brit lit midterm

Philosophical/ Educational Qualities of Utopia

- education in Utopia is part of what makes it homogenous - More used the work of renowned philosophers like Plato for framework of Utopia - More created Utopia to contrast many prevailing philosophies in England/Europe: -The notion of justice is completely different in Utopia than it is in England (slavery vs. death). -The roles of materialism, religion, and moral codes in Utopia are nearly opposite to those in England. (The English are very materialistic, religion dictates most societal customs, and people largely look out for themselves, while the Utopians do not really care about special clothes/jewels/goods, practice freedom of religion, and share everything with each other.) -Because everyone is equal in Utopia, women seem to have many more rights there than they do in England. -Pleasure in Utopia is derived from helping others, while in England it is usually found from attaining personal desires.

Post-Beheading

-1649: Founding of the Protectorate, Parliament declares England a Commonwealth -1653: Parliament is overthrown -Oliver Cromwell declares himself Lord Protector in 1653 -"Religious Tolerance is established for Catholics and Jews -In 1648, Cromwell dies in 1658; his son, Richard, takes over briefly and then retires -1660, Charles II returns and restores monarch

Cromwell/ Bloody Revenge

-1661, Cromwell's body is exhumed from Westminster Abbey, tried and found guilty of treason, hung posthumously in chains. -Eventually, they throw him in a pit, cut of his head, and don't bury it until 1960 -In 1665, London is visited by the plague (inspired Dafoe, which inspired modern zombie stuff) -In 1666, the Great Fire Strikes

1.1.12. Antonio. Where is the master, bos'n? Boatswain. Do you not hear him?

-2 distinct groups: sailors and aristocrats (inverted authority[authority defined by context]) -"Him" = master, the storm (caused by Prospero/Ariel, Ariel is actually the one with power but is enslaved to Prospero, so who is the master of the situation?) -Reflects history of the the time, (power struggle after the death of Henry VII)

Henry VIII death = religious and monarchical crisis

-All children = illegitimate in the eyes of different factions due to divorce or being Henry's brother's widow -Edward II (son of Jane Seymour, wife three) takes throne at age 10 with no real power. His advisors continue separating Church of England and Catholicism -Dies at 16 leading to religious conflict -Throne goes to Mary (Catholic, daughter of Catherine of Aragon, wife one) who converts the country back to Catholicism, but she dies after five years -Elizabeth takes throne in 1558 after death of Mary (most likely due to ovarian cancer)

Charles I

-As the 1630 wore on, Puritans called for reform. England, the new Israel -Wanted to Distance Church of England from Catholic churches (which makes sense since Divine Right of Kings) -Controversies regarding doctrine and power of clergy, tensions grew worse. -Examples: Predestination vs. free will, use of icons

Prospero

-Authority figure, but not very powerful -Portrayed differently as: noble ruler, tyrant, necromancer, neoplatonic, scientist, colonial imperialist -learns magic from books, but Ariel is more powerful -studied as Duke of Milan, but Antonio wielded real power -Duke "in name" but not in practice -Compare to Raphael Hythloday from Utopia -both not interested in secular governmental authority -both pursue intellectual knowledge -both don't use their knowledge of the common good

BBC Tempest: Ariel

-BBC's Ariel was portrayed by David Dixon, who was decked out in gold body paint with no clothes save for a golden speedo. He is portrayed as a gayly frolicking spirit, constantly DANCING around and leaping from place to place via use of special effects, delivering his lines in an airy, high-pitched voice. The portrayal was overall determined to be "campy." Of all Ariel's representations, this one is the least mysterious and spiritual, as his gold body paint and doe-eyed expression comes off as ridiculous, not to mention his prancing about. The only mysticism is derived from his teleportation around the screen with the help of cheap special effects. -Power: This Ariel is clearly submissive to Prospero, speaking to him in a doting tone of voice, often while he's rolling on the ground in front of Prospero. He is utterly happy during the exchange, and is entirely pleased to carry out Prospero's wishes, as betrayed by the character's whimsy. This flighty behavior accentuates the character's freedom and notes that Ariel serves willingly. -Androgyny: David Dixon is a male actor, and his meager coverings show this, but his airy voice carries a great degree of femininity. It was also mentioned that his antics reflect a stereotypical gay attitude.

17th C England: RC

-Beginning of Empire—population moving oversea, peaked in the 19th century -Motivated by religious dissent -About 20,000 puritans settled in New England 1630-40 -British settle Eastern Seaboard of North America, West Indies, Barbados (Consciously building an empire) -Established Virginia, named for Elizabeth I, the "Virgin Queen" -In 1630-60—The Great English Migration: to America's (214,000 people) (In England) - Elizabeth I dies without an heir -Closest male Protestant relative is James I, King of Scotland, Absolute Monarch -Ruled the entire island, though technically Scotland was separated from England -Practiced "Royal Absolutism" (had true sovereignty) -Published "True Law of Free Monarchy" in 1598 (ruling "free" from other power sources like Parliament and tradition) -Kings looked after welfare as they saw FIT -Divine Right of Kings—monarch derives power from God -James wasn't well liked; considered a "foreigner" in the eyes of the British, strict and proper with rules (a pedant), bad with money -Many assassination attempts, most notably The Gunpowder Plot

BBC Tempest: Caliban

-Caliban's appearance is very hairy/primate like. While he is a native of the island, this portrayal of him makes him seem less human. He looks like an animal and while we didn't watch much of his appearance in the film, it seemed as though he were treated that way. -Going along with his appearance, his actions are animalistic. He does not walk upright but rather has a sort of crawling method that makes him vulnerable to Prospero. -Prospero is completely in control of Caliban. We discussed that this obvious display of power - and Caliban's pathetic reaction to it - makes it difficult to believe that the character would conspire against Prospero. -In this version, it seemed as though we should pity Caliban's state. The other characters in the film are repulsed by him.

