DOCSLIB.ORG

Thesis-1965-R318w.Pdf (13.15Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Thesis-1965-R318w.Pdf (13.15Mb) WATER-IMAGERY IN -----THE TEMPEST By LINDA FL.ASCH REDMAN,,, Bachelor of Arts Oklahoma State University Stillwater, Oklahoma J.962 Submitted to the fa.culty of the Graduate School of the Oklahoma State Un5.vers.ity in partial fulfillment of the requirements for the degree of MASTER OF ARTS August, 1965 OKLAHOMA STAiE UNIVERSllY LIBRARY .. •'. NO\J 23 1965 .. ~L, _...,., ...~-· .. ..,~··· ·-·~····"'~····"".. .,., ,.. ,.. "' . ., ,. .... WATER-IMAGERY IN THE TEMPEST Thesis Approved: Thes [; fJlm1+0: ,N-y IJ!Jft -~ . ii fi~2n46 PREFACE That Shakespeare was familiar with Holy Scriptures is well known. He often deals with Biblical ideas, and many studies have been made showing Biblical reflections in characters, themes, and plots of his plays. Somewhat overlooked has been the influence on Shakespeare of Biblical water-imagery. Many Bible passages illustrate an association of moral evil with large bodies of water, and the purpose of this study is to examine Biblical passages which prove that such an idea does exist in both Old and New Testaments, and in the Apocrypha--all of which were well known and much referred to by Shakespeare; then to show Biblical influence upon~ Tempest, through a study of characters, through a study of references to and descriptions of the scenery, and through a discussion of the action of the play. In presenting a new statement of source and theme, I have not intended to contradict or discount all other sources and themes in the field. It is probable that Shakespeare used ideas from several sources in writing this play; indeed such is to be speculated from~ Tempest, considering the complex structure of its characterization and action. I want to acknowledge my thanks to Dr. Davids. Berkeley, whose suggestion led to the formation of my thesis, and to Dr . Samuel Woods, Jr., whose considerations have strengthened my paper through revision, for their valuable guidance in the writing of this study. I am also iii indebted to the librarians of the Oklahoma State University who assisted me in obtaining the Geneva Bible and other necessary works. iv TABLE OF CONTENTS Chapter Page I. INTRODUCTION bftcl80 d O O O -ti O O O • • • • • 0 • • • • • 1 II. BIBLICAL WATER-IMAGERY IN -----THE TEMPEST. o • • • • • • • • • • 10 III. CALIBAN AS LEVIATHAN IN BIBLICAL WATER-IMAGERY. • • • • • • 35 IV. PROSPERO AS THE LORD IN BIBLICAL WATER-IMAGERY. • • • • • • 68 v. CONCLUSION • 0 0 o o e o 0 0 0 0 0 0 0 Q • 6 0 0 oooootl 95 SELECTED BIBLIOGRAPHY • • • • 0 0 0 0 • • 0 • 0 0 • • • • • • • • • 107 v CHAPTER I INTRODUCTION As one of Shakespeare's last plays, ~ TeTPest has received special attention. It has been generally accepted that Shakespeare, not copying any one source, used his own genius for the major ideas in the play, and created characters accordingly, relying only incidentally on outside sources. However, study to clarify such "sources" has produced much confusion regarding the basis of the play' s action, characterization, and plot. Only through careful study of the play can one discern which of the conjectured sources bear significance. I believe that the Bible should be considered a chief source for The Tempest, since many vivid parallels of Biblical water-imagery are found in the water-imagery of this play--in characterization, in setting, and in theme. Indeed many sources have been offered for this play , of which the two works most often pointed at are Jakob Ayrer' s E.!:!. Schone Side a and Antonio de Eslava's Primera Parte .9!. ~ Noches de Invierno. Although much discussed as sources, these are generally regarded as only of minor--if indeed of any--signif icance. It is often conjectured that these and~ Tempest were from yet another, a common, source. 1 Also receiving much attention as a possible source has been the manuscript letter written by William Strachey, !:_ ~ Repertory ~~wrack, ~ redemption .2f ~ Thomas Gates, Knight; upon, ~ !!2!!:. ~ island .£!. 1 2 the Bermudas. This letter, although first printed in 1625, is dated July 15, 1610; and many speculate that Shakespeare saw it in circulation prior to the writing of 21!! Tempest. Certainly the timeliness and availability of this letter assist in the acceptance of it as a source, but the main plot and the major characters go beyond the mere parallels of setting between this letter and the play. A recent article by Sharon L. Smith is quite clear in defining the status of much of the scholarship concerned with these and other works cited as sources for ~ Tempest . She establishes that each of the works thus far offered as being contributors to Shakespeare's play had only minor influence, if any certain effect, on Shakespeare's writing of this play. 2 She offers that no work thus far discussed presents as many parallels in 21!! Tempest as the commedia ~· ~· Nevertheless, I believe that these scenari could not be considered as major sources for 21!! Tempest either, although like the others they may have been of incidental importance to Shakespeare. The parallels Miss Smith mentions as existing between the scenari and the play are not comprehensive enough to explain the total action of the play. Even though she points to numerous parallels, most relate only to the "magic" used or referred to in the play: magic circles, a magic wand, magician's books (stolen by rogues), a magician with absolute power: he can become invisible, he can cast spells. 