Analysis of the Introduction of Ariel and Prospero in Act I, Scene 2 of The Tempest

A Close Study of How Ariel and Prospero are Introduced in the Scene 2 of the First Act in the Tempest The introduction of Ariel in the second scene of The Tempest raises some of the central issues in William Shakespeares 17th-century play. Most notably, the themes of power, nature, and magic prove to be integral in shaping the audiences perception of Ariel, Prospero, and the island itself. Indeed, the concept of power and its use within this scene, particularly in the context of the era where the divine right of kings was unanimously accepted provides the foundation for a full understanding of the play. Shakespeares presentation of the nymph Ariel as both a powerful brave spirit and the slave of Prospero (is there more toil? Since thou dost give me pains) raises the question of whether Prospero has the right to summon and dismiss Ariel in such a dictatorial manner (Go. Hence with diligence). Ultimately, Act I, scene 2, introduces characteristics of Ariel that suggest that he has both Prosperos respect and gratitude, but also that he is irrefutably subservient to his master. The relationship between Prospero and Ariel is a curious one. Firstly, their names have interesting connotations. Prospero brings to mind the verb to prosper suggestive of magic and conjuring, while Ariel, described as an airy spirit in the character list, has a name that notifies the audience that he is of the elements and can be considered a demi-god. Despite this elevated status, Ariel is obedient to his noble master even though it is he who conducts a great deal of Prosperos magic. Although there may well be a friend-like bond of mutual respect between the two characters, it soon becomes clear that Prospero is indeed in control of Ariel, who acts not unlike a right-hand man. The use of sir and master by Ariel to address Prospero provides evidence for Prosperos authority and power over his subject. Ariel appears to be indebted to Prospero, a fact emphasized to the audience by his exaggerated language. Shakespeares use of hyperbole to force the idea that Ariel serves Prospero is highly effective. For example, All hail, great master! and I come to answer thy best pleasure, portray Ariel almost as a sycophant to his master, desperate to appease him. This is continually reinforced throughout the scene, with Ariels responses to Prosperos questions becoming increasingly elaborate Not a hair perished; on their sustaining garments not a blemish, is Ariels answer when Prospero asks him whether all those who were entrapped in the tempest are still alive. This use of exaggerated tone and overtly descriptive vernacular intrigues the audience, as one wonders why Ariel might feel such an intense need to appease Prospero. The text answers this question by declaring that Prospero freed Ariel from the foul witch Sycorax. Prospero is eager to emphasise his control, as can be seen when he retorts to Ariels request for freedom by declaring him a malignant thing reducing him to inanimate object. He goes on to ask, dost thou forget from what torment I freed thee? When Ariel answers no, Prospero still takes the opportunity to retell just how compassionate he was to Ariel, highlighting the ways in which Sycorax imposed her age and envy to imprison Ariel within a tree painfully for a dozen years. Prospero uses sarcasm and rhetorical questions o was she so? to ensure that Ariel resists reiterating how he has done thee worthy service, told thee no lies, made thee no mistakes and served without grudge or grumblings. Shakespeare deploys imagery successfully in order to suggest Prosperos dominance over Ariel. Prospero, who initially treats Ariel in a manner that reflects admiration, soon begins employing threatening imagery in an effort to convince Ariel that he must serve his duty or face severe punishment. Prospero threatens, if thou more murmurst, I will rend an oak, and peg thee in his knotty trails, till thou hast howled away twelve winters. The use of metaphor when stating thy groans did make wolves howl, and penetrate the breast of bear in reference to Sycoraxs imprisonment of Ariel accentuates the idea that Prospero has acted as Ariels liberator. In Act I, scene 2, Prospero suggests that Ariel is very much indebted to his master. While it is clear to the audience that Prospero has been hypocritical toward Ariel by enslaving him in much the same vein as Sycorax did (although she simply imprisoned him), Ariel is forced to continue serving Prospero. After Prosperos threatening warning, Ariel reverts to his original subservience: Thats my noble master. What shall I do? Say what. What shall I do? However, Prospero does not treat Ariel as one who is among the lowest in the Jacobin social order like Caliban but predominantly as a respected servant, ensuring that he retains control but also eager to praise his quaint Ariel. The tone of Prospero is one of delight and pleasure at Ariels magic why, thats my spirit. Instead of overtly ordering Ariel to do his bidding, Prospero simply suggests that it is his duty to do as he says Ariel, thy charge exactly is performed. But theres more work. Ariel, meanwhile, generally responds with o bedience. Ariel is not the moody character that Prospero describes him as when he tentatively asks for his liberty, but is rather charmingly energetic and enthusiastic. When describing his actions, he uses expressive adjectives such as flamed amazement and Joves lightnings an insight into the potential power of Ariel. His references to Neptune and Jove, both ancient Greek gods, forms a direct comparison between his work and that of a god an idea that instantly prompts the audience to recognise that Prospero cannot govern Ariel exclusively as a servant. There is an aspect to Ariel that separates him from the earthly world of humans. Although he may well be subject to the magician, his own conjuring is more natural and of a higher order than that the powers learned from books. Ariel is associated with the power of the elements; images such as flame, thunder-claps, spirits and nymph o the sea all enhance the idea that his is a pure figure, a child of nature. While Prospero ultimately presides over Ariel, the audience is made aware that the relationship between the two cannot be defined so simply as master/slave. Prospero requires Ariels magic, while Ariel needs him to earn his liberty. Shakespeare presents the concept of mutual dependence in this scene so that as the play unravels and all achieve their aims, the conclusion is not alien to the audience, but rather relates to the beginning of the play. Ariel is presented more favourably than his master Prospero in Act I, scene 2. Although one expects Prospero to be a positive influence on the island due to the fact that he has been usurped from power himself, and assumed the role of leader of the island due to his noble status, one must consider Prosperos disruption of the natural order. While Prospero has seemingly convinced himself that he has the right to rule over Ariel, which in turn raises the question of whether Prospero can be considered a good character or not, he has dominated over the natural world in Arial and the rightful heir of the island in Caliban. In Act I, scene 2, Shakespeare introduces Ariel as both powerful and subservient, committed to the cause of his master, Prospero. Their relationship is one of mutual dependence, but is ultimately governed by Prospero, who consistently exerts his authority over Ariel. Ariels introduction is important in that he is symbolic of the beauty of the island. It is clear that Ariel, possibly like the island, wishes to be rid of the meddling Prospero, but he realises that he is under must obey his master: Pardon, master, I will be correspondent to your command, and do my spiriting gently. Ariels obedience to Prospero signifies the latters continual misuse of power; he utilizes Ariels magic to cause disturbances, but is unwilling to grant Ariel his rightful liberty. Ariels appearance as one who is both natural and powerful, but under the dictatorship of Prospero, implies that he is being ruled over unjustly. Indeed, Shakespeare forges their relationship either to provoke the suggestion that Pr osperos right as ruler is not indisputable, but open to debate, or in support for the continuation of the royal inheritance of kings.

