The Tempest, critical opinion (AO3) Flashcards Preview

ENGLISH LITERATURE A2 > The Tempest, critical opinion (AO3) > Flashcards

Flashcards in The Tempest, critical opinion (AO3) Deck (24):

Tragedy depicts alienation and destruction, Romance, reconciliation and restoration.

Deborah B Shwartz on the difference between the Romantic and the Tragic


In tragedies, characters are destroyed as a result of their own actions and choices; in Romance, characters respond to situations and events rather than provoking them.

Deborah B Shwartz on circumstance in the Romantic


Tragedy tends to be concerned with revenge, Romance with forgiveness.

Deborah B Shwartz on forgivness in Romance


Romance has a muted tone of happiness -- joy mixed with sorrow.

Deborah B Shwartz on happiness in the Romance


Romance is unrealistic. Supernatural elements abound, and characters often seem "larger than life" (e.g. Prospero) or one-dimensional (e.g. Miranda and Ferdinand)

Deborah B Shwartz on unrealistic Romance


“the unlikely, the improbable, the mysterious, the miraculous; distant, exotic locations, with connotations of the Hellenistic pastor and Arcadian style golden age countryside, long journeys, often by sea, often attended by storm of shipwreck, themes of loss and recovery, exile and return…”

Long quote by Sandra Clark (1986)


In this paradigm Prospero is portrayed as a benevolent father figure, protective of his only child 

Margaret Roper on Prospero's Romantic role


In this paradigm Prospero is portrayed as a benevolent father figure, protective of his only child -

Margaret Roper on Prospero's Romantic role


“Miranda has acted as Prospero’s preserver” - 

Sandra Clark on Miranda's impact on Prospero


“Both [Prospero and Alonso] have virtuous children who will redeem them and dissolve enmity between them with marriage” -

Matt Simpson on children in the play


“From the play’s first moments - and twice in one speech - we can hear a father trying to tell his daughter that she must now at last know him properly, now before it’s too late” 

Richard Jacobs on fathers and daughters


“Claribel is forced into a marriage with the King of Tuniz for reasons of geo-politics and/or trade”

Richard Jacobs on Claribel's marriage


“we’re being invited, if only part consciously, to see Claribel as a version of Miranda”

Richard Jacobs on Claribel and Miranda


Caliban is the other and Prospero has power over him with language

Cicily Berry on colonialism and language


The Tempest is about colonialism

Cicily Berry on colonialism


His person is as monstrous as he is the product of unnatural lust, and his language is as hobgoblin as his person

Dryden on Caliban


the slave needs the master just as much as the master needs the slave

Griffith's on the dramatisation of Caliban in the 19th Century


"Modern convention dictates that Caliban must be a sympathetic emblem of imperialistic exploitation"

Irving Wardle on modern convention and Caliban


Caliban’s action ‘legitimises Prospero’s takeover of power’ (Brown, 1985: 62).

Paul Brown on the rape


his scopic regime entirely rests on the agency of Ariel

Étienne Poulard on Ariel


Ariel it is who performs the action of the play, the motor that powers the plot, the animating force which accomplishes Prospero’s design.

Peter Hick, Ariel's impact on the play


genuine affection between the two which adds resonance to a crucial moment in the play, when Ariel seems to convince Prospero of the need for forgiveness and reconciliation.

Peter Hick on Prospero and Ariel


 in the Epilogue, Prospero ‘seems to be Ariel, longing to be freed.’ (p.285).

Nora Johnson on Prospero and Ariel