BBC Tempest: Prospero

-In general, Prospero really took on the role of a classic sorcerer in this version. Characters: Miranda: He is not quite a compassionate father, but certainly one that cares for his daughter. Prospero's age and the body language between the two made some of the class feel that the relationship was mildly creepy. However, the role of father takes a back seat to the magic and intrigue that will later take place on the island. Caliban: An abusive one, as you might guess. He truly sees Caliban as less than human, obviously, and treats him as such. He has a great deal of control over him. Ariel: Almost complete domination in this film. Especially in the scene we watched where Ariel is summoned for the first time, he is completely subservient to Prospero. Ferdinand: Straightforward. No undue manipulation, merely the standard level. Ferdinand is a tool to get what he wants, and he seems mildly pleased that his and Miranda's love blossomed the way it did in this film. Stature: Again, Prospero in this film is a powerful sorcerer through-and-through. Especially in the first scene we watched where he is calling forth the Tempest through Ariel, he holds himself like the Lord he used to be. His Power: We did not see the end where he gives up his power, so it's hard to get a full picture, but we did see at least that in this version, it really defines his character. The power does seem pretty much contained in his staff, but he wields it, again, in a very lordly manner.

Jarman Tempest: Caliban

-In this version Caliban is human. He is a man that appears to be much older than Prospero. We discussed the disadvantages of this to the storyline. For one, it does not seem like Caliban should be at the will of the much younger looking Prospero. Secondly, there is a part in the play where Caliban is said to have made advances on Miranda. This is much easier and less gross to believe if the two are similar in age. -Caliban is physically abused in this version. The audience is clearly supposed to pity him and his situation. However, much like the BBC version, it is hard to imagine this man conspiring against Prospero. He is on the ground, crying and vulnerable to Prospero's power. -When we talked about this Caliban in class we also described him as "needing vengeance" and "defeated but defiant." These descriptions came because, at one point when he speaks he seems angry and less pathetic. So, while there does seem to be some fight in him, and this Caliban does seem a little more likely to overthrow Prospero, it is still not entirely believable.

Taymor Tempest: Caliban

-Most of the class agreed that Taymor's Caliban was the best portrayal. His appearance captured the island native that the play described without overdoing it. His skin had a muddy/scaly/earthy quality and we got to see his in his natural habitat (the island and his home). He is the most deeply characterized out of the three Calibans. -Prospera did not seem to have power over him. He launched into an angry speech detailing her motives and she seemed a little afraid of him. The other two Calibans did not seem as passionate about the words that they were speaking. Prospera's reaction makes it seem like Caliban has the upper hand in the relationship; this version is the only one that is truly convincing when it comes to the scheming and deception that occurs later in the play. -In this film, Miranda pities Caliban - while being slightly afraid of him - rather than viewing him with disgust or indifference.

The Gunpowder Plot

-November 5th, 1605 *think V for Vendetta! -Catholic conspirators, led by Guy Fawkes rented a cellar under the House of Lords, smuggled 1800 pounds of gunpowder, meaning to blow it up during its opening -Their activities were detected, thwarted, and the dissenters tried, tortured, and executed -Fifth of November song/ poem: second verse cut for Catholic slurs

Central thought of humanism that one must use one's intelligence to better society

-Quote from Petrarch: "A knowledge of literature is useful only when it is translated into action and proves itself through deeds, not through words... To grasp clearly and quickly many things, especially those that are noble, to remember them firmly and to expound them brilliantly, to write with skill and to recite them agreeably—unless all these relate to our life, what else are they but tools of empty ostentation, or useless work and clamor?" -Quote from Erasmus: "And not without reason did Plutarch say that no one serves the state better than he who imbues the mind of the prince, who provides and cares for everyone and everything, with the best of ideas and those most becoming a prince. On the other hand, no one brings so serious a blight upon the affairs of men as he who has corrupted the heart of the prince with depraved ideas and desires."

Raphael Hythloday

-Raphael's appearance when More first meets him: "...a stranger, a man of quite advanced years. The stranger had a sunburned face, a long beard, and a cloak hanging loosely from his shoulders; from his appearance and dress, I took him to be a ship's captain." - Worldly, adventurous, philosopher-like, wise - Description of Raphael by Peter Giles: "...his sailing has not been like that of Palinurus, but more like that of Ulysses, or rather of Plato."

