International Journal of English Literature and Social Sciences, 5(3)

May-Jun 2020 |Available online: https://ijels.com/

‘Othering Each Other’ in Shakespeare’s The

Tempest
Sheikh Saifullah Ahmed

Lecturer, Department of English and Modern Languages, IUBAT-International University of Business Agriculture and Technology,
Dhaka, Bangladesh
[email protected]

Abstract— This study includes Postcolonialism in Shakespeare’s The Tempest. It aims at examining Bhabha’s notions
of ambivalence and hybridity that he estimates as to be great forms of resistance against the colonial agency.
Ambivalence generates a controversial position and viewpoint both for Caliban and Prospero in the play. Caliban is a
colonized other and unable to replicate himself accurately to the European colonizers. It inflames Caliban to be
‘turbulent for liberty’ that results in his resistance and insurgency against Prospero and the colonial authority. It
confirms his hybrid nature that terrorizes Prospero to lose his exclusive authority on the island and challenges the
‘monolithic power’ of the invaders. Ariel is a subservient spirit unlike Caliban, though his craving for liberty brands
him turbulent too. The paper explores the ambiguities of portraying the ambivalent non-European characters and
investigates each non-European character in the play is figured within a given geopolitical context that relates to
ambivalence, an outcome of hybridity. Hybridity enables the colonized to absorb and mimic the norms of the dominant
culture and may result in psychological forms of coercion by backbiting and by othering each other. Consequently, the
colonized turn out to be a blend of intricate individualities in a hybrid formation, that enables the others to fight back
by othering the settler.
Keywords— Ambivalence, third space, hybridity, othering, postcolonialism.

I. INTRODUCTION a crucial device to study on and to obtain an insight

The ambivalent renderings of Ariel and Caliban in regarding his uniqueness that is double, divided, hybrid
Shakespeare’s The Tempest turn out to be a postcolonial and ambivalent. This fluid self serves as the weapon to
discourse to the critics to research on. Shakespeare fight back against the colonial invaders. Nevertheless, the
categorizes Caliban as a half-animal ( semi-human) non- problem arises when the others unearth themselves with an
European screwball with an inscrutable figuration that unsolidified self, a fusion of discrete selves in a hybrid
confronts their anthropological identity. With a sly motive composition.
to enlighten the entire world, the West subjugates the The physique of Caliban can be envisaged as the emblem
native both substantially and psychologically. The invaders of the primitive human race. A disintegrated and
vehemently impose their language and culture upon the deteriorated semi-human personality seems to reveal his
colonized psyches. They sneakily circulate a political greed, disorder and lust. Therefore, Caliban and Ariel can
dissection between self and other, master and slave, be scrutinized as the imaginary forms of the non-European
civilized and savage, white and black, good and evil, strong orients as imagined by the European occidents to
and weak, occident and orient, elite and subaltern in terms legitimize their unscrupulous invasion. Due to the nebulous
of knowledge and culture of the colonized humanities. description of Caliban’s portrayal, there remain numerous
However, Prospero appears to be a prevalent colonial agent varieties of the original, that epitomizes Caliban from a
and the approaches he deals with the inhabitants of the half-animal to a Third World inhabitant. The diverse
island expose the boldness of the colonizer. He seizes the stereotypical exposures of Caliban become attainable not
island from the natives and shortly, enslaves them at their only for Shakespeare’s ambiguous description but also for
land. After grabbing the authority from them, he the physique of Caliban being a performative type involves
inaugurates a newfangled order on the island and proclaims “cultural stories, traditions, and political contestations that
himself the monarch. Caliban can be acknowledged as the comprise our sense of history” (Diamond, 1996, p. 1).
archetypal of the colonized other subjected to the imposed Therefore, Caliban simultaneously magnets cultural and
decrees of his subjugator. His fragmented language can be political contestations. He is decomposed into a political

