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(26 April 1564 – 23 April 1616) was an English poet, playwright and actor, widely regarded as both the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His extant works, including collaborations, consist of approximately 39 plays, 154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright.
(prakruti) (velari) (Wikipedia)
Works Cited
comparison
between a tempest and the tempest
Name:- Nirali dungrani
Roll no: - 24
Enrolment no:- 2069108420180012
Paper: -11 postcolonial literature
Topic: - comparison between a tempest and the
tempest
Submitted to: - Department of English MKB uni.
Introduction
Aime
Fernand David Cesaire
(26
June 1913 – 17 April 2008) was a Francophone and French poet, author
and politician from Martinique. He was "one of the founders
of the négritude movement in Francophone literature". His works
included Une Tempête, a response to Shakespeare's play The Tempest,
and Discours sure le colonialism (Discourse on Colonialism), an essay
describing the strife between the colonizers and the colonized. His works have
been translated into many languages.
William Shakespeare
(26 April 1564 – 23 April 1616) was an English poet, playwright and actor, widely regarded as both the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His extant works, including collaborations, consist of approximately 39 plays, 154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright.
A
Tempest
A
Tempest by Aime Cesaire was originally published in 1969 in French by
Editions du Seuil in Paris. Cesaire, a recognized poet, essayist, playwright,
and politician, was born in Martinique in 1913 and, until his death in 2008,
had been instrumental in voicing post-colonial concerns. In the 1930s, he,
along with Leopold Senghor and Leon Gontian Damas, developed
the negritudemovement which endeavored to question French colonial rule
and restore the cultural identity of blacks in the African diaspora. A
Tempest is the third play in a trilogy aimed at advancing the tenets of
the negritude movement. In 1985, the play was translated into English by
Richard Miller and had its American premiere in 1991 at the Ubu Repertory
Theater in New York after having been performed in France, the Middle East,
Africa, and the West Indies.
A
Tempest focuses on the trouble of Ariel and Caliban—the never-ending quest
to gain freedom from Prospero and his rule over the island. Ariel, dutiful
to Prospero, follows all orders given by him and sincerely believes that
Prospero will honor his promise of emancipation. Caliban, on the other
hand, slights Prospero at every opportunity: upon entering the first act,
Caliban greets Prospero by saying “Uhuru!”, the Swahili word
for freedom.
A
Tempest is a postcolonial revision of William Shakespeare’s The Tempest
and draws heavily on the original play—the cast of characters is, for the most
part, the same, and the foundation of the plot follows the same basic premise.
Prospero has been exiled and lives on a secluded island, and he drums up a
violent storm to drive his daughter’s ship ashore. The island, however, is
somewhere in the Caribbean, Ariel is a mulatto slave rather than a sprite, and Caliban
is a black slave. A Tempest focuses on the plight of Ariel and
Caliban—the never-ending quest to gain freedom from Prospero and his rule over
the island. Ariel, dutiful to Prospero, follows all orders given to him and
sincerely believes that Prospero will honor his promise of emancipation.
Caliban, on the other hand, slights Prospero at every opportunity: upon
entering the first act, Caliban greets Prospero by saying “Uhuru!”, the Swahili
word for “freedom.” Prospero complains that Caliban often speaks in his native
language which Prospero has forbidden. This prompts Caliban to attempt to claim
birthrights to the island, angering Prospero who threatens to whip Caliban.
During their argument, Caliban tells Prospero that he no longer wants to be
called Caliban, “Call me X. That would be best. Like a man without a name. Or,
to be more precise, a man whose name has been stolen.” The allusion to Malcolm
X cements the aura of cultural reclamation that serves as the foundational
element of A Tempest. Cesaire has also included the character Eshu who in
the play is cast as a black devil-god. Calling on the Yoruba mythological
traditions of West Africa, Eshu assumes the archetypal role of the trickster
and thwarts Prospero’s power and authority during assemblies. Near the end of
the play, Prospero sends all the lieutenants off the island to procure a place
in Naples for his daughter Miranda and her husband Ferdinand. When the fleet
begs him to leave, Prospero refuses and claims that the island cannot stand
without him; in the end, only he and Caliban remain. As Prospero continues to
assert his hold on the island, Caliban’s freedom song can be heard in the
background. Thus, Cesaire leaves his audience to consider the lasting effects
of colonialism.
