Character of Caliban The Tempest

The following academic paper highlights the up-to-date issues and questions of Caliban The Tempest. This sample provides just some ideas on how this topic can be analyzed and discussed.

Caliban is described in the character list as “a savage and deformed slave,” he is the son of Sycorax, an evil witch who has since died but who once held power over the island, now ruled by Prospero. Early commentators were often drawn to Caliban. In 1679 John Dryden cited him as an example of Shakespeare’s genius for creating “distinctive and consistent characters”, he remarked on the creatures “malice, ignorance, and sinful nature.

” Dryden’s emphasis on Caliban’s negative qualities was not all he had to say, however, and later criticism has demonstrated the complexity of his character. In our first onstage meeting of the native on Act I, Scene ii, we note that he is regarded as a “beast” and a “poisonous slave” by Prospero. Also accusing him of being “got by the devil himself’ upon Sycorax, Prospero has forced Caliban into servitude.

By contrast, Caliban considers himself mistreated and overworked. In his speech in the opening Act, he bitterly accuses Prospero of befriending him in order to take advantage of his gratitude and rob him of the island which he considers his birthright, “This island’s mine by Sycorax my mother…” Caliban is nostalgic when talking of his early days with Prospero, it is revealed to us that Prospero wished to educate him, in exchange, Caliban shares the “qualities o’th’isle” the relationship between the two characters is not unlike that of a parent and child.

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We feel pathos towards Caliban at this point, as he seems to regret at the breakdown of the relationship with Prospero, “Thou strok’st me and made much of me…then I loved thee.” The speech presents to us Shakespeare’s fascination with the politics of the time, as Caliban is portrayed as the dispossessed native; his resentment to Prospero could be translated into that of an oppressed people. For an audience of the time, talk of colonization in the “new world” would be common place. The Tempest’s representation of Caliban relates him to the black man, because Caliban, like African Americans of early times, is conquered and forced into slavery against his will. Shakespeare may have intended Caliban to be a representative of the colonized man. Critics have pointed out that because of the Caribbean like location of the play; this device seems to be a reasonable suggestion. The critic Felicity Currie argues that Prospero is the “imperialist tyrant” and Caliban an “oppressed slave”, considering that he is treated with malice, Currie defends Caliban and considers that he aught to be free. Felicity’s argument becomes an inconsistent one when we learn of Calibans attempted rape of Miranda. “Thou didst seek to violate the honor of my child…” The native isn’t in the least bit repentant, his cry of “O ho, O ho!” suggests that he is almost proud. David Lindley points out that this exclamation was often used to characterize “a villain or mischief maker, and especially Satan himself.” By the end of the first act, we see Caliban in his full light, not as an entirely innocent and unknowing native, nor as an evil beast. It seems at this point that he is merely a childlike figure who is ruled by his animal desires and instincts.

Who Is Caliban In The Tempest

In Act II, scene ii, the drunken butler, Stephano, and the jester, Trinculo, encounter Caliban and are persuaded by him to kill Prospero so that they can rule the island. The theme of colonization is once again presented here as the two rogues discover Caliban. They perceive him as some kind of monster, “a man or a fish…this is some monster of the isle.” The pair seek to exploit Caliban by “recover(ing) him and keep(ing) him tame.” Trinculo refers to the interest of Europeans in natives, pointing out that they will “lay out ten (doits) to see a dead Indian” and Stephano has the idea that “he’s a present for any emperor.” They give Caliban alcohol, which he refers to as “celestial liqueur”; it is through this that the thoughtlessness of Steohano and Trinculo is revealed. In Calibans first speech in the opening act, he makes reference to Prospero giving him “water with berries in’t” although some critics believe this to be wine, it seem unlikely that Prospero would give the native alcohol, as Calibans reaction to the wine in this act suggests that he has never before experienced it. Caliban shows foolishness and naivety in bowing to Stephano as his new master, who grows in his ambitions to kill Prospero.

