Answer Key Class 11 the Tempest

Total Page:16

File Type:pdf, Size:1020Kb

Answer Key Class 11 the Tempest ANSWER KEY CLASS 11 THE TEMPEST ACT 1 SCENE 2 ​ (EXTRACT 1-6) EXTRACT 1 1. Read the following passage and answer the questions that follow: O, I have suffered------------------souls within her. (I) Where is Miranda? What makes her suffer? ANS: Miranda is on the island before Prospero's cell. Seeing the people in the ship frightened and the ship being swallowed by the sea waves makes her suffer. (II) Name some of the noble creatures referred to in the extract. How were they in the brave vessel? ANS. The noble creatures referred to in the extract ​ are Alonso(the King of Naples), Ferdinand(Alonso's son), Sebastian, Gonzalo, Antonio (usurping duke of Milan), etc.They were returning from abroad, in the brave vessel after Alonso's daughter Claribel's marriage to the King of Tunis. (III)Describe the nature of Miranda from the extract. ANS:Miranda in the most charming feminine creation of Shakespeare. Her most noble quality is her sympathetic nature. She is emotional and has good feelings for others. (IV) How is the brave vessel about to be dashed to pieces? Who is responsible for the destruction? Why would he do such a destruction? ANS: The storm or tempest is the reason for the brave vessel to be dashed to pieces. Prospero is responsible for the destruction. He did such destruction to reform his enemies and teach them a lesson and to make them realise their wrong deeds. (V) Why is Miranda ignorant of who Prospero was? Which items were necessary for Prospero to practice his magic art? ANS: Miranda was ignorant of who Prospero was because when his dukedom was taken away from him, she was only three years old.Being so young it was not possible to recall all the things which happened 12 years ago. The items necessary for Prospero to practice magic were his books and his cloak. (VI), Give the meaning of the following words as they are used in the context of the passage (a) Dashed (b) fraughting (a) wrecked (b)passenger EXTRACT 2 2.Read the following passage and answer the questions that follow: Miranda:O, woe the day!--------,from me.- So: (I)Why does Miranda say, 'O, woe the day'? How does Prospero console her? ANS: Miranda says "O woe the day' by noticing the shipwreck and by seeing the suffering of the passengers on the ship. Prospero consoles her by saying there is no harm to passengers on the ship and everyone is safe. (II) Why is Miranda ignorant of who she is? What does she remember of her childhood days? ANS: Miranda is ignorant of who she is because she was only three years old when she was brought to this island. She remembered that she had four or five maids to attend upon her. (III) How did Prospero and Miranda reach a particular place? ANS: Prospero and Miranda reached the particular place i.e. an uninhabited island as a result of great injustice done to them by Prospero's own brother Antonio but it was a blessing that they were helped to reach safely. (IV) Who had helped them? What did the helper do? ANS: Gonzalo, an honest old courtier of Alonso helped them. He kept in the dilapidated boat, some food and some fresh water,costly clothes, linens,goods and essential commodities, and magic books which Prospero valued more than his dukedom. (V) Why did Prospero say " I am more better Than Prospero, master of a full poor cell, And thy no greater father". ANS. Prospero said this to hint Miranda that he is not a common man. He told Miranda that she didn't know his real identity. She only considered Prospero as her father and the owner of the poor cell, but he was definitely more than that. (VI). Give the meaning of the following words as they are used in the context of the passage (a) meddle: (b) pluck (a) enter (b) take of EXTRACT 3 3. Read the following passage and answer the questions that follow: Prospero: Both, both, my girl--------- so perfidious! (I) What two reasons does Prospero give in the extract for their coming to the destination? What was the foul play referred to in the extract? ANS: The following are the two reasons that Prospero gives for their coming to the island a) They were thrown out by a foul play (b) It was a blessing in disguise that they have reached the island. Prospero was the rightful Duke of Milan. He had great interest in the study of philosophy and magic and left the control of the state's affairs in the hands of his brother Antonio. He grew ambitious and in order to usurp his dukedom, he made a secret deal with the king of Naples Then one night