"of the play, Prospero intends to drown his book and renounce magic. In the view of the audience, this may have been required to make the ending unambiguously happy, as magic was associated with diabolical works; he will drown his books for the same reason that Doctor Faust, in an earlier play by Christopher Marlowe, promised in vain to burn his books. ""The Tempest"" is believed to be the last play Shakespeare wrote alone. In this play there are two candidate soliloquies by Prospero, which critics have taken to be Shakespeare's own ""retirement speech"". One person's speech is the ""Cloud-capp'd"
"extraordinarily influential and enduring essay in Latin American letters and culture due to a combination of specific cultural, literary, and political circumstances, as well as for its adherence to Classical values and its denunciation of utilitarianism and what Rodó called """"nordomanía"""" (explained below). ""Ariel"" belongs to the movement known as ""modernismo"", characterized by its elegance, artistic prose, and worldly references and allusions. Even though it is an essay, its ideas are expressed through Prospero's narrative voice. Prospero, the teacher, and Ariel are references to the characters in William Shakespeare's ""The Tempest"", and the use of their names is an example"
"as a play, frequently drawing links between Prospero's art and theatrical illusion; the shipwreck was a spectacle that Ariel performed, while Antonio and Sebastian are cast in a troop to act. Prospero may even refer to the Globe Theatre when he describes the whole world as an illusion: ""the great globe ... shall dissolve ... like this insubstantial pageant"". Ariel frequently disguises himself as figures from Classical mythology, for example a nymph, a harpy, and Ceres, acting as the latter in a masque and anti-masque that Prospero creates. Early critics, such as Thomas Campbell in 1838, saw this constant allusion"
"baroque, sentimental fantasy costumed in the style of Van Dyck and Rembrandt"". The painting is based upon Shakespeare's text, containing no representation of the stage, nor of the (Davenant-Dryden centred) stage tradition of the time. Henry Fuseli, in a painting commissioned for the Boydell Shakespeare Gallery (1789) modelled his Prospero on Leonardo da Vinci. These two 18th-century depictions of the play indicate that Prospero was regarded as its moral centre: viewers of Hogarth's and Fuseli's paintings would have accepted Prospero's wisdom and authority. John Everett Millais's ""Ferdinand Lured by Ariel"" (1851) is among the Pre-Raphaelite paintings based on the play."
"them, Ariel.</poem> Shakespeare's act 3, scene 2, in which Prospero accepts Ferdinand and Miranda's relationship, and later in act 4, scene 1, his: <poem style=""margin-left: 2em;"">for I Have given you here a third of mine own life</poem> contrasts sharply with the end of Oakes' act 2 in which Miranda and Ferdinand find each other again and declare their love, as they are watched over by Prospero, who frees Ferdinand but laments his loss of power in: <poem style=""margin-left: 2em;"">Miranda I've lost her I cannot rule their minds My child has conquered me A stronger power than mine Has set the"
"either Greenwich Mean Time or British Summer Time depending on what is being used in London. The building showcases works of art, most prominently the statues of Prospero and Ariel (from Shakespeare's ""The Tempest"") by Eric Gill. Their choice was fitting since Prospero was a magician and scholar, and Ariel a spirit of the air, in which radio waves travel. There was, reportedly, controversy over some features of the statues when built and they were said to have been modified. They were reported to have been sculpted by Gill as God and Man, rather than Prospero and Ariel, and that"
"of ""modernismo's"" desire for cosmopolitism. In ""Ariel"", Prospero's seminar includes both famous and lesser-known European authors. He makes frequent reference to Goethe, Gaston Deschamps, St. Francis of Assisi, Schiller, and Guyau. Prospero also focuses on locations such as Ancient Greece, and he emphasizes Hellenic beauty as the only ideal worthy of imitation. Rodó uses Ariel as a metaphor that symbolizes beauty, the spirit, and that which is good. The opposite of Ariel is the utilitarian, symbolized by Caliban, and he cites ""positivismo"" and ""nordomanía"" as two reasons why this movement has gained popularity. ""Ariel"" is structurally based on binary opposition,"
"closely follows that of Shakespeare's play, though Césaire emphasizes the importance of the people who inhabited the island before the arrival of Prospero and his daughter Miranda: Caliban and Ariel. Both have been enslaved by Prospero, though Caliban was the ruler of the island before Prospero's arrival. Caliban and Ariel react differently to their situation. Caliban favors revolution over Ariel's non-violence, and rejects his name as the imposition of Prospero's colonizing language, desiring to be called X. He complains stridently about his enslavement and regrets not being powerful enough to challenge the reign of Prospero. Ariel, meanwhile, contents himself with"
