CHAPTER – 1

CHAPTER – 1

INTRODUCTION

To both English and Sanskrit fields of drama, Shakespeare and Kalidasa have contributed their might thorough study of their two dramas The Tempest and Abhijnanashakuntalam prove that their works have got a universal recognition and also that both of them play a significant role in achieving literary greatness by their marvelous writings. The excellent presentation of dramatical techniques in their dramas has made them immortal. The previous analysis of the two dramas proves that they are homologous in many aspects. They are gifted with a keen, critical, and appreciative eye, which visualizes at one glance, the essential features of any landscape. Indeed, they are national poets because they are the true sons of the soil, deriving sustenance from it and yielding its distilled essence and fragrance. In their dramas, aching frustrations, raging perversions, dark wild desires, and hell-fires of mad passions are similar. These two plays are the last plays written by the dramatists and belong to the group of plays called ‘romance.’ Kalidasa’s Abhijnanaskuntalam and Shakespeare’s The Tempest are the most original and perfect of works. They have shown the variety of his powers. They are full of grace and grandeur. The human and imaginary characters, the dramatic, and the grotesque blended with the most significant art. The subsequent concept of a poet expressed by using William Wordsworth is quite applicable to Shakespeare and Kalidasa:

He is a man speaking to men, it is true,

Endued with more lively sensibility, more

Enthusiasm and tenderness, who has a greater

Knowledge of human nature, and a more

Comprehensive soul, than are supposed to be

Universal among humanity; a man pleased

With his passions and volitions, and who

Rejoices more than other men in the spirit

Of life that is in him; delighting to

Contemplate similar desires and passions

As manifested in the goings-on the universe,

And habitually compelled to create them

Where he does not find them.1

This research is an attempt to observe selected dramas of Sanskrit dramatist Kalidasa and English dramatist Shakespeare as a put up colonial textual content. Before coming on the main idea, have a look first at the concept of Postcolonialism, second, to shed glance on the origin and development of Sanskrit and English dramas. Then analyzed Kalidasa’s Abhijnanashakuntalam and Shakespeare’s The Tempest. It is essential to shedding light on these topics to make the study comprehensive for the readers. Their writings are masterpieces, and those celebrities belong to incredible a while and cultures; they have got many similarities in a thematic and creative technique to writing drama. Kalidasa and William Shakespeare are the finest poets and dramatists that the world has ever produced.

Post-Colonialism, consistent with Alan Lawson’s, is a ‘politically intended historical-analytical movement that engages with, resists, and seeks to dismantle the consequences of colonialism in the material, historical, cultural-political, pedagogical, discursive, and textual domains.’2 The term Post-colonialism according to a too-rigid etymology, is frequently misunderstood as a temporal idea, which means the time after colonization ceased or the time following the politically determined Independence Day on which a country breaks away from its governance by another state. Postcolonialism in literature includes the study of theory and research as it relates to the colonizer-colonized experience. Postcolonial literature comes from Britain’s former colonies within the Caribbean, Africa, and India. Several postcolonial writers write in English and focus on universal themes like the struggle for independence, emigration, national identity, allegiance, and childhood. Edward Said is the leading theorist in this field and also considered as the father of Post-colonialism. However, from the late 1970s, the term has been employed by literary critics to debate the various cultural effects of colonization. Postcolonial drama combines a rich cluster of postcolonial and performance theories with close attention to the play texts themselves. Ash Ashcroft, Griffiths, and Tiffin point out, ‘The term, “postcolonial” is resonant with all the ambiguity and complexity of the many different cultural experiences it implicates.’ 3(1995:2). Postcolonial literature is, according to Stephen Slemon, ‘a form of cultural criticism and cultural critique: a mode of whole disidentifying societies from the sovereign codes of cultural organization, and an inherently dialectical intervention in the hegemonic production of cultural meaning.’ 4

A theory of post-colonialism must, then, respond to more than the merely chronological construction of post-independence, and more than just the discursive experience of imperialism. Postcolonialism’s list, however, is more specifically political: to dismantle the hegemonic boundaries and the determinants that create unequal relations of power based on binary oppositions such as ‘us and them,’ ‘first world and third world,’ ‘white and black,’ ‘colonizer and colonized.’ Postcolonial theory is a literary theory that deals with literature produced in countries that were once or are now colonies of other countries. It may also deal with literature written by citizens of colonizing countries that takes colonizer or their peoples as its subject matter.

A drama is a composition in verse or prose presenting a tale in pantomime or talk, containing battle of characters, in particular those who perform in the front of the audience on the stage. Drama, the period carried out to those productions of artwork which imitate or, to use a new modern period, represent movement through introducing the personages taking element in them as actual, and hired within the movement itself. There are numerous styles of the drama, differing from one another, both as to the gadgets imitated and the approach used within the method. The records of Indian theatre is that the history of the foundation of the elements of drama that came together and waved the rich textile of Indian drama. Later Indian theatrical subculture changed into encouraged by the British rule in India. Indian theatre came into direct touch with the western theatre, and this has an impression on grew to become an innovative bankruptcy inside the records of Indian theatre while giving beginning to the cutting-edge Indian theatre. In the current era, Indian theatre has obtained that contact of the new characteristic to befit the modish requirement of Indian society. The earliest shape of Indian drama become a Sanskrit drama. Subsequently, British rule in India developed western drama. The earliest manifestation of a dramatic concept in India is to observed in hymns of rig Veda. Those hymns are inside the shape of dialogues between various personages of Vedic pantheon inclusive of Yama and Yami, drama, and the panis. At the same time, the parable of king pururavas and the nymph Urvashi is that the inspiration for one of the performs India’s greatest dramatist. The shortage of correct facts precludes our knowing an awful lot approximately the starting place of drama in India. However, it probably had its starting is a combination of those hymns in dramatic shape and in the non-secular dances wherein certain pantomimic features conventionalized and stereotyped in later instances until we get the classical Sanskrit. The local Hindu account of the beginning of the drama was that it dropped from heaven as a completely advanced artwork fabricated through the divine sage Bharata. This idea, but pleasant to the Hindu thoughts, cannot be accepted by modern-day scholars and pressured to presuppose an improvement from the spiritual to the dramatic, as outlined above, which is not mainly unique from that observed in Greece. The sooner stages, which were related to religious gala’s, in particular with the worship of Krishna-Visnu, had been now not unlike the early primitive Christian thriller performances of the centre a while in Europe. Whatever may were its beginnings, it is far positive that the drama flourished in India and had a significant improvement.

The Sanskrit drama is a mixed composition in which pleasure mingled with sorrow, in which the jester once in a while plays a distinguished part while the Hero and Heroine are typically in the intensity of depression; however, it never has a sad ending. Sanskrit drama emerges from fragments and quick pieces starting in the 1st-century CE and continuing to the tenth century. Indian best drama is sort of a dozen in wide variety and date from a length embracing something like four hundred years from about the beginning of the fifth to the quit of the eighth-century AD. Those plays are exceptional compositions of the extraordinary dramatist of Kalidasa and Bhavabhuti. Bharata’s Natya Sastra laid down the foundation for classical Sanskrit drama. It is hard to place a precise date to it, and many pupils trust it can be written anywhere between 200BC to 200AD. Many other Sanskrit dramatists wrote as much as the tenth century none measured up to the success of Bhasa, Kalidasa, and Bhavbhuti. Sanskrit literature reached its climax within the Gupta period. This period understood for equal writing of prose and poetry. The drama written in the course of the Gupta length surpassed the identical advent of different durations. It is now extra than hundred years considering that Sir William Jones gave the western world its first expertise of dramatic literature of the Hindus through the book in 1789, of a translation of the Shakuntala of Kalidasa.

Kalidasa is one of the shining lights of Sanskrit literature and the summation of Indian tradition in every of its most exalted duration of successful self-realization. His works shape a treasury of the truest and the very best Indian ideals of lifestyles here and hereafter. The most important call in Sanskrit literature is Kalidasa, who lived in the courtroom of Ujjain, likely about the first half of the sixth century of our era. Kalidasa, the best of Indian poets, belonged to the Post-Vedic period of Sanskrit literature. Due to the absence of chronology within the records of historical Hindus, it became no longer feasible till, currently, to restoration his dates with any exactness. According to the way of life, he becomes one of the nine illustrious men of genius who decorated the court of King Vikramaditya in fifty-six BC. Another legend represents him as Matri Gupta, king of Kashmir. Scholars have differed broadly within the dates which they have assigned his interest. Professors Lassen and Weber region him inside the 2nd century after Christ. In line with Professor Max Muller and Dr Bhandarkar, he lived within the early a part of the sixth century A. D. However, the date of Kalidasa was currently conclusively settled through Dr T. Bloch and pandit Ramavatara Sharma. They have got succeeded in proving from proof, internal and outside, that he flourished throughout the reign of Chandragupta II (380A. D.- 415 A. D.), that his powers were at their highest throughout the reign of Kumar Gupta (415 a. D – 455 a. D.) and that he lived to peer the reign of Skanda Gupta (455 a. D.-480 a. D.). The date of Kalidasa is one of the maximum complicated queries within the history of Sanskrit literature, and the reviews of the scholars, however ingeniously conceived, fail to present us definiteness and certainty. It is a truth to regretted that India has no longer preserved the history of her most excellent poet and dramatist.