3 The plot, the main characters' actions, and indeed the important part of the setting, the water-imagery, do not figure into these parallels, and it is necessary that any major source should explain all import ant parts of the play. Although critics do not agree that any of the works thus far presented in Te!11Pest criticism should be considered as a major source, 3 each work may have had some part in the suggestion of minor details given in the play. It is clear that none of the sources thus far discussed has enough important parallels in the play to be dealt with as a chief contributor to Shakespeare's development of ~ Te!11Pest. Primarily because no single, comprehensive source has been found for the plot of this comedy, as have been found for other Shakespearean plays, interpretations of this play, based on possible influences from different sources, have shown much freedom, especially evidenced in the large number of symbolical and allegorical interpretations. However, as this thesis shall reveal 11 the play does make use of a large number of Biblical parallels and on the basis of such, I believe that the Bible should be regarded as a major source of the play and that an interpre­ tation of the play should be drawn with this in mind. One cannot deny that the water-imagery (including the tempest-imagery) of the play pervades all thought, all action of the play, and even the name of the play. That this imagery reflects the water-imagery given in the Bible will be discussed in the following chapters which demonstrate Shakespeare's handling of the setting, the characterization, and the plot--as relevant to the play' s water-imagery. Several Tempest critics have recognized certain Biblical allusions or parallels in the play; yet none of these recognizes a unified employment of such allusions in directing the theme of the play, nor considers the obvious Biblical reflections to be of major importance in delineating characterization or purpose of action of this play. One critic, Miss Honor Matthews 11 points out that "The theological overtones are very clear in ~ Tempest because of the close juxtaposition of the words grace and gods--a juxtaposition merely fortuitous when taken in 4 the context of plot or character, but significant in the realm of ideas. 114 Even in this acknowledgment Miss Matthews does not recognize the importance of the Biblical parallels in the major characters nor those reflections regarding the over-all action of the play. She connects these rather with extra-Biblical and pagan influences: The Tempest contains a full reflection of the Lucifer "ieiend treated in the manner of a double fugue, with the assassination of Prospero and Alonso plotted by the Janus figure of Antonio-Sebastian and paralleled by the counter-subject of Caliban's rebellion. 5 Although the actions and thoughts of the characters are quite significant to Miss Matthews, she does not relate them to the water-imagery in the Bible. In another consideration of the significance of certain characters in this play, Douglas Bush refers to Prospero' s "brief summary of the human condition116 in his speech regarding the dreamlike nature of men's lives and the figure of death as sleep. On the basis of the Christian ideas of death as temporary, as a sleeping, Bush calls the play a "miracle" play; but he does not dwell at length on any other feature of~ Tempest which would help justify this classification. Appar­ ently he misses entirely the vivid Biblical parallels in the play' s water-imagery and the fuller Christian thought suggested by the action of the characters. Roland Frye, too, recognizes an association in~ Te5?est of sleep and death that presents the Christian and therefore, Biblical, association regarding death; 7 but he, like Bush, does not elaborate on further Biblical parallels. Miss Caroline Spurgeon adds that the use of prayer in the play is in accord with Biblical uses. She notes that 5 prayers in ~ Tempest are uttered to bring mercy, peace, and calm to the people. 8 She associates the use of prayer with the function of music in the play; but she fails to emphasize the significance of the prayers as relevant to the theme of the play, as part of the water- imagery influenced by the Bible.
