3. William Shakespeare's "The Temptress"

Let's continue with Part III of William Shakespeare's The Tempest and colonialism, which involves deeper analysis of Caliban's character, language of othering, repetition of history, usurpation of power, slavery, and other significant themes within the play, especially with respect to colonialism. We'll also examine how these ideas have been explored through different productions and interpretations, and consider the role of Sycorax and Claribel, two absent but powerful women in the play.

1. Caliban's Representation in Various Productions of The Tempest

Q: How is Caliban represented in various productions of The Tempest?

• Traditional and Colonial View: In older or more traditional interpretations, Caliban is often portrayed as the quintessential "savage"—a barbaric, inhuman, and grotesque character. This aligns with colonial depictions of indigenous peoples in the Americas or Africa—viewed as primitive and inferior to European norms.

• Modern/Postcolonial Interpretations: More contemporary or postcolonial adaptations may present Caliban as a more sympathetic or complex figure, emphasizing his humanity and his resistance to colonization. These interpretations highlight the ways in which Caliban’s character reflects the struggle of colonized peoples. In some modern adaptations, Caliban is seen as an early symbol of anti-colonial resistance.

• Reclaiming Caliban: Postcolonial critics like Aime Cesaire and others have argued that Caliban is an early example of a colonized subject who is actively resisting his oppressor. Some productions depict him as a figure of rebellion against the European colonizer, asserting his natural rights and freedom.

2. The Language of Othering and Caliban

Q: How does The Tempest use language to "other" Caliban?

• Use of Dehumanizing Language: Throughout the play, Caliban is described with terms that dehumanize him, such as "monster," "savage," and "beast." These epithets reflect the colonial tendency to strip the indigenous populations of their dignity and humanity. By describing Caliban in animalistic terms, Prospero and the other Europeans create a stark contrast between themselves and the "savage" native.

• Prospero’s Language as Civilizing Force: Prospero tries to "civilize" Caliban by teaching him English, yet Caliban’s language—especially when he curses Prospero—becomes an act of resistance. Caliban’s adoption of the colonizer’s language and then turning it into a tool of defiance challenges the notion of cultural superiority.

• Caliban’s Defiance: Caliban’s use of language as a curse ("Be not afeard; the isle is full of noises...") can be seen as reclaiming his voice and rejecting the colonial system. Language becomes a form of resistance, showing that even the colonized can manipulate the tools of the colonizers.

3. The Repetition of History in The Tempest

Q: How does The Tempest use the motif of the first encounter and repetition of history?

• The First Encounter: Caliban and Prospero: When Prospero arrives on the island, he claims to "civilize" Caliban, teaching him language and introducing him to European norms. This encounter mirrors European colonial interactions with indigenous peoples: initially characterized by curiosity, it quickly devolves into subjugation as the colonizers impose their will on the native inhabitants.

• Caliban and Stephano/Trinculo: Caliban attempts to subvert his colonization by allying himself with the shipwrecked Stephano and Trinculo. This mirrors the way in which colonized subjects sometimes mimic their oppressors in order to seize power. Caliban’s rebellion is a parody of the original colonial structure, suggesting the cyclical nature of colonization and oppression.

• Usurpation of Power: There are several instances of power usurpation in The Tempest:

  • Antonio vs. Prospero: Antonio usurps Prospero’s dukedom, much like the colonizers usurping the land of indigenous people.

  • Prospero vs. Caliban: Prospero takes control of the island from Caliban, subjugating him.

  • Stephano vs. Prospero: Stephano tries to take control of the island from Prospero, reflecting the constant power struggles inherent in colonialism.

• The Tempest as a Metaphor for Colonial Encounter: The storm that opens the play can be read as a metaphor for the disruption and chaos of colonial encounters, in which the established order is violently overturned and new power dynamics emerge.

4. Caliban and the Exotic

Q: How is Caliban depicted as “exotic” in The Tempest?

• The Exotic “Other”: Caliban’s portrayal as an exotic figure ties into the European colonial fascination with the “other” or the unknown. The island is depicted as a mysterious, wild, and untamed land, much like how colonizers viewed the New World. Caliban’s physicality, his language, and his behavior mark him as both strange and alluring, reflecting how European explorers romanticized and feared the lands they were colonizing.

• Caliban as a Symbol of the “Savage”: Caliban's exoticism is rooted in his “savage” nature, which was a common stereotype applied to indigenous peoples. His "wildness" contrasts sharply with the European characters, who are portrayed as more refined and civilized. His bodily presence, described as ugly and beastly, reflects colonial attitudes toward race and difference.

5. Caliban and Ferdinand: Different Meanings of Slavery

Q: What are the different meanings of slavery in the play, especially in relation to Caliban and Ferdinand?

