Act 5 Scene 1 Flashcards
SD - “Enter Prospero, in his magic robes, and Ariel.”
Demonstrates to the audience that he will be using his magic in this scene, dramatic device of props, creates anticipation
Prospero - “Now does my p.. gather to a h../My ch.. cr.. not; my sp.. obey; and time/Goes up.. with his ca… How’s the day?”
“Now does my project gather to a head/My charms crack not; my spirits obey; and time/Goes upright with his carriage. How’s the day?” - rhyme ‘obey’ and ‘day’, ‘project’ refers to Prospero’s plan whether that be to get revenge on his enemies or arrange Miranda’s marriage and reference to alchemy (context), ‘gather to a head’ refers to an achemical boil where ingredients are heated to boiling point and at this point either the experiment exceeds or fails, ‘charms crack not’ suggests his plan is succeeding, ‘goes upright with his carriage’ shows his work is coming to a successful conclusion
Ariel - “On the s.. h.., at which time, my l..,/You said our w.. should cease.”
“On the sixth hour, at which time, my lord,/You said our work should cease.” - unity of time
Ariel - “C.. together/In the same fashion as you gave in charge,/Just as you left them; all p.., sir,/In the line gr.. which weather-fends your cell./They cannot b.. till your r..”
“Confined together/In the same fashion as you gave in charge,/Just as you left them; all prisoners, sir,/In the line grove which weather-fends your cell./They cannot budge till your release.” - ‘confined’ ‘prisoners’ trapped semantic field in a trance, Ariel seems to have a sympathetic tone towards the trapped characters as he was threatened himself in the same way by Prospero, Ariel is taking on a tone of advice and ‘till your release’ demonstrates Prospero’s power to the audience
Ariel - “The King,/His brother and yours abide all three d..,/And the remainder mou.. over them,/Br.. of s.. and d..; but chiefly/Him that you termed, sir, the g.. old L.. Gonzalo./His t.. run down his b.. like w.. drops/From eaves of reeds.”
“The King,/His brother and yours abide all three distracted,/And the remainder mourning over them,/Brimful of sorrow and dismay, but chiefly/Him that you termed, sir, the good old Lord Gonzalo,/His tears run down his beard like winter’s drops/From eaves of reeds.” - demonstrating all the emotional torment that Prospero has caused even to Gonzalo who he respects, doesn’t address Antonio by his name, simile
Ariel - “Your ch.. so s.. works ‘em/That, if you now be.. them, your aff../Would become t..”
“Your charm so strongly works ‘em/That, if you now beheld them, your affections/Would become tender.” - Ariel has developed an authoritative voice and grown in confidence enough to give Prospero advice, suggests he knows Prospero can be empathetic displaying their close relationship
Prospero - “D.. thou th.. so, spirit?”
“Dost thou think so, spirit?” - shows he confides in Ariel and is willing to take his advice but it may also be belittling by reminding Ariel he is a spirit not a human so he shouldn’t give him advice.
Prospero - “The r.. ac.. is/In v.. than in ve..”
“The rarer action is/In virtue than in vengeance.” - suggests that being good is harder than being evil, this is the moral of the play and the main message to the audience about the cycle of revenge and how it must break, links to the new testament, shows its powerful to be able to cause harm but not do it
Prospero - “They being p..,/The s.. drift of my pu.. doth extend/Not a f.. further. Go, r.. them, Ariel./My ch.. I’ll br..; their senses I’ll restore;/And they shall be th..”
“They being penitent,/The sole drift of my purpose doth extend/Not a frown further. Go, release them, Ariel./My charms I’ll break; their senses I’ll restore;/And they shall be themselves.” - saying he doesn’t feel he needs to punish them anymore and he will return them to normal, suggesting he just wanted to teach them a moral lesson rather than actually torment them, like god
Prospero - “[traces a c..] Ye e.. of h.., b.., standing l.. and groves,/And ye that on the s.. with print.. foot/Do ch.. the eb.. Neptune, and do f.. him/When he comes back; you d..-p.. that/By mo… do the green s.. rin.. make..”
“[traces a circle] Ye elves of hills, brooks, standing lakes and groves,/And ye that on the sands with printless foot/Do chase the ebbing Neptune, and do fly him/When he comes back; you demi-puppets that/By moonshine do the green sour ringlets make..” - soliloquy, nature semantic field, calm sea imagery, sound effects and supernatural imagery
Prospero - “W.. masters though ye be - I have be../The no.. sun, called forth the mutinous w..,/And ‘tw.. the gr.. sea and the az.. vault/Set r.. war; to the dread-rat.. thunder..”
“Weak masters though ye be - I have bedimmed/The noontide sun, called forth the mutinous winds,/And ‘twixt the green sea and the azured vault/Set roaring war; to the dread-rattling thunder..” - ‘soliloquy weak masters’ refers to the elves and demi-puppets that assist Prospero, he knows he has been harsh, sea, weather and sky imagery, reflecting on his own actions like a judge
Prospero - “But this r… magic/I here ab..; and when I have required/Some h.. music (which even now I do)/To work mine end upon their s.. that/This a.. ch.. is for/I’ll b.. my st..,/B.. it certain fathoms in the e..,/And deeper than did ever plum.. sound/I’ll d.. my book.”
