DOCSLIB.ORG

The Tempest by William Shakespeare Is a Publication of the Electronic Classics Series

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Tempest by William Shakespeare Is a Publication of the Electronic Classics Series An Electronic Classics Series Publication The Tempest by William Shakespeare is a publication of The Electronic Classics Series. This Por- table Document file is furnished free and without any charge of any kind. Any person using this document file, for any purpose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Editor, nor anyone associated with the Pennsylva- nia State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. The Tempest by William Shakespeare, The Electronic Classics Series, Jim Manis, Editor, PSU- Hazleton, Hazleton, PA 18202 is a Portable Document File produced as part of an ongoing publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Jim Manis is a faculty member of the English Department of The Pennsylvania State University. This page and any preceding page(s) are restricted by copyright. The text of the following pages are not copyrighted within the United States; however, the fonts used may be. Cover design by Jim Manis; Art Work: "The Tempest" by James Henry Nixon; watercolor, 19th cent. Copyright © 1998 - 2013 The Pennsylvania State University is an equal opportunity University. George Romney. The Tempest, c. 1790. Engraving from Boydell's Shakespeare Gallery; original 17.25 X 23.25 inches. Act I, scene i THE TEMPEST THE TEMPEST (written about 1610) ACT I DRAMATIS PERSONAE ALONSO: King of Naples. SCENE I: On a ship at sea: a tempestuous SEBASTIAN: his brother. noise of thunder and lightning heard. PROSPERO: the right Duke of Milan. ANTONIO: his brother, the usurping Duke of Milan. [Enter a Master and a Boatswain.] FERDINAND: son to the King of Naples. GONZALO: an honest old Counsellor. Master: Boatswain! ADRIAN & FRANCISCO: Lords. CALIBAN: a savage and deformed Slave. Boatswain: Here, master: what cheer? TRINCULO: a Jester. STEPHANO: a drunken Butler. Master: Good, speak to the mariners: fall to’t, yarely, or we Master of a Ship. (Master:) run ourselves aground: bestir, bestir. Boatswain. (Boatswain:) Mariners. (Mariners:) [Exit.] MIRANDA: daughter to Prospero. ARIEL: an airy Spirit. [Enter Mariners.] IRIS, CERES, JUNO, Nymphs & Reapers: presented by Spirits. Boatswain: Heigh, my hearts! cheerly, cheerly, my hearts! Other Spirits attending on Prospero. yare, yare! Take in the topsail. Tend to the master’s whistle. Blow, till thou burst thy wind, if room enough! SCENE: A ship at Sea: an island. [Enter ALONSO, SEBASTIAN, ANTONIO, FERDINAND, GONZALO, and others.] 4 Act I, scene i ALONSO: Good boatswain, have care. Where’s the master? fect gallows. Stand fast, good Fate, to his hanging: make Play the men. the rope of his destiny our cable, for our own doth little advantage. If he be not born to be hanged, our case is mis- Boatswain: I pray now, keep below. erable. ANTONIO: Where is the master, boatswain? [Exeunt.] Boatswain: Do you not hear him? You mar our labor: keep [Re-enter Boatswain.] your cabins: you do assist the storm. Boatswain: Down with the topmast! yare! lower, lower! GONZALO: Nay, good, be patient. Bring her to try with main-course. Boatswain: When the sea is. Hence! What cares these roar- [A cry within.] ers for the name of king? To cabin: silence! Trouble us not. A plague upon this howling! they are louder than the GONZALO: Good, yet remember whom thou hast aboard. weather or our office. Boatswain: None that I more love than myself. You are a [Re-enter SEBASTIAN, ANTONIO, and GONZALO.] counsellor; if you can command these elements to silence, and work the peace of the present, we will not hand a rope Yet again! what do you here? Shall we give o’er and drown? more; use your authority: if you cannot, give thanks you Have you a mind to sink? have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap. Cheerly, good SEBASTIAN: A pox o’ your throat, you bawling, blasphe- hearts! Out of our way, I say. mous, incharitable dog! [Exit.] Boatswain: Work you then. GONZALO: I have great comfort from this fellow: methinks ANTONIO: Hang, cur! hang, you whoreson, insolent noise- he hath no drowning mark upon him; his complexion is per- maker! 5 Act I, scene ii We are less afraid to be drowned than thou art. [A confused noise within: ‘Mercy on us!’— ‘We split, we split!’—’Farewell, my wife and children!’