the Tempest quotes
Act 1 Scene 1:
“tempestuous noise of thunder and lightning heard”
Boatswain: “Blow til thou burst thy wind” [to the King] “Keep below!”
Boatswain: “what cares these roarers for the name of king?” “Use your authority!” “Out of our way, I say!”
Gonzalo: “good fate, to his hanging; make rope of his destiny our cable.”
G: “we split, we split, we split!” “I would fain die a dry death” (dental alliteration, assonance)
Act 1 Scene 2: Prospero and Miranda discuss
Miranda: “My dearest father, you have put the wild water in this roar, allay them” “the sky would pour down a stinking pitch.” “I have suffered with those that I saw suffer” (polyptoton, mirroring her suffering w/ shipwreck) (caesura, breaks confusion) “had I been any god of power”
Prospero: “Done nothing but in care of thee, of thee, my dear one, thee my daughter, who art ignorant of what thou art.”
P: “not so much perdition as an hair.” (Perdita (The Winter’s Tale)keeping daughter safe unlike Leona)
P: “Thy father was the Duke of Milan and a prince of power” (political power, GCOB)
P: “my state grew stranger” “rapt in secret studies” (magic, Daemonologie By J1)
P: “new created the creatures that were mine” (playing god, ownership, entitlement)
P: “ivy which had hid my princely trunk and sucked my verdure out on’t.” (Attacking, parasite, usurpation)
P: “me and thy crying self” [m]
P: “to cry to th’ sea that roared to us.” (Metaphor, animalistic roar, danger)
P to M: “cherubin” “preserve me” (salvation, safety)
P: “bountiful fortune (Now, my dear lady)” (secular idea of fate personifying fortune as a lady)
P: “most auspicious star, whose influence if I now [..] omit, my fortunes will ever after drop” (astrological imagery, Prospero’s magic, science=magic?)
Act 1 Scene 2: Prospero and Ariel
P: “come away, servant, come; I am ready now. Approach, my Ariel. Come.” (Forcing her to sleep, controlling/loving father)
Ariel: “All hail, great master; grace sir, hail” (subservience, obedience)
A: “the fire and cracks of sulphurous, roaring, the most mighty Neptune seems to besiege, and make his bold waves tremble, yea, his dread trident shake.” (Semantic field of destruction, reflects surging of storm in hyper metric)
A: “hell is empty and all the devils are here.” (Dr Faustus) (baptism)
P to A: “how now? Moody?” Angry tone, questioning, aggressive
A: “my liberty” (reply to P “what is’t thou cast demand?”) (P answers: “No more!” Harsh rebuttal)
A: “I do not, sir” “no.” Minimal words, submissive, stubborn, slowing of iambic pent.
P: “blue-eyed hag was hither brought with child and here was left by th’ sailors.”
P to A: “a spirit too delicate” (contrast Mephistopheles) (fragile, sensitive, noble)
“Save for the son she did litter here, a freckled whelp, hag-born” (cannibalism, dehumanising, canine imagery)
P to A:“Peg three in his knotty entrails til / Thou hast howled away twelve winters” (same treatment as Sycorax, moral ambiguity)
A: “That’s my noble master” “What shall I do? Say what? What shall I do?” Rep., willing to perform)
P to A: “invisible” “take this shape” (no substance, air Ariel, metamorphosis)
Act 1 Scene 2: Prospero and Caliban
P to A: “poisonous slave, got by the devil himself upon thy wicked dam; come forth!” (Derogatory, serpent from Eden ironic given P’s magic, corruption, victimhood)
Caliban to P: “A southwest blow on ye and blister you all over.” (Curse, hateful, storm in effect, magic’s danger, Daemonology book by J1)
C to P: “And I loved thee” “the fresh springs, brine pits, barren place and fertile.” “Cursed be I that did so.”
P: “whom stripes may move” (whips? Punishment, inhumane, publishment not redemption)
P: “seek to violate the honour of my child” (post col. bloodline, complexion, “other”)
C to P: “Would ’t had been done!”
M to C: “abhorrent slave”(not innocent) “I pitied thee” (female empathy) “savage” “most brutish” “I endowed the purpose with the words that made them known” “Thy vile race, had that in it, which good natures could not abide be with.” (Natural slave)
C to P: “you taught me language, and my profit on it is, I know how to curse.” (Hegemony is the Root of all profit, betrayal benefits, Prospero, scathing irony, intimacy of relationship, parental, assimilation, cultural, hegemony.)
