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A2 English > Tempest pack > Flashcards

Tempest pack Flashcards

1
Q

JAmes 1’st

A

the company’s patron from since he ascended the English throne in 1603

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2
Q

JAmes 1’st’s interest in magic

A

wrote the Daemonologie

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3
Q

magic in Shakespeare’s time

A

a serious area of study in Shakespeare’s time, and one which raised considerable anxieties.

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4
Q

medieval church’s opinion on magic

A

to be avoided by god fearing men

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5
Q

difficulty with being against magic

A

thin line between science and magic

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6
Q

BArbara Howard TRasiter on science and its closeness to magic

A

“To experiment, to enquire into the secrets of the universe, was to come very close to involvement with magic. Medicine and astronomy, for example, were frequently associated with magic.”

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7
Q

16th century scientist FRancis BAcon

A

the empirical study of natural and supernatural forces could lead to the power to control such forces, to raise storms at will and even control the seasons

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8
Q

della Porta on magic

A

the perfect knowledge of natural things: and those are called Magicians,

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9
Q

Della porta

A

16th century, NAples, ‘Magiae Naturalis’ spent his life on scientifice endeavours

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10
Q

Della Porta on Sorcery

A

“infamous, and unhappie, because it hath to do with foul spirits” (Sycorax raather than Prospero, why ARiel refused to obey her)

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11
Q

REnaissance

A

14th-17th centurt

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12
Q

Renaissance revival ofNeoplatonism

A

It was believed that by purifying himself of earthly ties and steadily pursuing wisdom and knowledge, a man could lift himself above the concerns of the sublunar world and participate in knowledge of cosmic affairs. Neoplatonists believed that angelic/planetary spirits had to be called to assist the magician

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13
Q

John Dee

A

Shakespeare’s contemporary
owner of probably the largest library in England, and a practitioner of what he called “thaumaturge or divine magic”
believed he succeeded in communicating with spirits
asked to cast Queen Elizabeth’s horoscope and predictd that she would rule (he was her adviser)
producer of remarkable spectacles and he was supposed to have made his reputation initially by producing an elaborate mechanical beetle which appeared to fly in a Greek play.
credited with putting a “hex” on the spanish armada
died soon before work on the Tempest was startes
His spirit communicant was called Uriel

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14
Q

William Stratchey

A

shipwrecked off the coast of Bermuda in 1609, wrote it in 1610

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15
Q

When was the tempest written

A

1611

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16
Q

Stratchey describes an Ariel like fire

A

“a little round light, like a faint star, trembling and streaming along with a sparkling blaze half the height upon the mainmast….running sometimes along the mainyard to the very end and then returning”

Ariel “Sometime I’d divide and burn in many places; on the topmast, the yards and bowsprit would I flame distinctly, then meet and join”

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17
Q

What does Stratchey credit their survival to

A

“by the mercy of God”

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18
Q

In the middle of the 16th century what kind of theater began to be written

A

the MAsque

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19
Q

The masque

A

organised not around words but spectacle, elaborate costume dancing, singing and poetry on a stage where amazing scenery

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20
Q

James 1’st and masques

A

particularly fond of them

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21
Q

antimasque

A

demonic and bizarre characters are introduced, thy were contrasted to the Virtues. (TRinculo etc)

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22
Q

John Dee’s performance

A

put on a performance of Aristophanes which invloced characters appearing to fly through the air
some did not believe their effects could be create through mechanical means

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23
Q

good magic

A

mageia/theurgy

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24
Q

bad magic

A

goteia

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25
Q

“natural”

A

controlling the elements

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26
Q

“celestial”

A

relates to the stars and astrology

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27
Q

“intellectual”

A

control of spirits

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28
Q

Pico Della Mirandola (15th Century Italian Philosopher)on goteia and mageia

A

goteia is condemned by all legal codes and well-governed commonwealth
mageia “approved and embraced by all wise men and by all peoples solicitous of heavenly and divine things.”