Load more

Recommended publications
  • 'Triptych', from Seamus Heaney's Field Work
    An In-Depth Study of ‘Triptych’, from Seamus Heaney’s Field Work An In-Depth Study of ‘Triptych’, from Seamus Heaney’s Field Work Martin Connolly This paper focuses critical attention on ‘Triptych’, the sequence of three poems in Seamus Heaney’s 1979 collection Field Work. The sequence directly follows the opening poem ‘Oysters’, and by virtue of position alone commands attention. It is the first of a number of poems in the collection to address the conflict in Northern Ireland, and can be seen as a kind of public poetry, very different in tone, theme and style from early Heaney. This exploration derives from attempts to provide satisfactory answers to questions concerning elements within the sequence which resist smooth interpretation. My method of approach is largely chronological, in the sense that I go through the poems starting at the beginning and plough through to the end, stanza by stanza, sometimes line by line, attempting to guide the reader toward an understanding of the poem derived from apparent textual evidence. Early on, however, I do state what I think the poetic sequence is designed to be, and this argument informs my interpretation throughout. Yet, at every point, I provide what I consider a coherent rationale and logic for my critical opinions. I would certainly welcome debate on each and every point. The conclusions I have come to in regard to this poetic sequence, are, at times, negative, but not exclusively so. I have looked at this poetic sequence up close and － 129 － found it to be problematic in a number of areas.
    [Show full text]
  • In Memoriam Frederick Dougla
    Central Library of Rochester and Monroe County · Historic Monographs Collection Central Library of Rochester and Monroe County · Historic Monographs Collection CANNOT BE PHOTOCOPIED * Not For Circulation Central Library of Rochester and Monroe County · Historic Monographs Collection / III llllllllllll 3 9077 03100227 5 Central Library of Rochester and Monroe County · Historic Monographs Collection jFrebericfc Bouglass t Central Library of Rochester and Monroe County · Historic Monographs Collection fry ^tty <y /z^ {.CJ24. Central Library of Rochester and Monroe County · Historic Monographs Collection Hn flDemoriam Frederick Douglass ;?v r (f) ^m^JjZ^u To live that freedom, truth and life Might never know eclipse To die, with woman's work and words Aglow upon his lips, To face the foes of human kind Through years of wounds and scars, It is enough ; lead on to find Thy place amid the stars." Mary Lowe Dickinson. PHILADELPHIA: JOHN C YORSTON & CO., Publishers J897 Central Library of Rochester and Monroe County · Historic Monographs Collection Copyright. 1897 & CO. JOHN C. YORSTON Central Library of Rochester and Monroe County · Historic Monographs Collection 73 7^ In WLzmtxtrnm 3fr*r**i]Ch anglais; "I have seen dark hours in my life, and I have seen the darkness gradually disappearing, and the light gradually increasing. One by one, I have seen obstacles removed, errors corrected, prejudices softened, proscriptions relinquished, and my people advancing in all the elements I that make up the sum of general welfare. remember that God reigns in eternity, and that, whatever delays, dis appointments and discouragements may come, truth, justice, liberty and humanity will prevail." Extract from address of Mr.
