~Sorry for the really long post, and the lack of clickable file, but my writing software is a piece of crap. These are some last minute notes for anyone who is doing Advanced English and has Discovery as their area of study. This has a few general notes on the concept of discovery, but mainly focuses on my prescribed text, The Tempest, and my two related texts, The Night Face Up and Alice In Wonderland. I hope this helps someone, and hoping that my incessant rambling makes sense
Good luck!
DISCOVERY
Concept, not a theme. Theme is an idea that emerges from the text, whereas a concept is about both what (ideas) and how (technique). It is about what and how the composer represents ideas about discovery, but mostly how.
-Look at your own experience of discovery. Personal discovery, new experiences, new people, rediscovering past things, discovering things about yourself
-How discovery is looked at in and through prescribed and related texts
-How each aspect of discovery is stereotyped or automatically looked upon; the assumptions related to areas of discovery
-How the concept of discovery is conveyed through the use of people, relationships, societies, places, events and ideas ie how the text uses these things to communicate with the student the concept of discovery
-How the language and techniques etc. used by the composer affects how the audience perceives discovery in the text
-How reading these texts and ideas of discovery can help expand and deepen the student's understanding of themselves, the world and discovery
The Tempest- William Shakespeare
Act One Scene One
-Use of movement to create chaos within the opening scene
-Lines short and sharp, all actors out of breath
-Stage used creatively; actors on stage presented as being on the deck of a ship
-Model ship passed among actors within the audience, acting as a split view of the action on stage
-Model ship an objective (?) view of the ship
-Movement of actors emphasises actions, falling over as the “waves” crash
-Music created with modern instruments, yet all sound effects created in real time with Shakespearean techniques
-Tempest symbolises disruption of social hierarchy as Boatswain and crew yell at Alonso and other social superiors
-Use of language accurate to the people of the time, colloquialism and jargon used by mariners accurate to mariners of the time
-Actors move downstairs to represent sinking
Act One Scene Two
-Miranda is sweet and naive, and compassionate, and Shakespeare uses tears within the second scene of act one to immediately communicate that to the audience
-Prospero a man of magic; which was inkeeping with the nature of Elizabethan times
-Magic was considered to be a real aspect of the world and people studied it and attempted to practice it, so the fact that Prospero practised it was less far fetched as it is considered to be in modern times
-Miranda discovers that the Tempest was not intended to harm the occupants of the ship, only to impress and terrify them
-Prospero acts as a visible stage manager
-Characters on stage similar to chess pieces as he moves them around and creates situations around them
-Miranda discovers how she and her father ended up on the island; the result of Prospero's obsession with magic, and his subsequent usurping by Antonio
-Gonzalo rescues Prospero
-Comedic tones within this act, Prospero says to Miranda “Thine Father was the Duke of Milan” to which Miranda replies, “Are you not my father?”
-Another moment of discovery for Miranda as she learns of her father's prior status
-Idea of sleep recurrent throughout the play
-Miranda put to sleep after Prospero tells her of her past, and her memories of Milan have a dream-like quality to them in her recalling of them
-Prospero and Ariel also have a habit of putting people to sleep throughout the course of the play
-Prospero often reminds audience of Miranda's age, which is thought to be around 15 or so, by telling her to focus and pay attention; her shortened attention span a common trait of youth
-Her naivete also a clue to her age
-Prospero believes that he has used his years on the island well, having honed his magical abilities and raised Miranda to be a catch or prize
-The audience discovers the past between Prospero, Caliban and Miranda
-Respect and equality between Ariel and Prospero, as Prospero refers to Ariel as a “brave spirit”
-Contrasting contempt between Caliban and Prospero, Caliban being referred to as “poisonous servant”
-Audience discovers that Caliban once loved and revered Miranda and Prospero, showing them the island and its resources
-After an incident happened between Miranda and Caliban, which is suggested to be an attempted rape, Caliban falls out of the favour of Prospero and becomes a captive slave
-Ariel often appears from the air, jumping from the balcony (in this particular production) or climbing from pillars
-Caliban appears from the ground, coming out from a rock (again, within this production)
-Caliban throws back Miranda's teaching him of Elizabethan English, saying that his only profit of that is he now knows how to curse
-Through the song that Ariel sings to Ferdinand (while in the form of a sea nymph), he makes the discovery- which ultimately turns out to be false- that his father is dead
-Ferdinand and Miranda's discovery of each other is intricately planned out by Prospero and orchestrated by Ariel
-Prospero wants them to fall in love, Ferdinand being the third man ever that Miranda can remember seeing
-Ferdinand is overjoyed at having found a beauty on a deserted island, and discovering that she too speaks his language
Act Two Scene One
-Antonio and Sebastian are cynical in their outlook
-Both use short, direct and imperative (grammatical mood that forms demands or requests)
-However, phrasing is vulgar and colloquial, contrasting with their high social status
-Contrasts with the end of act one; Ferdinand is happy and excited with his new found love, whereas these men are miserable
-Antithesis between virtue and vice
-Virtue of Gonzalo and Adrien contrasted with the vice of Sebastian and Antonio
-Contrast circles around Alonso
-No major characters present, a scene which is made up entirely of minor characters so as to let the minor plot be fleshed out
-This lets audience discover the true nature of these characters
-Full range of characters within play, from the God-Like Prospero to the hated and enslaved Caliban
-Represents the “Chain of Being”, or the natural hierarchy
-Alonso is miserable for the major part of the play, due to his belief that his son is dead
-Discovery of the island leads to speculation of Utopia for Gonzalo
-He muses, in proper courier language, of how the island could be a place of Heaven upon Earth, with no King, no crime, no weapons, no authority, ease of life, nature in abundance
-All of these characters discover the exact same place, but to each of them, it represents something different
-For Gonzalo, it is the Utopia of his vision, for Antonio and Sebastian, it's the perfect opportunity to murder Alonso and usurp his throne, and for Alonso, it is his personal Hell, and the death bed of his son
-Ariel enters, invisible to all, and puts Alonso, Gonzalo and Adrien to sleep
-Antonio immediately succumbs to his vice, plotting to overthrow Alonso, and imagining his crown atop his head
-Sebastian is more hesitant, asking after Antonio's conscience, especially with him having already overthrown Prospero for power of Milan
-Antonio replies to Sebastian “Where is it?”, implying he has no conscience, and allowing the audience to discover his true nature
-Ariel wakes Gonzalo and Alonso just as Antonio and Sebastian draw their swords to kill them
-This follows with Prospero's plot to undermine Gonzalo and Alonoso's trust in Antonio and Sebastian
-This works to begin Gonzalo and Alonso's discovery of the true and traitorous behaviour of Antonio and Sebastian
Act Two Scene Two
- Caliban curses loudly, not caring that Prospero's spirits can hear him, nor that there could be consequences to his blasphemy
-This changes, however, when Caliban hears Trinculo approaching, thinking him a spirit
-He hides as Trinculo enters
-Trinculo sees Caliban and immediately assumes him a monster, beginning to consider how much money he could make off of displaying him back home
-Shakespeare uses clothes to make audiences question what is real and what is not
-The image of Caliban and Trinculo hiding under the cloak together emphasises this, as it creates what looks to be a four legged creature with no head