Prospero and his daughter were ousted. from the palace. They were put aboard a small dilapidated boat with no mast nor sails and were left to die in the sea. (II) Why was Prospero's coming to the new place a blessing in disguise? What does Prospero's thinking show about his character? ANS: ​ Prospero and Miranda had survived and found exile on a small island. He has learned Sorcery from books, and uses it while on the island to protect Miranda and control the other characters. Prospero's sorcery is sufficiently powerful to control Ariel and other spirits, as well as to alter weather and even raise the dead. Prospero himself says, " Graves at my command have waked their sleepers, oped, and let 'em forth, by my so potent Art" ( Act V, scene 1.) On the island, Prospero becomes master of the monster Caliban (the son of Sycorax, a malevolent witch) and forces Caliban into submission by punishing him with magic if he does not obey. Ariel is beholden to Prospero after he is freed from his imprisonment inside the pine tree. Prospero's thinking shows that he is generous. (III) State what Prospero had done for his brother? ANS: Prospero loved his brother more than anybody else except Miranda in the world. He gave up all responsibilities and entrusted him the management of state which was foremost among all the principalities. (IV).How did the brother prove to be ungrateful to him? ANS: Antonio proved to be ungrateful to Prospero as his brother Antonio made an alliance with the King of Naples and drove off Prospero and Miranda from the Dukedom of Milan. (V) How was Prospero unparalleled to others in dignity and learning in those days? ANS: Prospero ignored all the worldly interest. He was devoted to his private life and to the progress of his mind with studies which were more than all excessive popular praise. Prospero had been the first among the Dukes. Thus, he was unparalleled to others in dignity and learning in those days. (VI). Give the meaning of the following words as they are used in the context of the passage (a) heaved (b) perfidious (a) removed (b) treacherous Extract 4 Read the following passage and answer the questions that follow: ​ Being once _ _ _ _ _ _ _ attend'st not. Qts 1.What did Prospero assign to be done by Antonio? Why did the former do it? Ans. Prospero entrusted the administration of Milan in the hands of his brother Antonio. Being the Duke of Milan, Antonio learnt how to grant and reject suits, whom to advance and keep down from going too high. Prospero did so because he engrossed himself in secret studies. 2.How has Antonio "new created / the creatures" that were Prospero's? Ans. Antonio newly created the men who were of Prospero or replaced them with his own men with his authority. They all were threatened by Antonio and dared not to go against his will. As a result no person was left on Antonio's side. 3. How did Antonio deal with the old office holders? How did he train his new office holders? Ans. Antonio was rude with his officeholders who were mostly against his decision. He trained his new officeholders in such a way that it would be easier for him to take over the dukedom from Prospero. 4. Explain in what way was Antonio like an ivy? Ans. Antonio is the evil brother of Prospero, the Duke of Milan. He cheated his own brother and usurped his dukedom. He tells Miranda that her uncle is like the creeping ivy. He compares him and says that just like an ivy covers the oak tree, sucking out all strength from it in the same way Antonio sucked all the powers and vitality of Prospero. 5. By excluding the material given in the Extract above, state how Antonio got the total control of the dukedom. Ans. Prospero was the Duke of Milan. He was more interested in studying philosophy and magic, and he left the administration of state's affairs to his brother, Antonio who grew ambitious and made a secret plan with the King of Naples to oust his brother from his dukedom. 6. Give the meaning of the following words as they are used in the context of the passage: (a) suits - petition (b)advance - promote Extract 5 Read the following passage and answer the questions that follow: ​ Your tale_ _ _ _ _ _ _ ignoble stooping. 1.What is meant by Absolute Milan? What in the Extract shows that Antonio has become Absolute Milan? Ans. The word Absolute Milan means the duke all in all. Antonio was considered to be the Absolute Milan. Prospero tells Miranda that in order to be a complete Duke of Milan, Antonio wanted to do away with all that stood between the appearance and the reality.
