“A salvage and deformed slave.” With these words William Shakespeare describes
the figure of Caliban in the dramatis personæ of his play The Tempest. For almost four
centuries, literary critics have dealt with trying to answer the question how Shakespeare’s
character has to be regarded. Is Caliban to be considered as a monster representing
humanity’s bestial side including all its vices, and thereby arousing the audience’s disgust?
Or has he rather to be looked at the victim of an imperia l tyrant – personified in Prospero –
who arouses the spectator’s pity? In which way Shakespeare really intended Caliban to be
was, is and will ever be a secret he took to his grave. However, the reception history of the
play has proven that Shakespeare’s presentation of the characters – especially Caliban –
opened up a large scope for various, often contradicting interpretations of the “slave.” Thus,
the following paper analyses the play with regard to the basic question whether or not
Caliban is a monster.
It is divided into two parts. The first one concentrates only on how Shakespeare’s
drama The Tempest in general and the character of Caliban in particular have been staged
and interpreted throughout the last barely four centuries of reception. For this purpose, a
small selection of representations of the play on stage and in editions are introduced and
discussed, which show the major strands and general tendencies of Caliban’s changing
interpretations in the course of time. One of the main changes in Caliban’s interpretation is
the difference of reading the character in colonial and in post-colonial eras. After the end of
the Second World War and after most of the world’s colonies had been released and gained
their independence, Caliban’s role within the play and the interpretation of the whole,
changed considerably. Thus, my analysis puts special emphasis on the contrast of colonial
and post-colonial reading of the play.
The second part concentrates only on Shakespeare’s Caliban, that is, by a closer look
on the bare material Shakespeare left us, an analysis of how Shakespeare intended his
character to be. Of course this can and therefore will only be speculative, as Shakespeare
obviously never stated his intention during his lifetime. In this part, it is mainly discussed
which passages in the play suggest that Shakespeare indeed created a monster or whether the
contrary is true that Caliban is rather a victim.
[...]
Inhaltsverzeichnis (Table of Contents)
- 1. Introduction
- 2. Caliban and The Tempest on The Stage and in Literary Criticism
- 2.1 General Remarks
- 2.2 Caliban as a Monster – Restoration Era and Early Eighteenth Century
- 2.3 Caliban as a Noble Savage – Late Eighteenth and Early Nineteenth Century
- 2.4 Caliban as a “Vehicle for Philosophical Speculation” – Late Nineteenth Century
- 2.5 Caliban as Colonial Victim - Twentieth Century
- 2.6 Stopover after Part One
- 3. Aspects of Shakespeare's Caliban
- 3.1 Caliban as a Monster
- 3.2 Caliban as Educable Savage
- 3.3 Caliban's Appearance
- 3.4 Caliban as Colonial Victim
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper analyzes William Shakespeare's portrayal of Caliban in The Tempest, exploring the enduring question of whether he is a monster or a victim. It examines the evolution of Caliban's interpretation across different historical periods, focusing on the contrast between colonial and post-colonial readings of the play. The analysis considers both stage interpretations and literary criticism to shed light on Shakespeare's intentions and the multifaceted nature of Caliban's character.
- The evolution of Caliban's portrayal on stage and in literary criticism.
- The contrasting interpretations of Caliban as a monster versus a victim.
- The impact of colonial and post-colonial perspectives on Caliban's character.
- Shakespeare's potential intentions in creating the character of Caliban.
- The influence of stage adaptations on the interpretation of The Tempest.
Zusammenfassung der Kapitel (Chapter Summaries)
1. Introduction: This introductory chapter establishes the central question of the paper: Is Caliban a monster or a victim? It highlights the long history of conflicting interpretations surrounding Caliban's character and briefly outlines the two-part structure of the analysis. The first part focuses on the historical evolution of Caliban's stage portrayal and critical interpretations, while the second delves into Shakespeare's text to explore potential clues about his intentions. The chapter emphasizes the significant shift in Caliban's interpretation after the end of World War II and the decline of colonialism.
