An Analysis of ISIS and its Relation to Traditional Islam Free Essays

In today’s world it is easy to assume that ISIS and traditional Islam are the same thing. The news often reports phrases like â€Å"radical Islamist terrorists† and â€Å"radical Islam.† Has society made a correct assumption? Are all people who follow Islam potential terrorists? Does Islam seek to promote such terrorist behaviors? This paper seeks to address these questions and uncover the differences between the two, if any. We will write a custom essay sample on An Analysis of ISIS and its Relation to Traditional Islam or any similar topic only for you Order Now Traditional Islam Traditional Islam began over 1,500 years ago and currently has around 1.6 billion followers. The word â€Å"Islam† actually means â€Å"submission to God.† Therefore, a Muslim is someone who strives to submit to God. Islam has spread completely around the world. You can find Muslims in North and South America, Western Europe, Africa, the Middle East, and Asia. Their principal homelands lie in the area commonly referred to as the â€Å"10/40 Window† (between 10 degrees latitudinal north and 40 degrees latitudinal north ranging from the eastern side of North Africa to the western side of Asia). Majority of Muslims are Asian (60%) and the rest are Arab (22%) sub-Sahara African (12%) and Eastern European (5%) . Islam was founded in 610 A.D. by a man named Mohammed. During Mohammed’s time, polytheism reigned, and people were worshipping many gods at the same time. Mohammed had a vision from a being he thought to be an angel who told him, â€Å"There is only one God, and His name is Allah. Worship Him.† Islam, at its core, is a religion based on faith, life, piety, freedom, religion, peace, and morality. Researcher Sohaib Sultan states: â€Å"Islam believes in a God of mercy, a scripture of mercy, and a Prophet who was sent as a mercy to all the world.† ISIS ISIS began in 2003 as a â€Å"blowback† of the U.S. invasion and dysfunction of Iraq. In the earliest stage there were several Sunni extremist groups who were fighting back with the U.S. in hopes to provoke a civil war. The group, at that time, was called al Qaeda which was in Iraq with Abu Musab al-Zarqawi in command pledging allegiance to Osama bin Laden. Zarqawi was killed during a 2006 U.S. airstrike, but the group continued . ISIS is a post-al Qaeda terrorist group. With over 30,000 fighters, ISIS holds territorial lands in both Syria and Iraq. It maintains an extensive military operation, controls communications, controls infrastructure, and funds itself. It can be said that ISIS is a pseudo-state which is led by their military. The goal of ISIS is to control certain territories thereby creating a â€Å"pure† Sunni Islamist state that is governed by a strict interpretation of Sharia Law. It also seeks to remove the political borders that the Western governments created in the Middle Eastern regions. ISIS seeks to become the sole political, military, and religious authority over all the Muslims in the world. ISIS core message is more about power and revenge than anything else. Differences Between ISIS and Traditional Islam In the first section of this paper we saw that traditional Islam is a relatively peaceful religion that stresses mercy and peace. This is significantly in conflict with the agenda of ISIS. Where do these two paths cross? What is the relationship between terrorist groups such as ISIS, Al Qaeda, Boko Haram, Al Shabab in Somalia, the Taliban with traditional Islam? Many people believe that ISIS is a group that is based on the religious beliefs of Islam including following the examples of the Prophet Mohammed . This is where most of the confusion comes into play. ISIS uses Islam as a vehicle to carry out their political agenda by reinterpreting the fundamental meaning and purpose of Islam. In other words, they are twisting the Quran to say what they want it to by weaving lies in with the truth and preying on the ignorance of the people. The message of ISIS is vastly spread not only by social media, but through certain mosques as well. Researcher Ian Pelletier suggests the motivations of ISIS are: â€Å"Market and Reinforce: Emphasizes consistency of Islamic State’s strategic objectives with mainstream Islamic Law. Obfuscation: Ignores/blurs contradictions between Islamic State’s strategic objectives and mainstream Islamic Law. Leveraging: Connects areas in which Islamic State strategic objectives are consistent with mainstream Islamic Law to social movement catalysts in order to gain momentum. Reinterpretation: Justifies a radical reinterpretation of Islamic Law as essential to address past issues or current shortfalls within society and achieve the strategic objectives of the Islamic State. â€Å" ISIS interprets Islam from a very radical point of view that is rooted in the extremist fraction of Salafi/Wahhabi Islam within the Hanbali Sunni tradition . The strategic goals of ISIS are as follows: â€Å"Permanently break down political boundaries and cultivate conditions for government failure and regional sectarian civil war in Iraq and Syria. Establish the Islamic Caliphate by controlling terrain across Iraq and Syria, governing the population within, and defending against external threats. Bring like-minded people to fight alongside and settle within the Islamic Caliphate.   