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Question 1

imprisonment catalysed by betrayal (tempest TS)

Answer 1

Shakespeare reflects the Christian value system through his manipulation of The Tempest’s metatheatrical features, initiating the textual conversation surrounding betrayal’s violation of divine order and its consequential psychological imprisonment.

Question 2

imprisonment catalysed by betrayal (tempest 1st quote)

Answer 2

In media res, the play’s exposition immediately establishes heightened tensions through the stage direction ‘A tempestuous noise of thunder and lightning heard’.

Question 3

imprisonment catalysed by betrayal (tempest 1st quote analysis)

Answer 3

Prospero’s directorial role manipulating the play’s metatheatrical spectacle characterises him as a divine figure whose psychological entrapment in the resultant turmoil from his betrayal is symbolised through the tempest’s objective correlative.
Influenced by the Jacobean era’s zeitgeist prescient concern about usurpation following the GunPowder Plot, the chaotic storm’s pathetic fallacy reinforces the anarchic consequences of disrupting the Great Chain of Being.

Question 4

imprisonment catalysed by betrayal (tempest 2nd quote)

Answer 4

Through the Tempest’s mise-en-abyme form, Shakespeare transforms the island’s confined setting into a metatheatrical stage allowing Prospero to externalise his internal imprisonment as “Prospero…master of poor full cell” trapped in the “dark backward and abysm of time”.

Question 5

imprisonment catalysed by betrayal (tempest 2nd quote analysis)

Answer 5

The timeless psychological impact of treachery is explored through the carceral connotations of “cell” as Antonio’s fraternal betrayal, an intertextual biblical reference to the parable of Cane and Able, has has entrapped him on both the physical island and in the “chasm” of his psyche.
Prospero’s adoption of the third person reflects his externalisation of the traumatic treachery, initiating Shakspeare’s discussion of the ubiquitous human condition of self-confinement arising from acts of betrayal to which Atwood concordantly responds.

Question 6

imprisonment catalysed by betrayal (tempest LS)

Answer 6

This conceptual discourse serves as a cornerstone for Atwood’s postmodern adaptation, “Hagseed,” where she not only echoes but also enriches this existential contemplation with her own unique perspective.

Question 7

imprisonment catalysed by betrayal (hagseed TS)

Answer 7

Atwood concordantly responds to Shakspearese’s textual conversation surrounding self-imprisonment catalysed by betrayal through the more nuanced perspective of psychological realism to resonate with her contemporary audience.

Question 8

imprisonment catalysed by betrayal (hagseed 1st quote)

Answer 8

Atwood manipulates the original setting of Prospero’s betrayal in Milan and reinvents it in a theatrical corporate world as Tony’s states “the board has voted to terminate your contract. As Artistic Director.”

Question 9

imprisonment catalysed by betrayal (hagseed 1st quote analysis)

Answer 9

Atwood reframes Shakespeare’s discussion of fraternal betrayal through the more secular notion of psychological imprisonment catalysed by a collegial betrayal as she depicts the avaricious nature of the corporate world that is more resonant with her 21st century audience.

Question 10

imprisonment catalysed by betrayal (hagseed 2st quote)

Answer 10

Despite contextual disparities, Atwood mirrors Shakespeare’s representation of trauma’s confining nature through the storms’ pathetic fallacy in “it was like an enormous black cloud boiling up over the horizon”.

Question 11

imprisonment catalysed by betrayal (hagseed 2st quote analysis)

Answer 11

She also extends upon this discussion of betrayal’s psychological impact beyond its disruption of a divine order, through Felix’ ontological questioning and inability to confront reality.

Question 12

imprisonment catalysed by betrayal (hagseed 3rd quote)

Answer 12

Atwood explores a more nuanced and realistic perception of human behaviour shaped by trauma through her transformation of the Tempest’s magical realism into psychological realism by turning Miranda’s spirit into a figment of Felix’s imagination as “She’s also here, watching him in his full poor cell”.

Question 13

imprisonment catalysed by betrayal (hagseed 3rd quote analysis)

Answer 13

Felix’s appropriation of Prospero’s words parallels the characters as Felix is unable to transcend the collegial betrayal and tragic loss of his daughter, trapping him in a liminal schism between reality and illusion as he coexists with Miranda’s ghost.

