..., in a state of nature. The four original inhabitants-Prospero, Miranda, Ariel, and Caliban-constitute a microcosmic society. Their relationships are such as are found in the outer, “real” world and, if anything, form a more clearly ordered model of a hierarchy than could be found in the more...

... mind, is unquestioned : the forces of unruly nature enfeoffed to human reason. Before Shake- speare’s Caliban could be metamorphosed into O’Neill’s Yank, “rea- son” had to become merely the structural principle of an archaic mythology and nature a telefinality of unreason, or sovereign...

... piece of magic in the history of modern Europe. Keeping the keys to the collective memory is critical to power, as the Cuban critic Roberto Fernandez Retamar implies in his celebrated 197 I essay, “Caliban,” about the identification of his Latin America with Prospero’s slave: “This lack...

... allegory, with Ariel presenting the spirit of poetry, Caliban the spirit of prose, and Prospero the author him- self bidding farewell to the stage. Each one of these assumptions he shows to be irrational, but he goes further to characterize both Ariel and Caliban as actual and convincing...

... there is an “anxious sympathy” that arises from a knowledge of the facts. Discussion of The Tempest exemplifies the critic’s method. AS always, Stoll defends a thesis, combating here those who would make of this drama a mere allegory, with Ariel presenting the spirit of poetry, Caliban the spirit...

..., for example, declares Caliban the pinnacle of Shakespeare’s genius because he sprang from imagination rather than from history or mythical tradition (and thus belongs to the fairy way of writing), whereas Dryden is ambivalent about Shakespeare’s boldness in creating a character at all. Pask also treats...

... of Browning’s Caliban. In mocking mythology and making fun of Ovid’s tale of turning aside god’s lightning, Lucretius commits the kind of <:f. Arnold’s rejection of the concept of natiire as an ethical norm in his sonnet “In Har- niony with Nature” and in his poem “Xlorality.” .l’he...

... and subjunctive to ever steeper, stormier heights” (p. 246). Caliban would lead us to the opposing nightmare, primitive existence utterly lacking in pattern. This is an extreme version of Stephano’s con- dition. Now, in place of multiple magic circles, we are f‘aced with an ex- istence in which...

.... © 2014 by University of Washington 2014 References Abraham Lincoln Centre . 1909 . Abraham Lincoln Centre and All Souls Church Annual: Reports of 1908 . Chicago : Abraham Lincoln Centre . Ames Charles Gordon . 1897 . “ Caliban upon Setebos .” In The Boston Browning Society...

..., The Tempest, which permits a discussion of Captain Shotover in terms of Prosper0 as well as Lear. In Boss Mangan she sees not only the ignoble aspects of Lear, but also elements of Bottom and Caliban together with the Alberic of Shaw’s “The Perfect Wagnerite.” This rich mixture demon- strates how...

... destruction of inno- cence and virtue. Similarly, not everyone will share Wickham’s view that when Prospero, with every third thought devoted to his grave, be- queathes his island to Caliban, a creature compounded of the impure SYLVAN BARNET...

..., as the analysis sometimes works with plots (Twelfth Night, Hamlet) or characters (Cloten, Caliban) or themes (Romeo and Juliet) rather than with scenes proper. The second distortion comes unexpected in a book so replete as this is with acute perceptions. Hartwig pursues bawdy where it is not or where...

...-Menschen verrat, welche im Beginn des achtzehnten Jahrhunderts den Welterfolg des Robinson, am Ende den Rousseaus zeitigte. (Ein Vorbote beider ist Shakespeares Sturm mit seinem Prosper0 und seinem Caliban). Venators Schilderung ist dem deutschen Polyhistoren-Geschmack gema0 vie1...

... of a resemblance between Ferdinand and Caliban as log bearers in The Tempest (p. 178) was made some time ago in an important book by Alan Dessen, Elizabethan Drama and the Viewer’s Eye (1977), not mentioned by Slater. Dessen’s other work is seriously under- I “Flatcaps and Bluecoats: Visual Signals...

...., Jean de la Varende.) Thus Professor Albert Schinz 667 Baldensperger, all in all, feels more sympathetic towards the novels treated in the next chapter, where he sees promise of some construc- tive material : “Pour faire parler Caliban.” An attempt...

..., unfit to live or die. They are a kind of Ariel and Caliban in that between them the truly human characters must find a place, looking toward the one, as Angelo did at the beginning, while being desperately close to the other, as he discovers in the end that we all are. We are all brothers...

... Evil, and what else hath he made?’ (140-47) Cain’s rationalistic manner has turned into Lucifer’s wonderfully fan- ciful and self-indulgent sophistry. With the advantage of a later perspective we might hear the voice of one of Lucifer’s descendants, Browning’s Caliban, who will argue...

... the recurring threat of immediate execution will move him. Surely of all the characters in Measure for Measwe, he is by all odds the most obviously static. Yet though Hazlitt years ago classified him as “the Caliban of Vienna,” the “creature of bad habits as Caliban is of gross instinct some...

... and dissolving nature. It is car- ried to the utmost here-Others more mild-nothing can express the sensation one feels at “Theif-song was partial” 8cc. Examples of this nature are divine to the utmost in other poets-in Caliban “Sometimes a t hotisand twungling instruments” 8cc...

.... It is present even in The Tempest (which Kott considers as a tragedy), for Prospero, who has lost his dukedom to his disloyal brother, has, in taking over the island, himself dispossessed Caliban. Sebastian, too, though shipwrecked and hundreds of miles from the kingdom he wishes to usurp...