Word: prosperoous
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...Prospero, so often described as omniscient, refers to Caliban as a creature "on whose nature nurture can never stick." But he is quite wrong. In the dozen years Prospero and his daughter have lived on the island, Caliban has striven to better himself and has learned how to speak well. In the course of the play he learns valuable lessons and at the end asserts, "I'll be wise hereafter, and seek for grace...
...Ariels one might cite Kitty Clive in the 18th century, Maria Foote, Priscilla Horton and Kate Terry in the 19th, and Fania Marinoff, Agnes Carter, Rachel Kempson, Elsa Lanchester and Margaret Leighton in our own. For the most famous American production of The Tempest (in which only Arnold Moss' Prospero attained distinction, but which still ran a hundred performances on Broadway in 1945), director Margaret Webster engaged as Ariel the ballerina Vera Zorina, who moved beautifully but could not handle the lines...
...most engrossing--and most gross--of the characters in The Tempest is Prospero's "savage and deformed slave" Caliban, the subhuman offspring of a witch and a devil. It is incorrect to regard Ariel and Caliban as polarities. They are undeniably contrasted; but they also share a number of traits, such as distaste for physical labor, a yearning for freedom, a delight in pranks, a love of nature, an appreciation of music, and a fear of their master. Ariel has some coarse language and Caliban some ethereal lines...
...tract. They need to examine the play more carefully. For one thing, King Alonso is on his way home from marrying his daughter to an African king. More important, Caliban is far from the most evil character in the play. It is true that he has tried to ravish Prospero's daughter, but he was not born to reason or to know right from wrong; he is not immoral, but amoral. It is also true that he plans a rebellion against Prospero. But Prospero, of all people, having been driven out of his rightful dukedom, ought to appreciate that Caliban...
Morton superbly conveys the pathos, humor, pain and joy that make up much of this remarkable character. He is a worthy successor to our century's most celebrated Caliban, the late Robert Atkins--who first played Prospero but switched to Caliban and went on doing the latter for 40 years, portraying him as the kind of New World savage that Elizabethan voyagers liked to bring home for public side-show display; and to the extraordinary hippopotamian Caliban that Earle Hyman embodied on this very stage...