-This “what is real and what isn't” is also seen in Prospero's cloak, as he removes it to talk to Miranda, creating a definite difference between the Magician and her Father
-When Stephano marvels over the “monster” and wondering how it learnt English (or Italian, I don't know, Milan is in Italy so it gets confusing for me), he is reflecting Ferdinand's discovery of Miranda
-Stephano also reflects Caliban's plan to make money off of Caliban
-Caliban falls immediately into the same trap with Stephano as he did with Prospero, offering his servitude to him
-Lets audience discover a little more about Caliban's nature
-Caliban sees Stephano as divine, something that could be attributed to Stephano's giving of alcohol to Caliban
-Also with Stephano telling Caliban that he is the Man on the Moon
Act Three Scene One
-Prospero sends people on journeys of discovery upon the island
-This are journeys of both self-discovery, discovery of others and their nature, re-discovery (in the context of Antonio, Alonso, etc re-discovering Prospero) and discovery of new places
-Prospero strips those on his island of rank and title
-Reflected in the Globe Theatre and how audiences would be seated
-Also shown in this scene, where Ferdinand is shown carrying logs for Prospero, a task that someone of his societal status would normally not do
-Ferdinand's speech is full of paradoxes
-He embellishes the work and the toll it takes on him, but then compares it to Miranda, bringing a positive to the negative
-”My sweet mistress weeps when she sees me work”
-Shows both Miranda's compassiona and sensitivity, also Ferdinand's perspective on it
-Fairy tale elements
-Idea of love at first sight and true love heavily apparent in the romantic sub-plot
-Self discovery for Miranda
Act Three Scene Two
-Although the island represents the breakdown of class, there is still a sense of hierarchy
-Caliban is still placed into the role of servant, however, now he is indentured to a master far worse than Prospero
-Caliban shows allegiance towards Stephano through his lines
- “I shall like thine boot”
-Caliban shows distaste for Trinculo, not believing him as valiant as Stephano
-Caliban has completely changed, showing mindless trust in Stephano, which, while completely different to how he is in Prospero's service, is indicative of how he initially could have been with Prospero
-Stephano uses Caliban to his own purposes
-He defends Caliban when Trinculo insults him, saying,“the poor monster's mu subject, and he shall suffer indignity” while patting him on the head
-This indicates to the audience that, while on the surface he's assuring Caliban, the subtext is that he is on Trinculo's side and Caliban is, ultimately, a tool
-Caliban is oblivious to the condescension, letting the audience see that, underneath his brusque exterior, he is actually quite naive
-Caliban regales his story of how the island was stolen from him by Prospero
-Throughout the story, Ariel heckles, invisible, making Stephano and Caliban believe that it is Trinculo calling out
-This is another ploy on the behalf of Prospero in an attempt to sow dissension into the alliance
-Ariel's presence in this scene throws off the realism, adding a magical element
-It also suggests that Prospero is omniscient
-Caliban truly believes that Stephano has magical powers, assured by his “celestial drink”, his alcohol
-Caliban offers Miranda to Stephano
-This is a big gesture, as Caliban is besotted by Miranda
-Lets the audience and Stephano discover both how desperate Caliban is to be free, and how much he trusts Stephano to be able to kill Prospero
Act Three Scene Three
-Scene Three contrasts with the first two scenes, which are long and fairly uneventful, by being quite short and dramatic
-Ariel in this section is far more powerful than he has been and will be at any other point in the play
-He takes on the form of a harpy, which is far more menacing than his natural humanoid spirit form
-Ariel in this section is aggressive and assertive, determined to frighten the group
-Ariel is in stark contrast to the gentle nymphs that danced with the courtiers prior
-Ariel uses proper language
-As the Harpy, Ariel speaks the words of Prospero, a reflection of Prospero's god-like presence on the island
-Prospero is doing all he can to drive the men insane
-He's taking them out of their comfort zones completely
-Ariel screams at the men as they draw their swords, warning them that they are of no threat to him
-This leads to the men discovering that there are forces that even they cannot defeat; a discovery going hand-in-hand with the Tempest, and the courtiers lack of control over it
-Ariel beseeches the men with their usurping of Prospero, letting the men discover that their wicked deed is known of even upon a deserted island
-The toying with the courtiers has reached its crux at this point
-Prospero has now reached the point that he is out-right threatening the men
-This threat lets Prospero finally assume power over the courtiers, finally having achieved his goal of terrifying them
-Alonso is severely affected by the appearance of the Harpy and its accusations
-Alonoso claims that it is 'monstrous', and he is distraught at having his secret revealed, and by spirits who should know nothing of what they speak
-As Alonso grows sadder (due to the death of Ferdinand), his language becomes far more poetic and articulate
-Antonio has a far greater presence on stage than Alonso
-He is confident and powerful, and holds himself better than Alonso (In this production)
-The language he uses is far more brash than Alonso's, but is also more self-assured, making Alonso look weak in comparison
-This scene lets audiences discover true nature of Alonso, Antonio and Sebastian
-Alonso feels shame and remorse for his crime, whereas Antonio and Sebastian feel nothing, resolving to fight rather than make peace
Act Four Scene One
- Prospero “If I have too steely purified you, Your attitude makes amends”
-Prospero refers to Miranda as “that for which I live”, which reinforces the strength of their relationship
-Miranda seen as somewhat of a tool in Prospero's eyes, despite their strong bond
-Prospero passes Miranda off to Ferdinand, and though Ferdinand and Miranda do indeed love each other, Miranda is also the way through which Prospero will again gain power in Naples, by having his daughter marry into royalty
-The union between Miranda and Ferdinand brings Prospero power
-Prospero attempts to protect his daughter's chastity
-He warns Ferdinand that, if Miranda were to lose her virginity before marriage, she would become barren, and their marriage would crumble
-This places emphasis both on Ferdinand's power and also the Elizabethan ideals of female virginity
-Upon the island, Ferdinand does not have any of the power he would normally possess, taken away from both his castle and his father
-Miranda, on the other hand, is at her home, with her omniscient father
-On the island, Miranda holds the power in the relationship
-Ariel enters, invisible to all but Prospero, and looks at Miranda and Ferdinand, where they sit being smitten
-Ariel asks Prospero if he loves him
-Prospero waits a beat before replying “dearly”
-To counter this somewhat personal development in the relationship, Prospero immediately orders Ariel to take care of his duties (to bring the other spirits)
-This reinforces the master-servant relationship between them
-The masque is a decadent showcase of Prospero's power
-It shows the strength of his power and represents the spirit of his art
-Prospero's power is manipulative, but is more often than not used for good
-Prospero at one point describes his powers as “a vanity of mine art”, showing that even he sees it as showy
-Ceres is the spirit/god of Order and Plenty, which is indicative of Prospero, and his maintenance of order on the island
-Masques were reserved for state and court functions, which shows that Miranda and Ferdinand's marriage is an important event
-They represented peace and order, with the King and Queen often placed in the centre of the events
-This masque leads to Prospero forgetting about the plot on his life (by Trinculo, Caliban and Stephano)
-This also reflects the loss of his dukedom, Prospero becoming so caught up in his art that he forgets about the much more 'real' events going on around him
-Also forgetting both his mortality and his vulnerability
Act Five Scene One
-Prospero's luck has turned good, his plan having succeeded almost without incident
-Ariel claims that Gonzalo is the most remorseful of the entire group, referring to Gonzalo's tears as an act of nature