2. Caliban and The Tempest on The Stage and in Literary Criticism: This chapter provides a historical overview of how Caliban has been presented on stage and interpreted in literary criticism. It begins by discussing the lack of performance records between 1613 and 1667, emphasizing the significant influence of the Davenant-Dryden adaptation from the Restoration era. The chapter analyzes how this adaptation, significantly altering Shakespeare's original text, shaped interpretations of Caliban as a monstrous, uneducable savage, contrasting him with the added character of Hippolito, the "noble savage." The chapter traces the subsequent evolution of Caliban's interpretation throughout different historical periods, highlighting the shift towards viewing him as a colonial victim in the 20th century.
3. Aspects of Shakespeare's Caliban: This chapter shifts from historical interpretations to a closer examination of Shakespeare's text itself. It analyzes specific passages in The Tempest to explore whether Shakespeare intended Caliban to be perceived as a monster or a victim. The analysis likely examines Caliban's language, actions, and relationships with other characters to argue for a particular interpretation, taking into account his monstrous appearance, potential for education, and his victimhood under Prospero's oppression. This chapter attempts to offer a more nuanced understanding of Shakespeare's creation than the purely historical perspectives of the previous chapter.
Schlüsselwörter (Keywords)
Caliban, The Tempest, Shakespeare, monster, victim, colonial interpretation, post-colonial interpretation, stage history, literary criticism, Restoration era, noble savage.
Frequently Asked Questions: Analyzing Caliban in Shakespeare's *The Tempest*
What is the main focus of this academic paper?
This paper analyzes William Shakespeare's portrayal of Caliban in The Tempest, examining the enduring debate over whether he is a monster or a victim. It explores how interpretations of Caliban have evolved across different historical periods, particularly focusing on the contrast between colonial and post-colonial readings.
What sources are used in the analysis?
The analysis draws upon both stage interpretations of The Tempest throughout history and existing literary criticism on the play. This multi-faceted approach aims to illuminate Shakespeare's potential intentions and the complexities of Caliban's character.
What are the key themes explored in the paper?
Key themes include the evolution of Caliban's portrayal on stage and in literary criticism; contrasting interpretations of Caliban as a monster versus a victim; the influence of colonial and post-colonial perspectives; Shakespeare's potential intentions in creating Caliban; and the impact of stage adaptations on the interpretation of The Tempest.
How is the paper structured?
The paper is structured in two parts. The first part provides a historical overview of how Caliban has been presented on stage and interpreted in literary criticism across different eras, starting from the Restoration era to the 20th century. The second part shifts to a closer analysis of Shakespeare's text itself to explore whether Shakespeare intended Caliban to be perceived as a monster or a victim, examining his language, actions, and relationships with other characters.
What specific historical periods and interpretations are discussed?
The paper examines interpretations of Caliban from the Restoration era and early eighteenth century (Caliban as a monster), the late eighteenth and early nineteenth century (Caliban as a noble savage), the late nineteenth century (Caliban as a vehicle for philosophical speculation), and the twentieth century (Caliban as a colonial victim). It highlights the significant shift in Caliban's interpretation after World War II and the decline of colonialism.
What is the significance of the Davenant-Dryden adaptation?
The Davenant-Dryden adaptation of The Tempest from the Restoration era is highlighted as significantly influential in shaping early interpretations of Caliban as a monstrous, uneducable savage. The addition of the character Hippolito, a "noble savage," further shaped these interpretations by providing a contrasting figure.
What aspects of Shakespeare's text are analyzed?
The analysis of Shakespeare's text focuses on specific passages to explore whether Shakespeare intended Caliban to be a monster or a victim. This involves examining Caliban's language, actions, and relationships with other characters, considering his monstrous appearance, potential for education, and his victimhood under Prospero's oppression.
What are the keywords associated with this paper?
Keywords include: Caliban, The Tempest, Shakespeare, monster, victim, colonial interpretation, post-colonial interpretation, stage history, literary criticism, Restoration era, noble savage.
- Citation du texte
- Sandra Graf (Auteur), 2004, Is He a Monster? - Caliban in William Shakespeare's 'The Tempest', Munich, GRIN Verlag, https://www.grin.com/document/34752