Elizabethan Age

-Ruled by enlightened absolutism leading to great cultural growth -English Renaissance

Basic Characteristics of Utopia

- Country based on stability: no personal property, surplus helps those in deficit; population stability maintained thru surveillance (communal meals); each city is identical in structure; slave labor - City planning: walled cities; each block has garden; base social group of 30 households (each set has elected phylarch); comfortable hospitals outside city limits - Mandatory agricultural work, men and women, unless chosen by scholars to develop learning - Culture: basic, practical clothing; no beer or gambling; travel only when work is done and w/ phylarch permission

"feranda"

- M + F exchange of power: mutual - How could M + F be portrayed onstage? Filled with cheesy adoration or cynicism? Also discussed was the role of romance in the plot. We decided that the role of romance in The Tempest is minor. - Romance as device to exhibit Prospero's power - Perceived power - Narrative lever

Household Matters/ War/ Religion in Utopia

- No stability or relationships in households, because subject to change and as adults come and go - Interpersonal relationships not encouraged - In the case of war, hire mercenaries and therefore more willing to let them die; only win if by cunning/manipulative strategy, not by strength of forces -Religion comes down to the belief in God the father/creator, but if not God then at least good morals - Had religious feasts on first and last days of every month - Needs government approval for suicide, bodies are thrown in bog if permission is not obtained - Deaths that are considered "happy" (if the deceased had accepted their death) are celebrated and only unexpected/unwilling deaths are mourned - Women can be married at 18, men at 22, shown naked to potential partners before choosing - DIVORCE could be obtained reluctantly and not often if the couple doesn't get along - The punishment for premarital sex is that neither parties could be married for their entire lives - The first offense of adultery results in slavery and the second results in death. The innocent PARTY in this situation could divorce the guilty party or join in slavery or death

Taymor Tempest: Ariel

-Taymor's Ariel is represented by Ben Whishaw as a nude figure who is summoned by Prospera from a deep pool of water. He is shown to have a strong connection with water, appearing as a giant from the sea in a flashback to his mischief-making on Alonso's ship (it was noted that this connection may have been drawn from his name, which most 21st-century audiences attribute to Disney's The Little Mermaid and the main character, Ariel). He is not rigid like Jarman's Ariel, but does not prance about like BBC's, instead treading water and swimming about his pool. This image makes for an uneasy balance with regards to Ariel's freedom, as he seems to be unable to surface from the water, trapped like the reflection in a mirror. On the other hand, the pool appears to be very deep and clouded with darkness, as though there's an entire unseen world for Ariel to freely move about. -Power: Like the BBC Ariel, the Taymor version seems willing to go along with Prospera's schemes without any apparent resentment or restraint. Ariel and Prospera whisper closely to each other as co-conspirators. Moreover, during the guitar-riff flashback to Ariel's burning of Alonso's ship, Ariel seems to be going about his duties quite gleefully. Therefore unlike the BBC version, this Ariel appears to be more inclined towards mischief, and that is why he is going along with Prospera's commands: not because he is being forced to, as in Jarman, nor because he is childishly submissive, as in BBC, but because his desire to commit mischief happens to coincide with Prospera's wishes. -Whishaw, like the others, is a male actor. His actions are certainly more fluid/fanciful than Jarman's Ariel, but not so exaggerated as BBC's. One might argue on this point that this makes Ariel difficult to place as more or less masculine or feminine, and therefore makes him androgynous.

Jarman Tempest: Ariel

-This Ariel (played by Karl Johnson) is all the things the BBC version was not. Jarman's Ariel at first speaks to Prospero as a disembodied voice, which lent him a lot of mystery and magical qualities. He is then revealed as a tall, gaunt figure with nearly white skin. His garment resembles a workman's suit, marking him as someone bound to simple duties and manual labor. The suit, being white, is also reminiscent of a straightjacket, insinuating that he is a prisoner and potentially insane at that. He stands rigidly in the corner of Prospero's cell, adding to the sense that he is restrained and unhappy, staring down Prospero with contempt and mistrust. -Power: Jarman's Ariel still follows Prospero's orders, but there is a much more strained and even dangerous relationship between the two. When he first enters the room, Prospero calls for him in a whispering, almost frightened tone with his eyes wide, indicating that he is threatened by Ariel. Throughout the scene, Prospero seems to be just barely in control of the situation, as though Ariel could turn his powers against him at any time, or at least he would were it not for his suggested imprisonment. -Johnson is a male actor, and his portrayal is arguably more masculine, standing in stiff confidence with his arms crossed throughout his introduction. His clothes also lend to his masculinity in that they are workman's clothes. It was argued that androgyny was achieved through his resembling a skeleton through his pallid complexion and scrawny figure, and that the skeleton is a gender gray area.

Book I of Utopia

-a dialogue between Raphael Hythloday, Thomas More, and Peter Giles -a criticism of the time in which More lived, specifically the forms of monarchal government used to control, oppress, and divide the people which the 'monarch' so claimed to serve. -written after Book II but placed before Book II in order to establish More's credibility, to keep him out of trouble with the monarchy he lived under, and to develop 'Raphael Hythloday' as the man giving More all of this information on Utopia

The Tempest (first performed in 1611)

-considered last play written in entirety (only contributed to Henry VIII and Two Noble Kinsmen) -Prospero's farewell can also be interpreted as Shakespeare's farewell -Culmination of Shakespeare's work -One of the four romances -intertextuality: references to other works (Father's ghost speech in Hamlet)

Caliban

-name perhaps linked to "cannibal", due to conception of "new world natives" -many portrayals as viewing culture changes -Shakespeare scholar John Dryden called him a monster/ witch -17th century: comic figure -19th century: menacing presence -20th century: tragic figure, a postcolonial symbol of the effects of imperialism -late 20th century: sympathetic figure

The Land of Cockayne

A dream world for peasants, who had nothing, to imagine themselves being able to frolic and eat without limit. Life is perfectly boring, which appeals to the peasant lifestyle. Going off a twisted version of the lifestyles of monks, where they're more lazy and engage freely with nuns. Similar to Hansel and Gretel--like a cautionary tale of what happens without rules. Influential to More as he created his own Utopia.

