Category: The Tempest

Little Women

Little Women is a film that has been remade countless times, and the most recent remake was released in 2019. The previous film Little Women was shown on the screens in 1994 and starred such Hollywood stars as Wynona Ryder and Kirsten Dunst, while the 2019 version involves Saoirse Ronan and Florence Pugh. The main difference between the two versions is the depiction of characters. For example, the mother in the family in the 2019 remake is presented as a kind woman without any sins, with her daughters claiming that she is never angry and her partly corroborating this statement, claiming that she is learning to not let it get the better of [her] ( 00:52:31). On the contrary, in 1994 version, Marmee is illustrated as an ordinary person. In one part, one of the sisters even mentions that Beth needs Marmee. She depends on her, which illustrates the importance and strength of the mother (Little Women, 00:51:09). Thus, here, Marmee, the mother, is the person on whom the household relies.

A Modest Proposal

In the excerpt from Jonathan Swift, the author uses satire to raise the issue of human value. He proposes an outrageous method of rearing male children for them to be reserved for breed, and to nourish them, to make them plumper, as if one cares for the cattle. Here, the satire can be seen with the phrases such as the remaining hundred thousand may, at a year old, be offered in sale to the persons and let them suck plentifully in the last month, so as to render them plump, and fat for a good table, which seems as if one is talking about animals. This is where the underlying message is, which is to stop treating the malnourished and poor part of society as animals and, instead of perceiving them in this way, start to help them.

The Tempest

The central themes of the drama The Tempest are mercy and revenge. For example, the first theme can be seen from the approach of Prospero, who seeks revenge on others, praying to let them be hunted soundly (Shakespeare 77). However, in another scene, Prospero shows mercy to Antonion by claiming, I do forgive thee, and stating that they, as brothers, have a bridge between them, and Prospero abandoned the love he once had for his sibling (Shakespeare 81). Therefore, the author draws a parallel between the beliefs of the characters.

Works Cited

Little Women. Directed by Gillian Armstrong, performances by Wynona Rider, Kirsten Dunst, Columbia Pictures 1994.

• Directed by Greta Gerwig, performances by Saoirse Ronan and Florence Pugh, Columbia Pictures, 2019.

Shakespeare, William. The Tempest. Collins, 1806.

In his play The Tempest, William Shakespeare illustrates the transformation of many characters who have to re-evaluate their values, attitudes, and perceptions. This paper is aimed at discussing such a person as Ferdinand whose love for Miranda is one of the main themes explored in this play. He has to discover several important qualities such as responsibility and ability to love. These are the things that he lacks at the beginning of this play. This person is important for the author because he demonstrates how love can change an individual, his behavior, and perception of the world. These questions should be examined more closely.

It should be noted that Ferdinand is present in the first scene, but he does not take part in the conversation. Certainly, one can assume that he is frightened. Moreover, Ferdinand is forced to accept that his life can soon end. Nevertheless, it is not possible to make accurate conjectures about his experiences. Overall, one can argue that Prospero is able to test Ferdinands qualities and intentions. Aerial, who serves Prospero, separates Ferdinand from his father; as a result, Ferdinand comes to the belief that his father and friends have perished. Therefore, he is forced to act independently. This character quickly forgets about his loss, when he sees Miranda and falls in love with her.

To a great extent, this example indicates the flippancy or light-mindedness of this character. He promises to make Miranda the queen of Naples without even mentioning his father Alonso, who could have died (Shakespeare 45). Moreover, it does not even occur to Ferdinand that he cannot fulfill his promise. This is one of the details that can attract readers attention.

Additionally, Fernandos affection for Miranda bears a close resemblance to lust at least at the beginning. He does not think about the need to care about Miranda However, he eventually understands that Miranda is different from other women. The following quote illustrates Ferdinands experiences,

for several virtues

Have I liked several women; never any

With so full soul (Shakespeare 93).

In other words, he sees that this girl can transform him. By allowing Ferdinand to talk to Miranda, Prospero enables this character to reject his previous outlook. In particular, Ferdinand learns that he can be fully dedicated to another person. Moreover, he understands that love implies some responsibility for the wellbeing and dignity of a woman. For instance, he assumes an obligation to arrange a formal marriage with Miranda (Shakespeare 121). In the past, he did not act in this way, because his behavior was driven mostly by lust, rather than love. This is the main change that Ferdinand undergoes. To some extent, this transformation was caused by Prospero manipulations. His magic makes other people discover their true selves. This is one of the main arguments that can be put forward.

On the whole, these examples indicate that Prosperos actions prompt Ferdinand to discover the hidden qualities. In particular, Ferdinand discovers that he can be committed to the needs of another person. Shakespeare focuses his attention on the behavior of this character because in this way he tries to show love should not be confused with lust. Ferdinands transformation highlights the difference between these notions. This is one of the main aspects that should be taken into account by the readers of this play.

Works Cited

Shakespeare, William. The Tempest, New York: Simon & Schuster, 2004. Print.

William Shakespeares play The Tempest provides an in-depth description of the extent to which humans have subjected their fellow humans to injustices.

One of the most well described forms of injustice is slavery. Throughout the play, the theme of servitude is shown by the inability of various characters to obtain personal freedom. However, Acts III and IV move the theme of servitude into deeper and more complex levels, describing various forms of servitude.