P: “I’ll rack thee with old cramps” “make thee roar that beasts shall tremble at thy din” (animalistic, contrast to teaching eloquence, torture/punish, sadistic punishment)
Act 1 Scene 2: Ariel and Ferdinand
A [sings] “come unto these yellow sands”(Virgil’s Aeneid- hero goes to die, classical grandeur of tragedy) “curtsied when you have, and kissed” (romantic imagery)
Ferdinand:“I’th air, or th’ earth?”(contrast w/ past eloquence) “Allaying both their fury and my passion with its sweet air” (music, blaring, senses w/ seduction)
A [sings] “doth suffer a sea-change into something rich and strange. Sea nymphs hourly ring his knell.” (Supernatural, distorted, implied ugly, foreign, inhumane, link to Drake’s circumstances) (marine imagery)
Act 1 Scene 2: Prospero and Miranda
M: “it carries a brave form, but ‘tis a spirit” (attractive, supernatural, naivety)
P: “it eats” “he’s something strained” “mightst call him” (change of pronouns, dehumanising, gradual, acceptance, strangeness to familiarity”
P: “As my soul prompts it” p as director, Shakespeare’s proxy in the tempest)
P [aside] “at first sight, they have changed eyes” (love, physical pleasure, visual)
P [aside] “lest to light winning, make the prize light” (unchastity, no value, chiasmas)
M go F: “There’s nothing ill can dwell in such a temple” (devotion, loyalty, religious )
P to M: “my foot my tutor?” (Women as under man’s foot, inferiority)
M to F: “ my fathers of a better nature, sir, then he appears by speech.” (Appearance. Reality, dycotoves, idea of false appearance)
Act 2 Scene 1:
Adrian: “it must needs be of subtle, tender and delicate temperance.” (Soft detail alliteration (T sound): link ariel “delicate” pure, attractive from delicious “to entice”, affinity between Ariel and island)
Adrian: “air breathes upon us here most sweetly” (personification, musicality of air)
Gonzalo: “how lush and lusty the grass looks! How green!” (Edenic imagery)
G: “our garments [..] drenched in sea [..] being rather new dyed than stained with saltwater” baptism, redemption, restoration, renewal of hierarchy foreshadowed.)
G: “not since window Dido’s time” (link. Aeneid, queen of Carthage, killed herself when lover leaves her, Montaigne’s essay ‘Of Diverting and Diversions’ Dido connected to shipwreck, loss and consolation)
Alo: “o thou mine heir Of Naples and of Milan, what strange fish Hath made his meal on thee?” (Parallel to how F thinks Alo is dead)
Sebastian: “Sir, you may thank yourself for this great loss” (insubordination, social disorder) “not bless our Europe with your daughter [..] rather loose her to an African” (connotations of competition between Africa/Europe, objectification, post colonialism, political alliances via marriage common, H8+EOY )
G: “Had i plantation of this isle, my lord-“ (colonial ownership, Montaigne’s essay ‘Of the Canibales' congrats Brazilian Indians with European ways)
G: “No occupation, all men idle, all; And women, too, but all innocent and pure; no sovereignty.” No monarchy, no marriage, no landowners, nonwork, no war, laziness, indolent, useless, anarchy - bordered on treason to reflect islands lack of structure, )
Antonio: “Worthy, Sebastian, O, what might -? No more; And yet, methinks I see it in thy face What thou shouldst be.” (caesura, suspense, reluctance, wondering imagination)
Ant: “my strong imagination sees a crown / Dropping upon thy head” (link to Macbeth, visualisation of tragic motif, drops onto next line= overflowing imagination)
Ant: “And look how well my garments sit upon me” (guilt free, status, betrayal)
Ant: “Twenty consciences [..] candied be they and met see they molest!” (Overt ownership about being villain, malleable conscience, link Don John in Much Ado “I am a villain”, alliterative pairing, destain for conscious)
Act 2 Scene 2:
C: [Enter Caliban with a burden of wood; a noise of thunder heard] (enslaved, tension, menace, Prospero’s anger)
C: “but they’ll nor pinch, fright me with urchin-shows, pitch me in the mire, nor lead me, like a firebrand in the dark” (revenge for sexual violence, respectable way to treat a brute? E.g. bear baiting, ironic role of English, biblical image which shwos Christianity as the way to save Indians/inhumane people)
C: “sometime like bales that mow and chatter at me and after bite me”
Trinculo: “A strange fish!” (Comic+main plot themes, Aristotle’s Bestial Man)
