...play, which is suggested by Harold C. Goddard and other scholars. In The Tempest, one of the symbols that is most abundant and is the main driving force behind certain decisions the characters make in the play is power. The play is also certainly related to the change of power between nobilities such as the civil war between Lancastrians and Yorkists around the time Shakespeare started writing his plays (1422-85), which likely may have been an influence on the play along with other plays such as with Romeo and Juliet (Frye). An example of how power functions as the main influence on decisions that characters make, is when Prospero talks to his daughter about how they ended up on the island. He discusses how his brother was possessed by the lust for political and military power, which caused him to plot with Alonso, betray him and then proceed to take the throne for himself. It is evident when Prospero explains, So dry he was for sway – with’ King of Naples To give him annual tribute, do him homage, Subject his coronet to his crown, and bend The dukedom yet unbowed – alas, poor Milan! – Romano 2 To most ignoble stooping. (I.2.110-116) Prospero says that Antonio was so power hungry that he was even willing to pay Alonso, which undoubtedly provides evidence he was desperate for it. We must also remember however, that beneath the more apparent face of the power-hungry Antonio is how it manifested in the first place. Antonio, at one point, may have not been...
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...Is Prospero too controlling a character to feature as a protagonist in a comedy? Prospero is a puppet master, he controls the happenings on the island directly or indirectly, he either uses his capabilities or uses other characters capabilities to perform tasks that he wants Taking back to the time where we see Prospero had sent Ariel the spirit to wreck the ship “Hast thou, spirit, performed to the point the tempest that I bade thee?’’ This quotation emphasis that Prospero demands something from Ariel, Ariel obeys like a subject would obey his master, in spite of the fact that Ariel is performing the actions and has the powers to cause the ship wreck; she consistently obeys Prospero like any loyal subject would. The reader can interpret from this that Prospero is an exploiter, because he knows that Ariel would heed to what he command, it also shows Prospero as a shady character because at this point, Prospero knows that the ship is already wrecked but yet he still asks Ariel whether he has ‘’performed to the point the tempest I bade thee’’ it also shows how Prospero is taking a boss figure that takes the advantage of reminding Ariel that she is her master and he the servant in other words exercising his authority over Ariel, this also emphasis that Prospero is an exploiter. Although, Ariel is not the only person he treats as his subject but also his daughter. Prospero uses imperative language to talk to Miranda as if she is his subject. Prospero continually asks Miranda...
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...Revenge, Forgiveness and Reconciliation The Tempest has the theme of revenge and reconciliation is seen largely in the character of Prospero. In the title, The Tempest is both literal and metaphorical. Shakespeare begins the play with a fierce storm which wrecks the courtier’s ship. I think the storm symbolizes “the tempest of life” (for example the struggle of life) around which the play is based. Prospero is a dynamic character in this play who exhibits the motions of motivation and forgiveness. Forgiveness is the hardest thing to do when someone has done something awful to you and then to reconcile with the person is harder while you want revenge. Prospero will show us how these themes are used to interpret as I explain in detail next. Prospero is the ousted Duke of Milan who has been living in exile on a remote island for the past twelve years. He is also a powerful magician, father of Miranda, master of Ariel and Caliban, and a guy who really likes his books. Twelve years earlier, he found refuge on this island after his younger brother, Antonio, seized Prospero's title and property. Prospero functions as a god on the island, manipulating everyone within his reach. He is helpless against his enemies until they appear on a ship nearby; but when they are close enough, he can use his magic to create a storm and bring them under his control; and this is what makes me think revenge is being taken place. Prospero's magic is the white magic of nature...
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...This is a good article. Click here for more information. The Tempest From Wikipedia, the free encyclopedia (Redirected from The tempest) This article is about the Shakespeare play. For other uses, see The Tempest (disambiguation). The shipwreck in Act I, Scene 1, in a 1797 engraving by Benjamin Smith after a painting by George Romney The Tempest is a play by William Shakespeare, believed to have been written in 1610–11, and thought by many critics to be the last play that Shakespeare wrote alone. It is set on a remote island, where Prospero, the rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skilful manipulation. He conjures up a storm, the eponymous tempest, to lure his usurping brother Antonio and the complicit King Alonso of Naples to the island. There, his machinations bring about the revelation of Antonio's lowly nature, the redemption of the King, and the marriage of Miranda to Alonso's son, Ferdinand. There is no obvious single source for the plot of The Tempest, but researchers have seen parallels in Erasmus's Naufragium, Peter Martyr's De orbe novo, and eyewitness reports by William Strachey and Sylvester Jordain of the real-life shipwreck of the Sea Venture on the islands of Bermuda, and the subsequent conflict between Sir Thomas Gates and Sir George Somers. In addition, one of Gonzalo's speeches is derived from Montaigne's essay Of the Canibales, and much of Prospero's renunciative speech is taken...
