DOCSLIB.ORG

The Tempest Based on the Play by William Shakespeare

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Tempest Based on the Play by William Shakespeare Teacher’s Pet Publications a unique educational resource company since 1989 To: Professional Language Arts Teachers From: Dr. James Scott, Teacher’s Pet Publications Subject: Teacher’s Pet Puzzle Packs Thank you for your interest in Teacher’s Pet Publications teaching resources. The sample pages from the Teacher’s Pet Puzzle Packs are enclosed. The goal of our Puzzle Packs is to give you title-specific, ready-to-use games and activities that are specifically designed to help your students learn to identify and define key vocabulary, quotations, and characters from the books they’re studying. Each book opens with a list of the vocabulary and characters to be studied throughout the book as well as their definitions or key clues about characters. Every book then includes the following activities and games: • Fill in the Blanks • Matching • Magic Squares • Word Search • Crossword • Bingo • Juggle Letters • Flash Cards In short, each Puzzle Pack is designed to give you a variety of fun games and activities that will help your students learn to understand the literature they’re reading and remember key vocabulary from the books you’re teaching. We hope that you like what you see in the enclosed sample. If you do, tell all of your colleagues. If you don’t, please let us know what we can do to improve our products. In either event, thank you for your interest in Teacher’s Pet resources. We look forward to being of service to you in the future. Sincerely yours, Jason Scott, CEO Teacher’s Pet Publications Toll-Free: 800-932-4593 Fax: 888-718-9333 TEACHER’S PET PUBLICATIONS PUZZLE PACK™ for The Tempest based on the play by William Shakespeare Written by Mary B. Collins © 2005 Teacher’s Pet Publications All Rights Reserved ISBN 978-1-58337-705-5 Item No. 304834 Tempest Word List No.Word Clue/Definition 1. ACT Play division 2. ALONSO King of Naples 3. ANTONIO Prospero's brother 4. ARIEL Spirit-servant to Prospero 5. BOATSWAIN He's rude to his passengers. 6. CALIBAN Prospero's deformed slave 7. CERES Goddess played by a spirit 8. FEAST Prospero shows Alonso's group a ___ then makes it disappear. 9. FERDINAND Alonso's son 10. GIFT Miranda is Prospero's ___ to Ferdinand. 11. GONZALO Nobleman who helped Prospero by supplying a boat 12. KILL Anthony suggested Sebastian should ___ Alonso while he slept. 13. MARRIED Ferdinand and Miranda decided to get ___. 14. MIRANDA Prospero's daughter 15. NAPLES Alonso is King of ___. 16. POND Ariel leaves Cal., Steph., & Trin. there 17. PROSPERO Rightful Duke of Milan 18. RAPE Caliban tried to ___ Miranda. 19. SCENE Act division 20. SEBASTIAN Alonso's brother 21. SHAKESPEARE Author 22. SLAVE Caliban to Prospero 23. STEPHANO A drunken butler 24. SYCORAX Caliban's mother 25. TEMPEST Name of the play: The ___ 26. TRINCULO Caliban takes up with Stephano & ___. Tempest Fill In The Blanks 1 1. Alonso's brother 2. King of Naples 3. Anthony suggested Sebastian should ___ Alonso while he slept. 4. Prospero's daughter 5. Caliban tried to ___ Miranda. 6. Act division 7. Ferdinand and Miranda decided to get ___. 8. Prospero's deformed slave 9. Ariel leaves Cal., Steph., & Trin. there 10. Rightful Duke of Milan 11. A drunken butler 12. Name of the play: The ___ 13. Goddess played by a spirit 14. He's rude to his passengers. 15. Alonso's son 16. Caliban to Prospero 17. Prospero's brother 18. Caliban takes up with Stephano & ___. 