Example of equity

A man steals a loaf of bread. The punishment, w/o equity, would simply be the removal of his hand. However, w/ equity, if he had stolen the loaf of bread just for himself, his hand would be removed. If he had stolen the bread for his starving child as he has no $$, then he would only have a finger removed.

Equity

A set of legal principles to supplement strict laws; these principles added a degree of flexibility to England's strict law system; developed by Thomas More

Jeremy Bentham's Panopticon

An idea for a type of prison where the prison is a circular structure (Links to an external site.) where the cells are located along the outer edge. A guard's tower fitted with tinted glass sits at the center, from which all the guards can see out of but none of the prisoners can see in to.

Equity in Utopia

Appears particularly in Book I's critique of English society

Thomas More

Author of Utopia. English lawyer, writer, statesman and Catholic martyr. One of Henry VIII's most important advisors. Very progressive (i.e., provided daughters w/ classical education). Wrote poetry and essays in Latin. Closely allied with Christian Humanisms. Beheaded by Henry VIII for standing up for his religious beliefs. Proclaimed a saint in 1935; patron saint of statesmen and lawyers. Inventor of the idea of "equity" in law, which allows for variable sentencing.

Biblical story: Tower of Babel

Biblical story of people becoming too ambitious and building a tower to God. God did not like this so he destroyed the tower, scattered the people, and gave them all different languages. Humanity can no longer communicate and therefore another large-scale project like the Tower of Babel can never exist again.

1.2.331-362. Miranda and Prospero talk to Caliban.

Caliban - complex character, staged as: brute, savage, wildman, new world native; Tried to violate Miranda.

Taymor Tempest: Prospera

Characters: Miranda: In this film, Prospera is much more of a parental figure. In the scene where Miranda came to her to ask her to stop the tempest, there was a lot more genuine caring in the way that she calmed her down. Caliban: Not quite a completely dominant relationship for Prospera here. Caliban certainly holds a threat to both her and Miranda. She is still dominant, of course, and Caliban here does not pose the same threat as Ariel does in Jarman's version, but it is less of a complete domination. Ariel: Ariel does not threaten Prospera here as he does in Jarman's version, but nor is he completely subservient like in the BBC's. She respects him, of course, but theirs seems to mostly be a straightforward master-servant relationship. Ferdinand: We did not really see Ferdinand and Prospera interacting, but we did see that Miranda felt the need to actually hide from Prospera to see Ferdinand, so we may guess that the parental feelings may eclipse into some more protective ones. Stature Prospera is again more lordly and powerful in this version, but not classically so as she was in the BBC's version. She is, however, undeniably proud and full of a great deal of intentions for the other characters on the island. Power Prospera's power, like the rest of the movie, seemed to be a more natural one in this version. Her "magical robes," for one, were more blue and green colors, and matched the island. Similarly, when she summons Ariel, she does so from A pool of water surrounded by magical carvings.

Jarman Tempest: Prospero

Characters: Miranda: In this version, the age difference was about the opposite of the BBC's. He and Miranda seemed extremely close in age, which in a way, made it even creepier. He does not seem to give Miranda much thought, though we did not get that great a feel for their relationship, as we did not see the scene in which she came and pleaded for him to stop the Tempest. Caliban: Again, of course, it is an abusive relationship, but, (as we'll see is a common theme in this film,) he seems to be another plaything of Prospero's. Although, his threats in Caliban's first scene did not seem to bother Caliban as much as it did in the BBC version. Ariel: We watched the summoning scene, and Prospero seemed to just barely be able to contain Ariel's power. We see a lot more fear of him in this version, and we can see that Ariel knows it as well. Ferdinand: This is one of the most sadistic relationships we saw in these three films. We saw him lead Ferdinand to the mansion, and briefly entered the strange, sexual humiliation that Ferdinand was put through. Stature He does not seem as lordly as the BBC version's Prospero, definitely. In this version, he seems almost to have gone a little bit mad. His costume, like the others', is a bit more modern, and he constantly has a kind of dark and manic look to him. His Power Like the rest of the movie, Prospero's power is very much darker, and very much tainted. The room we saw in which he summons Ariel is filled with all manner of dangerous, wicked things. We saw pentagrams and spiders and the stuff. It seemed like things that witches would use. Definitely FITS into his whole "dark manipulation" theme for this film.

(Utopia) Is Raphael a reliable narrator/ source?