The
Tempest
Written
between 1610 and 1611, The Tempest is William Shakespeare’s final
play. (OK. If you're nitpicky, it's the last play he wrote entirely by
himself.) In it, Shakespeare portrays an aging magician who has been living in
exile with his young daughter on a remote island for the past twelve years.
Over the course of a single day, Prospero uses his magic to whip up
a tempest to shipwreck the men responsible for his banishment. He
then proceeds to dazzle and dismay the survivors (and the audience) with his art
as he orchestrates his triumphant return home where he plans to retire in
peace.
The
story draws heavily on the tradition of remote, and it was influenced by
tragicomedy. Character of Prospero represent art through his magic, he is
representation of Shakespeare. The play portrays Prospero as a rational and
character of Sycorax, her magic is frequently described as destructive and
terrible.
For
a lot of audiences and literary scholars, Prospero seems like a stand-in in for
Shakespeare, who spent a lifetime dazzling audiences before retiring in 1611,
shortly after The Tempest was completed. Not only is the play
chock-full of self conscious references to the workings of the theater, its
epilogue seems to be a final and fond farewell to the stage. When Prospero
(after giving up the art of magic he's spent a lifetime perfecting) appears
alone before the audience he confesses, "Now my charms are all o'erthrown,
/ And what strength I have's mine own," we can't help but wonder of
Shakespeare is speaking through this character here.
Regardless
of whether or not our boy Shakespeare intended for us to understand the
epilogue as a big adios to his own art, the play does seem to be a
nice capstone to a brilliant career because The Tempest revisits some
of the most important issues and themes to have emerged from Shakespeare's
previous plays. Literary scholar Stephen Greenblatt, who calls the play an
"echo-chamber of Shakespearean motifs," points out that The
Tempestresonates "with issues that haunted Shakespeare's imagination
throughout his career." Of course, you'll be wanting some examples, so be
sure to check out “Allusion” and “Themes”.
How
can we compare Shakespeare’s The Tempest with A Tempest?
There
is not much difference between Shakespeare’s The Tempest and Aime
Cesaire’s A Tempest. But ‘A Tempest’ presents colonial aspect
and mentality of master-slave relationship. Here in the play Caliban and Ariel
portrays as a different way. Prospero is also a good example of the role power
plays in the story. Character of Stephano is another example of power in the
play. Miranda plays very innocent role in the play and she is only one
character who presents woman role in the island.
Prospero
asked question to Caliban.
Prospero: What
would you be without me?
Caliban: Without
you? I’d be the king, that’s what I’d be, the king of the
Island. (Original text A Tempest, Page no. 12)
So,
in this question we can find that how Prospero overpower and make his self
superior to Caliban. But Caliban also very talkative and give appropriate
answers to the questions of Prospero and can’t bear him. Here, Aime Cesaire
gives voice to Caliban, the subaltern identity of The Tempest. Caliban
tells Prospero that “I am not interested in peace; I am interested in free
will.” Here Caliban presented as free individualistic person and rebel.
Conclusion:
In short, A Tempest presents colonial angle towards black identity or mulatto.
The Tempest more focused on the shipwrecked, magic, revenge and happy marriage
of Miranda and A Tempest more concentrate on attitude of Negro, status of their
mind and relationship of master-slave. Idea of rebel, Idea of resistance shown
by Aime Cesaire in the play through the character of Caliban. Caliban is a
speaking subaltern and subjugated for himself, not killing Prospero.
Colonialism gives the name to the person that’s why identity crisis happens in
the play. Here we can give the example of Robinson Crusoe that how he gives
name to the Friday and teaches all the things.
Works Cited
prakruti, bhatt. Bhatt
Prakruti's Assignments. 3 11 2018. 30 october 2013 <http://prakrutibhatt192013.blogspot.com/2013/10/comparison-of-shakespeares-tempest-and.html>.
velari, ranjan. Ranjan Velari's assignments. 3 11
2018. 17 october 2015 <http://ranjanvelari201416.blogspot.com/2015/10/comparison-of-shakespeares-tempest-and.html>.
Wikipedia, the free encyclopedia. 3 11 2018. 24 october 2018
<https://en.wikipedia.org/wiki/Aim%C3%A9_C%C3%A9saire>.