ISSN: 2456-7620
https://dx.doi.org/10.22161/ijels.53.11 643
International Journal of English Literature and Social Sciences, 5(3)
May-Jun 2020 |Available online: https://ijels.com/

and cultural vehicle by which the colonial authors keep Shakespeare’s The Tempest (1611) with two modifications,
interpreting him to attend their political ends. namely, that Ariel is a mulatto slave and Caliban is a black
Baker and Hulme’s (2005) “Nymphs and Reapers Heavily slave. The plot is also slightly changed in the term of
Vanish” illustrates that Prospero’s extreme anger towards determination when Prospero decides to stay on the island
Caliban’s rebellion and resistance displays his anxiety instead of returning to Milan. As a rewriting, A Tempest
regarding the foundation of his legitimacy in ruling the reformulates and answers back to what The Tempest states
island (p. 195). However, another shift in figuring Caliban in dealing with race and global politics. In other words, as
takes place with the prevailing influence of Darwin’s a surrogate, A Tempest fills the gaps so that those forgotten
theory of evolution. Daniel Wilson links Caliban’s non-European others may rise and speak up.
abnormality with Darwin’s notion of the ‘missing link’. In Critics define postcolonial discourse as “…the discourse of
this new scientific perspective, Caliban can be labelled as resistance to colonialism which begins from the first
half-fish and half-human. Wilson mentions that Caliban’s moment of colonization” (Ashcroft, Griffiths & Tiffin,
fish-like appearance is related to Darwin’s view that 2003, p.163). Ashcroft’s definition signifies that
humans evolved from some species of aquatic animal (as colonialism is still working and the postcolonial theory is
cited in Vaughan & Vaughan, 1991, p. 184). written in resistance to colonialism. Edward Said’s
Joseph Roach’s introduction to The Cities of the Dead and Orientalism (1978) aids in heightening the political aspect
Elin Diamond’s Performance and Cultural Politics that are of colonialism because Orientalism provides a way to
quite suitable in conceptualizing the various manifestations expose how a colonized other is created and manipulated
of Caliban, exhibit the results of cultural surrogation to justify colonialism. Homi K. Bhabha’s The Location of
involving cultural and political contestations. The various Culture (1994) demonstrates a fundamental theoretical
representations of Caliban may be examined as a series of base of postcolonialism. His study of dominations,
cultural surrogates, a process in which culture “reproduces subjugations, oppressions, colonial traumatic feelings, and
and re-creates itself” (Roach, 1996, p. 2). Caliban, for impact of other powerful factors that produce another
instance, embodies the traits of the other as imagined by culture, creed, doctrine, habit and civilization is deeply
Shakespeare. The diverse illustrations of Caliban echo the influenced by Edward Said. He defines the ways in which
occident European’s mindsets towards the orient others, the colonized others resist and rebel against the power of
that are profoundly coloured by the political and cultural the colonizer, a power which is not as secure as it seems to
situations of the time. These procedures of rewriting and be. It emphasizes the present situation, in a world marked
reinterpreting that Joseph Roach terms as ‘cultural by a contradictory mixture of violently proclaimed cultural
surrogation’ convey that any sort of representation may difference and the complexly interconnected networks of
function as a surrogate for other kinds of representations. It globalization. Instead of seeing colonialism as something
postulates that existing writings on Caliban can be the locked in the past, Bhabha illustrates how its histories and
probable surrogates for other kinds of writings that may cultures constantly interrupt the present, challenging that
have different cultural and political agendas. It embodies we transform our understanding of cross-cultural relations.
cultural and political contestations in which certain The authority of dominant nations is never as complete as
political and cultural viewpoints get extra privileged than it seems because it is always marked by anxiety, something
others, though the subordinated viewpoints are not that empowers the dominated to fight back (Huddart, 2006,
exterminated. p. 1).

