"A journey is more than just movement from one place to another. It is about learning and growth." What have you learned about the importance of journeys from your study of Imaginative Journeys?
"A journey is more than just movement from one place to another. It is about learning and growth." What have you learned about the importance of journeys from your study of Imaginative Journeys? BY ELISE THOMPSON A thorough study of journeys reveals that a journey is much more than just movement from one place to another. Journeys are about learning and growth, and they have the potential to teach people about themselves and the society in which they live. An Imaginative Journey is one in which the individual doesn't in fact have to go anywhere in the physical sense. The physical journey is replaced by an expedition that is fuelled by the human capacity to imagine. Imaginative Journeys create endless possibilities. They can offer an escape from the realities of life, and are frequently used to comment on social or human traits and characteristics. Imaginative Journeys are represented in the focus text, "The Tempest" by William Shakespeare, the 2003 calendar cartoon in the Sydney Morning Herald by Michael Leunig, and the Board of Studies Booklet Prescribed text "The Road Not Taken", a poem by Robert Frost. The composers attempt to create a world in which imagination dominates the actions and desires of the characters, as they are taken on a journey of magic and discovery. In "The Tempest", Shakespeare attempts to generate a world where the audience is transported to a
"Drama shows us that those who control language dictate the events of the play" Compare and contrast your chosen texts in the light of this opinion.
Saturday, 17 May 2003 Jad Salfiti A2 English Literature "Drama shows us that those who control language dictate the events of the play" Compare and contrast your chosen texts in the light of this opinion. 'The Tempest' written by William Shakespeare and 'Translations' written by Brian Friel both look at how those who control language can dictate events. Despite the disparity of context, both plays share many core themes and explore the importance of language and how it can be used as a means of control. Both plays show linguistic hegemony, and demonstrate how one language can take dominance and displace another and how language can be stigmatised, so that it becomes dirtied and debased. In 'The Tempest', Caliban's original language is belittled to "gabble" and "babble" by a Eurocentric Miranda. While in 'Translations' Lancey's snobbish attitude to the townspeople and his use of circumlocutory beaurocratic jargon exposes his personal discomfort at being with "foreign civilians". Prospero is in control of language within the Tempest, he is the most educated and he also has magical powers. Throughout the play Prospero uses language to coerce characters to do what he wants; his linguistic and magical authority is used to dictate the events of the play. Prospero foregrounds the plays fictionality "my charm the magicalism of art", and he
What is the significance of sound and music in the play as a whole?
What is the significance of sound and music in the play as a whole? `The Tempest' is on a basic level a play about a magical island, complete with its own wizard, monster and handsome prince. However, it is much more than a fairytale. Complex themes such as usurpation, colonialism and the supernatural are interwoven into the plot to produce a play so diverse that it is widely considered to be one of Shakespeare's finest works. Music and sound are dramatically significant in this diversity. This makes `The Tempest' very different to other Shakespeare plays. For example, `The Tempest' -along with `Twelfth Night'- contains nearly three times the amount of music normally present in his plays. In this essay I will be exploring how this sheer amount of music and sound is significant. This will involve looking at the affect that they have upon the major themes, characters and the play as a whole. Many critics have described `The Tempest' as an allegory. The opinion of what it is an allegory of differs widely, due to the fact that the play can be interpreted on many different levels. In any allegory though, the characters fulfil representative functions. So if `The Tempest' were a musical allegory, Prospero could be described as the composer, and Ariel as the performer. With this interpretation in mind, Prospero can be seen clearly to be composing the events on
Shakespeare's Play Reading Course.
