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CALIBAN: Since the Dramatis Personae, Caliban Is Presented As a Savage and Deformed Slave

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CALIBAN: Since the Dramatis Personae, Caliban Is Presented As a Savage and Deformed Slave CALIBAN: Since the Dramatis Personae, Caliban is presented as a savage and deformed slave. He is described as an evil character by Prospero and Miranda, who said that he is a villain. However they need him because he is useful. All the adjectives that the characters use to talk about him are pejorative. That can be interpreted like a device used by Shakespeare to put us against him from the beginning of the play. In the second act Caliban meets two sailor men and they provide us more information about him like his physical description. Trinculo asks himself if it is a fish or a man. First he thinks that he is a fish because of the smell but then he notice that Caliban has arms and legs like a human being. He says “This is no fish, but an islander that hath lately suffered by a thunderbolt.” Lately Stefano says that he is a monster of the isle with frog legs and they are surprised by his talking skills. Although these detailed description, the representations of this character are diverse. Painter: Johann Heinrich Ramberg (German, Hanover, 1763 ­ 1840) Date: 1791­ 1803 Name of the painting: “Stefano, Trinculo and Caliban” Classification: Illustration. This painting represents act II scene II when the sailor men found Caliban. This is the nearest to the description about the character that the play give us. The representation has fish qualities but it´s a mixture of different animal; we can see he has a cat face with whiskers and claws. In addition, he stands in two feet. Painter: John Hamilton Mortimer (British, Eastbourne 1740–1779 London) Date: May 20, 1775 Name of the painting: “Caliban” Classification: Prints In that painting the fish characteristics are not found on him anymore because he is humanized. In that moment he starts to be represented more like a mammal, which is closer to a human being than a fish. The most obvious animal characteristics are the ears, that are extremely big, the claws and the abundance of hair. Here his face is not representing the evil personality that Shakespeare gives him in the play. He seems submissive because of the inclination of his head and his ears, which are down like a sign of sadness. Moreover this sadness is reflected on the expression of his face. Painter: Sir Joseph Noel Paton (Scottish, Fife 1821 ­ 1901 Edimburg) Date: 1868 Name of the painting: “Caliban” Classification: Oil on canvas In this painting Caliban is in the beach surrounded by spirits (maybe one of them could be Ariel). It is a sunny day with no signs of the tempest. We can see that Caliban has a human body that seems to have some clothes, but his head and his expression has animal characteristics. Also he has little fins. His expression it looks like if he was a fish with the mouth open and a lost on thought look. It gives us the impression that he is not very intelligent, so he is more like an animal in that way. Painter: Charles A. Buchel (British, Mainz 1872 ­ 1950) Date: 1904 Name of the painting: “Beerbohm Tree in fur, seaweed, and shells” Classification: Portrait of Herbert Beerbolhm Tree characterized as Caliban This image is also placed near the water. Here Caliban is dressed with some kind of leaves dress and has an ethnic necklace that makes him seem more human, someone primitive that belongs to that place and that culture. He has enough intelligence to have that kind of cultural things in contraposition to the other paintings that make him look more irrational or dehumanized. However, he continues having some animal characteristics like the sharp ears, the claws and the abundance of hair. Painter: James Ward (London, 1769 ­ 1859 Hertfordshire) Date: 1837 Name of the painting: “Miranda and Caliban” Classification: Oil on canvas This image is different from the others because it presents Caliban like a demon in contraposition to Miranda that looks like an angel. Caliban seems to be the center of the circle made of some diabolic figures. He has wings and a snake tale. In addition, his face is like a gargoyle and he has horns, but maintains the big ears. The atmosphere surrounding him represents the evil with obscure colours and some death and sin symbols like the snake and the skull. This can be related to the desire that he experiments for Miranda. Caliban represents sin and evil against her that represents wisdom and pureness. PROSPERO Prospero is not described in the play. In contrast with Caliban, we have no information about his physical characteristics or even