• Caliban’s Slavery: Caliban’s slavery is imposed and brutal. He is enslaved by Prospero after being colonized and deprived of his land. This form of slavery is physical, oppressive, and dehumanizing, as Caliban is forced to serve his colonizer without agency or rights.

• Ferdinand’s Slavery: Ferdinand, on the other hand, is not enslaved in the same way. His servitude is voluntary—he agrees to serve Prospero as part of a test of his worthiness to marry Miranda. Ferdinand’s servitude is portrayed as noble and a sign of his love and commitment to Miranda, making it appear less cruel and more honorable than Caliban’s.

• Colonial Implications: The contrast between the two types of slavery reflects the different ways Europeans viewed their relationship with the indigenous peoples they colonized (forced, exploitative) versus their relationships with fellow Europeans (more sympathetic, even when dominated).

6. Freedom in Service: Ariel, Ferdinand, and the Role of Servitude

Q: How do Ariel and Ferdinand represent freedom in service?

• Ariel’s Freedom: Ariel serves Prospero willingly but is motivated by the promise of eventual freedom. Ariel’s servitude is bound to a moral principle, and his desire for liberty is framed in a positive light. His desire for freedom highlights a theme in colonialism where the colonized (Ariel) serve the colonizer (Prospero) in exchange for the possibility of liberation.

• Ferdinand’s Service: Ferdinand’s servitude is also associated with personal fulfillment and love, especially his devotion to Miranda. While he is technically “enslaved” by Prospero, his servitude is framed as an act of voluntary submission for a noble cause, and ultimately leads to his freedom and marriage to Miranda.

7. Beauty and Goodness vs. Ugliness and Evil: Ferdinand vs. Caliban

Q: How does The Tempest contrast beauty and goodness with ugliness and evil?

• Ferdinand as Beauty and Goodness: Ferdinand is portrayed as noble, handsome, and virtuous. He represents the European ideal of civilization: he is well-mannered, loves Miranda, and is even willing to endure servitude to prove his worth.

• Caliban as Ugliness and Evil: Caliban, in contrast, is depicted as ugly, monstrous, and morally corrupt. His physical appearance, his rejection of Prospero’s rule, and his attempt to rape Miranda mark him as a dangerous and evil character in the eyes of the Europeans.

• Colonial Stereotypes: The contrasting images of Ferdinand and Caliban reinforce colonial stereotypes about the beauty and goodness of Europeans versus the ugliness and evil of colonized peoples. This dichotomy plays into the racial and cultural hierarchy that justifies colonial oppression.

8. The Elimination of Powerful Women: Sycorax and Claribel

Q: How does the play eliminate powerful women like Sycorax and Claribel?

• Sycorax: Although Sycorax is a powerful witch who rules the island before Prospero's arrival, she is never seen on stage. Her power is described by others, which limits her agency in the play. She represents a kind of feminine power that is linked to the wild, untamed forces of nature, and it is framed as dangerous and unnatural. This exclusion reflects the patriarchal and colonial desire to suppress powerful women.

• Claribel: Claribel is another absent figure. She is the daughter of Alonso and is married off to the King of Tunis, but her marriage and her absence are mentioned rather than shown. Her lack of presence in the play further reinforces the exclusion of powerful women and their roles in the colonial world.

9. Caliban's Nature vs. Nurture

Q: How does the theme of nature vs. nurture play out in Caliban's character?

• Caliban's "Nature": In The Tempest, Caliban is presented as a figure whose inherent nature is often described as "savage," "monstrous," or "barbaric." From Prospero's perspective, Caliban is inherently violent and incapable of reason, which justifies his enslavement. The colonial mindset during Shakespeare's time often framed indigenous people as "naturally" inferior, untamed, and needing European civilization to "improve" them.

• Caliban's "Nurture": However, Prospero’s treatment of Caliban complicates this dichotomy. When Caliban is first encountered, he is innocent and receptive to Prospero’s teachings. He learns language from Prospero and even shows the ability to appreciate the beauty of the island. This suggests that Caliban's inherent nature may not be entirely "evil" or "savage." His "nurture" under Prospero’s influence — a system of education and civilization — initially seems promising, but when Prospero abuses him, Caliban’s rebellious response becomes an expression of defiance rather than inherent evil.

• Colonial Implication: The play suggests that the supposed "wildness" of colonized peoples may be the result of poor treatment, rather than an inherent flaw. Caliban, who initially expresses gratitude for being taught language and culture, later rejects it due to Prospero's exploitation. This raises important questions about the impact of colonization: does the colonized become "savage" because of their inherent nature, or because of the oppressive systems imposed on them?