Kalidasa has written three plays: Shakuntala, Vikramovasi, and Malvikagnimitra: two epics, Raguvamsa and Kumarasambhava: one lyrical poem, Meghaduta; and one description poem, Ritusamhara. There are no actual existence records of Kalidasa, but there are numerous legends to which no historical value may be attached. Now not many records can be accrued from his writings, as he rarely made personal allusions. The first of those compositions reached the highest degree attained through the Hindu dramatist and win for their place among various more celebrated poets of the arena. Their richness of fancy and appreciation of nature, added to the beauty of poetic techniques and choice of language, has never been equalled in India and undergo favourable comparison with the dramas of any country. The play of Shakuntala has been recognized in Europe, seeing that its translations by Sir William Jones in 1789, that the first-rate Orientalist inevitably introduced Sanskrit poetry to the west and began the look at of Hindi literature. Kalidasa, the greatest of Indian poets, belonged to the Post-Vedic period of Sanskrit literature. Owing to the absence of chronology inside the history of historical Hindus, it becomes no longer possible until, lately, to repair his dates with any exactness. Kalidasa becomes a man talented with all of the studying of his age, wealthy, aristocratic, transferring absolutely in high society, familiar with and fond of lifestyles within the most expensive city of his time. He passionately attached to the arts, acquainted with the sciences, deep in regulation, and mastering versed inside the formalized philosophies. He has some beautiful resemblance to Shakespeare amongst others his work changed into like Shakespeare’s, to sum up, the immediate past in terms of the existing with hints of the future. Like Shakespeare, he not to have cared deeply for faith and in his poetry, he represented the exceedingly essential and material civilization to which he belonged. Kalidasa is the incredible, the very best poet of the senses, of aesthetic beauty, of passionate emotion. His essential achievement is to have taken each poetic element, all brilliant poetical paperwork, and subdued them to a concord of artistic perfection set within the key of sumptuous splendour. He is continuously more emotional and dignified than spiritual, like Shakespeare, to whom he has so many hanging resemblances.

Abhijnanashakuntala is universally acclaimed as the finest of Kalidasa’s works, representing the perfection of his artwork, upon which his reputation has as a dramatist chiefly rests. From historic times men of high-quality taste and critical awareness in India were so taken up with its skilful plot-creation, shiny characterization, useful delineation of sentiment, and beauty of language that they have with one accord referred to as it the crest-jewel of Sanskrit dramatic literature. Its reputation had not remained restricted to India handiest; however, it has travelled to the west via the translations. Sir William James changed into the primary European scholar to render it into English with the help of an Indian pandit in 1789. ‘Abhijnanashakuntala’ drama with the aid of Kalidasa composed approximately the fifth-century CE that is commonly taken into consideration to be the best Indian literary paintings of any duration. This masterpiece has been taken from legend ‘Mahabharata’. Kalidasa’s version tells the seduction of the nymph Shakuntala through king Dushyant, his rejection of the female and his infant, and their next reunion in heaven. The child that is born is Bharata, the eponymous ancestor of the Indian state. Kalidasa remakes the tale into a love idyll whose characters constitute a pristine aristocratic ideal: the lady, sentimental, selfless, alive to little but the delicacies of nature, and the king, first servant of the dharma, protector of the social order, brave hero, yet soft and struggling agonies over his lost love. The plot and characters are made plausible through an exchange Kalidasa introduces: Dushyant is not responsible for the enthusiasts’ separation; he acts best beneath a delusion due to a sage’s curse. As in all of Kalidasa’s works, the beauty of nature depicted with an inimitable elegance of metaphor.

The English drama was introduced to England by way of the Romans. Drama in England emerged from the church inside the 12th century, and it step by step evolved in England till the fifteenth century. After this, we come to the Pre-Elizabethan age in which we find university wits John Lyly, George Peele, Thomas Kyd, Christopher Marlowe, Thomas Nashe, Greene. All of them are indirect tutors of Shakespeare. They all paved the way for Shakespeare. After it, Shakespeare took the pen in his palms and drama to its peak. Shakespeare’s energetic dramatic career in London lasted about two decades and divided into three tolerably regular periods. The primary extends from the year 1587 to approximately 1593-94; the second one from this date to the stop of the century; and the third from 1600 to approximately 1608, quickly after which time Shakespeare ceased to write down often for the degree, became much less in London and more and more at Stratford. A few contemporary critics add to these a fourth period, along with the few performs which from internal as well as outside proof must have been most of the poet’s contemporary productions. As the precise dates of those plays are unknown, this era can take to increase from 1608 to about 1612. He installed the legendary globe theatre and helped to transform the English language. The distinction between tragedy and comedy became particularly vital in Shakespeare’s time. Therefore, Shakespeare united the three major streams of literature: verse, poetry, and drama. His performances have ended up famous during the world because of his realistic characters. The records of English drama meditated in Shakespeare’s works. Unnecessary, to mention, Shakespeare’s contribution to the improvement of English drama is incalculable.

There is no call within the world of literature, just like the call of William Shakespeare. Homer, Dante, and Milton do now not stay in our heart of hearts, do not wire round our affections, do now not fulfil our soul as Shakespeare does. He lived fifty- years he wrote thirty-seven plays and some miscellaneous poems. He becomes buried in the city wherein he changed into born, and his call has ever since crammed the arena. His works at the moment are one of the high priced of life. Coleridge referred to as him the “myriad-minded” 5 and nicely he would possibly, for there was no temper or segment of mind which he did now not understand. All his most outstanding contemporaries appeared him with love and admiration. His plays quickly attained the very best favour at the courtroom of Queen Elizabeth, and her successor James openly declared their choice for them. John Webster speaks of his “right glad and copious industry.” 6 an actor who wrote more than thirty plays in 20 years of rehearsing, acting, and theatre control can have had little time for blending with the sector. On April 22, 1564, the eldest son of John and Mary Shakespeare, who turned into afterwards to be the national poet of Britain, became born. He becomes baptized on April 26, receiving the Christian name William. However, he changed into schoolboy at Stratford, on whose younger lifestyles a few shadows were about to fall. His father’s fortune declined. His belongings mortgaged, he took his son William from school approximately the 12 months 1578 and apprenticed him to his very own business, while he was likely 15. He married eight years older than him Anne Hathaway born in 1556 so that inside the 12 months of their marriage (1582), she changed into twenty-six, and Shakespeare was most effective eighteen. He had three children Susannah, Hamnet, and Judiet, the two final being twins. Sussanah changed into born in 1583 and the other two in 1585. His son Hamnet died in 1596 when he was 11 years and six months old. The two daughters grew up to womanhood, married, and survived their father some years. The final eight or nine years of Shakespeare’s life have been probable the various happiest which he spent on who “financial institution and shoal of time.” his thoughts turned into matured, his passions softened, the fever of expectations changed into over, he had received his role, he had fulfilled the undertaking which the almighty had assigned to him. Shakespeare has no old age. He had slightly reached his fifty-third year when he died. He died on 23 April 1616 and buried within the chancel of the Holy Trinity, Stratford. Ben Jonson alludes to their estimation of Shakespeare, both as an actor and a writer, in the well-known lines, forming part of his tribute to the memory of his ‘beloved Master William Shakespeare’:

” Sweet swan of Avon! whit a sight it were

To see thee on our waters yet appear,

And make those flights upon the banks of Thames

That so did take Eliza and our James.7

He strove with a noble industry to acquire success. He prospered, he offered a new region at Stratford, he invested in land in theatre stocks and in-house. In the course of a previous couple of years of his existence, he retired to a new region, wherein he led the lifestyles of the country gentleman. He died there on the twenty-third April 1616, aged fifty-two years. His spouse and daughter survived him. William Shakespeare, the honour of the English stage, whose nativity at Stratford-upon-Avon, is the highest honor that metropolis can boast of him. Homer and Shakespeare immortalize the places where they have been born. At his demise in 1616, half of Shakespeare’s play had no longer printed; however, in 1623, two of his fellow actors delivered out an accrued edition thirty-six plays in a book. Shakespeare wrote on common two that performs 12 months between1588-90 and 1611, except in 1592-94, while bubonic plague shut the theatres. He commenced with comedies of affection and chronicle plays. The first decade produced nine plays known as after kings of Britain, ten comedies of affection, and two non-ancient tragedies, ending with the tempest. In the year 1623, inside seven years of Shakespeare’s death, an entire version of his performs become published, with the sparkling dedication of his friends, the earl of Pembroke, and Sir Bernard Law. In a very few after his marriage, when he changed into twenty-two years of age, a young husband and a young father sincerely not extra than three or four years later, he decided on going to London to push his fortune. Shakespeare inspired his contemporaries, the extraordinary central luminaries Ben Johnson, Fletcher, Beaumont, Ford, Webster, Middleton, Decker, and Chapman. A fantastic richness of strength and count is prominent inside the works of all these poets. The twenty years which Shakespeare spent in London cannot but have handed pleasantly within the society that surrounded and caressed him. Ben Johnson said “I cherished the man,” “do honor his reminiscence on his memory this side idolatry as a good deal as any: he became indeed sincere, and of an open and loose nature.” 8 other contemporaries communicate of his “uprightness of dealing” his “generosity of mind and temper” his “pleasant wit” his “unfailing candour.” 9 Aubrey, in his simple prosaic manner, says, “he changed into a handsome, nicely fashioned guy, an excellent agency and of a completely ready and excellent easy wit.” 10 Ben Johnson’ cherished the man’ and says that “he changed into, certainly sincere and of an open and unfastened nature.” 11 He changed into the most generous and affectionate men, honored and loved with the aid of all who knew him, with the impossible to resist the attraction that belongs to simplicity and directness of character blended with thoughtful sympathy and genuine kindness of coronary heart. He occupies a throne apart in the best and immortal kingdom of supreme innovative art, poetical genius, and dramatic fact.