    [Show full text]
  • NEW YORK HERALD Oh Hostages for the Promised Appearance of the Tribe the Catted State* Seaate
    Herald's A Sheet. Schema. Cheyenne warriors were captured and are retained Our Financial mad Political PhndOTwr*- War ProtebllltlM la Eorcp«. The Pregiese. Qudraple Flak, Jr., Ml the Bmllroad NEW YORK HERALD oh hostages for the promised appearance of the tribe The Catted State* Seaate. A oabie despatch from Paris says that We issue the Hebald this morning in a Oiir lively friend, Fisk, Jr., in his troublw to treat (or . peace. When our war for the consolidation of the French officers and on leave of quadruple sheet form an absolute necessity, with other railroad schemers and theirschemes, BROADWAY AND ANN 8TREBT. The between Lewie Cass and privates correspondence was a absence to their for the fulfilment of our President President Buchanan, when the former tendered his Union broke out government pleasure, hare been ordered rejoin necessary complete evidently appreciates the advice of few in JAMES GORDON real/uatlon as Secretary of State, was transmitted not a burden, to the country. Everything regiments on the 1st of April. A days journalistio mission the reporting of news Lincoln to General Gillmore, at Charleston, (o BENNETT, the fact that PROP R 1ET0R. to the Senate yesterday. It discloses flourished, and indefinite expansion invited in¬ ago we had a cable despatch quite as startling from all parts of the world, civilized and un¬ "keep pegging away," and he Bticks to the Mr. Cass was the only one of the Cabinet who ur«ed ternal and external Our com¬ as this one, being that the Emperor of the civilized, and the making known the wants, Union Paciflo Credit Mobilier and aud reinforcement of the forts in Charles¬ enterprise.
    [Show full text]
  • La Nuit Des Rêves
    2014 Silent Auction Guide La Nuit des Rêves 24TH ANNUAL GALA SATURDAY, MARCH 22ND, 2014 3 VREELAND ROAD FLORHAM PARK, NJ Table of Contents BEHIND THE SCENES 100 ARTS, CULTURE, & MEMORABILIA 200 FINE ART 300 FOR HER 400 THE WINE STORE 500 ENTERTAINING & DINING 600 FOR THE FAMILY & HOME 700 RECREATION & 800 RELAXATION MAGIC COINS!! Buy a magic coin and buy a dream! You can help support the many education and training programs of The Shakespeare Theatre of New Jersey by purchasing our magic coins (they happen to be vintage doubloons from Mardi Gras past!). Each coin costs $50. Buy one – buy many! Each coin buys you a surprise gift! Many gifts are worth far more than $50, but more important, your purchase will help support the dreams of young artists, and you will walk away a little richer for it! Find the masked man, present your coin, and receive your gift! (Our volunteers will point you in the right direction!) Silent Auction Procedures Please read the silent auction descriptions carefully, noting any restrictions. The Shakespeare Theatre of New Jersey will not be responsible for auction items not redeemed within the time specified by the donor or within a year. Item descriptions are followed by a value. In the case of particularly unique items, the value is listed as priceless. Please note that only the amount paid over the value is tax-deductible to the fullest extent provided by law. PLACING A BID: To place a bid, write your name and bid amount on the corresponding bid sheet directly in front of the item.