Recommended publications
  • The Tempest -THEATRICS
    !1 THE TEMPEST by William Shakespeare Edited by Tiffany Antone for The@trics Theatre Characters ALONSO, king of Naples SEBASTIAN, his brother PROSPERO, the right duke of Milan ANTONIO, his brother, the usurping duke of Milan FERDINAND, son to the king of Naples GONZALO, an honest old Counsellor CALIBAN, a savage and deformed Slave BIG TRINCULO & LITTLE TRINCULO, Jesters STEPHANO, a drunken Butler MIRANDA, daughter to Prospero ARIELS - five elemental spirits: FIRE, AIR, WATER, EARTH, and ETHER Master of a Ship, Boatswain, and Mariners ACT 1, SCENE 1 - On a ship at sea: a tempestuous noise of thunder and lightning heard. Enter a Master and a Boatswain MASTER Boatswain! BOATSWAIN Here, master: what cheer? MASTER Good, speak to the mariners: fall to't, yarely, or we run ourselves aground: bestir, bestir. Exit Enter Mariners BOATSWAIN Heigh, my hearts! cheerly, cheerly, my hearts! yare, yare! Take in the topsail. Tend to the master's whistle. Blow, till thou burst thy wind, if room enough! Enter ALONSO, SEBASTIAN, ANTONIO, FERDINAND, and GONZALO ALONSO Good boatswain, have care. Where's the master? !2 BOATSWAIN I pray now, keep below. ANTONIO Where is the master, boatswain? BOATSWAIN You mar our labour: keep your cabins: you do assist the storm. GONZALO Nay, good, be patient. BOATSWAIN. When the sea is. Hence! What cares these roarers for the name of king? To cabin: silence! trouble us not. GONZALO Good, yet remember whom thou hast aboard. BOATSWAIN. None that I more love than myself. You are a counsellor; if you can command these elements to silence, and work the peace of the present, we will not hand a rope more; use your authority: if you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap.
    [Show full text]
  • Miranda: a Pinnacle of Femininity and Object of Patriarchal Power (A Study of Shakespeare‘S ―The Tempest‖) Mrs
    Special Issue Published in International Journal of Trend in Research and Development (IJTRD), ISSN: 2394-9333, www.ijtrd.com Miranda: A Pinnacle of Femininity and Object of Patriarchal Power (A Study of Shakespeare‘s ―The Tempest‖) Mrs. Divya K.B, Associate Professor, Dept of English, Jindal First Grade College For WomenJindalnagar, Bangalore, India Abstract: Shakespeare was not of an age but for all times because his characters are true to the eternal aspects of human life and not limited to contemporary society. Shakespeare was also the soul of his age. By its very nature drama is a mirror of its times. He wrote for Elizabethan audience and he conditioned his art to suit the tastes of the people and the limitations of the age. Shakespeare‘s greatness, one critic said lay in his comprehensive soul. That is the most poetic summation of a dramatic genius that has never been equaled. No dramatist can create live characters save by bequeathing the best of himself into his work of art, scattering among them a largess of his own qualities, his own wit, his comprehensive cogent philosophy, his own rhythm of action and the simplicity or complexity of his own nature. Shakespeare excelled in all of them all the time, or at least majority of times, as he teased and tormented his readers with his exquisite wit on one scale and sublimated them with his deep insight into human psyche on another. Shakespeare wrote in the age outstanding in literary history and its vitality of language. During the time of Shakespeare, there was a social construct of daughter Miranda to her rightful place using illusion and skilful gender and sexuality norms just as there are today.
