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English > The Tempest (Quotes) > Flashcards

The Tempest (Quotes) Flashcards

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Proverbs and Idioms flashcards
1
Q

Miranda as a commodity.

A

“Your compensation makes amends, for I
Have given you here a third of mine own life,
Or that for which I live;”

“rich gift”

”. . . as my gift and thine own acquisition
Worthily purchased take my daughter:”
(Act 4, Scene 1)

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2
Q

Prospero’s affection towards Miranda

A

Use of epithets such as “cherubim” to describe her.

Act 1, Scene 2

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3
Q

Historical performance of play - link with Miranda and Claribel

A

Performed in 1613 in celebration of Princess Elizabeth’s wedding to Prince Frederic of Palatine.

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4
Q

Claribel married in obedience, against her desires.

A

”. . . the fair herself /
Weighed between loathness and obedience at /
Which end o’th’ beam should bow.” (Sebastian)
(Act 2, Scene 1)

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5
Q

Miranda has only learnt to behave as a ‘woman’ through Prospero because ______.

A

“I do not know / One of my sex;”

Act 3, Scene 1

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6
Q

Miranda proposes eagerly/hastily.

A 
"Do you love me?
[...]
I am your wife, if you will marry me;
If not, I'll die your maid:"
(Act 3, Scene 1)
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7
Q

Proposes shortly after telling herself to _____.

A

Obey her “father’s precepts”.

Act 3, Scene 1

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8
Q

Cannot contain her love for Ferdinand - Pregnancy (or erection?) imagery.

A

“And all the more it seeks to hide itself, /
The bigger bulk it shows.”
(Act 3, Scene 1)

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9
Q

Ferdinand - sexual imagery

A

“[bearing a log]”

Start of Act 3, Scene 1

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10
Q

Miranda recognises the sexual exchange in marriage.

A

“Jewel in my dower.”

Act 3, Scene 1

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11
Q

Link with other Shakespeare plays: Miranda’s choice in marriage.

A

Juliet in ‘Romeo and Juliet’ refuses to marry the man of her father’s choice.

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12
Q

Prospero demands Miranda’s attention (controlling).

A

“Dost thou attend me?”, “dost thou hear?” (questioning)

“be collected” (imperatives)

(Act 1, Scene 2)

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13
Q

Prospero puts (forces) Miranda to sleep using magic.

A

“thou art inclined to sleep; . . . I know thou canst not choose.”

(Act 1, Scene 2)

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14
Q

Miranda’s empathy/compassion.

A

“I have suffered / With those that I saw suffer”

Act 1, Scene 2

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15
Q

Miranda shows independent-mindedness.

A

“Had I been any god of power, I would / Have sunk the sea within the earth” (First person pronouns)
(Act 1, Scene 2)

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16
Q

Miranda questions/commands her father (innate respect in use of language).

A

“If by your art, my dearest father, you have/ Put the wild waters in this roar, allay them.”

(Start of Act 1, Scene 2)

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17
Q

Prospero reveals to Miranda storm is an illusion.

A

“Be collected:
No more amazement: tell your piteous heart
There’s no harm done.”
(Start of Act 1, Scene 2)

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18
Q

Ariel - links to air.

A

Name “Ariel” (bares similarities to “air” and “aerial”)

“An airy spirit” (List of roles)

“Thou, which art but air,” (Act 5, Scene 1)

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19
Q

Ariel eager to please his master (also: link to all four elements).

A

“All hail, great master! grave sir, hail! I come
To answer thy best pleasure; be’t to fly,
To swim, to dive into the fire, to ride

On the curl’d clouds, to thy strong bidding task

Ariel and all his quality.”
(Act 1, Scene 2)

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20
Q

Ariel encourages/persuades Prospero to be compassionate.

A 
"ARIEL. [...]
Your charm so strongly works 'em
That if you now beheld them, your affections
Would become tender.
PROSP. Dost thou think so, spirit?
ARIEL. Mine would, sir, were I human."
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21
Q

Ariel as cold and heartless.

A

“Full fathom five thy father lies

Of his bones are coral made;”

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22
Q

Ariel asks Prospero to be freed. Angers Prospero.

A 
Reminds Prospero "what thou hast promised,
Which is not yet perform'd me
PROSP. How now? moody?
What is't thou canst demand?
ARIEL. My liberty.
[...]
PROSP. Dost thou forget
From what a torment I did free thee?
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23
Q

Ariel proud of his work.

A

“flamed amazement”

24
Q

Caliban associated with earth element.

A

“filth”, “dirt”

25
Q

Hint at Prospero’s failings as a duke.

A

“I thus neglecting worldly ends, all dedicated
To closeness and the bettering of my mind”
(Act 1, Scene 2)

26
Q

Historical link with Prospero’s value of the inner world at the expense of his responsibilities?

