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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. -
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. -
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. -
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. -
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. -
The Political Discourse and the Iconography of Commonwealth in the Tempest
The Political Discourse and the Iconography of Commonwealth in The Tempest SOJI IWASAKI 1 Shakespeare’s The Tempest opens with a sea-storm in which Alonso the King of Naples’ ship is wrecked and drifts to Pros- pero’s island. The tempest-tossed sea is merciless and the boat- swain cries to the noblemen saying that they are useless or rather a hindrance. To Gonzalo he says, “[I]f you can command these elements to silence, and work the peace of the present, we will not hand a rope more” (1.1.21–23).1 Antonio and Sebastian are also rebuked and made to know that social status is nothing in such an emergency. What is happening here is not a mere shipwreck; it is symbolic of a whole society collapsing into chaos (Cf. Frye 1369). A voyage is often a symbol of the progress of a man’s life, and the sea is symbolic of Fortune; a shipwreck is a typical instance of bad fortune, while a ship sailing before a fair wind is an image of good fortune. Sometimes a ship at sea serves as a symbol of the Church, in which the whole congregation sails over the sea of Providence. In Henry Godyere’s The Mirrovr of Maiestie (1618) is an emblem with a picture of a stately ship tossed in a tempest (Fig. 1). The ship is referred to as symbolic of the Catholic Church toppled in the gale of Error, the whole [ 103 ] 104 SOJI IWASAKI emblem implying the Protestant ethos. The application goes: Behold, on what the Romaine Faith consists: So tost by Errours winds; so lapt in Mists: That their Arch-pilot, scarse can rule the sterne; He lackes foundation, therefore still to learne How to make’s Ship his Harbour. -
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. -
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. -
Shakespeare's Romance of Knowing
Quidditas Volume 9 Article 11 1988 Shakespeare's Romance of Knowing Maurice Hunt Baylor University Follow this and additional works at: https://scholarsarchive.byu.edu/rmmra Part of the Comparative Literature Commons, History Commons, Philosophy Commons, and the Renaissance Studies Commons Recommended Citation Hunt, Maurice (1988) "Shakespeare's Romance of Knowing," Quidditas: Vol. 9 , Article 11. Available at: https://scholarsarchive.byu.edu/rmmra/vol9/iss1/11 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Quidditas by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. JRMMRA 9 (1988) Shakespeare's Romance of Knowing by Maurice Hunt Baylor University From time to time literary cnucs have claimed that Shakespeare's undisputed last plays-Cymbeline, The Winter's Tale, and The Tempest-are, to varying degrees, concerned with the main characters' learning experiences. These claims range, for example, from Stephen Orgel's argument that adver• sity schools Alonso and Prospero in humility to Northrop Frye's assertion that education provides the means for the protagonists of the last plays to recover some sort of paradise. 1 In other words, critics over the years have claimed in different ways that the last plays are either educational or epistemological romances. And yet no one, to my knowledge, has tried to explain why Shakespeare was inclined to make dramatic romance so especially concerned with various and complex ways of knowing. In this essay I argue that Shakespeare, in his last plays, established a kind of play-a "romance of knowing"-previously not seen in a fully articulated form on either the Elizabethan or the Jacobean stage. -
Read the Following Passage and Answer the Questions That Follow
Class 11 Answer Key The Tempest Act1 Scene 2 Extract 7-10 Extract 7: Read the following passage and answer the questions that follow How came we _ _ _ _ _ _ _ _ my dukedom. 1.Where are Miranda and Prospero? How did they reach the shore? Ans. Miranda and Prospero are on the uninhabited island. Prospero was oust from his dukedom with his three years old daughter in a dilapidated boat by his brother Antonio. According to Prospero, they reached ashore by Providence divine i.e. by the loving care of God. 2. Who was Gonzalo? How can you say that Gonzalo was the man with some concern for Prospero? Ans. Gonzalo was an old honest courtier in Alonso's court. When Prospero was expelled from his dukedom, Gonzalo, the incharge of the plan, helped Prospero by not only keeping rich garments, linens, stuffs, and necessaries in his boat but also books from Prospero's library which he valued above his dukedom. 3. What did Gonzalo provide Prospero with for the journey? Ans. Gonzalo, an old courtier, was the incharge of the design planned by Antonio and Alonso i.e. to expel Prospero from his dukedom. Gonzalo helped Prospero by keeping rich garments, linens, stuffs, and necessaries and books from Prospero's library which he valued above his dukedom in his dilapidated boat for his journey. 4. What was above Prospero's dukedom among the things provided by Gonzalo? How did Prospero make use of it? Ans. Among the things provided by Gonzalo, Prospero' books were above all other things which he kept in his dilapidated boat . -
William Shakespeare, the Tempest
William Shakespeare, The Tempest 99 The Tempest William Shakespeare (1564-1616), the greatest writer in English and perhaps the greatest dramatist of all time, wrote 39 plays (some with collaborators), 154 sonnets, and other poetry. His father was a glover, and his mother came from a Catholic family. They lived in a prosperous market town in the English Midlands, Stratford-upon-Avon. The town's grammar school would have provided William with an excellent education in oratory, rhetoric, and classical literature. At 18, he married 26-year-old Anne Hathaway. They had a daughter, Susanna (six months after their wedding), and not two years later, twins were born, Judith and Hamnet (who died at 11). Sometime after losing his only son, Shakespeare would have begun his career in London as an actor, playwright, and part-owner of a playing company called the Lord Chamberlain's Men, which became the King's Men after the death of Queen Elizabeth and the accession of King James in 1603. He seems to have produced his plays between 1589 and 1613|comedies, histories, tragedies. Outbreaks of the plague shut down theater performances periodically throughout these years. Most of his last plays belong to a hybrid tragicomic genre that has been called \romance." One of these is The Tempest, the last of his solo-authored plays. It is a valedictory work, in which Shakespeare explores his great themes of forgiveness and reconciliation, the power of artistic creation, the possibilities for redemption in politics. Given the recently established British colonies -
The Tempest S Y N O P S I S the Play Opens with a Shipwreck on An
The Tempest S Y N O P S I S The play opens with a shipwreck on an enchanted isle where the usurped Duke of Milan, Prospero, and his lovely daughter, Miranda, have been living for 12 years. Prospero has become a master magician, and Miranda has grown into a charming maiden. Prospero, with the aide of his sprite Ariel, has conjured a violent storm to cause the shipwreck. All those aboard the ship—Alonso, the King of Naples, his brother Sebastian, Alonso’s son Ferdinand, Alonso’s counselor Gonzalo, and Prospero’s brother Antonio—jump overboard for fear of dying in the storm. Miranda, having watched the storm wrack the ship, is assured by her father that it was all a magical illusion. He relates the tale of their journey to the isle—how his brother Antonio teamed with Alonso to overthrow him. Though Prospero and Miranda were abandoned at sea, they were able to survive because Gonzalo secretly stowed money, clothes and Prospero’s sorcery books on the boat. Prospero and Miranda eventually landed on the island and encountered Caliban, a demon son of the witch Sycorax, now slave to Prospero. After relating their history, Prospero causes Miranda to sleep and commands Ariel to ensure that the nobles are safe on the island. Ariel informs Prospero that the rest of the fleet has returned to Naples believing that Alonso is dead. Ariel has pledged allegiance to Prospero because Prospero freed Ariel from Sycorax’s curse. Prospero, in return, promises to free Ariel when his plans are complete. Ariel scatters the nobles around the island, leading Ferdinand into a cave where Miranda, never having seen any other man besides her father, falls instantly in love.