Caliban’s participation in political and cultural ‘Hybridity’ usually refers to the formation of a new
circumstances reminds of Edward Said (1935-2003) who transcultural form within a contact zone founded by the
argues why literary critics are always ready to receive the establishment of colonization. It is acknowledged in
influences, conventions, and rhetorical styles from their ‘horticulture’ to refer to the cross-breeding of two species
predecessors. It may limit the author’s creativity in by attaching or cross-fertilizing to frame the third one.
engineering his/her works. However, Caliban is regarded Hybridization may occur in linguistic, cultural, political
as a figure of endless surrogation that permits the anti- and racial structures. However, Bhabha’s investigation of
colonial resistance to interfere. A reformation of Caliban’s colonizer-colonized relationship highlights their
figure appears in the work of Aime Cesaire (1913-2008). interdependence and reciprocated construction of
Cesaire’s Caliban represents ‘unsuspected modes of being’ subjectivities, that correlates with ‘ambivalence’ and
(Roach, 1996, p. 2) that emerged as a form of critique to ‘hybridity’. Bhabha contends that all the cultural
the preceding Caliban. The characters that appear in announcements, speeches, statements, dialogues, and
Cesaire’s A Tempest (1969) are the same as those in systems are created in a space that he terms the ‘third space
ISSN: 2456-7620
https://dx.doi.org/10.22161/ijels.53.11 644
International Journal of English Literature and Social Sciences, 5(3)
May-Jun 2020 |Available online: https://ijels.com/

of enunciation’. Cultural identity always develops in ‘this Consequently, their relationship turns out to be the
contradictory and ambivalent space’ and, for Bhabha, relationship of master vs. slave, self vs. other, occident vs.
hierarchical inherent ‘originality’ or ‘purity’ of cultures is orient, civilized vs. savage, good vs. evil, or elite vs.
‘untenable’ (Bhabha, 2002, p. 37). Ambivalence essentially subaltern.
refers to a mental, social, cultural or behavioural state of The concept of the other is propagated by Said. He points
people. Bhabha clarifies that hybridization of any culture out that by the oriental scholarship of othering, the ‘orient’
creates an ambivalent condition. It creates such a condition or the ‘non-Europeans’ along with their specific and
in which individuals feel their culture and behaviours traditional cultures are categorized as the unreachable,
belonging to ‘no one’s land’. One is the outcome of the uncivilized and barbaric. Said defines the entire procedure
other. Therefore, ambivalence is a fundamental aspect of of othering and remarks on how the colonized others are
hybridity. not permitted to grow and prosper within their societies
with a complete and cohesive sense of identity. They are
II. DISCUSSION AND FINDINGS frequently portrayed as cruel, sensual, idle, corrupted and
driven by instinctive emotions, inherent incorrigible flaw,
Prospero is a European who takes over the control of a
lust and so on. Caliban is portrayed with all the
secluded island by the agency of sorcery and enchains the
exclusivities of an other as defined by Said. Shakespeare
indigenous inhabitants, Ariel and Caliban, to labour for
epitomizes Caliban as an ‘ignoble savage’. Trinculo
him. He maintains his ascendency by the assortment of
elucidates Caliban as a specific kind of fish-like monster at
intimidations, terrorizations, enchantments and spells. By
the very first sight of him. Then Trinculo plans for carrying
seizing the authority of the island, he pretends to enlighten
the monster back to England where the strange creature can
the uncivilized, barbaric, mysterious, unreasonable,
be exhibited in a freak show:
strange, and backward non-Europeans. Therefore, Prospero
can be identified as a colonial agent who upholds the What have we here, a man or a fish? Dead or alive? A fish:
colonial legacy of enslaving the natives and diffuses the he smells like a fish, a very ancient and fish-like smell, a
colonial power over the aboriginal groups. Prospero’s kind of not of the newest-poor-john. A strange fish! Were I
power of magic allegorically signifies the political power in England now… there would this monster make a man;
of the Europeans, that he employs over the non-Europeans any strange beast there makes a man. When they will not
to be benefited. Though Prospero can be identified as the give a doit to relieve a lame beggar, they will lay out ten to
heroic figure in colonial literature, Caliban can be see a dead Indian. Legged like a man and his fins like
distinguished as the hero in postcolonial reading. Caliban is arms! (Shakespeare, 2000, 2.2.24-33).
the native inherent of the island, as he claims himself the This speech by Trinculo can be criticized under
legal owner of the place and exposes his subversive postcolonial perspective. The major subjugated figures in
insolences towards Prospero. He candidly states: the play are Caliban, a semi-human fish-like creature and
This island’s mine by Sycorax, my mother, Ariel, an airy spirit having no concrete shape. It is believed
that the name ‘Caliban’ is chosen from Roman word
Which thou tak’st from me. When thou cam’st first,
‘Cauliban’ that symbolizes ‘the colour of black’ as
Thou strok’st me and made much of me; Prospero calls Caliban “this thing of darkness I/
… And then I loved thee Acknowledge mine” (Shakespeare, 2000, 5.1.275-76).