Expand the territory of the Caliphate to connect with the wider Muslim community. â€Å" Traditional Islamic Law (Sharia) is based on the Quran which follows the hadith or the teachings of Mohammad. It is traditionally viewed as a statement of relatively easy limits and not a source of rigid and inflexible rules to be imposed in any circumstance . It is supposed to be based on the premise of justice and equality for everyone . Historically it has been determined that Islamic Law had the most humane and liberal fundamental principles as it fostered peace with self and society. Groups such as ISIS use Islamic Law instead for harsh discipline and to control the people. Sharia, as it was originally intended, was used as a guideline for societal norms and values. It served as a model in which one could pattern their life after. Some of the many positive attributes of Sharia are: a belief in God, daily prayers, asking/receiving forgiveness, freedoms of choice, strong sense of community, love your neighbors, exercise self-control, do not abuse religion to exploit or abuse others, and must respect the rights of others. Conflicts Between ISIS and Mainstream Moderate Muslims There have been many practicing Muslims who do not agree with nor adhere to the beliefs of extremists’ fringe groups such as ISIS. In an open letter from 120 Islamic scholars and clerics to Abu Bakr al-Baghdadi, they challenged ISIS’s ways as being un-Islamic. They further claimed that ISIS routinely twists and perverts Islamic Law selfishly to achieve their own agenda. The letter went on to illustrate the contradictions between ISIS’s theology and that of traditional Islamic Law. The scholars accused them of citing only portions of the Quran without taking the whole spirit of the Quran and Hadith into account. It was also noted that ISIS had a practice of killing innocent people and that jihad was only meant for defensive measures during a war. Offensive measures of Jihad, without proper cause, was equal to criminal conduct and was not acceptable in traditional Islam . The letter also went on to say that Islam forbids the mistreatment of Christians and no one can be forced to convert to Islam against their will. Author Wael Hallaq states that, â€Å"Sharia is not a rigid unchanging ‘Law of God’ and when applied correctly, it is flexible. The way it is interpreted and implemented by ISIS makes it a little more than a list of fixed punishments, ritual requirements and oppressive rules that are enforced with coercion upon a marginalized group of people. In addition, it is increasingly clear that ISIS selectively interprets Sharia.† One may ask how ISIS is able to get away with using Islamic Law to achieve its objectives. They accomplish this by convincing people that their views are in fact inline with mainstream Islamic traditions. They have a knack for rationalizing any perceived contradictions that are found within their belief and the traditional teachings. Al-Baghdadi, while addressing his fighters said, â€Å"Beware, O lions, the state that they reach a Muslim woman or child or sheikh without you, for if this happens, then, by God, you have no excuse for yourselves before me. Look to yourselves and do not be a place of blame. Put their bodies before yours. Their blood before yours and their fortune before yours, and beware of being happy to live in a day when the honor of a Muslim woman is transgressed, or the blood of a child is spilled, or an elderly sheikh is insulted, for what deliciousness can there be in life if this is in it or even a part of it?† While his speech is complimentary with Islamic Law in principle, he is trying to energize his fighters to fight in a war that is not justified according to Islamic Law. He stresses that not only is the war just, but it is according to Islamic Law which it a bold lie. They may sincerely believe that their war is justified due to their extremist views, but according to traditional Islamic Law, they are not qualified to wage war with anyone unless it is a defensive measure. ISIS does not engage in defensive measures as a rule—they are very offensive in their tactics. Conclusion Extremists groups, such as ISIS, claim to be Islamic in their beliefs, but they do not adhere to the basic tenants of the faith. They twist and turn the Quran and Hadith to make it say whatever they need it to say that will further their agenda. ISIS is a violent terrorist group that has been attracting many young people. They seek out those who are vulnerable, who are seeking religious righteousness, adventure, power, and a sense of belonging. They are also known for producing sexual opportunities for the young men by keeping women as slaves. This is extremely contradictory to traditional teachings and philosophy of traditional Islam. It is certainly a disservice to the majority of Muslims to assume that all Muslims are somehow connected to terrorist activities. In America, ever since September 11th, 2001, there has been a remarkable increase of violence and hatred against Muslims from such assumptions. Extremists groups are not representative of what it means to be a Muslim in today’s world. We need to see them for who they are and not for the vehicle they misuse which is Islam. Furthermore, it is very unhelpful when the media keeps reporting phrases like â€Å"radical Islam† and â€Å"Muslim extremists† as this further perpetuates the discrimination and hatred against innocent and peace-loving Muslims. There is no link between ISIS terrorism and traditional Islam. ISIS fundamentally changes the core beliefs of Islam and inserts their own interpretations to make it into something that is self-serving. Extremists can be found