A Romance Play
What type of Shakespearean play is The Tempest?
"All lost!"
The Mariners are unable to control anything during the storm. (Act I)
"to prayers"
The Mariners are very religious during this moment of chaos. (Act I)
"Yet again? What do you here?" and "Work you then"
The Boatswain has knowledge power over the other characters during the tempest. (Act I)
"Let's take leave of him."
Sebastian's disloyalty to his brother, Alonso, the King of Naples is established . (Act I)
Gonzalo
Who tells Antonio and Sebastian that they should "assist them" in regards to the King and Prince's prayers? (Act I)
They are "at prayers"
What are the Alonso and Ferdinand doing in Act I?
Antonio
Who says "I am less afraid to be drowned than thou art"? This reflects their view of how wealth gives them power.
"Stand fast, good Fate."
Gonzalo's religious belief separates him from the other godless noblemen.
Act 1
The Act in Shakespearean comedies in which personal identity and social hierarchy is often lost or reversed
Act 5
The Act in Shakespearean comedies in which personal identity and social hierarchy is restored, often through a party or a wedding
Becoming tragedies
Something Shakespeareâs romance comedies all have the potential of
âI have suffered with those that I saw sufferâ
âthe cry did knock/ Against my very heartâ
Mirandaâs introduction as kind and caring
âHad I been a god of powerâ
Miranda wonders about power in Act I Scene II
âno harm doneâ
Prosperoâs response to Mirandaâs concern in Act I Scene II
âI have done nothing but in care of theeâ
Prospero and Mirandaâs protective relationship in Act I Scene II
âpluck my magic garment from meâ
Prosperoâs clothes have power in Act I Scene II
âperishedâ, âsoulsâ, âcompassionâ, âgod of powerâ. âpiteousâ, âperditionâ
Lexical field of religion Act I Scene II
âliberal artsâ, âsecret studiesâ
Lexical field of magic Act I Scene II
âThe creatures that were mine, I say, or changed âemâ
Pride and status Act I Scene II
âset all hearts iâ thâ state/ To whatever tune pleased his earâ
âivyâ
âmaster of a full poor cellâ
âfalse brotherâ, âevil natureâ
Antonio stole Prosperoâs position
âMe, poor manâ
Prospero sees himself as a victim
âmy books⊠which I prize above my dukedomâ
Prospero was a poor ruler
âTo answer thy best pleasureâ
Ariel willingly submits to Prospero in Act I Scene II
âHell is empty,/ And all the devils are hereâ
Arielâs view in Act I Scene II
âstill-vexed Bermoothesâ
The Bermudas, links to colonialism
âMy libertyâ
Arielâs goal for the play
âmalignant thingâ, âshe [Sycorax] did litter hereâ, âwhelpâ
Prospero dehumanises Caliban in Act I Scene II
âThey being penitent/ The sole drift of my purposeâ
Prospero being seen as God offering forgiveness
Shakespearean tragedy written in 1603
Othello
From Shakespeareâs âThe Merchant of Veniceâ
Shylock
Christopher Marloweâs play, includes magic
Dr Faustus
âYou taught me language⊠I know how to curseâ
Caliban is defiant of Prospero in Act I
âHe does fetch our fireâ
Caliban is used as a slave
âtortoiseâ, âabhorrdâ, âfilthâ, âpoisonousâ, âvillainâ, âdevilâ
Caliban is further dehumanised in Act I Scene II
âThis islandâs mine, by Sycorax, my motherâ
Caliban feels ownership over the island
âI loved theeâ
Caliban and Prosperoâs complicated relationship
âMine would, sir, were I humanâ
Ariel as Prosperoâs conscience
âIâll drown my bookâ
âIâll break my staffâ
Prospero gives up his magic
âmy modesty/ The jewel in my dowerâ
Miranda recognises the power of her virginity
âI had peopled else/ This isle with Calibansâ
Calibanâs view of Miranda
âsome defect in her/ Did quarrel with the noblest grace she owedâ
Ferdinandâs view of women
âmany a lady/ I have eyed with best regardâ
âI likâd several womenâ
The double standard between Ferdinand and Miranda
âSo perfect and so peerlessâ
Ferdinandâs idolisation of Miranda
âdare not offer/ What I desire to give, and much less take/ What I shall die to want.â
âbashful cunningâ
Miranda cannot openly express her desires
âI am your wife, if you will marry me;/ If not, Iâll die your maidâ
âIâll be your servantâ
Mirandaâs loyalty in Act III Scene I
âHow beauteous mankind isâ
âO brave new worldâ
Mirandaâs naivety in Act V
âluggageâ and âtrashâ
Calibanâs view of Prosperoâs power (through his clothes")
âmonsterâ, âmoondogâ, âservant-monsterâ, âfoot-lickerâ, âpuppy headedâ
Ways Caliban is described throughout the play
ânot a holiday fool there but would give a piece of silverâ -Trinculo
âheâs a present for any emperorâ - Stephano
Trinculo and Stephano aim to exploit Caliban
âYou taught me language. and my profit on ât/ Is, I know how to curseâ
Caliban is openly defiant to Prospero
âKiss the bookâ
Stephano uses alcohol to control Caliban
âIâll kiss thy foot. Iâll swear myself thy subjectâ
Caliban imposes himself in a subordinate role
âa plain fish and no doubt marketableâ
Antonio discusses Calibanâs exploitation
âmy charms Iâll breakâ
Prospero releases the nobles in Act V