"at this time, but promises that on the condition he follows the rest of his commands, he will grant his wish in two days. For the rest of the play, Ariel is Prospero's eyes and ears—spying on the shipwrecked sailors in invisible form, but only Prospero can see Ariel. In the second act Ariel briefly appears to stop a conspiracy to kill Alonso, King of Naples, whose brother (and heir to the dukedom), Sebastian, plots to kill him in his sleep. Ariel sings in the ear of Gonzalo, a councillor to Alonso, to wake him and foils the plot. Ariel"
"from a deep slumber. Thanks to Ariel's work, Ferdinand and Miranda have fallen in love. Prospero is so impressed by Ariel's matchmaking that he says that he would set Ariel free for that one act. Thus, having fulfilled Prospero's tasks, and Prospero himself now being free to leave the island, Ariel is set free. The source from which Shakespeare got the idea for Ariel is not known, though there have been many candidates proposed by scholars. Sprites or demons such as Ariel were viewed during the Renaissance from either religious or scientific points of view: religion seeing them as either"
"asking Prospero to consider giving him independence. At the end of the play, Prospero grants Ariel his freedom, but retains control of the island and of Caliban. This is a notable departure from Shakespeare's version, in which Prospero leaves the island with his daughter and the men who were shipwrecked there at the beginning of the play. Une Tempête Une Tempête (""A tempest"") is a 1969 play by Aimé Césaire. It is an adaptation of Shakespeare's ""The Tempest"" from a postcolonial perspective. The play was first performed at the Festival d'Hammamet in Tunisia under the direction of Jean-Marie Serreau. It"
"recognition"" in degree. The lines of Ariel's Song do not indicate whether the ""sea change"" was caused by the application of Prospero's magical powers, or whether it was solely the result of a natural metamorphosis of the body as it rested in the environment of the deep sea. Ariel's Song ""Ariel's Song"" is a verse passage in Scene ii of Act I of William Shakespeare's ""The Tempest"". It consists of two stanzas to be delivered by the spirit Ariel, in the hearing of Ferdinand. In performance it is sometimes sung and sometimes spoken. There is an extant musical setting of"
"control Ariel, who was ""too delicate"" for such dark tasks. Prospero's rational goodness enables him to control Ariel where Sycorax can only trap him in a tree. Sycorax's magic is frequently described as destructive and terrible, where Prospero's is said to be wondrous and beautiful. Prospero seeks to set things right in his world through his magic, and once that is done, he renounces it, setting Ariel free. ""The Tempest"" can be interpreted as Shakespeare's last treatise on the human soul, in particular the Renaissance conception of the tripartite soul divided into vegetative, sensitive, and rational spheres, as described in"
"by David Hirst, as depicting ""the tragic and inevitable disintegration of a more primitive culture as the result of European invasion and colonisation"". Miller developed this approach in his 1988 production at the Old Vic in London, starring Max von Sydow as Prospero. This used a mixed cast made up of white actors as the humans and black actors playing the spirits and creatures of the island. According to Michael Billington, ""von Sydow's Prospero became a white overlord manipulating a mutinous black Caliban and a collaborative Ariel keenly mimicking the gestures of the island's invaders. The colonial metaphor was pushed"
"by Julie Taymor. The play's main character is Prospero, who is male in the original play. Taymor explained the casting decision, ""I didn't really have a male actor that excited me in mind, and yet there had been a couple of phenomenal females – Helen Mirren being one of them – who [made me think]: 'My God, does this play change? What happens if you make that role into a female role?'"" Taymor held a reading and found that the story could accommodate the change of gender without being gimmicky. In Shakespeare's play, Prospero was the Duke of Milan. In"
"feels that negotiation and partnership is the way to freedom from the colonizers. Fernandez Retamar sets his version of the play in Cuba, portraying Ariel as a wealthy Cuban (in comparison to the lower-class Caliban) who also must choose between rebellion or negotiation. Although scholars have suggested that his dialogue with Caliban in Act two, Scene one, contains hints of a future alliance between the two when Prospero leaves, in general, Ariel is viewed by scholars as the good servant, in comparison with the conniving Caliban — a view which Shakespeare's audience would have shared. Ariel is used by some"
"Ariel (newspaper) Ariel was the in-house magazine/newspaper of the BBC, published weekly on Tuesdays, and named after the statue of Shakespeare's Prospero and Ariel by Eric Gill on the facade of the BBC's Broadcasting House, London. On 19 October 2011, it was announced that the printed edition would cease production at the end of December 2011 and then only be available as Ariel Online. Candida Watson, its editor, was one of the redundancies. Distributed as a newspaper for 75 years to staff and visitors at major BBC premises, it was also available to the public by subscription (£50 p.a. UK)."
