DOCSLIB.ORG

Activity Pack #21: the Tempest

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Activity Pack #21: the Tempest THE TEMPEST | FOOD FOR THOUGHT Shakespeare’s language can seem scary, but give it a try! Go at your own pace, and have fun! Long story short: Twelve years ago, Prospero (who knows lots of magic) was betrayed by his brother, banished from Milan, and left (with his daughter Miranda) out at sea in a rickety boat... which washed up on an island inhabited mostly by spirits like Ariel, who becomes Prospero's assistant of sorts. (Whew! That was a long sentence!) Conveniently for Prospero—who has spent twelve years stewing about the betrayal—all of the people SHAKESPEARE IN PRISON who were part of that betrayal sail near the island on one ship at the same time... So he uses his magic (and Ariel) to whip up a huge storm that shipwrecks them here. DETROIT PUBLIC THEATRE'S Prospero and Ariel are very close, loving relationship— Shakespeare never SIGNATURE COMMUNITY PROGRAM Which brings us to this scene... almost like parent and child. This is their only negative specifies Ariel's And two things to keep in mind: 1 interaction in the play. 2 gender. PROSPERO ARIEL The Shakespeare Thou liest, malignant thing; hast thou forgot Yes, Caliban, her son. The foul witch Sycorax, who with age and envy ARIEL Was grown into a hoop? Hast thou forgot her? PROSPERO Is there more toil? Since thou dost give me pains, Dull thing, I say so — he, that Caliban, Let me remember thee what thou hast promised, ARIEL Whom now I keep in service. Thou best knowst Which is not yet performed me. No, sir. What torment I did find thee in: thy groans Did make wolves howl and penetrate the breasts PROSPERO PROSPERO Of ever-angry bears. It was a torment How now? Moody? Thou hast! Where was she born? Speak; tell me. To lay upon the damned, which Syvcorax What is't thou canst demand? Could not again undo. It was mine art, ARIEL When I arrived and heard thee, that made gape ARIEL Sir, in Algiers. The pine and let thee out. My liberty. PROSPERO ARIEL PROSPERO O, was she so? I must I thank thee, master. Before the time be out? No more! Once in a month recount what thou hast been, Which thou forget'st. This damned witch Sycorax, PROSPERO, ARIEL For mischiefs manifold and sorceries terrible If thou more murmur'st, I will rend an oak I prithee To enter human hearing, from Algiers, And peg thee in his knotty entrails till Remember I have done thee worthy service, Thou knowst, was banished. For one thing she did Thou hast howled away twelve winters. Told thee no lies, made thee no mistaking served They would not take her life; is not this true? Without or grudge or grumblings. Thou did promise ARIEL To bate me a full year. ARIEL Pardon, master, Ay, sir. I will be correspondent to command PROSPERO And do my spriting gently. Dost thou forget PROSPERO From what a torment I did free thee? This blue-eyed hag was hither brought with child, PROSPERO And here was left by th' sailors Thou, my slave, Do, and after two days ARIEL As thou report'st thyself, was then her servant, I will discharge thee. No. And — for thou wast a spirit too delicate To act her earthy and abhorred commands, ARIEL PROSPERO Refusing her grand hests — she did confine thee, That's my noble master. Thou dost, and think'st it much to tread the ooze By help of her more potent ministers What shall I do? Say what? What shall I do? Of the salt deep, And in her most unmitigable rage, To run upon the sharp wind of the north, Into a cloven pine, within which rift PROSPERO To do me business in the veins o'th' earth Imprisoned thou didst painfuily remain Go make thyself like a nymph o'th' sea; When it is baked with frost. A dozen years, within which space she died Be subject to no sight but thine and mine, invisible And left thee there, where thou didst vent thy groans To every eyeball else. Go take this shape ARIEL As fast as mill wheels strike. Then was this island And hither come in't. Go! Hence with diligence. Exit Ariel. I do not, sir. (save for the son that she did litter here, A freckled whelp, hag-born) not honored with A human shape. In case you're wondering, Algiers is a city in Algeria, which is in Northern Africa. Now you don't have to look it up. The Translation PROSPERO You're welcome. You lie, you nasty, ungrateful thing! Have you forgotten ARIEL the horrid witch Sycorax, stooped over with old age and Is there more work to do? Since you’re giving me ill will? Have you forgotten her? ARIEL new assignments, let me remind you what you Yes, Caliban, her son. promised me but haven’t come through with yet. ARIEL No, sir. PROSPERO PROSPERO That’s right, you stupid thing. Caliban, who now serves What? You’re in a bad mood? What could you PROSPERO me. You know better than anyone how tortured you possibly ask for? You have. Where was she born? Speak. Tell me. were when I found you. Your groans made wolves howl, and even made bears feel sorry for you. Nobody but the ARIEL ARIEL damned souls of hell deserves the spell that Sycorax put My freedom. In Algiers, sir. on you and couldn’t undo. It was my magic that saved you when I arrived on the island and heard you, making PROSPERO PROSPERO the pine tree open and let you out. Before your sentence has been completed? Don’t Oh, was she now? I’ll have to tell the story again every say