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...The Tempest The tempest by Shakespeare has a range of slaves, all different in nature and appearance. In this play, Shakespeare, through the use of the different slaves brings up the issue of colonisation in its different forms. This essay will explore the dissimilarities between Caliban and Ariel. Ariel, undeniably Prospero’s favourite off the two, is an air spirit as his/her name suggests who was enslaved by Sycorax and is more willing to do tasks ordered by Prospero. Caliban, Sycorax’s son is a very ill-tempered and unwilling slave who does not hold his master in the highest regard. This essay will analyse Caliban and Ariel’s different and temperaments, their attitudes towards freedom and their relationship with Prospero. Ariel and Caliban are very different in temperament and appearance. Caliban, whose name can be rearranged to spell Cannibal, is dark skinned, bad tempered creature who is not overly attractive. People in Shakespeare’s time and perhaps even now, may perceive him as wicked based on his appearance. This would be due mainly to the idea of predetermination. This is basically the idea that people are the same inside as they are out and deserve whatever treatment afforded by their looks and were made to fulfil a certain purpose, which can be clearly identified by their appearance. Caliban temperament is seen mainly through his speech. He has a negative attitude towards language. He suggest that it does not do him much good, as he says "You taught me language, and...
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...Prospero’s Major Acts and Decisions Prospero is a protagonist in the Shakespeare’s play “The Tempest”. He is a very powerful, intelligent, wise and skilled magician who is able to manipulate all the other characters in the play. Prospero grows evolves and reveals as a character throughout the play as he takes vital decisions and does certain things. In this paper I am going to explore Prospero’s main actions and decisions in detail while questioning his motives and values, as well as judging him on his decisions In Act I Prospero conjures the tempest causing a shipwreck with the Italian Court on board. He reveals the story of his past to Miranda, telling her about the betrayal of his brother Antonio and his banishment from the kingdom. In Prospero’s story he makes himself look as a victim, making the audience pity him and abominate his brother Antonio. However I don’t see Prospero entirely as a victim as I think that it is his fault that he became too obsessed with magic, forgetting about his duties as a the Duke of Milan. In my opinion Prospero is also at fault for what has happened as he became weak as a Duke, allowing other to overthrow him. In Act I we also see how Prospero treats his two servants, Ariel and Caliban, harshly. He shows himself as a cruel master. When Ariel reminds Prospero of his promise to free her/him (I am going to use “her”), he gets furious and tells her that she is obliged to him as he saved her from Sycorax’s imprisonment. She apologizes and promises...
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...In the time of Shakespeare, feminism, the belief that all people are entitled to the same civil rights and liberties and can be intellectual equals regardless of gender, was a foreign concept. Women were commonly treated as nothing more than property of their husbands and fathers, incapable of free and intelligent thought. It was not understood that women were just as capable as their male counterparts, and had ambitions beyond living only to please men. Indeed, even the most liberated of Shakespeare’s female characters were often motivated solely by the influence of their husbands, fathers, or other male companions. In Shakespeare's Othello, Desdemona, wife of the title man, is a prime example of one such woman. Many authors and critics...
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...1. W. Shakespeare « Hamlet» (Renaissance) Character List Hamlet - The Prince of Denmark, the title character, and the protagonist. About thirty years old at the start of the play, Hamlet is the son of Queen Gertrude and the late King Hamlet, and the nephew of the present king, Claudius. Hamlet is melancholy, bitter, and cynical, full of hatred for his uncle’s scheming and disgust for his mother’s sexuality. A reflective and thoughtful young man who has studied at the University of Wittenberg, Hamlet is often indecisive and hesitant, but at other times prone to rash and impulsive acts. Hamlet is extremely philosophical and contemplative. He is particularly drawn to difficult questions or questions that cannot be answered with any certainty. Faced with evidence that his uncle murdered his father, evidence that any other character in a play would believe, Hamlet becomes obsessed with proving his uncle’s guilt before trying to act. Claudius - The King of Denmark, Hamlet’s uncle, and the play’s antagonist. The villain of the play, Claudius is a calculating, ambitious politician, driven by his sexual appetites and his lust for power, but he occasionally shows signs of guilt and human feeling—his love for Gertrude, for instance, seems sincere. Gertrude - The Queen of Denmark, Hamlet’s mother, recently married to Claudius. Gertrude loves Hamlet deeply, but she is a shallow, weak woman who seeks affection and status more urgently than moral rectitude or truth. Polonius - The...