The tempest is a paranormal play, full of grave splendour and rich poetry, a play out of this global, a want- fulfilment in which virtue has all the strength and innocence meets its suitable destiny. The first record of its overall performance, inside the courtroom revels account, shows that the tempest became presented earlier than James I and his court on November 1, 1611, Hallowmas night, at Whitehall, through Shakespeare’s own appearing enterprise, the king’s men. The tempest changed into completed for the courtroom again round February 1613, along with a dozen different performs of a festive and celebratory nature, to celebrate the wedding of James I’s daughter, Elizabeth, to the elector palatine, who would later briefly reign as the king of Bohemia. Its first printing seemed in 1623 while the tempest became given pride of area in the commemorative folio edition of Shakespeare’s performs, issued and introduced by of his fellow players inside the king’s men, John Hemmings and Henry Condell. Its source is an easy copy made for a booklet at once from Shakespeare’s papers with the aid of his performing agency’s Scrivener, Ralph Crane. Its source is the concept to be an easy replica made for booklet immediately from Shakespeare’s papers by using his acting enterprise’s scrivener, Ralph Crane. Within the Tempest Shakespeare’s first and closing time, he treats the power of the resolved imagination to command the brutish, the base, the noble ant the religious for smart human ends. It is far to take a look at a person of intellect, who pressured from energy through a treacherous brother. The plot of the tempest has now not taken from any previous story. It is far Shakespeare’s very own invention; however, it is miles compounded from folk tales and numerous extensive present-day elements and events. For human beings inside the seventeenth century, before the ultimate of the theatres through the puritans in 1642 or after their reopening through Charles II with the recuperation of the monarchy in 1661, after the fall of the Puritan Commonwealth, the Tempest was a play that lent itself to celebratory spectacle and imaginative scenery. The Tempest is the whole final play Shakespeare wrote without a collaborator. Since he died in 1616 following the play’s composition most effective with the aid of some five years, and because its miles a play approximately a magus giving up his magic and retiring into an existence in which “every third thought shall be my grave,” the tempest has to turn out to be seen as Shakespeare’s valediction.

This research ambitions to observe two some distance-famed romantic comedies in order not handiest to bring to light to homologous found in their works; however, additionally attempted to offer some new factors collectively concerning their take a look at as a postcolonial text. The Abhijnanashakuntalam and The Tempest are lovely poetic dramas having a variety of elements in common. The commonness in writing strategies of those dramatists which fascinate us to discover new components. This observation brings collectively each the dramas and gives a new method by investigating postcolonial elements and create a pleasant image for the readers of literature. The six sections of the study bound the whole thesis and present the new picture of both the dramas in front of readers. These are as follows:

Chapter-1 This chapter is introductory and sheds light on each variable of the study that reflects the universality of both the dramatist and justifies the comparison between two masterpieces.

Chapter-2 titled ‘The Sanskrit and English Drama’ described the history, origin, and development of Sanskrit and English Drama. Both cultures are far from each other but contained various similar elements and modes of dramas. Before beginning the study of both the dramas, it is essential for the readers to acquainted with the history of both the well-known writings by genius. Both the dramas are different in many ways, but some similarities make the comparison of both the dramas possible. Chapter-3 is an ‘Analytical study of Shakespeare’s The Tempest and Kalidasa’s Abhijnanashakuntalam’ that familiar us with both genius and their selected works. Analysis of both the dramas sheds light on every possible aspect of the play and make the comparison of both far-framed drama possible and make it comprehensive for the readers of literature.

Chapter-4 entitled ‘Introduction of Postcolonialism and Major Postcolonial Theorists.’ focused on Postcolonialism and about the significant postcolonial theorist. In the field of Literature variety of postcolonial theorists but here involved major theorist and their theories. It is essential to progression and gives way to the main idea of the study.

Chapter-5 is ‘Postcolonial traits in Shakespeare’s The Tempest and Kalidasa’s Abhijnanashakuntalam.’ This chapter is the backbone of the whole thesis, and here the researcher presents the main idea of the thesis. This chapter described the postcolonial elements found in both selected dramas. This attempt to discover Postcolonial elements in both the dramas give a new approach to the readers of literature and make the way easier for future researchers. Chapter-6 Finally, on the basis of the preceding analysis, I have summed up the study by finding postcolonial elements in both the selected dramas in the concluding chapter.

References:

1. Wilson, Dower. The Essential Shakespeare: A Biographical Adventure, Cambridge University Press, 1948. pp.1
2. Lawson, A. “Comparative Studies and Post-Colonial ‘Settler’ Cultures.” Australian-Canadian Studies, 1992, pp. 153–159.
3. Gilbert, Helen, and Joanne Tompkins. Postcolonial Drama Theory, Practice, Politics. London and Newyork, 1996.
4. Slemon, S. “Monuments of empire: allegory/counter-discourse/ postcolonial writing.” Kunapipi, vol. 9, no.3, 1987, pp.14.
5. Irving, Sir Henry. The Complete Work of William Shakespeare. PF Collier & Sons Company Newyork. pp.IX
6. Masfield, John. “The Life Shakespeare.” William Shakespeare, London Williams, and Norgate, pp. 15.
7. Irving, Sir Henry, p.xvii.
8. Masfield, John, p.15.
9. Irving, Sir Henry, p. xxiv.
10. Irving, Sir Henry, p. xxiv
11. Irving, Sir Henry, p.xxiv

Objectives of proposed research work:

This research focuses on the following Objectives:

1. To reanalyze Postcolonial text in both the drama and study them as a Postcolonial text
2. To discover Post Colonial traits in Kalidasa’a Abhijananshakuntalam
3. To discover Postcolonial text in Shakespeare’s The Tempest
4. To elucidate the origin and development of Sanskrit and English Drama
5. To make a critical study of Kalidasa’s Abhijananshakuntalam and Shakespeare’s The Tempest to discovers the similarities and dissimilarities that exist in selected drama
6. To specify Shakuntala and Miranda’s struggle for identity formation
7. To assess the contribution of World Literature analyzing the globalization as it provides the ways through which information could be shared between different languages and different cultures
8. To bring both the dramas and give a new approach by investigating Postcolonial elements and creating a pleasant picture for the readers of literature
9. To explore such issues: subjugation, dominance, and language in relation to power and complicated relationship that exists between the master and the slave