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29
Q

Christopher O’Reilley on th Carribean

A

the gateway to the ‘New World’

“these new lands seemed to represent a paradise on earth, where man lived in a state of uncorrupted innocence, as Adam and Eve had done before the Fall;”

“The myth of the New World as a place of untainted, rural innocence was being constructed in the European imagination.”

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30
Q

Stratchey’s ship

A

Sea Venture

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31
Q

How did Shakespeare have access to Stratchey’s account

A

because he knew men with a financial interest in the Virginia Company,

32
Q

How long was Stratchey stranded on the Bermuda island

A

a year, built boats, reached the others in Jamestown Virginia

33
Q

How does Stratchey describe Virginia when he arrives

A

“misery and misgovernment”

34
Q

Bartolome de Las Casas on Indian languages

A

the greeks called people barbarous because they mispronounced their language “just as we esteemed these people of these Indie barbarous, so they considered us, because of not understanding us.”

35
Q

Stratchey, the lieutenant governor’s treatment of the indigenous

A

“would not by any means be wrought to a violent proceeding against them for all the practices of
villainy “
Later on “he well perceived how little a fair and noble entreaty works upon a barbarous disposition.”

36
Q

How Stratchey describes the BErmudas

A

abundance in the physical environment.

world may have greater store or better fish.

37
Q

Captain John Smith’s A True Relation of Such Occurrences and Accidents of Note as Hath Hapned in Virginia [1608]. Describes arrival of the ten year old Pocahontas sent by her father

A

not only for feature, countenance, and proportion, much exceedeth any of the rest of his people: but for wit and
spirit, the only Nonpareil of his Country.

38
Q

bishop of Avila language quote

A

In 1492, bishop of Avila presented Queen Isabella of Spain with the first grammar of a modern European tongue he replied to her question ‘What is it for?’ by saying
‘Your majesty, language is the perfect instrument of
empire.’

39
Q

John Smith on the uses of the indigenous

A

there were animals in abundance but we were so unskilled at catching them that
“had the Savages not fed us, we directly had starved.”

40
Q

an actor of CAliban in 1890

A

he spent many hours watching monkeys and baboons in the zoo. His curious costume she described as ‘half monkey, half coconut’. carried a real fish in his mouth
hung head down from trees and gibber at trinculo
stretches out his hand to the vanishing ship “in mute despair” as a “king once more” Caliban is lost without the civilising influence exerted on him by Prospero and his companions; the islander needs the Europeans, the slave needs the master as much as the master needs the slave.

41
Q

late 20th century productions of Caliban

A

Quilley’s “His make-up is bisected: on one half the ugly scrofulous monster whom Prospero sees, on the other an image of the noble savage”
and another “too perfect pronunciation of an alien”

42
Q

As European languages spread a new belief arose

A

“conviction that there is no serious language barrier between the Indians and the Europeans” “a single faith, a single text, a single reality”. -Greenblatt

43
Q

First slaves brought to Europe

A

were brought to be given a European education so they could be a help as interpreters

44
Q

The REquiremento

A

to be read aloud to newly encountered peoples in the New World.

Obedience to the king and queen of spain. God gave lordship to St. Peter over the whole human race. If this was rejected war shall be made onto you “shall subject you to the yoke and obedience of the Church and of their highnesses” we shall make slaves of your family, and this will be your fault

45
Q

The Romance elements of the Tempest

A

are all engineered by Prospero

46
Q

Jonson’s opinion of the Tempest

A

In the induction to Bartholomew Fair. Jonson is Jonson “is loth to make nature afraid in his plays, like those that beget Tales, Tempests, and such like drolleries,
romance, that they are mere “tales” and lack mimetic connection to an identifiable
reality.

