How Does Shakespeare Present Nobility In The Tempest
Despite Shakespeare’s tendency to characterize virtue through outward beauty, in The Tempest he deftly shows us nobility is not always inherent and the beast in all has hope of being tamed. There is danger in a lack of balance between nobility and in-bred, base nature. On the surface, Caliban is the ultimate representation of vile nature, brutal, selfish and untamed, and Prospero represents nobility.
Gonzalo unwittingly echoes the moral lesson of the play and hints at the two characters most likely to be party to the lesson’s exposition when he says “(For certes these are people of the island) who, though they are of monstrous shape, yet note, their manners are more gentle, kind, than of our human generation you shall find many – nay, almost any” (III.3.30-4). His allusion is to Caliban, a person “of the island,” and Prospero is counterpoint to Caliban. Though Caliban’s manners cannot be considered gentle and kind now and he certainly has a beastly side, he was not always the scoundrel we primarily see. Prospero is one of the “human generation” known to Gonzalo; the two were very close before Prospero was exiled. When Prospero reveals himself to all, Gonzalo calls him a noble friend “whose honor cannot be measured or …show more content…
confined” (V.1.121-3).
The idea that high-born people are not always of lofty character is ironically accentuated by Prospero when he says in an aside, “some of you there present are worse than devils” (III.3.35-6). Though Caliban is often called a devil, Prospero is not referring to him here but to the human conspirators, nobility who were shipwrecked. Ironically, he is saying high-born people can be or become more reprobate than low-born creatures.
Caliban is the offspring of a witch and an incubus demon. Prospero tells Ariel, "Then was this island (save for the son that she did litter here, a freckled whelp, hag-born) not honored with a human shape" (I.2.281-4). He is saying Caliban is human, though possibly is blemished or disfigured. This is a commentary on Shakespeare’s frequent treatment of outward characteristics as indication of the internal state. Caliban is human, but certainly capable of evil.
When Trinculo meets Caliban, he likens him to a fish but not because of his appearance. He only likens him to a fish because Caliban stinks, as when he says “What have we here? A man or a fish? dead or alive? He smells like a fish” (II.2.24-5). He is calling him a fish only because he smells like one. In that same passage, Trinculo says Caliban has legs like a man and fins like arms and summarizes by saying “this is no fish, but an islander” (II.2.34-5). While this is a strange scene, it is an important one, for we are meant to see Caliban as human, the better to parallel Prospero.
We also understand, through various references to animalistic nature, that his most inhumane actions (such as the attempted rape of Miranda), were an extension of his animalistic nature. He was born low, not nobly, so we can blame his low nature and birth for his low acts. Miranda says she thinks he is “capable of all ill” (I.2.353). However, after Prospero reveals himself, we see Caliban is of stronger character than Sebastian, Antonio, Stefano and Trinculo. In the final act, those four offer little or no response to Prospero’s forgiveness, while Caliban voices a heartfelt intention to be wise and live graciously.
In this same scene, Caliban sees the entire royal company and says “these be brave spirits indeed!” (V.1.261). With the use of the words “brave” and “spirit,” a parallel is drawn between Miranda and Caliban. When she sees Ferdinand for the first time, Miranda says “it carries a brave form. But ‘tis a spirit” (I.2.12-3). Caliban is, late in the play, hereby compared with probably the most virtuous and noble person in The Tempest and we gain a sympathetic view of him.
Sundholm 3
Shakespeare challenges much of our previous knowledge of his style by inducing our endearment toward Caliban, an ugly creature. While he has a very violent attitude toward Prospero, we understand it because he has gone from free and carefree ruler of his island to captive of a tyrant, since Prospero enslaved him. His reign is, therefore, usurped by a man whose driving force is to see those who overthrew his own reign come to justice! A surprising point about Prospero’s hypocrisy, which shows us this duke is probably less noble than Caliban, is his attitude regarding revenge. Although he lost more and for longer than Caliban did, still the parallel between them exists. While Caliban had initial murderous thoughts toward Prospero after he effectually stole Caliban’s kingdom, Caliban quickly forgives, learns his place and comes to respect Prospero.
