Sycorax

Moreover in the play are only two women; the first one is the witch Sycorax, and the second one is Prospero's daughter, Miranda. About Sycorax we know very little and we could say she is a bad influence. However, Miranda, who is only fifteen years old is the opposite of Sycorax. She is loyal and obedient to her father since he is the only family she has. Although during that period women were not independent, they always

freedom. Shakespeare demonstrates that inequality exists in society, and that it is human nature to fight for one’s rights and freedoms. When Prospero conquers the island, he enslaves the native, Caliban, who is the son of the evil witch Sycorax

considers it as his island. He is quick to deem it appropiate to subject any native occupant- in this case, Caliban- to his will. From the beginning, it has been made clear that the island is Caliban’s, inherited from his mother “This island’s mine, by Sycorax my mother” However, he soon finds himself becoming a “slave” to Prospero, his island stripped away from him. Caliban’s deep-rooted hatred for Prospero and anger from the loss of his island is evident in the way he insults Prospero throughout the play

gain vengeance and retake his island from Prospero. Prospero treats Caliban like a filthy slave who does nothing but fetch in their wood and serve in their office that profit them. Caliban is often referred as a monster and is the son of the witch Sycorax. Prospero called Caliban the son of the devil which means he is worse than the devil itself, Prospero then curses Caliban’s mother calling her a “wicked dam”; meaning she was a villainous witch. Caliban was stripped of his freedom similarly Prospero

wouldn’t have been able to create Miranda’s wedding. In The Tempest, Prospero’s main source of power comes from his magic. This magic is very powerful, as he was unable to do a very strong spell. “It was a torment to lay upon the damned, witch Sycorax could not

The Tempest, written by playwright William Shakespeare is one of his most popular, yet also controversial plays. This paper will discuss the postcolonial interpretations of Shakespeare’s play, by looking at the nature of colonialism, and how it has been incorporated within his play, through the role of the colonized versus the colonizers. This paper will also compare how 21st century audience’s views may differ to that of the traditional Elizabethan’s, in relation to the play’s treatment of the original

faults" (V, i, 16-20). The power is Ariel's and the other island spirits. Prospero's "magic" lies in his power to use language to convince others to believe in him and do his request. On the island, he becomes master of the monster Caliban (the son of Sycorax, a malevolent witch) and forces Caliban into submission by torturing him with magic if he does not obey him, and Ariel, an elemental who is beholden to Prospero after he is freed from his prison inside a tree. However, at the end of the play, Prospero

control even a god. As Prospero commands Caliban to fetch more wood, Caliban tells the audience in an aside, “I must obey. His art is of such power, It would control my dam’s god, Setebos, / And make a vassal of him” (1.2.371-372). Setebos, a god of Sycorax, was subordinated by Prospero. This framework of authority depends on Prospero’s power to punish Caliban, not a contract or debt owed. There is no standard to which Prospero is responsible when establishing relationships with the others on the island

also raised in the loss of a family relationship, the loss in a financial income with Gregors impairment in Metamorphosis. The same also applies in The Tempest, Prospero has a financial gain in land and a slave in Caliban after he loses his mother, Sycorax at Prospero’s hand.

For instance, [A] “thou art forget from what a torment I did free thee… has thou forgot that witch Sycorax” (522, line 252 and 257). [C] Based on this, he questions if he is loved. Plus, a witch tormented him. He obviously deserves a better life since he has done everything that has been asked of. Prospero lets Ariel go free at the end of The “Tempest”