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    Sean Jones English Coursework The Tempest Essay Ariel is an airy spirit in 'The Tempest'.

    Who Yearns for freedom and provides a somewhat atmospheric presence to the play.
    Rodó is best known for his essay Ariel (1900), drawn from The Tempest, in which Ariel represents the positive, and Caliban represents the negative tendencies in human nature, and they debate the future course of history, in what Rodó intended to be a secular sermon to Latin American youth, championing the cause of the classical western tradition. What Rodó was afraid of was the debilitating effect of working individuals' limited existence doing the same work, over and over again, never having time to develop the spirit.

    I am going to look at the way she adjusts her persona to different characters and the effect she has on those characters. Looking at the different areas of the play she is involved I will pick out certain things of significance and elaborate on them.
    Throughout the years since The Tempest was first published in the 1623 Folio, there has been much debate among Shakespeare’s contemporaries and critics as to the significance of the figure of Prospero and other major characters featured in the work. In this paper, I want to examine the figure of Prospero and his relationship with the character Ariel. In doing this, I want to show how Prospero is a figure for the artist, how Ariel is a figure for the poetic imagination, and how the relationship between Prospero and Ariel explores the relationship between the artist and his or her poetic imagination. By showing this, I wish to argue that Shakespeare’s intention in portraying …show more content…
    Prospero even creates the actual tempest of the play through Ariel, which allows the creation of the rest of the story to happen. Prospero’s art is truly powerful and permits Prospero to conjure up and wield anything he must to attain his desired purpose or fancy. As Stopford A. Brooke states about Prospero: “He acts like a divine Providence, moulding nature and human wills to his purposed end” (Brooke 307).

    The Structure of the play is almost dependent on Ariel. It begins as one solid story, the disaster, and then it splits and disperses into three separate play genres; Love; comedy; and revenge. Ariel is the glue that holds these three together.
    The lack, absence and incompleteness, we discussed with reference to Rodó’s Arielist conception of Europe remains. In a culture expressed (in the main, at least) in the language of the colonizer the Latin American nation cannot abandon Europe in order to discover its autochthonous truth. Its history and its being are articulated in the languages of Europe, Europe remains the sovereign, theoretical subject of this nation and its history. There is a peculiar and insidious way in which all these other histories and nations tend to become variations on a European master narrative. In this sense, Latin American national identity itself is in a position of subalternity; one can only articulate subaltern subject positions in the name of this identity, named by Europe. Latin American states, in affirming their national identity, must constantly refer to models provided by Europe. The nation-state is ultimately a European construction, its language, its theories, its questions are all formulated within a European context and then transplanted elsewhere. As such, even in the most dedicated Americanist hands, the search for a Latin American identity, an authentic national personality, remains a mimicry of a certain modern European model and is bound to represent a sad figure of lack and failure.

    She ties them together, making the story easier to follow. In the end she unites all characters to reveal one solid play. Think a diamond shape when thinking of the tempests' structure. Also the ending of the play would not be as effective. She gives the play closure, she is the one who, conveniently, resurrects the Tempest, and returns everything to normal.
    Plath is often categorized as a confessional poet as she draws on intimate details of her life for subject matter. Many readers find it difficult to read Plath’s poems without her suicide in mind. The experience of the “I” of “Lady Lazarus,” a poem about a thirty-year-old woman who tries to kill herself every ten years, is glaringly personal. The speaker refers to a public, theatrical death that mirrors Plath’s own.

    Also her Liberty at the end helps with that closure and provides a sense of relief for the audience. Shakespeare has ignited such a character as a useful ingredient he can use in other plays. If you take, for example, the character 'PUK' from 'a midsummer night's dream'; Puck is like Ariel in many ways, in that a fairy with similar characteristics.
    Ariel, however, goes far beyond biography. First of all, it contains monologues by characters who are not necessarily Plath. More important, it presents concerns of mythic proportion. Plath said that her poems originated from events that affected her emotionally, but that she believed in controlling and manipulating those experiences to make them relevant to larger issues, such as the Holocaust or Hiroshima. For example, “Lady Lazarus” is not merely a poem about suicide attempts, nor does the woman simply die and disappear. Rather, she is reborn, emerging like a phoenix from her own ashes. The central theme of the collection is ritualistic death and...