The plan to “knock a nail into his head” seems almost laughable when set in contrast to the subtlety and cunning of Antonio and Sebastian, who use the euphemism of sleep to communicate their plot to usurp the king. Just before the beginning of the extract, Caliban gives his allegiance to Stephano but responds in a childlike way to Trinculo, calling him a “scurvy patch.” This gives Ariel a chance to take advantage of the situation and play a trick, casting Trinculo out of the trio and strengthening the relationship between Caliban and his new master. There is irony in the text as they discuss the plot to kill Prospero, in that the mage “through his art” forsees Calibans revengeful plot and will ensure the failure of it. The childlike nature of Caliban is revealed again through his speech, in which he reveals the ways in which he had imagined Prospero’s death, “thou mayst brain him…or paunch him with a steak, or cut his wezand with a knife.” Caliban tempts Stephano with the idea of dukedom through Miranda, like the native, the drunken rouge Stephano sees women as sexual partners. For him, the idea of Miranda the “nonpareil” is irresistible, and Caliban promises that “she will become thy bed”. The fact that Stephano is persuaded to murder by the promise of a beautiful woman reflects his view of women, and by association, the view of the time. As their plans are agreed on, Trinculo is asked for his opinion; “excellent” is his response. Anne Barton suggests that it is “Uttered, presumably in a sulky tone of voice, which prompts Stephano’s subsequent attempt to make amends.” Stephano apologizes to the jester, and the three rogues sing together; ironically for Caliban, about freedom.

Ariel seizes another opportunity to play a trick, and begins to “play the tune on a tabour and pipe”. Stephano and Trinculo are drunk, ergo full of swagger and confidence. But the pair are easily frightened by the disembodied music played by the invisible spirit. The contrast between this pair, and Antonio and Sebastian is drawn on here, as the latter did not hear any music. This is perhaps reflective of the statement made by Shakespeare in the Merchant of Venice when Lorenzo says “the man that hath no music in himself…is worthy of strategons, treasons and spoils.” Shakespeare may be communicating through this contrast that Stephano and Trinculo are not real villains, like the Machiavellian Antonio, but just mischievous, selfish characters. Calibans attitudes towards the island are revealed through his response to the music. To him, the island is a familiar place of beauty. “Be not afeared, the isle is full of noises…”

The slaves language here is poetic, the use of rhetorical devices such as the sibilance in “Sounds and Sweet Airs” the phrase “sweet airs” is also used by Ferdinand, the romancer and courtly lover in his wooing of his lover. The onomatopoeia of “twanging” is also used to describe the instruments. It is revealed through his speech that the island has a magical effect on him, “if I had waked after a long sleep, Will make me sleep again.” It is suggested that the island acts as Calibans cradle, reinforcing the idea that he is a childlike figure. Caliban dreams that the clouds “would open, and show riches Ready to drop upon me”. The term “riches” may be a metaphor for freedom, and similar to Antonio’s vision of the crown “dropping upon thy head”, the riches “drop” onto Caliban, symbolizing the simplicity of attaining his dream. Unfortunately, Calibans Speech falls on deaf ears, and Stephano and Trinculo remain untouched by his words.

As the scene closes, the audience feels ambivalence towards Caliban. On one hand, we feel sympathy for his claim “this island’s mine” as his feelings for the island are revealed. We sense that he feels regret for Prospero’s withdrawal from him. However, the attempted rape of Miranda and his total lack of remorse cannot be forgotten. Caliban has remained one of the most compelling characters in The Tempest, and has elicited a large portion of the critical interest in the play. It is not easy to decipher weather or not he is a monstrous native or just a na�ve figure with no experience of human morals. The critic G.L. Horton points out Caliban’s poetic imagination, his childlike eagerness make it near impossible for us to see Caliban as an evil figure. The extract develops our response to the character, making us inclined to agree with Horton.