Act 5, Scene 1 212 Flashcards
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Forigveness? Cynically, patterning of Prospero’s language. Contains the relinquishing art solilioquy. anagnorisis?
Enter Prospero in his magic robes and Ariel
Foreboding, disguise, metatheatre. Power symbolised through his costume.
Prospero
‘My charms crack not;my spirits obey; and time
Goes upright with this carriage? How’s the day?’
Reorchestration. Triadic list. Highlights Prospero’s egotistical quality.
Ariel 213
‘ Confin’d’
‘all three distracyed,
And the remainder mourning over them’
‘Lord Gonzalo,
His tears run down his beard like winter’s drops’
Ariel’s lexis of incarceration reflects his feelings. Double irony.
Prospero is blinded to the harm he has caused, highlighting his flaws and corruption.
Similie, reminder of christian values, uses the emotive figure of the old man, changes focus on the situation, enfantile imagery.
Regeression vs development.
Ariel 213
‘your affections would become tender… mine would, sir, were i human’
Inhumane, reinforces Prospero’s ignorance.
Anagnorisis.
Prospero 216
‘My charms I’ll break; their senses I’ll restore;
And they shall be themselves’
Rapid change of thought, styvhomythia. His pattern of insincere apologies.
Reversal of the triadic list, comedy play??
THE SOLILOQUY 216
1. ‘Ye elves of hills’ ‘ printless foot’ ‘demi-puppets’
2. ‘ rifted Jove’s stout oak’ ‘Have I made shake’ ‘By my so potent art’
3. ‘i’ll drown my book’
Three part structure.
1. Direct address. 2. Himself. 3. Projection for the future.
1. Characterising small creatures, liberating them, Reflects his power was a result of a collective effort. He is nothing without his subjects.
2. God-like terms, omnipotent, divine power complex. Summarising his achievements by placing himself outside the chain of being. Modal verbs- he vows to do better. Prospero’s anagnorisis.
3. Prospero will become mortal and give up his magical abilities.
SD 218
They all enter the circle which Prospero had made and there stand charmed, which Prospero observing; speaks
Futility to change the cyclical structure oflife/ the play.
Ritualistic, spiritual, incantations.
Prospero 218
‘ To an unsettl’d fancy, cure thy brains’
‘ Holy Gonzalo, honourable man’
‘Fall fellowly drops’
‘ I will pay thy graces… Home, both in word and deed’
‘brother mine, that entertain’d ambition, expell’d remorse and nature’
Hostile, diminuitive language, worshipper.
Semantic field of religion, humane decent language, however, it has a performative quality, occupying a role.
Parenthetic dashes Favour from supporter shifted attention to Alonso.
Repeat of the exposition.
Physicality, triadic list, has to be superior.
Prospero 220
‘ Fetch me the hat and rapier from my cell’
‘ I will discase me and myself present. As I was sometime Milan’
Tool of violence, costume shift links to identity, he is converted to an uncivilised nature.
Mask of civility.
Ariel 220
‘ shall i live now, Under the blossom that hangs on the bough.
‘
Suggests tiny spirit. Imagines himself embedded in the simplicity of nature which juxtaposes the cast of the play, Ariel wants to become small. Rhyming couplets show his admiration for nature.
Gonzalo 222
‘Out of this fearful country’
Reversal of his enchanted view of the island,lapse in faith. Optimism has dissipated.
Alonso 222
‘ Thy pulse… beats of flesh and blood; since I saw thee’
‘I fear a madness held me’
Sebastian 224
‘the devil speaks in him’
Not a figment of his imagination, he wants to amend/ fix. forgiveness?
Frightened response.
226
Mir and Ferd ‘playing at chess’
Playing opposite- presents Miranda and Ferd as opposites, maybe protofeminist, progressive ideas of Shakespeare.
Miranda 228
‘How beauteous mankind is! O brave new world… That has such people in it’
AO5- Nuttall ‘looking at the worst of the old world coming towards her in the shape of assorted courtly criminals’
Mouthpiece- femininity- naiveness mirriors Caliban.
Language of awe and wonder is ironic.