T: “they will lay out ten to see a dead Indian” (othering, exoticisation of Indians, 2 Indians in a 200 in St James Port 1519)
T: “legged like a man and his fins like arms!” (Missing link (Wilson) by Darwin)
C to Stephano: “that’s a brave god and bears celestial liquor. I will kneel to him.” “I’ll kiss thy foot. I’ll swear myself thy subject”
Act 3 Scene 1:
M: “I’ll bear your logs the while.” (Comic effect, M stronger, disruptive to gender norms)
F: “Admired Miranda! Indeed the top of admiration, worth What’s dearest to the world!” (Superlative, definition of her name)
F to M: “so perfect and so peerless, are created of every creatures best” (deletion, alliteration, plosive, hyperbolic, no one to compare to, exploiting naivety)
M: “by my modesty (the jewel in my dower)” (metaphor, Madonna whore complex)
M: “Nor can imagination form a shape, Beside yourself, to like of.” (Nativity, innocence, childlike purity)
F to M: “a prince, Miranda; I do think a King (I would not so!) and would no more endure this wooden slavery.” (Semantic field of class, hierarchy to transition from elite to slave, contrast with Antonio, fatherly love trumps status, respect hierarchy)
M to F: “my heart fly to service, there resides To make me slave to it” (echos P+A’s interaction 1:2, Ariel servant, A flies) (redemption in slavery, C+A+F slaves)
F to M: “Am i this patient log-man” (contrast w C who raped M)
F to M: “what best is boded me to mischief” (hyperbolic)
P [aside] “heavens rain grace on that which breeds between ‘em” (dynamic implications of union, heir to Naples and Milan)
M to F: “At mine unworthiness that dare not offer What I desire to give, and much less take What I shall die to want.” (Inferiority - meekness/reserve - subversive (Sanchez) - melodrama, sex in Eros and Thanatos Pregnancy)
M to F: “prompt me plain and holy innocence! I am your wife now, if you will marry me.” (M is played by director P, Treaty of spousal + legal marriage)
M to F: “I’ll die your maid” “I’ll be your servant Whether you will or no” (virginity, servant, mutual submission, “make me slave to it” F)
F to M: “my mistress, dearest.” (Higher status, changing social order)
F to M: “Ay, with a heart as willing as bondage ever of freedom, here’s my hand.” (Handfasting, love in power dynamics, marriage’s redemptive)
Act 3 Scene 3:
A: “you are three men of sin” (Seb, Alo, Ant) (divine judgement, wild justice through religious imagery “hell is empty…”)
A: “Hath caused to belch up you” (disgusting, contrast royalty, humiliating turn - Jonah and the whale “belching” him out, punishment for sin)
A: “men hang and drown their proper slaves” (ophelia in Hamlet drowns, suicide due to madness.)
A: “ I and my fellows are ministers of fate.” (Arrogance, Hubris, divine power of P, harpies prophecies to scare)
A: “incensed the seas and shores” (juxtaposition, paradoxical, burning/violent, angry sea, opposites, sibilance, hissing, like spitting, sinister sea.)
A: “Foul deed” (unfair, ugly, usurpation)
A: “Thee of thy son, Alonso, they have bereft” Hamlet written about Hamnet, father mourning loss of son)
A: “ling’ring perdition, worse than any death.” (Ironic, dragging out punishment, “not so much perdition as a hair [p]”, distraction of the lost.)
Act 4 Scene 1:
P to F: “Your compensation makes amends for I have given you here a third of mine own life.” (Objectification, ownership, coverture) “Afore heaven, I ratify this my rich gift” “my gift and thine own acquisition Worthily purchased.” (Objectification, ownership, coverture)
P to F: “all sanctimonious ceremonies may With full and holy rite be ministered.” (Ironic, scared v. Dark arts, works with devil, hypocrisy, path to redemption)
F to P: “ never melt Mine honour into lust, and take away The edge of that day’s celebration” (contrast w C rape attempt, animalistic)
A to P: “Do you love me, master? No?” (Seeking love in one another, questioning if P is capable of love. Mutually beneficial relationship) (questioning if p is capable, no is instinctive, begging for freedom, anguish, helplessness, from spirit to characters with emotions)
P to A: “Dearly, my delicate Ariel.” (Fine in quality or nature, charming, delightful)
Iris (Goddess of Rainbows): “of wheat, rye, barley, vetches, oats, and peas;” (pastoral scene, fast king, fertility, rebirth, growth of love, idyllic life in nature.)