    [Show full text]
  • Characters from the Tempest – from the Site “No Fear Shakespeare”
    Characters from The Tempest – From the site “No Fear Shakespeare” Prospero The play’s protagonist and Miranda’s father. Twelve years before the events of the play, Prospero was the duke of Milan. His brother, Antonio, in concert with Alonso, king of Naples, usurped him, forcing him to flee in a boat with his daughter. The honest lord Gonzalo aided Prospero in his escape. Prospero has spent his twelve years on an island refining the magic that gives him the power he needs to punish and reconcile with his enemies. Miranda Prospero’s daughter, whom he brought with him to the island when she was still a small child. Miranda has never seen any men other than her father and Caliban, although she dimly remembers being cared for by female servants as an infant. Because she has been sealed off from the world for so long, Miranda’s perceptions of other people tend to be naïve and non- judgmental. She is compassionate, generous, and loyal to her father. Ariel Prospero’s spirit helper, a powerful supernatural being whom Prospero controls completely. Rescued by Prospero from a long imprisonment (within a tree) at the hands of the witch Sycorax, Ariel is Prospero’s servant until Prospero decides to release him. He is mischievous and ubiquitous, able to traverse the length of the island in an instant and change shapes at will. Ariel carries out virtually every task Prospero needs accomplished in the play. Caliban Another of Prospero’s servants. Caliban, the son of the now-deceased witch Sycorax, acquainted Prospero with the island when Prospero arrived.
    [Show full text]
  • A Wunda-Full World? Carbon Dioxide Ice Deposits on Umbriel and Other Uranian Moons
    Icarus 290 (2017) 1–13 Contents lists available at ScienceDirect Icarus journal homepage: www.elsevier.com/locate/icarus A Wunda-full world? Carbon dioxide ice deposits on Umbriel and other Uranian moons ∗ Michael M. Sori , Jonathan Bapst, Ali M. Bramson, Shane Byrne, Margaret E. Landis Lunar and Planetary Laboratory, University of Arizona, Tucson, AZ 85721, USA a r t i c l e i n f o a b s t r a c t Article history: Carbon dioxide has been detected on the trailing hemispheres of several Uranian satellites, but the exact Received 22 June 2016 nature and distribution of the molecules remain unknown. One such satellite, Umbriel, has a prominent Revised 28 January 2017 high albedo annulus-shaped feature within the 131-km-diameter impact crater Wunda. We hypothesize Accepted 28 February 2017 that this feature is a solid deposit of CO ice. We combine thermal and ballistic transport modeling to Available online 2 March 2017 2 study the evolution of CO 2 molecules on the surface of Umbriel, a high-obliquity ( ∼98 °) body. Consid- ering processes such as sublimation and Jeans escape, we find that CO 2 ice migrates to low latitudes on geologically short (100s–1000 s of years) timescales. Crater morphology and location create a local cold trap inside Wunda, and the slopes of crater walls and a central peak explain the deposit’s annular shape. The high albedo and thermal inertia of CO 2 ice relative to regolith allows deposits 15-m-thick or greater to be stable over the age of the solar system.
    [Show full text]
  • — 1 — 1. Class Title 1 (Simon Keenlyside) 2. Waterhouse: Miranda (1916, Private Collection) the Tempest (1611) Is the Last P
    1. Class Title 1 (Simon Keenlyside) 2. Waterhouse: Miranda (1916, private collection) The Tempest (1611) is the last play which Shakespeare wrote alone. It has been described as the most musical of his works, on account of the number of songs in the text, the interpolated masque in the last act, and because it works less through cause and effect than through enchantment, an intrinsically musical quality. It is the only play for which we have any of the original stage music. And according to Wikipedia, it has inspired over four dozen operatic or musical settings. As early as the mid-seventeenth century, managements were adapting the play as a kind of masque, rather than performing the original. 3. Ariel’s Tempest in Columbia I’m also somewhat familiar with it myself. I directed the first performance of The Tempest by American composer Lee Hoiby in the late 1980s, and wrote my own adaptation in 2011 for composer Douglas Allan Buchanan, a 60-minute condensation that we toured to young audiences all over Maryland. 4. Round table discussion at the Met But the version we are watching today is the work of the two people in the middle of this picture: composer/conductor Thomas Adès (b.1971) and the Australian playwright Meredith Oakes (b.1946), seen here with Met General Manager Peter Gelb and stage director Robert Lepage. The picture comes from an intermission feature in the Met’s 2012 Live-in-HD transmission of the opera; I thought of playing it, but it is hard to hear and rather light on information.