his age. He gives us the image of an old wise man but he was so self­centred that he only spends his time to the study and forgets about his dukedom. So his brother exiled him and abandoned them in the sea. Although he is not described in the play the representations are very similar, in contrast with Caliban, who is described but is represented in many different ways. Painter: Henry Fuseli (Swiss, Zurich 1741 ­ 1825, London) Date: 1789 Name: “Prospero” Classification: Oil on canvas This painting is a classical profile portrait. Here Prospero is represented as a noble man with a white long beard, that is a symbol of wisdom. The clothes are out of context for the play and give us a reminiscence of Plato or another Greek Wiseman. He has an angular face that reminds us also to the Greek sculptures. In that painting we can notice that the stick, which is in his hip, is more like a little wand and not something he can use to walk. It can be based on the scene II of the act I when he says: “PROSPERO ​ What? I say, My foot my tutor? Put thy sword up, traitor; Who makest a show but darest not strike, thy conscience Is so possess'd with guilt: come from thy ward, For I can here disarm thee with this stick And make thy weapon drop.” Painter: William Maw Egley (British, London 1826­ 1916) Date: 1850 Name: “Prospero and Miranda” Classification: Oil on canvas In this painting there are represented Prospero and Miranda. They are near the beach. The situation can be related with the beginning of the play when Prospero says to Miranda that she does not know anything about love because she only knows Caliban and no other man. That can be noticed in the extract of the scene II from act I: “MIRANDA Beseech you, father. PROSPERO Hence! hang not on my garments. MIRANDA Sir, have pity; I'll be his surety. PROSPERO Silence! one word more Shall make me chide thee, if not hate thee. What! An advocate for an imposter! hush! Thou think'st there is no more such shapes as he, Having seen but him and Caliban: foolish wench! To the most of men this is a Caliban And they to him are angels. MIRANDA My affections Are then most humble; I have no ambition To see a goodlier man.” As we can see in the picture Miranda is leaving Prospero behind and it seems that she is moving forward Ferdinand who is situated out of scene. Prospero seems to be annoyed because of that and he is trying to hold her, but she is leaving. In contraposition of the other picture Prospero has a biggest stick and he seems to be younger because his hair is not grey. Painter: Jean Pierre Simon (French, born 1769) after Henry Fuseli (English, born Switzerland, 1741­1825) published by John Boydell (English, 1719­1804) Date: 1797 Name:Prospero, Miranda, Caliban and Ariel, plate four from The Boydell Shakespeare Gallery Classification: Engraving on ivory wove paper This picture represents scene II from act I where Ariel is transforming into a nymph of the sea and Caliban makes his first appearance. We can see the scene divided in two sides, one with Prospero and Miranda and the other with Caliban. Prospero is standing in front of Caliban with a protective attitude, hiding Miranda of Caliban´s eyes. In addition, she is looking at him with a despicable look. The attitude of the characters in the painting seems to be tense. That atmosphere goes along with the attitude that everyone has with Caliban during the play. In relation to the characters, Prospero is represented in the same way that in Fusili´s representation. He wears a tunic and his look reminds us a Greek Wiseman. Moreover he has white hair and a long beard. The long stick is represented here too. Caliban is represented as a beast, with the usual long ears. The monkeys in the scene can represent the wild part of Caliban. Painter: C.W. Sharpe ( British, 1818 ­ 1899) Date: 1875 Name: “Caliban. Miranda. Prospero. The Tempest” Classification: Engraving on heavy paper. This picture represents scene II from act I in which Ariel is out of the scene and Caliban is talking with Prospero and Miranda. The scene is divided in two parts like in the previous picture, with Caliban standing alone in front of Prospero and Miranda. Prospero maintains his defensive attitude and Miranda seems more terrified. She was hiding her face from Caliban because she does not want to see him as she says in this extract from scene II of act I: “PROSPERO Shake it off. Come on; We'll visit Caliban my slave, who never Yields us kind answer. MIRANDA 'Tis a villain, sir, I do not love to look on.” Caliban has an insolent behavior. He is trying to protect himself from Prospero with his arm, but in the other hand he is standing and looking at him in a defiant way.
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