In Act III, scene 1, different forms of servitude are evident. First, the reader is able to recognize that Ferdinand is committed to serve Prospero, a fact that he does not like. To make his duties to Prospero look pleasant, he assumes that he is working for Miranda, the woman he loves. In Ferdinand, the reader can perceive different forms of servitude. For instance, the love he has for different women clear indicates service to humanity.

Although he feels that his love for Miranda is real, he sees the love he has for other beautiful women as a form of slavery. For instance, in this act he is quoted saying, &Full many women/ I have had best regards, and many times, the harmony of their tongues has taken me into bondage&

In addition, Ferdinand is used to show the theme of service to duty. For instance, his loyalty to Prospero is for a reason- he wants to win Mirandas heart. Although he does not like his status, Prospero agrees that Ferdinand has loyalty and endures the wooden slavery (carrying heavy logs).

In the conversation between Prospero and Ferdinand, it becomes clear that Prospero sees Ferdinand as a loyal servant rather than a slave. In this case, it is clear that the reference to Caliban is used to show the different forms of servitude. For instance, Caliban is a total slave, whose entire life revolves around his services to Prospero. On the other hand, Ferdinands service to Prospero is not forced but dedicated to win Miranda.

The fact that Ferdinand humbles himself, both literally and physically, when he talks about his dedication to Miranda, is a clear indication of another form of servitude. He has mentally been enslaved by his love for the girl. On the other hand, Miranda speaks of a similar form of servitude, but in her own accord.

For instance, she says that her fathers precepts are somewhat a form of bondage to her, but she disregards them. In fact, it is clear that Prosperos presence in the scene is used to show his control Miranda.

In Act III scene II, the theme of servitude is elaborated further, but in the form of service to man. For instance, Caliban has become a servant to Stephano, who refers him as servant monster. In addition, Stephano, who is now the lord of the Island, controls Trinculo.

He threatens to kill him if he disobeys. Secondly, the Scene also reveals that a sorcerer in the island has held the invisible Ariel hostage. He is not able to leave the island, thus becoming the sorcerers slave.

In Act IV, it is clear that Prospero has been enslaved by his commitment to protect Miranda. In fact, he protects her virginity. He believes that it is his duty to ensure that she gets the right man at the right time, and is protected from lust displayed by love-hungry men.

In conclusion, the theme of servitude is portrayed in a deeper and more complex level. There is evidence of slavery versus duty. While such characters as Caliban are actual slaves, others like Ferdinand and Prospero are held hostage by their dedication for such issues as love and duty for Miranda respectively.

Such notions as personal identity or the Self have always been a subject of thorough psychological analysis. It is believed that under certain circumstances, the way in which a human being defines oneself may change. Writers and philosophers have always tried to explore this transformation. This process has been eloquently described in Platos book The Phaedrus and in Shakespeares play The Tempest. Naturally, the two authors try to do in drastically different ways.

Overall, it is quite possible for us to say that in terms of plot development, The Tempest is not a typical play of Shakespeare. The thing is that, as a rule, the dramatist gave preference to direct chronological order, but this comedy differs from the rest of his works. In particular, the opening scenes in the majority of Shakespeares comedies outline the development of the plot, whereas in The Tempest, the first scene gives the reader vertically no clues about what the play is mostly about. Only as the story progresses we may learn some information about the main characters. In this respect, Shakespeare wants Prospero to act as a narrator because the author wants to make the reader look through the eyes of the protagonist.

We may say that Prospero, the protagonist redefines himself several times: first, when he is forced to live on an isolated island, secondly, when he finally meets his rival and brother Alonso. When Prospero is exiled from his dukedom, he is still able to act as a true master. In fact, he becomes a true master of this place, where everyone under his command. It seems that Prospero has invented a new dukedom for himself, where he may have unlimited authority. In order to substantiate this statement, we refer to Gonzalos words, who says that Prospero has found his dukedom in a poor isle (Shakespeare, 138)

The second transformation is mostly connected with his daughter Miranda, when he finally analyzes that he has something more precious than power, particularly his daughter. However, it seems that the protagonist is still more concerned with authority.

Shakespeare describes the genesis of Prospero, showing how the views and beliefs of the main character change with time passing. In addition to that the playwright attracts the readers attention to this inner development by means of some stylistic devices and symbols, whereas Plato gives preference to logical argument. Socrates, the protagonist of many Plato works (and his teacher) represents the philosophers views. First, it should be pointed out that Prospero is a former Duke of Milan, and certainly once, he was a man of power, however, he was banished from the country, and now he has to live on the isolated island. This man is accompanied only by his daughter Miranda, who does not anything about his past. Although it is not explicitly stated in the text, it is quite possible for us to say that Shakespeare stresses the idea that in the overwhelming majority of cases, people define themselves in the wrong way or attach importance to some minor aspects of their life. As a result, they are not able to evaluate their actions in an adequate way. For instance, he calls his brother perfidious (Shakespeare, 14). It should be also taken into consideration that he refers to oneself in the third person, he says,

And Prospero the prime duke being so reputed
in dignity. and for liberal arts
Without a parallel ! (Shakespeare, 15)

The main character believes that he was unjustly deprived of his title and, what is more important the power. He claims that his brother Alonso is a usurper, however as it turns out, Prospero also wants to assume full control over other people, surrounding him. It will not be an exaggeration to say power is a sort of entertainment for him. In order to substantiate this statement, we may discuss the way in which he treats Ariel, whom Prospero is very reluctant to set free in spite of all his appeals. Moreover, he chooses to play with Ferdinand and his daughter Miranda, the protagonist departs the protagonist separates them for a while, though he knows it perfectly well that they are in love with each other.

