Task Solutions Of Cultural Connotations Of Colonized:ENGL001

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Shakespeare ’ s ‘ The Tempest ’
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The Tempest
Question 1. In Shakespeare ’sThe Tempest ,we discussed how the playwrig …

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Shakespeare ’ s ‘ The Tempest ’
1
The Tempest
Question 1. In Shakespeare ’sThe Tempest ,we discussed how the playwright not
only uses the literary conventions of drama to construct the play, but the playwright
often writes in verse, or poetry, in many scenes. We analyzed the playwright ’suse of
monologue, soliloquy, and direct speech in our exploration of the play ’s
characterization and plot. We also saw how Ariel, Prospero ’sservant, is often
associated with poetic song in many of the scenes. In your response, pick one monologue,
soliloquy, or song from the play and analyze any 3poetic devices that occur effectively
in the speech. PLEASE INDICATE WHICH SPEECH YOU ARE ANALYZING by
ACT, SCENE, AND LINE NUMBERS. Make sure to use plenty of specifics when you
answer this question and cite lines and/passages from the play to support your point.
Also make sure you explain how the poetic devices contribute to the meaning of the play.
Word Count 250-300. (points 50) Note: Ihave posted astudy guide for this question that
lists the poetic devices we have studied.
Answer 1. In act 1, scene 2, Caliban can be seen undergoing extreme agony as he
begins with his monologue, ‘This island ’smine, by Sycorax my mother … .In this hard rock,
whiles you do keep from me ,The rest o’the island ’(Act 1, Scene 2, 395-410) Through the
creation of this monologue, Shakespeare achieved afeat that contributed to the continuation
of the belief that Shakespeare truly was aliterary genius (Lindsay). Through The Tempest,
and specifically through Caliban ’scharacter, Shakespeare managed to engage in an
unconscious conversation that follows the narrative discourse of postcolonial literature. In
this monologue, Shakespeare employs the poetic devices of Connotation, Imagery, and
Allegory.
In this monologue, there are cultural connotations of the colonized identity where the
individuals who used to own their lands were forcefully smothered in order to inhabit a
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colonized identity in their own land by the colonizers. These cultural connotations are
enhanced when Caliban states that ‘You taught me language, and my profit on ’tis Iknow
how to curse ’(Act 1, Scene 2, 366-368). Through this statement, Shakespeare examines how
the language of the colonizers becomes ahumiliating defeat for the colonized identity as their
lives start being surrounded by it, even though all that the language represents for them is
utter trauma (Pesta).
Secondly, the poetic device of Allegory can also be seen in the monologue as through
the character of Prospero, Shakespeare creates acolonial frame and provides adistinct form
of reflection on the constant colonial contact and power struggle that accompanies this
conscious and forceful colonization. Caliban ’sexclaim that ‘This land ’smine, by Sycorax my
mother, Which thou tak ’st from me ’(Act 1, Scene 2, 331-332), allegorizes the anticolonial
struggle of the colonized population to aggressively take back the land that was essentially
their own (Held). Further, the poetic device of Imagery is beautifully incorporated in this
monologue by Shakespeare as ithelps amplify the undertones of the utter agony and misery
that engulfed Caliban ’sentire being (Smith et al.).
Question 2. In Shakespeare ’sThe Tempest ,we analyzed how the playwright
utilizes the Five-Act structure to develop plot tensions that escalate and conclude in
comedy. In that structure, we analyzed how Shakespeare creates acomedy in which the
dynamics of plot and characterization end in ahappy resolution that centers on
forgiveness, union, and reunions. In your response, pick three characters and analyze
how they contribute to the comic, or happy, ending of the play. Make sure to use plenty
of specifics when you answer this question and cite lines and passages from the play to
support your points. Also, please indicate how these characters reflect important themes
in the play that contribute to the comic ending. Word Count 250-300. (points 50) Note: I
have posted astudy guide for this question that lists some critical themes we have studied
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Answer 2. One of the most distinct elements of Shakespeare ’swriting is his ability to
incorporate comic subplots within his plays in order to provide comic relief for his audience
and his readers amid all of the chaos that is created through the events that unfurl throughout
the course of the narrative. The three characters that significantly contribute to the comic
ending of the play are, Stephano, Trinculo, and Miranda. While Stephano and Trinculo
provide comic relief throughout the play, Miranda ’scharacter is significant to the happy
ending of the play. Miranda ’scharacter is the one who essentially falls in love with Ferdinand,
an act through which aseries of events unfurl that conclusively contribute toward Prospero ’s
realization that violence can never be the answer (Kunat). Miranda ’sundying love and her
ability to forgive as well as love depict the inherent incorporation of the theme of innocence
and purity in the play. Her ability to persevere against all the cruelty and the evil that
manages to take place on the island that she inhabits, shows the elements of true love that can
never be overpowered as she states in the third act ‘Iwould not wish any companion in the
world but you ’(Act 3, Scene 1, 65-66).
Additionally, as The Tempest is one of Shakespeare ’slater comedies, the essential
theme of the play is dark and menacing where Prospero pursues black arts in order to gain his
empire back, Shakespeare employs two characters that give the audience the much-needed
relief from the fast-paced trope of revenge that the play embarks upon. Through the
characters of Trinculo and Stephano, Shakespeare underlines the utmost need for comedic
relief in human life. The scenes with these two characters portray the humor that lies amid the
daily ordeals of life as Shakespeare examines how humor does not necessarily come from the
existence of these two characters but the acts that they commit and the things that they say.
The inherent theme that lies underneath the incorporation of these two characters is that
eventually, they become the parodies of Antonio and Sebastian (Bigliazzi and Lisanna Calvi).
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Works Cited
Bigliazzi, Silvia, and Lisanna Calvi. Revisiting the Tempest :The Capacity to Signify .
Palgrave Macmillan, 2014.
Held, Joshua R. “Caliban and the Rhetoric of Sincerity: Postcolonialism, Performance, and
the Self. ”Christianity & Literature ,vol. 67, no. 1, Dec. 2017, pp. 69 –88,
https://doi.org/10.1177/0148333117729686.
Kunat, John. “‘Play Me False ’:Rape, Race, and Conquest in the Tempest. ”Shakespeare
Quarterly ,vol. 65, no. 3, 2014, pp. 307 –27, https://doi.org/10.1353/shq.2014.0036.
Lindsay, Tom. “‘Which First Was Mine Own King ’:Caliban and the Politics of Service and
Education in the Tempest. ”Studies in Philology ,vol. 113, no. 2, 2016, pp. 397 –423,
https://doi.org/10.1353/sip.2016.0016.
Pesta, Duke. “‘Thou Dost Here Usurp the Name Thou Ow ’st Not ’:The Tempest and
Intercultural Exchange. ”Renascence ,vol. 67, no. 2, 2015, pp. 127 –46,
https://doi.org/10.5840/renascence201567211.
Smith, Cassander L., et al. Early Modern Black Diaspora Studies :A Critical Anthology .
Palgrave Macmillan, 2018.

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