-Ariel is invoking compassion within Prospero, forcing him to feel far more human emotions, even though Ariel himself isn't human
-With this, Antonio and Sebastian have discovered a semblance of their conscience
-They are mad with fear
-Prospero's “Ye eleves of hills” soliloquy is often looked at as Shakespeare's goodbye to the stage and play writing
-The elves and midnight mushrooms could be referring to the fairies and witches of Midsummer Night's Dream and Macbeth
-The drowning of Prospero's book and cloak, and giving up of his magic could also reflect Shakespeare giving up his art
-This ties in with the idea of clothes, with the symbolism of Prospero throwing off his cloak that he is giving up his art
-Also indicative of the idea that magic doesn't exist in Milan
-The island is a place of magic, and of wonder, a place where impossible things happen regualrly
-The giving up of his art could be a symbol that Prospero is preparing to return to the real world
-More of the clothes as a symbol of power and magic, as Prospero redresses as the Duke of Milan before he appears before the courtiers
-Prospero discovers that he can be compassionate and forgiving, as he forgives Antonio, though this is not without demanding his dukedom be returned to him
-Prospero creates an emotional bond with Alonso, both grieving over the 'loss' of their children in the Tempest
-A curtain then pulls back, leading Alonso and the courtiers to discover Ferdinand and Miranda playing chess together
-This chess game is symbolic of the power play that has taken place on the island in the aftermath of the Tempest
-Alonso immediately accepts Miranda, begging her forgiveness for having her deserted on the island
-Prospero waves away his apologies, saying that the reconciliation is done
-This is the first time that all of the characters have been brought together on the stage
-While Prospero claims that he has given up his art and magic, it pervades the scene
-He is dressed in magic robes, holds the courtiers in a charmed circle, makes a magician-like spectacle of revealing Miranda and Ferdinand, and his last words of the play (before the epilogue) are a command to Ariel to keep the waters calm
-Only once the play is over, and Prospero is alone on stage, does he announce that all his charms are “all o'erthrown”
Other Notes
-Caliban and Ariel are both representative of Prospero's nature
-Caliban is akin to his brutish, more animalistic side, displaying his anger and lack of self control in some instances
-Ariel is his compassion, and is indicative of his omniscience, his magic, and also his wisdom
-Sebastian, Antonio, Caliban, Trinculo and Stephano all predominantly speak in prose, an aspect which is indicative of their harsher, more colloquial use of language
-Caliban, however, sometimes speaks in verse
-Concept of books within the play is extremely important to Prospero
-There is a power behind them; symbol of knowledge
-Prospero needs his books until the very end of the play
-The game of chess within the play is extremely important, representing the political upheaval of the societal structures of the characters
-Motif of master and servant: Prospero and Ariel, Alonso and Gonzalo, Stephano and Caliban
-Oxymoron “Do thy good mischeif
-Hyperbole “Your tale could cure deafness”
-Miranda is quite naive
-Has had no human contact apart from herself and Prospero (assuming that the depiction of Caliban is not human)
-Not incapable of holding her own, shown in the scene where she verbally attacks Caliban
-Her plotline differs greatly from the other characters within the play
-Completely and irrationally in love with Ferdinand; idea of 'love at first sight'
-Falls deeply in love, maintaining and keeping that love throughout the play
-Miranda dotes on Ferdinand, describing him as a spirit and otherworldly
-Miranda is a very stereotypical Elizabethan woman; submissive
-Miranda softens the play as it as male-dominated, she being the only female character
-Marriage between her and Ferdinand bridges the gap between Alonso and Prospero
-Caliban doesn't have many lines, but he has a lot of stage time
-He comes across as malformed, pushed into slavery by Prospero
-He is very instinctual and self-centred
-Could be seen as a representation of the third world, particularly in modern contexts, and Prospero's invasion could be viewed as the English need to colonise
-Caliban's appearance key in highlighting audience's prejudice
Concept Statements
“Discovery allows us to view life in a new and fresh way”
-Miranda's discovery of Ferdiand
-Gonzalo's discovery of the island allows him to envision Utopia
-Ferdinand's discovery of the masque
-Prospero's discovery of Ariel's humanity
-Sebastian's discovery of Antonio's plot
-Alonso's discovery of Miranda and Ferdinand
-Caliban's rediscovery of Prospero
-Caliban's discovery of the true nature of Stephano and Trinculo
Defining Terms of Discovery
Discovery: New possibilities, seeing/hearing/finding something previously unknown
-Miranda's discovery of Ferdinand
-Discovery of plot to kill Alonso
-Courtiers' discovery of the island
-Prospero and Miranda discovering the island
Re-discovery: Discovering something lost, which you once had. Lost, forgotten or concealed
-Courtiers' rediscovery of Prospero on the island
-Alonso's rediscovery of Ferdinand
-Caliban's rediscovery of Prospero's power after plot fails
-Boatswain rediscovers courtiers and King
-Prospero revealing backstory for Miranda (reliving memories)
Impulsive: A sudden desire to do something out of wonder, desire or necessity without planning or prior contemplation
-Caliban going along with Trinculo and Stephano
-Miranda's relationship with Ferdinand (impulsive to all but Prospero and Ariel)
Unforseen: Something that is not expected or predicted
-Trinculo finding Caliban
-Resistance that Trinculo, Stephano and Caliban encountered on the island
-The Tempest
-Caliban discovering Prospero's forgiveness
-Sebastian and Antonio's plot to usurp Alonso
Planned: Predicted outcomes, already contemplated
-Prospero's command of the event
-Prospero's manipulation of the courtiers
-The Tempest
Serendipitous: An accidental discovery that is beneficial
-Ferdinand and Miranda finding each other
-Discovery of Caliban by courtiers
-Stephano finding wine
Fortuitous: When a discovery is positive for those involved
-When all discover each other
-When Trinculo, Stephano and Caliban discover the wine
-Ferdinand and Miranda discovering each other
Essential: Absolutely necessary or extremely important. Vital, even at the expense of one's wellbeing
-Prospero's discovery of the murder plot
-Miranda and Ferdinand's discovery of each other
Inquisitiveness: Inclination to explore and showing initiative
-Sending Ariel to investigate
-Alonso, after grieving, immediately wants to know what happened to Prospero and know about his art
-Ferdinand wanting to know about the spirits
Desire to learn: Wanting to gain knowledge
-Prospero wanting to know his art
-Caliban wanting to learn English
-Gonzalo wanting to know about the island
Evocative: Inspires further emotions or thought process
-Prospero trying to get Miranda to remember
-Memories of The Tempest
-The harpy
Awesome: Impressive or daunting
-The masque
-Harpy-Ariel
-Prospero's power
Emotional: In touch with emotions, free to express what they're feeling within
-Miranda and Ferdinand
-Miranda about the Tempest
-Awe at other men
-Ariel revealing compassion for the courtiers
-Alonso and Ferdinand's reunion
Spiritual: Being connected to spiritual world/realm
-Prospero's relationship with Ariel
-Harpy scene
-Ferdinand and the masque
-Gonzalo's connection to the island
Intellectual: Intelligent
-Prospero himself
Imagined: Non-existent, beyond the perimeters of the mind
-Discovering magical creatures (Gonzalo)
-Trinculo, Stephano and Caliban chased by dogs
Challenging: Difficult to face or overcome
-Alonso's loss of Ferdinand and his guilt
-The Tempest
-Ferdinand and his temporary enslavement
Uncomfortable: Ill at ease, physical or emotional awkwardness
-Caliban's original indenture to Prospero
-Prospero's relinquishing Miranda to Ferdinand
Disturbing: Traumatising or destructive to a person's being or mind
-Caliban himself
-Hell hounds
-The harpy
-Prospero remembering murder plot
Inflammatory: Possibility for something to evoke negative emotions in others, particularly aggressive
-Discovery of Prospero by courtiers
-Antonio's manipulation of Sebastian
-Ariel speaking for Trinculo “thou liest”
Innovative: Completely new or expanding upon an old idead
-Gonzalo's vision of Utopia
