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the expense of persecution, marginalization, and oppression, making them “an indefatigable counterrevolutionary and as a sexual and political dissident” (Ocasio 9).
As part of the postcolonial moment, Caliban is a diasporic and migratory subject who belongs nowhere and, at the same time, is everywhere. He is transitory with no connections to time or space. The idea of Caliban as the image of the New World native is appealing because his image signaled the breakdown of cultural and territorial boundaries. This explanation points to his numerous incarnations in performances during and after Shakespeare’s time. An awared audience could figure out that Shakespeare’s play was an interpretation of European colonialism in the New World (Takaki 895–896). As a result, The Tempest is an interesting and fascinating story about the colonization and development of an empire in the Americas (892). George Lamming describes the importance of Caliban in relation to his future descendants in the Caribbean and their conditions as exiles from their original culture and homeland. He argues that Caliban represents something other than a simple man. Caliban has been transformed because of Prospero’s intervention. Prospero, as any colonialist, manipulated the native inhabitants by civilizing and saving them from themselves. Lamming writes, “Caliban is his convert, colonised by language, and excluded by language. It is precisely this gift of language, this attempt at transformation which has brought about the pleasure and paradox of Caliban’s exile” (15). Caliban’s deterritorialization is conducive to the center/periphery dichotomy because it delineates the positions and conditions of marginalized subjects within a colonial state.
The study of Shakespeare’s last play as an anecdotal account of seventeenth-century first-contact protocol served as the basis for the understanding of human relations and, as a consequence, the establishment of a power hierarchy that endured for centuries.