47
Q

Gonzalo and romance

A

he would coin it as perfect Romance:
Prospero was thrust from Milan so that his offspring would be kings of Naples, Ferdinand found Miranda when he himself was lost,

48
Q

IT is not a tragedy it must be a Romance because of the dealings of fate

A

“an event with tragic potential leads not to the revenge and destruction of tragedy but instead to reconciliation, redemption and restoration.” - Sam Brunner

( Whereas in tragedy, governed by Fate and Fortune, the hero’s hamartia leads him to his fatal end, the Romances, presided over by Divine Providence, give their mistaken protagonist a second chance. The central characters’ faults are not tragic flaws, but human error and sin, and the acceptance and subsequent repentance of this error concludes with an experience of providential restoration of order. )

49
Q

Pericles’ awareness of time, why does this make it a Romance

A

Pericles’ acceptance that he is at the mercy of time enables him stoically to weather the strife that accosts him through the play:
“He bears A tempest, which his mortal vessel tears, And yet he rides it out.”

rewarded for his patience, reunited with his wife and daughter.

  • In Romances there is always a second chance
50
Q

Tragedy and time

A

In tragedy, the protagonists are trapped within time, their choices irreversible, as Lady Macbeth realises:
What’s done cannot be undone.
-Sam Brunner

51
Q

1st Folio edition of Shakespeare’s plays (1623) The Tempest was grouped with

A

the comedies

Vaughan & Vaughan: “this must have satisfied most C17th readers.”

52
Q

Why is the tempest unlike earlier comedies

A

Audience attention more focussed on the father, Prospero, than on the young lovers, Ferdinand & Miranda; their betrothal planned (by the father) before they even meet. The comic clowning threatens the life of
the protagonist; the peril of assassination permeates the plot. The darker themes of Shakespeare’s tragedies – regicide, usurpation and vengeance are always near this comedy’s surface.

53
Q

Fletcher suggests a tragi-comedie

A

A tragie-comedie is not so called in respect of mirth and killing, but in respect that it wants (i.e. lacks) deaths, which is inough to make it no tragedie, yet brings some neere it, which is inough to make it no comedie

54
Q

Machiavelli on wrong and princes

A

“…it is necessary for a prince wishing to hold his own to know how to do wrong, and to make use of it or not according to necessity”

He must keep his state and must be prudent of those that would take it from him.

55
Q

Machiavelli on fear and love

A

which is better to be feared or to be loved, difficult to unite them in one person
much safer to be feared than loved, if you forget that in general men are ungrateful, fickle, false, cowardly, covetous, but they will turn against you when you are not succeeding
fear preserves you be a dread of punishment which never fails

56
Q

What is Miranda’s and Ferdinand’s marriage

A

an important dynastic marriage that politically consolidates the relations between two Italian city-states. Miranda is a commodity.

57
Q

What is Claribel

A

Claribel is the commodity or prize (or bait) in an act of commercial-colonial calculation over Africa.

58
Q

King of Tunis and Caliban

A

If the King of Tunis is the unwelcome black suitor whom the white bride tries to resist, then that’s the Caliban story told in a different way as well.
Miranda is able to resist successfully and her father stigmatizes and punishes the transgressor; Claribel is not able to resist and her father delivers his daughter into the black embrace. The King of Tunis becomes the son-in-law; Caliban is the son that Prospero can only unwillingly ‘acknowledge mine’.

59
Q

Women in the 17th century

A

granted to man not only to procreate children, and administer the family, but also in possession and, as it were, in dominion, over which man may exercise his jurisdiction and authority. -Cornelius a Lapide

Medieval chain of being saw King above man and woman below man

60
Q

Importance of virginity before marraige

A

meant they could be sure their son was their’s and not a bastard
- a man’s reputation would be desttroyed
- only the highest orders were thought to be able to resist the temptations of the flesh
-

61
Q

Desiderius Erasmus on the education of children

early 16th century

A

It is reason which defines our humanity; and where everything is done at the whim of physical desire, reason does not hold its rightful place.
- (some characters aren’t even men then)

62
Q

Ben Jonson on ignorance

A

I know no disease of the soul, but ignorance, not of the arts and sciences, but of itself;

63
Q

What does Caliban’s attempted rape signify

A
  • he is not innocent
  • violation of pastoral itself
  • the innocent child is iconic in pastoral
  • sex enters the pastoral
64
Q

Montaigne’s view on primitive man

A

“… the natural state in which cannibals live is superior in virtue and innocence to the condition of civilization”

