Task

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The Tempest
Written 1610-1611
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Task

• View the slides that follow and in pairs, or
  threes, create a plot summary for what you think
  the story is about.

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The Shakespeare Quiz

• http//www.shakespeare-online.com/quiz/
• http//shakespeare.palomar.edu/quiz/bioquiz.htm

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SHAKESPEARE Starter

• WHAT DO YOU KNOW ABOUT SHAKESPEARE? COMPLETE A
  QUICK BRAINSTORM IN YOUR BOOKS.

SHAKESPEARE
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Not just an actor and playwright. He also wrote
poetry and sonnets.
Born in 1564. He lived for 52 years.
He is buried at the Holy Trinity Church in
Stratford-upon-Avon.
He wrote on average 1.5 plays per year of his
life. Thats 37 plays!
SHAKESPEARE
His son Hamnet died at 11 years of age.
He was also an actor and performed in his own
plays. He played in front of both Elizabeth I and
James I.
Came from a wealthy background His father was a
wealthy merchant.
Married at Anne Hathaway, an older woman, when he
was 18 years old. She was 26.
When you google his name, 15 million pages come
up!
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SHAKESPEARES ENGLISH

• SHAKESPEARES ENGLISH
• Shakespeare took full advantage of the changing
• English language and created, throughout his
  plays,
• many new words which we still use today. In all
  his
• works the plays, the sonnets, and the narrative
• poems Shakespeare uses 17,677 words. Of those,
• 1,700 were first used by Shakespeare. He has been
  the
• most important influence on the development of
  the
• modern English that we speak today.

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SOME OF HIS WORDS

• - Accommodation - Amazement
• - Apostrophe - Assassination
• - Bloody - Bump
• - Control (noun) - Countless
• - Critical - Exposure
• - Generous - Gloomy
• - Hurry - Lonely
• - Monumental - Obscene
• - Premeditated - Reliance
• - Road - Suspicious

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THINGS YOU NEED TO KNOW

• Most of the play is written in a poetic rhythm.
  This is called a meter.
• Shakespeare uses IAMBIC PENTAMETER. This is a
  meter most similar to the beating of the heart.
  Baabom, baabom, baabom
• There are five IAMS per line. An iam is a
  stressed then unstressed syllable.
• /u /u /u /u /u

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KEY FACTS

• full title    The Tempest
• author  William Shakespeare
• genre  Romance
• language  Elizabethan English
• time and place written   16101611 England
• date of first publication   1623
• tone  Dreamy, mysterious, magical
• setting (time)  The Renaissance
• setting (place)  An island in the Mediterranean
  sea, probably off the coast of Italy
• protagonist  Prospero
• major conflict  Prospero, the duke of Milan and
  a powerful magician, was banished from Italy and
  cast to sea by his usurping brother, Antonio, and
  Alonso, the king of Naples. As the play begins,
  Antonio and Alonso come under Prosperos magic
  power as they sail past his island. Prospero
  seeks to use his magic to make these lords repent
  and restore him to his rightful place.
• rising action  Prospero creates the tempest,
  causing his enemies ship to wreck and its
  passengers to be dispersed about the island.
• climax  Alonso and his party stop to rest, and
  Prospero causes a banquet to be set out before
  them. Just as they are about to eat, Ariel
  appears in the shape of a harpy and accuses them
  of their treachery against Prospero. Alonso is
  overwhelmed with remorse.
• falling action  Prospero brings Alonso and the
  others before him and forgives them. Prospero
  invites Alonso and his company to stay the night
  before everyone returns to Italy the next day,
  where Prospero will reassume his dukedom.
• themes  The illusion of justice, the difficulty
  of distinguishing men from monsters, the
  allure of ruling a colony
• motifs  Masters and servants, water and
  drowning, mysterious noises
• symbols  The tempest, the game of chess,
  Prosperos books
• foreshadowing  Prospero frequently hints at his
  plans to bring his enemies before him and to
  confront them for their treachery. Prospero also
  hints at his plans to relinquish his magic once
  he has confronted and forgiven his enemies.

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THINGS YOU NEED TO KNOW

• Some devices are used regularly in Shakespearean
  plays. One is the soliloquy. This is where a
  character stands alone and speaks his or her
  thoughts so that the audience knows what he or
  she plans to do. The second is an aside, this is
  where a character speaks quietly to the audience
  while the rest of the characters on stage are
  oblivious.
• Lastly you need to be aware of the role of women
  during Shakespeares era. Women are mens
  property. Their lives are entirely governed by
  men.