To a certain degree, Prospero believes himself to be a playwright or even puppeteer. In this respect, it should be mentioned that Shakespeare deliberately makes Ferdinand and Miranda play chess, to emphasize the idea that these events remind a game of chess, and Prospero is the main player. This symbol also indicates that the main character mostly defines himself and a man, who above all desires power, which has become his main priority.

Only at the very end of the play, Shakespeare makes Prospero more compassionate and therefore more sympathetic. Namely, the main character is able to forgive his brother, Alonso, the person, who took his dukedom. In addition to that, he finally thinks about the happiness of his daughter. He also sets Aerial free, though very reluctantly.

Unlike Shakespeare, Plato does not focus on power in particular, he mostly stresses the idea that very often, a human being has a distorted image of oneself, why he or she may be unable to correctly identify his or her main goals. Socrates, Platos teacher and the main character of The Phaedrus says, I must first know myself, as the Delphian inscription says; to be curious about that which is not my concern, while I am still in ignorance of my own self (Plato, 5). Throughout the text, Socrates stresses the fact that that people may often be ignorant though they do not realize it.

The Phaedrus is constructed in the form of a dialogue or even dispute between Socrates and Phaedrus. The opponent of the famous philosopher attempts to prove that the art of rhetoric relies on the knowledge of truth:, Socrates rejects this idea by saying that the truth is a subjective notion and it can be easily distorted.

While speaking about Platos idea of the Self, we should say that he stresses the significance of doubt, which allows a person to a correct image of oneself. Socrates says that to some extent, every wise man is prone to doubt whereas fools always reject doubt deeming it unnecessary (Plato, 5).In Platos opinion, the ability to question the rectitude of ones actions is the necessary condition for any person, who claims to be wise.

In addition to that, Plato argues thatthat a person must realize that such notion as absolute truth does not exist. What a human being knows about oneself exists only in his or her consciousness. The author wants to prove that the perception of the world and oneself is often subjective, and thus it can easily be erroneous.

While arguing with Phaedrus, Socrates says the difference between the real and imaginary is almost impossible to see (Plato, 74). Thus, it is also difficult to see the difference between good and evil, justice and injustice. The main problem is that wise people know it, whereas fools are firmly convinced that reality and dream are quite distinguishable. Both, Plato and Shakespeare believe that a person prefers to live in the worlds of his dreams, deeming it the real one.

Therefore, it is quite possible for us to arrive at the conclusion that both authors explore the concept of personal identity in the following ways, first, in the Tempest, Shakespeare shows that a person is often inclined to redefine oneself as Prospero does. In particular, this character finds a new kingdom for oneself or even invents it. In his turn, Plato analyzes the nature of knowledge, particularly its subjectivity. Apart from that, he believes that a person must never reject doubt while defining oneself, ability to doubt distinguishes a wise man from an ignorant one. Finally, in Platos view, a human should first get a correct image of prior to influencing views of other people. If we try to draw the parallels between these two works, we may say that both Shakespeare and Plato show that we often create illusion for ourselves and believe them to be the real world.

Bibliography

William Shakespeare, John Edward Friend, Northrop Frye. The Tempest. Plain Label Books, 1959.

Plato. Benjamin Jowett. Phaedrus Forgotten Books, 1975.

Introduction

Literature is an art form that has existed in society for centuries. It serves various purposes depending on the intention of the author of a given work. Some literary works serve solely for entertainment to diminish the stresses of everyday life by clearing the mind through laughter and inspiration. Other forms are solely educational, and thus they impart knowledge above any other aspect. Some authors write books in the form of testimonials that serve as an inspirational aspect through the aid of shared experiences. Others still take the form of descriptive text used to describe the society and its complexities. However, most works combine two or more of the aspects above to appeal to a greater audience with different tastes for literature. Most literary works contain specific themes that contain the ideas that an author wishes to convey. Writers base these themes on life experiences, personal ideas, and imagination. Some of these works focus on a single theme, while others consist of a cocktail of themes to convey different messages. Some of these themes portray ideas that entice the thought process of the reader or audience and suggest that they look at things for more than they appear at face value, as they are not necessarily, as they appear.

This essay explores the theme of utopia. Some scholars have criticized this theme for being just an expression of mere fantasy. Australian aphorist Gerald Dunkl describes the word as one that is, &used for something that one is not willing to change (Mather 111). Scott Maisano, in his essay Reading Underwater, describes it as a fantasy of fluency. These premises raise two questions, viz. is utopia just a mere fantasy, and does it have any use in literature. Utopia is more than just a theme. It stands for something and is applicable in the conveyance of crucial messages that underlie the text. This essay answers these questions through a discussion of what this theme entails, as well as some of the functions it fulfils in literary works. The Tempest, a play written by William Shakespeare, will be the main text in this discussion. Other similar texts that will serve the purpose of providing support and contrast include Gullivers Travels by Jonathan Swift, New Atlantis by Sir Francis Bacon, Prosperos wife by Stephen Orgel and Scott Maisanos essay, Reading Underwater.