Question 14

Forgiveness catalysing self-liberation (tempest TS)

Answer 14

Shakespeare’s Chrisitian morality play, The Tempest, utilises the dramatic trajectory to create a didactic representation of liberation from self imprisonment, through Prospero’s internal release of resentment and external acts of forgiveness over the pursuit of vengeance.

Question 15

Forgiveness catalysing self-liberation (tempest quote 1)

Answer 15

The instructive morality play embodies the ideological christian values surrounding divine absolution as Prospero demonstrates authoritative and God-like power by exercising forgiveness for emancipation. This is evident in Prospero’s anagnosis in the denouement as he teaches the audience a didactic lesson of forgiveness’ transcendent authority by acting with “nobler reason…in virtue than in vengeance”.

Question 16

Forgiveness catalysing self-liberation (tempest quote 1 analysis)

Answer 16

Despite Prospero’s metatheatrical characterisation as hyperreal figure, the juxtaposition in his lyrical verse reinforces his practise of prudence and restraint, aligning with 17th century’s Chrisitan Renaissance humanist value for ‘philanthropia’.
Furthermore, Shakespeare embodies the Christian notion of calvinistic predetermination as Prospero’s virtuous act of forgiveness release him from the confinement of his turmoil and reinforce his predestined salvation in God’s eyes.

Question 17

Forgiveness catalysing self-liberation (tempest quote 2)

Answer 17

Shakespeare initiates textual conversation on the cathartic nature of releasing internal resentment, evident through Prospero’s soliloquy in the epilogue stating “Let your indulgence set me free”.

Question 18

Forgiveness catalysing self-liberation (tempest quote 2 analysis)

Answer 18

Shakespeare employs metatheatrical elements through Prospero’s presentational acting as he liberates himself from his psyche’s resentful turmoil and the performative role of enacting vengeance.

Question 19

Forgiveness catalysing self-liberation (tempest LS)

Answer 19

Atwood discordantly responds to Shakespeare’s textual conversation surrounding the transformative nature of forgiveness through Felix’s pragmatic pursuit of vengeance and expands on the discussion of internal liberation through self-forgiveness.

Question 20

Forgiveness catalysing self-liberation (hagseed TS)

Answer 20

Atwood’s embodiment of liberal humanist values, collides with Shakespeare’s didactic Chrisitian text through her nuanced exploration of the cooperative ideas of internal forgiveness and revenge as catalysts for self-liberation.

Question 21

Forgiveness catalysing self-liberation (hagseed quote 1)

Answer 21

In a secular context, Atwood deconstructs the ideological Chrisitan metanarrative of forgiveness and presents its antithesis of revenge through the confessional tone in“His enemies had suffered, which had been a pleasure.”

Question 22

Forgiveness catalysing self-liberation (hagseed quote 1 analysis)

Answer 22

Hagseed’s free indirect discourse maintains a level of detachment from Felix whilst simultaneously situating readers inside his mind to gain a more holistic understanding of retribution’s capacity for self-liberation.
The novel’s postmodern feature of an unreliable narrator collides with Prospero’s divine representation as Atwood destabilises Shakespeare’s monopoly of truth of forgiveness which no longer has contemporary resonance in the contextual paradigm liberal humanist values associated with freedom.

Question 23

Forgiveness catalysing self-liberation (hagseed quote 2)

Answer 23

Despite their contextual disparities, Hagseed aligns with Shakespeare’s textual conversation on the internal release of resentment as an agent for self-emancipation from metaphysical confinement. Atwood merges characters through the representation of Felix’s grief as Miranda’s ghost in the appropriation of canonical verse “‘to the elements be free” affirms the importance of releasing past grief.

Question 24

Forgiveness catalysing self-liberation (hagseed quote 2 analysis)

Answer 24

Hagseed’s achronological order fractures the Aristotelian utilities of time and place in Shakespeare’s text, cultivating a palimpsest adaptation and realistic depiction of the complex journey toward self-liberation.
Atwood’s reimagination highlights the shifting conversation from Shakespeare’s emphasis on universal forgiveness and benevolent temperance towards a nuanced depiction of Felix’s liberation through internal forgiveness.