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Begining with I would like to say that the topic Colonialism in Shakespeare's work The Tempest, is can be seen very vividly. One of the main characters Prospero is a true example of a colonies. Prospero is a colonist seizing the land of the natives and imposing European values, attitudes and the rule of European society upon them. This interpretation has been increasingly popular in North America. Although Prospero himself was forced onto the island, he was quick to impose both his beliefs and his self-proclaimed authority over the islands natural inhabitants. This self-appointed ruler however, is not the legitimate sovereign of the island.
The native Caliban is the natural landlord of the isle, as it was passed down through his mother Sycorax. Yet Prospero rules over the island. In taking charge of an island that is not his, and then exerting his authority over the inhabitants through his magic, Prospero is obviously a metaphor for European colonial power, with which Shakespeare was becoming increasingly familiar during his lifetime with accounts of sea-men and expeditions splashed all over the covers of the broadsheets. The key character, with which the colonial characteristics of Prospero become obscenely clear, is Caliban.
An island native who regards himself as the rightful owner of the island, he is forced against his will to serve Prospero and his daughter Miranda despite constant outbursts of his unwillingness to do so. At first, Prospero takes Caliban under his wing, teaching him language, but this relationship of father / son or teacher / student is quickly dispelled when Caliban tries to rape Miranda, and so Caliban condemns himself to a life of misery under Prospero. This is Prospero's primary justification for the life of torment that Caliban now endures, but is this sufficient justification? Although Caliban has committed a foul act against Miranda, in my opinion this does not give Prospero the right to mistreat Caliban in such a way.
The apparent lack of empathy for Caliban on Prospero's part seems somewhat cold-hearted. With a young daughter of his own, he should be able to sympathise with Caliban. Caliban has endured more than most with the loss of his mother, and now the usurpation of the island. Motherless and homeless, he poses no threat whatsoever to Prospero. It confuses me that Prospero reacts in such a way, as he and Ariel could soon put Caliban in his place. Previously, Caliban associated with Miranda and Prospero as almost part of a family unit, but following the incident when he attempted unacceptable intimacy with Miranda, he has since been cast out of this and no longer has the freedom of the island.
When he is not performing menial tasks for Prospero, he is cooped up, almost imprisoned in a small rocky cave, adjacent to the cell of Prospero and Miranda. Regardless of this, Caliban is neither ashamed nor remorseful of his attempt on Miranda. For Caliban it is a natural act, but to Prospero and Miranda it would demonstrate Caliban's natural inferiority. Throughout the play, Caliban is subject to abusive, humiliating language from Prospero.
One of Prospero's rationale for mistreating Caliban is that, He is not honor with a human shape. This constant bombardment seems unjust, as Caliban is not wicked and malicious for the sake of it. He genuinely feels that an injustice has been done. Being difficult is perhaps his only way of striking back at his oppressor. Although he is seen through the eyes of Prospero as a grotesque monster, Shakespeare has given Caliban some of the most beautiful speeches in the play about his island home. (Act IV, ii 130 - 137) His delight in the natural beauty of the island is evident and the way in which he describes his near tearful pleasure paints a very different picture of him than the monstrous one that Prospero holds. Sounds and sweet airs, that give delight and hurt not: Sometimes a thousand twanging instruments Will hum about mine ears; and sometimes voices, That, if I then had waked after long sleep, Will make me sleep again-and then, in dreaming, The clouds methought would open, and show riches Ready to drop upon me, that when I waked I cried to dream again.
He is not without intelligence neither. In fact he comes across as very articulate within the play, even more so than some of the other representations of Europeans, namely Trinculo and Stephano. Later in the play, Caliban comes to realise his own naivety, when he realises that Stephano and Trinculo are not Gods, but in fact drunken fools. (Act V, i 300 - 302) He is sharp enough to realise his mistake and is quick to condemn himself for this. What a thrice-double ass Was I, to take this drunken fool for a god, And worship this dull fool! Prospero believes that Caliban is a born devil; he was born bad, and can only remain bad. Prospero may be angry and frustrated that Caliban has refused to accept the gift of education.
In his treatment of Caliban, he emphasizes that Caliban is a drunken monster that does not respect white women. (Miranda) But it was Prospero himself, followed by Trinculo and Stephano who turned Caliban into a drunken Indian. At no point does Prospero give Caliban credit for anything even though it was Caliban who revealed the resources of the island to him. Even though he treats Caliban in this manner, at the end of the play, he takes responsibility for him. This is the only time in the play that Prospero declares his obligation towards Caliban. (Act V, i 280 - 281) Must know and own; this thing of darkness I Acknowledge mine. In some respects, however, it is difficult to believe that Shakespeare intended to use Caliban as a symbol of colonial oppression. Caliban is a unique individual; he has no race, culture and no previous history.
Prospero is oppressing a single person, not a group or a society of people. Even an alien language is not forced upon Caliban, as he had no previous language before the arrival of Prospero. A key aspect of colonial imperialism is the imposition of the conquerors language. This is clearly not the case in The Tempest. The other native of the isle is Ariel. This fiery spirit is treated far better than Caliban, in scene 2; it is revealed that there is a contract between Prospero and Ariel.
Ariel will remain In bondage, until he is released from service. This is the language of master and serf. Caliban has no such contract. Ariel is in service, not slavery to Prospero after Ariel vowed to serve him after being released from a tree, which Ariel was imprisoned in. This is made explicit in (Act 1, ii) where Prospero and Ariel acknowledge each other as equals.
Their relationship is close and affectionate; Prospero calls Ariel my bird, my industrious servant and my chick. The animating force of his magic, there is no occasion in the play when Prospero doesnt call on Ariel to carry out an assignment for him, not actually exercising his own magic at all yet it is evident he must possess some due to the release of Ariel from the tree. There is an alternative motive on the part of Ariel though, as the spirit must keep Prospero content in order to ensure his release. Despite this though, it is evident that Ariel is very keen to please Prospero and strives to satisfy Prospero's demands. Ariel does not fit easily into a colonial interpretation of the play. Ariel's relationship with Prospero is not of that of master-slave; it is closer to a partnership as Prospero would be virtually helpless without Ariel to carry out his commands.
Yet there is never a time when Prospero runs the risk losing Ariel. In my opinion, Ariel can be seen as the native who aligns himself with the oppressors. Some Zulus and other native populations worked with the British, rather than for them, Ariel can be seen in this respect. Concluding my essay I want to aks: did Shakespeare have a hidden agenda when writing The Tempest? Personally, I cant see it. I think that Shakespeare was addressing a popular topic of discussion at the time.
He was driven by a desire to get money and he knew it was important to include what contemporary issues were popular. It would have made for great entertainment and would have drawn the crowds. The fact that a masque may have been added to the play in 1613 for the benefit of Elizabeth, the daughter of James I as part of the celebration for her wedding suggests that Shakespeare was more concerned with suiting the play to his audience. Bibliography William Shakespeare. The Tempest. New York: Wiley. 1998 2.
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