19. Spirit-servant to Prospero 20. Miranda is Prospero's ___ to Ferdinand. Tempest Matching 1 ___ 1. CERES A. Miranda is Prospero's ___ to Ferdinand. ___ 2. ACT B. Caliban takes up with Stephano & ___. ___ 3. NAPLES C. Rightful Duke of Milan ___ 4. MARRIED D. Alonso is King of ___. ___ 5. BOATSWAIN E. Caliban to Prospero ___ 6. GIFT F. Name of the play: The ___ ___ 7. GONZALO G. Prospero's brother ___ 8. KILL H. Ferdinand and Miranda decided to get ___. ___ 9. TEMPEST I. Anthony suggested Sebastian should ___ Alonso while he slept. ___10. STEPHANO J. A drunken butler ___11. SEBASTIAN K. Ariel leaves Cal., Steph., & Trin. there ___12. SYCORAX L. Prospero shows Alonso's group a ___ then makes it disappear. ___13. TRINCULO M. Caliban tried to ___ Miranda. ___14. FEAST N. Caliban's mother ___15. ALONSO O. Author ___16. FERDINAND P. Goddess played by a spirit ___17. RAPE Q. Prospero's daughter ___18. SLAVE R. He's rude to his passengers. ___19. PROSPERO S. Alonso's son ___20. ANTONIO T. Play division ___21. POND U. Nobleman who helped Prospero by supplying a boat ___22. SHAKESPEARE V. Alonso's brother ___23. ARIEL W. King of Naples ___24. MIRANDA X. Spirit-servant to Prospero ___25. SCENE Y. Act division Tempest Magic Squares 1 Match the definition with the vocabulary word. Put your answers in the magic squares below. When your answers are correct, all columns and rows will add to the same number. A. CERES E. RAPE I. SYCORAX M. NAPLES B. ACT F. FERDINAND J. ALONSO N. MIRANDA C. PROSPERO G. SLAVE K. SHAKESPEARE O. GIFT D. POND H. STEPHANO L. ANTONIO P. TEMPEST 1. Play division 9. Name of the play: The ___ 2. Caliban to Prospero 10. Caliban's mother 3. Author 11. Caliban tried to ___ Miranda. 4. Prospero's daughter 12. Ariel leaves Cal., Steph., & Trin. there 5. Alonso is King of ___. 13. Rightful Duke of Milan 6. Prospero's brother 14. Alonso's son 7. A drunken butler 15. King of Naples 8. Goddess played by a spirit 16. Miranda is Prospero's ___ to Ferdinand. A= B= C= D= E= F= G= H= I= J= K= L= M= N= O= P= Tempest Word Search 1 Words are placed backwards, forward, diagonally, up and down. Clues listed below can help you find the words. Circle the hidden vocabulary words in the maze. L C T X Q K J V F N W N G L S R P K T W J F B H F Z D Q X D Z J Z G E C W N N P F F S K S C D H T D C S L P B M D J Y R N X N T M F H B W B S Y C X A A F L D O J S Z G E P B Y C E J C A K S R Y X F S F P V S K P Z D T N H O Q R T R Y K E P T X D N R M H K A E X R S R I I V I A E C B P Q X L W A Y C X A V B A E W L S R A L O N S O D D N S T X P O N D L L T O C Q X L J R K A F O F H L J G Z G R I Z F R K C Q Z B M B W H A S C F Z I N S C C E R E S I D R S G Z G I F T N O A L F F B X L L N N E A N Z V V Q C T D V A Z E V C A V T L Y O P W G C U N N B R V J R R C C C P H G L G E B L A A E O B E Q D F J Y A G V C X K C O B R R R A R R W I Q F N Z Q Q D Z T K G I A V T T R W Z N T Q Z Q R X Q Y S G M E K M G S M N Y A C M S F N Y W Z V T P S K V Y W F G D N T W L S D K Y L J S M B N S H A Z D D D R S Y Z W X F R E E W Z V H T I K F L Y V G B Q W C C K K P Q T Y X R N K P C B N Z M H S M A C G M Q N N C L X H S J J W F D S F H M R P E L Z Q T Z M R Y S K D S H H S B N Z B T V G J K V R G L Z A drunken butler (8) Nobleman who helped Prospero by supplying Act division (5) a boat (7) Alonso is King of ___. (6) Play division (3) Alonso's brother (9) Prospero shows Alonso's group a ___ then Alonso's son (9) makes it disappear. (5) Anthony suggested Sebastian should ___ Prospero's brother (7) Alonso while he slept. (4) Prospero's daughter (7) Ariel leaves Cal., Steph., & Trin. there (4) Prospero's deformed slave (7) Author (11) Rightful Duke of Milan (8) Caliban takes up with Stephano & ___. (8) Spirit-servant to Prospero (5) Caliban to Prospero (5) Caliban tried to ___ Miranda.