A

James I

27
Q

Prospero callous towards Ariel

A

“I will rend an oak,
And peg thee in his knotty entrails, till
Thou hast howl’d away twenty winters.”
(Act 1, Scene 2)

28
Q

Ariel apologetic after brief questioning of authority.

A

“Pardon, master:
I will be correspondent to command,
And do my spiriting gently.”
(Act 1, Scene 2)

29
Q

Caliban raped Miranda

A

“till thou didst seek to violate
The honour of my child.”
(Act 1, Scene 2)

30
Q

Prospero’s affection towards ariel

A

“Delicate ariel,”

“dainty ariel!”

31
Q

Prospero seemingly has control (unaware of Caliban/Trinc/Steph)

A

“My high charms work,
And these mine enemies are all knit up
In their distractions: they are now in my power.”
(Act 2, Scene 1)

32
Q

Prospero on the impossibility of changing Caliban.

A

“A devil, a born devil, on whose nature

Nurture can never stick.”

33
Q

Prospero loses control in middle of masque.

A

“I had forgot that foul conspiracy
Of the beast Caliban and his confederates
Against my life.”
(Act 4, Scene ?)

34
Q

Prospero’s theatre imagery (illusions).

A 
"actors"
"baseless fabric of this vision"
"the great globe itself"
"...shall dissolve,"
"We are such stuff
As dreams are made on;"
35
Q

Alonso gives up on search for Ferdinand.

A

“he is drown’d”

“Well, let him go.”

36
Q

Stephano’s sining.

A

“scurvy tune”

Act 2, Scene 2

37
Q

Antonio and Sebastian discuss selling Caliban.

A 
"SEB.
. . . Will money buy 'em?"
ANT.
. . . no doubt, marketable."
(Act 5, Scene 1)
38
Q

Prospero relinquishes magic.

A

“I’ll break my staff”

“I’ll drown my book.”

39
Q

Miranda’s amazement, Prospero’s cynicism.

A 
"MIRAN. [...]
How beauteous mankind is! O brave new world,
That has such people in't!
PROSP. 'Tis new to thee."
(Act 5, Scene 1)
40
Q

Prospero (Shakespeare?) apologise for the illusions, acknowledges their importance.

A

“As you from crimes would pardon’d be,
Let your indulgence set me free.”
(Epiglogue)

41
Q

Prospero conscious of his age.

A

“Every third thought shall be my grave.”

Act 5, Scene 1

42
Q

Ambigous forgiveness of Antonio/Sebastian.

A

“I do forgive thee,
Unnatural though thou art.”
(Act 5, Scene 1)

43
Q

Relatively civil with Caliban at end.

A

“sirrah”

Act 5, Scene 1

44
Q

Final scene, everyone entirely under Prospero’s control.

A

“[…they all enter the circle which Prospero had made, and there stand charmed…]”

(Act 5, Scene 1)

45
Q

Final scene is an artificial resolution, devised by Prospero.

A

“Now does my project gather to a head:”

Act 5, Scene 1

46
Q

Ariel’s description of Antonio’s wrongdoing(s).

A

“tresspass”

47
Q

Caliban’s response to being taught their language.

A

“You taught me language; and my profit on’t /

Is, I know how to curse.”

48
Q

Prospero’s description of Caliban’s native language

A

“gabble like /

A thing most brutish”

49
Q

Theatrical interpretation: Caliban as slave, Prospero as master, Ariel as mulatto

A

‘Une Tempéte’ - Aimé Césaire, 1969

50
Q

‘Une Tempéte’ - Aimé Césaire, 1969

A

Ariel: Mulatto (favours non-violence)
Caliban Black slave (rebellious, revolutionary)
Prospero: White master (remains leader of island at end)

51
Q

Critic: Ariel’s airiness (on his songs).

A

“There is this effect produced by Ariel’s songs, which (as we are told) seem to sound like air, and as if the person playing them were invisible.” - William Hazlitt

52
Q

Romantic criticism (anti-historical)

A

“purely romantic drama, in which the interest is not historical . . . -but is a birth of the imagination,” - Samuel Taylor Coleridge

53
Q

Critic: Anti-romantic, morally real even during illusions.

A

“the daydream has never been allowed to falsify human and moral realities.” - F. R. Leavis

54
Q

Antonio as machiavel (classic of tragic villain).

A 
Plants plot into Sebastian's head:
Claims to "see it in thy face"
"My strong imagination sees a crown
Dropping upon thy head."
Claims it is only "sleepy language"
Stephano says there is "meaning in thy snores"
55
Q

Ariel awakes/alerts Gonzalo

A

“My master through his art foresees the danger /
That you, his friend, are in, and sends me forth– /
For else his project dies– to keep them living.”

56
Q

Critic: tragicomedy.

A

The tragicomic form enabled him to merge “the whole story of apparent disaster, penitence, and forgiveness into one happy misfortune controlled by divine Art.” - Frank Kermode

English (3 decks)

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