Course Title: Shakespeare's Play Reading Course convener: Maxim Parr Name: Dawn (Lily Zhao) Student Number: 410107056 Year: 2nd Major: English If by your art, my dearest father, you have(1) Put the wild waters in this roar, allay them.(2) The sky, it seems, would pour down stinking pitch,(3) But that the sea, mounting to the welkin's cheek,(4) Dashes the fire out. O, I have suffered(5) With those that I saw suffer: a brave vessel,(6) Who had, no doubt, some noble creature in her,(7) Dash'd all to pieces. O, the cry did knock (8) Against my very heart. Poor souls, they perish'd.(9) Had I been any god of power, I would(10) Have sunk the sea within the earth or ere(11) It should the good ship so have swallow'd and(12) The fraughting souls within her.(13) This is from Act 1, Scene 2 in Shakespeare's comedy The Tempest that is set in the island before Prospero's cell. It is the first time two of the main characters in this play, Prospero and Miranda, are introduced to the audience. In this speech by Miranda, she expresses her strong piteous concern for the people suffered from the sea storm created by her father and her affliction caused by this, which gives us a general idea of this girl's personality. Meanwhile, it indirectly puts forward the information that the storm is terribly
Compare and contrast the ways in which the writers of The Tempest and Translations have dramatically presented the links between language and power
A2 English Literature Holiday Homework Assignment: for Mr Majewski: The Tempest by William Shakespeare and Translations by Brian Friel "Compare and contrast the ways in which the writers of The Tempest and Translations have dramatically presented the links between language and power." The modern linguist Norman Fairclough said, "Language is power", implying that if you want to control a person or people, an event or series of events, or indeed the entire world, and have power over it or them, you must first control language. Controlling language is the key to both the initial act of gaining power, and then maintaining that power. We find examples of this throughout The Tempest and Translations, which share common themes and elements. To tackle a question which requires suggesting how the writers link language and power, it is necessary to look at the plays in just such a thematic way. The first and most obvious area in The Tempest where language is linked with power is the way in which prose and verse is used by different characters to different effect. Most notably, and especially for it's irony, Caliban's use of verse when Stephano and Trinculo talk in prose reverts the old ideas of rank, whereby people of higher status, (here supposedly the King's butler and the jester) spoke in verse, and lower classes (the uncivilised Caliban) spoke in prose. Style shift refers to
Analyse act 1 scene 1 of the tempest
Analyse the Tempest scene in Act 1, Scene 1. In act 1 scene 1, Shakespeare opens the play with a big storm, The Tempest. It is a very dramatic opening and automatically captures the reader's interest. Many of the characters are also introduced in this scene; this allows the reader to create first impressions of the characters which are often the lasting impressions. The first seen is vitally important in catching and holding the attention of an audience in any play. Shakespeare had very limited resources to work with. He used a bare stage and still managed to create a scene of realism. He does this through the language and style of his writings he gives to the individual characters, and also the very few stage directions. His language gives us clues on how the characters should act and their personalities in order to create a scene of realism, Nay, good, be patient From the very first time we hear Gonzalo speak we are assured of his peace-keeping qualities. The commas Shakespeare uses create gaps in the speech and indicate to the audience that Gonzalo is a laid back character, as opposed to Sebastian, A pox o'your throat, you bawling, blasphemous, incharitable dog. These are the first words spoken by Sebastian and so we immediately see he is not a very nice character and does not like to be told what to do. The way in which Shakespeare uses his language to convey
Act I, scene i summary
Act I, scene i Summary A violent storm rages around a small ship at sea. The master of the ship calls for his boatswain to rouse the mariners to action and prevent the ship from being run aground by the tempest. Chaos ensues. Some mariners enter, followed by a group of nobles comprised of Alonso, King of Naples, Sebastian, his brother, Antonio, Gonzalo, and others. We do not learn these men's names in this scene, nor do we learn (as we finally do in Act II, scene i) that they have just come from Tunis, in Africa, where Alonso's daughter, Claribel, has been married to the prince. As the Boatswain and his crew take in the topsail and the topmast, Alonso and his party are merely underfoot, and the Boatswain tells them to get below-decks. Gonzalo reminds the Boatswain that one of the passengers is of some importance, but the Boatswain is unmoved. He will do what he has to in order to save the ship, regardless of who is aboard. The lords go below decks, and then, adding to the chaos of the scene, three of them-Sebastian, Antonio, and Gonzalo-enter again only four lines later. Sebastian and Antonio curse the Boatswain in his labors, masking their fear with profanity. Some mariners enter wet and crying, and only at this point does the audience learn the identity of the passengers on-board. Gonzalo orders the mariners to pray for the king and the prince. There is a strange
Explore Shakespeares presentation of Caliban and Ariel. What does it tell us about the importance of freedom and imprisonment in the play?