"also named Sycorax. As a parallel to Shakespeare's Miranda/Ferdinand plot, Prospero has a foster-son, Hippolito, who has never set eyes on a woman. Hippolito was a popular breeches role, a man played by a woman, popular with Restoration theatre management for the opportunity to reveal actresses' legs. Scholar Michael Dobson has described ""The Tempest, or The Enchanted Island"" by Dryden and Davenant as ""the most frequently revived play of the entire Restoration"" and as establishing the importance of enhanced and additional roles for women. In 1674, Thomas Shadwell re-adapted Dryden and Davenant as an opera of the same name, usually"
"""Ariel"", the name of a character once played by Poe's mother Eliza Poe, and also the name of Percy Bysshe Shelley's boat, on which he died, originally named ""Don Juan"" in honor of Lord Byron. One thread of critical analysis of this tale focuses on the possibly racist implications of Poe's plot and imagery. One such plot element is the black cook who leads the mutiny on the ""Grampus"" and is its most bloodthirsty participant. Dirk Peters, a hybrid of white and Native American ancestry, is described as having a ferocious appearance, with long, protruding teeth, bowed legs, and a"
"Proserpine (play) Proserpine is a verse drama written for children by the English Romantic writers Mary Shelley and her husband Percy Bysshe Shelley. Mary wrote the blank verse drama and Percy contributed two lyric poems. Composed in 1820 while the Shelleys were living in Italy, it is often considered a partner to the Shelleys' play ""Midas"". ""Proserpine"" was first published in the London periodical ""The Winter's Wreath"" in 1832. Whether the drama was ever intended to be staged is a point of debate among scholars. The drama is based on Ovid's tale of the abduction of Proserpine by Pluto, which"
"is also the name of the spirit who serves Prospero in Shakespeare's ""The Tempest"". The moon is also designated Uranus I. Among Uranus's five major moons, Ariel is the second closest to the planet, orbiting at the distance of about 190,000 km. Its orbit has a small eccentricity and is inclined very little relative to the equator of Uranus. Its orbital period is around 2.5 Earth days, coincident with its rotational period. This means that one side of the moon always faces the planet; a condition known as tidal lock. Ariel's orbit lies completely inside the Uranian magnetosphere. The trailing"
"them. William Shakespeare's 1610–11 play, ""The Tempest"", uses the idea of being stranded on a desert island as a pretext for the action of the play. Prospero and his daughter Miranda are set adrift by Prospero's treacherous brother Antonio, seeking to become Duke of Milan, and Prospero in turn shipwrecks his brother and other men of sin onto the island. A Latin translation of Ibn Tufail's ""Philosophus Autodidactus"" appeared in 1671, prepared by Edward Pococke the Younger, followed by an English translation by Simon Ockley in 1708, as well as German and Dutch translations. In the late 17th century, ""Philosophus"
"and programmed using knowledge gleaned from his study of the Krell, a long-extinct race of highly intelligent beings that once populated Altair IV. The film’s plot appears loosely based on William Shakespeare’s play ""The Tempest"" (1610), with the planet Altair IV standing in for Shakespeare’s remote island and Dr. Morbius for Prospero. In this context Robby is analogous to Ariel, a spirit enslaved by Prospero. Robby exhibits artificial intelligence, but has a distinct personality that at times exhibits a dry wit. He is instructed by Morbius to be helpful to the Earthmen and does so by synthesizing and transporting to"
"Sam Dastor Sam Dastor (born 2 October 1941) is an actor best known for his appearances in British television series. Dastor graduated from the University of Cambridge. He studied at the Royal Academy of Dramatic Art (RADA) and joined the National Theatre, where he was under the direction of Sir Laurence Olivier. Dastor has acted in the West End, including playing Ariel in a production of ""The Tempest"" while Paul Scofield played Prospero. Dastor also appeared in three of Simon Gray's plays: ""Melon, Hidden Laughter"", and ""Cell Mates"". Dastor is best known for his many appearances on British television, often"
"Shakespeare's ""A Midsummer Night's Dream"", making the quote inaccurate. A monster in the 2007 video game """" is named after and inspired by Ariel. A Titan in the """" franchise is named after and inspired by Ariel. In the 2012 series ""Grandma's House"", the character played by Simon Amstell is offered the part of Ariel. The novel series ""Théâtre Illuminata"", by Lisa Mantchev, stars Ariel as one of the main characters, and he persists as so throughout the trilogy. Sylvia Plath's most famous book of poetry is called ""Ariel"". It is named so because she considered the poem to be"