Financial theories Research Paper Example | Topics and Well Written Essays - 500 words

Financial theories - Research Paper Example This theory applied to establish the expected rate of return on investments to pricing models of modern assets. Some of the attributes include the support of what information can be supportive for strategic investment (Shankman, 1999). Agency theory aimed at the ever-present relationship of agency, in which delegation of work takes place from one person to another, usually the principal and agent. The agency theory deals with the agency clashes, between principals and agents (Bamberg & Spremann, 1987). This theory has certain attributes which includes: (1) ambiguity in routine conclusions, (2) unfavorable choice, and (3) nature of work performed (Bamberg & Spremann, 1987). Agency Costs of free-cash-flow occur between stockholders and managers’ conflict. These conflict arises where a firms with large cash flows than positive investment forecast. The attributes are: (1) agency costs of free cash flow’s reduction benefit in debts and (2) substitution of debt against dividends (Bowie & Freeman, 1992). Theory of Capital Structure provides the companies to organize their financial sources from internal to equity financing. Capital raising sources includes equity or debt, to equity is treated as less preferred means of raising capital. Firms usually, large firms raise their debts to support the dividend’s payment while small firms cut their debts to disburse dividend (Myers & Nicholas, 1984). â€Å"Economic Value Added Theory† (EVA) is a technique of financial performance to compute the profit of a firm. Coca-Cola and General Motors are good examples of this theory. The attributes of this theory includes: (1) maximization of the wealth of shareholders, and (2) investors expectation of company’s growth in future profits against the cost of capital (Hayne, 1998). â€Å"Weighted average cost of Capital is the rate of return, sometimes called discount rate† (Shankman, 1999). This applied in assessing weather the project is viable or not in the

Describe and discuss a number of major social marketing campaigns of Essay

Describe and discuss a number of major social marketing campaigns of your choice, with special reference to their strengths and weaknesses - Essay Example During 1970s social marketing started as a discipline for the first time. Kotler et al. argued that the similar marketing philosophy that was being used to sell products to customers can be used to "sell" behavioural attitudes and ideas. The dissimilarity is that, in commercial marketing the advantage goes to the marketers only, but in social marketing the entire society at large gets the benefit of behavioural changes. The implementation of marketing strategies in the field of politics is a comparatively new concept, argued, O’Shaughnessy (2002). Most of the political actors are not expert in marketing techniques. That is why the help of professional public realtor or marketers are taken. All the political parties need to get votes from public to win the electoral battle. So, a positive image and a favourable opinion have to be created in the mind of public. As it is also a mass opinion building process, the social marketing principle is used to do political marketing campaigns. Wilson and Gilligan (2005, p.189) state ‘The proliferation of Internet sites, for example, has enabled groups of consumers to publicize instantaneous and often highly critical reviews of new products, services or films that can be far more influential than the formal advertising campaigns. However, from the company’s point of view, improving technology and growing consumer sophistication also enable the m to become smarter. New advertising channels, such as Internet sites, video screens at supermarket checkouts and interactive television all enable suppliers to find more willing buyers. Companies are also becoming better at stimulating a street ‘buzz’ about their products by influencing select opinion formers, rather than by focusing largely upon mass advertising hype. Amongst those to have done this are companies such as Disney, Apple, Virgin, and Starbucks, all of which have caught the Zeitgeist and