Load more

Recommended publications
  • April 2020 • Issue 2 PROSPERO
    The newspaper for retired BBC Pension Scheme members • April 2020 • Issue 2 PROSPERO REMEMBERING A GOLDEN AGE OF FILM PAGE 8 PENSION SCHEME | BBC PENSIONS PAUL BOHAN AT 100: ‘A REMARKABLE MAN’ Former BBC broadcast engineer Paul Bohan recently celebrated his 100th birthday, and BBC Volunteer Visitor Arthur Masson caught up with him to talk about the interesting times – and places – he’s seen in his long life. aul was born in Bishop Auckland, County He arrived at Stoney Cross and joined a unit servicing Durham, on 24 November 1919. aircraft, for approximately a year. He was then transferred to RAF Marham, and then to RAF PHe was educated at a council school in Byers Mildenhall. Eventually, with his service completed, Green village, where he obtained the first of many he was released in March 1947. (It is perhaps worth ‘accomplishments’, his 11-plus certificate! He was then posted to Meldrum and completed noting that, as he had passed the Commission 12 years as a TV engineer. He left school at 16 and joined the RAF, completing an examinations, if he had remained in service he would 18-month course at Cranwell as a wireless operator, then, have been a Commissioned Officer.) He was offered early retirement, which he accepted after successfully qualifying, went to RAF Thornaby. at the ‘ripe old age’ of 58 and joined Aberdeen After leaving the RAF he joined BOAC, which was the University Language Laboratory as their recording After one year, he went back to Cranwell for another state airline, and was posted to Sudan (Wadi-Halfa).
    [Show full text]
  • An Analysis of Shakespeare' S Recycling of Characters To
    Articulāte Volume 10 Article 3 2017 Running Out of Sources (An analysis of Shakespeare' s recycling of characters to consciously or unconciously create a highly evolved final character in Prospero) Shikha Shah Denison University Follow this and additional works at: http://digitalcommons.denison.edu/articulate Part of the English Language and Literature Commons Recommended Citation Shah, Shikha (2017) "Running Out of Sources (An analysis of Shakespeare' s recycling of characters to consciously or unconciously create a highly evolved final character in Prospero)," Articulāte: Vol. 10 , Article 3. Available at: http://digitalcommons.denison.edu/articulate/vol10/iss1/3 This Article is brought to you for free and open access by Denison Digital Commons. It has been accepted for inclusion in Articulāte by an authorized editor of Denison Digital Commons. 14 15 Running Out of Sources (An analysis of Shakespeare' s recycling of characters to consciously or unconciously create a highly evolved final character achieving the golden mean of active and contemplative, similarities that are seen between the two, which furthers active in his control of his actions, yet contemplative in care- the possibility that Prospero, in part, is an advanced King in Prospero) fully planning them and trying to predetermine their conse- Lear, in whom we see that Lear's faults of resignation, shun- quences. ning of duty, and fatherhood are resolved. Shikha Shah '07 The possibility of Prospero, being in part an active Another Shakespearean character who pays a price and developed version of King Lear is further seen in the for neglecting his kingdom, and then handing over its run- parallel scenes of the storms.
    [Show full text]
  • JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
    06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev.