    [Show full text]
  • Catalogue of a Loan Exhibition of Paintings by Winslow Homer : New
    THE METROPOLITAN MUSEUM OF ART WINSLOW HOMER MEMORIAL EXHIBITION MCMXI CATALOGUE OF A LOAN EXHIBITION OF PAINTINGS BY WINSLOW HOMER OF THIS CATALOGUE AN EDITION OF 2^00 COPIES WAS PRINTED FEBRUARY, I 9 I I Digitized by the Internet Archive in 2015 https://archive.org/details/catalogueofloaneOOhome FISHING BOATS OFF SCARBOROUGH BY WINSLOW HOMER LENT BY ALEXANDER W. DRAKE THE METROPOLITAN MUSEUM OF ART CATALOGUE OF A LOAN EXHIBITION OF PAINTINGS BY WINSLOW HOMER NEW YORK FEBRUARY THE SIXTH TO MARCH THE NINETEENTH MCMXI COPYRIGHT, FEBRUARY, I 9 I I BY THE METROPOLITAN MUSEUM OF ART LIST OF LENDERS National Gallery of Art Pennsylvania Academy of the Fine Arts The Lotos Club Edward D. Adams Alexander W. Drake Louis Ettlinger Richard H. Ewart Hamilton Field Charles L. Freer Charles W. Gould George A. Hearn Charles S. Homer Alexander C. Humphreys John G. Johnson Burton Mansfield Randall Morgan H. K. Pomroy Mrs. H. W. Rogers Lewis A. Stimson Edward T. Stotesbury Samuel Untermyer Mrs. Lawson Valentine W. A. White COMMITTEE ON ARRANGEMENTS John W. Alexander, Chairman Edwin H. Blashfield Bryson Burroughs William M. Chase Kenyon Cox Thomas W. Dewing Daniel C. French Charles W. Gould George A. Hearn Charles S. Homer Samuel Isham Roland F. Knoedler Will H. Low Francis D. Millet Edward Robinson J. Alden Weir : TABLE OF CONTENTS Page Frontispiece, Opposite Title-Page List of Lenders . Committee on Arrangements . viii Table of Contents .... ix Winslow Homer xi Paintings in Public Museums . xxi Bibliography ...... xxiii Catalogue Oil Paintings 3 Water Colors . • 2 7 Index ......... • 49 WINSLOW HOMER WINSLOW HOMER INSLOW HOMER was born in Boston, February 24, 1836.
    [Show full text]
  • William Shakespeare's the Tempest
    Date:_________________________________ Study Booklet Year 8: Unit 3 William Shakespeare’s The Tempest Name Class Teacher 1 | P a g e @saysmiss KHoward Date:_________________________________ Study Booklet Contents 3 Key vocabulary 4 Learning aids 5 Literary Timeline 6 Character list 7 Big Lecture notes 13 How does setting choice reflect themes of the play? 13 Shakespeare’s Other World 20 Act 1 Scene 1: The Storm 24 How are oppression and power presented within the play? 26 Act 1 Scene 2 Part 1 29 Act 1 Scene 2 Part 2 32 How do characters defy hierarchy? 33 Act 1 Scene 2 Part 3 40 Act 1 Scene 2 Part 4 48 To what extent has Prospero created a utopian society? 49 Act 2 Scene 1 Part 1 52 Act 2 Scene 1 Part 2 57 Act 2 Scene 2 63 How does Miranda’s character conform with the patriarchy? 65 Act 3 Scene 1 67 How is colonialism a consideration within the play? 68 Act 3 Scene 2 72 Act 3 Scene 3 79 How is Prospero presented as a character throughout the play? 79 Act 4 Scene 1 Part 1 81 Act 4 Scene 1 Part 2 84 Act 5 Scene 1 Part 1 87 Act 5 Scene 1 Part 2 93 Act 5 Scene 1 Part 3 96 Character Analysis of Prospero 105 To what extent is this a didactic play? 105 Epilogue 106 Tempestuous words: The Tempest and Shakespeare’s linguistic innovation 111 Multiple Choice Quiz 2 | P a g e @saysmiss KHoward Date:_________________________________ Key word Definition Antagonist A person who actively opposes or is hostile towards someone.
    [Show full text]
  • William Shakespeare's Long Lost First Play
    Insights A Study Guide to the Utah Shakespeare Festival William Shakespeare’s Long Lost First Play (abridged) The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to bean educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. The Study Guide is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2017, Utah Shakespeare Festival. Please feel free to download and print The Study Guide, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Riley Shanahan (left) as Riley and Luke Striffler as Luke in the Utah Shakespeare Festival’s 2017 pro- duction of William Shakespeare’s Long Lost First Play (abridged). William Shakespeare’s Long Lost First Play (abridged) Contents Information on the Play Synopsis 4 Characters 5 About the Playwright 6 Scholarly Articles on the Play A Reduced Shakespeare Company Strikes Again 8 Utah Shakespearean Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: William Shakespeare’s Long Lost First Play (abridged) An ancient manuscript is discovered in a treasure-filled parking lot in Leicester, England (next to a pile of bones that didn’t look that important).
