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Tempest AO3
Different readings for Section A - The Tempest
| Question | Answer |
|---|---|
| “a wreck at sea is crucial to the plot; a potential tragedy that splinters lives” | James Shapiro and David Farr – link with Miranda being “lost […] In this last tempest” |
| “Caliban embodies the destructive forces of rebellion that Prospero (surrogate for King James) is duty bound to repress and punish” | Alden and Virginia Vaughan |
| “Caliban is ‘the other’ and Prospero has power over him through language” | Cicely Berry |
| “Caliban is sexually mature but culturally a child” | A. D. Nuttall |
| “Caliban’s nature is that of a slave and an underling” | Sandra Clark |
| “Dissention and disruption […] are the imperfection out of which Prospero’s providential magic draws fresh possibilities and perfection” | John Dixon Hunt |
| “Gonzalo and Miranda emerge as the only manifestly good civilisers” | A. D. Nuttall – I could contest this viewpoint with reference to Miranda’s linguistic confinement of Caliban |
| “His world is near-sighted, tactile, downward-looking” | A. D. Nuttall |
| “Prospero is a godlike figure who presides over a golden world, a place of social harmony where evil is defeated” | Thomas McFarland |
| “Prospero’s magical practices” are “as damnable as the blackest witchcraft, and his only hope of salvation lies in their renunciation” | Anthony Harris |
| “repentance remains, at the play’s end, a largely unachieved goal” | Stephen Orgel |
| “Shakespeare, in his last plays, seems to inscribe hope for the world in the younger generation” | Matt Simpson |
| “ultimate evil is always represented in Shakespeare as the betrayal of the bonds of nature” | Sandra Clark – Antonio and Sebastian’s betrayal of their fraternal bonds |
| 3.2 “begins in prose. It is the ‘monster’ Caliban who moves it into verse” | David Daniell |
| Ariel’s appearance as the harpy “is a call to repentance issued in the severest possible language” | Frank Kermode |
| Caliban has a “revolutionary re-think of raw material” | Raphael Lyne |
| Caliban’s “parents represent an evil natural magic which is the antithesis of Prospero’s benevolent Art” | Frank Kermode – however how “benevolent” really is Prospero’s art? |
| “when he warns Caliban that he will rack him with old cramps he literally threatens to throw the magic book at him” | Michael Billington’s review of Derek Jacobi as Prospero in the early 1980s – physical representation of his “art” threatening Caliban |
| Prospero was played with “smouldering hatred” as though “he had preserved his enemies from the wreck only to prolong their suffering and to stage a confrontation before executing his final revenge” | Keith Sagar’s review of Japanese director Yukio Ninagawa’s 1987 production – perhaps this is too extreme |
| Caliban wore bisected make-up – half monster and half noble savage | Peter Hall’s 1974 production, with Denis Quilley as Caliban |
| Miranda is the focus due to her being in the light, with a lamb and doves being drawn to her – presented as a virtuous, innocent female | William Hogarth’s 1736 painting of Ferdinand courting Miranda in 1.2 – is this interpretation limited? |
| “he spent many hours watching monkeys and baboons in the zoo” | Frank Benson’s performance of Caliban in the 1890s, as recalled by Gordon Crosse |
| “Prospero’s own discovery of an ethic of forgiveness” | Madeleine Doran – I would question this |
| “Prospero’s isle is a stage set and […] Shakespeare’s protagonist is the supreme artificer” – metatheatrical (use of trapdoors, technicians visible to audience) | a review of Giorgio Strehler’s 1978 Italian production |
| Miranda is “inexperienced but not naïve” | Frank Kermode – link with her understanding of her sexuality |
| One critic noted that the director “encases the entire work in a frame of masque-like artifice, which Prospero supervises in the role of a sublime stage manager” | Peter Hall’s 1974 production |
| Prospero “appears to have been a remarkably incompetent Duke of Milan” | Northrop Frye |
| Prospero “must change his magical garments for the clothes he wore as ‘sometime Milan’, return to his old position and attempt to implement the authority he has learnt without the benefit of ‘art’” | John Dixon Hunt – more to do with posturing |
| Prospero has “assumed the providential role of God” | Robert Wilson |
| Prospero is an “unresolved, struggling human being” | Robert Wilson – for me, this reading is the most effective |
| Prospero’s “benevolence is genuine, and as far as the action of the play goes he seems an admirable ruler” | Northrop Frye – could contest this view |
| Sebastian’s “position as younger brother to Alonso has […] enforced lethargy” | Roma Gill |
| The French writer ??? rewrote the play from a postcolonial perspective in ??? – Caliban became a black slave and Prospero his white master | Aimé Césaire, Une Tempête (1969) |
| The word “lose” when describing Claribel’s marriage to the King of Tunis – “as if Claribel is being seen as a bit of sweet white meat to be tossed to a wild black animal” | Richard Jacobs – contentious? |
| To Prospero, “Caliban can seem like a child who must be controlled, and who, like a child, is murderously enraged at being controlled” | Meredith Anne Skura |
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