Miranda And Prospero The Use Of Language example essay topic

The Tempest Essay 1 The role of language in Shakespeare's play "The Tempest" is quite significant. To Miranda and Prospero the use of language is a means to knowing oneself. Caliban does not view language in the same light. Prospero taught Caliban to speak, but instead of creating the feeling of empowerment from language, Caliban reacts in insurrectionary manner. Language reminds him how different he is from Miranda and Prospero, and also how they have changed him. It also reminds him of how he was when he wasn't a slave.

He resents Prospero for "Civilizing" him, because in doing so he took away his freedom. Language and knowledge is the key to power on the island. Prospero is a well educated man, and has many books, which gives him his magical power. Prospero rules the island and has many creatures under his command. He possesses so much power that he can even cause weather to change and indirectly the fate of the people who were shipwrecked on the island.

William Sherman has the opinion "Knowledge was magical, and sometimes even entailed magic. But the attacks on libraries, the condemnations for conjuring, and the polemical complaints betray a deeper and more significant phenomenon: there were in early modern England dramatic uncertainties about the power of information and those who possessed it. (Cited in Jardine 1996: 105) Throughout the whole play there is evidence of power, someone in possession of it and another subordinate to the person with the power. Mostly this happens in the scenes with prosper o, as he is almost an omniscient and omnipotent character, with god-like qualities.

He has the means to change many things not possible for humans, because of his magic and his power over magical creatures such as Ariel. Caliban also does the will of Prospero; But, as 'tis, We cannot miss him: he does make our fire, Fetch in our wood, and serves in offices That profit us. What, ho! Slave! Caliban! (I. ii. 351-53) The shipwrecked people also play into Prospero's hand, but they don't even realize this.

Even Miranda is dutiful to her father, and does what he says with little complaint. There is a hierarchy on the island, with Prospero on top of the list. Lorie Jarrell Leininger writes in her article "Miranda is given to understand that she is the foot in the family organization of which Prospero is the head". She also writes; "Miranda dare not object to her enforced proximity to a hostile slave, for within the Play's universe of Discourse any attempt at pressing her own needs would constitute both personal insubordination and a disruption of the hierarchical order of which the 'foot / head ' familial organisation is but one reflection".

Caliban's lines; You taught me language, and my profit on't Is, I know how to curse. The red plague rid you For learning me your language! (I. ii: 363-65) is quite confusing. Why would he want to curse the man who taught him how to speak? There are a number of reasons for this. Caliban can now comprehend his diverseness. He also feels trapped by the language because he sees the ability to speak and understand Prospero's language as the instrument which took away his freedom.

Also language symbolizes civility. He did not know before Prospero and Miranda's arrival of class and race differences. Through "culture" he has learned of discrimination, and he is being discriminated against. This makes him a pariah on his own island. The meaning of Caliban's words is that, he explains that he resents being taught to speak, and that he can only see one advantage for him to be able to do so, and that is the ability to curse, because with that ability he can curse Prospero whom he begrudges the most. It is ironic that the 'savage' and unattractive person on he island, who is sometimes described as "man, savage, ape, water-beast, dragon and semi-devil - Caliban is all of them" by Knight, G. Wilson, and who resents the fact that he can speak Prospero's language, says the most beautiful words when describing his island or Miranda.

'And that most deeply to consider is The beauty of his daughter. He himself Calls her a nonpareil. I never saw a woman But only Sycorax my dam and she, But she as far surpass eth SycoraxAs great " st does least' ( . ii. 94-98). ' Be not afeard.

The isle is full of noises, Sounds, and sweet airs, that give delight and hurt not. Sometimes a thousand t wangling 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' ( . ii. 130-138). He 'The common epistemology of all these different signs is one reason why the list of signifying sounds Caliban names in his speech cuts so wide a swath through the sonic universe. Noises, sounds, sweet airs, t wangling instruments, and voices (singing? speaking? ): the list cannot be domesticated within the category 'music,' at least not in the narrow, exclusionary currency of its modern western usage' Is the way that Thomilson describes the speeches of Caliban. Caliban is very crude and he swears, but with the same mouth he produces beautiful and poetic words.

It is ironic that he has so much disdain for language when he has the best talent for using it. The other reason for irony of Caliban's speeches is that he is the most ugly and unattractive character in the play, yet he speaks the most lyrical and poetic words of all the people, even more beautiful than Ferdinand who is trying to woe Miranda. Caliban represents every person that has been colonized by Europe, and their attempt to civilize the savages. Their method of civilizing and to maintain a firm grip on their savage labourers was language. It was their means to communicate and control the people who they didn't consider as themselves and a means to discriminate against it. This is reason why Caliban resists and rebels against Prospero and disparage the language he has been taught.

To him it is the loss of freedom and the agency through which he is being discriminated against.

Bibliography

Knight, G. Wilson. "The Shakespearean Superman: An essay on The Tempest". The Crown of life: Essays in Interpretation of Shakespeare's Final Plays. Oxford: Oxford University Press, 1947.
203-255 Leininger, Lorie Jer rel. "The Miranda Trap: Sexism and Racism in Shakespeare's Tempest". The Woman's Part: Feminist Criticism of Shakespeare. Eds Carolyn Ruth Swift Lenz et al. Urbana: University of Illinois Press, 1983.
285-294 Smith, Ian. 'When we were capital, or lessons in language: Finding Caliban's roots. ' Shakespeare Studies 28 (2000): 252-256 Tomlinson, Gary.
The matter of sounds. ' Shakespeare Studies 28 (2000): 236-239.