— GONZALO: I’ll warrant him for drowning; though the ship ‘Farewell, brother!’—’We split, we split, we split!’] were no stronger than a nutshell and as leaky as an unstanched wench. ANTONIO: Let’s all sink with the king. Boatswain: Lay her a-hold, a-hold! set her two courses off SEBASTIAN: Let’s take leave of him. to sea again; lay her off. [Exeunt ANTONIO and SEBASTIAN.] [Enter Mariners wet.] GONZALO: Now would I give a thousand furlongs of sea for Mariners: All lost! to prayers, to prayers! all lost! an acre of barren ground, long heath, brown furze, any thing. The wills above be done! but I would fain die a dry Boatswain: What, must our mouths be cold? death. GONZALO: The king and prince at prayers! let’s assist [Exeunt.] them, For our case is as theirs. SEBASTIAN: I’m out of patience. SCENE II: The island. Before PROSPERO’S ANTONIO: We are merely cheated of our lives by drunkards: cell. This wide-chapp’d rascal—would thou mightst lie drowning The washing of ten tides! [Enter PROSPERO and MIRANDA.] GONZALO: He’ll be hang’d yet, MIRANDA: If by your art, my dearest father, you have Though every drop of water swear against it Put the wild waters in this roar, allay them. And gape at widest to glut him. The sky, it seems, would pour down stinking pitch, But that the sea, mounting to the welkin’s cheek, 6 Act I, scene ii Dashes the fire out. O, I have suffered And pluck my magic garment from me. So: With those that I saw suffer: a brave vessel, [Lays down his mantle.] Who had, no doubt, some noble creature in her, Dash’d all to pieces. O, the cry did knock Lie there, my art. Wipe thou thine eyes; have comfort. Against my very heart. Poor souls, they perish’d. The direful spectacle of the wreck, which touch’d Had I been any god of power, I would The very virtue of compassion in thee, Have sunk the sea within the earth or ere I have with such provision in mine art It should the good ship so have swallow’d and So safely ordered that there is no soul— The fraughting souls within her. No, not so much perdition as an hair Betid to any creature in the vessel PROSPERO: Be collected: Which thou heard’st cry, which thou saw’st sink. Sit down; No more amazement: tell your piteous heart For thou must now know farther. There’s no harm done. MIRANDA: You have often MIRANDA: O, woe the day! Begun to tell me what I am, but stopp’d And left me to a bootless inquisition, PROSPERO: No harm. Concluding ‘Stay: not yet.’ I have done nothing but in care of thee, Of thee, my dear one, thee, my daughter, who PROSPERO: The hour’s now come; Art ignorant of what thou art, nought knowing The very minute bids thee ope thine ear; Of whence I am, nor that I am more better Obey and be attentive. Canst thou remember Than Prospero, master of a full poor cell, A time before we came unto this cell? And thy no greater father. I do not think thou canst, for then thou wast not Out three years old. MIRANDA: More to know Did never meddle with my thoughts. MIRANDA: Certainly, sir, I can. PROSPERO: ’Tis time PROSPERO: By what? by any other house or person? I should inform thee farther. Lend thy hand, Of any thing the image tell me that 7 Act I, scene ii Hath kept with thy remembrance. PROSPERO: Both, both, my girl: By foul play, as thou say’st, were we heaved thence, MIRANDA: ’Tis far off But blessedly holp hither. And rather like a dream than an assurance That my remembrance warrants. Had I not MIRANDA: O, my heart bleeds Four or five women once that tended me? To think o’ the teen that I have turn’d you to, Which is from my remembrance! Please you, farther. PROSPERO: Thou hadst, and more, Miranda. But how is it That this lives in thy mind? What seest thou else PROSPERO: My brother and thy uncle, call’d Antonio— In the dark backward and abysm of time? I pray thee, mark me—that a brother should If thou remember’st aught ere thou camest here, Be so perfidious!—he whom next thyself How thou camest here thou mayst. Of all the world I loved and to him put The manage of my state; as at that time MIRANDA: But that I do not. Through all the signories it was the first And Prospero the prime duke, being so reputed PROSPERO: Twelve year since, Miranda, twelve year since, In dignity, and for the liberal arts Thy father was the Duke of Milan and Without a parallel; those being all my study, A prince of power. The government I cast upon my brother And to my state grew stranger, being transported MIRANDA: Sir, are not you my father? And rapt in secret studies.
