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English > Tempest > Flashcards

Tempest Flashcards

1
Q

Sean McEvoy. “Did not primarily write…

A

… with readers in mind.”

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2
Q

Sean McEvoy. It has to be assumed that, as many lower classes could afford tickets for the pit… “many…

A

… came along for the spectacle, the language being beyond their comprehension.”

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3
Q

Sean McEvoy. “Shakespeare would have had in mind…

A

… an actor who he actually knew.”

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4
Q

Sean McEvoy. “This patterning…

A

… helps the audience keep track of the sense of what they’re hearing.”

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5
Q

Sean McEvoy points out that Shakespeare’s language contains…

A

“Patterning in the language” “distinctive rhythms” “repetition of words”

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6
Q

Sean McEvoy. “Because most of the audience could not read…

A

… their ability to take in spoken language had to be more developed than ours.”

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7
Q

Shakespeare often writes in?

A

Blank verse (non-rhyming poetry)

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8
Q

Why do Ant. and Seb. speak heavily in verse in their scene when attempting to kill Alonso and Gonz.?

A

Emphasising that they are noble characters who are trying to up their status by usurping the king. Rely on civilisation.

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9
Q

What is a caesura?

A

A natural pause in a verse, or a full stop in the middle of a line. (realisation? emphasis?)

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10
Q

Sean McEvoy. (‘A Winter’s Tale’ Hermione -also passive) “For the future…

A

… to be better than the past in these plays. daughter’s must fall in love with other men’s sons.”

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11
Q

Sean McEvoy. “Chastity…

A

… is closely connected with saying little.”

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12
Q

Sean McEvoy. “This maiden…

A

… is virgin territory to be conquered.”

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13
Q

Sean McEvoy. “She is…

A

… sexually attractive to men of all classes.”

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14
Q

Sean McEvoy. “Prospero is…

A

… a usurper in Caliban’s kingdom just as much as Antonio is in Milan.”

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15
Q

Prospero: “If thou neglect’st…

A

or dost unwilling what I command, I’ll rack thee with old cramps.”

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16
Q

Alchemy

A

17th century= the golden age of alchemy. (Idea of suffering to come out on the other side- a transformation.) John Dee’s opinion. Science/chemical reference to P’s magic?

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17
Q

First performed? And under the reign of who?

A

First performed in 1611, under the reign of James I.

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18
Q

Island could be representative of?

A

Colonial expansion, Miranda, Brave new world, garden of Eden?

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19
Q

Inspiration- Jamestown colony context…

A

Jamestown colony had just been established in America, after colonists were shipwrecked there in 1609 by a hurricane. Settlers wanted to begin a new life there. Bermuda.

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20
Q

Prospero: “got by the devil himself.” - reference? meaning?

A

Sycorax was sexually promiscuous with Satan? Unconventional women who threatens the stability of a patriarchal society. Opposite to passive Miranda.

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21
Q

Ashley Riches

A

“Prospero systematically raises and disappoints their hopes.”

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22
Q

David Kinder and Juliet Harrison

A

“We have to accept that characters can be made to fit a number of interpretations.”

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23
Q

Dr. Roy Booth (Ariel)

A

“Ariel is not an evil spirit serving Prospero for his own ends, but has to be forced to serve.”

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24
Q

Mike Brett. “far away…

A

… from the restrictive social attitudes of her times.”

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25
Q

Mike Brett. “Miranda’s…

A

… relative autonomy is both admirable and unusual.”

26
Q

Mike Brett. “He (P) is able…

A

… to use her sexual appeal as a bargaining tool to secure his and her future safety.”

27
Q

Charles Moseley

A

“Harmony, perfection and stability is achieved through marriage.”

28
Q

Dr Roy Booth (garments)

A

“Clothes were important to Elizabethans both as items valuable in themselves… and as indications of social status.”

29
Q

End stopping?

A

Rhythm where the last word is the key image. Finality.

30
Q

Why are rhyming couplets significant in The Tempest?

A

Shakespeare was using them less and less. P’s epilogue.

31
Q

What does Prospero’s epilogue contain/project?

