Comparing The Tempest And Pink Floyd's The Wall

Discovery is a complex and confronting catalyst for change, providing a means to access what has been concealed or lost, spurring deep emotional confrontations that realign perceptions of reality through processes of self-discovery. William Shakespeare’s tragic comedy, The Tempest, formulates powerful concepts of discovery, using discoveries of tangible and intangible nature to explore critical emotions that drive profound realisations, of which centralise on fatalism, ethics, and subjugation. Moreover, Pink Floyd’s concept album, The Wall, constructs a complex relationship with the metaphor of The Wall and its Bricks: traumatic events and self-discoveries that collate and from a metaphorical barrier that isolates ‘Pink’ within his mind, a response that severely alters his perceptions of reality. Ultimately, both Shakespeare and Pink Floyd present deep emotional responses to discovery and explore its ramifications upon individual perceptions.
Prospero is the accumulation of these concepts, a father, Duke and master of Mysticism, he was the victim of a cruel coup spearheaded by his treacherous brother Antonio, and now he seeks retribution. However, through the actions of Ariel, Prospero’s faithful spirit, and the blossoming love between Prospero’s daughter, Miranda, and Ferdinand, son of Alonso, Prospero discovers love and compassion for those who he sought revenge. Shakespeare opens The Tempest with a literal tempest, creating allusion between title and plot and foreshadowing the events of the