"following plot synopsis, and they illustrate Oakes' technique but that does not always mean the complete removal of Shakespeare's text, as in the following example. The libretto is structured into three acts, approximately equal in length. As in Shakespeare's act 1, scenes 1 and 2, the five main characters are introduced. However, as the relationship between Miranda and Ferdinand progresses, the opera turns away from Shakespeare's presentation of Prospero as the benign manipulator of events, the controller of the pace of the young couple's growing love by using his trickery and magical powers. In an aside to Ariel he comments:"
"of a future alliance between the two when Prospero leaves, Ariel is generally viewed by scholars as the good servant, in comparison with the conniving Caliban—a view which Shakespeare's audience may well have shared. Ariel is used by some postcolonial writers as a symbol of their efforts to overcome the effects of colonisation on their culture. For example, Michelle Cliff, a Jamaican author, has said that she tries to combine Caliban and Ariel within herself to create a way of writing that represents her culture better. Such use of Ariel in postcolonial thought is far from uncommon; the spirit is"
"he was familiar with such books as Geoffrey of Monmouth's ""Historia Regum Britanniae"". He did, however, use other works of literature as sources of inspiration. There are clear parallels between ""King Arthur"" and Shakespeare's ""The Tempest"" (which Dryden had revised in line with Restoration taste in collaboration with Sir William Davenant in 1667 and which had been turned into a semi-opera with music by Matthew Locke in 1674). Ellen A. Harris has described the links between the characters: Prospero and Merlin are both good magicians who use an ""airy spirit"" (Ariel in ""The Tempest"", Philidel in ""King Arthur"") to defeat"
"and Stephano were two characters used to show how wrong human beings are. Unlike Antonio, which was featured in no less than four plays, the name Stephano only appears in one of Shakespeare's other plays, ""The Merchant of Venice"". Stephano (The Tempest) Stephano ( ) is a boisterous and often drunk butler of King Alonso in William Shakespeare's play, ""The Tempest"". He, Trinculo and Caliban plot against Prospero, the ruler of the island on which the play is set and the former Duke of Milan in Shakespeare's fictional universe. In the play, he wants to take over the island and"
"known for playing the role of Superintendent Adam Okaro, later Chief Superintendent, in the long-running ITV police drama ""The Bill"". He also had a role as Graham, a barrister colleague of Miles and Anna, in both series of the cult BBC TV drama series ""This Life"". After drama school at the Bristol Old Vic Cyril started acting life at The Royal Shakespeare Company where his first role was Lucius in Ron Daniel's 1982 production of ""Julius Caesar"". He played Ariel to Max Von Sydow's Prospero in Jonathan Miller's 1988 production of ""The Tempest"". In 2008, he starred alongside other former"
"through to its logical conclusion so that finally Ariel gathered up the pieces of Prospero's abandoned staff and, watched by awe-struck tribesmen, fitted them back together to hold his wand of office aloft before an immobilised Caliban. ""The Tempest"" suddenly acquired a new political dimension unforeseen by Shakespeare."" Psychoanalytic interpretations have proved more difficult to depict on stage. Gerald Freedman's production at the American Shakespeare Theatre in 1979 and Ron Daniels' Royal Shakespeare Company production in 1982 both attempted to depict Ariel and Caliban as opposing aspects of Prospero's psyche. However neither was regarded as wholly successful: ""Shakespeare Quarterly"", reviewing"
"Kevin Lee Allen. Bertram Ross, who has been called the ""dance legend and archetype male Graham dancer"", used his considerable dance experience and technique and deep voice to create a memorable Prospero, using movement choreographed by Xoregos, who molded Prospero and Ariel into a ""moving duo of poetic form."" In 1984 the company presented a modern dress version of ""Julius Caesar"", entitled ""CAESAR!"" set in contemporary Washington, directed by McDowell, inspired by interviews conducted with company members of Orson Welles's famous 1937 Broadway production of ""Caesar"", with set by Kevin Lee Allen, with Assistant Director Maureen Clarke and Jane Badgers,"
"the sylphs Ariel and Umbriel from Alexander Pope's ""The Rape of the Lock"" (Ariel is also a sprite in Shakespeare's ""The Tempest""). The reasoning was presumably that Uranus, as god of the sky and air, would be attended by spirits of the air. Subsequent names, rather than continuing the airy spirits theme (only Puck and Mab continued the trend), have focused on Herschel's source material. In 1949, the fifth moon, Miranda, was named by its discoverer Gerard Kuiper after a thoroughly mortal character in Shakespeare's ""The Tempest"". The current IAU practice is to name moons after characters from Shakespeare's plays"