A

Rhyming couplets- finality/resolution- showing wisdom
ambiguity in what he is saying though
soliloquy- saying goodbye- voice box for Shakespeare?
iambic tetrameter- rounding it off
giving the audience the power to imagine what the future will hold. Power of imagination
Huge rhetorical statement.

32
Q

AO2- “You mar our labour”

A

Monosyllabic. quick. staccato. frantic. disjointed language. prose. (contrasts with M’s verse in next scene) topsy-turvy power struggle. imperatives. equaliser of class.- audience= shocked? or applauding common man’s authority?

33
Q

AO2- “We split, we split, we split!”

A

Repetition, panic, building to a climax, dramatic.

34
Q

Prospero says more than Miranda…. AO2?

A

She’s learning from him. He’s got the power. She’s at the wrong end of the power dynamic. Age? Gender? He has the knowledge.

35
Q

M and F’s first meeting, all based on looks in language… quotes for this

A

“of thine eye advance” “how it looks about” “I ever saw so noble” “this gallant which thou seest”

36
Q

Gonzalo weighing up positive and negatives. Examples?

A

“woe” “miracle” “sorrow” “comfort”

37
Q

Seb: “Twas a sweet marriage and we prosper well in our return.” ….. AO2?….

A

Sarcasm. Ironic use of the word ‘proser’.

38
Q

Ant to Seb: “What a sleep were this for your advancement.” AO2?

A

Euphemism- sleep reminds us of death.

39
Q

AO2- Ariel: “Shake off slumber and be aware.”

A

Imperatives. Implicit stage directions.

40
Q

AO2- Seb: “We heard a hollow burst of bellowing.”

A

Dramatic irony. Alliteration. Imagery

41
Q

AO2 -Caliban: “Do hiss me into madness.”

A

Soliloquy. In verse. Plosive’s- anger. Bitter he’s the victim.

42
Q

AO2 Cal. to Steph: “I will kneel to him.”

A

Implicit stage directions. Thinks S is a god. Changing in who has authority over him.

43
Q

AO2- Trinculo. “A very weak monster.”

A

Observer. Detached. Distancing self. Repetition of “monster”. Satirical. Mocking. Insulting.

44
Q

Ferdinand weighing up positives and negatives to working for Miranda. Examples?

A

“painful” “delight” “harshness” “pleasures”

45
Q

P. gives G. epithets such as…

A

“Good Gonzalo” “Holy Gonzalo” Contrast with other characters.

46
Q

P to Alonso: “I embrace thy body.” AO2?

A

Implicit stage directions. Physically reunited.

47
Q

Example of P’s power over Alonso. Alonso keeps asking questions- power of knowledge…

A

“But how should Prospero be living and be here?”

48
Q

Alonso: “O heavens, that they were living both in Naples, the King and Queen there!” AO2…

A

Exclaiming again. Dramatic Irony.

49
Q

Metaphor: M: “Nothing ill…

A

… can dwell in such a temple.”

50
Q

Metaphor: Seb: “I am standing water.” Ant:…

A

… “I’ll teach you how to flow.”

51
Q

Metaphor: P: “He was the ivy…

A

… which hid my princely trunk.”

52
Q

Metaphor: G: “All torment…

A

… trouble, wonder and amazement inhabits here.” (Often speaks in verse- for majority. Likes to have the last word. Summarises.)

53
Q

Simile: Antonio: “They’ll take suggestion…

A

… as a cat laps milk.”

54
Q

Metaphor: F: “The very instant…

A

… I saw you did my heart fly to your service.”

55
Q

Metaphor: Alonso: “You cram…

A

… these words into mine ears against the stomach of my senses.”

56
Q

Metaphor: G: “It is foul…

A

… weather in us all.”

57
Q

Metaphor: F: “The mistress…

A

… which I serves quickens what’s dead.”

58
Q

Metaphor: P: “Then as my…

A

… gift and thine own acquisition worthily purchased, take my daughter.”

59
Q

Metaphor: F: “Shall never…

A

… melt mine honour into lust.”

60
Q

Metaphor: F: “The white…

A

… cold virgin snow upon my heart abates the ardour of my liver.”

English (3 decks)

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