10. Caliban’s Civility, Art, Mind, Spirit, and Divine Grace

Q: How does Caliban's character engage with ideas of civility, art, mind, spirit, and divine grace?

• Civility and Art: Caliban’s exposure to European culture and language brings him closer to "civilization," yet he remains an outsider. When he curses Prospero, his language becomes a tool of rebellion rather than submission, demonstrating a different form of art — not the "high" art of European culture, but an art of resistance. This shows that art and civilization are subjective concepts, and what the colonizer deems as uncivilized may be an expression of the colonized’s unique identity and resistance.

• Mind and Spirit: Caliban is portrayed as having both intellectual and spiritual capacities, but these are ignored or devalued by Prospero and the other Europeans. For example, Caliban’s knowledge of the island’s resources, its beauty, and its history is overlooked, as it doesn’t conform to European standards of knowledge. This colonial erasure of indigenous wisdom and spiritual practices is a key part of The Tempest, which reflects the way colonization often dismissed the spiritual and intellectual richness of native cultures.

• Divine Grace: Caliban's character contrasts with the European figures of Miranda and Ferdinand, who embody Christian virtues such as purity and grace. While Caliban is seen as "corrupt," his rejection of Prospero's authority suggests a desire for spiritual liberation. His eventual fate — whether he is redeemed or continues his rebellion — invites questions about the role of divine grace in the colonial experience. Is Caliban doomed because he is "uncivilized," or is he a figure who, like many colonized people, simply needs the opportunity to shape his own destiny without the interference of colonizers?

11. The Colonial Encounter: The Dichotomy of Civilization vs. Savagery

Q: How does The Tempest play out the colonial encounter through the lens of civilization vs. savagery?

• Prospero as the Civilizer: Prospero sees himself as a bringer of civilization to the island, aiming to "civilize" Caliban, to educate him, and to teach him European culture. The very idea that Caliban needs to be "taught" European manners, language, and religion reflects the colonial perspective that indigenous cultures are inferior or lacking in any proper system of governance, religion, or civility.

• Caliban as the "Savage": Caliban, however, rejects the imposition of European civilization and culture. He resists the colonizer's education and embraces his own native practices. Caliban's anger, rooted in resentment for being subjugated, positions him as an embodiment of the "savage" or "uncivilized" subject from the colonial mindset, rejecting the colonizer’s claims over his land and his life.

• Challenging the Dichotomy: Through Caliban’s actions and words, The Tempest subtly critiques this dichotomy of civilization vs. savagery. Caliban may be “othered” by Prospero, but his resistance, his knowledge of the island, and his articulate expression of injustice challenge the colonial assumption that he is inherently inferior. The play raises the question: Who gets to define what is “civilized” and “savage”? And can colonialism truly bring civilization, or does it simply impose its own version of culture and power on others?

12. Sycorax and Claribel: The Absence of Powerful Women

Q: What is the role of Sycorax and Claribel, and how are they significant in The Tempest’s colonial context?

• Sycorax: Although she is a powerful figure on the island before Prospero arrives, Sycorax is never seen on stage. Her power as a witch, as well as her control over the island’s magic, is mentioned only through Prospero’s accounts. She represents a form of feminine power that is dangerous and othered, much like how colonial narratives often depicted indigenous women as witch-like or uncivilized. Sycorax’s absence from the stage symbolizes the erasure of indigenous, non-Christian women in colonial discourse.

• Claribel: Claribel, the daughter of Alonso, is similarly absent from the action. Her marriage to the King of Tunis is a political event, designed to strengthen Alonso’s power. Her absence in the play serves to highlight the marginalization of women’s voices in both the domestic and political spheres, especially when it comes to colonial power dynamics.

• Thematic Significance: The lack of representation of these two women reflects the broader colonial tendency to erase or marginalize powerful, autonomous women, particularly those who might resist the colonial framework. By keeping them offstage or mentioned only in passing, Shakespeare underscores the patriarchal and colonial structures that suppress female power, especially the power of indigenous or foreign women.

Conclusion: The Colonial Dynamics in The Tempest

The Tempest can be seen as a reflection on the dynamics of colonialism, with Caliban as the central symbol of the colonized "other." Through Caliban’s character, the play critiques the notions of civilization and savagery, highlighting the destructive effects of colonial oppression. The representations of Caliban, Sycorax, and Claribel also invite a discussion of gender, power, and race, questioning how women and indigenous peoples were marginalized in colonial societies.

The play reveals that colonial dynamics are never straightforward; they involve complex relationships between the colonizer and the colonized, power struggles, resistance, and, ultimately, a confrontation with the idea of “civilization” and what it truly means to be “civilized.” Through its characters, themes, and symbolic elements, The Tempest challenges colonial narratives and opens up conversations about autonomy, justice, and the consequences of colonization.