Tim Harford writes The Problem With Factswhich uses Brexit and Trump as jumping-off points to argue that people are mostly impervious to facts and resistant to logic: Facts, it seems, are toothless. Trying to refute a bold, memorable lie with a fiddly set of facts can often serve to reinforce the myth. Important truths are often stale and dull, and it is easy to manufacture new, more engaging claims.
Hire Writer Caliban is presented to us as the embodiment of all that is primitive and savage, the epitome of degenerate man. He is the indigenous inhabitant of the island on which the play is enacted; this island is his birthright, a legacy from his mother Sycorax, and a fact that Prospero chooses to ignore as he assumes control of this alien land.
Prospero has attempted to tame and civilize his native but has been unable to impose his European values onto an alien culture. This distrust is the hallmark of Western imperialism that has always regarded anything foreign as odd and threatening.
Terry Eagleton sees this attitude as the self-loathing of the West projected on to the foreign other, those feelings of cruelty, sensuality, laziness and decadence that we deny in ourselves but choose to acknowledge in others.
This element of distrust towards Caliban is mirrored in the attitudes of other characters in the play. Throughout these discourses Caliban responds to his adversaries with a mixture of aggression and subjugation, his language being by turns abusive and acquiescent.
He is given some of the most beautiful poetry in the play and at times his words possess a simple lyricism, the beauty of which seems to be at odds with his savage persona.
We hear him telling Stephano that: The beauty and simplicity of these lines become just a part of the enigma of Caliban, lacking sophistication, but possessing a degree of sensitivity that is denied him in the eyes of his enemies, who are intent only on emphasisng his moral depravity.
This enigma is a part of the sense of illusion that pervades the play: The use of language in play becomes an integral part of the colonialist discourse. The name Caliban has generally been accepted as being an anagram of the word canibal.
The word did not enter the English language until the mid sixteenth century when it became associated with the reputedly human flesh-eating natives of the New World.
To the European mind of that time the words savage and cannibal became synonymous and the association of these two words with the word slave and the concept of slavery, became the justification for the prevailing attitudes of the time towards the subject of slaves in general. The language of slavery and subjugation became the language of colonialism, and the means whereby Europeans were able to emphasize the moral depravity of the indigenous people, thereby providing themselves with a suitable excuse for the colonization of the inferior other; the colonialist discourse was born.
In the play Prospero asserts his superiority through a verbal discourse which reflects the dehumanized thinking of an imperialist power. The language revolves around the binary oppositions of conquest and servitude, slavery and freedom, civilized and savage, nature and nurture.
Ariel claims his freedom as his right, having, in his eyes, served out his term, but Prospero reminds him that this freedom can only be achieved through further servitude, that he has already been freed from a more stringent and stultifying form of imprisonment under the auspices of Sycorax.
This reflects a degree of dependency on the part of Caliban, a trait that is often manifested on the part of the colonized, and becomes an integral part of the relationship that exists between the colonizer and the colonial other.
The leaving of the island becomes part of the element of erosion of the colonialist discourse, raising questions concerning responsibility on the part of the colonizer towards the inferior other. The old world has become contaminated by the new, the colonizer becoming morally implicated through the actions of colonizing.
It is the language of Caliban that invests the island with reality. These lines represent differing perceptions of the same situation, the paradox of human experience.
The idealism of Gonzalo is counterpoint to the cynicism of Antonio and Sebastian who reject his dream as laughable. This utopian society represents the paradox to the island constitution of Prospero in which authoritarian rule is imposed in order to achieve regeneration through the re-establishing of order.
The marriage of Ferdinand and Miranda exists in order to restore the status-quo, to restore to the imperialist mind the ideal of all that is pure and uncorrupt, unsullied by any association with the inferior other, an association which we see represented in the marriage of Claribel to a native of North Africa.View this research paper on Colonialism in the Tempest and.
Cefalu's interpretation is important because it offers some context for the consideration of Caliban Research Paper Colonialism in the Tempest and and 90,+ more term papers written by professionals and your peers.
Putting romance onstage, The Tempest gives us a magician, Prospero, a former duke of Milan who was displaced by his treacherous brother, Antonio. Prospero is exiled on an island, where his only companions are his daughter, Miranda, the spirit Ariel, and the monster Caliban.
The Tempest Exposes The Issue Of Colonialism English Literature Essay. Print Reference this.
Published: 23rd March, William Shakespeare's The Tempest exposes the issue of colonialism. 'Colonialism is the building and maintaining of colonies in one territory by people from another territory.' Postcolonial criticism 'is a specifically.
|Shakespeare's Presentation of Colonialism in ‘The Tempest' - Theme Analysis | Owlcation||Morocco —58 With the marriage of the heirs apparent to their respective thrones Ferdinand of Aragon and Isabella of Castile created a personal union that most scholars view as the foundation of the Spanish monarchy. Their dynastic alliance was important for a number of reasons, ruling jointly over a large aggregation of territories although not in a unitary fashion.|
|The theme of Colonization in The Tempest from LitCharts | The creators of SparkNotes||Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air; And like the baseless fabric of this vision, The cloud-capped towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind.|
|THE FILIPINO MIND||As Americans - used to free speech and the right to protest - after noticing the mistreatment of Palestinians - they wrote out pamphlets about their opinions and handed them out in the streets while there is Israel. Israelis SPAT on them and hid their children's faces as they passed.|
|Sources Used in Document:||The opening up of new frontiers and new land being discovered stimulated European information.|
Over the years, features of the plot of The Tempest have been used in other stories, sometimes in a minimal but noteworthy way.
A classic case was the science fiction movie Forbidden Planet, whose most memorable stars were Leslie Nielsen, Walter Pidgeon, and, oddly enough, "Robby the Robot," who would later turn up in other movies and television shows.
MISSION: To foster FILIPINO NATIONALISM. "Shake the foundations." Seek knowledge/understand/think critically about roots of socioeconomic-political predicaments in our homeland; educate ourselves, expose lies/hidden truths and fight IGNORANCE of our true history.
For over a century, a number of critics have tried to interpret the various elements of post colonialism present in the Tempest.
In , the English critic William Hazlitt was the first to point out that Prospero had usurped Caliban from his rule of the island and thus, was an agent of imperialism.