Load more

Recommended publications
  • “Savage and Deformed”: Stigma As Drama in the Tempest Jeffrey R
    “Savage and Deformed”: Stigma as Drama in The Tempest Jeffrey R. Wilson The dramatis personae of The Tempest casts Caliban as “asavageand deformed slave.”1 Since the mid-twentieth century, critics have scrutinized Caliban’s status as a “slave,” developing a riveting post-colonial reading of the play, but I want to address the pairing of “savage and deformed.”2 If not Shakespeare’s own mixture of moral and corporeal abominations, “savage and deformed” is the first editorial comment on Caliban, the “and” here Stigmatized as such, Caliban’s body never comes to us .”ס“ working as an uninterpreted. It is always already laden with meaning. But what, if we try to strip away meaning from fact, does Caliban actually look like? The ambiguous and therefore amorphous nature of Caliban’s deformity has been a perennial problem in both dramaturgical and critical studies of The Tempest at least since George Steevens’s edition of the play (1793), acutely since Alden and Virginia Vaughan’s Shakespeare’s Caliban: A Cultural His- tory (1993), and enduringly in recent readings by Paul Franssen, Julia Lup- ton, and Mark Burnett.3 Of all the “deformed” images that actors, artists, and critics have assigned to Caliban, four stand out as the most popular: the devil, the monster, the humanoid, and the racial other. First, thanks to Prospero’s yarn of a “demi-devil” (5.1.272) or a “born devil” (4.1.188) that was “got by the devil himself” (1.2.319), early critics like John Dryden and Joseph War- ton envisioned a demonic Caliban.4 In a second set of images, the reverbera- tions of “monster” in The Tempest have led writers and artists to envision Caliban as one of three prodigies: an earth creature, a fish-like thing, or an animal-headed man.
    [Show full text]
  • Architecture for Going to the Outer Solar System
    ARGOSY ARGOSY: ARchitecture for Going to the Outer solar SYstem Ralph L. McNutt Jr. ll solar system objects are, in principle, targets for human in situ exploration. ARGOSY (ARchitecture for Going to the Outer solar SYstem) addresses anew the problem of human exploration to the outer planets. The ARGOSY architecture approach is scalable in size and power so that increasingly distant destinations—the systems of Jupiter, Saturn, Uranus, and Neptune—can be reached with the same crew size and time require- ments. To enable such missions, achievable technologies with appropriate margins must be used to construct a viable technical approach at the systems level. ARGOSY thus takes the step past Mars in addressing the most difficult part of the Vision for Space AExploration: To extend human presence across the solar system. INTRODUCTION The Vision for Space Exploration “The reasonable man adapts himself to the world: the unreason- 2. Extend human presence across the solar system, start- able one persists in trying to adapt the world to himself. Therefore ing with a return to the Moon by the year 2020, in 1 all progress depends on the unreasonable man.” preparation for human exploration of Mars and other G. B. Shaw destinations 3. Develop the innovative technologies, knowledge, On 14 January 2004, President Bush proposed a new and infrastructures to explore and support decisions four-point Vision for Space Exploration for NASA.2 about destinations for human exploration 1. Implement a sustained and affordable human and 4. Promote international and commercial participation robotic program to explore the solar system and in exploration to further U.S.