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The Feminist Critique
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The Feminist Critique

• The Tempest has only one female character,
  Miranda. Other women, such as Caliban's mother
  Sycorax, Miranda's mother and Alonso's daughter
  Claribel, are only mentioned. Because of the
  small role women play in the story in comparison
  to other Shakespeare plays, The Tempest has not
  attracted much feminist criticism. Miranda is
  typically viewed as being completely deprived of
  freedom by her father. Her only duty in his eyes
  is to remain chaste. It has been argued that she
  is typical of women in a colonial atmosphere, has
  completely accepted the patriarchal order of
  things, thinking of herself as subordinate to her
  father.
• The less-prominent women mentioned in the play
  are subordinated as well, as they are only
  described through the men of the play. Most of
  what is said about Sycorax, for example, is said
  by Prospero. Prospero has never met Sycorax all
  he learned about her he learned from Ariel. It
  can be argued that Prospero's suspicion of women
  makes him an unreliable source of information.

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Post-Colonial Theory The Tempest

• During the 15th Century until the 19th Century
  (1400s-1800s) Europe began its first colonial
  wave.
• This was a common occurrence in Shakespeares
  time.
• The earth was being discovered and stories were
  coming back from distant lands. There were myths
  about the cannibals of the Carribean, of true
  Edens and distant utopias (an ideally perfect
  place)

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Post-Colonial Theory The Tempest

• With the character Caliban (whose name is roughly
  anagrammatic to Cannibal), Shakespeare may be
  offering an in-depth discussion into the morality
  of colonialism.
• Different views of this are found in the play,
  with examples including Gonzalos Utopia,
  Prosperos enslavement of Caliban, and Caliban's
  subsequent resentment.
• Caliban is also shown as one of the most natural
  characters in the play, being very much in touch
  with the natural world and modern audiences have
  come to view him as far nobler than his two
  friends, Stephano and Trinculo, although the
  original intent of the author may have been
  different.

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Post-Colonial Theory The Tempest

• From the mid 1950s more and more academics have
  studied The Tempest through a post-colonial lens.
  This new way of looking at the text explored the
  effect of the coloniser (Prospero) on the
  colonised (Ariel and Caliban). Though Ariel is
  often overlooked in these debates in favour of
  the more intriguing Caliban, he is nonetheless an
  essential character. Ariel is generally viewed by
  scholars as the good servant, in comparison with
  the conniving Calibana view which Shakespeare's
  audience may well have shared. Ariel is used by
  some postcolonial writers as a symbol of their
  efforts to overcome the effects of colonisation
  on their culture

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Post-colonial theory in The Tempest

• The Tempest explores many different aspects of
  colonialism
• Europeans appropriation of and exploitation of
  foreign territories
• Europeans subordination of indigenous
  populations (such as the different treatment of
  Caliban and Ariel)
• Europeans claims that they are colonizing to
  bring Christianity and civilization (Prosperos
  taking credit for the fact that he has taught
  Caliban how to speak and the fact that he has
  liberated Ariel)
• Europeans use of colonialism as a way to let off
  pressure from their own social conflicts (for
  instance Prosperos exile on Calibans island
  after he has been deposed by Sebastian Gonzalos
  vision of an island society that would correct
  all of the bad things about Europe lower-class
  men like Stephano and Trinculo seeking to exploit
  Caliban and set themselves up as rulers of the
  colonized space)

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Post-colonial theory in The Tempest

• Caliban has been ensalved, as was the case of
  native people being "colonized" by conquering
  nations.  He suffers as a result, receiving
  alcohol and misunderstanding the "gift" and the
  giver because he is not accustomed to this
  culture.  He reacts by devising a plot, wanting
  Stephano to be leader of the island.  He
  struggles against his enslavement, but like so
  many colonies, he does not realize that his own
  choice of leader could be just as destructive. 
  Post-colonial Africa is dealing with this still,
  having ousted nations of Europe only to find
  themselves in civil war, and hugely unstable. 
  Similarly, other "natives" are easily distracted
  by the wealth of Prospero, and are drawn to it,
  leaving behind their need for rebellion.  Comfort
  exceeds freedom.