Ceres (Goddess of agriculture and fertility): “hail, many-coloured messenger that never dost disobey the wife of Jupiter” (Juno, Hera in Greek Mythology, goddess to celebrate M/F)
Ceres: “if Venus or her son as thou dost know, do now attend the queen?” (Rejection if lost from goddess of love n Cupid)
Iris: “Some wanton charm upon this man and maid” (sinful, lust, infatuation)
Iris: “No bed-right shall be paid til Hymen’s torch be lighted” (god of weddings, sexual)
Juno: “honoured in blessing their issue” (blessing as offspring, children unite Naples and Milan)
Ceres: “earth’s increase, foison plenty” “Vines with blustering bunches growing, plants with goodly burden bowing;” (spring, harvest, overflowing of natural edenic goodness, represents the flourishing of relationship)
Ceres: “scarcity and want shall shun you” restoring relationship between nature and humans)
P to F: “these our actors” (spirit’s acting in the play)
P: “into thin air; and - like the baseless fabric of this vision” (link to Ariel, illusion and disappearance)
P: “The great globe itself, yea, all which it will inherit shall dissolve” (illusion, link to Globe Theatre, ephemeral existence, world is fake)
P: “we are such stuff as dreams are made on, and our little life is rounded with a sleep” (ephemeral reality of dreams)
P: “ devil, a born devil, on whose nature nurtures, can never stick; on whom my pains humanely taken – all, all lost, quite lost!” (Evil by nature, close to a pun, victimising himself.)
P: “his body uglier grows” (physical state, representing their mental state, contemporary audiences have different perspectives.)
Stephano: “put off that gown, Trinculo. By this hand, I’ll have that gown.” (Invisible status, ascending hierarchy, clothes representing status)
Act 5 Scene 1:
A to P: “ if you now held them, your affections would become tender” (emotionally connected to humans, Ariel, moving towards capacity for human emotion, link to 1:2 “ the King's son [..] whom I left calling of the air with a sigh [..] excuse, his arms folded in this sad knot”)
P to A: “ thought, which art, but air, a touch, a feeling of their afflictions.” (Triple)
P to A: “the rarer action is in virtue than in revenge” (unusual, precious, redemptive, aspirations)
P [soliloquy]: “Ye elves of hills, brooks, standing lakes and groves” “bedimmed the noontide sun” (link to Ovid’s Metamorphosis and the witch Medea)
P: “I have required some heavenly music.” (define forgiveness, need for God to cleanse sins, enter the kingdom of heaven.)
P: “I’ll drown my book” (visceral imagery, violent, link to baptism, reborn as Christian Duke, aggression remains)
P to Ant: “I do forgive thee, Unnatural though thou art.” (Disturbed natural order, Ant. Is the “other”)
A: “Merrily, merrily, shall I live now, Under the blossom that hands on the bough” (wanting freedom, idyllic life in the natural world like Gonzalo’s Utopia, natural home, ethereal sense of existence.)
M to F: “sweet lord, you play me false.” (Fragility of relationship, deceit, patriarchy, magic, illusion, ironic P is playing with them and they play chess)
M to F: “O wonder! How many goodly creatures are there here! How beauteous mankind is!” (beauty of life, sheer wonder, amazement, humanity with optimism, and curiosity, man’s, fundamentally the anomaly in natural world)
P to C: “this thing of darkness I acknowledge mine.” (Evil, sin, sin of witchcraft, racial insult, post col.) (taking responsibility, ownership, paternal role, tenderness, acknowledgment of faith)
Epilogue:
P: “Now my charms are all o'erthrown” (P’s loss of magic, actors loss of role, violence and usurpation)
P: “As you from crimes would pardon me, Let your indulgence set me free.” (asking for applause, breaking the fourth wall, believed to represent Shakespeare’s own personal goodbye as his career ended shortly.)