The tempest: a summary

A summary of the main text is necessary to understand how the theme fits into the story and this discussion in general. The Tempest is a play written by William Shakespeare in the 17^th Century, around the year 1610. William was an author and playwright who started his successful career in London in the mid-1980s. The play centres on the character Prospero, a magician whose younger brother, Antonio, deposed with the help of Alonso, the king of Naples. He was the duke of Milan and had a three-year-old daughter, Miranda at the time. Gonzalo, the kings adviser, loads a boat with plenty of food, water, and Prosperos most prized books, in which Miranda and her father Prospero sail to a seemingly uninhabited island and stay there for twelve years. According to Shakespeare, Prosperos magic comes from the deep knowledge that he possesses due to years of reading. The island is also home to an evil magician, Sycorax, who moves after that people banish her years ago while pregnant with her son, Caliban. She dies and leaves Caliban, which is a monstrous-looking creature conjured out of the earth on the island with a spirit, Ariel, who is trapped by Sycorax in a tree for refusing to do her dark biding.

Prospero and Miranda find these two at the island and figure out a way to co-exist, with Prospero claiming title to the island, Miranda playing the ever-obedient daughter, Caliban, as Prosperos servant and Ariel reluctantly helping Prospero with his magic after Prospero releases him from the tree. Ariel executes his duties with the hope of earning his freedom. On the island, Prospero divines that his brother is close by and on a ship. He uses his magic to conjure up a storm, the tempest, thus causing the ship to capsize and bring his brother Antonio, the king Alonso, his son Ferdinand, his brother Sebastian, and the kings aide Gonzalo to the island. With the help of a masque created by her father using magic, Miranda falls in love with Ferdinand, the kings teenage son. Sebastian, the kings brother, with the help of Antonio, plots to kill the king for Sebastian to inherit Alonsos kingdom in Naples. Prospero uncovers the plot, forgives Antonio, Sebastian, and Alonso for their acts of betrayal, drowns his books, and as a final task to attain freedom, asks Ariel to create good weather for them all to sail back home for the marriage of his daughter Miranda to Ferdinand.

Utopia: the purpose of the theme

Utopia, in its simplistic definition, underscores what an individual or people perceive as a state of perfection. This state of perfection can either be of physical manifestation such as a perfect place or country, or in ideology such as in the behavioural patterns of people. The oxford dictionary defines utopia as an imaginary place or state of things in which everything is perfect (Kumar 116). More often than not, utopia as an idea is a resultant conception of society by people based on what the people view as societys shortcomings. With such insight, utopia is a subjective concept with each individuals view being different depending on ones society, the culture he or she is accustomed to, and his or her surrounding environment. Some of the factors that shape peoples perceptions of utopia include, but are not limited to, a societys moral values, governance, family dynamics, and interactions amongst people of different strata, education, and general observations on normal human behaviour.

As mentioned earlier, the theme has various uses in its application to literature. One such purpose is the general description of the authors perception of idealism or perfection. In the main text, Shakespeare describes the island as a form of utopia. It is a place of acceptance for all without discrimination. He gives an illustration of the fact that Sycorax seeks solace on the island and lives there peacefully until her death (Shakespeare 12). Her monstrous son, Caliban, also lives on the island peacefully before the arrival of Prospero and Miranda, and they live there for twelve years (Shakespeare 9). Shakespeare also describes his idea of an ideal woman through the character of Miranda. Although Miranda is not a very active character, she serves as a contrast to what the author regards as the real character of women, viz. stained with infidelity. In the play, Prospero provides the audience with evidence of this character from his description of his wife and his mother. He implies that although his wife is virtuous, he only believes Miranda is his daughter because her mother said so (Shakespeare 59). In the essay, Prosperos Wife by Stephen Orgel, the author explains that women, as a class, are not depicted as virtuous in the play (Orgel 1). He also makes note that this aspect is a resounding perception that Shakespeare depicts in some of his other works (Orgel 2). Mirandas role is different for she remains chaste, submissive, and obedient to Prospero as her father and as the ruler of the island in the entire play.

Another example of idealism as associated with utopia is Shakespeares description of the society on the island as opposed to society in Milan. On the island, everybody knows his or her place, and there is a sense of harmony even in the face of disagreements. For instance, although Caliban does not agree with Prospero for making him a slave, he follows the order set in place by Prospero (Orgel 5). Ariel also plays his part in assisting Prospero with his magic and Miranda stays chaste. In contrast, women are not as virtuous, and those that oppose authority work against it as Antonio does by deposing Prospero and thus betraying him. Lastly, Shakespeare illustrates his idea of an ideal family in his description of the family unit on the island. In his essay, Orgel notes that in the majority of Shakespeares works, the family unit only has one parent. It is usually a chiastic relationship consisting of either a mother and her son(s) or a father and her daughter(s), as is the case with Miranda and Prospero (Orgel 6). None of Shakespeares works has a two-parent family. Orgel attributes this aspect to a similarity in the authors life experience. Orgel explains that Shakespeare had a wife and three children. However, a few years after the birth of the last children, which were twins, Shakespeare moved to London and stayed there throughout his life except for the last three years in which he moved back to his family.