Ingenous: Clever, original, cunning
-Prospero's plan
-Both murder plots
Speculative: Trying to plan how something will pan out. Idealistic
-Gonzalo's utopia
-The masque
-Caliban serving Stephano
-Stephano, Trinculo and Antonio's analysis of Caliban and how he could make them money
Insightful: Able to guess how someone is feeling, looking into things that others can't see
-Prospero's epilogue
-Prospero bringing courtiers into the circle
-Realisation that he must return to the real world
-Ariel's discovery of the murder plot
Thought provoking: Makes individuals think about idea/ ideas presented:
-Antonio's manipulation
-Caliban to entrepreneurial characters
Responsibility: Obligation to a person or action
-Ferdinand's responsibility to Miranda
-Ariel's service
Self-realistion: Discovering something that has always been a part of oneself, or discovering a recent development within oneself
-Alonso's realising motivation behind his own actions
-Prospero realising he must forgo his art
-Miranda's fulfilling of her potential
Values driven: Being motivated by ones own values/ morals
-Alonso's repentance
-Caliban's revision of his contempt for Prospero
-Wanting to monetise Caliban shows societal values
Changes perspective: Change the way one looks at something, transforms one's outlook
-Harpy changes audience's perspective of Alonso
-Murder plot changes opinions on Antonio and Sebastian
-Pity for Caliban after Trinculo
Transformative: Catalyst for change
-Ariel-harpy
-Alonso's guilt and repentance
-Prosperp's experience
-Miranda and Ferdinand's union
Quotes
You taught me language, and my profit on’t
Is I know how to curse. The red plague rid you
For learning me your language! (I.ii.366–368) – Caliban to Miranda
This my mean task
Would be as heavy to me as odious, but
The mistress which I serve quickens what’s dead
And makes my labours pleasures. (III.i.1-7) -Ferdinand to Miranda
“Hell is empty and all its devils are here” - Prospero on the courtiers
“How beauteous mankind is! O brave new world that has such people in it” -Miranda on the courtiers
“Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade...” -Ariel's song to Ferdinand
“Now I will believe that there are unicorns...” Gonzalo, on the magic of the island
“Let us not burthen our rememberance with a heaviness that's gone” -Prospero to Alonso
“I’ll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I’ll drown my book.”* -Prospero's soliqloquy
“Now my charms are all o'erthrown”- Prospero's epilogue
“Why, what a fool was I to take this drunken monster for a God”- Caliban on Stephano
“What seest thou else, in thy dark backward abysm of time?” -Prospero to Miranda
The Night Face Up- Julio Cortazar
-Contradiction between real and dreamstate
-Self-discovery heavily apparent within the story
-Protagonist believes that the hospital dream is his reality
-Re-discovery as protagonist realises that the hospital 'reality' is actually his dream
-Audiences slowly discovers the reality of the situation he's in
-The true reality is indicated with the depth of description in the 'dream' compared to the hospital
-Character also expresses surprise with the inclusion of smells in the dream, a sensation which he's not used to
-Recurring motif of smells, present only throughout the run through the forest
-Repeatedly using the idea of smell, an indicator to the audience that perhaps the dream is more real than what the protagonist believes to be his reality
-Similarities between the dream and the reality
-The story starts with the protagonist hurrying, feeling as if he is going to be late to something
-This is reflected in the 'dream', as he runs away from the hunt, he is hurrying
- At one point he 'feels the taste of blood', the phrasing that he can't actually taste it, but rather is remembering the sensation
-Idea of something magical or imagined (in the case of the dream) is reflected within the Tempest
-Also, idea of action reflecting another reality, such as the hurrying in the dream and within the reality, is also shown in the chess game in the Tempest
-The lack of pain after the motor-cycle accident is indicative of the dream-like quality to the 'reality'
-The pain could be from real injuries he has in his waking world, pain which subsides with his sleep
-The easy and habitual way that the protagonist slips into the dream is reflective of Caliban's instinctual and war-like nature
-Again, the motif of sleep is recurrent in this story as with The Tempest
-To visit his two realities, the protagonist slips in and out of sleep
-Dreamlike quality to his 'reality' as night falls, leading him towards his discovery
-The true moment of discovery is not very dramatic, possibly even anti-climatic
-It's a moment of re-discovery, self discovery and pure discovery
-It is re-discovery and self-discovery in the sense that he learns of himself something that he already knew, deep-down, that he is an aztec warrior
-Also pure discovery that he discovers that the landscape around him, the war and the hunt are all real, and the hospital is all purely dream
-Also a moment of discovery in his capture, as he realises that it is to be the end of his life
-Discovery of the modern city and inventions by a man who is grounded within history as his reality
Quotes
“It was an unusual dream as it was full of smells”
“He managed to close his eyelids again, although he knew.. that he was awake, that the marvellous dream had been the other”
“He realised he was running in pitch darkness, although, above, the sky criss-crossed with tree-tops was less black than the rest”
Alice In Wonderland- Lewis Carroll
-Set in Victorian times (as is the time of it being written), a time which was pervaded by stories of self-reflection and inquisitiveness, both in fiction and non
-Identity crisis evident throughout the entirety of the novel, leading to self-discovery
-Recurring idea of religion throughout the piece
-Alice's journey is symbolic of universal growth and self-discovery
-She discovers much about herself within Wonderland
-As Alice encounters things within Wonderland, she discovers that these weaken and distort her self-image
-It is the encounter with the caterpillar that makes Alice discover that she doesn't truly know who she is anymore
-He asks for her identity and she discovers that she cannot confidently answer him
-Alice, in trying to explain her predicament, reflects a Victorian irony: trying to clarify one's identity or explain oneself generates confusion, significantly reduces the effectiveness of religion and creates a more disorganised worldview
-Initial escapades in Wonderland are full of discovery, finding that she is too big and too small to do things
-Alice discovers that time means something completely different in Wonderland, similar to the one hour that the Tempest is set in
-Everyone is trying to find order, however, the world around them is chaos
-Alice continuously tries to find herself
-Alice discovers that she is not only trying to find out about Wonderland, but is also actively seeking out answers about herself
-Similar to Prospero in the Tempest, as he discovers, while attempting to deal with the courtiers, he is also trying to come to terms with aspects of himself
-As the reader and Alice both discover that Wonderland was a dream, it shifts the focus of the story
-It becomes no longer a journey into a strange world, rather, a journey into the mind of someone experiencing an identity crisis
-The tonal shift within the last paragraph registers the change of narration
-As the focus shifts to Alice's older sister, she offers a perspective that changes the reader's outlook on Alice's journey
-Alice's perspective was chaotic and desperate- attempting to find to find a semblance of meaning within a meaningless world
-Her sister's is far more patronising and grounded
-Her sister muses on Alice's journey, ignoring the terrifying nature of it and focusing on the whimsy, content in her own understanding of the world and its order
-Could be compared to Antonio's rejection of Gonzalo's utopia
-Motif of drug use throughout the novel
-Used to further throw out Alice's sense of self, as she repeatedly changes sizes- a metaphor for psyche possibly, being not quite herself
Quotes
“'Who in the world am I?' Ah, that's the great puzzle”
“I knew who I was this morning, but I've changed a few times since then”
“'Where should I go?' asked Alice, 'That depends where you want to end up' replied the Cheshire Cat”
“'But I don't want to go among mad people' Alice remarked. 'Oh, you can't help that' said the Cat: 'we're all mad here. I'm mad. You're mad.'”