    [Show full text]
  • Identities in the Tempest, Tempests in Identities
    Vol.7(5), pp. 62-68, May 2016 DOI: 10.5897/IJEL2016.0915 Article Number: 280722E58642 ISSN 2141-2626 International Journal of English and Literature Copyright © 2016 Author(s) retain the copyright of this article http://www.academicjournals.org/IJEL Full Length Research Paper Identities in The Tempest, Tempests in Identities Begüm Tuğlu Department of English Language and Literature, Ege University, Turkey. Received 6 March, 2015; Accepted 25 April 2016 This study aims to analyze the identity formation of the characters in Shakespeare’s play The Tempest in terms of psychoanalytic theories of identity. It also aims to portray the patriarchal dominance over the marginalized characters and the shifting process of identification through the interpellation of the society. Since this process carries the potential to reveal the universal effects of the elements that nurture the identities of the individuals on a microcosmic scale, the play proves to be a perfect stage to explore the interactions between certain embodiments of identities. This research aims to explore the identity formation of the characters in The Tempest through psychoanalysis to reveal how the Western patriarchal ideology, mainly reflected through Prospero, subjugates and controls other formations of identity that fall beneath the social hierarchy as in the examples of Miranda, Ariel and Caliban. While Prospero stands as the main authority who rules the island, all other forms of identity seem to remain as mere subjects of his control. Though the play is presented as a romantic comedy, the findings in this study suggest that patriarchal ideology is stealthily reinforced through the notions of gender and identity.
    [Show full text]
  • LATE 20Th and EARLY 21St CENTURY CLOWNING's
    CLOWNING ON AND THROUGH SHAKEPEARE: LATE 20th AND EARLY 21st CENTURY CLOWNING’S TACTICAL USE IN SHAKESPEARE PERFORMANCE by David W Peterson BA, University of Michigan, 2007 Masters, Michigan State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by David W Peterson It was defended on April 16, 2014 and approved by Dr. Attilio “Buck” Favorini, Professor Emeritus, Theatre Arts Dr. Bruce McConachie, Professor, Theatre Arts Dr. Jennifer Waldron, Associate Professor, English Dissertation Advisor: Dr. Lisa Jackson-Schebetta, Assistant Professor, Theatre Arts ii Copyright © by David Peterson 2014 iii CLOWNING ON AND THROUGH SHAKEPEARE: LATE 20th AND EARLY 21st CENTURY CLOWNING’S TACTICAL USE IN SHAKESPEARE PERFORMANCE David Peterson, PhD University of Pittsburgh, 2014 This dissertation argues that contemporary clown performance (as developed in the latter half of the 20th century) can be understood in terms of three key performance practices: the flop, interruption, and audience play. I further argue that these three features of flop, interruption, and audience play are distinctively facilitated by Shakespeare in both text and performance which, in turn, demonstrates the potential of both clown and Shakespeare to not only disrupt theatrical conventions, but to imagine new relationships to social and political power structures. To this end, I ally the flop with Jack Halberstam’s sense of queer failure to investigate the relationship between Macbeth and 500 Clown Macbeth.
    [Show full text]
  • Margaret Atwood's Prose-Fiction Novel Hag-Seed
    How does Hag-Seed bring new meaning to The Tempest in terms of reconciliation? Margaret Atwood’s prose-fiction novel Hag-Seed (2016) both extends upon and problematises William Shakespeare’s tragicomic play The Tempest (1611), exploring the complexity of reconciliation by asserting that although it may go against our human tendencies, it is essential to overcoming our self-imposed human weakness. In The Tempest, Shakespeare suggests the importance of reconciliation through Prospero’s ultimate forgiveness of his usurpers, reiterated by Atwood who suggests that reconciliation continues to be fundamental in a modern context. However, Shakespeare justifies the oppression and imprisonment of Caliban contradicting the notion of reconciliation, with Atwood problematising this representation by asserting that the reconciliation of society and the imprisoned is also vital. Thus, Atwood’s reinterpretation of the canonical text goes beyond a spatial- temporal and generic shift, bringing new meaning to Shakespeare’s representation of reconciliation through an exploration of its difficulty, but importance to the human experience. Prospero’s obsession with attaining immoral vengeance through means of ‘rough magic’ emphasises the necessity of reconciliation and compassion in order to transcend human weakness. Prospero’s vindictive position as the ‘Prince of Power’ is demonstrated as Prospero malevolently manipulates the royal court in order to re-achieve his Dukedom. Prospero deceives Alonso in believing that Ferdinand had perished at his hands, with Alonso’s repetition of ‘O, it is monstrous, monstrous’ not only demonstrating the extent of Prospero’s abuse, but also suggesting that the conjurer himself, may be monstrous. However, Prospero ultimately comes to realise his own obsession with revenge and wrongdoing through the symbolic double entendre: ‘this thing of darkness I acknowledge mine’, referring both to Caliban and also Prospero’s own capacity for evil.