    [Show full text]
  • Uranian and Saturnian Satellites in Comparison
    Compara've Planetology between the Uranian and Saturnian Satellite Systems - Focus on Ariel Oberon Umbriel Titania Ariel Miranda Puck Julie Cas'llo-Rogez1 and Elizabeth Turtle2 1 – JPL, California Ins'tute of Technology 2 – APL, John HopKins University 1 Objecves Revisit observa'ons of Voyager in the Uranian system in the light of Cassini-Huygens’ results – Constrain planetary subnebula, satellites, and rings system origin – Evaluate satellites’ poten'al for endogenic and geological ac'vity Uranian Satellite System • Large popula'on • System architecture almost similar to Saturn’s – “small” < 200 Km embedded in rings – “medium-sized” > 200 Km diameter – No “large” satellite – Irregular satellites • Rela'vely high albedo • CO2 ice, possibly ammonia hydrates Daphnis in Keeler gap Accre'on in Rings? Charnoz et al. (2011) Charnoz et al., Icarus, in press) Porco et al. (2007) ) 3 Ariel Titania Oberon Density(kg/m Umbriel Configuraon determined by 'dal interac'on with Saturn Configura'on determined by 'dal interac'on within the rings Distance to Planet (Rp) Configuraon determined by Titania Oberon Ariel 'dal interac'on with Saturn Umbriel Configura'on determined by 'dal interac'on within the rings Distance to Planet (Rp) Evidence for Ac'vity? “Blue” ring found in both systems Product of Enceladus’ outgassing ac'vity Associated with Mab in Uranus’ system, but source if TBD Evidence for past episode of ac'vity in Uranus’ satellite? Saturn’s and Uranus’ rings systems – both planets are scaled to the same size (Hammel 2006) Ariel • Comparatively low
    [Show full text]
  • Tempest in Literary Perspective| Browning and Auden As Avenues Into Shakespeare's Last Romance
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1972 Tempest in literary perspective| Browning and Auden as avenues into Shakespeare's last romance Murdo William McRae The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation McRae, Murdo William, "Tempest in literary perspective| Browning and Auden as avenues into Shakespeare's last romance" (1972). Graduate Student Theses, Dissertations, & Professional Papers. 3846. https://scholarworks.umt.edu/etd/3846 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE TEMPEST IN LITERAEY PERSPECTIVE: BRaWING AM) ADDER AS AVENUES INTO SHAKESPEARE'S LAST ROMANCE By Murdo William McRae B.A. University of Montana, 1969 Presented in partial fulfillment of the requirements for the degree of Master of Arts TJNIVERSITT OF MONTANA • 1972 Approved by; IAIcxV^><L. y\ _L Chairman, Board ox Exarainers tats UMI Number EP34735 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT MUiMng UMI EP34735 Copyright 2012 by ProQuest LLC.
    [Show full text]
  • Perfect Little Planet Educator's Guide
    Educator’s Guide Perfect Little Planet Educator’s Guide Table of Contents Vocabulary List 3 Activities for the Imagination 4 Word Search 5 Two Astronomy Games 7 A Toilet Paper Solar System Scale Model 11 The Scale of the Solar System 13 Solar System Models in Dough 15 Solar System Fact Sheet 17 2 “Perfect Little Planet” Vocabulary List Solar System Planet Asteroid Moon Comet Dwarf Planet Gas Giant "Rocky Midgets" (Terrestrial Planets) Sun Star Impact Orbit Planetary Rings Atmosphere Volcano Great Red Spot Olympus Mons Mariner Valley Acid Solar Prominence Solar Flare Ocean Earthquake Continent Plants and Animals Humans 3 Activities for the Imagination The objectives of these activities are: to learn about Earth and other planets, use language and art skills, en- courage use of libraries, and help develop creativity. The scientific accuracy of the creations may not be as im- portant as the learning, reasoning, and imagination used to construct each invention. Invent a Planet: Students may create (draw, paint, montage, build from household or classroom items, what- ever!) a planet. Does it have air? What color is its sky? Does it have ground? What is its ground made of? What is it like on this world? Invent an Alien: Students may create (draw, paint, montage, build from household items, etc.) an alien. To be fair to the alien, they should be sure to provide a way for the alien to get food (what is that food?), a way to breathe (if it needs to), ways to sense the environment, and perhaps a way to move around its planet.