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Usurpation

• The NZ Australian Experience

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ACT II

• Using the READING STRATEGY from term one, write
  three paragraphs on ActII using supporting
  evidence.
• NOTE YOU MUST REFER TO THE WORDS IN THE STRATEGY

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ACT III

• WRITE THE FOLLOWING NAMES IN YOUR BOOKS
• prospero caliban ariel sycorax
• Beneath each name write all the associations you
  make.

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ACT III

• WRITE THE FOLLOWING NAMES IN YOUR BOOKS
• prospero caliban ariel sycorax
• One is a savage, one is a duke, one a witch and
  the other a spirit. Which one is which do you
  think?

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ACT III

• Read all of ActIII
• Close reading
• BOX QUOTE
• Quotation Quest

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Tempest Quiz

• The Quiz

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The Use of Magic

• When Magic is Used

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PUNS

• In The Tempest, two sets of characters use puns.
  Antonio and Sebastian use them to mock other
  people. Stephano and Trinculo use puns to amuse
  themselves and each other. Students should also
  watch out for metaphors, or plays on words in
  which one object or idea is expressed as if it
  were something else.

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Gonzalos Idea of Governance

• Gonzalos fantasy about the plantation he would
  like to build on the island is a remarkable
  poetic evocation of a utopian society, in which
  no one would work, all people would be equal and
  live off the land, and all women would be
  innocent and pure. This vision indicates
  something of Gonzalos own innocence and purity.
  Shakespeare treats the old mans idea of the
  island as a kind of lovely dream, in which the
  frustrations and obstructions of life
  (magistrates, wealth, power) would be removed and
  all could live naturally and authentically.
  Though Gonzalos idea is not presented as a
  practical possibility (hence the mockery he
  receives from Sebastian and Antonio), Gonzalos
  dream contrasts to his credit with the
  power-obsessed ideas of most of the other
  characters, including Prospero. Gonzalo would do
  away with the very master-servant motif that lies
  at the heart of The Tempest.

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Colonising Caliban

• More important than the emphasis on the way in
  which Caliban seems to others more monster than
  man, is the way in which this scene dramatizes
  the initial encounter between an almost
  completely isolated, primitive culture and a
  foreign, civilized one. The reader discovers
  during Caliban and Prosperos confrontation in
  Act I, scene ii that Prospero initially made
  much of Caliban (II.ii.336) that he gave
  Caliban Water with berries int (II.ii.337)
  that Caliban showed him around the island and
  that Prospero later imprisoned Caliban, after he
  had taken all he could take from him. The reader
  can see these events in Act II, scene ii, with
  Trinculo and Stephano in the place of Prospero.
  Stephano calls Caliban a brave monster, as they
  set off singing around the island. In addition,
  Stephano and Trinculo give Caliban wine, which
  Caliban finds to be a celestial liquor
  (II.ii.109). Moreover, Caliban initially mistakes
  Stephano and Trinculo for Prosperos spirits, but
  alcohol convinces him that Stephano is a brave
  god and decides unconditionally to kneel to
  him (II.ii.109110). This scene shows the
  foreign, civilized culture as decadent and
  manipulative Stephano immediately plans to
  inherit the island (II.ii.167), using Caliban
  to show him all its virtues. Stephano and
  Trinculo are a grotesque, parodic version of
  Prospero upon his arrival twelve years ago.
  Godlike in the eyes of the native, they slash and
  burn their way to power.

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Usurpation

• As we have seen, one of the ways in which The
  Tempest builds its rich aura of magical and
  mysterious implication is through the use of
  doubles scenes, characters, and speeches that
  mirror each other by either resemblance or
  contrast. This scene is an example of doubling
  almost everything in it echoes Act II, scene i.
  In this scene, Caliban, Trinculo, and Stephano
  wander aimlessly about the island, and Stephano
  muses about the kind of island it would be if he
  ruled itI will kill this man Prospero. His
  daughter and I will be King and Queen . . . and
  Trinculo and thyself Caliban shall be viceroys
  (III.ii.101103)just as Gonzalo had done while
  wandering with Antonio and Sebastian in Act II,
  scene i. At the end of Act III, scene ii, Ariel
  enters, invisible, and causes strife among the
  group, first with his voice and then with music,
  leading the men astray in order to thwart Antonio
  and Sebastians plot against Alonso. The
  power-hungry servants Stephano and Trinculo thus
  become rough parodies of the power-hungry
  courtiers Antonio and Sebastian. All four men are
  now essentially equated with Caliban, who is, as
  Alonso and Antonio once were, simply another
  usurper.