    [Show full text]
  • Virgil and the Tempest
    VIRGIL AND THE TEMPEST The Politics of Imitation Donna B. Hamilton Virgil and The Tempest offers a new assess­ ment of the art and politics of Shakespeare's comic masterpiece by examining its relation­ ship to both the contemporary political con­ text and to Virgil's Aeneid. Challenging the view that The Tempest supports the absolutist theories and policies of King James I, Donna Hamilton instead shows how the play pre­ sents an argument for a limited monarchy. Virgil and James I each represent a set of symbols and idioms that Shakespeare appro­ priates for his own use in The Tempest. In the process, he pays homage to their respective eminence and brings them into dialogic rela­ tion with each other, changing the language to suit his purposes. This means rewriting the Aeneid to suit a new time and situation, and it means subtly altering the king's language to present a strong argument for constitu­ tionalism. Scholars who have emphasized the "trans­ cendent" Shakespeare have sometimes failed to recognize the playwright's passion for resistance, a passion nowhere more cunningly present than in The Tempest. Sixteenth- and seventeenth-century plays were character­ ized by an indirection that only a practiced rhetorical skill could produce, a skill that pur­ chased not only safety, but respect, author­ ity, and power. This skill was equally useful to writers engaged in oppositional politics and to apologists for the established authority. Shakespeare's work, therefore, cannot be fully appreciated by today's readers without being sufficiently historicized. Virgil and The Tempest Virgil and The Tempest THE POLITICS OF IMITATION Donna B.
    [Show full text]
  • Genesis of a Discourse: the Tempest and the Emergence of Postcoloniality
    Genesis of a Discourse: The Tempest and the Emergence of Postcoloniality By Judith Anne Pocock A thesis submitted in conformity with the requirements for the degree of Doctor Philosophy, Graduate Department of English, University of Toronto © Copyright by Judith Pocock 2010 Genesis of a Discourse: The Tempest and the Emergence of Postcoloniality Judith Anne Pocock Degree of Doctor of Philosophy Graduate Department of English University of Toronto 2010 Abstract This dissertation contends that The Tempest by William Shakespeare plays a seminal role in the development of postcolonial literature and criticism because it was created in a moment when the colonial system that was now falling apart was just beginning to come into being. Creative writers and critics from the Third World, particularly Africa, the Caribbean, and Latin America, and the First found that the moment reflected in The Tempest had something very specific to say to a generation coming of age in the postcolonial world of the 1960s, 1970s, and early 1980s. I establish that a significant discourse that begins in the Nineteenth Century and intensifies in the Twentieth depends on The Tempest to explore the nature of colonialism and to develop an understanding of the postcolonial world. I then examine the role theories of adaptation play in understanding why The Tempest assumes such a crucial role and determine that the most useful model of adaptation resembles the method developed by biblical typologists which “sets two successive historical events [or periods] into a reciprocal relation of anticipation and fulfillment” (Brumm 27). I ague that postcolonial writers and critics found in The Tempest evidence of a history of colonial oppression and resistance often obscured by established historical narratives and a venue to explore their relationship to their past, present, and future.