He adds that this experience might have contributed to Shakespeares view of the ideal family. A similar idea of idealism and perfection is also evident in Jonathan Swifts Gullivers Travel, where the main characters ship capsizes causing the death of some of its crew and throwing Gulliver into the ocean. He swims to shore and arrives in Lilliput, which is a land similar to England, but utopian. It is a peaceful place where everyone is happy and the rule of law if followed strictly, thus bringing order to society just like on the island. However, a notable difference between stories is the idea of an ideal woman. Jonathan Swift portrays a picture of gender equality in the story, by stating that education is important for the boy as well as the girl child and that letting an uneducated woman bear a child and raise that child would be a form of brutality to the child, which is an act that is not tolerable in Lilliput. This perception is different from Shakespeares image of a submissive woman who accepts the man as the head of the family and respects the mans superiority.

Another purpose that the theme of utopia serves is that it enables the writer to talk about some of the things that society regards as forbidden or taboo. In The Tempest, the issue that is mainly a taboo is magic. In the 1600s, many revered magic as an evil art that went against the laws of Christianity and science. Any form of belief that the people considered religious and unexplainable was thought to be unchristian and thus a form of sorcery or magic (Orgel 8). During the Era of King James I, magic or sorcery was dealt with by the forming of the inquisition, which was an institution set to establish whether a person was indeed practising magic or pure science. However, critics say that most corrupt leaders used that instrument of law to get rid of anyone whose property they had an interest in, and who refused to sell it to them. The society often regarded women as property, with the men in the family marrying them off to other men at their pleasure in exchange for wealth. In the play, there is a portrayal of magic as a form of power.

Prospero employs thaumaturgy to moderate and wangle the environment and situations so that the outcome of an event ends up being in his favour. He manipulates the weather by creating a tempest to bring the people that betrayed him to the island. He also asks Ariel to put everyone except Sebastian and Antonio to sleep, a situation that allows the two to form a conspiracy to assassinate the king. Antonio asks Sebastian to kill his brother Alonso to inherit his brothers title as king and Sebastian agrees on the condition that he kills Gonzalo. After the discussion, but before anything is done, Ariel awakens Gonzalo to prevent the crime from happening (Swift 66). However, Prospero lets go of his legerdemain as the play closes before returning to his dukedom in Milan for the marriage of his daughter to Ferdinand. The drowning of his prized books depicts evidence of lack of magic.

In contrast to magic as the source of power in the play, science is the source of power in the novel New Atlantis by Sir Francis Bacon. In the story, a storm causes a ship to veer off its course, an event that takes the crew somewhere in Peru. They find the island of Bensalem, where everything about it is perfect from the societys organization, its moral standing, and education, which is mostly scientific. The people value education and evidence of this observation is the name given to describe the research facility, the Salomon house. The people refer to it as the eye of the kingdom. The leaders exclusively control the scientific studies and use them for the benefit of society. As it is a perfect society, there exists no corruption among the leaders and thus no conflict necessitating laws that guard against it. The head of Salomon house explains this virtuous nature of the people by stating, &there is not under heaven so chaste a nation as this of Bensalem (Bacon 20). He goes further to describe what he knows of Europe to provide a contrast by saying, &I have read in one of your European books, of a holy hermit amongst you that desired to see the spirit of fornication; and there appeared to him a little foul, ugly Aethiop (Bacon 20).

Another role of utopia in literature is that it provides an avenue to discuss social and political issues without getting into trouble with the authorities. For instance, in The Tempest, there is the issue of deposition. Prospero is angry with his brother for deposing him even after twelve years. At the time he is deposed, he accepts the situation calmly by saying, The government I cast upon my brother&to him put the management of my estate (Orgel 11). Orgel suggests that he might have had a hand in his deposition by being at fault for something that the story does not disclose. This issue has sparked criticism on the aspect of whether the deposition was an act of betrayal or a necessary act for the good of the society. Scott Maisano, in his essay Prosperos Wife, justifies the deposition as an act that was a result of Prosperos indulgence in the personal pleasures of reading books of magic at the expense of issues of governance (Maisano 77). Maisano thus implies that the deposition was necessary and not an act of betrayal, as Prospero would lead the reader or audience to believe. Antonio was thus right to take over the dukedom of his brother for the good of society. Another aspect of underscoring this perception hinges on the fact that during the time Shakespeare wrote the play, going against the authority had serious implications, and the state often regarded such a move as an act against the crown, thus a treasonous act, which is an offence punishable by death.

Perhaps Prospero chooses exile to spare his daughter from such wrath and come up with damning proof of Antonios treachery. In Act V, the scene where Prospero forgives Antonio, Orgel notes that Prosperos utterance of the phrase, &at this time I will tell no tales (Shakespeare 128), is perhaps an indication that his forgiveness is conditional. Also, if the need were to arise, he would spill the beans on Antonios attempt to kill the king and become the succeeding kings courtier. He also highlights the fact that Antonio does not ask for his brothers forgiveness or indicate his acceptance of it, perhaps suggesting that it is not an act that he is happy with and only accepts it for the lack of choice in the matter. This assertion holds mainly due to the implications that arise out of the entire situation.