    [Show full text]
  • The Exploration of Space (1954)
    C-135 THE EXPLORATION OF 35c SPACE A CARDINAL EDITION A DRAMATIC AND ACCURATE ACCOUNT OF MAN'S NEWEST AND GREATEST . FRONTIER Chairman of the British Interplanetary Society » 1946-47, 1950-53 THE COMPLETE BOOK A Brilliant Book! “The author . has done a magnificent job. What gives the book such charm and magnetism is Clarke’s ability to reduce complex subjects to simple language....” —Chicago Sunday Tribune “Mr. Clarke’s book will serve as the most im­ portant yet published in its field. ...” —New York Herald Tribune “An exceptionally lucid job of scientific exposi­ tion for the layman. .” —Atlantic Monthly Arthur C. Clarke’s The Exploration of Space was originally published by Harper & Brothers. Other books by Arthur C. Clarke NONFICTION INTERPLANETARY FLIGHT GOING INTO SPACE THE EXPLORATION OF THE MOON FICTION *THE SANDS OF MARS ISLANDS IN THE SKY CHILDHOOD'S END EXPEDITION TO EARTH AGAINST THE FALL OF NIGHT PRELUDE TO SPACE •Published In a Pocket Book edition. THE . ~ EXPLORATION OF - - SPACE ARTHUR C. CLARKE B.Sc., F.R.A.S. Chairman, British Interplanetary Society 1946-47, 1950-53 E D ITION POCKET BOOKS, INC. NEW YORK, N. Y. This Cardinal edition includes every word contained in the original, higher-priced edition. It is printed from brand-new plates made from completely reset, clear, easy-to-read type. THE EXPLORATION OF SPACE Harper edition published June, 1952 4 PRINTINGS Book-of-the-Month Club edition published July, 1952 Serialization in the Baltimore Sun October, 1952 Condensation in Science Digest, April, 1953 Cardinal edition published August, 1954 1st printing....................................................June, 1954 Copyright, 1951, by Arthur Charles Clarke, for the text.
    [Show full text]
  • Red Material on the Large Moons of Uranus: Dust from the Irregular Satellites?
    Red material on the large moons of Uranus: Dust from the irregular satellites? Richard J. Cartwright1, Joshua P. Emery2, Noemi Pinilla-Alonso3, Michael P. Lucas2, Andy S. Rivkin4, and David E. Trilling5. 1Carl Sagan Center, SETI Institute; 2University of Tennessee; 3University of Central Florida; 4John Hopkins University Applied Physics Laboratory; 5Northern Arizona University. Abstract The large and tidally-locked “classical” moons of Uranus display longitudinal and planetocentric trends in their surface compositions. Spectrally red material has been detected primarily on the leading hemispheres of the outer moons, Titania and Oberon. Furthermore, detected H2O ice bands are stronger on the leading hemispheres of the classical satellites, and the leading/trailing asymmetry in H2O ice band strengths decreases with distance from Uranus. We hypothesize that the observed distribution of red material and trends in H2O ice band strengths results from infalling dust from Uranus’ irregular satellites. These dust particles migrate inward on slowly decaying orbits, eventually reaching the classical satellite zone, where they collide primarily with the outer moons. The latitudinal distribution of dust swept up by these moons should be fairly even across their southern and northern hemispheres. However, red material has only been detected over the southern hemispheres of these moons, during the Voyager 2 flyby of the Uranian system (subsolar latitude ~81ºS). Consequently, to test whether irregular satellite dust impacts drive the observed enhancement in reddening, we have gathered new ground-based data of the now observable northern hemispheres of these moons (sub-observer latitudes ~17 – 35ºN). Our results and analyses indicate that longitudinal and planetocentric trends in reddening and H2O ice band strengths are broadly consistent across both southern and northern latitudes of these moons, thereby supporting our hypothesis.