in most religions. The only way to combat this is to be very knowledgeable of your own religion and beliefs so that you will recognize a falsehood when you hear it. Sadly, many people simply believe what they are told and that is it. Such people can be easily caught up in extremist groups as they lack knowledge. The same can be said for Christianity. We are not exempt from those who have perverted God’s Word to make it say something that it never was intended to say. This is how cults are formed, and again, is due to a lack of knowledge. The bible says that the people perish due to a lack of knowledge (Hosea 4:6). ISIS operates via intimidation, fear, legalistic authority, assassinations, and bombings . This is nothing like what traditional Islam teaches. In fact, it is quite the opposite. It is not fair to classify all Muslims by such rouge fringe groups. For two years I worked and lived in an Islamic country. I never met anyone who was associated with ISIS nor any other extremist group. I found the Muslims there to be very friendly, eager to help, and welcoming. That experience really helped me to see them for who they really are and without the media bias that was projected to me. Many Muslims do not even consider groups such as ISIS to be true Muslims. They look at them in disdain as the perverters of Islam. Usually these are the more educated people who know what Islam is supposed to be. Sadly, a lot of Muslims have a lower educational level which would be very conducive to being led astray. Many modern Muslims are Muslim in name only and not in practice which makes them an easy target for extremists. How to cite An Analysis of ISIS and its Relation to Traditional Islam, Papers

Bacteria Reproduction Essay Research Paper Bacteria are free essay sample

Bacteria Reproduction Essay, Research Paper Bacterias are microscopic remarkable celled beings grouped in the procaryote land. They have a apparently simple internal construction but that is non so the internal construction of a bacteria is rather complicated. Bacterial growing is by and large studied in cell civilizations by? seeable count? appraisal which shows an evident growing curve. ( Stephenson 50 ) The growing curve shows the phases of bacterial growing within a cell civilization. ( Thimann 623 ) . Bacterias can last in a figure of different utmost environments from utmost heat to small H2O. Bacteria have a internal construction that is more complicated than it seems at foremost. The first portion of the bacteria is the plasma membrane which is a selectively permeable barrier that is the boundary of the cell. ( Prescott 40 ) The following part of a bacteria is the cytoplasmatic matrix. The cytoplasmatic matrix is the substance lying between the plasma membrane and the nucleoid. ( Prescott 45 ) Although it is by and large featureless in a microscopes it can be packed with ribosomes and is by and large extremely organized. ( Prescott 45 ) The following 1 is the nucleiod of a bacteria. ( Prescott 40 ) This is the country within a bacteria in which the familial stuff of the cell is located. ( Prescott 49 ) The nucleiod itself is non defined by a membrane but is an irregularly molded part of the cell. ( Prescott 50 ) The gas vacuole of a bacteria is used for perkiness in aquatic environments. ( Prescott 40 ) This is demonstrated by make fulling a bottle with Cyanobacteria halting it with a stopper and so hitting the stopper with a cock. ( Prescott 45 ) The sudden force per unit area addition causes the gas vacuole to fall in so the bacterium sink to the underside of the bottle. ( Prescott 47 ) The inclusion organic structures within a bacterial cell are storage for different substances such as C, phosphate and other substances. ( Prescott 40 ) The cell wall of Bacteria gives the bacterium form and protects it from the outside environment. ( Prescott 40 ) The scourge of bacteriums are tail like extremities of cells that are used for motion. ( Prescott 40 ) The method normally used for gauging the growing of bacterium is the? feasible count? method. ( Stephenson 50 ) When the entire count of the bacterium is plotted against clip it shows a growing curve. ( Stephenson 50 ) Such curves are divided into eight differing stages. ( Thimann 623 ) The first stage of the growing curve is an initial stationary stage in which no growing occurs. ( Thimann 623 ) The 2nd stage is one of an increasing rate of growing these first two stages constitute the slowdown stage. ( Thimann 623 ) The ground for the slowdown stage is this when you foremost put bacteriums in a civilization they need clip to acquire into a province of growing called the embryologic phase. ( Thimann 625 ) This phase can be identified by detecting the cells. The bacterium grow to a greater size than normal. ( Thimann 625 ) The 3rd stage is calle d the logarithmic growing phase. ( Stephenson 50 ) During logarithmic growing stage the rate of addition remains changeless and the cell size returns to normal. ( Stephenson 50 ) The 4th stage is one of diminishing cell growing with many cells deceasing off. ( Thimann 623 ) The 5th stage of cell growing is where the cells reach the maximal population of bacteriums that the medium can back up with growing and decease balanced out. ( Thimann 624 ) The 6th stage is one of increasing decease rate. ( Thimann 624 ) The 7th stage is the? logarithmic? decease stage which is the opposite of the logarithmic growing stage. ( Thimann 624 ) . The 8th and concluding stage of the growing curve is one