Similarly, in Swifts Gullivers Travels, certain crimes attract penalties as serious as death. For instance, the people of Lilliput do not take crimes such as fraud kindly. They consider it as a crime that is worse than theft. They consider contriving to take away the right of a person to his or her honest earning as a grievous crime that is only punishable by death. However, they do allow the person accused to prove his or her innocence. If such proof is sufficient to warrant dismissal, the accuser is likely to be dealt with by the application of the same punishment for wrongly accusing someone of a crime that would cause the loss of his or her life (Swift 67). The effect of such strict rules is that they deter people from committing a crime and keep them from accusing others of grave crimes unless they are very sure about the facts.

There is also the issue of Shakespeares depiction of women in society as inferior and lacking virtue. This topic is likely to attract uproar if discussed in the open or expressed openly in literal works. The idealism created by utopia is thus a witty way of providing contrast by the description of both an example of a woman in society and one in the utopian ideology. For instance, in the play, it is easy to note the depiction of Sycorax as an evil and manipulative woman whom the people banish into the island and has a monstrous fatherless child. In contrast, the author gives Miranda, a girl who grows up on the island and away from the society in Milan, which is the description of a chaste and obedient woman who would make a good wife for Ferdinand. The issue of the age of marriage is also evident in the play. During the 1600s, people who married their children off during their teenage were mainly from royal families. The custom for the rest of the population was to get married at an older age. For instance, Shakespeares wife was twenty-four when they got married, and his two daughters were in their twenties when they tied the knot. However, Shakespeare was eighteen when he married, which is perhaps an indication of why he considers teenage as the ideal age for marriage. Also, the only woman in the play is Miranda. The author only includes the rest of the female cast by brief reference, which is a depiction of the inferior role that they play both in the play and the authors idea of their societal role (Orgel 6).

The fourth purpose of utopia as a theme in literature is that it acts as a suggestive tool for the changes that the author thinks are necessary for society. Shakespeares depiction of an ideal society and his description of utopia is as his way of suggesting what would make society a better place. An example of such instance is the scene where Prospero and Caliban argue over who has the rightful claim over the island. Caliban believes that he owns the island by inheritance from his late mother. Orgel sees this stand as evidence of Calibans dimwittedness as an intelligent person would argue on the aspect of first possession. Caliban was on the island first and thus had a rightful claim over the island (Shakespeare 58). However, his argument over inheritance causes him to lose his claim to Prospero, thus making Prospero the new owner and leader of the island. Prospero argues that Calibans claim based on inheritance is bogus as he is fatherless and an inheritance from a mother is a weak claim. This assertion would suggest that women were not at the time allowed to own land, thus further giving evidence of their inferiority in the eyes of society. Prospero was a former duke, and according to him still the rightful duke of Milan and thus had a better claim to the land by leadership and authority. Orgel believes that according to Shakespeare, power and the authority it commands is confident and not due to inheritance. Orgel says, It is an extension of mental power and self-knowledge&the authority for legitimizing it comes from God (8).

A similar idea is discernible in Sir Francis Bacons novel, where the head of the Salomon house explains how Christianity came into being as the religion of the people on the island of Bensalem. He says that one day a column of light appeared in the water reaching toward the sky with a cross forming at the top of the column. Some wise men from Salomon House went towards it in boats, but could not reach it as some mysterious power bound their boats. One of the wise men of the Society of Salomon House made a prayer to God, and his boat was unbound and was able to move toward the light. However, as he got closer, the column of light disappeared, and a chest of cedar appeared. The man took in from the water and placed it on his boat where it unlocked itself to reveal the bible and a letter from Apostle Bartholomew stating that he had written the letter and that the chest would appear to people chosen by God (Bacon 52). Therefore, this aspect qualifies the leaders from the Salomon House as having authentic power according to Shakespeares criteria as they legitimize their claim of leadership as originating from God and they possess extensive mental power and self-knowledge as is evident from the scientific studies. Prosperos mental power manifests due to his extensive reading, which results in his ability to perform magic. In the play, the words used by Shakespeare instead of God, as noted by Orgel, are fortune and destiny. The absence of female characters except for Miranda in the play would suggest what he thought a womans role in society should ideally be. Also, Miranda serves to provide an alternative chaste depiction as earlier noted, seemingly suggesting that Shakespeare would prefer that women were more virtuous in their character.

Lastly, the theme of utopia provides a means of entertainment and a form of escape from reality. The majority of the imagery created by authors in the conception of the theme triggers the imagination of the audience and the reader. For instance, Scott Maisano makes note that in The Tempest, the author makes the audience and readers of the play to imagine the titles of the books that Prospero could have read and during most of the play, the books only appear in a few scenes. This aspect enables the audience to focus and connect with the character instead of focusing on the book. The physical absence of most female characters also allows the audience to create these characters in their minds. For instance, Sycorax does not physically appear in any scene, but the author incorporates her in the play through discussions between Ariel and Prospero (Shakespeare 22). Detailed descriptions of the island and the characters in the play also allow actors to create representations of the characters from their imagination through costumes and their demeanour during the play. Jonathan Swift describes the people of Lilliput as human beings that are barely six inches in height. This assertion would require the readers imagination, especially in the absence of illustrations in the book. The image of a perfect society in the novel New Atlantis by Sir Francis Bacon also depends upon the readers imagination for its conception for no society that would be so pure as to warrant a description such as &the virgin of the world (Bacon 51). This type of imagery provides a pleasant escape from reality and gives a sense of uniqueness to each storyline. The play, as well as the supporting texts used in this paper, display literature contrived in a manner that provides entertainment through comic relief. For instance, Caliban curses Prospero through utterances such as, &a southwest wind blow on ye and blister ye all oer (Shakespeare 22). There is also the use of music in the play, a good example being the song Full Fathom Five. Scholars believe that most plays have used the song since the first productions of the play in the late 1650s, which gives a sense of authenticity to the play and lightens the mood for the audience. Jonathan Swift also assimilates comic relief in his work, as is evident in the description of Gullivers first encounter with the people of Lilliput (Swift 15).