REVIEW OF LITERATURE

1. Saiyed Samirmiya Amirmiya (2019) mainly targets to discover William Jones things to do as the first translator of the play ‘Shakuntala,’ inspecting his mind-set toward the Indian languages, literature, traditions, and culture with actual spirit. His translation of ‘Shakuntala’ had an enormous and grand effect. Such translations and works made him one of the biggest Orientalists and humanists of all time. He was a man of languages and law. He mastered the languages, laws, and literature of the major world civilizations. He studied and interpreted the culture of India through language study (Sanskrit). He translated the Laws of Manu (Manusmruti) and Kalidasa’s ‘Shakuntala’ into English. Jones tailored the literature and tradition of India by way of writing himself. Thus, Jones translation of Kalidasa stuffed Indians with a sense of pride in their great and ancient culture that was almost ignored or looked down upon by the then foreign masters, the British rulers of India. Today we all must be grateful to Sir William Jones, the brilliant Indologist, and Orientalist for his contribution to the revival of ancient Indian literary heritage through his translation of Kalidasa’s ‘Shakuntala.’
2. Anamika Lall (2017) It sheds light on the temperament of several characters from his one in the renowned play ‘The Tempest.’ To inspect the characters, she used Freud’s ‘personality structure.’ This paper tries to evaluation the well-known play of William Shakespeare, The Tempest, with the various angle of psychoanalysis. The three temperament components of ‘Psychoanalytic Theory’ given by the renowned man of science Sigmund Freud are often seen clearly within the characters of the play through this little study. This study helped to recognize the number of characters of William Shakespeare in an entirely new manner and additionally enhance the readers and researchers to comprehend the personalities of a couple of plays, fiction, or novel with the help of the psychoanalytical principle of Sigmund Freud. The study aims to convey a deep understanding of various personalities through psychoanalysis of various characters from the play, ‘The Tempest’ of William Shakespeare.
3. Dr. Manisha Dwived and Nidhi Chandra (2017) reviewed the kindly nature of mother nature and the development of the human traits inside every character of the plays. The Abhigyanshakuntalam and consequently the Tempest each are stunning phrases of two of the excellent dramatists first one is William Shakespeare, and the other is Kalidasa several. In both, there is a consistency of nature and attribute. Hero and Heroine primarily the kids of nature. They each were good literary artists who have greatly influenced the globe of thought and action through their dramas. There is plentifull scope for the future analysis scholar to form a comparative study of Kalidasa and William Shakespeare inspecting their generality of theme and poetic genius.
4. Dr. Savita (2017) examined the absence of tragedy in Abhijnanasakuntalam. It is a well known Sanskrit play by Kalidasa, dramatizing the love story of King Dushyant and Shakuntala told in the epic Mahabharata. It is considered being fantastic of Kalidasa’s works. A remarkable thing about Sanskrit drama is that scenes of death, massacre, murder, warfare, etc. do not have any vicinity. Sanskrit dramas exhibited great faith in the celebration of life and people forces that promoted the positive and festive nature of it. Abhijnanasakuntalam embodies this life view boldly, flipping the tragic turn of events into keys that open the locked treasure house of the bright side of characters. This inner spiritual strength enables them to overcome the momentary calamities and resume the jubilation of the great festival called life.
5. J.Vinoth (2017) analyzed Shakespeare’s The Tempest employing an ecocritical interpretation. Eco criticism emerges inside the field of literary criticism within the face of the environmental degradation and ecological crisis. Ecocriticism is the study of the relationship between literature and its physical surroundings; it takes the earth-focused approach to literary studies. In The Tempest, the poet has foreseen us the reality that man is barely an indispensable phase of the persona of being dependent, and relying on the significance of approaching The Tempest from the vision of ecocriticism lies in its interrogating man and nature relationship and invigorating ecological consciousness in private.
6. Radha Madhab Jha and Shalini Shrivastava (2017) tried to show that Shakespeare is the greatest gift of God to humanity. Ben Jones asserted that Shakespeare “was not of an age but of all time.” No amount of praise is enough to describe a genius like Shakespeare. No language can do justice to the talent of a great son of nature. He is a man with so little formal education write such excellent poetry and universally stated as the exceptional poet of all time is a phenomenon that has puzzled the literary critics of various generations. The poetry of other poets alloy the appetite it feeds, but Shakespeare’s poetry makes one hungry for further reading. People are never tired of studying his poetry, again and again, relishing it and discovering new interpretations. The universal quality of his dramas is unique in the history of the world’s literature. He appeals to everyone, irrespective of age, sex, nationality, and race. Thus Shakespeare usually is viewed as the greatest dramatist whom the world has known, as well the most excellent poet who has written in the English language.
7. Aylin Oymak (2016) observed; however, the colonial discourse of Prospero decivilizes, brutalizes, and degrades all the characters differently. To ascertain his dominion over all of them, he speaks to the roles each relating to the hierarchy they severally have in his mind-set. Here he supposed, Louis Althusser’s term, interpellation is worth considering. The term interpellation is utilized by Louis Althusser in “Ideology and Ideological State Apparatuses” to clarify. However, ideas get into people’s minds and deeply affect the lives in such a refined approach that the people suppose the notions. That is offered to them and so unconsciously or accidentally settle for their ideas. In the same manner, Prospero interpellates all the characters within the play through his language, significantly discourse. Thus, he can flip all of them into his subjects, particularly his slaves, who have several distinct hierarchies in his mind-set. So, his colonial discourse incorporates a style of power to withhold knowledge. In this sense, by withholding and sharing the experience for profit, he can keep characters below his management and thus subtly govern them through his colonial discourse to glad his expectations.
8. Begum Tuglu (2016) analyzed the identity formation of the characters in Shakespeare’s play The Tempest in terms of psychoanalytic theories of identity. It conjointly aims to portray the patricentric dominance over the marginalized characters and, therefore, the shifting method of identification through the interpellation of the society. This method carries the potential to reveal the universal result of the elements that nurture the identities of the individuals on a microcosmic scale, and also the play proves to be a perfect stage to explore the interactions between certain embodiments of identities. This analysis aims to explore the identity formation of the characters within The Tempest through psychoanalysis to reveal however the western patricentric ideology, mainly mirrored through Prospero, subjugates and controls other structures of identity that fall beneath the social hierarchy as in the examples of Miranda, Ariel, and Caliban. Though the play presented as a romantic comedy, the finding within the study suggests that patriarchal ideology is stealthily reinforced through the notions of gender and identity.
9. David Crystal (2016) takes a look at Shakespeare’s verbal ingenuity. He found several of Shakespeare’s most vivid word creations happen among The Tempest. It is the product of a linguistically ingenious mind. Here is a variety of new prefixed and suffixed words. There is additionally a stunning case of a metaphorical extension when Prospero tells her regarding his earlier life, and also the days once he decided to trash for overtopping. The metaphor is from dog-handling while hunting, to check a hound with a leash. Its etymology is obscure; however, its dramatic impact is not. It adds support to any characterization of Prospero as a tricky ruler.
10. Emma Smith (2016) explored in The Tempest through the portrayal of Prospero’s ‘art’ Shakespeare seems to draw parallels between theatre and magic. She explores these; however, she queries the concept of the concept that the magus could be a portrait of the dramatist. The play itself tells the story of a magician, Prospero banished to an overseas island along with his girl Miranda once he was kicked out from his dukedom by his brother Antonio. A storm brings Antonio along with his allies to the island, wherever Prospero, assisted by his spirit-servant Ariel, subjects them to numerous wizardly punishments. Prospero finally confronts and forgives his brother, Miranda is married to a prince, and also the party ready to return to Milan for his reinstatement as duke. Throughout the play, Prospero refers to his magic as ‘art’ developing a sustained parallel between theatre and magic. The magician, just like the playwright, manipulates props and persons to dramatic effect, magic is also a branch of lighting tricks. Prospero controls the present and the character’s pasts- he tells the story of his brother’s act of usurpation, for instance, and also the story of their exile, and Ariel’s imprisonment during a tree, and of Sycorax, Caliban’s mother, and of many different details of previous events, without any independent corroboration. It is as if Prospero is inventing all the other characters and fleshing out their past lives to develop the force of his creation. We would say then, that Prospero is a dramatist, he exerts his superior skill to bring characters together to achieve a comic resolution to a potentially tragic plot.
11. Ruchi Kaushik (2015) analyzed the prevailing social, cultural, and political ideologies that influenced Jones translation enterprise, asserting that his translation was not merely an academic exercise but surcharged with politics, power, and thinking. The interpretation of Jones’s angle is somewhat whole utterly different from nineteenth-century utilitarian and anglicized scholars, who were very important of Indian culture, religion and rejected the thought of Hindu glorious past, even considered English Literature far superior to Indian Literature, which according to them is not much worth. Jones translation, in a very sensitive, contributed to creating the Sanskrit texts identified to the Western audience, and even the value of Indian Literature additionally acknowledged like Goethe, Herder, and many others.
12. Rev. Mawatagama Pemananda Thero (2016) survey showed multi-states of the use of verses within the scope of drama are critically taken into consideration. Accordingly, the objectives of the survey point out the strength to use of poetry, the importance of meters in versification, and also the necessity of verses in drama.

It also to create a new interest in using and tasting verses and at the same to develop verse-lovers rather than verse-haters. During this study, the main focus on the utilization of thirty-four verses in act one of the Abhijnanasakuntalam. Here, poet through the use of poetry tried to enlighten his work and achieve his objectives about the composition of a drama.