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    Middle

    Ariel exits and later in the Scene returns 'Fine apparition, my quaint Ariel, Harken thine ear.'(1ii lines 316-317) Prospero has now cooled off and talks to Ariel with the respect she deserves. He whispers into her ear a secret command. The to me symbolises a growing band of friendship between the two.

    In Shakespeare's play, "The Tempest," an underlying theme of barbarism versus civilization appears. Shakespeare creates characters that exemplify symbols of nature or nurture. The symbolism of the characters is derived from their actions. These actions show Shakespeare's view of the uncivilized and the civilized, as well as help the reader develop his own opinion of each side.

    And, as we don't know what Prospero whispered, we take more interest in Ariel, to find out what it is. Ariel exits and returns later in the act (lines 375-404) with two songs. This a communication medium for her, and a powerful one, it is hypnotic, and draws Ferdinand to the island.
    Much of Plath’s earlier work is seen as influenced by or derivative of other writers. In Ariel, however, Plath speaks with her unique voice. Plath’s poetry deals with life and death from her own, female perspective. Her expression is honest and full of raw emotion, which, when combined with her extraordinary poetic talent, makes her work powerful. She tantalizes readers, taking them with her to the edge of death, unsure whether she will simply state what she sees or jump into the abyss.

    Music seems to be a substitute for her visibility. The first song is celebrating the calming of the Tempest, the verse. ' Kissed, the waves whist' is an invitation to dance in the sands. Her second song is directly addressed to Ferdinand. Comforting him after his father's death.
    In this whimsical play, Prospero, the former Duke of Milan, after being supplanted of his dukedom by his brother, arrives on an island. He frees a spirit named Ariel from a spell and in turn makes the spirit his slave. He also enslaves a native monster named Caliban. These two slaves, Caliban and Ariel, symbolize the theme of nature versus nurture. Caliban is regarded as the representation of the wild; the side that is usually looked down upon. Although from his repulsive behavior, Caliban can be viewed as a detestable beast of nature, it can be reasonably inferred that Shakespeare's intent was to make Caliban a sympathetic character.

    This particular line stands out 'A sea change/into something rich and strange' She is reassuring the grieving son, and telling him not to think his father as dead, but undergone a wonderful transformation after death.
    Rodó denounced pragmatic utilitarianism, i.e. the philosophical movement that considered utility as the way to bring the most happiness to all those affected by it. He furthers his argument by stating that utilitarianism causes certain individuals to become specialized in very specific fields and as an effect of such specialization, they end up receiving an incomplete, deformed education. Rodó argues that due to specialization, an individual could be a genius in one aspect of life and completely inept in another. Rodó describes this as the mutilation of the person, because without a general understanding of life through knowledge, the person is no longer complete. The specialization of jobs causes societies to become underdeveloped as opposed to evolving towards maturity. It is this specialization that causes societies to arrive at mediocrity, and as Rodó informs us, another culprit of mediocrity is democracy as it is applied today. This is a strong statement, and Rodó justifies it by clarifying that because democratic societies give power to the masses, whom he deems less capable of making good decisions, but he is not against democracy but rather shows many ways in which it’s weak points can be strengthened, pointing for instance at the importance of the most capable educating the rest of society to pull the average upwards instead of letting the trend be the opposite.

    At the end of this act she reassures Prospero that the secret task has been done to 'th'sylable' and is promised freedom in return for these services. Ariel now takes a back seat up until Act 3. Where her mischievous side which I hinted upon earlier is shone out in a comic way.
    Rodó warns against "nordomanía," or the attraction of North America. His thought reflects on history, when the United States was growing in the Western Hemisphere, especially in Latin America early in the 20th Century, where Rodó echoes the importance of regional identity and how it should be rooted deeply into every country. However, to create and maintain regional identity proves difficult at times due to outside cultural and economic influence. There were many examples in Rodó’s immediate past, mainly the Spanish-American War of 1898. Rodó posits that even though outside influence from other countries may be beneficial, it might destroy the principles on which that particular country or region were based from their origin. This is why Rodó argues that it is the responsibility of Spanish-American youth to help form and maintain regional and cultural identity to the best of its potential.