    [Show full text]
  • August 2021 • Issue 4 PROSPERO
    The newspaper for retired BBC Pension Scheme members • August 2021 • Issue 4 PROSPERO THE QUEEN PENSION IN COLOUR SCHEME PAGE 7 | BACK AT THE BBC RICHARD SHARP, THE NEW BBC CHAIRMAN Richard Sharp was appointed Chairman of the BBC in February, replacing Sir David Clementi when he stepped down. s Chairman of the Board for the next four Richard has had a 40-year career in finance working years, Richard is responsible for upholding with a number of financial institutions. Most notably Aand protecting the independence of the BBC. he worked at JP Morgan and was for 23 years a He is responsible for ensuring that the BBC fulfils partner at Goldman Sachs. Subsequently Richard its mission to inform, educate and entertain and served for two terms on the Bank of England’s promotes its public purposes. The Chairman ensures Financial Policy Committee, charged with protecting that the Board’s decision-making is in the public the UK’s financial stability. Richard has served on the interest, informed by the best interests of the boards of public and private companies in the UK, audience and with appropriate regard to the impact Germany, Denmark and the United States. Wire DCMS/PA of decisions on the wider media market in the UK. Throughout his career Richard has supported and The fees for non-executive directors of the BBC Board The Board, under the Chairman, also must ensure held governance roles in a number of non-profit are set by the Secretary of State for Culture, Media that the BBC maintains the highest standards of organisations including, amongst others, the Royal and Sport.
    [Show full text]
  • Voice and Agency in William Shakespeare's the Tempest and Aimé Césaire's Une Tempête Sophie Fahey Scripps College
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2017 Voice and Agency in William Shakespeare's The Tempest and Aimé Césaire's Une Tempête Sophie Fahey Scripps College Recommended Citation Fahey, Sophie, "Voice and Agency in William Shakespeare's The eT mpest and Aimé Césaire's Une Tempête" (2017). Scripps Senior Theses. 906. http://scholarship.claremont.edu/scripps_theses/906 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. VOICE AND AGENCY IN SHAKESPEARE’S THE TEMPEST AND AIMÉ CÉSAIRE’S UNE TÉMPETE by SOPHIE R. FAHEY SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR DECKER PROFESSOR SHELTON DECEMBER 16, 2016 I. Introduction In both William Shakespeare’s The Tempest and Aimé Césaire’s 1965 adaptation Une Tempête, a character’s power is directly linked to how much of a voice he or she has throughout the text. Both texts deal very explicitly with power, although Shakespeare focuses more on Prospero regaining his power through a position in European society, while Césaire is concerned with the effects of colonial figures (represented by Prospero) on the colonized (represented by Ariel and Caliban). Césaire explores in depth the character of Caliban who serves as the protagonist, instead of his antagonistic role in Shakespeare’s play. Césaire explicitly casts Caliban as a black slave and Ariel as a mulatto slave, bringing the ideas of colonialism to the forefront of the play.