of diminishing decease rate. ( Thimann 624 ) In this phase a little sum of bacteriums can populate about indefinitely provided that the medium is still inhabitable. ( Thimann 624 ) This curve shows the bacteriums? s restrictions dependent on your invariables and variables within the growing curve exper iment. The degree of aeration the temperature and alimentary degrees all are variables that lead to different consequences in this experiments. Bacterias can turn in many rough conditions. One type of categorization for bacterium is based on the temperature at which a bacteria can last. The thermopile bacteriums are bacteriums that can last at temperatures of forty-two to one hundred grades Celsius or more. ( Edwards 2 ) These bacteriums are by and large found around hot geological sites such as vents and geysers. ( Edwards 2 ) Another category of bacteriums are the Acidophiles. Acidophils are Bacterium that can last and reproduce within an highly acidic environment. ( Edwards 34 ) Their environments are extremely acidic dirts in excavation and geothermic countries. ( Edwards 34 ) Oligotrophs are bacteriums that can last on small organic affair such as C ( Edwards 93 ) They are normally found in ocean H2O. ( Edwards 94 ) Osmophiles are bacteriums that are able to last in environments with small H2O. ( Edwards 117 ) Halotolerant and halophilic bacteriums are bacteriums that can last with small salt or tonss of salt. ( Edwards 147 ) These bacteriums are normally found in salt and sodium carbonate lakes such as the Great Salt Lake in Utah, the Dead Sea and the sodium carbonate lakes of the Great Rift Valley in Kenya. ( Edwards 149 ) Metal tolerant bacteriums are tolerant to heavy metals that are toxic to microbic life signifiers. ( Edwards 178 ) All of these different types of bacteriums show how they have evolved so that they can populate about every where. Conditionss in which bacteriums can non populate are acquiring harder and harder to happen. Bacterias are therefore are extremely adaptable beings that can populate about any where in the universe. They have a apparently simple but complex construction that is extremely organized. Bacterias have different phases of reproduction that is shown in a growing curve that shows the restrictions of bacterial reproduction. If bacterial reproduction was non limited the Earth would be over run with bacteriums.

The Tempest Persuasive Essay Example For Students

The Tempest Persuasive Essay The Tempest was written in the early Stuart period in England when masques were becoming exceedingly popular, and were often performed at weddings to honor marriages. The Tempest is heavily influenced by elements of the masque, and can be performed with the same purposes as one, although it is far too rich to be classified simply into that genre of plays. In masques the use of spectacle was extensive. The Tempest reflects this in many ways. The very first scene, Act I scene i, is that of a ship in action, and requires elaborate special effects to convey a sense of realism. The banquet scene in Act III scene iii requires a quaint device to make it vanish, and also makes extensive use of costume, dance and music, as the spirits enter in the form of shapeless creatures and Ariel is the form of a harpy. The masque within the play in Act IV requires elaborate costumes for the goddesses and, ideally, machinery for Juno to descend as deus ex machina with. It also involves great amounts of s ong and dance. The entire play makes extensive use of music, with Ariels songs and Prosperos charms as well as the sweet airs of the island itself. Being non-human, Caliban, Ariel and the spirits require elaborate costume to make them appear so, and the court party members are decked in their finest court apparel, having just been at Claribels wedding, so that Miranda is taken aback by the brave new world / That hath such creatures int on seeing them. The elements of pastoral comedy in The Tempest are also linked to those of the masque. A natural man, Caliban, exists. So do a pair of noble young lovers, Ferdinand and Miranda, who are brought together in the pastoral setting of an island, unaffected by the corruptive influences of civilisation, making Miranda an innocent and undeceitful young woman. She has had no time for vainer hours, as other princesses would have, leading to vanity, but has been educated by Prospero, showing she is innocent rather than ignorant. She is uncoquetti sh and direct in her advances to Ferdinand in Act III scene ii, and yet is filial, worrying about disobeying her father in what she feels is right. It is her virtue and innate nobility that make Ferdinand mistake her, on their first encounter, as most sure the goddess of this island. Ferdinand is also virtuous, having the chivalry to bear logs for Prospero as punishment simply because he has been defeated and having the ability to let the pure white virgin snow upon my heart / Abate the ardour of my liver. The chastity of the two lovers points toward the need for reason to rule passion for a harmonious relationship. This is reinforced again by the masque, in which the unruly Vesus and Cupid are omitted, and instead include Ceres, Juno and Iris, goddesses of the harvest, reflecting mans harmony with nature; marriage, reflecting the importance of marriage vows; and the rainbow, reflecting the harmony of nature. The presence of the goddesses themselves in the masque reflects the elemen t of divine intervention in the masque. In masques, it was common for