13. Tricia Mason (2016) explored specific themes: colonization, otherness, power, nature and nurture, love, illusion, and repentance within The Tempest. As altogether Shakespeare’s plays, there is conflict and resolution; there is also romance. He interprets the play as a metaphor for colonization. Here he tries to evaluate the presence of this theme and to search out clues to sources that criticized Europe’s treatment of native peoples. The Bard offers a traveller’s tale, philosophical responses, moral dilemmas, and his own opinions, among the framework of a sorcerous journey. Colonization involved hazardous sea voyages, and also The Tempest opens aboard ship amidst a tempestuous noise of thunder and lightning. ‘The Tempest’ is both entertaining and purposeful.
14. Timothy P.O’ Malley (2016) suggested that within The Tempest, there is a love between Prospero and Ariel ultimately, converts the former toward the act of forgiveness. His identity primarily marks Ariel’s relationship with Prospero within the play as Prospero’s slave, but it is more than a master-slave relationship. It is Ariel’s real love that creates possible Prospero’s forgiveness, his return to the fullness of his humanity. It is instead of the power of Ariel’s love that was forming Prospero throughout the play, which creates possibly a return gift of affection upon the part of Prospero. In this sense, The Tempest is truly Shakespeare’s most unconventional story that reveals a love, that cannot consummate, which nonetheless makes possible the ‘comedy’ of The Tempest. It manifests to us in dramatic form what happens once a kind of ‘divine’ leads to conversation. It is the power of love itself that enables us to dwell in a purposeful universe.
15. Dr. Kamal J. Dave (2015) examined the first necessary aspects of the theatre of William Shakespeare, and Kalidasa is the creation of a fabulous atmosphere- Physical, cultural, and emotional, for the success of the central plan of the play. At the top of the play, likewise William Shakespeare, Kalidasa begins ‘Bharatvakya’ by the desire of his fellow beings. Then Kalidasa within the same fashion of Shakespeare’s appearance to himself for it seems to him that he has consummated his life’s mission and his return to the top of his literary career. Similarly, the Tempest Abhijnanasakuntalam ends with the prayer of the desire for freedom from the bondage of life.
16. Kang Fang (2015) 1. showed that Shakespeare follows the convention of a romantic story of Prince and Princess, Shepherds and Shepherdesses among As you like it, The Tempest and The Winter’s Tale, considered as pastoral plays. However, these plays are not only romances of men and women but those full of all variants and aspects of general human relations. Shakespeare takes exile as a precondition, dragging his heroes and heroines out of the court into the forest, island, and countryside in disguised appearances of cloaked identities, serving specific means of deception or casting magic as a booster to explore the extensive knowledge of love. In doing this, Shakespeare balances the various kinds of love, so endows it with the qualities of purification and unification in reversing a dark starting into a happy ending. Shakespeare’s love in his works is not onefold, and it is multifarious that regarded as a unifying power urging not only the beloved ones unite but also the enemies unite. In an exiled scenario, the heroes and heroine assume a series of disguises and magic to pursue or retrieve their true love.
17. Kamal J Dave (2015) found striking similarities between both the Dramatists William Shakespeare and Kalidasa and intended to create a severe attempt to compare two different ideologies, i.e., Indian and western, and convey out the similarities and variations between the two by focusing Shakespeare’s The Tempest and Kalidasa’s Abhigyanshakuntalam. Kalidasa has an Indian background, and so they keep the two poles apart. Therefore, to create the study of the writers having diverse backgrounds is an uphill task. This study may be a humble attempt to show the varied thematic and dramatic aspects manifested in Shakespeare’s The Tempest and Kalidasa’s Abhijnanashakuntalam.
18. Ruchi Kaushik (2015) analyzed the multiple translations of Abhijnanashakuntalam in English throughout colonial and nationalist periods, with particular emphasis on exploring the cultural politics, ideology, and role of context behind the conversions. The translation seems to be a simple act of linguistic substitution wherever words from one language are translated into another language, having the purpose of constructing the text understandable to those readers who cannot read it in the original language. However, turning from the Sanskrit versions of the play Abhijnanashakuntalam by Kalidasa to its English renditions, one comes across multiple translations of the play that have occurred at different times makes us think it as an inter-cultural act. Translations transfer a text into a new and more relevant document for a modern audience. Therefore, readings throughout colonial and nationalist periods are affected by current historical and cultural context. Thus the foremost concern of the translations is with reproducing ‘period flavor.’
19. Rooble Verma, Manoj Verma, Vibha Shrivastva (2015) states the Abhigyanshakuntalam and The Tempest are beautiful expressions of two of the greatest dramatists, i.e., Shakespeare and Kalidasa, respectively. In both, their harmony of mother nature and human nature. Nature provides the background for each of the plays. Heroines in each of the plays are mainly the children of nature. Sakuntala and Miranda both bred of nature. Present paper deals with the benign nature of mother nature, nurturing the human qualities within the characters of both the plays.
20. Tania Duarte (2015) supposed to argue Prospero; however, a male wizard designed a twisted illustration of Sycorax to spotlight his benevolence; however, his powerful creation ultimately became a threat to his system. Though the Renaissance is assumed to be one in all revival and cultural rebirth, the witch’s figure was more present than ever. Sycorax, the known witch from William Shakespeare’s late romance The Tempest, maybe an excellent example of a strong girl whose voice was suppressed by the patriarchy. Sycorax is colored, a girl, and a witch, and he or she is continually other by Prospero. It established that the situation in the European nation throughout the fashionable ages wasn’t entirely unfavorable for ladies. Girls were indeed quite helpless, and if they were not being sorted by either their fathers or husbands, they preferred to behave in ways that weren’t thought-about applicable for females. They were at risk of being a defendant by sorcery. Sycorax, being absent, provides Prospero enough freedom to form the image of the girl that suits him and his wants. Through Sycorax, he arranges to portray everything that patricentric thought thought-about unacceptable in a very lady. Sycorax inevitably becomes a foil that sheds light on Prospero’s most significant flaws and fears. Although Sycorax initially formed to spotlight Prospero’s benevolence; ultimately, she proves to be a contradiction to his masculinity and a symbol that challenges patricentric thought.
21. Yeshpal (2015) highlighted the overall image of the art of Kalidasa like Rasa, Alamkara, meter, language, and elegance to the Indian Literature. Kalidasa was an excellent writer in literature. His Seven literary works introduced his clarity image in our mind. He was a representational writer, and his professions supported by Dharma, Purana, Veda, philosophy, star divination, and Upanishads, etc., which represents his intellectual power. He has used completely different literary terms like Riti, Rasa, Metre, scientific language, Alamkara, etc. that represents completely different aspects of literary writing. Thus, we can say that Kalidasa’s kavyakala words and that means are distinctive and play a useful role in flourished their scripts.
22. Angela Edward Mangione (2014) represented explicit postcolonial authors identify with marginalized Shakespearean characters. They aim to amplify their conflicts from the attitude of a dominated culture, and they interpret themes of religion, they understand themes of race, gender, and colonialism Othello (1604), Antony and Cleopatra (1608), and also The Tempest (1611) as specific issues. This Dissertation combines postcolonial theory, explicit by Kenneth Burke, to propose rhetoric of motives for postcolonial authors who write back to the poet through the utilization of counter discursive metatheatre. Further, it describes and analyzes, however, and why the plays of Murray Carlin, Aime Cesaire, and Derek Walcott perform each creatively and critically, adapting Shakespeare’s plays and foreground processing postcolonial criticism of his plays. It conjointly provides a sample distribution of works to that a theory of writing back applies, demonstrating information of the first seminal Shakespearean play and criticism from postcolonial views. They are further providing a fundamental analysis of Cesare and Walcott, two of the foremost noteworthy and prolific postcolonial authors of this era, as well as one additional postcolonial author, Carlin.
23. Amir Hussain and Arburim Iseni (2014) targeted on Shakespeare’s The Tempest within the light of supernatural worlds, wherever they play crucial functions. During this paper, they will conjointly discuss Shakespeare’s background, the attitudes of Elizabethan individuals towards paranormal worlds in literature, and to a restricted extent, its dramatic qualities and techniques. This paper conjointly appearance at the character Prospero lighted by the magical ability through whom the full submission is going to be undraped to the trendy audience and readers. The poet has emphasized the supernatural framework to undermine the standard values of romance, that mostly revolve around the celebration of human love and adoration.
24. Conlan Carter (2014) efforts to evolving language into a physical kind and no different play; however, The Tempest best embodies the meeting of strange places and folks. Within the example of his plays, Shakespeare used language to transform and shift an audience’s perception of the globe because the play unfolded on the stage. In the Tempest, playwright utilizes his power as a writer to construct a world during which the temporary, the physical, and therefore the theatrical appear to mesh into a tale of profound vengeance and reconciliation. The magic power of words keeps this play during a constant state of the amendment. This transformation makes it attainable for alien worlds to collide, alliances to create a chance quickly, and perceptions to shift. However, in time, Prospero’s understanding of the globe is modified, and he renounces his magic altogether. As playwright last play, The Tempest commonly publicized as distinctive from the body of his later mature plays. The magic that inhabits the globe of the play solely functions vehicle for the figurative language that perpetually shifts the audience’s perspective on the events and characters on stages. The Tempest is Shakespeare’s purposefully works in grand metaphor and challenges traditional plot structure to endow the words of the play with a more substantial burden of ambiguity. This ambiguity allows such dramatic character changes to occur.