In contrast, even though Prospero claims to be good-hearted, his nature is far from flawless.
Gentle Ferdinand voices a negative opinion about Prospero, saying “he’s composed of harshness” (III.1.9). Though, from the beginning, we see Prospero as a poor victim, he slowly reveals his character to be indeed harsh, if not fiercely vindictive. Despite his high birth and supposed noble nature, he uses others brutishly to his own ends and is self-absorbed and lazy. After he rescues Ariel from his enchantment, he enslaves him, requiring him to complete a multitude of tasks until Prospero’s entirely self-centered goals are achieved. He constantly reminds Ariel of the favor he did him and threatens to imprison him for twelve more years if he
complains.
Of Caliban’s slavery he says “he does make our fire, fetch in our wood, and serves in offices that profit us” (I.2.311-3). He is always seeking to get what he wants rather than what may be best for others. He even exploits his daughter for political gain, using her good graces as a pawn to regain the throne which he, by all rights, should have been stripped of due to his negligence.
Shakespeare shares a laugh with the audience when Prospero says “The rarer action is in virtue than in vengeance” (V.1.27-8). Prospero has not behaved virtuously but devilishly to both friend and foe. He does not cease his torture of the shipwrecked crew (including the entirely innocent Gonzalo) until he thinks they are penitent enough that he will regain Milan. His forgiveness of some of the crew is at best feigned, as he throws barbs while claiming to pardon. While saying he is forgiven, he addresses Antonio as “most wicked” and says it sickens him to call him brother. And rather than, in the spirit of forgiveness, good-naturedly request the return of his dukedom, he demands it none-too-graciously.
Miranda makes an exceedingly telltale and ironic statement which alludes to the lesson Prospero should have learned and Shakespeare hopes we will. As she addresses Caliban in anger, she says his character “had that in’t which good natures could not abide to be with; therefore wast thou deservedly confined into this rock” (I.2.359-62). Prospero got what he had coming to him but learned as little from his ordeal as the other impenitent scoundrels did. Rather than reflecting his noble birth and garb, his nature and soul were as ugly as Caliban’s exterior.
Gonzalo unwittingly echoes the moral lesson of the play and hints at the two characters most likely to be party to the lesson’s exposition when he says “(For certes these are people of the island) who, though they are of monstrous shape, yet note, their manners are more gentle, kind, than of our human generation you shall find many – nay, almost any” (III.3.30-4). His allusion is to Caliban, a person “of the island,” and Prospero is counterpoint to Caliban. Though Caliban’s manners cannot be considered gentle and kind now and he certainly has a beastly side, he was not always the scoundrel we primarily see. Prospero is one of the “human generation” known to Gonzalo; the two were very close before Prospero was exiled. When Prospero reveals himself to all, Gonzalo calls him a noble friend “whose honor cannot be measured or …show more content…
confined” (V.1.121-3).
The idea that high-born people are not always of lofty character is ironically accentuated by Prospero when he says in an aside, “some of you there present are worse than devils” (III.3.35-6). Though Caliban is often called a devil, Prospero is not referring to him here but to the human conspirators, nobility who were shipwrecked. Ironically, he is saying high-born people can be or become more reprobate than low-born creatures.
Caliban is the offspring of a witch and an incubus demon. Prospero tells Ariel, "Then was this island (save for the son that she did litter here, a freckled whelp, hag-born) not honored with a human shape" (I.2.281-4). He is saying Caliban is human, though possibly is blemished or disfigured. This is a commentary on Shakespeare’s frequent treatment of outward characteristics as indication of the internal state. Caliban is human, but certainly capable of evil.
When Trinculo meets Caliban, he likens him to a fish but not because of his appearance. He only likens him to a fish because Caliban stinks, as when he says “What have we here? A man or a fish? dead or alive? He smells like a fish” (II.2.24-5). He is calling him a fish only because he smells like one. In that same passage, Trinculo says Caliban has legs like a man and fins like arms and summarizes by saying “this is no fish, but an islander” (II.2.34-5). While this is a strange scene, it is an important one, for we are meant to see Caliban as human, the better to parallel Prospero.
