A post-colonial interpretation of the Tempest is an interpretation that gained popularity in the second half of the twentieth century. This particular reading of the play implies that Shakespeare was consciously emphasizing colonialism in the New World in the guise of the wizard Prospero's usurpation of Caliban, the "slave." It can be argued that Caliban represents the Native American, while Prospero can be seen as the European imperialist. This interpretation calls into question values ​​and opinions of the past. It casts Caliban in a sympathetic light and shows greater understanding for his situation, while at the same time raising questions about Prospero's rule on the island. However, this reading is not universally accepted in modern times. One critic comments that it is “simply absurd to impose on The Tempest our 20th-century concern with imperialist rape of the third world.”1 In contrast to this, Stephen Greenblatt responds that it is “very difficult to argue that The Tempest is not about imperialism ”. the colonized. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The question of legitimate authority is introduced immediately in the work, which indicates that it will play an important role in the events that follow. The king of Naples, Alonso, and his entourage are caught in a terrifying storm at sea. Panic ensues and the normal hierarchy of power relations is disturbed. The boatswain takes control of the situation and orders Antonio, Duke of Milan, not to interfere: "You spoil our effort; keep your cabins:/ Witness the storm." (1.1.16-17). He later asks Sebastian, the king's brother, "What are you doing here?...Do you feel like sinking?" (1.1 45-46). The entourage is shocked and insulted by this treatment by a "humble" boatswain and they threaten him with hanging. However, this reversal of authority, this theme of the ruler challenged by the governed permeates the work. We soon learn of Antonio's successful palace revolution against his brother. This is followed by Antonio's plot with Sebastiano to kill Alonso while he sleeps and Caliban's attempted insurrection with Stefano and Trinculo against Prospero's rule on the island. The main issue, however, is Prospero's claim to legitimize the government of the island. He is arrogant in rejecting Caliban's claims and appears to be devoid of conscience when he usurps Caliban's rule. Frank Kermode, in his introduction to the work, comments that: Prospero's assumption of his right to rule the island, "to be lord" t', is the natural presupposition of a European prince... There are ample evidence of the corrupting effect on natives of contact with profligate Europeans - 'Christian savages sent to convert pagan savages', as Fuller puts it.3 Kermode is making the point that the practice of colonialism was so ingrained in the psyche of European thought at the time that few, if any, thought twice about the morality of expanding European rule to new areas inhabited by “uncivilized” and “savages.” Little consideration was given to the natives of these areas as they were robbed of their land and freedom because they did not measure up to living or looking European. This is what Prospero did to Caliban, but more on that later. Meredith Anne Skura, in her essay "Discourse and the Individual: The Case of Colonialism" points out that we all fall into the trap of prejudice, of making assumptions before they can be well founded. He takes the example of the association of “Caliban” with “cannibal.” He says: Caliban is not a cannibal, in fact he rarely touches meat. His name seems more like a jokeof stereotypes than a sign of monstrosity, and in our haste to confirm the connection between "cannibal" and "Indian" outside the text, we lose track of the way in which Caliban severs the connection within the text.4In short, only if you can lose all preconceptions and stereotypes about what is different, what is unknown, you can judge a situation morally and ethically. This is what is necessary for the postcolonial reading of the Tempest, and once done, one can see that Caliban has been blatantly and unfairly dispossessed of what is his. When Caliban says to Prospero: "This island is mine, by Sycorax my mother/ That you take from me.../ I am all the subject you have/ Who before was my king" (1.2.334-336) is claiming the title of king of the island by inheritance. The only claim Prospero can have is one based solely on superior virtue and fitness for government. However, Antonio, when he took Prospero's place as Duke of Milan, argued that Prospero was "incapable" of ruling and therefore the usurpation was justified.5 Thus, Prospero is undermining the basis of his title by establishing his own rule over the Caliban's island.Viewed in this way, Prospero's hypocrisy becomes evident.Our sympathies for Caliban are further aroused in the early scenes of the play doubts in later scenes (1.2.78,87,77, 1.2.246), and his censure of Caliban must be seen in this light.6 Caliban is not the brutal, callous savage that seventeenth- and eighteenth-century writers portray. they described it as it was, thus making it easier to ignore his unjust oppression at the hands of Prospero He is able to learn the language and with this new language he is able to eloquently express his feelings and, in one example. , the beauty of the music that the island possesses: Don't be afraid; this island is full of noises, sounds and sweet airs, which give joy and do no harm. Sometimes a thousand tinkling instruments buzz around my ears; and sometimes voices, which if I then woke up after a long sleep, would make me sleep again; (3.2 174-182). He can speak in verse rhythms, in contrast to Stephano and Trinculo. It can follow plan and reason and can form loving attachments. All of this combines with his childish gullibility which serves to evoke pity and ultimately humanize him. Prospero is aware that Caliban is not a manifestation of pure evil, yet he consistently treats him as if he were. When Gonzalo comments that although the islanders are 'monstrous in form', "their ways are kinder, gentler, than those of our human generation" (3.3.29), Prospero replies: "Thou hast spoken well; for some of you present / are worse than devils." (3.3 30-32) Here Prospero implicitly classifies Antony's evil as greater than Caliban's evil. There are other flaws to be found in Prospero's regime. Paul Brown, in his essay "The Tempest and the Discourse of Colonialism" compares and contrasts Prospero's rule with that of the "mad witch" Sycorax. He argues that the fact that Ariel is constantly reminded that she was saved by his regime makes Prospero's regime seem benevolent to the last. But "her black and feminine magic apparently contrasts with that of Prospero in that it is remembered as brutally coercive, but beneath the apparent voluntarism of the white male regime lies the threat of precisely this coercion"7. In reality both regimes and their rulers are quite similar: both are wizards, both were exiled due to their practices, and both have children on the island. The only difference seems to be that Prospero is simply more powerful and flexible. Both are.265