25. Charini Urteaga (2014) analyzed two articles one is written by a Shri Lankan, J.Tilakasiri, “Kalidasa’s poetic Art and Erotic Traits” brings to attention that the majority all of the acts in Shakuntala embody erotic poetry and another is by P.P. Sharma from portrays the practice art raised in Shakuntala in his article, “Kalidasa’s Sakuntala: some Sidelights.” This essay can look in additional depth into the common theme of each article gift concerning Shakuntala, which incorporates relevancy nature, Kalidasa’s portrayal of affection, and faith as the central theme. It is necessary to clarify the critical idiosyncrasies of the nataka, since it lost tons of that means, together with non-secular and cultural traits throughout translation to different languages. Kalidasa’s Shakuntala discovered as a climax of poetry being complex with nature. Love is being painted in all told forms, not solely the love between Sakuntala and Dushyanta. Religion is the central part of Kalidasa’s plays, more so than present-day plays. It is necessary to speak the inventive references Kalidasa has embossed in his work, to spot and luxuriate in the rasa engulfed in them. Designed with several erotic verses, Shakuntala could be a masterpiece created by the poetic genius, Pandit Kalidasa, that several specialists tend to confer with because of the Shakespeare of Indian poetry.
26. Dr.Chung Chin-Y (2014) assessed that Prospero’s magical powers are a God-like creator who seeks not to imprison and subjugate his subjects to bend them to his will but to redeem them and lead to their ethical betterment and growth. As was seen in his arrangement to provide Caliban education, he arranges to discipline Ferdinand through hardship, and he arranges to bring Alonso and Sebastian towards penitence. A postcolonial reading highlights victimization as violence while not acknowledging the redemptive nature of civilization as Alonso and Sebastian learn that sin has consequences, as will Caliban once he is admonished by Prospero when he tried rape of Miranda. So it is true that Prospero tyrannically subjects all his subjects on the island to hardship; however, it is for his or her betterment and ethical growth that Prospero additionally needs. Thence Prospero is not a mere tyrant; however, like God, a lecturer of lessons through the suffering that he brings concerning to instill discipline, penitence, and ethical growth in his subjects.
27. Danielle Kellar (2014) presents The Tempest, like several of William Shakespeare’s alternative works, is stuffed with symbolism, Shakespeare uses water, books, and magic not solely to form feeling and feelings for the audience to expertise whereas looking or reading his play, he additionally uses these symbols to specific his feelings concerning politics, his career and, to create a comment on the planet around him. As we see, symbolic pictures are apparent throughout the story The Tempest. Water is the primary concentrate, emotionally, and lack of management against more significant powers. Shakespeare’s use of magic permits him to create comment concerning the days and occurrences with the continued condemnation of girls and charm, and the way the upper class was out of management. Books were essential and shown to bring information and power. We tend to see through Shakespeare’s use of water, books, and magic to symbolize the numerous other ways William Shakespeare left concerning life, politics, and society.
28. Dr. Shaswati Ghose, Janak Arora, Dr. Poonam Swami (2014) ascertained some similarities and variations in Kalidasa and William Shakespeare’s approach to writing. Wide separated by time Kalidasa’s dramas Abhijnanashakuntalam, Vikramovashiyam, Malvikagnimitra, and Shakespeare’s last plays, i.e., Romances Pericles, Prince of Tyre, Cymbeline, The Winter’s Tale and therefore the Tempest offers several grounds for comparison as way as their use of supernatural concerned. We tend to observe on examining the movement of the action various plays that supernatural occurrences give the impetus for all vital turns of the events in their plays. One factor common between them is that their supernatural power is employed to realize the dramatic purpose. They overcome the difficult junctures in their plays with the assistance of supernatural parts. The happy endings attributed because of the assistance of the supernatural elements. William Shakespeare unanimously believes the speculation of happy endings of their plays; therefore, the happy ending is created potential by the divine paramount the reasonable laws of nature. So the supernatural occurrences serve to accomplish all vital turns in their plays. The paranormal events rework the tragic course of life into associate degree instrument of excellent, and they are by suggesting the thought of providence or destiny that shapes human experience.
29. FPJ Bureau (2014) given his views regarding Kalidasa through views of assorted authors. Kalidasa was doubtless a writer of nature and a person of culture and aware of the fine arts. This, we infer from the amount and character of his allusions to painting and music, in his lyrics and dramas. He was a great world artist of nature whose talent seen in his works. Kalidasa acclaimed as “Indian Shakespeare” who confined his masterpieces of plays, poems, epics, etc. in Sanskrit. Several Western scholars have tried to translate his work; however, the wonder of the initial Sanskrit works of Kalidasa, perhaps, has nevertheless to be captured.
30. Janak Arora (2014) tried to compare the foremost influential writers, Kalidasa, and William Shakespeare. This analysis aims to trace the similarities and dissimilarities in the themes within the significant plays of Kalidasa and Shakespeare. Their works indicate that each of the master’s literature and there is additional similitude than variations between the two of their general outlook and their specific facilities.
31. Jayesh C. Malhar(2014) disclosed the strength of the mind of Shakuntala through the references of Mahabharata and Kalidasa’s play. Shakuntala of Mahabharata’s who stands her ground and speaks up for her rights and on Kalidasa Shakuntala, who is not independent or an autonomous assertive figure as within the Mahabharata, however, tries to argue her case, her faith, self-esteem, patience, virtues all shine through. Shakuntala, in each the Mahabharata and Kalidasa’s play is portrayed as a robust lady, the attention-grabbing facet of the study is that the variations within the similarity. Both characterizations are regarding her strength; however, the approaches of the dramatist are entirely different. The power of Shakuntala within the epic lies in her independent mind, whereas the concentration of Shakuntala within the play lies in her grave and powerful emotions that feed her strength of mind. Therefore people of contemporary generation once reading each Vyasa and Kalidasa’s Shakuntala, will not keep in mind her just for her beauty or her independent characterization and obedience however additionally her strength within the variety of virtues like beauty, forbearance, patience, tender vulnerable, protected by others, as weapons to subsume predicaments.
32. Mitchell Lomax (2014) identified Caliban as a multidimensional personality, repudiating any believed inferiority to his European counterparts. In Shakespeare’s The Tempest, Stephano and Trinculo actively objectify and commodify Caliban but, Caliban’s character does not resonate with such a one-dimensional identity. The psychological barrier erected between the European human and, therefore, the ‘monstrous’ slave is especially evident within the interactions between Caliban, Stephano, and Trinculo, the two European regularly objectify and degrade Caliban to say their preferred embodiments, moralities, and intellects. Throughout the play, Caliban resists the prescribed label of ‘thing’ and exotic oddment and demonstrates his power for language, reasoning, and refined sensibilities. Thus, Caliban’s being in itself repels simplification and commodification, ultimately sticking to the audience a Caliban that is not merely a savage or a ‘thing’ however rather a fancy being. Stephano and Trinculo attempt their best to squeeze Caliban into the tight label of natural, philosophical system being. By going to his natural variations, they commit to justify their superiority and exemplify the fact that they are human, and he is not. The additional to link these physical variations with their perception of his intelligence and civility, selecting to believe that as a result of Caliban is a philosophical system in look, he should even be bestial, noncivilized, and uneducated. Caliban shows the product of this intersection between positive and negative and consequently symbolizes humanity within the Tempest.
33. Ranjan Borthakur (2014) examined the various aspects of environmental awareness as mirrored within the vital work of Kalidasa and its relevancy within the gift severe crisis. Kalidasa, the excellent poet- author, occupies a dominant place in the field of the Sanskrit literature. The description of nature in Kalidasa’s work is an exclusive, majestic, and vital one; he earns worldwide recognition as ‘the writer of nature.’ Kalidasa could be a writer of classical literature, maintenance the tradition relating to the environment. In his all works, Kalidasa establishes himself as an admirer of nature. In his whole literary works, Kalidasa portrays the intimate relationship between man and the environment skilfully. Kalidasa might, sure enough, help beat the threats of the situation and lead the creature to measure in an exceedingly contributive, eco-friendly, pollution aggregation.
34. Suchismita Dutta (2014) highlighted the connection between man and also the environment and a lot of specifically man and even the ‘natural order,’ which understood by studying the relationship between Prospero and Caliban. Shakespeare’s portrayal of the intersection of man and nature within the Tempest widely mentioned. She chiefly centered on the different ideas of up to date ecocriticism that are even by Prospero- Caliban’s relationship. The physical environment plays an associate degree intrinsic part in shaping the individual’s identity, habits, rituals, and ways in which of life. The connection between Prospero and Caliban rings a knell that nature cannot be created to bop to man’s tunes. One will disrupt the creation to abound extent; however, it cannot altogether recreate it. These unchanging characteristics of this very attention-grabbing and barbaric persona of Shakespeare’s lights a new spark within the mind and need a greener reading of the play The Tempest.