    [Show full text]
  • Sycorax Character Profiles
    SYCORAX WANING: CHARACTER PROFILES By Russell Norris 2011 SYCORAX Background: Sycorax is a potent old witch of indeterminate age. She is banished to a remote island 18 years before The Tempest takes place and is dead long before Shakespeare’s tale begins there. To avoid execution in Algiers, Sycorax lets the sea-god Setebos impregnate her with an unholy child. She gives birth to her son Caliban, a half-human monster, alone on the island – where she lives out the closing years of her life. Sycorax is a powerful witch who draws her power from the moon via her god Setebos. While she can channel these dark lunar energies, she can’t necessarily control them. There is evidence that Shakespeare based Sycorax on the sorceress Medea from Greek mythology and I aim to colour Sycorax’s backstory with elements from Medea’s life. Among other heinous crimes, Medea murdered her own brother and children. In ancient Greece, murder of one’s own family was the most awful crime of all and three special demons were reserved to punish it: The Furies. Sycorax, for the murder of her brother and children in her youth, has been hunted by The Furies for most of her life. She has grown old moving from country to country and now, on this desolate island in the middle of the sea, The Furies are finally about to catch up with her. The “Medea” backstory: It’s worth going over the Medea legend just to fill in a few details: readers will not necessarily need to be familiar with this legend, but hopefully Sycorax Waning will inspire them to go away and find out more.
    [Show full text]
  • Space Theme Circle Time Ideas
    Space Crescent Black Space: Sub-themes Week 1: Black/Crescent EVERYWHERE! Introduction to the Milky Way/Parts of the Solar System(8 Planets, 1 dwarf planet and sun) Week 2: Continue with Planets Sun and Moon Week 3: Comets/asteroids/meteors/stars Week 4: Space travel/Exploration/Astronaut Week 5: Review Cooking Week 1: Cucumber Sandwiches Week 2: Alien Playdough Week 3: Sunshine Shake Week 4: Moon Sand Week 5: Rocket Shaped Snack Cucumber Sandwich Ingredients 1 carton (8 ounces) spreadable cream cheese 2 teaspoons ranch salad dressing mix (dry one) 12 slices mini bread 2 to 3 medium cucumbers, sliced, thinly Let the children take turns mixing the cream cheese and ranch salad dressing mix. The children can also assemble their own sandwiches. They can spread the mixture themselves on their bread with a spoon and can put the cucumbers on themselves. Sunshine Shakes Ingredients and items needed: blender; 6 ounce can of unsweetened frozen orange juice concentrate, 3/4 cup of milk, 3/4 cup of water, 1 teaspoon of vanilla and 6 ice cubes. Children should help you put the items in the blender. You blend it up and yum! Moon Sand Materials Needed: 6 cups play sand (you can purchased colored play sand as well!); 3 cups cornstarch; 1 1/2 cups of cold water. -Have the children help scoop the corn starch and water into the table and mix until smooth. -Add sand gradually. This is very pliable sand and fun! -Be sure to store in an airtight container when not in use. If it dries, ad a few tablespoons of water and mix it in.
    [Show full text]
  • Irregular Satellites of the Giant Planets 411
    Nicholson et al.: Irregular Satellites of the Giant Planets 411 Irregular Satellites of the Giant Planets Philip D. Nicholson Cornell University Matija Cuk University of British Columbia Scott S. Sheppard Carnegie Institution of Washington David Nesvorný Southwest Research Institute Torrence V. Johnson Jet Propulsion Laboratory The irregular satellites of the outer planets, whose population now numbers over 100, are likely to have been captured from heliocentric orbit during the early period of solar system history. They may thus constitute an intact sample of the planetesimals that accreted to form the cores of the jovian planets. Ranging in diameter from ~2 km to over 300 km, these bodies overlap the lower end of the presently known population of transneptunian objects (TNOs). Their size distributions, however, appear to be significantly shallower than that of TNOs of comparable size, suggesting either collisional evolution or a size-dependent capture probability. Several tight orbital groupings at Jupiter, supported by similarities in color, attest to a common origin followed by collisional disruption, akin to that of asteroid families. But with the limited data available to date, this does not appear to be the case at Uranus or Neptune, while the situa- tion at Saturn is unclear. Very limited spectral evidence suggests an origin of the jovian irregu- lars in the outer asteroid belt, but Saturn’s Phoebe and Neptune’s Nereid have surfaces domi- nated by water ice, suggesting an outer solar system origin. The short-term dynamics of many of the irregular satellites are dominated by large-amplitude coupled oscillations in eccentricity and inclination and offer several novel features, including secular resonances.