Described as a "skipper" - traveler and voyager, also a philosopher. Linked to Ulysses, a brilliant trickster. Name means "nonsense-peddler"

Monarchy in Utopia vs monarchy in England

England authority is extremely centralized, where King's power is unlimited. Utopia's authority is more distributed so as to limit power. - They elect a monarch who rules for life (they cannot withdraw power from their monarch, this idea isn't invented for another hundred years) - They review all leaders except the king - Indicates the decline in power and prestige of the clergy at this time

English Renaissance

Flourishing of the arts in England, including Shakespeare's work in the theatre

BBC Tempest: Miranda and Ferdinand

In the BBC version Miranda is portrayed as young, naive, and willing to believe anything her father says to her. She seems very loyal to her dad, and he seems like he has a lot of control over her. She's dressed in the clothing we Her and Ferdinand's relationship seems like a set up by Prospero, but it is played as cliche but true young love. They both are young and attractive, and stare at each other with large doe eyes so as to convey that "love at first sight" feeling. Over all, their relationship is portrayed in the traditional fashion. Prospero does seem to have a hand in setting them up, and they lack much chemistry but this version characterizes the relationship very straightforwardly.

Ovid's "The Golden Age and After"

In the beginning everything was perfect and there were no rules. The king got disposed and his youngest child took over.Things got worse and they made more rules in an attempt to return things to the way they were, but the new rules only made things worse. Opposite of More's Utopia, which was filled with rules thought to produce a better society

Problems with English gov't that More describes and then tries to fix through the description of Utopia

Inequality in society, law is not producing justice, lower classes driven to criminal behavior and sentenced too harshly--punishments not fitting crimes

Petrarch (b. 1304 - d. 1374)

Italian scholar and poet, eponymous of the Petrarchan sonnet. Often called the "father of humanism" and the "father of Renaissance".

James I

James sponsored one of the most significant and lasting translations of the Bible—the King James Bible -Authored texts on witchcraft—"Daemonology"—and started a vendetta on witches, growing obsessed with them -Later used as source material for Macbeth -Conflicts over religious beliefs grow and grow -In 1625, James dies at age 58 and is succeeded by son, Charles the I

Act of Supremacy

King Henry IIV's declaration that he was the only supreme head on earth of the Church of England; creates the Church of England (created in order to get around the Catholic laws against divorce)

Utopia as a flawed concept

More was possibly over-exaggerating his philosophy to get the point across. At the end, states that he had reservations about some of Utopia's strange customs. Utopia's absolute equality leads to lack of freedom and originality.

351-352. Miranda. Caliban is so wicked that "any print of goodness will not take" - you are evil, do not have ability to become anything but what you are.

Nature vs Nurture

Miranda

Not socialized properly. Name meaning: "to be wondered at"

Ascetic

One who practices a zealous form of religious self-discipline; includes mortification of the flesh; involves self-flagellation and wearing lice-infested hair shirt; More was a Catholic Ascetic--this was a motivating factor in his refusal to repudiate Rome and accept Henry's power

Romance (Literary Term)

Origin - 12-14th century France, developed by Edward Dowden, meaning "French vernacular," as distinct from Latin. Root of "Romantic" languages. Evolved to mean fictional, or adventure based fiction. In Shakespeare's work, a Romance is "improbable, false, fanciful, full of wild scenery." The difference between a Comedy and a Romance is a lack of slapstick and elements of the ridiculous in a Romance, both of which are critical to a Comedy.

Structure of Utopia

Part I: Critique of current English society/ government. Part II: possible solution through an account of the fictitious Utopia.

Humanism

Peter suggests that Raphael advise the king, but Raphael refuses. R's reasoning: princes are all about war, all councilors are selfish.

"Now my charms are all o'erthrown, And what strength I have's mine own, Which is most faint. Now, 'tis true, I must be here confined by you, Or sent to Naples. Let me not, Since I have my dukedom got And pardoned the deceiver, dwell In this bare island by your spell, But release me from my bands With the help of your good hands. Gentle breath of yours my sails Must fill, or else my project fails, Which was to please. Now I want Spirits to enforce, art to enchant, And my ending is despair, Unless I be relieved by prayer, Which pierces so that it assaults Mercy itself and frees all faults. As you from crimes would pardoned be, Let your indulgence set me free."

Prospero's spells are no more. He turns to the audience and gives them the power, asking for their applause to set him free from the island. It is often interpreted as Shakespeare's farewell speech from playwrighting. For years he had power over audiences with his writing--possibly even teaching people how to feel emotion and be human, according to Shakespeare critic Harold Bloom--and then Shakespeare decided to retire. He set down his pen, the tool of his trade, just as Prospero breaks his staff. In the monologue, Shakespeare is asking that the people watching his plays "indulge him" and give him release. Why he decided to quit writing is speculation, although in class we discussed possibilities. We suggested that he might have been tired of the pressure to keep writing plays, or that he wanted to relax and spend time with his family. Additionally, he might have felt that he could not CONTINUE to write great plays and felt that this was the last good story in him. Whatever the case, through the Tempest, Shakespeare bid the stage goodbye.

1.2.66-220. Prospero tells Miranda his version of how they came to the island Excerpt (108-116): Prospero. I pray thee, mark me. I, thus neglecting worldly ends, all dedicated To closeness and the bettering of my mind With that which, but by being so retired, O'erprized all popular rate, in my false brother Awaked an evil nature, and my trust, Like a good parent, did beget of him A falsehood in its contrary as great As my trust was, which had indeed no limit, A confidence sans bound.