anything else. month, since you seem to forget it. This damned witch ARIEL Sycorax was kicked out of Algiers for various witching Thank you, master. ARIEL crimes too terrible for humans to hear about. But for I beg you, remember the good work I’ve done for one reason they refused to execute her. Isn’t that true? PROSPERO you, and how I’ve never lied to you, never made If you complain any more, I’ll split an oak tree and lock mistakes, and never grumbled in my work. You ARIEL you up in it till you’ve howled for twelve years. promised to take a full year off my sentence. Yes, sir. ARIEL PROSPERO PROSPERO Please forgive me, master. I’ll be obedient and do all my Have you forgotten the torture I freed you from? This sunken-eyed hag was brought here pregnant and tasks without complaining. left by the sailors. You, my slave, were her servant at the ARIEL time, as you admit yourself. You were too delicate to PROSPERO No. carry out her horrible orders, and you refused. In a fit of Do that, and I’ll set you free in two days. rage she locked you up in a hollow pine tree, with the PROSPERO help of her powerful assistants, and left you there for ARIEL You have forgotten, and you think it’s a burden twelve years. During that time she died, and you were That’s noble of you, master. What shall I do for you? Just when I ask you to walk through the ocean, or run on trapped, moaning and groaning as fast as the blades of tell me. What shall I do? the north wind, or do business for me underground a mill wheel strike the water. At that time there were no when the earth’s frozen solid. people here. This island was not honored with a human PROSPERO being—except for the son that Sycorax gave birth to Go disguise yourself as a sea nymph. Be invisible to ARIEL here, a freckled baby born of an old hag. everyone except yourself and me. Take this garment, put No, I don’t, sir. it on, and then come back here. Hurry, go! Ariel exits. THE TEMPEST | FOOD FOR THOUGHT You can respond to these in any way you choose: SHAKESPEARE IN PRISON Write Act Talk about it DETROIT PUBLIC THEATRE'S it o out it SIGNATURE COMMUNITY PROGRAM ut hink ab T ... up to you! Draw Ariel and Prospero have a close Ariel has quite the origin story (a witch! a wizard! magic!). Can you relationship—more than you might guess summarize it in just a few sentences? What happened? from this scene. They are friends and How would you tell this story...? partners; they really respect each other. But Prospero threatens Ariel with Do you think something pretty serious in this scene. Prospero knows You may have noticed that these that Prospero threatens to What makes Prospero so mad? Do you punishments are do the same thing to Ariel the same? If so, why think Ariel expected such an over-the-top that Sycorax did (put Ariel would he do that? If response? What's going through their in a tree for 12 years). In not, why do you heads during this exchange? fact, if you remember, it think it occurred to was Prospero who freed him? Ariel from that tree. Pretend the scene ends at "twelve winters." How else could Ariel If Prospero actually respond to Prospero? How would went through with Prospero respond to that? Write out it, would he be any different from a few lines—or a whole scene! Sycorax? The Tempest is a visual play. It starts with a shipwreck and moves to a magical island.
Load more

Recommended publications
  • SHAKESPEARE and RODO'': RECURRING THEMES and CHARACTERS by WENDELL AYCOCK, B.A» a THESIS in ENGLISH Submitted to the Graduate F
    SHAKESPEARE AND RODO'': RECURRING THEMES AND CHARACTERS by WENDELL AYCOCK, B.A» A THESIS IN ENGLISH Submitted to the Graduate Faculty of Texas Technological College in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Accepted 79^5 ACKNOWLEDGMENTS I am deeply indebted to Professor Joseph T. McCullen for his direction of this thesis• ii TABLE OF CONTENTS ACKNOWLEDGMENTS ii I. INTRODUCTION 1 II. ARIEL AND THE TEMPEST: A SURVEY ^ Rode'''s Life and Reputation 5 Ariel 8 The Tempest 29 III. ARIEL AND THE TEMPEST: A COMPARISON .... 3^ Introduction • . • 5^ The Societies of Shakespeare and Rodo*^ ... 35 The Conflict of Spiritual and Material Interests ^ Ariel, Caliban, and Prosper© 42 IV. CONCLUSION 54 BIBLIOGRAPHY 56 ill CHAPTER I INTRODUCTION One of the important aspects of a study of literature is relativity. In trying to understand the universality of literature, scholars aj?e continually discovering and relating recurring themes, literary techniques, and characters. By studying recurring themes, scholars can understand the ideas and problems which have interested authors of many eras. By studying recurring literary techniques, they can see the value of techniques which have been useful throughout history. And, by studying reciorring characters (or types of characters), they can L-"' / understand the qualities of human nature which are un- ^^ changing. Possibly the most interesting consideration of this type of relativity is the comparison of recurring char­ acters. Authors sometimes choose, as subjects for their own literary works, characters that have been created by another author. When such a choice is made, and when the recreated characters are not renamed, the student of literature becomes especially interested in trying to compare the two works and the characters that are used in both works.