Conclusion

The play, The Tempest, provides a good example of the role the theme of utopia plays in most literary works, proving that it is more than just a display of mere fantasy. It serves as a means of entertainment and escapes from reality for the readers and audiences. It is also a means by which authors of literary works such as William Shakespeare, Jonathan Swift, Sir Francis Bacon, Scott Maisano, and Stephen Orgel express their perceptions of perfection and idealism. It provides a subtle means by which authors suggest changes to societal dynamics that they deem necessary and acts as an avenue for discussing issues that society would be reluctant in addressing as they are considered taboo. Therefore, utopia as a theme is a very important literary tool whose application is dynamic and engaging.

Works Cited

Bacon, Francis. New Atlantis, Montana: Kessinger Publishing Company, 2001. Print

Kumar, Krishan. Utopia and Anti-utopia in Modern Times, Oxford: Blackwell, 1987. Print.

Mather, Matthew. Complete utopia chronicles, Canada: PhutureNews Publishing, 2013. Print.

Masiano, Scott. Reading underwater; or, fantasies of fluency from Shakespeare to Mieville and Emshwiller. Exploration 45.1 (2004): 76-88. Print.

Orgel, Stephen. Prosperos Wife. Representations 8.1 (984): 1-13. Print.

Shakespeare, William. The Tempest, London: Yale University Press, 2011. Print.

Swift, Jonathan. Gullivers Travels, Texas: Plain Label Books, 2011. Print.

Introduction

The Tempest is a widely known play by the well-known author Shakespeare. The creation tells a story of a man (who used to be a Duke) being trapped on an island with his daughter. One of the modern interpretations of the piece was shown at the St. Louis Shakespeare Festival (St. Louis Shakespeare Festival, 2012). The stage, lighting, and other visual aids help the viewer understand the plot of the story better. This paper aims to explain the viewing experience of the play The Tempest at the St. Louis Shakespeare Festival.

Viewing and Reflection

The stage of the play is relatively small, which allows viewing the events easily. The important aspect that reflects the mood of the story is the lighting. In the beginning and throughout the play it is dim; thus the viewer mostly sees the shadows of characters. In some scenes, the only light visible is the fire near Prospero. It creates an atmosphere suitable for the plot, specifically in the section that shows a storm at sea.

Visually, the actors display the events excellently as they move as if a strong wind is blowing across the stage. The costumes of the actors are suitable for the environment in which their characters are; they are minimalistic and mostly grey and brown. The aspect stands out as it creates a distinction between Prosperos past as a Duke and his current life. The characters in the story are portrayed well by the actors, thus understanding the motivation behind their actions is easier.

The tone of the performance is varied, from a worrying storm to fascinating storytelling of Prosperos past. It is created through the combination of different elements. The scene in which Prospero explains the details of his life to Miranda is easier to understand in the play. The central feature that stood out in this performance is the change in mood. Viewing this performance has provided an understanding that theater is an exciting art form in contemporary culture.

Dramatic arts provide people with an opportunity to view the written story as it is being performed on stage. This aspect of it gives people a unique opportunity to visualize the plot that was written by an author. It is especially fascinating to see a theatrical interpretation of a plot, written by a world-famous author, such as Shakespeare. The viewing of The Tempest in the St. Louis Shakespeare Festival provides a possibility to look at the well-known piece of art in a new light (2012).

The mentioned adaptation reflects the mood of the storyline flawlessly. Stewart states that the viewing of a play has a different audience awareness when compared to reading a book (as cited in Berry, 2016). Thus, looking at the stage with performing actors captures ones attention differently. A distinct feature of the St. Louis Shakespeare Festivals interpretation is stage lighting that is utilized throughout the play (St. Louis Shakespeare Festival, 2012).

It is dingy, creating a specific perception of an island in the middle of a storm for the audience. The decorations and the costumes suit the storys setting perfectly. Although there are not many decorative elements on the stage, those that are in place present an island landscape. The clothes of the main characters are simple, without any distinct features.

Conclusion

The actors provide a good rendering of their characters, as they use their voices and facial expressions to convey the mood. The performance creates an atmosphere that reflects that story, utilizing a variety of elements. The motivation behaving the actions of Prospero is easier to understand when viewing it on stage. The details that stood out throughout the performance are the musical accompaniment at the beginning of the play and the movements of the actors. Thus, the performance suggests that theater is a viable form of art in contemporary culture as it helps showcase Shakespeares play to the audience.

References

Berry, R. (2016). Shakespeare and the awareness of the audience. New York, NY: Routledge.