    [Show full text]
  • Shakespeare Paper: the Tempest
    En English test KEY STAGE 3 LEVELS 4–7 Shakespeare paper: The Tempest Please read this page, but do not open the booklet until your teacher tells you to start. Write your name, the name of your school and the title of the play you have studied on the cover of your answer booklet. This booklet contains one task which assesses your reading and understanding of The Tempest and has 18 marks. You have 45 minutes to complete this task. 2008 TTempest_282656.inddempest_282656.indd 1 221/12/071/12/07 22:11:17:11:17 ppmm The Tempest Act 3 Scene 2, lines 1 to 74 Act 4 Scene 1, lines 212 to 262 In both extracts, Stephano behaves as if he is king of the island. In these extracts, how far is Stephano really in control? Support your ideas by referring to both of the extracts which are printed on the following pages. 18 marks KS3/08/En/Levels 4–7/The Tempest 2 TTempest_282656.inddempest_282656.indd 2 221/12/071/12/07 22:11:17:11:17 ppmm The Tempest Act 3 Scene 2, lines 1 to 74 In this extract, Stephano treats Caliban and Trinculo as his servants. Ariel is invisible and interrupts them while they are talking. Another part of the island. Enter CALIBAN, STEPHANO, and TRINCULO. STEPHANO Tell not me! When the butt is out, we will drink water – not a drop before. Therefore bear up, and board ’em. Servant-monster, drink to me. TRINCULO Servant-monster! The folly of this island! They say there’s but fi ve upon this isle.
    [Show full text]
  • Solar System Tables
    Solar System Physical Data Physical Properties of Solar System Members S o l a Equatorial Mass1 Density2 Gravity3 Albedo4 r S Diameter Earth=1 H O=1 Earth=1 y 2 s t e SUN 865,278 miles 1,392,530 km 332,946 1.41 27.9 n/a m MERCURY 3,032 miles 4,879 km 0.055 5.43 0.38 11% VENUS 7,521 miles 12,104 km 0.815 5.25 0.90 65% EARTH 7,926 miles 12,756 km 1 5.52 1.00 37% MARS 4,228 miles 6,805 km 0.107 3.95 0.38 15% JUPITER 88,844 miles 142,980 km 317.8 1.33 2.53 52% SATURN 74,900 miles5 120,540 km5 95.2 0.69 1.06 47% URANUS 31,764 miles 51,120 km 14.5 1.29 0.90 51% NEPTUNE 30,777 miles 49,530 km 17.2 1.64 1.14 41% PLUTO 1,433 miles 2,306 km 0.0025 2.03 0.08 30% 1Earth’s mass is 1.32 x 1025 pounds (5.97 x 1024 kg). 2Density per unit volume as compared to water. For comparsion, the density of alumium is 2.7 and iron is 7.7. 3Gravity at equator. 4Albedo is the amount of sunlight reflected by the Planet. 5Saturn without rings. Visible rings are approximately 170,000 miles (273,600 km) in diameter. Rotational Period Escape Oblateness2 Inclination (Planet’s Day) Velocity1 to Orbit3 SUN 25 to 35 days4 384 miles/s 617.5 km/s 0 7.2 5 ∞ MERCURY 58.7 days 2.6 miles/s 4.2 km/s 0 0.0 ∞ VENUS 243.0 days 6.5 miles/s 10.4 km/s 0 177.4 ∞ EARTH 1 day 6.96 miles/s 11.2 km/s 0.34% 23.4 ∞ MARS 24.62 hours 3.1 miles/s 5.0 km/s 0.74% 25.2 ∞ JUPITER 9.84 hours 37 miles/s 59.5 km/s 6.5% 3.1 ∞ SATURN 10.23 hours 22.1 miles/s 35.5 km/s 9.8% 25.3 ∞ URANUS 17.9 hours 13.2 miles/s 21.3 km/s 2.3% 97.9 ∞ NEPTUNE 19.2 hours 14.6 miles/s 23.5 km/s 1.7% 28.3 ∞ PLUTO 6.4 days 0.8 miles/s 1.3 km/s unknown 123 ∞ 1At equator.
    [Show full text]