“'How do you know that I'm mad?' said Alice. 'You must be' said the Cat, 'or you wouldn't have come here'”
“The executioner's argument was, that you couldn't cut off a head unless there was a body to cut it off from… The King's argument was, that anything that had a head could be beheaded, and that you weren't to talk nonsense” -question into philosophy and logics, inkeeping with the tone of the novel and Lewis Carroll's own twisted sense of logic
Good luck!
DISCOVERY
Concept, not a theme. Theme is an idea that emerges from the text, whereas a concept is about both what (ideas) and how (technique). It is about what and how the composer represents ideas about discovery, but mostly how.
-Look at your own experience of discovery. Personal discovery, new experiences, new people, rediscovering past things, discovering things about yourself
-How discovery is looked at in and through prescribed and related texts
-How each aspect of discovery is stereotyped or automatically looked upon; the assumptions related to areas of discovery
-How the concept of discovery is conveyed through the use of people, relationships, societies, places, events and ideas ie how the text uses these things to communicate with the student the concept of discovery
-How the language and techniques etc. used by the composer affects how the audience perceives discovery in the text
-How reading these texts and ideas of discovery can help expand and deepen the student's understanding of themselves, the world and discovery
The Tempest- William Shakespeare
Act One Scene One
-Use of movement to create chaos within the opening scene
-Lines short and sharp, all actors out of breath
-Stage used creatively; actors on stage presented as being on the deck of a ship
-Model ship passed among actors within the audience, acting as a split view of the action on stage
-Model ship an objective (?) view of the ship
-Movement of actors emphasises actions, falling over as the “waves” crash
-Music created with modern instruments, yet all sound effects created in real time with Shakespearean techniques
-Tempest symbolises disruption of social hierarchy as Boatswain and crew yell at Alonso and other social superiors
-Use of language accurate to the people of the time, colloquialism and jargon used by mariners accurate to mariners of the time
-Actors move downstairs to represent sinking
Act One Scene Two
-Miranda is sweet and naive, and compassionate, and Shakespeare uses tears within the second scene of act one to immediately communicate that to the audience
-Prospero a man of magic; which was inkeeping with the nature of Elizabethan times
-Magic was considered to be a real aspect of the world and people studied it and attempted to practice it, so the fact that Prospero practised it was less far fetched as it is considered to be in modern times
-Miranda discovers that the Tempest was not intended to harm the occupants of the ship, only to impress and terrify them
-Prospero acts as a visible stage manager
-Characters on stage similar to chess pieces as he moves them around and creates situations around them
-Miranda discovers how she and her father ended up on the island; the result of Prospero's obsession with magic, and his subsequent usurping by Antonio
-Gonzalo rescues Prospero
-Comedic tones within this act, Prospero says to Miranda “Thine Father was the Duke of Milan” to which Miranda replies, “Are you not my father?”
-Another moment of discovery for Miranda as she learns of her father's prior status
-Idea of sleep recurrent throughout the play
-Miranda put to sleep after Prospero tells her of her past, and her memories of Milan have a dream-like quality to them in her recalling of them
-Prospero and Ariel also have a habit of putting people to sleep throughout the course of the play
-Prospero often reminds audience of Miranda's age, which is thought to be around 15 or so, by telling her to focus and pay attention; her shortened attention span a common trait of youth
-Her naivete also a clue to her age
-Prospero believes that he has used his years on the island well, having honed his magical abilities and raised Miranda to be a catch or prize
-The audience discovers the past between Prospero, Caliban and Miranda
-Respect and equality between Ariel and Prospero, as Prospero refers to Ariel as a “brave spirit”
-Contrasting contempt between Caliban and Prospero, Caliban being referred to as “poisonous servant”
-Audience discovers that Caliban once loved and revered Miranda and Prospero, showing them the island and its resources
-After an incident happened between Miranda and Caliban, which is suggested to be an attempted rape, Caliban falls out of the favour of Prospero and becomes a captive slave
-Ariel often appears from the air, jumping from the balcony (in this particular production) or climbing from pillars
-Caliban appears from the ground, coming out from a rock (again, within this production)
-Caliban throws back Miranda's teaching him of Elizabethan English, saying that his only profit of that is he now knows how to curse
-Through the song that Ariel sings to Ferdinand (while in the form of a sea nymph), he makes the discovery- which ultimately turns out to be false- that his father is dead
-Ferdinand and Miranda's discovery of each other is intricately planned out by Prospero and orchestrated by Ariel
-Prospero wants them to fall in love, Ferdinand being the third man ever that Miranda can remember seeing
-Ferdinand is overjoyed at having found a beauty on a deserted island, and discovering that she too speaks his language
Act Two Scene One
-Antonio and Sebastian are cynical in their outlook
-Both use short, direct and imperative (grammatical mood that forms demands or requests)
-However, phrasing is vulgar and colloquial, contrasting with their high social status
-Contrasts with the end of act one; Ferdinand is happy and excited with his new found love, whereas these men are miserable
-Antithesis between virtue and vice
-Virtue of Gonzalo and Adrien contrasted with the vice of Sebastian and Antonio
-Contrast circles around Alonso
-No major characters present, a scene which is made up entirely of minor characters so as to let the minor plot be fleshed out
-This lets audience discover the true nature of these characters
-Full range of characters within play, from the God-Like Prospero to the hated and enslaved Caliban
-Represents the “Chain of Being”, or the natural hierarchy
-Alonso is miserable for the major part of the play, due to his belief that his son is dead
-Discovery of the island leads to speculation of Utopia for Gonzalo
-He muses, in proper courier language, of how the island could be a place of Heaven upon Earth, with no King, no crime, no weapons, no authority, ease of life, nature in abundance
-All of these characters discover the exact same place, but to each of them, it represents something different
-For Gonzalo, it is the Utopia of his vision, for Antonio and Sebastian, it's the perfect opportunity to murder Alonso and usurp his throne, and for Alonso, it is his personal Hell, and the death bed of his son
-Ariel enters, invisible to all, and puts Alonso, Gonzalo and Adrien to sleep
-Antonio immediately succumbs to his vice, plotting to overthrow Alonso, and imagining his crown atop his head
-Sebastian is more hesitant, asking after Antonio's conscience, especially with him having already overthrown Prospero for power of Milan
-Antonio replies to Sebastian “Where is it?”, implying he has no conscience, and allowing the audience to discover his true nature
-Ariel wakes Gonzalo and Alonso just as Antonio and Sebastian draw their swords to kill them
-This follows with Prospero's plot to undermine Gonzalo and Alonoso's trust in Antonio and Sebastian
-This works to begin Gonzalo and Alonso's discovery of the true and traitorous behaviour of Antonio and Sebastian
Act Two Scene Two
- Caliban curses loudly, not caring that Prospero's spirits can hear him, nor that there could be consequences to his blasphemy
-This changes, however, when Caliban hears Trinculo approaching, thinking him a spirit
-He hides as Trinculo enters
-Trinculo sees Caliban and immediately assumes him a monster, beginning to consider how much money he could make off of displaying him back home
-Shakespeare uses clothes to make audiences question what is real and what is not
-The image of Caliban and Trinculo hiding under the cloak together emphasises this, as it creates what looks to be a four legged creature with no head
-This “what is real and what isn't” is also seen in Prospero's cloak, as he removes it to talk to Miranda, creating a definite difference between the Magician and her Father