characters from Grco-Roman mythology to be featured, blessing the couple. Divine intervention is also manifested in Ariel, who can only do good, as seen by the fact that he could not work for Sycorax. He is subordinated to Prospero, as well as all the other spirits, weaving in the concept of the supernatural. Ariel also alludes to mythology in his attirements as a seanymph and harpy. However, it would be wrong to classify The Tempest as a masque, as although it contains many elements of the masque, it features a structured plot with an exploration of controversial ideas and themes, such as that of nature versus nurture in Caliban and Antonio, and that of disruption of social hierarchy. Masques tended to rely more on spectacle and moral than on plot; the plot was often weak or non-existent. Through this, we can see that Shakespeare incorporated elements of the masque into that of his conventional plays, producing a play that can be well-regarded in both respects. The Tempest contains certain antimasque elements, such as the conspiracies for murder. Antonio and Sebastian prove that even with all the benefits of noble birth and civilised education, evil men can be produced. This is against traditional masque ideas of nobility. Antonios act of usurping Prospero, and their intention to murder Alonso and usurp his throne, give the play tragic elements as well, as they value their personal benefits over those of society. The mock court party also has antimasque qualities, as the rough humour of their folly in attempting to be rulers tickles us in a base way. However, their intent to murder Prospero also presents a dark side of the play, and Caliban is a base, dull, uncivilised brute rather than the innocent and noble natural nice man of Spenser. The fact that he can appreciate the music while many of the people from civilisation cannot points to the fact that he does have a degree of the purity whi ch is destroyed by civilisation, but otherwise, we are little inclined to admire him. The struggle of Prospero to assert his reason over his passion, planning for the future rather than succumbing to his temptations for revenge, are also against the idea of the masque. Prospero, as the central character, has little to do with the elements of the masque at all, as the main concern of the plot is his education of the people on the island and his own education as a result of this. Thus, it would be impossible to claim that The Tempest is a masque, but possible to claim it has much to owe the masque. It is a masque to the limited extent that it contains most of the elements of the masque, but this is transcended by the fact that it contains much more that is not, making it a better and more profound play. In The Tempest, it would seem that no two characters could be further apart than Prospero, the right duke of Milan, and Caliban, the salvage and deformed slave. They represent two diff erent extremes on the social spectrum: that of the natural ruler, and the naturally ruled. Their positions on the social hierarchy are largely due to the fact that Caliban responds almost wholly to passions, feelings of pleasure his senses, while Prospero is ruled more by his intellect and self-discipline his mind. However, the fight that Prospero has against his own natural tendency to ignore the discipline of his intellect, and give in to pleasures such as vanity and self-indulgence, cannot be ignored. Caliban was born of a witch; Prospero is a magician. However, the types of magic practised by Sycorax and Prospero differ greatly: Sycorax, in many respects a traditional witch, worked within Nature and as a part of it. She worked with devils and the lowest orders of spirits. Prospero, on the other hand, exercises his magic by means of strict discipline and study, rising above the natural order by means of his greater knowledge, and actually coercing spirits of a fairly high rank, such as Ariel, to do his bidding and control other spirits for him. In the Arts which both represent, Prospero certainly reflects the world of the mind. And Sycorax does not? However, in the use of his Art, Prospero reveals himself as not wholly disciplined. okay Prospero enjoys using the power of his Art, as he tells us in his monologue just before his forgiveness of the court party graves at my command opd By my so potent Art. He has also shown that he enjoys using it to show off, as he did during the masque he provided for Ferdinand and Miranda, which he indulged in even when Calibans plot and the court party both urgently required his attention. Although we are not given details of Calibans birth, it seems likely that a creature as subhuman in appearance as Caliban was not born of a human union. It has been postulated that, to quote Prospero, he was got by the devil himself upon thy wicked dam, from a union between Sycorax and an incubus (an extremely attractive male apparit ion with intention to tempt). Caliban was therefore a creature born from passion, the offspring of an unholy pleasure. Prospero was not only of noble birth; he was also born to be the ruler of the city-state of Milan. Nobility, in Elizabethan times, carried with it heavy implications: it was expected that Prospero would be intellectually superior, and that he would exercise as great discipline over himself as he was expected to exercise over others, in his role of leadership. From their ancestry, Prospero is likely to be more ruled by his intellect, and Caliban by his love of pleasure. In the history of each character