    [Show full text]
  • “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]
  • “From Strange to Stranger”: the Problem of Romance on the Shakespearean Stage
    “From strange to stranger”: The Problem of Romance on the Shakespearean Stage by Aileen Young Liu A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English and the Designated Emphasis in Renaissance and Early Modern Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Jeffrey Knapp, Chair Professor Oliver Arnold Professor David Landreth Professor Timothy Hampton Summer 2018 “From strange to stranger”: The Problem of Romance on the Shakespearean Stage © 2018 by Aileen Young Liu 1 Abstract “From strange to stranger”: The Problem of Romance on the Shakespearean Stage by Aileen Young Liu Doctor of Philosophy in English Designated Emphasis in Renaissance and Early Modern Studies University of California, Berkeley Professor Jeffrey Knapp, Chair Long scorned for their strange inconsistencies and implausibilities, Shakespeare’s romance plays have enjoyed a robust critical reconsideration in the twentieth and twenty-first centuries. But in the course of reclaiming Pericles, The Winter’s Tale, Cymbeline, and The Tempest as significant works of art, this revisionary critical tradition has effaced the very qualities that make these plays so important to our understanding of Shakespeare’s career and to the development of English Renaissance drama: their belatedness and their overt strangeness. While Shakespeare’s earlier plays take pains to integrate and subsume their narrative romance sources into dramatic form, his late romance plays take exactly the opposite approach: they foreground, even exacerbate, the tension between romance and drama. Verisimilitude is a challenge endemic to theater as an embodied medium, but Shakespeare’s romance plays brazenly alert their audiences to the incredible.
    [Show full text]
  • A Study of the Value of the Tempest for Audiences and Readers- Elizabeth and Modern
    Eastern Illinois University The Keep Plan B Papers Student Theses & Publications 1-1-1960 A Study of the Value of The Tempest for Audiences and Readers- Elizabeth and Modern Blanche Garren Icenogle Follow this and additional works at: https://thekeep.eiu.edu/plan_b Recommended Citation Icenogle, Blanche Garren, "A Study of the Value of The Tempest for Audiences and Readers- Elizabeth and Modern" (1960). Plan B Papers. 62. https://thekeep.eiu.edu/plan_b/62 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Plan B Papers by an authorized administrator of The Keep. For more information, please contact [email protected]. A STUDY OF THE VALUES OF THE TEMPEST FOR AUDIENCES AND READE.RS ELIZABE'riilli .AND MODERN (TITLE) BY BLANCHE GARREN ICENOGLE PLAN B PAPER SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF SCIENCE IN EDUCATION AND PREPARED IN COURSE ELIZABETH.AN DRAlV.A # 45? IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY, CHARLESTON, ILLINOIS YEAR I HEREBY RECOMMEND THIS PLAN B PAPER BE ACCEPTED AS FULFILLING THIS PART OF THE DEGREE, M.S. IN ED. A STUDY OF '11EE VALUES OF TEE TEMPEST FOR AUDIENCES Al\JD READERS ._. ELIZABETH.AN AND MODERN The greatness of Shakespeare's works is a seldom- disputed fact. Goethe speaks of him thus: "Shakespeare gives us golden apples in silver dishes. We get indeed, the silver dishes by studying his works; but, fortunately, we have only potatoes to put in them.
    [Show full text]
  • A History of English Literature MICHAEL ALEXANDER
    A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting
    [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]
  • 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]
  • Olympos Epub Downloads
    Olympos Epub Downloads Beneath the gaze of the gods, the mighty armies of Greece and Troy met in fierce and glorious combat, scrupulously following the text set forth in Homer's timeless narrative. But that was before twenty-first-century scholar Thomas Hockenberry stirred the bloody brew, causing an enraged Achilles to join forces with his archenemy Hector and turn his murderous wrath on Zeus and the entire pantheon of divine manipulators; before the swift and terrible mechanical creatures that catered for centuries to the pitiful idle remnants of Earth's human race began massing in the millions, to exterminate rather than serve.And now all bets are off. Audio CD Publisher: Brilliance Audio; Unabridged edition (August 12, 2014) Language: English ISBN-10: 1480591734 ISBN-13: 978-1480591738 Product Dimensions: 6.5 x 2.2 x 5.5 inches Shipping Weight: 1.4 pounds (View shipping rates and policies) Average Customer Review: 4.0 out of 5 stars 229 customer reviews Best Sellers Rank: #4,202,477 in Books (See Top 100 in Books) #15 in Books > Books on CD > Authors, A-Z > ( S ) > Simmons, Dan #2767 in Books > Books on CD > Science Fiction & Fantasy > Science Fiction #3284 in Books > Books on CD > Science Fiction & Fantasy > Fantasy Welcome back to the Trojan War gone round the bend. Hector and Achilles have joined forces against the Olympic Gods. Back on a future Earth, assorted creatures from Shakespeare's The Tempest get ready to rumble in a winner-takes-the-universe battle royale. And amid it all, a group of confused mere mortals with their classically trained robot allies (from Jupiter no less) race across time and space to keep from getting squashed as the various Titans of the Western Canon square off.