-When Stephano marvels over the “monster” and wondering how it learnt English (or Italian, I don't know, Milan is in Italy so it gets confusing for me), he is reflecting Ferdinand's discovery of Miranda
-Stephano also reflects Caliban's plan to make money off of Caliban
-Caliban falls immediately into the same trap with Stephano as he did with Prospero, offering his servitude to him
-Lets audience discover a little more about Caliban's nature
-Caliban sees Stephano as divine, something that could be attributed to Stephano's giving of alcohol to Caliban
-Also with Stephano telling Caliban that he is the Man on the Moon
Act Three Scene One
-Prospero sends people on journeys of discovery upon the island
-This are journeys of both self-discovery, discovery of others and their nature, re-discovery (in the context of Antonio, Alonso, etc re-discovering Prospero) and discovery of new places
-Prospero strips those on his island of rank and title
-Reflected in the Globe Theatre and how audiences would be seated
-Also shown in this scene, where Ferdinand is shown carrying logs for Prospero, a task that someone of his societal status would normally not do
-Ferdinand's speech is full of paradoxes
-He embellishes the work and the toll it takes on him, but then compares it to Miranda, bringing a positive to the negative
-”My sweet mistress weeps when she sees me work”
-Shows both Miranda's compassiona and sensitivity, also Ferdinand's perspective on it
-Fairy tale elements
-Idea of love at first sight and true love heavily apparent in the romantic sub-plot
-Self discovery for Miranda
Act Three Scene Two
-Although the island represents the breakdown of class, there is still a sense of hierarchy
-Caliban is still placed into the role of servant, however, now he is indentured to a master far worse than Prospero
-Caliban shows allegiance towards Stephano through his lines
- “I shall like thine boot”
-Caliban shows distaste for Trinculo, not believing him as valiant as Stephano
-Caliban has completely changed, showing mindless trust in Stephano, which, while completely different to how he is in Prospero's service, is indicative of how he initially could have been with Prospero
-Stephano uses Caliban to his own purposes
-He defends Caliban when Trinculo insults him, saying,“the poor monster's mu subject, and he shall suffer indignity” while patting him on the head
-This indicates to the audience that, while on the surface he's assuring Caliban, the subtext is that he is on Trinculo's side and Caliban is, ultimately, a tool
-Caliban is oblivious to the condescension, letting the audience see that, underneath his brusque exterior, he is actually quite naive
-Caliban regales his story of how the island was stolen from him by Prospero
-Throughout the story, Ariel heckles, invisible, making Stephano and Caliban believe that it is Trinculo calling out
-This is another ploy on the behalf of Prospero in an attempt to sow dissension into the alliance
-Ariel's presence in this scene throws off the realism, adding a magical element
-It also suggests that Prospero is omniscient
-Caliban truly believes that Stephano has magical powers, assured by his “celestial drink”, his alcohol
-Caliban offers Miranda to Stephano
-This is a big gesture, as Caliban is besotted by Miranda
-Lets the audience and Stephano discover both how desperate Caliban is to be free, and how much he trusts Stephano to be able to kill Prospero
Act Three Scene Three
-Scene Three contrasts with the first two scenes, which are long and fairly uneventful, by being quite short and dramatic
-Ariel in this section is far more powerful than he has been and will be at any other point in the play
-He takes on the form of a harpy, which is far more menacing than his natural humanoid spirit form
-Ariel in this section is aggressive and assertive, determined to frighten the group
-Ariel is in stark contrast to the gentle nymphs that danced with the courtiers prior
-Ariel uses proper language
-As the Harpy, Ariel speaks the words of Prospero, a reflection of Prospero's god-like presence on the island
-Prospero is doing all he can to drive the men insane
-He's taking them out of their comfort zones completely
-Ariel screams at the men as they draw their swords, warning them that they are of no threat to him
-This leads to the men discovering that there are forces that even they cannot defeat; a discovery going hand-in-hand with the Tempest, and the courtiers lack of control over it
-Ariel beseeches the men with their usurping of Prospero, letting the men discover that their wicked deed is known of even upon a deserted island
-The toying with the courtiers has reached its crux at this point
-Prospero has now reached the point that he is out-right threatening the men
-This threat lets Prospero finally assume power over the courtiers, finally having achieved his goal of terrifying them
-Alonso is severely affected by the appearance of the Harpy and its accusations
-Alonoso claims that it is 'monstrous', and he is distraught at having his secret revealed, and by spirits who should know nothing of what they speak
-As Alonso grows sadder (due to the death of Ferdinand), his language becomes far more poetic and articulate
-Antonio has a far greater presence on stage than Alonso
-He is confident and powerful, and holds himself better than Alonso (In this production)
-The language he uses is far more brash than Alonso's, but is also more self-assured, making Alonso look weak in comparison
-This scene lets audiences discover true nature of Alonso, Antonio and Sebastian
-Alonso feels shame and remorse for his crime, whereas Antonio and Sebastian feel nothing, resolving to fight rather than make peace
Act Four Scene One
- Prospero “If I have too steely purified you, Your attitude makes amends”
-Prospero refers to Miranda as “that for which I live”, which reinforces the strength of their relationship
-Miranda seen as somewhat of a tool in Prospero's eyes, despite their strong bond
-Prospero passes Miranda off to Ferdinand, and though Ferdinand and Miranda do indeed love each other, Miranda is also the way through which Prospero will again gain power in Naples, by having his daughter marry into royalty
-The union between Miranda and Ferdinand brings Prospero power
-Prospero attempts to protect his daughter's chastity
-He warns Ferdinand that, if Miranda were to lose her virginity before marriage, she would become barren, and their marriage would crumble
-This places emphasis both on Ferdinand's power and also the Elizabethan ideals of female virginity
-Upon the island, Ferdinand does not have any of the power he would normally possess, taken away from both his castle and his father
-Miranda, on the other hand, is at her home, with her omniscient father
-On the island, Miranda holds the power in the relationship
-Ariel enters, invisible to all but Prospero, and looks at Miranda and Ferdinand, where they sit being smitten
-Ariel asks Prospero if he loves him
-Prospero waits a beat before replying “dearly”
-To counter this somewhat personal development in the relationship, Prospero immediately orders Ariel to take care of his duties (to bring the other spirits)
-This reinforces the master-servant relationship between them
-The masque is a decadent showcase of Prospero's power
-It shows the strength of his power and represents the spirit of his art
-Prospero's power is manipulative, but is more often than not used for good
-Prospero at one point describes his powers as “a vanity of mine art”, showing that even he sees it as showy
-Ceres is the spirit/god of Order and Plenty, which is indicative of Prospero, and his maintenance of order on the island
-Masques were reserved for state and court functions, which shows that Miranda and Ferdinand's marriage is an important event
-They represented peace and order, with the King and Queen often placed in the centre of the events
-This masque leads to Prospero forgetting about the plot on his life (by Trinculo, Caliban and Stephano)
-This also reflects the loss of his dukedom, Prospero becoming so caught up in his art that he forgets about the much more 'real' events going on around him
-Also forgetting both his mortality and his vulnerability
Act Five Scene One
-Prospero's luck has turned good, his plan having succeeded almost without incident
-Ariel claims that Gonzalo is the most remorseful of the entire group, referring to Gonzalo's tears as an act of nature
-Ariel is invoking compassion within Prospero, forcing him to feel far more human emotions, even though Ariel himself isn't human
-With this, Antonio and Sebastian have discovered a semblance of their conscience
-They are mad with fear
