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IV The Tempest places forward the rhythms of this dynamic Nature in the context of changing society and the unpredictable individual mind, but also the way they reflect both twisted and elevated symbolic association of humans and Nature: allusions to "pinch-spotted. Than pard or cat o' mountain", "welkin's cheek", "rotten carcass of a butt", "Jove's lightnings", "King's son, Ferdinand/ With hair up-staring then like reeds, not hair, -", "veins o’th'earth" and also "bak'd with frost". Caliban's lethargy is associated with the movement of a tortoise. Charms and omens of Sycorax are connected with hateful animals as "toads", "beetles" and "bat". In the traces "Temperance was a delicate wench", weather and climatic state of the island is contrasted to the character of a delicate female. Sebastian's institution of Gonzalo's identity to that of an "old penis", Gonzalo's tears as "winter drops". Its opening scene introduces us to the tempest playing and throwing like a toy together with the boat, a human invention. The turbulent tumultuous interplay between the strong wind and the sea-waves prove the insignificance, and failure of a man-made commodity of pride and elegance in the hands of mighty nature. The royal and the noble personages, the intellectuals, the dynamic, bold warriors and the proficient crew manning the regal ship are helpless and paralyzed in front of the wild power of Nature. Their significance and might diminishes eventually. During crisis, the king, who is claimed as the messiah of a human society, despite his incredibly chivalric profile, becomes inefficient and entirely dependent upon the boatswain and his sailors (representing the commonplace and the proletarian) for saving his life. Wrath of Nature thus devastate the human.