photoshop making the rounds. I guess we can thank John Heartfield and the Berlin Dada for the original altered art collages of the powers to be and that wanna be. But satire, at heart is an acceptance, perhaps transgressive, but an acknowledgment of the system, the current structure of government despite the savagery of the dissent, but poking at this piece of cultural dialog reveals far older roots than Los Angeles pop culture…
But, aside from the obvious poke at political satire, there is something more meaningful at work here in tying ambitious political candidates to the mast- of perhaps a ship of fools- of a marooned ship. Briefly, Gilligan’s Island was an allegory of Shakespeare’s Tempest with the Island being symbolic of America. Briefly, Prospero, a Milanese duke was forced into exile on a remote island with daughter Miranda through the machinations of his brother. They live off the fat of the land in the Brave New World of liberty and freedom where the manna is low lying and available to all regardless of station in life or the entitlement of birthright.
We are merely cheated of our lives by drunkards:
This wide-chapp’d rascal–would thou mightst lie drowning
The washing of ten tides!
He’ll be hang’d yet,
Though every drop of water swear against it
And gape at widest to glut him….
A confused noise within: ‘Mercy on us!’– ‘We split, we split!’–‘Farewell, my wife and children!’– ‘Farewell, brother!’–‘Weit, we split, we split!’
Let’s all sink with the king.
What the Tempest also reveals is that man’s elitist structure and desire to colonize and subjugate the natives runs counter to the ideology of emancipation for all. In fact, it may be a pretext to further patriarchy- Miranda is totally integrated into the patriarchal order as an object of barter-much the same as America today struggles between an emancipatory vision and old world stratification where European conflicts receding back in time played out as “new” struggles in the new frontier.
…Shakespeare’s Prospero, far from renouncing dynasties, grasps unswervingly to regain his stolen Dukedom. Utopian New World possibilities notwithstanding, Miranda ultimately marries still another gorgeous, European heir. Today, such fantasies are not dead.
Nor can it be forgotten that Prospero and Miranda also have company in their idyll. Their bliss comes at the expense of the dark-skinned native Caliban, for whom the chance to learn English is cold comfort when compared to the dispossession and forced labor to which he’s subjected by the European newcomers.
“This island’s mine” he poignantly insists — as if to suggest Shakespeare himself foresaw the cruel exclusions America would exact on Native Americans, African-Americans, Latinos and others, as well as the violent struggles that would result. Read more: http://www.post-gazette.com/pg/11304/1186315-109-0.stm#ixzz1lTdeWZvWa
We all remember the episode of Gilligan’s Island in which the cast performs a musical version of Shakespeare’s Hamlet. Yet it’s impossible to understand the show without grasping that the entire series finds its origins in a different play, The Tempest, and each castaway represents a character from Prospero’s Island. (Both Thurston Howell III and the Professor claim different aspects of Prospero’s personality, for example. Moreover, Ginger = Ariel, Mary Ann = Miranda, Gilligan = Trinculo, Skipper = Stephano, Lovey = Caliban.) Other classic sitcoms borrowed from the Bard, too, albeit somewhat less blatantly, and in episodes that aren’t often re-run.Read More:http://billmadison.blogspot.com/2008_09_01_archive.htmla
Shake it off. Come on;
We’ll visit Caliban my slave, who never
Yields us kind answer.
‘Tis a villain, sir,
I do not love to look on.
But, as ’tis,
We cannot miss him: he does make our fire,
Fetch in our wood and serves in offices
That profit us. What, ho! slave! Caliban!
Thou earth, thou! speak.
[Within] There’s wood enough within.
Come forth, I say! there’s other business for thee:
Come, thou tortoise! when?