We also understand, through various references to animalistic nature, that his most inhumane actions (such as the attempted rape of Miranda), were an extension of his animalistic nature. He was born low, not nobly, so we can blame his low nature and birth for his low acts. Miranda says she thinks he is “capable of all ill” (I.2.353). However, after Prospero reveals himself, we see Caliban is of stronger character than Sebastian, Antonio, Stefano and Trinculo. In the final act, those four offer little or no response to Prospero’s forgiveness, while Caliban voices a heartfelt intention to be wise and live graciously.
In this same scene, Caliban sees the entire royal company and says “these be brave spirits indeed!” (V.1.261). With the use of the words “brave” and “spirit,” a parallel is drawn between Miranda and Caliban. When she sees Ferdinand for the first time, Miranda says “it carries a brave form. But ‘tis a spirit” (I.2.12-3). Caliban is, late in the play, hereby compared with probably the most virtuous and noble person in The Tempest and we gain a sympathetic view of him.
Sundholm 3
Shakespeare challenges much of our previous knowledge of his style by inducing our endearment toward Caliban, an ugly creature. While he has a very violent attitude toward Prospero, we understand it because he has gone from free and carefree ruler of his island to captive of a tyrant, since Prospero enslaved him. His reign is, therefore, usurped by a man whose driving force is to see those who overthrew his own reign come to justice! A surprising point about Prospero’s hypocrisy, which shows us this duke is probably less noble than Caliban, is his attitude regarding revenge. Although he lost more and for longer than Caliban did, still the parallel between them exists. While Caliban had initial murderous thoughts toward Prospero after he effectually stole Caliban’s kingdom, Caliban quickly forgives, learns his place and comes to respect Prospero.
In contrast, even though Prospero claims to be good-hearted, his nature is far from flawless.
Gentle Ferdinand voices a negative opinion about Prospero, saying “he’s composed of harshness” (III.1.9). Though, from the beginning, we see Prospero as a poor victim, he slowly reveals his character to be indeed harsh, if not fiercely vindictive. Despite his high birth and supposed noble nature, he uses others brutishly to his own ends and is self-absorbed and lazy. After he rescues Ariel from his enchantment, he enslaves him, requiring him to complete a multitude of tasks until Prospero’s entirely self-centered goals are achieved. He constantly reminds Ariel of the favor he did him and threatens to imprison him for twelve more years if he
complains.
Of Caliban’s slavery he says “he does make our fire, fetch in our wood, and serves in offices that profit us” (I.2.311-3). He is always seeking to get what he wants rather than what may be best for others. He even exploits his daughter for political gain, using her good graces as a pawn to regain the throne which he, by all rights, should have been stripped of due to his negligence.
Shakespeare shares a laugh with the audience when Prospero says “The rarer action is in virtue than in vengeance” (V.1.27-8). Prospero has not behaved virtuously but devilishly to both friend and foe. He does not cease his torture of the shipwrecked crew (including the entirely innocent Gonzalo) until he thinks they are penitent enough that he will regain Milan. His forgiveness of some of the crew is at best feigned, as he throws barbs while claiming to pardon. While saying he is forgiven, he addresses Antonio as “most wicked” and says it sickens him to call him brother. And rather than, in the spirit of forgiveness, good-naturedly request the return of his dukedom, he demands it none-too-graciously.
Miranda makes an exceedingly telltale and ironic statement which alludes to the lesson Prospero should have learned and Shakespeare hopes we will. As she addresses Caliban in anger, she says his character “had that in’t which good natures could not abide to be with; therefore wast thou deservedly confined into this rock” (I.2.359-62). Prospero got what he had coming to him but learned as little from his ordeal as the other impenitent scoundrels did. Rather than reflecting his noble birth and garb, his nature and soul were as ugly as Caliban’s exterior.