“But this rough magic/I here abjure; and when I have required/Some heavenly music (which even now I do)/To work mine end upon their senses that/This airy charm is for/I’ll break my staff,/Bury it certain fathoms in the earth,/And deeper than did ever plummet sound/I’ll drown my book.” - soliloquy, ‘rough magic’ shows he is aware of his dangerous and harmful magic despite being a ‘white magician’ and this is him giving up his magic (Shakespeare giving up playwrighting) ‘break’ ‘bury’ ‘drown’ aggressive verbs
Prospero - “There st..,/For you are sp..-st… -/H.. Gonzalo, h… man,/Mine e.., ev’n sociable to the show of thine,/Fall f.. drops.”
“There stand,/For you are spell-stopped. -/Holy Gonzalo, honourable man, Mine eyes, ev’n sociable to the show of thine/Fall fellowly drops.” - addresses Gonzalo first like a judge although they can’t hear Prospero at this moment, shows Prospero respects Gonzalo and in this Shakespeare suggests good things come to good people as he isn’t in a trance like the others, Prospero sheds a tear at the sight of Gonzalo crying showing he is somewhat sympathetic
Prospero - “O g.. Gonzalo,/My t.. pr.. and a l.. sir..”
“O good Gonzalo,/My true preserver and a loyal sir..” - honouring Gonzalo for saving him and Miranda, noble semantic field
Prospero - “Most c../Didst thou, A.., u.. me and my daughter.”
“Most cruelly/Didst thou, Alonso, use me and my daughter.” - climax of the play addressing each one like a judge to make them realise their mistakes, tone change from thankful to stern
Prospero - “Thy b.. was a furtherer in the act. -/Thou art p.. for’t now, S..! - F.. and b..,/You, brother, mine, that en.. am..,/Ex.. rem.. and nature, whom with Sebastian/(Whose in.. pi.. therefore are most strong)/Would here have k.. your king, I do fo.. thee,/Un.. though thou art.”
“Thy brother was a furtherer in the act. -/Thou art pinched for’t now, Sebastian! - Flesh and blood,/You, brother, mine that entertained ambition,/Expelled remorse and nature, whom with Sebastian/(Whose inward pinches therefore are most strong)/Would here have killed your king, I do forgive thee,/Unnatural though thou art.” - ‘flesh and blood’ puts emphasis on Antonio’s betrayal of Prospero and Prospero never says Antonio’s name which suggests that their damaged relationship is more important than his name, ‘entertained ambition’ metaphor for them fooling around with ambition, direct address towards both Sebastian and Antonio like a judge, Antonio’s betrayal is contrasted with Prospero’s forgiveness, ‘nature’ and ‘unnatural’ shows that Antonio’s betrayal was unnatural but Prospero forgiving him is a natural human action, repetition of ‘brother’ shows the depth of Antonio’s betrayal, ‘inward pinches’ metaphorical emotional torment. Antonio and Sebastian can’t fully hear him at this moment
Prospero - “[aside] Their un../Begins to sw.., and the approaching t../Will shortly fill the reas.. shore/That now lies f.. and mu..”
“[aside] Their understanding/Begins to swell, and the approaching tide/Will shortly fill the reasonable shore/That now lies foul and muddy.” - sea imagery is used as an extended metaphor for the other characters gaining consciousness, it could also symbolise the characters being forgiven for their sins by Prospero and being ‘cleansed’ perhaps
Prospero - “Why, that’s my d.. Ariel! I shall m.. thee,/But yet thou shalt have f…”
“Why, that’s my dainty Ariel! I shall miss thee,/But yet thou shalt have freedom.” - switch back to a more light and airy tone, ‘I shall miss thee’ shows to the audience the play is coming to an end and resolution is nearing
Ariel - “I d.. the a.. before me and return/Or ere your p.. twice beat.”
“I drink the air before me and return/Or ere your pulse twice beat.” - ‘drink the air’ metaphor for moving swiftly through the air, another example of Ariel being obedient
Prospero - “Behold, sir king/The wr.. Duke of Milan, Prospero! … I em.. thy body,/And to thee and thy company I bid/A h.. w..”
“Behold, sir king/The wronged Duke of Milan, Prospero! .. I embrace thy body,/And to thee and thy company I bid/A hearty welcome.” - speaking about himself suggests pride, adjective ‘wronged’ may be used to discretely cause guilt, ‘I embrace thy body’ discrete SD of Prospero hugging Alonso which shows his importance and goodness, adjective ‘hearty’ suggests Prospero is being genuine and kind
Alonso - “Thy p../Beats as of f.. and b.. ..”
“Thy pulse/Beats as of flesh and blood…” - discrete stage direction of Alonso touching Prospero
Alonso - “Thy duk.. I resign and do entreat/Thou pardon me and my wr..”
“Thy dukedom I resign and do entreat/Thou pardon me and my wrongs.” - like pleading guilty to Prospero as a judge, reinforces the idea that Prospero is a god-like figure and is more powerful than Alonso despite him being King of Naples, Alonso immediately apologises and feels remorse whereas Antonio and Sebastian are immediately defiant
