Some modern critics view The Tempest as an allegory about the negative influence of colonialism. The relationship between Prospero, Ariel, and Caliban supports this analysis. Prospero enslaves both Ariel and Caliban to do his dirty work on the island. Although Prospero performs incredible magic, he does so in a tyrannical way. His rule of the island depends upon his hard-hearted treatment of its inhabitants. For instance, when he commands Caliban to fetch firewood in Act 1, Scene 2, he uses derogatory epithets:
We cannot miss him. He does make our fire,
Fetch in our wood, and serves in offices
That profit us. What, ho! slave! Caliban!
Thou earth, thou, speak!
The word "slave" is highly insulting because it dehumanizes Caliban and brings to mind the treatment of natives by colonizers. The audience comes to understand the depth of Caliban's despair when he celebrates his freedom in Act 2, Scene 2 by listing the tasks he no longer has to complete:
No more dams I'll make for fish
Nor fetch in firing
At requiring,
Nor scrape trenchering, nor wash dish.
'Ban, 'ban, Ca-caliban
Has a new master. Get a new man.
Freedom, high-day! High-day, freedom! freedom,
high-day, freedom!
Prospero also employs Ariel's magic for his own benefit before freeing him in Act 5, Scene 1:
Why, that's my dainty Ariel. I shall miss
Thee, but yet thou shalt have freedom. So, so, so.
Prospero seems to favor Ariel and chooses more complimentary names for him, but their relationship remains one centered around enslavement. Shakespeare creates sympathy for Ariel by showing how Prospero initially refuses to grant his freedom despite loyal service. Because Ariel must pay off a debt of unspecified proportions, he resembles an indentured servant. Even Caliban garners the audience's sympathy with his capacity for language and the way he reacts to Prospero's continuous abuse. This sympathetic characterization, as well as the fact that both characters achieve freedom at the end of the play, supports the claim that Shakespeare uses this play to tacitly condemn colonialism.
Some modern critics view The Tempest as an allegory about the negative influence of colonialism. The relationship between Prospero, Ariel, and Caliban supports this analysis. Prospero enslaves both Ariel and Caliban to do his dirty work on the island. Although Prospero performs incredible magic, he does so in a tyrannical way. His rule of the island depends upon his hard-hearted treatment of its inhabitants. For instance, when he commands Caliban to fetch firewood in Act 1, Scene 2, he uses derogatory epithets:
We cannot miss him. He does make our fire,
Fetch in our wood, and serves in offices
That profit us. What, ho! slave! Caliban!
Thou earth, thou, speak!
The word "slave" is highly insulting because it dehumanizes Caliban and brings to mind the treatment of natives by colonizers. The audience comes to understand the depth of Caliban's despair when he celebrates his freedom in Act 2, Scene 2 by listing the tasks he no longer has to complete:
No more dams I'll make for fish
Nor fetch in firing
At requiring,
Nor scrape trenchering, nor wash dish.
'Ban, 'ban, Ca-caliban
Has a new master. Get a new man.
Freedom, high-day! High-day, freedom! freedom,
high-day, freedom!
Prospero also employs Ariel's magic for his own benefit before freeing him in Act 5, Scene 1:
Why, that's my dainty Ariel. I shall miss
Thee, but yet thou shalt have freedom. So, so, so.
Prospero seems to favor Ariel and chooses more complimentary names for him, but their relationship remains one centered around enslavement. Shakespeare creates sympathy for Ariel by showing how Prospero initially refuses to grant his freedom despite loyal service. Because Ariel must pay off a debt of unspecified proportions, he resembles an indentured servant. Even Caliban garners the audience's sympathy with his capacity for language and the way he reacts to Prospero's continuous abuse. This sympathetic characterization, as well as the fact that both characters achieve freedom at the end of the play, supports the claim that Shakespeare uses this play to tacitly condemn colonialism.
Some modern critics view The Tempest as an allegory about the negative influence of colonialism. The relationship between Prospero, Ariel, and Caliban supports this analysis. Prospero enslaves both Ariel and Caliban to do his dirty work on the island. Although Prospero performs incredible magic, he does so in a tyrannical way. His rule of the island depends upon his hard-hearted treatment of its inhabitants. For instance, when he commands Caliban to fetch firewood in Act 1, Scene 2, he uses derogatory epithets:
We cannot miss him. He does make our fire,
Fetch in our wood, and serves in offices
That profit us. What, ho! slave! Caliban!
Thou earth, thou, speak!
The word "slave" is highly insulting because it dehumanizes Caliban and brings to mind the treatment of natives by colonizers. The audience comes to understand the depth of Caliban's despair when he celebrates his freedom in Act 2, Scene 2 by listing the tasks he no longer has to complete:
No more dams I'll make for fish
Nor fetch in firing
At requiring,
Nor scrape trenchering, nor wash dish.
'Ban, 'ban, Ca-caliban
Has a new master. Get a new man.
Freedom, high-day! High-day, freedom! freedom,
high-day, freedom!
Prospero also employs Ariel's magic for his own benefit before freeing him in Act 5, Scene 1:
Why, that's my dainty Ariel. I shall miss
Thee, but yet thou shalt have freedom. So, so, so.
Prospero seems to favor Ariel and chooses more complimentary names for him, but their relationship remains one centered around enslavement. Shakespeare creates sympathy for Ariel by showing how Prospero initially refuses to grant his freedom despite loyal service. Because Ariel must pay off a debt of unspecified proportions, he resembles an indentured servant. Even Caliban garners the audience's sympathy with his capacity for language and the way he reacts to Prospero's continuous abuse. This sympathetic characterization, as well as the fact that both characters achieve freedom at the end of the play, supports the claim that Shakespeare uses this play to tacitly condemn colonialism.