    [Show full text]
  • Miranda: an Exploration of the Tempest
    Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Miranda: An Exploration of The Tempest Lauren Michelle Russo Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Acting Commons, and the Dramatic Literature, Criticism and Theory Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Russo, Lauren Michelle, "Miranda: An Exploration of The Tempest" (2017). Senior Projects Spring 2017. 350. https://digitalcommons.bard.edu/senproj_s2017/350 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Miranda: An Exploration of The Tempest Senior Project submitted to The Division of the Arts Of Bard College By Lauren Russo Annandale-on-Hudson, New York May 2017 Dedication This project is dedicated to: My parents: For all the work and sacrifice they have made for my education. You have given me an abundance of love and knowledge. My Friends: Who ground me and strengthen me. Thank you Graves Street, my home and my hearts: Aldo, Ben, Kaiti, Krisdee, Nowell Acknowledgements Thank you to: To My Professors and Mentors: Who have taught me and challenged me so that I can grow.
    [Show full text]
  • Montaigne and Sycorax
    MONTAIGNE AND SYCORAX Kenji Go（郷 健治） THE best-known borrowing by William Shakespeare from Michel de Montaigne’s celebrated Essais（ 1580, 82, 88, 95 etc.） comes from the chapter, ‘Des Cannibales’, which is famously echoed in Gonzalo’s utopian ‘commonwealth’ speech in The Tempest, 2.1.145-62.1 Pace Capell, who first pointed out this borrowing in 1780,2 recent critics have generally accepted Malone’s following view: Our author has here closely followed a passage in Montaigne’s ESSAIES, translated by John Florio, folio, 1603: “It is a nation, （would I answer Plato,） that hath no kind of trafficke, no knowledge of letters, .....” This passage was pointed out by Mr. Capell, who knew so little of his author as to suppose that Shakspeare（ sic） had the original French before him, though he has almost literally followed Florio’s translation.3 That is to say, Gonzalo’s utopian speech follows so closely, almost verbatim, a passage in Montaigne’s essay, ‘Of the Caniballes（’ hereafter, ‘Caniballes’）, in John Florio’s English translation of 1603, that there is no doubt that Shakespeare used this English version of Montaigne’s essay in writing those 1 Hereinafter, quotations of The Tempest follow Stephen Orgel’s Oxford（ 1987） edition. 2 See Edward Capell, Notes and Various Readings to Shakespeare, vol. 2, part 4（ London, 1780）, p. 63, where, quoting the original French text of Montaigne’s essay, he suggested that Shakespeare read it in French. 3 Thus Malone corrected, not very kindly, Capell’s view in his footnote to Gonzalo’s ‘commonwealth’ speech in his edition: The Plays and Poems of William Shakespeare, vol.
    [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]
  • Year 7 Home Learning the Tempest by William Shakespeare Weeks 1-3
    Year 7 Home Learning The Tempest by William Shakespeare Weeks 1-3 Name: __________________ Rastrick High School How to use this booklet: During the third half term of Year 7 we will study The Tempest by William Shakespeare. If you are working from home at any point during this time, you should use this booklet to complete your home learning. This booklet will break down the reading and writing into week by week sections with tasks to complete. If you have been in school for part of the time but are now studying from home, you should start the lessons from where you last finished with your class teacher. Summary of the scheme The Tempest is a six-week scheme of work that continues on from your work on Shakespeare’s World. Throughout this scheme, you will study: - Key moments from the play - Key historical information relevant to the ideas in the play - Some of Shakespeare’s use of language to present characters and relationships. - The theme of power, control, supernatural and society. The main focus, throughout your study of the play, is the central character Prospero. As you work through, pay close attention to your impression of Prospero and how it might change as the play develops. All extracts from the play can be found at the back of the booklet. Support: Discussing a text At some points you will be asked to write a What? How? Why? Paragraph. The section below provides some advice on how to write this. What is the writer doing? The first sentence of your paragraph should clearly explain what the writer is doing.
    [Show full text]