Prospero's version of the story: very black and white of good and evil, betrayal is all Antonio's fault Prospero + Miranda → are you paying attention? Engrain evil brother theme, puts her to sleep so not to sway her, put with Ferdinand who will become King of Naples. Suggests both that Miranda is poorly socialized and that Prospero is a control freak. Miranda's responses may also indicate sarcasm. Antonio as defined by Prospero: snake, vile, betrayer, evil; reality: better FIT to rule while Prospero does secret studies (Going back to Boatswain's "in the name of the king") Is Prospero the real Duke? Yes in name; no in execution of responsibilities Prospero → figure of authority, authority vs. power, in charge of storm; link between Prospero and Raphael? -- description, learned men, away from home, uninterested in secular authority, mysterious, critical of social hierarchy, violation of humanism (unwilling to spread knowledge)

English Renaissance

Resurgence of arts and culture in Elizabethan England, also called the "Golden Age."

1.1.16-17. Boatswain. What cares these roarers for the name of the king? In the NAME of the king -- what power do titles have? When you're getting tossed in the boat it doesn't matter who is there, aristocrats have no power in this situation, dynamic of sailors as in charge, Re-conceptualizes authority - human vs. nature/magic. In reflection of Shakespeare's times, the role of the king/monarchy has become questionable and economic/religious conflict makes people wonder who is in charge? BUT storm is actually being caused because of the king - so perhaps someone/something does care? 1.1.21. Boatswain. None that I love more than myself. 1.1.41-49. Various aristocrats. Much swearing and coarse language.

Role reversal- aristocrats behaving how boatswains would stereotypically behave and are useless in the situation. Boatswains, conversely are taking on the roles of authority.

Lucian of Samosota's "Saturn's Age"

Saturnalia is a festival where schools are closed, no punishments inflicted, rank distinctions forgotten and slaves/ servants are equal to their masters. Lucian writes to Cronus. Cronus is a Greek god who was overthrown by his son Zeus. Cronus' rule was said to be the Golden Age. Lucian asks Cronus to make the festival permanent, abolish the distinction between rich and poor. Cronus responds that this matter is not under his jurisdiction and he will pass Lucian's concerns onto Zeus, but Zeus will probably be too busy playing games and partying to deal w/ the matter. So: 1) Appeal to authority for a better society. 2) Apathy on the part of authority.

Jarman Tempest: Ferdinand and Miranda

The Jarman version takes a very different approach. In his adaptation, Miranda seems truly crazy. She wears what seems to be an old wedding gown and her hair is in dreads. This entire adaptation has the feeling of an insane asylum. It accurately shows how people cooped up in a house with only each other for company would be a little out of their minds. Ferdinand is thrown into this environment, completely naked, and seems to instantly realize he is surrounded by insane people. They regard him like a play thing of sorts, and proceed to chain him up and perform what seems like sexaully humliating tasks. His relationship with Miranda is clearly a relationship from desperation not from love. He knows that bonding with this crazy girl is probably his one key to survival. But he speaks the words of love dispassionately and can barely bring himself to look her in the eye. Still, she seems convinced that he loves her, though the audience is given the impression he is using her to get off the island.

Taymor Tempest: Miranda and Ferdinand

The Taymor version also shows the young couple really and truly falling in love, but it does it a bit more realistically. In this version, Miranda is much more spirited and seems to have really questions and doubts about what Prospera is doing and why. She is very spunky and lively, and seems to have the mindset of a young girl, even younger than her 15 years. When Miranda first meets Ferdinand, she strikes up a flirtation on her own accord, and at first Ferdinand is reluctant to talk to her for fear of angering her mom. Miranda is persistent though and Ferdinand warms up to her and starts to really like her. We see a true connection between them, beyond the fact that they are the only eligible young people on the island.

M.C. Escher's Tower of Babel

The Tower of Babel best represents what's inside the book, accounting for the attempts for perfection which are doomed to failure. M.C. Escher's image the "Tower of Babel" is an optical trick containing a number drawn staircases that, in the end, are impossible to climb. They provide the illusion of ascent, but, upon looking closer, one realizes that there is no 'end' to the stairs. In fact, the 'stairs' are not really stairs at all--they continue rotating on the same plane. Unfortunately, for those in the picture, they must continue moving around the impossible stairs, never really moving anywhere, but under the impression that they are always moving onward and upward.

More and Christian Humanism

The absolute equality of Utopia could be equated with the Humanism idea of betterment. Equality is the best situation for humanity.

Tasso

The chorus at the end of Act II of Aminta, sung by shepherds and courtiers, living a simple life restricted by honor. Making fun of Ovid's Golden Age of pleasures and free morals. Aminta's society is more like a monastery, where innocence is cherished and desire is cast out.

Globalization

The growing connections and interactions between different nations, cultures, biospheres, etc. due to faster or more efficient communications and transportation technology.

Elizabethan Era

The period of English history with Queen Elizabeth on the throne (1558-1603) that is characterized by the following ideas: globalization, modernization, English Renaissance, Enlightened Absolutism

Modernization

The transformation from a traditional, feudal, agricultural society to a more urban, industrial society.

