It is also clear to see that Caliban has a desperate need to be acknowledged. When we first meet Caliban in Act 1 Scene 2, he not only curses Prospero but bickers with Miranda also. It is because of these two characters that we see Caliban’s struggle for acknowledgement at the beginning of that play. As the production progresses however, it becomes apparent that Caliban also seeks-and to some extent finds-acknowledgement from Trinculo and Stephano. I feel he discovers this when he is able to lead them around the island and take command. We see a role reversal for Caliban during Act 3 Scene 2, as it is he who now leads Trinculo and Stephano. However, it is possible to see that Caliban follows Trinculo and Stephano under the influence of alcohol. Whilst resisting and resenting Prospero’s enslavement of him, he is influenced into believing Stephano to be his ‘noble lord’. We see Caliban’s self-abasement in his admiration of Trinculo and Stephano and from line 88 we see Caliban’s plan to ‘seize his [Prospero] books, batter his skull and paunch him with a stake’. Caliban knows he must first seize Prospero’s books as he is aware this is his strongest advantage over him. As soon as Prospero is without magic, Caliban may have the opportunity to overthrow him.
Of course, Caliban’s most famous speech during ‘The Tempest’ is in Act 3 Scene 2 (lines 136-144). His famous speech which describes the beauty of the island and its ‘noises’ shows how Caliban-an uncivilised, socially excluded ‘beast’, is able to emotionally respond to music. The audience is inspired to change their view of Caliban, which is a prime example of Caliban’s need for acknowledgement. We know however, Caliban does not describe music in this way for acknowledgement, but because he simply does not know the word “music” and can only describe what he is able to hear and feel.
When finally considering Ariel, it is important to compare the relationship between Ariel and Prospero to that of Caliban and Prospero. After releasing Ariel from Sycorax’s ‘cloven pine’ twelve years previously, Prospero needs Ariel as much as Ariel needs Prospero and their relationship therefore is much more pleasant than that of Caliban and Prospero. During Act 1 Scene 2 when Ariel demands his ‘liberty’ from Prospero, it causes tension between the two characters. Prospero uses his power and authority over Ariel autonomously and it is apparent that although Prospero needs Ariel, Ariel stays under his close control. As Ariel is being admonished for demanding his premature freedom, Prospero introduces Caliban as a ‘freckled whelp hag-born – not honoured with a human shape’. The audience can immediately see the diverse tone in language towards the two different characters. It becomes clear the relationships between Ariel and Prospero and Caliban and Prospero are extremely different due to dissimilar circumstances.
Although we do not see Caliban throughout the masque for Miranda and Ferdinand, Prospero remembers the ‘foul conspiracy of the beast Caliban and his confederates’ in Act 4 Scene 1 and immediately concludes the masque. As Caliban prays to Trinculo and Stephano that they ‘tread softly’ when entering Prospero’s cell, it is obvious to the audience that Caliban is extremely fearful of his plan to overthrow Prospero. Although he knows it is what he wants, he is also aware that Prospero has the ability to weaken Caliban and enslave him once again. This is something Trinculo and Stephano are extremely naïve about. During Act 5 Scene 1 when Prospero instructs Ariel to ‘set Caliban and his companions free’, Caliban is ‘afraid’ of Prospero’s punishment and fears he will be ‘pinched to death’. It is during this final scene in which Prospero declares, ‘this thing of darkness I/Acknowledge mine’. This can be interpreted in a number of different ways. If Prospero is admitting responsibility for Caliban, he may also be commenting that Caliban has let him down and encouraging him to feel ashamed about his actions with Trinculo and Stephano. It is important to conjecture about Caliban’s future once Prospero has returned to Milan. It is possible Caliban will continue to remain an inhabitant of the island and enjoy the island and its natural beauty once Prospero has left. However, if Prospero is accepting responsibility for Caliban, he may be able to leave the island with Prospero. On the other hand, when looking at the ‘darkness’ of Caliban, this suggests something much deeper. The ‘darkness’ of Caliban may in fact represent the darker side of Prospero-suggesting Caliban is a facet of Prospero; a facet of human nature.
When studying how Caliban was portrayed during the ‘Nottingham Playhouse Theatre Company’ production of Shakespeare’s ‘The Tempest’, I was able to then compare this to the beastly character introduced in Derek Jarman’s 1979 BBC creation. Throughout the Nottingham production of ‘The Tempest’, it was extremely interesting to see how Caliban was portrayed as earth and Ariel as air. With much emphasis on earth, Caliban had dark brown and green make-up over his face and body, as well as wearing extremely rugged clothes. It was clear to see that Prospero was Caliban’s elder as he was always stooping and crouching whilst near him, as well as having a leash around his neck. This not only exposed Prospero’s power and authority, it created the allusion of an animal or beast-like character. Jarman’s interpretation of Caliban however, uses an exceptionally different approach. During Jarman’s film, it is possible to see the ambiguous interpretation of Shakespeare’s late play. Although a serious play, there are many elements of lunacy throughout this production and we are able to see this portrayed in Caliban. For instance, at the beginning of the play, Caliban eats a raw egg in front of a roaring fire. Without dialogue, Jarman is able to create a disturbing scene for the audience, which introduces the many elements of madness throughout Jarman’s film. The relationship between Prospero and Caliban is interpreted in two different ways during two productions. However, the anger and hatred is apparent in both and while Prospero evidently needs Ariel to complete his tasks and gather his enemies together, Prospero does not need Caliban and hence treats him with little respect.
To conclude, the relationship between Prospero and Caliban is undoubtedly tense which is apparent to both the audience and Miranda-who also holds a grudge against the ‘foul beast’. Prospero and Caliban’s relationship is that of a traditional master and servant, but can also be lightly interpreted as human and animal. The relationship is tense due to Prospero initially taking the island from Caliban. Prospero has the power over Caliban through his magic and Caliban is apprehensive of Prospero because of this. Prospero exerts much power and authority over Caliban and it is clear their relationship is one of resentment. This is presented to the audience through Prospero’s controlling and authoritive figure, his demanding voice and Caliban’s self-abasement.
Hayley Cook L63