Set Caliban and his Companions Free

Oh, The Tempest! You either love it, or you hate it. For the past several weeks we have spent time unpacking passages, analyzing characters and making world connections to the play. Personally, I found The Tempest a bit difficult to read and keep up with, which resulted in my loss of interest in the play. I found the lectures somewhat helpful; however, Jayne Lewis's theses were intriguing. She focused on the power of language in cementing ones power and also discussed the dynamics that go into solidifying such a social hierarchy within the play. In fact, my one favorite topic throughout all these lectures was analyzing the frictional and unpredictable relationship shared between Prospero and Caliban. One may find that the relationship shared was both toxic, dangerous and seemed to emulate a slavemaster - slave relationship. According to Aimé Cesaire, the author of A Tempest, he finds the latter as an important piece in the retelling of imperial/slavery.

C. W. Sharpe, (England 1818 – 1899), Caliban. Miranda. Prospero. The Tempest (1875), 6-9/16″ x 5″, Engraving on heavy paper.

---

The relationship that both Prospero and Caliban share is both interesting and disheartening. Caliban is a misunderstood "monster", tortoise man that is always under the order and control of Caliban. His power over Caliban prevents him from "freeing" himself, in that his language is used as a powerful tool of empire (Lewis). Through this, we find that Prospero is able to control Caliban and make him obey the orders and do work for him. This type of relationship is an unintentional symbol of a slavemaster - slave relationship that Shakespeare did not intend to illustrate/represent in his plays. However, Aimé Cesaire finds otherwise.

Without a doubt, slavery was the darkest period in American history that spoke for power-hungry characteristic humans have. With bringing over millions of people from their homes to a new place: the Americas. This process produced a social hierarchy between blacks and whites that led to conflict and even violence. Slavery was quite dehumanizing in that slaves were treated as objects, stripped of their humanity. Dainy Ramey Berry writes, "They were bought and sold just like we sell cars and cattle today. They were gifted, deeded and mortgaged the same way we sell houses today" (Berry). These slave owners imposed their power on their slaves that made them fear for their lives and even led to rebellions. A powerful clip from the 2013 movie directed by Steve McQueen, "12 Years a Slave" shows the objectification put upon these slaves by their oppressors: slavemasters.

Honing the skills of analyzing primary sources from Professor O'Toole's lectures, uncovering the slavemaster - slave like chemistry between Prospero and Caliban is easy to understand through the lens of accounts by actual slaves. Accounts dating back to the early to mid 1800's of American slaves all hold answers to their thoughts and attitudes towards slavery and relationships shared.

Frederick Douglass as young man, artist unknown

---

According to Frederick Douglas he writes, "There was a whisper, that my master was my father; yet it was only a whisper, and I cannot say that I ever gave it credence. Indeed, I now have reason to think he was not" (Douglas). This quote highlights his rebellious nature that slaves have against their slaveowners, except that Caliban cannot escape this power.

From the mediocre attempt at reimagining The Tempest, the film clip above is from Julie Taymor's reimagining of the play. Though its graphics were terrible, what I can appreciate is the conservation of power that Prospero(a) attempts to hold over Caliban. Here we find the hostile and first instance of Caliban meeting Prospero(a) for the first time. The film does an excellent job at rendering the hostile relationship between the two that is found in the play.

When looking at interpretations of The Tempest over time we find that authors and filmmakers have done their best to preserve the power dynamics shared amongst the characters. What makes each rendition unique is their ability to manipulate the story, to fit into the imperialism and slavery context. These interpretations must be looked at individually for what they are as well as appreciated.

Works Cited

Barey, Daina R. “Slavery in America: Back in the Headlines.” The Conversation, 21 Oct. 2014, theconversation.com/slavery-in-america-back-in-the-headlines-33004.

The Editors of Encyclopædia Britannica. “Frederick Douglass.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 14 Feb. 2018, www.britannica.com/biography/Frederick-Douglass.

“On the Master-Slave Relationship: Selections from 19th-Century Slave Narratives.” National Humanities Center Resource Toolbox, I, 1500.