Utopias in Tempest

There are small utopias that can be found scattered throughout Shakespeare's work. There are few of these in The Tempest. The first Utopia we discussed was the utopia of Ferdinand and Miranda's love. While ideals of love at first sight and everlasting love seem romantic, we agreed that they are ultimately unrealistic. There are several reasons to be cynical of Ferdinand and MIranda's love. Ferdinand is the first man that Miranda has ever seen, both are too young to judge what will make them happy in the future, and their marriage is a little bit too politically convenient for Prospero to not be skeptical. Another utopia in the play is Prospero's island. It is a place where Prospero can fully indulge in his one true passion, knowledge. It allows him to have the jurisdiction he desires, as well as raise his daughter in peace. The island utopia may be a metaphor for Shakespeare's play-writing. At the end of play, Prospero decides that the island gave him all he needs, just as Shakespeare seems to feel about his plays. Though not an actual utopia in the novel, Gonzalo's "Dream of the Commonwealth" speech again shines a light on utopias. The speech is essentially a tool for Shakespeare to criticize people who idealize and believe in utopias. Gonzalo is meant to be seen as a fool, and the society he proposes is meant to be seen as foolish. One indication that Gonzalo's speech is a joke is the line "letters should not be known", as Shakespeare values letters above all and would never earnestly express this.

Caliban page 55: "...Having first seized his books, or with a log batter his skull, or paunch him with a sake, or cut his wezand with thy knife. Remember First to possess his books; for without them he's but a sot, as I am, nor hath not one spirit to command. They all do hate him as rootedly as I. Burn but his books..."

This quote is important because Caliban knows the only way he can destroy Prospero is by taking away what is important to Prospero-- books/knowledge. This is important literally because Prospero needs the books to do magic, but also symbolically because knowledge is power.

power vs authority

Today's discussion focused on power versus authority and who is really in control and in power during the play. Prospero gives up his power at the end, which is a huge power shift in the play. Prospero is saying that power is an allusion and the power was never really his at all. There are several types of power throughout the play. One type is power through manipulation (Prospero and Caliban, Prospero and Ariel). Another type is power through familial ties (Prospero and Miranda, Prospero and Ferdinand). Another type is power through display (Prospero and Ferdinand, Prospero and everyone on the ship). The other type we discussed is power through ability (the Crew and the Lords, Antonio and Prospero). We also discussed the difference between power and authority. For example, Ariel has power because she has magic, but Prospero has authority, because he is controlling Ariel. The sailors have power, because they know what they're doing, but the lords have authority because they are higher ranked in society. Caliban gives his authority to Stephano and Trinculo, and because of this, he is the one in control and therefore he has the power. As power is explored through many characters of different social standings, Shakespeare makes it clear that power is a contextual force, or a force dependent on situation.

Meta Meditation

Towards the end of class, Professor Kamada introduced the idea of a meta mediation within the text. As meta refers to a self-referential quality, The Tempest can be interpreted as very aware of itself. Thus, Shakespeare created somewhat of a "play within a play." This is not limited to The Tempest, though. We also discussed the play-within-a-play in Hamlet as a vehicle to reveal and propel plot in an indirect way. Professor Kamada described meta meditation as an "effective dramatic device." Additionally, as The Tempest was Shakespeare's last full work, it becomes a play about playwriting, furthering the already prominent meta meditation. The immense knowledge of the craft of theatrical writing possessed by Shakespeare allowed him to CHANNEL his own experience as a writer into the text--during the epilogue, for example. By saying "Release me from my bands," one could argue that Shakespeare (via Prospero) is liberating himself from the pressures of being a highly successful creative force. Additionally, by saying "Let your indulgences set me free," Shakespeare is essentially handing off his knowledge and ability to a worthy "you." Alternately, this quote could be interpreted as Shakespeare resigning to a higher power.

Utopia, Eutopia, Dystopia

U: "No" place Eu: "Good" place Dys: "Bad" place

False Ideals of Paradise

major and recurrent theme of the play

Intertextuality

reference to and relationship between different texts. In this context, it's Shakespeare referring to or drawing from other works in his own canon within the text of this play.

Enclosure

segmentation and then conversion of crop lands into pasture lands, resulting in better profits for the landlord but fewer jobs available for agricultural workers.

Start of globalization

trade contacts influence culture - French and Italian fashions

Enlightened Absolutism

(also known as Absolute Monarchy): absolute control over the nation, inspired by rationality and an interest in cultivating the national culture. The type of rule practiced by Queen Elizabeth I.

Themes in The Tempest

-Authority vs. Power -Vengeance and Forgiveness -Justice and Mercy

Conflicts between Charles and Parliament

-Charles wanted absolute monarchy and to eradicate Parliament, though they didn't approve. -Parliament counter-theory: supremacy rested with Parliament -This led to war in 1642 -On January 30th, 1649, Charles is beheaded!

England during Shakespeare's life (April 26, 1564 - April 25, 1616)

-Small nation - 5 million, (7.5 million in present day London) -Queen Elizabeth I (ruled 1558 - 1603) -Between empires - continental lost, overseas not yet begun; no Scotland, Ireland part of GB because of economic issues -Rural economy, feudal crop system - wooded landscapes; shift to enclosure (as discussed in Utopia) -More employment and social class differences create food riots -As sheep flocks produce wool, start a social transition to textiles and industrialism, manufacturing/shipbuilding increases

Why are stories about desert islands famous?

