This is why for decades and centuries - long after their authors have gone silent - the writings of Dante, Shakespeare, and Austen, among so many other vital voices, will continue to captivate readers and comment upon life. Literature has innumerable qualities and purposes and can open doors to unique situations and worlds which are never wholly removed from our own.
Ariel adds that, as commanded, he saw that none of the group were harmed, but that all landed safely on the island, scattered and separated along the coast. Prospero declines, reminding him of the state he was in before Prospero rescued him: Ariel had been trapped by the witch Sycorax in a "cloven pine" as a punishment for resisting her commands.
After 12 years of pain and the death of SycoraxAriel was released from his prison by Prospero, who pressed the spirit into his service. In the second act Ariel briefly appears to stop a conspiracy to kill Alonso, King of Naples, whose brother and heir to the dukedomSebastian, plots to kill him in his sleep.
Ariel sings in the ear of Gonzalo, a councillor to Alonso, to wake him and foils the plot. Later in the same act, he appears with a clap of thunder and rebukes those who were involved in the plot to banish Prospero to the island, displaying his fearful power to the men.
He is later called on to gather the spirits of the island before Miranda and Ferdinand, and to bring Trinculo, Stephano, and Caliban before Prospero for judgement. In the final act, Ariel releases the prisoners of Prospero and awakens what is left of the crew of the ship from a deep slumber.
Sources[ edit ] The source from which Shakespeare got the idea for Ariel is not known, though there have been many candidates proposed by scholars.
Sprites or demons such as Ariel were viewed during the Renaissance from either religious or scientific points of view: Some scholars compare Ariel to The tempest contemporary critical essays of the air described in Renaissance demonologywhile others claim that he is an archetype of a more neutral category of sprites.
These spirits often disturb the air, stir up tempests and thunders. They do not retain one form, but take on various forms Jewish demonology, for example, had a figure by the name of Ariel who was described as the spirit of the waters.
Another spirit, Urielis also comparable. In Isaiah 29, an Ariel is mentioned as another name for Jerusalem. In the Geneva Bible, which Shakespeare and others of the time would have known, the entry carries an interesting footnote describing this Ariel as the "Lyon of God.
Other scholars propose that the ca. The character, named Shrimp, is also an air demon controlled by a magician. Since it is very likely Shakespeare was familiar with the play, it is possible that Ariel is based on Shrimp, but evidence remains inconclusive.
Shakespeare, however, refuses to make Ariel a will-less character, infusing him with desires and near-human feelings uncharacteristic of most sprites of this type.
The actor would not even have been able to sweep the food into a receptacle behind the table, since the theatre had seating on three sides. What was needed was some sort of device to act on the signal of Ariel slapping his wings on the table. When the wings lifted, the food would be gone, apparently by magic.
Later in act three, when Ariel appears and disappears with thunder, another trick was probably used, involving some sort of basket on wires, covered in cloud designs, which the Globe theatre then had.
Ariel may have descended from the air in this device as a harpy, spoken his lines, and ascended in the same device. Ariel may have descended on the back of an eagle, rather than clouds, or with no device at all—wires being attached to his harpy wings. Time is allowed for the character to change from Ariel to Ceres and back.
On the other side, Ceres may have been associated, by Shakespeare, to the Kairos figure, related to rhetorics, personating the opportune moment to present the convincing argument in a speech.
The entire scene comes together in a way that leads scholars to believe that the Masque scene with the three goddesses was added as an afterthought to work around costuming and role-playing issues.
One example is in the stage directions at III. Enter ARIEL, like a harpy; claps his wings upon the table; and, with a quaint device, the banquet vanishes.
All hail, great master! Originally, the role would have been assumed by a boy-player, but beginning in Restoration adaptations it would have been played by a woman. Post-colonialism[ edit ] Beginning in aboutwith the publication of Psychology of Colonization by Octave MannoniThe Tempest was viewed more and more through the lens of post-colonial theory.
This new way of looking at the text explored the effect of the coloniser Prospero on the colonised Ariel and Caliban. Though Ariel is often overlooked in these debates in favour of the more intriguing Caliban, he is still involved in many of the debates.
Fernandez Retamar sets his version of the play in Cuba, portraying Ariel as a wealthy Cuban in comparison to the lower-class Caliban who also must choose between rebellion or negotiation. Michelle Clifffor example, a Jamaican author, has said that she tries to combine Caliban and Ariel within herself to create a way of writing that better represents her culture.Analysis of Macbeth and His Struggle for Power - In William Shakespeare’s play Macbeth, there is a constant struggle for power by Macbeth that leads to many problems, not only for himself, but for the very nature of Scotland as well.
These are some of the many databases available to you as a member of Middletown Thrall Library: Artemis (now Gale Literary Sources) Searches the following databases (described below): Literature Criticism Online, Literature for Students, Literature Resource Center, and Something about the Author.
Ariel is a spirit who appears in William Shakespeare's play The leslutinsduphoenix.com is bound to serve the magician Prospero, who rescued him from the tree in which he was imprisoned by Sycorax, the witch who previously inhabited the leslutinsduphoenix.comro greets disobedience with a reminder that he saved Ariel from Sycorax's spell, and with promises to grant Ariel his freedom.
Free Postcolonial Literature papers, essays, and research papers. The Tempest: Critical Essays traces the history of Shakespeare's controversial late romance from its early reception (and adaptation) in the seventeenth and eighteenth centuries to the leslutinsduphoenix.com volume reprints influential criticism, and it also offers eight originalessays which study The Tempest from a variety of contemporary perspectives, including cultural materialism, feminism.
The Lie of Imperialism Exposed in Literature - If postcolonial literature is the “process of dialogue and necessary correction,” of misconceptions concerning colonialism, then a comparative study of colonial and postcolonial works is essential for attaining a full understanding of the far-reaching effects of European imperialism (Groden and Kreiswirth ).