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    Conclusion

    This will give he upper-class more of the reason to stay and watch the play and mix with yobs, as it gives them something to reach out to, a sort of 'ha ha I know what that means and you don't' sort of thing.

    Ariel belongs to the movement known as modernismo, characterized by its elegance, artistic prose, and worldly references and allusions. Even though it is an essay, its ideas are expressed through Prospero's narrative voice. Prospero, the teacher, and Ariel are references to the characters in William Shakespeare's The Tempest, and the use of their names is an example of modernismo's desire for cosmopolitism. In Ariel, Prospero's seminar includes both famous and lesser-known European authors. He makes frequent reference to Goethe, Gaston Deschamps, St. Francis of Assisi, Schiller, and Guyau. Prospero also focuses on locations such as Ancient Greece, and he emphasizes Hellenic beauty as the only ideal worthy of imitation. Rodó uses Ariel as a metaphor that symbolizes beauty, the spirit, and that which is good. The opposite of Ariel is the utilitarian, symbolized by Caliban, and he cites positivismo and nordomanía as two reasons why this movement has gained popularity. Ariel is structurally based on binary opposition, and the figures of Ariel and Caliban are diametrically opposed.

    When casting a spell Ariel speaks I rhyme to divide the magical element from her usual speech. This gives the pay that magical effect, and creates a beat, which subconsciously will lift the audience. Repetition of the words 'Hark' and ' Bow- wow' make them stand out. And the echoing of these words creates an atmospheric feeling.
    In Ariel, Rodó surveys the situation Latin America was facing at the end of the 19th century. He points out that utilitarianism relies on specialization and materialism, and that consequently, the wealth of our minds is affected. Such practice can and will affect the spirit. In order for Latin America to revive its spirit, Rodó proposed strict adherence to the aesthetic ideals of the Greek and the Roman cultures. He believed both of these embody a sense of beauty, and most important, both realms recognize the significance of devoting oneself to an activity of the mind. Art is then a form of learning that finds and enriches the spirit and negates utilitarianism.

    Ariel is overall I this play, a character who signifies Freedom. Although this is restricted throughout the play, it causes hostility that is always there, up and down throughout. This hostile element makes for a better ending. I that Ariel's Liberty, gives the audience a sigh of relief, and leaves them with a warm feeling inside. Without her paranormal presence and rhyming ways the play would be flat and uninteresting. Without a character like Ariel I such a play. Who cements and provides a pillar for all three story lines. The walls that build the play would crumble, crash down, and crush the sustained interest of the audience. Shakespeare has proved himself once again to be a genius in play writing; like we never knew that already.
    During the first encounter, Caliban comes across very bestial and immoral. While approaching Caliban's cave, Prospero derogatorily says, "...[he] never/Yields us kind answer," meaning Caliban never answers respectfully. When Prospero reaches the cave, he calls to Caliban. Caliban abruptly responds, "There's wood enough within." His short, snappy reply and his odious tone, reveal the bitterness he feels from leading a servile life. Caliban's rudeness makes him seem like an unworthy and despicable slave. Also, Caliban displays an extreme anger toward Prospero. When Caliban is asked to come forth he speaks corruptly, "As wicked dew as e'er my mother brushed/With raven's feather from unwholesome fen/Drop on you both!...And blister you all o'er!" Caliban's attitude and disrespect is unfitting for a servant. However, his actions are just...

    It is very rare that a writer can conjure up such a play that appeals to such a wide variety of people. There is something for everyone. ...read more.

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    This student written piece of work is one of many that can be found in our GCSE The Tempest section.

    He cultivated an epistolary relationship with important Hispanic pensadores of that time, Leopoldo Alas (Clarín) in Spain, José de la Riva-Agüero in Peru, and, most importantly, with Rubén Darío, the most influential Latin American poet to date, the founder of modernismo. As a result of his refined prose style and the modernista ideology he pushed, Rodó is today considered the preeminent theorist of the modernista school of literature.

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