And showed thee all the qualities o’ th’ isle: Ariel, an airy spirit, is another native inhabitant of the
island, who is forced to submit himself to Prospero and to
… For I am all the subjects that you have,
obey his order. Though Prospero liberated Ariel from his
Which first was mine own king; and here you sty me imprisonment, Ariel never owns his liberty throughout the
In this hard rock, whiles you do keep from me play. It is Ariel who generates a fierce storm ‘Tempest’ at
the very beginning of the play. He performs all the
The rest o’ th’ island (Shakespeare, 2000, 1.2.332-345).
necessary tasks to entertain his master. When he urges for
Caliban is compelled to serve Prospero and his daughter his liberty, Prospero cunningly denies. Prospero promises
Miranda against his will. Prospero outspreads to Caliban his liberty to make him obey the rest of his commands.
his ambiguous European friendliness and teaches him the Caliban is a very significant ‘ambivalent’ creation of a
very European language, and, in response, he is revealed mastermind to interpret various aspects of postcolonialism.
all the natural resources of the island by Caliban. However, Shakespeare portrays Caliban to illustrate significant
Caliban refuses to obey Prospero’s rules and instructions expositions of numerous subjects, such as orientalism,
and tries to molest Prospero’s daughter Miranda.
ISSN: 2456-7620
https://dx.doi.org/10.22161/ijels.53.11 645
International Journal of English Literature and Social Sciences, 5(3)
May-Jun 2020 |Available online: https://ijels.com/