    [Show full text]
  • What Next Miranda?: Marina Warner's Indigo
    Kunapipi Volume 16 Issue 3 Article 13 1994 What Next Miranda?: Marina Warner's Indigo Chantal Zabus Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Zabus, Chantal, What Next Miranda?: Marina Warner's Indigo, Kunapipi, 16(3), 1994. Available at:https://ro.uow.edu.au/kunapipi/vol16/iss3/13 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] What Next Miranda?: Marina Warner's Indigo Abstract Each century seems to have its own interpellative dream-text: The Tempest for the 17th century; Robinson Crusoe for the 18th century; Jane Eyre for the 19th century; Heart of Darkness for the turn of this century. Such texts serve as pre-texts to others; they underwrite them. Yet, in its nearly four centuries of existence, The Tempest has washed ashore more alluvial debris than any other text: parodies, rewritings and adaptations of all kinds. Incessantly, we keep revisiting the stage of Shakespeare's island and we continue to dredge up new meanings from its sea-bed. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol16/iss3/13 What Next Miranda?: Marina Warner's Indigo 81 CHANTAL ZABUS What Next Miranda?: Marina Warner's Indigo 1 'What next I wonder?' Iris Murdoch, The Sea, the Sea Each century seems to have its own interpellative dream-text: The Tempest for the 17th century; Robinson Crusoe for the 18th century; Jane Eyre for the 19th century; Heart of Darkness for the turn of this century.
    [Show full text]
  • The Tempest Summary: a Magical Storm
    The Tempest Summary: A Magical Storm The Tempest begins on a boat, tossed about in a storm. Aboard is Alonso the King of Naples, Ferdinand (his son), Sebastian (his brother), Antonio the usurping Duke of Milan, Gonzalo, Adrian, Francisco, Trinculo and Stefano. Miranda, who has been watching the ship at sea, is distraught at the thought of lost lives. The storm was created by her father, the magical Prospero, who reassures Miranda that all will be well. Prospero explains how they came to live on this island: they were once part of Milan’s nobility – he was a Duke and Miranda the baby princess. However, Prospero’s brother (Antonio) exiled them – they were placed on a boat and banished, never to be seen again. Prospero summons Ariel, his servant spirit. Ariel explains that he has carried out Prospero’s orders: he destroyed the ship and dispersed its passengers across the island. Prospero instructs Ariel to be invisible and spy on them. Ariel asks when he will be freed and Prospero chastises him for being ungrateful, promising to free him soon, when his work is done. Caliban: Man or Monster? Prospero decides to visit his other servant, Caliban, but Miranda is reluctant, describing him as a monster. Prospero agrees that Caliban can be rude and unpleasant, but is invaluable for the menial tasks he performs for them. When Prospero and Miranda meet Caliban, we learn that he is native to the island, but Prospero turned him into a slave raising issues about morality and fairness in the play. Love at First Sight Ferdinand stumbles across Miranda and they fall in love and decide to marry.