before the opening of The Tempest, there is a further contrast. Calibans original love for Prospero and Miranda, and his later misdemeanour and subsequent hatred for them, illustrate his fundamental reliance on his senses. Caliban loved Prospero and Miranda because they made much of me; and his response to this was purely sensual in his recollections: Thou strokst me, wouldst give me / Water with berries int. What Caliban responded to, more than anything else, was the sensation of pleasure that being loved and petted gave him. The action that caused Caliban to be removed from this position and punished was his attempt to rape Miranda, another example of how Caliban seeks pleasure. (Prosperos position on sexual relations is quite opposite he tells Ferdinand repeatedly not to take advantage of his daughter, and hammers the message home with the masque.) True but why? Make the full contrast clear. Prospero, on the other hand, enjoyed his original position as duke of Milan largely because he was able to study to his hearts content. This seems to indicate a particular reliance on the powers of the mind quite opposite to Calibans fault but in actual fact, Prosperos neglect of his duties and self-indulgence in pushing the matters of the state all to Antonio must be censured, and laid at the door of his lack of self-discipline. Prospero did these thi ngs because he enjoyed them so much and like Caliban, he was punished. Which is to say he did not fulfill his responsibilities. Be more direct. However, it must be noted that Prospero was able to learn from his mistake, disciplining himself into the study of magic only so far as it would restore himself, and Milan, to a state of rightful leadership. The decision to give up his magic at the end of the play can be attributed only to intellectual discipline; Prosperos understanding that for the good of his people and himself, he must give up that which gives him pleasure. It is not quite so one dimensional. During The Tempest itself, Prospero and Caliban have two very different purposes. Prospero intends to resolve the injury that was done to Miranda and himself, bloodlessly, by the use of his Art. Calibans dearest wish is to depose Prospero by killing him and, rather than resuming rule of the island himself, submit to the rule of Stephano. Prosperos purpose does indeed include passio n he wishes to take revenge on his false brother, and wants the dukedom returned to himself and Miranda. However, Prospero clearly manages to conquer his personal vendetta against Antonio, as evidenced by his forgiveness of him at the end, and his decision not to ruin Antonio by giving away his plot to kill Alonso. Besides, his personal desire to have his dukedom back is acceptable, because part of this desire is a wish to see the dukedom back in the hands of a ruler who cares for the people, not given to a ruler like Antonio, whose main interest is always himself. Prospero may be thinking in terms of self, but as long as he also keeps this lofty purpose in mind, we may say that the world of the mind has more power over him. good Calibans purpose in attaching himself to Stephano and plotting to kill Prospero is almost wholly passionate. The reason that Caliban believes Stephano to be a worthy ruler, indeed, a god, is that Stephano is the custodian of liquor, a substance that appeal s to his senses. His favourable response to Stephano is like his previous response to Prospero that someone who makes him feel good must be good. Likewise, his attempt at achieving revenge on Prospero is largely in retribution for the punishment Prospero has visited upon his senses. well said However, though Calibans desire for revenge is certainly not cerebral, his passions in it are not entirely sensual either. The crafty manner in which he persuades Stephano to aid him in his plan, by mentioning Prosperos riches and Mirandas beauty, shows the presence of some mental ability; as does his attempted tact in trying to keep Stephanos mind upon bloody thoughts. Furthermore, one of his grievances against Prospero is that he stole the island that was, by birthright, Calibans, and imprisoned Caliban upon it. This is part of the little evidence we have that Caliban operates using more than his senses and passions. However, Calibans mind is subject to his senses, much as Prosperos passions are subject to his mind. Calibans underlying motives are still passionate. His indignation at having his inheritance usurped loses its weight when we realise that, of his own free will, he will let Stephano rule showing himself to be naturally ruled, not ruler. At the end of the play, when he recognises that his choice of Stephano as a ruler was foolish, it is not mental reasoning that has led him to this conclusion, but the evidence of his senses and experience. Caliban has mind enough to function as part of society, but training him to become part of that society cannot be abstract, like Prosperos failed attempt at educating him with Miranda Calibans education must be practical and hammered home with his own senses. Neither Prospero nor Caliban cannot be said to be wholly mind or sensual passion, but Caliban does rely largely on his senses, and by the end of the play, Prosperos mind has achieved a great extent of control over his passions. text passage: Act I, Sc ii, lines 79-1 16. From Being once perfected how to grant suits to To most ignoble stooping Paying close attention to tone imagery, comment on the presentation of Prospero and important ideas in the play