    [Show full text]
  • Home Brewed Success Page 6-7 on the Up: Deficit
    The 60-plus web resistors Learn more 8-9 November 2009 Number 8 Home brewed success page 6-7 On the up: deficit With highlights from Ariel falls as shares recover Page 3 News Memories of Bush and Maida Vale Did you work at Bush House, left, or the Maida Vale studios? If so you may have memories and perspectives to flesh out the histories of two important BBC centres. Recently the BBC marked 75 years at Maida Vale, a former ice rink, taken over by the BBC in 1934. It is the home of the BBC Symphony Orchestra, seen unloading their instruments in 1935, right, and hosted many famous performances and recordings. Outside its classical remit, it was used for John Peel’s Radio 1 sessions, and was home to the Radiophonic Workshop. And as the big West One building project progresses, World Service is working on its plans to commemorate Bush House as a BBC building. Some PROSPERO departments have already moved, with November 2009 the final phase planned for 2012. Prospero is provided free to Creative approach to history retired BBC employees. It can also be sent to spouses or puts memories at its heart dependants who want to keep The BBC Heritage website has been the day that WW2 broke out (September in touch with the BBC. It relaunched with expanded content – and 3 1939), exploring how the war radically includes news about former in every key section there are windows changed the BBC’s relationship with How to inviting perspectives and memories from government as well as home and colleagues, pension issues, former staff.
    [Show full text]
  • Vindicating Sycorax's Anti-Colonial Voice. an Overview of Some
    VINDICATING SYCORAX’S ANTI-COLONIAL VOICE. AN OVERVIEW OF SOME POSTCOLONIAL RE-WRITINGS FROM THE TEMPEST TO INDIGO XIANA VÁZQUEZ BOUZÓ Universidade de Vigo The aim of this essay is to place the Shakespearean character Sycorax as a symbol of anti- colonial and anti-patriarchal resistance. Throughout the analysis of this figure in The Tempest and its re-writings, I suggest a change from the theories that turned Caliban into an antiim- perial symbol towards a consideration of Sycorax for this role. I analyse the possibilities that this character opens in terms of re-writing, as well as the relation of the figure of the witch with her community. I also compare the ideas that Caliban personifies (including sexual violence), with those represented by Sycorax (the struggle against imperial and patriarchal forces). I ultimately defend that Sycorax fits better the position as a resistance symbol, since the strug- gles against masculine dominance must be addressed at the same level as those against imperi- alist oppressions. KEY WORDS : The Tempest , Sycorax, Indigo , anti-colonialism, anti-patriarchy. Reivindicación de la voz anti-colonial de Sycorax. Estudio de algunas reescrituras postcolo- niales desde The Tempest hasta Indigo El objetivo de este ensayo es proponer al personaje shakespeariano Sycorax como símbolo de resistencia anticolonial y antipatriarcal. A través del análisis de esta figura en The Tempest y sus reescrituras, sugiero un cambio desde las teorías que convirtieron a Caliban en un símbolo antiimperialista hacia una nueva consideración de Sycorax para este papel. Analizo las posibili- dades que este personaje abre en términos de reescritura, así como la relación entre la figura de la bruja y su comunidad.
    [Show full text]
  • Sycorax's Absence in Shakespeare's the Tempest
    Extremes of Gender and Power: Sycorax’s Absence in Shakespeare’s The Tempest Brittney Blystone, Northern Kentucky University n William Shakespeare’s The Tempest, Prospero and Sycorax are extreme ends in the spectrums of power and gender. The I patriarchy that Prospero enforces is not an independent or coherent system; rather, it reacts to its opposite, which Sycorax symbolizes. Although some dismiss Sycorax as “long dead by the time the play’s events take place” (Thompson 339), she still shapes the characters’ perceptions of power and gender. While one can analyze male characters directly by their actions on stage, one can analyze Sycorax only by her influence on these characters. With Sycorax absent, Prospero envisions her as his female opposite. Through Prospero, Sycorax symbolizes everything that may question patriarchy. Sycorax exists only in male characters’ accounts; however, Sycorax influences the men’s perception of power because she is absent. In The Tempest, the only woman on stage is Miranda, who is both assaulted and honored for her virginity. The lack of women on stage leads Ann Thompson to wonder, “what feminist criticism can do in the face of a male-authored canonical text [The Tempest] which seems to exclude women to this extent" (339). Women are so utterly missing on stage that Stephen Orgel calls his essay “Prospero’s Wife” merely a “consideration” of “related moments and issues” (1). According to Orgel, The Tempest provides enough evidence about the women in the play for us to speculate about them, but not enough for us to make any justified conclusions or arguments.
    [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]