizabethan monarchal class system and the politics of Shakespeare's times.

Tags:thomas, shakespeare, death

Abstract
In the Renaissance context, the British colonisation of America was triggered by Christopher Columbus' first voyage to the Bahamas and Cuba in 1492. This paper discusses how the possibilities and dangers of this newly discovered world were profound issues at the time More and Shakespeare were writing and how their work is shot through with a contrast of fear and fantasy for the 'other'. The paper also examines how colonisation is also inextricably linked to humanist culture in that both believed in the possibility of social reformation. By suggesting that it is possible to create a perfect commonwealth, the paper discusses how "Utopia" appears to portray colonisation as a good thing, whereas in "The Tempest", Caliban epitomises its problems.

From the Paper
"By idealising a commonwealth, Utopia glorifies colonisation, and reflects the optimism that saturated the beginnings of the British Empire for example. Howard Felperin notes that this same optimistic energy is shown by Gonzalo in The Tempest, as he describes his perfect commonwealth halfway through act II scene I; "I would with such perfection govern, Sir, T' excel the Golden Age" (II:I:149) . In reality the enthusiasm behind colonialism was driven mainly by the promise of money - the piles of gold and silver to be generated by opportunities for new trade. But any sort of financial incentive is absent from Utopia. This makes us as suspicious of Utopus as we are of Hythloday; what are his motives for taking over the island? If Hythloday is the utopian explorer, Utopus is the utopian conqueror. In book 2 we learn that Utopus easily conquers the country, changes its name and "brought the rude and wild people to that excellent perfection in all good fashions, humanity, and civil gentleness" (p.56). He also alters its geography. Utopia's shift from a mainland country to an island is a near impossible and therefore doubtful feat, which implies so is the radical transformation of its people. "

Tags:Renaissance, caliban, Hythloday

Abstract
This essay outlines the extent to which the lovers in two plays, Ferdinand and Miranda in 'The Tempest' by William Shakespeare and Yolland and Marie in 'Translations' by Brian Friel, explore the idea of redemption. The essay examines the differences and similarities of both sets of lovers and explains the difficulties which the lovers face in both plays. The essay focuses attention on the context of the love expressed in the plays.

From the Paper
"The love in both 'the Tempest' and 'Translations' is explored in contrast to the harsh situations which the characters have to bear. These situations evoke redemption and hope for the future because of their difficult nature and strengthen the characters love. In the Tempest, Miranda and Ferdinand are faced with the reality that they have been shipwrecked on a distant unknown island and that their fathers are enemies, whereas in Translations Maire and Yolland are faced with the impossibility of communication and the prejudice that one nation holds for the other. They face the hostility of crossing the boundary between 'two tribes'. Both these loves develop throughout the plays and realise the need for redemption and hope in order to sustain their affections."

Tags:characters, hope, future, communication

Abstract
This paper examines how "The Tempest" is, perhaps, Shakespeare's most universally appropriate play in that its multicultural and colonial themes have attracted substantial study from all over the world and its characters have been employed as models for both further literary work. In particular it discusses how Caliban is, without question, a slave and how enslavement is a theme that pervades the play as a whole. It investigates this theme, not only in relation to Caliban, but also to the spirit Ariel and, to some extent, Prospero's daughter Miranda.

From the Paper
"It would not be insensible to argue that any audience of The Tempest finds itself subject to Prospero's rule. Knowledge of all action previous to the events which take place on stage is presented in the most part through Prospero. Indeed, all of the other characters, once upon the island, are only able to perform what is permitted them by Prospero. Caliban enters on his command, Ariel begins the play in creating a storm at his order, and the passengers of the King's ship are lured into neat groups around the island in preparation for his plan for the recovery of his Dukedom. Most significantly, however, is the position of Prospero's daughter, Miranda. She has lived on the island for nearly all of her cognizant life, taking all of her knowledge of human society from her father."

Tags:ariel, caliban, island, miranda

Abstract
This paper discusses how the theme of love is very prominent throughout this short, dynamic play, and is one of the most pivotal and deeply explored themes. Love is very exuberant and contributes to the flow of the play as well as its developments. In particular, it examines the father-daughter relationship between Prospero and Miranda and the blossoming young love between Ferdinand and Miranda.

From the Paper
"The love between Prospero and Miranda is a family based love between father and daughter. This bond is often associated as one of the closest relationships in the play, because of the nature in which it is set. This bond is already established within the first act, be it the second scene, in which the history of the two characters is revealed. Prospero and Miranda have both been betrayed and more or less sent to their death, and although Miranda does not have any knowledge of the tragedy at first sight, Prospero knows only too well how the story unfolded and so is extremely protective of his daughter, as he fought for her life. Miranda has her full trust in her father, because he in reality is all she knows, and therefore she believes him to be a wise and good hearted father. She pleads with him to help the people on the boat, for which she hears their agony and despair. "

Tags:Prospero, Miranda, Ferdinand

Abstract
This paper discusses how, by ultimately giving the character Caliban, in "The Tempest", repentant language and showing he is an intelligent creature, Shakespeare has given Caliban his approval and recognised that despite the fact he cannot be civilised, he is a creature of sensitivity deserving sympathy. The paper also argues that, by writing "The Tempest", Shakespeare wanted to make a philosophical and moral point about the taming of people who were considered to be savage and in need of civilisation. It also contends that Shakespeare had a humanitarian view towards undeveloped people and therefore created Caliban to represent an uncivilised creature being controlled and oppressed by people from society, represented by Prospero, who consider themselves to be superior.

From the Paper
"However, it is not only Caliban who has an uncontrollable and bestial side. Sebastian and Antonio, educated and civilised members of the Kings court, plot to kill the king while he is sleeping in order to take the throne. This raises Shakespeare's argument of nature versus nurture, which influences the play significantly. For example, the reader might take Shakespeare's descriptions of Caliban's instinctive behaviour and interpret him as an evil creature, but he is not as insensitive as characters such as Sebastian and Antonio. Both men are from an educated and civilised society but they still produce corruption and evil even though they know better, whereas Caliban does not have a clear concept of right and wrong and does not realise his actions are inappropriate. Fundamentally, Caliban's behaviour is horrifying in the eyes of civilized people; nevertheless, his background and the environment in which he grew up in justify his acts."

Tags:Prospero, savage, civilisation

Abstract
This paper examines how "The Tempest" has attracted a vast array of critical attention, possibly because of its intriguingly ambiguous message which naturally invites conjecture. It looks at how it is a text loaded with nuances and ambiguities which make it impossible to pin down Shakespeare's original motivation or world view. By contemplating the relationship between Prospero, Ariel and Caliban it considers the author's views of their relationship in comparison with those of major critics.

From the Paper
"Caliban's attitude to Prospero is one of absolute terror of his power rather than mere subservience. Mannnoni's argument of a "predisposition to dependency ", supported by Caliban's quick acceptance of Trinculo as "... a new master whose 'footlicker' he can become..." (quoted in Reader, p. 284) is hard to accept. Shakespeare's text is surely more light-hearted than this. Caliban's comic simplicity leads him to believe that Stephano and Trinculo are gods to be worshipped, not just men to be obeyed. In the magical surrounding of the island where the fantastic often happens, the naive Caliban can surely be forgiven for believing that Stephano and Trinculo are "...dropped from heaven" (2.2.134) or "Out o'th'moon" (2.2.135)."

Tags:caliban, miranda, island