35. Shamsoddin Ronyanian and Zahra Sadeghi (2014) explored that Colonization and imperialism are those interesting critical conversations throughout these fascinating, important languages throughout the world, and this study examines, however, English theatre self-addressed, promoted, and now and then challenged ideologies of establishment and notions of civility and civilization. Shakespeare depicts the New World’s indigenous culture in an ambiguous way to both present and questions the doctrines of an empire. This dramatization of the ‘other’ helped sixteenth and seventeenth-century audiences to acknowledge new world indigenous peoples as totally different instead of uncivilized and reevaluate what they have read or heard native peoples. He maintained a civilized audience regarding the truth of Colonization, civility, and also the new world. This theatrical medium makes audiences for challenging those established stereotypes of the modern world natives and perceive them as totally different, not inhuman or monster, and unaware of European language and cultures, however no incapable of being civilized. This ambiguous illustration of both Colonization and colonized encourages the audience to look at colonial debates objectively.
36. Ritu Tyagi (2014) examines the two significant struggles that define postcolonial feminist theory, and distinguish it from postcolonial theory. Firstly, it explores ‘Third World feminists’ resistance against their misrepresentation in the nationalist discourses that imprison their bodies in traditional stereotypes. Second, it analyzes the role of Western feminists in the oppression of Third World women by overlooking questions of race, sex, class, and ignoring the social, historical, and cultural contexts while voicing the concerns of colonized women. By way of a solution to these issues, Third world women do not intend to do away with Western feminism altogether but aspire to a representation that attempts to insert them back into their historical and cultural context.
37. Asit Biswas (2013) aims to prove Kalidasa and Shakespeare as an ecofeminist and also to prove the relevancy of the text of Kalidasa and Shakespeare within the age of ecological crisis and thereby justify the contemporaneity of the two ‘Shakespeares.’ The term ‘ecofeminism’ was coined in 1974 by Francoise D’ Eaubonne, who considers it to be the movement regarding the subjugation and relegation of women and nature as interconnected. Ecofeminism is a branch of eco-criticism, itself a brand new branch that attempts to determine a relationship between literature and also the physical environment. The ecocritical thoughts of Bengali authors are found not in the critical writings; however, within the decorative items of the many authors additionally. The ecocritical interpretation of the Bengali critics makes reread Shakespeare’s plays. The Bengali fairly often seems to be the forerunner of contemporary literary movements; however, sadly, the Indian movements are paid only to those who get a western stamp.
38. Amrita Sengar (2013) delineates drama could be a mimetic illustration of life combining in itself the real and fictional, art and reality, presenting the events and characters among a dimension of space and time, during this analysis researcher probs into the fantastic and pristine tradition of drama in Bharat. Contemporary Indian drama in English translation has created daring innovations and fruitful experiments in terms of each thematic issues and technical virtuosities. Drama in numerous languages shown a marked development and mark a significant accomplishment within the history of Indian drama.
39. Chandrani Banerjee Mukherjee (2013) showed the presence of nature in Kalidasa’s work. Kalidasa, who belonged to Gupta age, deserves close attention as a source for understanding ancient perspective on the link between nature, culture, and society. Kalidasa has judged the action, habits, and behavior of man to the objects of nature. He had set a convention within the classical Sanskrit literary style of nature as a background in which human feelings and fate played out, and nature typically became the symbol of human emotions, aspiration, and frustration. Altogether literary works of Kalidasa’s heroes and heroines play the key roles and have a secure connection with nature. The imperial courtly culture represented by Kalidasa depended on surplus producing villages, which also seen as a gendered subordinate domain in literature and culture.
40. Hau Yu and Chi Ren (2013) tried to prove that the main characters within the Tempest borrow the Biblical archetypes of characters and apply the connection of ‘trinity’ in the Bible in organizing ‘sin’ and ‘redemption’ plots. Therefore, the close relationship between Shakespeare and the Christian culture targeted in the academic world. The influence of Christan culture upon Shakespeare’s is noticeable. The British scholar Burgers points out: “He draws so much water from the well of the Bible; we can say there will be no Shakespeare’s work without the Bible.” The Tempest, which is that the masterpiece of his legendary plays, is penetrated with Christian ideas. Finally, the redemption plan completed through Prospero, Ferdinand, and Ariel. So, it concludes that the “trinity” is that the example each in depicting characters and within the setting of plots in the Tempest.
41. Liesbet Bouckaert (2013) analyzed how Shakespeare transcended from textual content unto the screen, and this thesis will focus on one particular adaption of The Tempest, particularly Julie Taymor’s adaptation of The Tempest (2010). Taymor’s adaptation will be useful in this dialogue for three distinct reasons. A study of this reinterpretation of Shakespeare’s play cannot solely exhibit how The Tempest translates unto the display; however, also how Shakespeare’s rewritten textual content can address cutting-edge concerns and values. He also attempts to illustrate how a seventeenth-century Shakespeare play is changed and reinvented in the twenty-first century, how it evaluates via time, way of life, and style to continue to be relevant as a terrific work.
42. Maria Teresa Marnieri (2013) study aims to analyze the presence of the four elements: water, earth, air, and fire, connected with events and characters in the play, The Tempest. It analyzed whether or not the characters will establish with one component or whether or not they might ambiguously contain the co-existence of them. The elements become even more critical because of their in-depth presence in the play that cannot be generally retrieved with such intensity in other plays by Shakespeare. Considering how important they are, conjointly within the formation of human beings, it appears necessary to better define the illustration of earth and air along with the presence of the older components within the story, water, and fire, beyond any doubt a vital role.
43. Paul A. Di Salvo (2013) efforts to existing how sound and stage technologies carried out in the overall performance of The Tempest, directors have been able to survive audiences with a Prospero that depicted as either more or less of a sympathetic character. The bodily presence of the ship, the sounds and lightning outcomes of thunder and lightning, the talk of the actors, and the use of track have various from the early seventeenth century to the current to enchantment to the audience. The presentation of these elements, especially sound cues and music, prepares viewers to understand the dynamics of Prospero’s electricity and transformation as a character. Through the opening scene, Shakespeare used to be able to intuitively teach the audience to end up higher conscious of the dynamics of Prospero’s conflict between enacting revenge and being sympathetic to the character’s want for independence with his use of music and sound.
44. Robert B.Pierce (2013) located marriages in Shakespeare’s drama in the remaining acts of his comedies and deaths in the tragedies. He is the most traditional of comedian playwright and his plays over and over sneak up on the marriage ceremony, which nearly happens onstage, however not entirely. The explanation for this absence of staged marriage in Shakespeare’s dramatic performances is that he felt something magical, something compelling, in the actual words of the ceremony of marriage, in a way that appears unsophisticated to our age dominated by linguistic nominalism. Thus we can usefully seek to understand Shakespeare’s play as an overall performance that is indeed a performative in Austin’s sense. In one way, it does operate the ceremony of marriage onstage, after all, by collaborating in the conventions, social and theatrical. That creates the reality of that ceremonial act. That authentic overall performance in early cutting-edge London as a performative utterance was once an act of giving with Shakespeare and his fellows, a present that we can acquire in the twenty-first century if we play our phase with generosity and sensitivity.
45. Brittney Blystone (2012) explored in William Shakespeare’s The Tempest, Prospero, and Sycorax are extreme ends in the spectrums of power and gender. Through Prospero, Sycorax symbolizes the whole that may query patriarchy. Sycorax signifies that they exist solely in the male character’s account; however, Sycorax influences the men’s grasp of power because she is absent. In The Tempest, the thinking of real female strength is not accessible if one considers a woman character’s presence on stage as the sole indicator of her influence. Although Sycorax exists only in the male characters’ accounts of her, their thoughts impact their appreciation of power. Prospero constructs Sycorax in contrast to himself, but he solely exposes the contradictions of his patriarchy. Because of Sycorax’s absence, she and Prospero grow to be the extreme opposites of strength and gender in The Tempest.
46. Dr. Pritilaxmi Swain (2012) examined the various ideologies, emotions, feelings and experiences, mental states, the degree of patience, the excellent of forgiveness, etc. of women that time in the society. The ways females react to social situations, a variety of social problems, and how their things to do must be after marriage, everything elaborately explained. Kalidasa is the prince of Indian poets. The image of Sakuntala, as delineated through him, is one of his masterpieces. It informed, “Kavyesunatakam Ramayana tetra Ramya Sakuntala.” In this play, we find richness and fertility of his poetic genius, the exuberance of his imagination, the warmth and match of his fancy, his profound understanding of the human heart, his familiarity with the workings and counter workings of its conflicting feeling, in short, more entitles him to the rank as the ‘Shakespeare of India.’
