Act 1 sceen 2 The Tempest - Explore the dramatic significance of this episode within the play.
Look again at Act 1, scene 2, from about line 410, when Miranda says "What is't? A spirit?" to the end of the scene at the stage direction, "Exeunt", after Prospero says "Come, follow! (to Miranda) Speak not for him." Explore the dramatic significance of this episode within the play. 1/18/2004 In this scene when Miranda says "What is't? A spirit?" she is referring to Ferdinand, they both have a similar response to each other; he also responds to her in wonder, 'Most sure the goddess on whom these airs attend.' Miranda and Ferdinand have fallen in love at first sight. This scene is very near the beginning of the play; it is in the second act. This shows the audience that the scene is going to be very significant to the rest of the play and that the love between Miranda and Ferdinand is a major theme. Ferdinand is lured to Prospero's cave by Ariel's singing, 'this is no mortal business, nor no sound that the earth owes. I hear it now above me.' This straight away brings the question into the minds of the audience whether this manipulation over Miranda is right; Prospero has obviously brought these two together in the inevitability that they will fall in love, 'The fringed curtains of thine eye advance, and say what thou seest yond.' As Prospero planned they do fall in love, 'At the first sight they have changed eyes.' Ferdinand loses no time in
HOW EFFECTIVE IS THE OPENING SCENE AS AN INTRODUCTION TO 'THE TEMPEST'?
HOW EFFECTIVE IS THE OPENING SCENE AS AN INTRODUCTION TO 'THE TEMPEST'? The opening scene to Shakespeare's last complete play, 'The Tempest' is set out at sea where a ship is struck by a tempestuous storm. This play questions the theme of colonisation and anti-Semitism which were very relevant to America in the seventeenth century. Throughout the first scene it becomes apparent that the cause of their shipwreck was due to Prospero. Prospero who spent a lot of time studying magic asked his brother to take over his Dukes title while he studied magic further; with this he was able to impose a storm over the ship in which his brother, who had refused to return Prospero's title, travelled. The opening scene portrays themes which are distinguished throughout the rest of the play. The raging storm helps to dramatise this scene while the various disputes between several passengers abroad adding to the humour, also making the audience wonder how the progression of time on the island will effect them. The ship symbolises the idea of a microcosm of society. It displays a number of noble men and a cross section of society drawn together through being stranded on this desert island. There are two groups within this scene, the nobles and the sailors. Ironically it is the sailors who appear to work as a team effectively while the nobles are continuously fighting and adamant to portray
Caliban and Prospero
Corinne Collett Monday, 23 July 2001 Caliban and Prospero In our Drama lesson, we were given an extract from act one, scene two, from a Shakespeare play, called the Tempest. We had to make the audience side with Caliban or Prospero. We chose to make the audience side with Caliban. We did this with these communication skills: Facial expression, tone of voice, body movement, posture, muscle tension and gesture. This is what we did and why: When Caliban says 'as wicked dew as e'er my mother brushed with raven's feather from unwholesome fen drop on you both. A south-west blow on ye and blister you all o'er.' Caliban will be sat on the floor, this will make him seem weak and formulate the audience sympathising towards him, and it makes Caliban look nervous and terrified like Prospero is bullying him. Prospero is pacing around Caliban and trying to gain eye contact with him, which makes him seem strong and confident. When ever eye contact is gained between the pair, Caliban looks away quickly, covering his eyes with hands, or looking at the floor, which also shows he is weaker. When Prospero says 'for this, be sure, tonight thou shalt have cramps, Side-stitches that shall pen thy breath up. Urchins shall for that vast night that they may work all exercise on thee. Thou shalt be pinched as thick as honey comb, each pinch more stinging than bees that made 'em.'
Consider the character of Prospero and show how he used his position to control many of the characters in the play and how his actions contribute to the dramatic effectiveness.
