intro Flashcards
INTRO
Composers engage in text appropriation to portray, mirror, or examine the idea and beliefs of the original author.
Evident within Atwood’s postmodern pastiche Hagseed(2016) who appropriates Shakespeare’s The Tempest(1610) through her exploration of Jacobean colonialist and contemporary perspectives with regards of marginalised groups. Atwood revealing both progression and reflection evident in her pivotal reliance on textual conversation with Shakespeare’s 17th-century revenge tragedy.
INTRO
The textual conversation between both texts has to an extensive extent strengthened the textual integrity of the tempest by Atwoods manipulative approach. The Tempest exposes enduring human values with contemporary relevance. Hag-Seed investigates the metafictional elements of Shakespeare’s play, establishing a postmodern perspective on the elusive outlook of dramatic arts
REVENGE BOTH
Both texts resonates on the themes of revenge, as the protagonists’ quest to rediscover their conscience and forgive those whom they decieved strengthening their textual integrity by mirroring idea throughout. As a “interactive piece of theatre” reveals the “devious, twisted” character’s archetypal flaws, Prospero’s and Felix’s vengeance and develops a change through technology. Ultimately exposing the futility of revenge to expose the relationship between both protagonist leading to their similarities in two different contexts.
REVENGE TEMPEST
The Tempest illustrates how the sophisticated nexus of hubris and the innate human need for authority and vengeance contributes to ethical turpitude and, as a result, prevents people from reaching personal fulfilment. For example, Prospero is blinded by rightful reclaim of his “christian attitudes’’, but opposes his deceit in vengeance. Evident in Act V, Scene 1,”The rarer action is In virtue than in vengeance” portrays the relationship of sparing the person then killing them. Prospero’s immersion with magic led him to forget his duties as Duke of Milan and reality. While uncovering to Miranda the past, he reveals his desire for retribution just as recognizing that he has “neglected worldly ends” which has “awakened an evil nature” in his sibling.
REVENGE HAG SEED
Similarly, Atwood illustrates Felix’s fall to the corruption caused by his desire for vengeance against Sal and Tony strengthening the connection of themes of pursuit of revenge. Evident through metatextuality ``There. Not a syllable fluffed.” mirrors Prospero’s manipulation of events in The Tempest making prevalent values in the elizabethan era relevant.The metaphor also draws attention to the novel’s metatextuality as a work of literature that includes the staging of the play it reinterprets. Atwood emphasises Felix’s point of view, giving the reader a context in which to empathise. Just like
Prospero, he figuratively, “he raises up a storm, sets a plan in action and lets it play out”. Both plotting on retribution in separate ways, showing how an unhealthy need for vengeance will lead people away from a positive life and the value of reconciliation.
TEMPEST WOMEN
The perspective of womens role in Shakespeare Jocobean era and Atwoods post modern view point invites audience toe explore the dissonances of Miranda. Prospero advises Ferdinand that if he “breaks her virgin-knot” before marriage, the couple will be condemned to “Sour-eyed disdain” and barrenness. Miranda’s purity is important to Prospero that he prioritizes it over her happiness. Miranda’s identity is hampered by the men’s lust for her virginity, which is hampered by the conservative attitudes of the men. Sycorax, on the other hand, represents an antidote to the sexuality advocated by Prospero.
Sycorax represents a dominant woman who conceives without being properly cared for in the publicly sanctioned narratives. Miranda is described as “a chaste, faithful, and dutiful daughter” (224). Sycorax is not only a “hag,” but also “blue-eyed”, which portrays the the chiristian values of children out of wedlock. Prospero demonised Sycorax with words like “hag,” to draws attention to her sexuality, for Miranda to see but retains her power despite losing her virginity, regardless of the circumstances of the sexual experience.
HAGSEED WOMEN
In comparison, through Anne Marie, Atwood undermines the textual integrity of the tempest however strengthens Hag Seed for modern society by intentionally criticises the tempest. Evidentl through Atwood portrays the post modernisation of the role of women and their position within society reflecting the growing empowerment of females in modern society distinctly different Tempest. Within the protagonists Anne-marie, Atwood expresses her concept of self and the influence of feminism. Suggesting a the difference in the characters’ natures and behaviours whom are marginalised providing a voice.
Although Miranda was portrayed as innocent and timid in The Tempest, Felix’s daughter is more motivated in her position as the impetus for his ethical change, demonstrating the intexuality of both texts to fit societal views. When women’s roles become more prominent, Atwood wishes to convey that they should not be undervalued in their legitimate roles. Women’s relationships are being strengthened. She also demonstrates how women have been exploited by the need for male figure, influence, and prestige, which dates back to the Jocobean era and prioritises the mal econter portion.
LOVE TEMPEST
In the transition of societal viewer and contextual power, the textual dialogue on the subject of love simultaneously reinforces and deliberately criticises one another.. Atwood displays a relationship formed between Anne-Marie Greenland and Fredrick O’Malley. Fredrick is Justice Minister Sal’s son. This resonated with the love-affair of Ferdinand and Miranda. However, it also disonantes. This is in respect to the Anne-Marie and Freddie meeting through Felix’s play in the Correction Centre.
LOVE HAGSEED
In contrast, Miranda and Ferdinand’s passion, on the other hand, is the product of Prospero’s powerful art. Prospero becomes harsh and unfriendly to Ferdinand in order to discourage the love affair from progressing too quickly. This isn’t the case in Hag-seed because Felix isn’t Anne-father Marie’s and therefore has no say of who she dates or enchanting abilities. Miranda’s affection and appreciation for Ferdinand grows as a result of Propsero’s rough love. Miranda, on the other hand, initiates their relationship by declaring, “I am your wife, if you will marry me.” Ferdinand then promises to be her husband “with a spirit as willing/ As ever in freedom’s slavery.”
bOTH LOVE
Prospero’s plot of vengeance entails duping Miranda and Ferdinand into falling in love. This is incompatible with the Hag-seed. Only at the end of the play does the love story become important. This is due to Miranda’s status as a spirit figment at the beginning, and AnneMarie’s -portrayal of Miranda only starts at the end.Refocusing , Felix interest in love, and he intentionally fails Freddie and Anne-Marie to fall in love.
CONCLUSION
In Conclusion, texts are inherently embedded textual but yet can transcend beyond these through their exploration of universal ideas. This is explored in Atwood’s manipulation evoking readers to explore the deliberate connection of theatre and performance as an opportunity of escapism .Ultimately, Atwood uses textual conversation to portray Hag-Seed’s reflection and progression conveying the text’s position as a modern reimagining of The Tempest. These contextually divided perspectives on ‘the other’ align and collide with current significance, in my opinion.
CONCLUSION 2
It has to an extent strengthened the tempest in recurring values of revenge and forgiveness allowing discovery to be dependent on our own experiences. The idea of revenge has connected the two texts, where the Jacobean view of love and revenge has mirrored into a modern audience perspective. However, the transition of women from a male-dominated culture to a postmodern representation has compromised the tempest’s ability to expose the progression through deliberate criticism.