    [Show full text]
  • The Tempest by William Shake Peare an SFA School Ofnleau-E Production W
    Stephen F. Austin State University College of Fine Arts and School of Theatre present TilE TEMEST ~ ?()~cS~ Produced by the SFA School of Theatre Nov. 15-19, 2005, 7:30 p.m. W.M. Turner Auditorium Sponsored in part by MAKE THE ROAD YOUR CANVAS. THE DRIVE, YOUR WORK OF ART. The University Series 2005-2006 The Hottest Ticket in Town! The Art Center and Griffith Gallery are open Tuesday through Sunday, 12:30-5 p.m. All performance at 7:30 p.m. September 9 - October 16 SFA FacuLt)' Exhibitioll The AJt Center eptember 16 - October 16 Barry Alldersoll: Epic Escapism & Suspellsion Griffith Gallely and chool ofAJt Gallely o lober 15 Stars alld Stripes Forel1er: A Patriotic Review featUJ;ng the FA A Cappella Choir W. M. Tumer AuditOl;um October 27 Betty BuckLey: Deep ill the Heart W. M. TUl11er Auditorium November 15 -19 The Tempest by William Shake peare an SFA School ofnleau-e Production W. M. TumerAuditOl;UJll November 29 The Salzburg Mariollettes pl-esenting Tile Magic Flute by W. A. MOZm1 W. M. Tumer AuditOl;um January 31 Ballet Hispallico W. M. TumerAuditorium February 8 - March 26 III the Path ofthe Blaue Reiter Gemlan Expressionist Portfolios. l1;nts and Books Griffith Gallery February 21 - 25 The ight ofthe Igualla by Tennes ee Williams an SFA chool ofTheau'e Production W. M. Tumer Auditorium March 6 Salzburg Chamber Soloists with Piallist Alldreas Kleill W. M. TumerAuditorium March 23 Los Hombres Calielltes W. M. Tumer Auditorium April 6 - 8 SFA Opera an SFA School of Music and School ofTheau'e l1'oduction W.
    [Show full text]
  • Double Erasure in the Tempest: Miranda in Postmodern Critical Discourse1
    Double Erasure in The Tempest: Miranda in Postmodern Critical Discourse1 Sofía Muñoz Valdivieso UNIVERSIDAD DE MÁLAGA [email protected] Miranda is the only female character present in The Tempest, but she has a paradoxical role as the dependent female who is however crucial for the dynamics of power in the play. Political readings of Shakespeare’s plays over the last thirty years have tended to side always with the victims of the power structures represented in each play. In the case of The Tempest, the predominant readings of what we will call the Postmodern paradigm in Shakespearean studies have sided with Caliban as the victim of colonial oppression. We could say that the text of the play erases Miranda as the virtuous and rather bland daughter whose main role is to obey her father and serve his purposes. What I am calling the double erasure of Miranda in The Tempest is my sense that she has also been frequently neglected in recent political readings of the play, which have centered their analysis of its power scheme on the issue of colonialism. Thus they have seen Caliban as a symbol of the exploited native but have often underplayed or ignored the specific repression of Miranda. It is clear that from a feminist perspective the power scheme in The Tempest must be opposed from an anticolonialist stand that also takes into account gender issues. The contributions of Postmodern criticism to our reading of The Tempest have emphasized aspects of the play before unacknowledged and they have shaped what could be called a new paradigm in Shakespearean studies.
    [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 Jungian Interpretation of the Tempest
    University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 1978 A Jungian interpretation of The Tempest Tana Smith University of the Pacific Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Part of the Literature in English, British Isles Commons Recommended Citation Smith, Tana. (1978). A Jungian interpretation of The Tempest. University of the Pacific, Thesis. https://scholarlycommons.pacific.edu/uop_etds/1989 This Thesis is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. A JUNGil-..~~ INTERPllliTATION OF THE 'rEHPES'r by Tana Smit!1 An Essay Presented to the Faculty of the Graduate School Univers ity of the Pac ific In Pa rtial Fulfillment of the Requireme nts for the Degree Maste r of Arts Hay 1978 The following psychological interpretation of Shakespeare's 1 The Tempest is unique to articles on the ·same subject which have appeared in literary journals because it applies a purely Jungian reading to the characters in the play. Here each character is shown to represent one of the archetypes which Jung described in his book Archetypes ~ the Collective Unconscious. In giving the play a psychological interpretation, the action must be seen to occur inside Prospera's own unconscious mind. He is experiencing a psychic transformation or what Jung called the individuation process, where a person becomes "a separate, indivisible unity or 2 whole" and where the conscious and unconscious are united.
    [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]