Explore Shakespeare's presentation of Caliban and Ariel. What does it tell us about the importance of freedom and imprisonment in the play? Shakespeare presents freedom and imprisonment in The Tempest through Prospero's power as we see this through his interaction with the other characters in the play, such as his slaves and even his own daughter and also his dominance of the island. Freedom is a very important part of the play, as everyone desires to have freedom in some way or the other this is why Shakespeare included this theme in the play. Seeing how hard the characters work to obtain freedom suggests its importance. This theme of freedom and imprisonment frequently shows itself throughout the play. Shakespeare portrays Caliban in this play to be a "poisonous slave" and "dull thing" as Prospero likes to call him. This introductory line tells us much about Caliban from the very start. We know that the powerful magician Prospero has enslaved him, and hates him, cursing and insulting Caliban. Shakespeare has created the character of Caliban with depth. He has done this by giving him two possible sides to interpret. In some ways he is a puzzle for the director to solve. Should he be a hardhearted monster who wants to kill his master or should he be played as mentally defective and misguided with human qualities a creature who we feel sympathetic towards? We realize through
Is Prospero a magnanimous ruler or an oppressive coloniser?
AMDG JOSHUA GRAY - 14TH JUNE 2004. IS PROSPERO A MAGNANIMOUS RULER OR AN OPPRESSIVE COLONISER? At first glance Prospero seems like a well intentioned magician, a serene old man who only wanted to restore harmony and achieve reconciliation. But when you look closer into his character you see something else there, a character who is harsh and impatient, demanding and ambiguous, power hungry and deeply troubled. However, there is also a noble, kind and divine side to him. Ariel knows Prospero well and is one of the main characters and so has an advantage over the other characters about what he knows. Ariel calls prospero: ".....My noble master" However, Ariel has good reason to call him this. Prospero treats Ariel very well compared to Caliban often calling him names like "bird, "chick" and"...mine free spirit"....Ariel is under Prospero's control because he set him free from a tree which Sycorax imprisoned him for 12 years because he did not obey her commands. Although prospero is a much better master than Sycorax The fact still remains that he is still master and through out the play Ariel longs for "my liberty" but when he asks for it back Prospero becomes angry and threatens him with twelve more years. He has been extremely unjust and unfair against Ariel's wishes and has not realized this. However, Prospero might feel that he has good reason for keeping Aerial in
How does The Tempest reflect the concequences for various characters of the isolation of the individual from society?
MELANIE CHRISTIE 200403818 HOW DOES THE TEMPEST REFLECT THE CONSEQUENCES FOR VARIOUS CHARACTERS OF THE ISOLATION OF THE INDIVIDUAL FROM SOCIETY? GLENN DUE: 9 SEPTEMBER 2004 In William Shakespeare's play, The Tempest, characters such as Caliban, Prospero, Miranda and Ferdinand, experience varying degrees of consequences, due to their change in behaviour, while isolated from society. Although isolation from society affects the characters in different ways, some see it as being advantageous while others see it as being a curse. This essay will show how characters in The Tempest suffer consequences due to their isolation from society. Caliban is possibly the only character in The Tempest who is not originally affected by his isolation from society. Caliban is the only character that is native to the island and he was utterly alone on the island until Prospero and Miranda were banished to the very same island. It was when the latter arrived that Caliban was exposed to people for the first time in his life. Prospero and Miranda taught Caliban to read, speak, and how to behave in the same way as them (sparknotes.com). Miranda: Being capable of ill! I pitied thee, Took pains to make thee speak, taught thee each hour One thing or other. When thou didst not, savage, Know thine own meaning, but wouldst gabble like A thing most brutish, I endowed thy purposes With words
