In Shakespeare's day, much of the world was still being colonized by European merchants and settlers, and stories were coming back from the Americas, with myths about the Cannibals of the Caribbean, faraway Edens, and distant tropical Utopias. With the character Caliban (whose name is almost an anagram of Cannibal and also resembles "Cariban", the term then used for natives in the West Indies), Shakespeare may be offering an in-depth discussion into the morality of colonialism. Different views of this are found in the play, with examples including Gonzalo's Utopia, Prospero's enslavement of Caliban, and Caliban's subsequent resentment. Caliban is also shown as one of the most natural characters in the play, being very much in touch with the natural world (and modern audiences have come to view him as far nobler than his two Old World friends, Stephano and Trinculo, although the original intent of the author may have been different). There is evidence that Shakespeare drew on Montaigne's essay Of Cannibals—which discusses the values of societies insulated from European influences—while writing The Tempest.[30]

Beginning in about 1950, with the publication of Psychology of Colonization by Octave Mannoni, The Tempest was viewed more and more through the lens of postcolonial theory. This new way of looking at the text explored the effect of the coloniser (Prospero) on the colonised (Ariel and Caliban). Though Ariel is often overlooked in these debates in favour of the more intriguing Caliban, he is nonetheless an essential component of them.[31] The French writer Aimé Césaire, in his play Une Tempête sets The Tempest in Haiti, portraying Ariel as a mulatto who, unlike the more rebellious Caliban, feels that negotiation and partnership is the way to freedom from the colonisers. Fernandez Retamar sets his version of the play in Cuba, and portrays Ariel as a wealthy Cuban (in comparison to the lower-class Caliban) who also must choose between rebellion or negotiation.[32] Although scholars have suggested that his dialogue with Caliban in Act two, Scene one, contains hints of a future alliance between the two when Prospero leaves, Ariel is generally viewed by scholars as the good servant, in comparison with the conniving Caliban—a view which Shakespeare's audience may well have shared.[33][not in citation given (See discussion.)] Ariel is used by some postcolonial writers as a symbol of their efforts to overcome the effects of colonisation on their culture. For example, Michelle Cliff, a Jamaican author, has said that she tries to combine Caliban and Ariel within herself to create a way of writing that represents her culture better. Such use of Ariel in postcolonial thought is far from uncommon; the spirit is even the namesake of a scholarly journal covering post-colonial criticism.[31]

The Tempest has only one female character, Miranda. Other women, such as Caliban's mother Sycorax, Miranda's mother and Alonso's daughter Claribel, are only mentioned. Because of the small role women play in the story in comparison to other Shakespeare plays, The Tempest has attracted much feminist criticism. Miranda is typically viewed as being completely deprived of freedom by her father. Her only duty in his eyes is to remain chaste. Ann Thompson argues that Miranda, in a manner typical of women in a colonial atmosphere, has completely internalised the patriarchal order of things, thinking of herself as subordinate to her father.[34]

The less-prominent women mentioned in the play are subordinated as well, as they are only described through the men of the play. Most of what is said about Sycorax, for example, is said by Prospero. Further, Stephen Orgel notes that Prospero has never met Sycorax – all he learned about her he learned from Ariel. According to Orgel, Prospero's suspicion of women makes him an unreliable source of information. Orgel suggests that he is sceptical of female virtue in general, citing his ambiguous remark about his wife's fidelity.[35] However, certain goddesses such as Juno, Ceres, Iris, and sea nymphs are in one scene of the play

i suspect alice in wonderland is an extension of the fable

https://en.wikipedia.org/wiki/Tempest_(ship)

https://en.wikipedia.org/wiki/USS_Tempest

https://en.wikipedia.org/wiki/HMS_Tempest

Grendel is a character in the Anglo-Saxon epic poem Beowulf (AD 700–1000). He is one of the poem's three antagonists (along with Grendel's mother and the dragon), all aligned in opposition against the protagonist Beowulf. Grendel is feared by all but Beowulf. Grendel is described as descended from the lineage of the Biblical figure Cain, from Genesis 4 of the Bible. He is usually depicted as a monster or a giant, although his status as a monster, giant, or other form of supernatural being is not clearly described in the poem and thus remains the subject of scholarly debate.

In John Gardner's book Grendel (1971),[1] Grendel has more human qualities and the book is narrated from his perspective.

The events in the poem take place over most of the sixth century, after the Anglo-Saxons had started migrating to England and before the beginning of the seventh century, a time when the Anglo-Saxons were either newly arrived or were still in close contact with their Germanic kinsmen in Northern Germany and southern Scandinavia. The poem may have been brought to England by people of Geatish origins.[7] Many suggest that Beowulf was first composed in the 7th century at Rendlesham in East Anglia, that the Sutton Hoo ship-burial also shows close connections with Scandinavia, and that the East Anglian royal dynasty, the Wuffingas, may have been descendants of the Geatish Wulfings.[8][9] Others have associated this poem with the court of King Alfred the Great or with the court of King Cnut the Great.[10]

Finds from the western mound, left, excavated in 1874 at Gamla Uppsala, Sweden, support Beowulf and the sagas.[11]

The poem deals with legends, was composed for entertainment, and does not separate between fictional elements and historic events, such as the raid by King Hygelac into Frisia. Though Beowulf himself is not mentioned in any other Anglo-Saxon manuscript,[12] scholars generally agree that many of the other figures referred to in Beowulf also appear in Scandinavian sources. (Specific works are designated in the following section).[13] This concerns not only individuals (e.g., Healfdene, Hroðgar, Halga, Hroðulf, Eadgils and Ohthere), but also clans (e.g., Scyldings, Scylfings and Wulfings) and certain events (e.g., the Battle on the Ice of Lake Vänern).

In Denmark, recent archaeological excavations at Lejre, where Scandinavian tradition located the seat of the Scyldings, i.e., Heorot, have revealed that a hall was built in the mid-6th century, exactly the time period of Beowulf.[14] Three halls, each about 50 metres (160 ft) long, were found during the excavation.[14]

The majority view appears to be that people such as King Hroðgar and the Scyldings in Beowulf are based on historical people from 6th-century Scandinavia.[15] Like the Finnesburg Fragment and several shorter surviving poems, Beowulf has consequently been used as a source of information about Scandinavian figures such as Eadgils and Hygelac, and about continental Germanic figures such as Offa, king of the continental Angles.

19th-century archaeological evidence may confirm elements of the Beowulf story. Eadgils was buried at Uppsala according to Snorri Sturluson. When the western mound (to the left in the photo) was excavated in 1874, the finds showed that a powerful man was buried in a large barrow, c. 575, on a bear skin with two dogs and rich grave offerings. The eastern mound was excavated in 1854, and contained the remains of a woman, or a woman and a young man. The middle barrow has not been excavated.

(you) want a taste of it eye know

>>3124892

>>3124898

>8

tax evasion eh

>>3124892

>>3124920

good damn trainwreck of conflicts of interests, cause they ran out of blow

>>3124949

god damn cia nigg pandemic of gynotologists too

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