Despite his portrayal, he also has moments in which he delivers beautiful speeches, such as in -Act 3, Scene 2
The fact that neither Caliban nor Sycorax are native to the island, but were exiled there in much the same way as Prospero and Miranda, is often overlooked in this view.
The most well known example of this post-colonial interpretation of the character is the play "Une Tempete" by Négritude poet Aimé Césaire. In the following lines from Césaire's play, Caliban, acting as a symbol for the colonized and oppressed, confronts Prospero, here cast as the European colonizer:
For years I bowed my head
for years I took it, all of it--
your insults, your ingratitude...
and worst of all, more degrading than all the rest,
But now, it's over!
Over, do you hear?
Of course, at the moment you're still stronger than I am.
But I don't give a damn for your power
or for your dogs or your police or your inventions!
Prospero, you're a great magician:
you're an old hand at deception.
And you lied to me so much,
about the world, about myself,
that you ended up imposing on me
an image of myself:
underdeveloped, in your words, undercompetent
that's how you made me see myself!
And I hate that image...and it's false!
-Act 3, Scene 5
In this version, Caliban rejects Prospero's offer to return to his master's service; and the play ends with Prospero's eventual defeat and seclusion to the Island, away from the family and friends that left him.
Robert Browning wrote one of his dramatic monologues from the point of view of Caliban, Caliban upon Setebos, in which he views Caliban as a Rousseauvian "natural man." Caliban also gives a lengthy monologue in the style of Henry James in W.H. Auden's long poem The Sea and the Mirror, a meditation on the themes of The Tempest.
Ernest Renan's philosophical drama Caliban represents the struggle between aristocratic and democratic principles, represented by Prospero and Caliban.
In John Fowles' novel The Collector, one of the main characters, Miranda, constantly compares her abductor, Frederick Clegg, to Caliban. He reminds her of a monstrous savage, deprived of any human emotion.
In P.G. Wodehouse's novel Jeeves and the Feudal Spirit Percy Gorringe, a poet, is mocking the crude Stilton Cheesewright in a poem called Caliban at Sunset.
In James Joyce's novel, Ulysses, Malachi "Buck" Mulligan compares Stephen Dedalus with Caliban. This reference becomes ironic because Stephen feels oppressed by Mulligan and Haines in his own house (like Hamlet and Telemachus). Also, the analogy becomes a political reference in terms of the Irish desire for "Home Rule" in place of British occupation.
"The rage of Caliban at not seeing his face in a mirror, he said. If Wilde were only alive to see you!" - Ulysses, Chapter One: Telemachus
In Jeanette Winterson's novel Written on the Body, the narrator compares herself to Caliban, chained to a rock, ostensibly by love.
"Caliban" is also the name of the main character in Rob Thurman's book, Nightlife who is half human and half monster.
"Caliban" is also the alias of the protagonist in Michael Pryor's 1996 novel The Mask of Caliban.
Nineteenth-century Russia is referred to as the "Caliban of Europe" in Tom Stoppard's play The Coast of Utopia.
In the Swedish animated film Resan till Melonia, which is very loosely based on The Tempest and has a strong environmental theme, Caliban is depicted as a creature made entirely of vegetables.
In the 1956 American science fiction film Forbidden Planet, which is loosely based on The Tempest, "The Caliban" refers to the deadly and powerful so-called "id monster" that was subconsciously unleashed by Dr. Morbius using the ancient Krell machinery.
"Caliban" is also used metaphorically in a Caribbean History book by Harvey Neptune entitled Caliban and the Yankees.
The video game Silent Hill: 0rigins features a monster known as 'Caliban' that is described as someone's 'twisted memory of The Tempest.'
The film Clash of the Titans features a creature named Calibos which bears more than a passing resemblance to Caliban.