47. Mr.Sidhartha Sawant (2012) 1. presented the expansion and development of Sanskrit drama and concerning the pioneers of classical Sanskrit drama in India. Bharata, Bhatta, Abhinavagupta, Dhananjaya, Ramchandra, and Asvaghosha, etc. All these are the pioneers of ancient Sanskrit drama in India. Nevertheless, Sanskrit drama, in its long and checkered history, has throughout conformed to those classical norms prescribed by Bharata in his celebrated writing ‘Natya Shastra.’ The best Sanskrit drama intimately associated with stir and manifoldness of the life of a cultured class of people like sage Bharata. The same tradition continued by other prominent scholars such as Bhasa, Shudraka, Kalidasa, Harsha, Bhavbhuti, and Vishakadutta, and their creative Sanskrit works are the product of vigorous creative energy as well as sustained technical excellence.
48. Sayantani Saha (2012) showed Peter Greenway, a British film director’s attempt to an atypical reading of William Shakespeare’s The Tempest in Prospero’s books (1991). A reinterpretation of cinematic techniques, time, space, setting and costumes, the adaptation is interesting for its “self-conscious concern with performance and cinematic assemblage.” The film explores all aspects of filmic adaptation and brings together an extraordinary depiction of a Shakespearean play. The film does not modify much of the original text; it slightly enhances the book stylistically, as Greenaway employs his cinematic experiences and makes it an extraordinary depiction of Shakespearean play.
49. Catherine Curie and Ian Neal (2011) discussed the representation of astrology, astronomy, and folklore, surrounding the moon, in King Lear, A Midsummer Night’s Dream, and The Tempest. It consists of a clarification of types of astrology and astronomy practiced all through the renaissance while discussing their representation inside the three plays. This paper indicates how Shakespeare’s references to astrology and the folklore surrounding it reflect the social, historical, and cultural significance of his work at the time, and therefore the importance of Shakespeare and his place in English Literature. Shakespeare’s works reflect the day’s thinking from the acceptance of judicial astrology in Queen Elizabeth’s court to the renunciation of it in the court of King James first. An analysis of the theme ‘Shakespeare and the spheres’ over just these three plays, gives a clear indication of how Shakespeare’s work reflected the social, historical and cultural arguments and thinking of his time.
50. Blake T. Hilton (2011) asserts the congruence of French and U.S. colonialism’ psychological effects, thus providing a cogent route to the application of Fanon’s theories. This article provides a breviloquent biography of Fanon’s life to afford insight into the development of his theories and furnishes a review of his relevant literature. In an attempt to unveil the guises of oppression endured by the Native American, a historical account of distinctive illustrations of Native American oppression conjointly incorporated. Based on Fanon’s theories, the etiology of several mental illnesses. The French psychiatrist Frantz Fanon was a prominent psychological analyst of oppression during the 20th century, focusing his predominantly on the oppression of the black Antillean as well as the Arab of Algeria.
51. Siddharth Sankar Roy (2011) states that Racism is the belief that characteristics and skills attributed to humans based on their race and that some racial groups are superior to others. Racism and discrimination have been used as effective weapons encouraging worry or hatred of others in times of fighting and war, and even throughout economic downturns, racial tension pervades for the duration of the play. The Tempest as Prospero and Caliban are the two most vital characters in this play, which are the two factors of our discussion. After discussing all these matters, it is evident that The Tempest is an allegory where Racism is the primary theme. Thus Racism and the persona Caliban are intently connected. Caliban is often referred to as a monster through the different characters in this play.
52. Tripti Mund (2012) attempted to establish the theory of Rasa in Kalidasa’s major play Shakuntala. It conjointly offers a quick sketch of Kalidasa’s life and also the place of his origin and his works and with the reference of predecessors who influenced Kalidasa and his successors and his influence on them and Kalidasa as poet and dramatist. Finally, it shows how far he was successful in applying the rasa doctrine in his plays, Shakuntala. It aims to bring the audience a way of tranquillity almost of the level of a mystique’s meditation, and the production of rasa is one of the main functions of drama. So Kalidasa’s Shakuntala could be a repository of mixed races.
53. Amanda Mabillard (2010) explained The Tempest is a play about reconciliation, forgiveness, and faith in the future generation to seal such agreement. He also examined the theme of forgiveness is the heart of the drama, and the major characters in the play, specifically Prospero, illustrate that there is little actual forgiveness and reconciliation in The Tempest. At the end of the play Shakespeare no doubt understood that ending the play with this sour meeting would leave the reader wanting, so he crafts the union of Miranda and Ferdinand as a vehicle by which the two fathers can further their reconciliation. Alonso and Prospero have a good time together as the play comes to a close. Ultimately the traditional happy ending befitting a Shakespeare’s comedy, and we are left with the feeling that true forgiveness and reconciliation have not been realized. The most crucial Christian lesson on the true nature of forgiveness can be found in The Tempest.
54. K.Sujatamalini (2010) presents a comparison between Shakespeare The Tempest and Kalidasa’s Shakuntala. She tried to sum up the discussion proving that Shakespeare and Kalidasa have several similar traits. The theme of love, reconciliation, nature, philosophical truths, humor, pathos, values of life, artistic device, and stage techniques are similar in the dramas of both the dramatist. Their characters are real human beings with common human weakness and virtues. Kalidasa and Shakespeare, as perfect literary artists, have greatly influenced the world of thought and action through their dramas. Their dramas show an unrivaled elegance, felicity of expression, mastery of rhythm, and melody.
55. Virginia Laura Scocchera (2010) analyzed the various topics concerning mainly social issues such as power, ambition, and slavery. Throughout the play, Shakespeare includes several similar patterns that help us discover and thoroughly understand the main themes of The Tempest. Shakespeare also consists of another problem that the world is experiencing, particularly in the new lands that were discovered slavery and fairness issues in The Tempest. The parallel construction determines the themes that Shakespeare wants to denounce, that is, power, betrayal, and slavery by recognizing the analogies inside the play, the reader will be able to understand the main issues of that time regarding The Tempest as an everlasting masterpiece.
56. Kevin Gilvary (2007) considered the basics for talking The Tempest to be an Italian comedy, especially a pastoral comedy derived from the commedia dell’arte. There has been widespread agreement that there is no known source for the plot; some believe that Shakespeare invented the scheme himself other asserts that the plot is derived from a wide variety of similar folk tales. The resemblance between The Tempest and the three scenarios described above make it almost sure that the play was initially conceived as an Italian pastoral comedy.
57. Lawrence E. Bowling (2007) described almost every character in The Tempest is responsible for one or more infractions of the natural order. Prospero’s restoration of the natural law is accomplished partly by supernatural means, and the tendency has been to exaggerate the strangeness of these supernatural elements at the expense of their more profound significance concerning the central theme. In Shakespeare’s plays, supernaturals used to give further amplification and extension to the natural. The Tempest proves to be an extraordinary intellectual and realistic work, dealing with a group of characters who find themselves and become harmoniously readjusted by returning to their proper positions in the natural order.
58. Jchaks2001 (2006) attempted a comparative study of the translations of Shakuntala, focusing on the interpretations of William Jones ‘Sacontala to The Fatal Ring’ (1789) and Chandra Rajan’s ‘The Recognition of Sakuntala'(1989). However, this study is not limited to these translations only but also attempted to examine the interpretations of Ryder and Miller briefly. These translations could imbibe the atmosphere of the hermitage, the pastoral imagery and the sacraments of ancient India, to bring out a living picture of Kalidasa’s age. The grandeur of Kalidasa’s poetic art and dramatic craft have attracted many western and eastern transformations of his art in the languages of the world.
59. Rajendra Chettiarthodi (2005) elucidated the humanization of nature in the works of Kalidasa. Kalidasa’s poetry also consists of another type of deeper engagement in the environment, which does not fit in the conventional framework. The main reason for this is that Kalidasa instinctively and consistently humanizes nature to a degree unseen in any other poet. Nature here ceases to appear as a mute spectator witnessing the human drama, but as a living presence, partaking in the joys and sorrows of the sentient world. Kalidasa usually portrays the human emotion spilling over to nature around which, in its humanized form, becomes sympathetic to man’s feelings.
60. Miguel Angel Gonzalez Campos (2004) analyzed the way the multi-layered myriad of treasons is presented in The Tempest, paying particular attention to the strategies used by the Duke of Milan to validate his view of things, approaches which have effectively worked until recently on generations of literary critics who had considered Prospero as the one betrayed, such as he depicts himself, rather than the traitor. In Elizabethan drama, treason was a dramatic device of paramount importance. Most of Shakespeare’s work depends on at least one act of treason. But despite its significant presence in those plays, it is probably in The Tempest where the representation of betrayal reaches one of the highest points of complexity and sophistication in Rennaissance drama. The Tempest appears to us as a politically radical intervention in this dominant contemporary discourse that shows and demystifies those official strategies.
61. Shobhana Devi Panday (1996) focused on Rasa in Kalidasa’s literature as a subject of study. She presents a critical appraisal of Kalidasa’s Abhijnanashakuntalam along with the example of his other writings in the light of Rasa. It is a crucial portion of their books and clearly illustrates Kalidasa’s supremacy as a rasavadan and a poet of life. It is noteworthy that Kalidasa’s accomplishment of rasa in Abhijnanashakuntalam is unimpeded. This attests to Kalidasa’s maturity as a poet and efforts to examine the elements of rasa, which is an integral part of the poet Kalidasa’s works and constitutions the very life and soul of his works.

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