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...metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references and index. ISBN 978-1-60413-723-1 (hardcover) ISBN 978-1-4381-3425-3 (e-book) 1. Shakespeare, William, 1564–1616—Criticism and interpretation. I. Bloom, Harold. II. Heims, Neil. PR2976.W5352 2010 822.3'3—dc22 2010010067 Bloom’s Literary Criticism books are available at special discounts when purchased in bulk quantities...
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...com/EBchecked/topic/16658/allusion>. Dark Lady Sonnets 127-154 127 In the old age black was not counted fair, | Or if it were it bore not beauty's name: | But now is black beauty's successive heir, | And beauty slandered with a bastard shame, | For since each hand hath put on nature's power, | Fairing the foul with art's false borrowed face, | Sweet beauty hath no name no holy bower, | But is profaned, if not lives in disgrace. | Therefore my mistress' eyes are raven black, | Her eyes so suited, and they mourners seem, | At such who not born fair no beauty lack, | Slandering creation with a false esteem, | Yet so they mourn becoming of their woe, | That every tongue says beauty should look so. | 128 How oft when thou, my music, music play'st, | Upon that blessed wood whose motion sounds | With thy sweet fingers when thou gently sway'st | The wiry concord that mine ear confounds, | Do I envy those jacks that nimble leap, | To kiss the tender inward of thy hand, | Whilst my poor lips which should that harvest reap, | At the wood's boldness by thee blushing stand. | To be so tickled they would change their state | And situation with those dancing chips, | O'er whom thy fingers walk with...
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...G U I D E T E A C H E R’S A TEACHER’S GUIDE TO TWELVE YEARS A SLAVE BY SOLOMON NORTHUP bY Jeanne M. McGlInn anD JaMes e. McGlInn 2 A Teacher’s Guide to Twelve Years a Slave by Solomon Northup Table of Contents SYNOPSIS......................................................................................................................................3 ABOUT THE AUTHOR...............................................................................................................3 INTRODUCTION TO THE STUDY GUIDE............................................................................3 MEETING COMMON CORE STANDARDS.............................................................3 THE SLAVE NARRATIVE GENRE...............................................................................3 HISTORICAL OVERVIEW..........................................................................................................4 DURING READING.....................................................................................................................6 SYNTHESIZING DISCUSSION QUESTIONS.......................................................................9 ENRICHMENT ACTIVITIES.......................................................................................................9 ACTIVITIES FOR USING THE FILM ADAPTATION........................................................ 11 ADDITIONAL RESOURCES.....................................................................................
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...William Shakespeare The Tempesthttp://shakespeare.mit.edu/tempest/full.html) LIST OF 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 councilor ADRIAN and FRANCISCO, lords CALIBAN, a savage and deformed slave TRINCULO, a jester STEPHANO, a drunken butler MASTER of a ship BOATSWAIN MARINERS MIRANDA, daughter to Prospero ARIEL, an airy spirit IRIS, the rainbow, messenger of Juno CERES, goddess of the harvest JUNO, queen of the gods and wife of Jupiter: the goddess of riches, the air and of marriage NYMPHS REAPERS SPIRITS The scene: an uninhabited island The Tempest ACT I SCENE I. 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 themaster's whistle. Blow, till thou burst thy wind,if room enough! Enter ALONSO, SEBASTIAN, ANTONIO, FERDINAND, GONZALO, and others ALONSO Good boatswain, have care. Where's the master?Play the men. Boatswain I pray now, keep below. ANTONIO Where is the master, boatswain? Boatswain Do you not hear him? You mar our labour: keep yourcabins:...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...Illusion of Leadership Directing Creativity in Business and the Arts Piers Ibbotson The Illusion of Leadership This page intentionally left blank The Illusion of Leadership Directing Creativity in Business and the Arts Piers Ibbotson © Piers Ibbotson 2008 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2008 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF G EORG E B E R N A R D S HAW ’S PYGMALION By LAURA REIS MAYER BUNCOMBE COUNTY SCHOOLS, ASHEVILLE, NORTH CAROLINA S E R I E S E D I T O R S JEANNE M. MCGLINN, Ph.D., University of North Carolina at Asheville and W. GEIGER ELLIS, Ed.D., University of Georgia, Professor Emeritus 2 A Teacher’s Guide to the Signet Classics Edition of George Bernard Shaw’s Pygmalion TABLE OF CONTENTS An Introduction .......................................................................................3 Synopsis of the Play .................................................................................3 Prereading Activities .................................................................................6 During Reading Activities ......................................................................13 After Reading Activities .........................................................................21 About the Author of this Guide .............................................................29 About the Editors of this Guide .............................................................29 Full List of Free Teacher's Guides...........................................................30 Click on a Classic ..................................................................................31 Copyright © 2007 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email academic@penguin.com or write...
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