Tempest essay Consider the character of Prospero and show how he used his position to control many of the characters in the play and how his actions contribute to the dramatic effectiveness. How do his actions and the attitude of the characters to him relate to the events and thinking of Shakespeare 's day? In the Tempest, Prospero is the protagonist. Miranda's father Prospero has spent twelve years on the island. This began when he was usurped from being the Duke of Milan. Prospero is very knowledgeable because of the books he read. He also has control, because he can be harsh and firm but also virtuous towards others. To be a good leader you need to be powerful and this is a big Part of Prospero's image. Throughout the play we see Prospero's harshness, towards Caliban, Ariel, Miranda and Ferdinand. Prospero is very unyielding towards Ariel. Ariel has no freedom because of Prospero's control over her. Prospero only gives himself four hours and as a result of this needs to be firm and harsh, he has to be prompt and order Ariel about and in turn achieves what he wants. To a modern day audience Prospero would also seem a cruel character because of the sense of control and harshness that is created and this is used to overpower the other characters. In Shakespeare's time it would have been expected that a good leader should be harsh and firm- often the leader was head of his
Studying the character of Caliban in The Tempest
Transfer-Encoding: chunked The Tempest- Studying Caliban “There’s enough wood within,”- Caliban (1, 2). Those were the first words of Caliban in one of the William Shakespeare’s greatest plays. In every play of his, there is always this one character that really comes into attention – and for this play, it’s Caliban. Caliban’s character in The Tempest is portrayed in such a way; it captures the attention of many audiences. He is first shown to be a savage who in the later stages, opens up, to not become more monstrous, but a considerate human being. After analysing this play, I have developed quite a lot of opinions on his character throughout the pay, which I will expand on, in further detail. Commencing with a Tempest, that Prospero conjures up, we can see that the crew really has a hard time, as Trinculo and Stephano jump overboard. Once the Tempest calms down, Trinculo finds this majestic island where he first meets Caliban. “Lo now, lo! Here comes a spirit of his to torment me,” (2, 2) and also when Stephano comes in, “Do not torment me, I prithee (2, 2).” From this, I can establish that Caliban’s small fear of Trinculo and Stephano starts here. When he realises that they aren’t spirits to torment, he soon loosens himself up and says, “These be fine things, and if they not sprites! That’s a brave god and bears celestial liquor (2, 2)”
Betrayal by loved ones is devastating to a person, and no one experienced more of it than Prospero in "The Tempest".
The Tempest Question: Who has the most valid claim that they have been most wronged by others? Betrayal by loved ones is devastating to a person, and no one experienced more of it than Prospero in The Tempest by Shakespeare. Prospero was the former duke of Milan, but was betrayed and overthrown by his own brother, and was forced to sail away, ending up on a desolate island with his infant daughter, Miranda. On the island, he met and raised a young creature named Caliban, who was the son of the witch who previously inhabited the island; this creature grew into a monster who attempted to rape Miranda and tried to kill Prospero. After years of living on the island, Prospero uses his magical powers and his magical servant to take revenge on all those who had wronged him by stranding them on hisisland so that they would be at his mercy; however, in the end, he simply ends up forgiving them. Prospero has the most valid claim that he has been wronged, because although he had close relationships with people he loved and trusted, these people made him the victim of several betrayals, which ruined his quality of life by taking away his power and endangering his daughter. Caliban was one character who wronged Prospero by taking advantage of his trust in him and their close relationship to harm Prospero’s daughter for his own evil intentions. Caliban was a creature who inhabited
Is Prospero the wronged duke of milan or a cruel colonial master?