-THOUGHT EXPERIMENT -Human nature is revealed, fear of being alone -How does it affect these people? -Cut off from population; examine human nature; basic needs -Significant for the time period* i.e. Alex Selkirk -It reflected the Enlightenment ideals (Age of Reason) -Thinking and philosophizing reflect science and political science -Faith in God as a source of logic becomes faith in humanity -"Nature and Nature's Laws lay hid in Night God said, Let Newton be! And all was light!" -Alexander Pope: Epitaph, Newton found the existing truths of the world (mixes religion with science) -Newton was the "miracle of the present age" -secret science societies, methods standardized, forms of knowledge, kings had astrologers -Education begins to emerge -Seek to understand the universe and human nature; God is no longer the limit, the world can be learned and understood -Social Contract, John Locke: We, the people, exchange certain liberties for protection and human rights -Is human nature fundamentally cooperative or selfish? -"If man in the state of nature, be so free as he bad been said, if he be absolute lord of his own person, and possessions, equal to the greatest and subject to no body, why will he part with his freedom? Why will we give up this empire, and subject himself to the dominion and control of any other person to which it is obvious to answer, that though in the state of nature he hath such a right, yet the enjoyment of it is very uncertain, and constantly exposed to the invasion of others: for all being kings as much as he, every man has equal and the greater part no strict observers of equality and justice, the enjoyment of the property he has in this state is very, very unsafe, very insecure. This makes him willing to quit a condition which, however free, is full of fears and CONTINUAL dangers: and its not without reason, that he seeks out, and is willing to join in society with others, who are already united, or have a mind to unite, for the mutual preservation of their lives, liberties, and estates which I call the general rule of property" -all of this greatly influence the American Revolution and the French Revolution.

Rapid change and modernization

-new thinkers at court, men of humble origins who advise out of loyalty and not self-interest -easier social and economic advancement -but also and increasing class difference

Shakespeare's life and work

-not much known (records lost in Great London Fire of 1666) -40 official documents and 50 literary references -37 plays + many poems, particularly the sonnets -First Folio published in 1623 -Work split into four categories: comedies, tragedies, histories, romances -Shakespeare's Themes -tragic and comic -nature of authority of power -conflicting vengeance vs. forgiveness and justice vs. mercy -realities of reconciliation and possibility of regeneration

Creating the Church of England

-splits nation + church: creates unceasing religious conflict; many following More's example of martyrdom

Christian Humanism

A belief system that focuses on the betterment of humanity; involves the generosity of spirit; moral obligation to writing

Plato's Republic

A dialogue written by Plato that concerns the definition of true justice, the form of the just community and the just man, and is the central text off which much of Utopia can be tied back to. Plato's best known work seemingly supplies an early idea of a communist state, containing rules/regulations very similar to that of the ones in Utopia. Considered a cornerstone of modern philosophy and politics.

Palinurus

Aeneas' pilot who fell asleep at the wheel, fell overboard and drowned. He is the example of the incompetent travele

The Acts of the Apostles

Apostles form a community where no one has personal possessions but everyone is provided for. Caution: Ananias sold land as his own and died because of it.

Plato's "The Guardians"

Conversation between Socrates and Glaucon. The Guardians were a higher caliber of people in society (sort of like the scholars in Utopia). They were taken from their families as children so they have no familial ties. Told they are gold and silver where others are iron. "We're all equal, but I'm equaller." ** More's Utopia was influenced by Plato's Republic. Plato supported his fictional society whereas More's has shades of darkness

The name of "Raphael Hythloday"

Cultural mash-up. His first name comes from the archangel Raphael who is a guide and healer. His surname comes from the Greek word hythlos (meaning: nonsense) and daiein (meaning: expert), meaning "expert in nonsense." Altogether means "God heals through the nonsense of God."

Utopia: A term coined by More's work of the same title

Derived from U-topia ("no place") and Eu-topia ("good place"). Adds to question of whether More's novel is a serious depiction of a perfect society, or a satire of it.

Power

Enacting change. Fxn in the form of performance.

Plato

Example of someone traveling to gain wisdom

More + Henry VIII

More refuses to deny Rome or attend Anne's coronation as queen--sentenced to death and beheaded in 1535 (20 yrs after Utopia).

Escher + More

More's vision is impossible; Escher presents staircases leading nowhere. They express the illusion of progress and the futility of work towards perfection.

King Henry VIII

Repudiates church to divorce Catherine of Aragon and marry Anne Boleyn; pushes through "Act of Supremacy," declaring himself the Supreme power and breaking with Rome.

Raphael's background/ character

Studied Latin, Greek and philosophy. "Seneca and Cicero" indicates a background in Roman stoicism.R is denying his own worldview by refusing to share his knowledge--causes reader to question his credibility. R wants to do what he pleases, but the point of Utopia is that no one lives as they please--makes one question the appeal of a Utopia

Nymphs/ play within a play

The three goddesses/ muses are meant to bless Miranda and Ferdinand. Their presence is mere illusion, though Ferdinand is genuinely amazed and believes that the vision is real ("This is a most majestic vision"). The incorporation of the goddesses also demonstrates Prospero's power and manipulative personality. Prospero is essentially faking godly or celestial approval to influence Ferdinand's romantic future.

Ulysses

Ulysses traveled from island to island on his journey home, creator of the Trojan horse, and an infamous trickster

Overview of Utopia (Book II)

Utopia is a crescent-shaped island with many natural defenses against strangers and attack

Legacy of Utopia

Written at same time as Discovery of the New World. Creates a new genre of literature: utopia, eutopia, dystopia. Attempts to make an actual utopia, obviously this fails.

Utopia translated into English

approx. 1150 (translated from Latin)

Authority

controlling the change that is being enacted.