colonialism, racism, slavery, etc. Caliban is chiefly orient, but they also create and maintain the orient by the
regarded as an almost typical representation of the Third process of othering like Caliban and Ariel.
World colonized subject. He can be analyzed as a figure of However, as this ambivalent representation of Caliban
aboriginal primitive humanity, a disintegrated collapsed seems to be coloured by the Europeans’ prejudice against
soul that reveals greed, anger, chaos, unreasoning, and lust. the non-Europeans, it often offers the critics from the
He signifies the imaginary other as imagined by the colonized nations to refashion and recreate Caliban in a
occident to celebrate differences. Framing of Caliban’s way that conveys new political possibilities. Caliban seems
nonhuman figure displays the colonial ‘ambivalence’ that to be by nature an ambivalent slave who makes a plot with
creates duality and offers a split in the individual identity Stephano and Trinculo to slay Prospero. He is a slave of
of the colonized other. It permits Caliban’s beastly features his desire that illustrates his ambivalent nature, the duality
in human nature that is contaminated with two distinct or split in his nature. He proclaims: “You taught me
cultures. language, and my profit on’t / Is I know how to curse. The
Prospero calls Caliban a tortoise: “Come, thou tortoise” red plague rid you / For learning me your language”
(Shakespeare, 2000, 1.2.317). He too addresses Caliban as (Shakespeare, 2000, 1.2.364-366). Caliban’s abnormalities
a ‘mis-shapen knave’ (Shakespeare, 2000, 1.2.268). For exemplify the kernels of a colonial attitude. Shakespeare
Caliban’s fiend-like appearance and his fish-like features, lets Caliban speak and rebel, though his rebellion against
Trinculo, a consistently drunken jester, misinterprets colonial authority is shown as useless, futile, and
Caliban as a fish-like monster having “legged like a man; ambivalent. It is apparent that Caliban is not merely a
and his fins like arms” (Shakespeare, 2000, 1.2.32). He comic character rather he possesses a binary role that offers
eventually identifies Caliban as an islander who must be a split in his individual and cultural identity and creates a
deformed by the thunderbolt. Similarly, Stephano, another ‘third space’ that enables him to terrorize Prospero by
drunken butler, also misinterprets Caliban as an animal: othering him too. By othering Prospero, Caliban develops
“This is some monster of the isle, with four legs, who hath an indecent, striking, vengeful, cursing and passionate
got, as I take it, an ague” (Shakespeare, 2000, 1.2.64-65). beastly human nature.
Caliban’s origin also obscures the attempt to recognize his Ariel, as the very name implies, is a spirit of the air. Being
nature and appearance. Prospero remarks that his mother, also an elemental spirit, he is equally at home in all
Sycorax, a ‘damn’d witch’, could control the moon, make elements such as he can penetrate the earth, mix with fire
flows and ebbs, while his father was the devil himself. This and dive into the sea. He can change himself into all
ancestry helps to portray the image of Caliban as half- shapes, from a figure of fire to a water-nymph, from a
human and half-devil. These ambivalent descriptions of harpy to Ceres. He is also presented as the colonized other
Caliban’s malformations invite to interpret Caliban’s who works for the colonial agent and retains harmony
character numerously. Numerous productions document among the subordinate spirits. Subordinate spirits suggest
Caliban’s various strange depictions. These ambivalent the remaining colonized characters. Ariel is a child of
descriptions permit no particular identity for Caliban and colonial imagination. He can be regarded as a link between
brand him an ambivalent creature, the mixture of the the human and imaginative worlds. Said’s concept of the
original and the dominant values. He is wild, barbaric, other may also aid to illustrate his ambivalent, imaginative
uncivilized, deformed, unreasonable and neither man nor and non-concrete portrayal that is profoundly modified
brute. He is a sort of creature of the earth and Ariel is a sort with the ideology of the occident. Hence, there is a unique
of creature of the air. He participates in the qualities of blend in him. He is a spirit, but he moves in the human
beasts but he is distinct from them, as he occupies the sphere. He occupies sprit-like qualities with human
capability of understanding without having moral reason attributes. It confirms ambivalence in the nature of Ariel.
and he does not possess the instincts possessed by the
Ariel has a great yearning for freedom. He is unwilling to
absolute animals. He is a man in the sense of imagination.
serve Prospero. Prospero reminds him of how he had once
It unfolds the colonial ambivalence in portraying the
released him from the curse of Sycorax. To stimulate Ariel,
ambivalent self of Caliban and Ariel. Said’s model may aid
he keeps repeating his promise of freedom in the play.
to illuminate Caliban’s ambivalent exposure that is
Simultaneously, Ariel’s longing for freedom juxtaposes the
profoundly modified with the ideology of colonialism. He
pleasure that he takes in performing his duties and
defines ‘orientalism’ as “a will to understand, in some
receiving his master’s appreciation. He feels flattered when
cases to control, manipulate even to incorporate the other”
Prospero calls him his brave spirit. This conduct of Ariel is
(Said, 1978, p.5). The orientalists do not only define the
an additional confirmation to his paradoxical and
ambivalent nature. Though Ariel is a spirit of the air, he
ISSN: 2456-7620
https://dx.doi.org/10.22161/ijels.53.11 646
International Journal of English Literature and Social Sciences, 5(3)
May-Jun 2020 |Available online: https://ijels.com/