Prospero: The wronged duke of Milan or a cruel colonial master? In my view Prospero is both the wronged duke of Milan and a cruel colonial master; there are arguments for both sides and against. Prospero both has claims to dukedom and he treats Caliban cruelly. He has reasons for both, but his views change throughout the play as he realises the true implications of his actions. Prospero is blinded by his obsession with magic and power. 'My library was dukedom enough' this suggests that Prospero neglected his rule whilst becoming engrossed in his studies. Prospero entrusted his brother, Antonio, with his power; only to avoid the council and the people. Prospero was blinded by his studies to the fact that Antonio was organising a military coup with the King of Naples. 'King of Naples, being an enemy' Prospero says to Miranda as he tells her his story. In return for the king's assistance with his acquisition of Milan, Antonio promises that Milan will 'pay annual tribute' and do 'him homage'. This implies that the King was only doing Antonio a favour because he would have Milan in his pocket. The way Prospero describes Antonio; it would suggest Antonio is some kind of devil. Miranda says 'good wombs have borne bad sons' I think that Prospero has blinded her to the real truth by his bias. This would indicate that Prospero misled Miranda into thinking that Antonio is immoral.
Halloween - creative writing.
Halloween Sophie Charlton had never expected that her day would be one of the worst days of her life. Considering she is only 13, she couldn't have had that many 'worst' days. Her class, 7H, had gone on a geography trip to windfall towers, a huge castle that has been standing for centuries. It was a sunny day but with a lot of wind, and for Sophie wind meant a bad hair day, and a bad hair day means disaster. After spending 10 minutes in the girl's toilets making sure her hair would stay in place, she followed the queue onto the minibus and off they went. The journey was short, 15 minutes roughly. Sophie Charlton was bright and bubbly; leading her class with her sparkly personality meant everybody liked her. Everyone, that is, except Katie Malden. Walking behind Sophie and her crowd of admirers she felt jealous. "What's so special about her?" she muttered to herself. After walking from the car park to the site of Windfall towers, class 7H had full view of what they were visiting. Harry Rich, the class nerd, as people called him, starting going into more detail than needed about the history of Windfall towers, and by no surprise no one was interested. According to Mrs. Streams the tower they were visiting was haunted. It was a very old house but a lady had only been living there 7 years when she died. The lady died about 10 years ago when apparently committing suicide
The Tempest
"The Tempest" is a play that grabs its audience's attention right from the start; it is set around Italy and was written in 1612, the idea for the play probably came from a sea adventure that went missing in a terrible storm in 1611 only to find its way to Florida one year later. In this essay I am going to comment on the techniques that shake spear uses to involve his audience and to comment on Prospero's character during the first act of "The Tempest" Shakespeare starts of "the Tempest" with a short action packed scene which would make the audience amazed and interested for the start, within the first scene we pick up that the mariners are rude to royalty as they say "...You, mar our labour. Keep your cabins..." L12-13, 1, 1 This would make the audience mad as they would not let them speak to royalty in that way. The language used by Shakespeare in the first scene in demanding and forceful which the audience would not be expecting and would keep there attention. Scene two is split up into 4 different sections, Shakespeare done this as it is a long scene which would keep the audience's attention by putting in a section with magic a section with witchcraft and a love scene at the end. There is a big contrast between the first and the second scene as the first scene is action packed with a boat in a storm and the mariners being rude to royalty and the start of the
The Tempest.
THERE is a sort of improbability with which we are shocked in dramatic representation, not less than in a narrative of real life. Consequently, there must be rules respecting it; and as rules are nothing but means to an end previously ascertained-(inattention to which simple truth has been the occasion of all the pedantry of the French school), - we must first determine what the immediate end or object of the drama is. And here, as I have previously remarked, I find two extremes of critical decision; -the French, which evidently presupposes that a perfect delusion is to be aimed at, -an opinion which needs no fresh confutation; and the exact opposite to it, brought forward by Dr. Johnson, who supposes the auditors throughout in the full reflective knowledge of the contrary. In evincing the impossibility of delusion, he makes no sufficient allowance for an intermediate state, which I have before distinguished by the term, illusion, and have attempted to illustrate its quality and character by reference to our mental state, when dreaming. In both cases we simply do not judge the imagery to be unreal; there is a negative reality, and no more. Whatever, therefore, tends to prevent the mind from placing itself, or being placed, gradually in that state in which the images have such negative reality for the auditor, destroys this illusion, and is dramatically improbable. Now the