The Tempest in Hag-Seed
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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). -
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. -
Although a Quality Text Will Explore Universal Human Concerns, All Texts
Although a quality text will explore universal human concerns, all texts are fundamentally influenced by the values of the respective composer’s context, and therefore will not easily transcend time without the act of appropriation. Shakespeare’s play, The Tempest, has enduring value as it both reflects and criticises the standard perspectives of his Jacobean era. Margaret Atwood has effectively appropriated this text within her novel, Hag-Seed, by adapting Shakespeare’s concerns to a modern era and utilising it to critique her own societies context. Atwood transposes the exploration of the treatment of marginalised people from the ostracised figure of Caliban to the disadvantaged group of prisoners that Felix seeks to direct. She also translates Shakespeare’s temporal commentary of gender roles within the patriarchal society of 17th century England as depicted through Miranda, into the feminist character of Anne-Marie. Finally, Atwood has reflected the provocative discoveries made by Prospero, as he experienced a reassessment of previous perspectives in order to evaluate new perceptions, through Felix, who undergoes a similar transformation of self. In this respect, Atwood’s text transcends time through effectively becoming a portal which draws values from the Jacobean era and translates them so that modern audiences can reflect on themselves and their society. PARAGRAPH 1: Shakespeare’s play, The Tempest, explores the colonial expansion that took place during the 17th century and the vexed relationship between the ‘explorers’ and the indigenous, as the impacts of colonialization began to permeate the common beliefs of society. The negative insinuations associated with indigenous groups becomes evident within the text when Prospero, the embodiment of European colonisation, uses a zoomorphic description of Caliban to present him as a creature less than human, “not honoured with human shape” in which Shakespeare satirizes the ethnocentric view of white ‘explorers’. -
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. -
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. -
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. -
— 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. -
Proquest Dissertations
LE RÔLE DES TRADUCTEURS DANS L'INTRODUCTION DE MARGARET ATWOOD AU JAPON Isabelle Bilodeau Mémoire présenté au Département d'Études françaises comme exigence partielle au grade de maîtrise es arts (Traductologie) Université Concordia Montréal, Québec, Canada Décembre 2009 © Isabelle Bilodeau, 2009 Library and Archives Bibliothèque et ?F? Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Vour file Votre référence ISBN: 978-0-494-67095-8 Our file Notre référence ISBN: 978-0-494-67095-8 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. -
“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. -
Bibliographie
411 BIBLIOGRAPHIE Geschichte, Kulturgeschichte, Literaturgeschichte, Nachschlagewerke, Textsammlungen Ballstadt, Carl (Hg.), The Search for English-Canadian Literature: An Anthology of Critical Articles from the 19th and Early 20th Centuries, Toronto 1975 Benson, Eugene/William Toye (Hgg.), The Oxford Companion to Canadian Litera- ture, 2. Aufl., Toronto 1997 Blodgett, Edward D., Five-Part Invention: A History of Literary History in Canada, Toronto 2003 Braun, Hans/Wolfgang Klooß (Hgg.), Kanada: Eine interdisziplinäre Einführung, 2. überarb. Aufl., Trier 1994 Brown, Russell/Donna Bennett (Hgg.), An Anthology of Canadian Literature in Eng- lish, 2 Bde., Toronto 1982 Cameron, Elspeth (Hg.), Canadian Culture: An Introductory Reader, Toronto 1997 Dictionary of Literary Biography, Detroit 1978ff.; Bd. 53 Canadian Writers Since 1960, First Series, Hg. W.H. New, 1986; Bd. 60 Canadian Writers Since 1960, Second Series, Hg. W.H. New, 1987; Bd. 68 Canadian Writers, 1920–1959, First Series, Hg. W.H. New, 1988; Bd. 88 Canadian Writers, 1920–1959, Second Series, Hg. W.H. New, 1989; Bd. 92 Canadian Writers, 1890–1920, Hg. W.H. New, 1990; Bd. 99 Canadian Writers before 1890, Hg. W.H. New, 1990 Corse, Sarah M., Nationalism and Literature: The Politics of Culture in Canada and the United States, Cambridge 1997 Daymond, Douglas/Leslie Monkman (Hgg.), Literature in Canada, 2 Bde., Toronto 1978 Dionne, René (Hg.), Le Québecois et sa littérature, Sherbrooke 1984 Ertler, Klaus-Dieter, Kleine Geschichte des frankokanadischen Romans, Tübingen 2000 Francis, Daniel, National Dreams: Myth, Memory, and Canadian History, Vancouver 1997 Grandpré, Pierre de (Hg.), Histoire de la littérature française du Québec, 4 Bde., Montreal 1967–69 Groß, Konrad/Walter Pache, Grundlagen zur Literatur in englischer Sprache, Bd. -
Caliban's Use of Language in Shakespeare's the Tempest
fi4 Notions Vol.6 No3 2015 (P) ISSN t 097G5247, (epSSN: 239*7239 Caliban's Use of Language in Shakespearers The Tbmpest You taught me language, and my profit on,t Is I know how to curse. The red plague rid you For learning me your language! (Act I, Scene II, The Tempest) ..The Richard Eyre, a distinguished English director said, life of the plays is in the language, not alongside ig or underneath i1. f'sslings and thoughts are released at the moment of speech. An Elizabethan audience would have responded to the pulse, the rhythms, the shapes, sounds, and above all meanings, within the consistent ten- syllable, five- stress lines of blank verse. They were an audience who listened,,. (Shakespeareb Language 4) At the outset, the audience has to make a distinction between some modern connotations ofthe word 'language, and those current in Shakespeare's day, when language was neither neutal nor purely verbal. A neutral view of language is typified by such statements as Saussure,s remark: From the excursions made into regions bordering upon linguistics, there emerges a negative lesson, but one which...supports the fundamental thesis of this course: the only true object of study in linguistics is the language, considered in itself and for its own sake. (Course inGeneral Linguistics) Such an empirical approachwas alientothe sixteenth and earlier seventeenth centuries, where all concems of life were moralizod, including language, in so far as most writers looked for ways of integrating their subject with the current dominant Christian concepts. Language and knowledge has been the key to power on the island in the play. -
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.