retains some human attributes. Giving human touches in Prospero and Caliban. Therefore, in The Tempest,
the portrayal of Ariel, Shakespeare creates additional ambivalence creates a controversial position and outlook
ambiguities in defining him as a character. Ariel is a spirit both for Caliban and Prospero because the colonial
and therefore, incapable of feeling human emotions. relationship is always ambivalent. Caliban for being a
Though his non-human nature excites and his music colonized other never can replicate himself exactly to the
pleases the audience, he remains ambivalent that lacks the colonizers and this ambivalence infuriates Caliban to be
depth and complexity of human nature. ‘turbulent for liberty’ (Bhabha, 2002, p. 87) ensuing his
Hybridity is the political change in the entire system by resistance and revolt against Prospero and the colonial
creating something new. Prospero's identity, nationality, legacy. This situation of Caliban ensures his hybridization.
ethnicity and other colonial elements shift Caliban to a This hybridization threatens Prospero to lose his authority
hypocritical hybrid self that emerges from a ‘third space’. and creates an ambivalent situation that challenges the
He along with other inhabitants of the island has to ‘monolithic power’ of Prospero. In this way, hybridity and
compromise to adopt the occidental ethics, social structure, ambivalence are exploited in The Tempest. Ambivalence
supremacy, religion, or even clothing. The effort is taken works with intimidating and othering Prospero and aids to
by Prospero to teach the European language to Caliban to ‘decentre’ from his position of power resulting in Caliban’s
spread colonialism. In this way, Caliban undergoes a hostility and uprising against him. Caliban confronts
process of hybridization as “hybridity occurs in post- Prospero’s monolithic dominance by othering him too.
colonial societies both as a result of conscious moments of
cultural suppression, as when the colonial power invades to III. CONCLUSION
consolidate political and economic control, or when settler-
To sum up, the paper attempts to locate the ambiguities of
invaders dispossess indigenous peoples and force them to
portraying the ambivalent and hybrid portrayal of non-
‘assimilate’ to new social patterns” (Ashcroft et al., 2003,
European characters and the notion of othering each other
p. 183). Therefore, it is obvious that Caliban is not a
by both the orient and the occident. It is transparent that
singular self but the blend of the two. His self is formed
Caliban loses his territory. Conversely, he gets European
under the influence of Prospero’s identity, nationality,
education that confirms his entrance to power. He takes an
ethnicity, and other colonial elements. It ensures ‘cross-
effort to employ this ability to dissipate his master
fertilization’ between their (Caliban and Prospero’s)
Prospero and his mandate. These inexplicable identical
‘constitutive elements’ (Ashcroft et al., 2003, p. 184).
issues of Caliban and Ariel corroborate their complex
The revolutionary and antagonistic approaches of Caliban identities with a hybrid and ambivalent disposition.
such as the attempt to rape Prospero’s daughter Miranda; to Therefore, they challenge and terrorize each other by
curse Prospero in the language which is taught by him; to othering each other. The study is limited within some
make a plot against Prospero with Stephano and Trinculo; boundaries. It does not employ other approaches or
and to try to seize the power, authority and right of the techniques rather than a qualitative content analysis
island from his master ensure his hybrid nature. He asserts: method. It is limited to the exploration of ‘ambivalence’
“You taught me language, and my profit on’t / Is I know and ‘hybridity’ in The Tempest. However, it can benefit the
how to curse. The red plague rid you / For learning me existing knowledge and simultaneously, can add new
your language” (Shakespeare, 2000, 1.2.364-366). It seems knowledge to the reading of literature. Accordingly, this
Caliban could be succeeded if Ariel does not overhear the research venture supplements a new postcolonial insight
conversation when Caliban reveals his plan. He reveals: into the interpretation of The Tempest.
“Having first seized his books, or with a log / Batter his
skull, or paunch him with a stake, / Or cut his wezand with
thy knife” (Shakespeare, 2000, 3.2.88-90). Stephano and ACKNOWLEDGEMENTS
Trinculo ruin the plan by falling into the trap that Ariel sets The amplest of gratitude goes to the Almighty Allah for
up despite Caliban’s objection. In this way, Caliban is His benevolence in giving me the faculty to accomplish
hybridized by the colonial invader and made to recognize this research endeavour and for keeping me hale and hearty
his rights by providing European language and education throughout the venture. Successively, I express my deep
that may result in several futile revolts against Prospero’s regards to my parents, especially to my mother who served
ascendency. It affrights Prospero too. me throughout the month to carry out the study. Her kind
The consequence of ambivalence is to produce a profound mental support encourages me to stick to my work.
tension between the authority and the colonized other. This Afterwards, I acknowledge the seminar library of English
tension is quite obvious in the relationship between Discipline, Khulna University, the library of IUBAT-
ISSN: 2456-7620
https://dx.doi.org/10.22161/ijels.53.11 647
International Journal of English Literature and Social Sciences, 5(3)
May-Jun 2020 |Available online: https://ijels.com/

International University of Business Agriculture and

Technology and Google that made my research effort
much easier. They gave me the access to get the lion's
share of research works, books, journals, articles, etc.

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[4] Bhabha, H. K. (2002). The location of culture. London:
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[10] Vaughan, A. T, & Vaughan, V. M. (1991). Shakespeare’s
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ISSN: 2456-7620
https://dx.doi.org/10.22161/ijels.53.11 648