65
Q

In what ways does Caliban resemble a child

A

childish exaggeration in his dreams of revenge
thinks often about his mother, and now that she is gone,
he dreams of riches dropping from heaven
cries to dream again
taught language
shown the man in the moon.
objects to being made a subject when he was ‘mine own king’

66
Q

The king during the time

A

At the time everything was an expression of gods Will. to overthrow a monarch was therefore thought to be a form of resistance to God’s will;

the Homily of Obedience, an official sermon delivered in all churches “we must patiently suffer all wrongs, and injuries, referring the judgement of our cause only to GOD.”

67
Q

Banquets as symbols

A

in renaissance culture,
establish themes of hospitality, friendship, generosity
as well as greed, hunger, temptation and sensual indulgence

68
Q

Romance Genre

A

“Roman” in old french: referred to courtly tales of legends, knights and classical heroes. These works often made use of magical and supernatural elements to create a sense of a fictional world somehow removed from that of everyday life.

They were usually a vehicle for conveying a moral message, and […] usually explored the themes of love and morality […].

69
Q

CAliban’s speech

A

Uses primarily mono- and duo-syllables with words mostly of Anglo-Saxon, non-Latinate derivation; interestingly used dialect word ‘urchin’ for hedgehog

  • Primarily revolves around his subjective sense of self (I > me > mine)
  • Uses periphrasis to suggest lexical limitations (‘the bigger light’ for the sun, though this also contains an interesting biblical echo)
  • Is highly conscious of the social and political connotations of language: note his shift from ‘thou’ to ‘you’ in his address to Prospero at 1.2 331 – 343, and language of subject/ king
  • Clauses are frequently linked by the conjunction ‘and’ (parataxis) suggesting an unsophisticated, child-like quality
  • Phonetically, his expression is dense and compacted, with rich use of consonance and plosive sounds: note the patterning of /r/, /b/, /f/, /t/ and /p/ sounds in the following line: ‘The fresh springs, brine pits, barren places and fertile’. There is also a tendency to trochaic metre and spondee (though interestingly in blank verse): see above and also two lines on: ‘Of Sycorax, toads, beetles, bats light on you’
70
Q

Meaning of Utopia

A

From the Greek
ou- ‘no’
topos- ‘a place’
ia- meaning land– therefore, literally, no place land.

frustrations and obstructions of life (magistrates, wealth, power) would be removed and all could live naturally and authentically.

71
Q

The Forest in As You Like It (Arden)

A

a place of pastoral idealization, where life is simpler and purer, and its inhabitants live more closely to each other, nature and God than their urban counterparts.

72
Q

Orlando and Rosalind in As you Like IT

A

Orlando is absorbed in the ideal, Rosalind serves as a mediator, bringing Orlando back down to reality and embracing the simplicity of pastoral love, makes the two coexist

73
Q

Stratchey’s observation of the virginia colony without their ship-wrecked governor

A

“by the tempest of dissention: every man over-valuing his own worth, would be a Commander: every man underprizing another’s value, denied to be commanded”

74
Q

Prospero’s rulership of the island is like Thomas Moore’s Utopia

A

“no man may live idle”
slaves are only men “condemned to that state of life by crime…kept at perpetual labour, and are always chained”
the poor of the neighboring communities “offer of their own accord to come and serve them” and can return home whenever
those that run into “forbidden embraces before marriage are severely punished”
the magistrates would rather be called fathers
few laws

75
Q

James 1st on the divine right of kings

A

God’s lieutenants upon earth, compared to fathers, he is he politique father of his people.
kings are compared to the head of this microcosm of th body of man
Kings are like God because they can “make and unmake their subjects, they have the power of raising and casting down, of life and death, judges over all their subjects and in all causes and yet accountable to none but God only”
“to dispute what God may do is blasphemy…so is it sedition in subjects to dispute what a king may do”

76
Q

As you like it, the world is like a stage

A

“All the world’s a stage, And all the men and women merely players; They have their exits and their entrances,”

A2 English (10 decks)

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