-Prospero's “Ye eleves of hills” soliloquy is often looked at as Shakespeare's goodbye to the stage and play writing
-The elves and midnight mushrooms could be referring to the fairies and witches of Midsummer Night's Dream and Macbeth
-The drowning of Prospero's book and cloak, and giving up of his magic could also reflect Shakespeare giving up his art
-This ties in with the idea of clothes, with the symbolism of Prospero throwing off his cloak that he is giving up his art
-Also indicative of the idea that magic doesn't exist in Milan
-The island is a place of magic, and of wonder, a place where impossible things happen regualrly
-The giving up of his art could be a symbol that Prospero is preparing to return to the real world
-More of the clothes as a symbol of power and magic, as Prospero redresses as the Duke of Milan before he appears before the courtiers
-Prospero discovers that he can be compassionate and forgiving, as he forgives Antonio, though this is not without demanding his dukedom be returned to him
-Prospero creates an emotional bond with Alonso, both grieving over the 'loss' of their children in the Tempest
-A curtain then pulls back, leading Alonso and the courtiers to discover Ferdinand and Miranda playing chess together
-This chess game is symbolic of the power play that has taken place on the island in the aftermath of the Tempest
-Alonso immediately accepts Miranda, begging her forgiveness for having her deserted on the island
-Prospero waves away his apologies, saying that the reconciliation is done
-This is the first time that all of the characters have been brought together on the stage
-While Prospero claims that he has given up his art and magic, it pervades the scene
-He is dressed in magic robes, holds the courtiers in a charmed circle, makes a magician-like spectacle of revealing Miranda and Ferdinand, and his last words of the play (before the epilogue) are a command to Ariel to keep the waters calm
-Only once the play is over, and Prospero is alone on stage, does he announce that all his charms are “all o'erthrown”
Other Notes
-Caliban and Ariel are both representative of Prospero's nature
-Caliban is akin to his brutish, more animalistic side, displaying his anger and lack of self control in some instances
-Ariel is his compassion, and is indicative of his omniscience, his magic, and also his wisdom
-Sebastian, Antonio, Caliban, Trinculo and Stephano all predominantly speak in prose, an aspect which is indicative of their harsher, more colloquial use of language
-Caliban, however, sometimes speaks in verse
-Concept of books within the play is extremely important to Prospero
-There is a power behind them; symbol of knowledge
-Prospero needs his books until the very end of the play
-The game of chess within the play is extremely important, representing the political upheaval of the societal structures of the characters
-Motif of master and servant: Prospero and Ariel, Alonso and Gonzalo, Stephano and Caliban
-Oxymoron “Do thy good mischeif
-Hyperbole “Your tale could cure deafness”
-Miranda is quite naive
-Has had no human contact apart from herself and Prospero (assuming that the depiction of Caliban is not human)
-Not incapable of holding her own, shown in the scene where she verbally attacks Caliban
-Her plotline differs greatly from the other characters within the play
-Completely and irrationally in love with Ferdinand; idea of 'love at first sight'
-Falls deeply in love, maintaining and keeping that love throughout the play
-Miranda dotes on Ferdinand, describing him as a spirit and otherworldly
-Miranda is a very stereotypical Elizabethan woman; submissive
-Miranda softens the play as it as male-dominated, she being the only female character
-Marriage between her and Ferdinand bridges the gap between Alonso and Prospero
-Caliban doesn't have many lines, but he has a lot of stage time
-He comes across as malformed, pushed into slavery by Prospero
-He is very instinctual and self-centred
-Could be seen as a representation of the third world, particularly in modern contexts, and Prospero's invasion could be viewed as the English need to colonise
-Caliban's appearance key in highlighting audience's prejudice
Concept Statements
“Discovery allows us to view life in a new and fresh way”
-Miranda's discovery of Ferdiand
-Gonzalo's discovery of the island allows him to envision Utopia
-Ferdinand's discovery of the masque
-Prospero's discovery of Ariel's humanity
-Sebastian's discovery of Antonio's plot
-Alonso's discovery of Miranda and Ferdinand
-Caliban's rediscovery of Prospero
-Caliban's discovery of the true nature of Stephano and Trinculo
Defining Terms of Discovery
Discovery: New possibilities, seeing/hearing/finding something previously unknown
-Miranda's discovery of Ferdinand
-Discovery of plot to kill Alonso
-Courtiers' discovery of the island
-Prospero and Miranda discovering the island
Re-discovery: Discovering something lost, which you once had. Lost, forgotten or concealed
-Courtiers' rediscovery of Prospero on the island
-Alonso's rediscovery of Ferdinand
-Caliban's rediscovery of Prospero's power after plot fails
-Boatswain rediscovers courtiers and King
-Prospero revealing backstory for Miranda (reliving memories)
Impulsive: A sudden desire to do something out of wonder, desire or necessity without planning or prior contemplation
-Caliban going along with Trinculo and Stephano
-Miranda's relationship with Ferdinand (impulsive to all but Prospero and Ariel)
Unforseen: Something that is not expected or predicted
-Trinculo finding Caliban
-Resistance that Trinculo, Stephano and Caliban encountered on the island
-The Tempest
-Caliban discovering Prospero's forgiveness
-Sebastian and Antonio's plot to usurp Alonso
Planned: Predicted outcomes, already contemplated
-Prospero's command of the event
-Prospero's manipulation of the courtiers
-The Tempest
Serendipitous: An accidental discovery that is beneficial
-Ferdinand and Miranda finding each other
-Discovery of Caliban by courtiers
-Stephano finding wine
Fortuitous: When a discovery is positive for those involved
-When all discover each other
-When Trinculo, Stephano and Caliban discover the wine
-Ferdinand and Miranda discovering each other
Essential: Absolutely necessary or extremely important. Vital, even at the expense of one's wellbeing
-Prospero's discovery of the murder plot
-Miranda and Ferdinand's discovery of each other
Inquisitiveness: Inclination to explore and showing initiative
-Sending Ariel to investigate
-Alonso, after grieving, immediately wants to know what happened to Prospero and know about his art
-Ferdinand wanting to know about the spirits
Desire to learn: Wanting to gain knowledge
-Prospero wanting to know his art
-Caliban wanting to learn English
-Gonzalo wanting to know about the island
Evocative: Inspires further emotions or thought process
-Prospero trying to get Miranda to remember
-Memories of The Tempest
-The harpy
Awesome: Impressive or daunting
-The masque
-Harpy-Ariel
-Prospero's power
Emotional: In touch with emotions, free to express what they're feeling within
-Miranda and Ferdinand
-Miranda about the Tempest
-Awe at other men
-Ariel revealing compassion for the courtiers
-Alonso and Ferdinand's reunion
Spiritual: Being connected to spiritual world/realm
-Prospero's relationship with Ariel
-Harpy scene
-Ferdinand and the masque
-Gonzalo's connection to the island
Intellectual: Intelligent
-Prospero himself
Imagined: Non-existent, beyond the perimeters of the mind
-Discovering magical creatures (Gonzalo)
-Trinculo, Stephano and Caliban chased by dogs
Challenging: Difficult to face or overcome
-Alonso's loss of Ferdinand and his guilt
-The Tempest
-Ferdinand and his temporary enslavement
Uncomfortable: Ill at ease, physical or emotional awkwardness
-Caliban's original indenture to Prospero
-Prospero's relinquishing Miranda to Ferdinand
Disturbing: Traumatising or destructive to a person's being or mind
-Caliban himself
-Hell hounds
-The harpy
-Prospero remembering murder plot
Inflammatory: Possibility for something to evoke negative emotions in others, particularly aggressive
-Discovery of Prospero by courtiers
-Antonio's manipulation of Sebastian
-Ariel speaking for Trinculo “thou liest”
Innovative: Completely new or expanding upon an old idead
-Gonzalo's vision of Utopia
Ingenous: Clever, original, cunning
-Prospero's plan
-Both murder plots
Speculative: Trying to plan how something will pan out. Idealistic
-Gonzalo's utopia
-The masque
-Caliban serving Stephano
-Stephano, Trinculo and Antonio's analysis of Caliban and how he could make them money
Insightful: Able to guess how someone is feeling, looking into things that others can't see