raised here. We are presented with the highly emotional and angst-filled account of past times in Milan narrated by the main protagonist of The Tempest, Prospero. The turbulence in his tale reminds us of the equally disturbing tempest in the previous scene with its general mood of disorder and destruction. Although there are no physical indication of violence as in the last scene, Prosperos report is coloured with such images. It is here, in Act 1 Scene 2 that we learn that Prosperos art had conjured up the tempestuous storm. Mirandas piteous heart demands a salvation for the poor souls onboard the ship but her father, the great magician, Prospero promises that, theres no harm done. He proclaims, tis time and sets out to explain his motive for raising The Tempest that is the driving force of the entire play. As he speaks of the past, Prospero is no doubt reliving every single detail in the dark backward and absym of time. He seems to have vengeance on his mind right now. Old wounds are cruelly re-opened and he re-experiences the bitterness of betrayal by is false brother and the pain of what had happened twelve year since. At the same time, he is also stirring up lost memories in Mirandas remembrance. We see Shakespeares magic at work as well while he deftly weaves the plot into his audiences mind. Every time Prospero calls Miranda to attention, Shakespeare speaks through the lips of his creation to his audience, Thou attendst not? Taking on the voice of father, magician and prince of power, the bard leads us straight into the crux of The Tempest of Prosperos voice. The usurped Duke of Milan speaks of the usurper, Antonio most vividly, using myriad images. We picture Antonios brilliance in politics as Prospero tells of how his brother being once perfected how to grant suits , how to deny them, who t advance and which to trash for over-topping supplanted him. He presents us with a hunting image as he acknowledges Antonios skill compliments him. Prospero uses a number of images in his speech to let us see Antonio as a political animal. He shows us how having both the key of the officer and office Antonio gained supporters and got rid of opposers. This double image aptly portrayed how he not only secured the authority entrusted to him; he also had the ability to assert that power to his own means set all hearts ith state to what tune pleasd his ear. At the same time, we notice that the play is one that rings of music, this is only one instance where music is mentioned. It is a recurring motif. He maneuvers his way into nature when he informs Miranda (and the audience) of the ivy which hid my princely trunk and suckd my vendure out ont. We see in our minds eye the devious Antonio who sucked the power out of his brothers welcoming hands and so, his life, leaving only a dry shell. Through the use of such imagery, Shakespeare unfolds the passionate tale of usurpation before the wondrous Miranda and us, the audience. The wise Prospero speaks of how he had laid himself wide open to harm in being transported and rapt in secret studies. Neglecting worldly ends, all dedicated to closeness and the bettering of his mind he entrusted Milan into the hands of his treacherous brother and in doing so, awakd an evil nature in his false brother. Not contented with his position, Antonio new created the creatures that were mine, changd em or else new formd em and confederates with King of Naples to bend Milan to most ignoble stooping. It is obvious that Prospero was not conscious of what Antonio was doing and so, we, the sympathetic listeners feel for him although we know that he is partly at fault for his downfall. Prosperos anger and feelings of vengeance is understandable but we know that theres no harm done. At the same time, as we listen to the usurped fling charge after charge at the amoral usurper like the sea waves beating relentlessly at the yellow sands, Shakespeare questions the Prosperos usurpation of the creatures of the island Caliban and Ariel. We find out later that the powerful mage subjects the most delicate monster, Caliban to most ignoble stooping and even the fine apparition, Ariel is not spared from the magic of Prospero who has him at his beck and call. They cry for liberty but do they receive it from the usurped master? This is another of the important ideas raised in the play. Miranda listens attentively to her father as he relives how he had placed his trust mistakenly on Antonio, like a good parent and how it beget of him a falsehood in its contrary. He needs will be absolute Milan. This convoluted image reminds us of how the unknowing Caliban had placed his trust and loved thee and showed thee all the qualities o th isle. The situation of Prospero twelve year since mirrors that of the abhorred slave , Caliban. Meanwhile, it also presents Antonio and Prospero as complex political creatures surviving in the realism of politics. The usurped did not refrain from usurping others in a different place and time. Here, we see the men as truly brothers because they are alike in their usurpation. The only difference lies in Prosperos benevolence in his decision towards reconciliation. We are given enough to be sure that Antonio will never consider the very idea because he made a sinner of his own memory. The man created and shaped his own reality to suit his means and this is another recurring motif in the play. We have seen how the people are unable to see through the illusion of the tempest and sometimes, they just do not understand their