    [Show full text]
  • A Critical Study of the Novels of John Fowles
    University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 1986 A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES KATHERINE M. TARBOX University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation TARBOX, KATHERINE M., "A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES" (1986). Doctoral Dissertations. 1486. https://scholars.unh.edu/dissertation/1486 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact Scholarly.Communication@unh.edu. A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES BY KATHERINE M. TARBOX B.A., Bloomfield College, 1972 M.A., State University of New York at Binghamton, 1976 DISSERTATION Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English May, 1986 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This dissertation has been examined and approved. .a JL. Dissertation director, Carl Dawson Professor of English Michael DePorte, Professor of English Patroclnio Schwelckart, Professor of English Paul Brockelman, Professor of Philosophy Mara Wltzllng, of Art History Dd Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I ALL RIGHTS RESERVED c. 1986 Katherine M. Tarbox Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. to the memory of my brother, Byron Milliken and to JT, my magus IV Reproduced with permission of the copyright owner.
    [Show full text]
  • The Great Houses of the Byrrin with Biographical Sketches of Some Important Personages
    The Great Houses of the Byrrin With Biographical Sketches of Some Important Personages Abramin (Wenemet) A relatively new player in the Byrrin, House Abramin originally hails from Djarden. Their meteor- ic rise in the early 1500s from local gentry to Cappargarnian merchant house is due to the fabulous wealth they accrued following the acession of the Pontiff's lands to the Republic. Lord Abramin Sardos I Member of the Djarden gentry who moved the House’s focus to Cappargarnia and trade. (d. 1514). Lord Abramin Talik Cappargarnian Prefect of Denbigh/Talikhiem in Oratoa, 1526-1541. Returned to Cappargarnia and was killed during the Kicitchat siege of the city in 1554, leaving the Lordly title to his nephew Sardos. Abramin Madasar Cappargarnian Senator (anti-Caranthes faction) (fl. 1540s to 50s). Abramin Lanharnes Cappargarnian Senator. One of the five Senators to stand against Prince Caranthes. Arrested in 1548. Released in the general amnesty. Arrested again in 1550 and died in prison. Lord Abramin Sardos II Cappargarnian Senator. One of the five Senators to stand against Prince Caranthes. Arrested in 1548. Released in the general amnesty and immediately vanished. Inherited Lordly title in 1554. Current whereabouts unknown. Anabrin (Wenemet) Ancient and well-respected political family, mainly based in and around Erediar, although there are cadet branches throughout the Byrrin. Anabrin Tremeneres Prince of Cappargarnia (1409-1427). Anabrin Caranthes Prince of Cappargarnia (1439-1457). Anabrin Thornley Cappargarnian Wizard, participated in the Second Battle of Balyow (1485). Anabrin Darronley Prince of Cappargarnia (1512-1528). As General Lord Anabrin Darronley, Cappargarnian military figure and hero who liberated Cappargarnia City from Atuburrk (1487); victor of the Battle of Ardarhun (1497).
    [Show full text]
  • Unearthing the Tempest
    Unearthing The Tempest The Tempest tells the story of Prospero, the deposed Duke of Milan, and his daughter, Miranda, who have spent the last twelve years in exile on a mysterious island. Upon first washing ashore with his infant child, Prospero captures two of the island’s occupants; with their help, Prospero spends the next twelve years plotting his revenge. The play opens on its namesake: a great storm of Prospero’s devising. Through the magic he has appropriated from Ariel, a mystical spirit, and the natural resources he has acquired from Caliban, the island’s only known native inhabitant, Prospero washes those who wronged him to his shores, seeking to bring them to justice and reestablish Milan’s natural order of succession. What follows is a story of revenge, redemption, and renewal as Prospero learns the meaning of mercy and forgiveness. Born in Stratford-upon-Avon, England in 1564, William Shakespeare is the author of some of the most well known plays in the western canon of dramatic literature. As he moved into the last stage of his career and life, Shakespeare was increasingly drawn to stories of restoration and rebirth, with a strong emphasis on father-daughter relationships. Other plays that share these themes have become known as “the romances,” which also include The Winter’s Tale, Cymbeline, and Pericles: Prince of Tyre. Penned between 1610 and 1611 under the patronage of King James I of England, The Tempest had its first recorded performance in 1611 on All Saints’ Day at Whitehall Palace. The King’s Men, the acting troupe to which Shakespeare belonged, performed the play before the King and his court.
    [Show full text]