-Prospero's epilogue
-Prospero bringing courtiers into the circle
-Realisation that he must return to the real world
-Ariel's discovery of the murder plot
Thought provoking: Makes individuals think about idea/ ideas presented:
-Antonio's manipulation
-Caliban to entrepreneurial characters
Responsibility: Obligation to a person or action
-Ferdinand's responsibility to Miranda
-Ariel's service
Self-realistion: Discovering something that has always been a part of oneself, or discovering a recent development within oneself
-Alonso's realising motivation behind his own actions
-Prospero realising he must forgo his art
-Miranda's fulfilling of her potential
Values driven: Being motivated by ones own values/ morals
-Alonso's repentance
-Caliban's revision of his contempt for Prospero
-Wanting to monetise Caliban shows societal values
Changes perspective: Change the way one looks at something, transforms one's outlook
-Harpy changes audience's perspective of Alonso
-Murder plot changes opinions on Antonio and Sebastian
-Pity for Caliban after Trinculo
Transformative: Catalyst for change
-Ariel-harpy
-Alonso's guilt and repentance
-Prosperp's experience
-Miranda and Ferdinand's union
Quotes
You taught me language, and my profit on’t
Is I know how to curse. The red plague rid you
For learning me your language! (I.ii.366–368) – Caliban to Miranda
This my mean task
Would be as heavy to me as odious, but
The mistress which I serve quickens what’s dead
And makes my labours pleasures. (III.i.1-7) -Ferdinand to Miranda
“Hell is empty and all its devils are here” - Prospero on the courtiers
“How beauteous mankind is! O brave new world that has such people in it” -Miranda on the courtiers
“Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade...” -Ariel's song to Ferdinand
“Now I will believe that there are unicorns...” Gonzalo, on the magic of the island
“Let us not burthen our rememberance with a heaviness that's gone” -Prospero to Alonso
“I’ll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I’ll drown my book.”* -Prospero's soliqloquy
“Now my charms are all o'erthrown”- Prospero's epilogue
“Why, what a fool was I to take this drunken monster for a God”- Caliban on Stephano
“What seest thou else, in thy dark backward abysm of time?” -Prospero to Miranda
The Night Face Up- Julio Cortazar
-Contradiction between real and dreamstate
-Self-discovery heavily apparent within the story
-Protagonist believes that the hospital dream is his reality
-Re-discovery as protagonist realises that the hospital 'reality' is actually his dream
-Audiences slowly discovers the reality of the situation he's in
-The true reality is indicated with the depth of description in the 'dream' compared to the hospital
-Character also expresses surprise with the inclusion of smells in the dream, a sensation which he's not used to
-Recurring motif of smells, present only throughout the run through the forest
-Repeatedly using the idea of smell, an indicator to the audience that perhaps the dream is more real than what the protagonist believes to be his reality
-Similarities between the dream and the reality
-The story starts with the protagonist hurrying, feeling as if he is going to be late to something
-This is reflected in the 'dream', as he runs away from the hunt, he is hurrying
- At one point he 'feels the taste of blood', the phrasing that he can't actually taste it, but rather is remembering the sensation
-Idea of something magical or imagined (in the case of the dream) is reflected within the Tempest
-Also, idea of action reflecting another reality, such as the hurrying in the dream and within the reality, is also shown in the chess game in the Tempest
-The lack of pain after the motor-cycle accident is indicative of the dream-like quality to the 'reality'
-The pain could be from real injuries he has in his waking world, pain which subsides with his sleep
-The easy and habitual way that the protagonist slips into the dream is reflective of Caliban's instinctual and war-like nature
-Again, the motif of sleep is recurrent in this story as with The Tempest
-To visit his two realities, the protagonist slips in and out of sleep
-Dreamlike quality to his 'reality' as night falls, leading him towards his discovery
-The true moment of discovery is not very dramatic, possibly even anti-climatic
-It's a moment of re-discovery, self discovery and pure discovery
-It is re-discovery and self-discovery in the sense that he learns of himself something that he already knew, deep-down, that he is an aztec warrior
-Also pure discovery that he discovers that the landscape around him, the war and the hunt are all real, and the hospital is all purely dream
-Also a moment of discovery in his capture, as he realises that it is to be the end of his life
-Discovery of the modern city and inventions by a man who is grounded within history as his reality
Quotes
“It was an unusual dream as it was full of smells”
“He managed to close his eyelids again, although he knew.. that he was awake, that the marvellous dream had been the other”
“He realised he was running in pitch darkness, although, above, the sky criss-crossed with tree-tops was less black than the rest”
Alice In Wonderland- Lewis Carroll
-Set in Victorian times (as is the time of it being written), a time which was pervaded by stories of self-reflection and inquisitiveness, both in fiction and non
-Identity crisis evident throughout the entirety of the novel, leading to self-discovery
-Recurring idea of religion throughout the piece
-Alice's journey is symbolic of universal growth and self-discovery
-She discovers much about herself within Wonderland
-As Alice encounters things within Wonderland, she discovers that these weaken and distort her self-image
-It is the encounter with the caterpillar that makes Alice discover that she doesn't truly know who she is anymore
-He asks for her identity and she discovers that she cannot confidently answer him
-Alice, in trying to explain her predicament, reflects a Victorian irony: trying to clarify one's identity or explain oneself generates confusion, significantly reduces the effectiveness of religion and creates a more disorganised worldview
-Initial escapades in Wonderland are full of discovery, finding that she is too big and too small to do things
-Alice discovers that time means something completely different in Wonderland, similar to the one hour that the Tempest is set in
-Everyone is trying to find order, however, the world around them is chaos
-Alice continuously tries to find herself
-Alice discovers that she is not only trying to find out about Wonderland, but is also actively seeking out answers about herself
-Similar to Prospero in the Tempest, as he discovers, while attempting to deal with the courtiers, he is also trying to come to terms with aspects of himself
-As the reader and Alice both discover that Wonderland was a dream, it shifts the focus of the story
-It becomes no longer a journey into a strange world, rather, a journey into the mind of someone experiencing an identity crisis
-The tonal shift within the last paragraph registers the change of narration
-As the focus shifts to Alice's older sister, she offers a perspective that changes the reader's outlook on Alice's journey
-Alice's perspective was chaotic and desperate- attempting to find to find a semblance of meaning within a meaningless world
-Her sister's is far more patronising and grounded
-Her sister muses on Alice's journey, ignoring the terrifying nature of it and focusing on the whimsy, content in her own understanding of the world and its order
-Could be compared to Antonio's rejection of Gonzalo's utopia
-Motif of drug use throughout the novel
-Used to further throw out Alice's sense of self, as she repeatedly changes sizes- a metaphor for psyche possibly, being not quite herself
Quotes
“'Who in the world am I?' Ah, that's the great puzzle”
“I knew who I was this morning, but I've changed a few times since then”
“'Where should I go?' asked Alice, 'That depends where you want to end up' replied the Cheshire Cat”
“'But I don't want to go among mad people' Alice remarked. 'Oh, you can't help that' said the Cat: 'we're all mad here. I'm mad. You're mad.'”
“'How do you know that I'm mad?' said Alice. 'You must be' said the Cat, 'or you wouldn't have come here'”
“The executioner's argument was, that you couldn't cut off a head unless there was a body to cut it off from… The King's argument was, that anything that had a head could be beheaded, and that you weren't to talk nonsense” -question into philosophy and logics, inkeeping with the tone of the novel and Lewis Carroll's own twisted sense of logic