own reality because they do not want to see it. Prospero has made use of that weakness to recover his dukedom as he brings the plotters, Antonio, Sebastian and Alonso to the island for a lesson. We will meet the king of Naples who despairs of ever find ing his beloved son, Ferdinand after The Tempest and refuses to entertain the hope of seeing him again but we know he does in the end. Power, all prerogative had gone into the plotters heads and this veils the actual reality to become another reality in the mind. We encounter another motif in the play, that of fathers. We know that although the fathers (Prospero and Antonio) are enemies, they will forget their differences in the union of their child (Ferdinand and Miranda) eventually. This tale that would cure deafness is the stepping stone of the entire play and we are presented with a multi-faceted Prospero the magician who usurps, the wronged who was usurped, the avenger, the father, the master, the duke. Can we really define him? Shakespeare leaves that intriguing thought in our minds as we take leave of this account full of imagistic qualities and themes. The Tempest, written in 1611, was one of William Shakespeares last plays. It has a combination of superb characters, intere sting settings, and a good plot line—all held together by the running theme of magic, and its ever-present importance. A closer examination of the magic in The Tempest, and the publics view of magic at the time, will give insight as to Shakespeares choice of magic as a theme, and why it has made the play so successful and timeless. Magic presented itself to Shakespeare as a controversial topic, as it had been the persecution of those believed to perform black magic, (witches) that had been at the forefront of societal concerns since 1050. However, after 500 years of witch-hunts, a turning point occurred in 1584, at the publication of Reginald Scots The Discouerie of Witchcrafte (The Discovery of Witchcraft). This book was the first major book to denounce witch-hunts and their ringleaders, and unquestionable the first book in English to actually hypothesize about the methods of these so-called witches. It contained one chapter of approximately twenty pages describing what we m ight view as unsophisticated, old-time magic tricks. One would assume that it was this text, and texts succeeding this (The Art of Juggling, written by Samuel Ridd in 1610 also presented a few how-tos of magic) were probably not only what suggested the idea of using magic as a them to Shakespeare, but in addition, provided methods as to how the magic in the play might be accomplished. Despite the fact that in retrospective analysis it is fairly clear that witches were nothing more that magicians with a slightly different presentation, audiences were not always aware of –and those that were, were rarely convinced by—the two aforementioned texts. Witches were still persecuted and witch-hunts did not actually stop until the end of the seventeenth century. Therefore, Shakespeares use of magic was controversial, compounded by the fact that Prospero was presented in a largely good light—a move probably made as a political statement, as it is known that Shakespeares pl ays were sometimes written to include political suggestions to King James. However, when Prospero relinquished his powers at the end of the play, those that did believe in the witch-hunts were satisfied. Everyone was happy. After considering the contention that the masque scene was added for the purposes of compliment to Elizabeth and Fredericks marriage, one could conclude that Shakespeare learned more about magic after he wrote The Tempest. The reasoning follows. One could only assume that Shakespeare would have tried to make the magic in the play as fooling and magical as possible. Although there were two magic effects in the play, one of them –the spirit music—would not have fooled even the most unsophisticated and nave audiences. Even before the era of Harry Houdini, or even the wandering street magicians of the 1700s, audiences were not fooled by music being played offstage. It is the other effect, that of the banquet disappearance that, well executed, would have fooled Shakespeares audiences, and would even have a shot of passing muster today. However, this banquet sequence was in the masque scene, theoretically added two years after the original writing of the play. The question that begs to be answered therefore, is why didnt Shakespeare fund some other way of including a more sophisticated magic effect into the play? The most logical answer would be that he learned more about magic and witch techniques after he wrote the play. Maybe at first he was unable to grasp the explanations in the Scot text, or maybe he didnt even read it before the original writing—possibly it was just called to his attention, and he was unable to lay his hands on a copy until after he wrote the play Whether or not Shakespeare ever read the Scot text in its entirety, or whether or not the banquet disappearance was added before or after the original writing, neither is relevant to magics central importance to the play. Obviously, magic could grab audiences of Shakespeares time. As it happens, magic had been grabbing audiences since 2500 BC (according to a depiction of a magician on the Beni Hassan tomb in Egypt) and magic continues to grab audiences today. It caught Shakespeares eye, and has made the play timeless, and theatrically entertaining. 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