St. Louis Shakespeare Festival. (2010). Shakespeares The Tempest . Web.

The performance of The Tempest as performed by St. Louis Shakespeare theater was used for this reflection. The production approached the play using a period drama approach with a focus on acting and stage presence as the primary factors to drive the play. This performance covered the text of the Shakespearean play, making it a full-length production (StLouisShakespeare, 2012). It seems to be a semi-amateur production, but it was a well-done performance of a classic Shakespearean tale.

The set design for this production was simple. A small main stage was at the center of all the events. In the background, a decoration was used of a tree surrounded by blocks of stone ruins. The ruins had steps and platforms which created several levels of elevation. At times, during the play, the actors used this to manipulate stage presence. For example, someone in power or giving a soliloquy was positioned above those at the bottom, both literally and figuratively.

However, elements of the play such as the scenes at sea or magical illusions were unfitting for the set design. As this was a period piece, costuming attempted to meet the standards of the historical colonial era. Soldiers wore traditional helmets and chest plates. Men dressed in traditional breeches and coats with cloaks. However, some characters such as Prospero wore a robe as a symbol of his monastic wizard status. Ariel and Caliban had more complex costume designs which were elaborate and abstract with heavy use of make-up to portray them as non-human.

There were some special effects used for the play. Mostly, manipulation of lighting which could have an effective result and does not require complex planning or equipment. The audience was in the dark with lighting being concentrated on the stage. For most of the play, a gentle light was at the center of the stage where the action occurred. However, during particularly scenes, lighting color or brightness changed to reflect the tone of the scene or add an effect to the magical element of the plot.

Audio effects were noticed to some extent. The use of gentle music or sounds to create an atmosphere was a welcome contribution. However, in some scenes, such as the shipwreck, the audio effects were so loud (most likely to compensate for the lack of visual set pieces), that dialogue was hard to distinguish.

The producers and actors of the production took liberties with the interpretation of some elements of the play. One of the most unique aspects of the performance was the use of four actresses to represent the spirit Ariel. It was most likely meant to symbolize the mysticism and multidimensional nature of the fairy. However, since the production was amateur and there was no elaborate set design, this became cumbersome at times due to ineffective use of stage presence.

Overall, the acting was convincing, particularly from actors representing supernatural creatures or people. Caliban had a beast-like attitude and mannerisms in his movement while Prospero produced an aura of power and leadership as the character in the play. Acting did not seem forced, and instances of humor and conflict were genuinely enjoyable to watch.

After watching this performance, it can be reasoned that theater continues to play a vital role in contemporary Western culture. Shakespeare is one of the classics for dramatic arts and performances for plays like The Tempest continues to attract widespread attention. Low budget and amateur productions use theatrical performance for creative outlet and recreation purposes as well as to have a platform to voice opinions and values of century-old ideals (The cultural evolution of theater, 2017).

References

StLouisShakespeare. (2012). Shakespeares The Tempest. Web.

The cultural evolution of theater. (2017). Web.

Introduction

The Tempest is one of the many plays written in the 17th century by William Shakespeare  one of the most famous English writers and playwrights of all time. The Tempest is a story of magic, revenge, political trickery, intimidation, and arranged marriages to secure a position of power. It reflects the realities of Italian politics while at the same time adding an element of mystery and magic into the mix. The purpose of this paper is to reflect on the performance of Savage Roses classical theater company in regards to the use of the staging, the choice of costumes, the implementation of the lighting, and the overall performance of the actors.

Staging

In theater, the choice of staging is paramount. During the spectacle performed by the Savage Rose in 2014, the stage was set up to illustrate the ship, as a good portion of the play revolves around the crew weathering the storm cast by Prospero. The stage effectively consists of two stairways flanking an entrance to the left and the right, which resembles a passage towards the captains quarters, and creates a convincing image when the deckhands start swarming out of the passage, trying to save the ship from sinking (Savage Rose Theater, 2014). Afterward, the stage is effectively used to represent several other locations, such as various homes and palaces, after Prospero restores himself as the Duke of Milan.

Lighting, Music, and Costumes

The use of lighting and costumes by the Savage Rose company was brilliant. The darkening moods and the shaky lamp effect was perfect to create an illusion of being on board of the ship during a storm. In most scenes, lighting is dynamic, used not only to recreate the time of the day or the weather but also to translate the mood of the scene, emphasizing struggle and drama. The music synergized with the lighting effects, creating a three-dimensional atmosphere, which worked excellently in any scenes with magic and the elements involved (Savage Rose Theater, 2014). The costumes were used for two purposes  to add in the immersion by replicating the classic patterns of medieval Italy while at the same time using a creative license in order to distinguish important characters from another and emphasize their defining features.

Character Performance

The performance of the majority of the characters in this piece seems somewhat eccentric by modern standards  overly loud and with exaggerated reactions towards the situations that the characters are faced with. This is the heritage of many classical theater schools, where both action and voice had to be emphasized in order to reach the farthest rows of spectators (Savage Rose Theater, 2014). The apparent eccentric manner of pronunciation also reflects the realities of the 17th century. The actors speak in modern English, as the English have changed considerably in the past several centuries, which leaves an imprint on the performance (The Tempest, n.d.).

Performance versus Text

In many aspects, theatrical visualization of the play is superior to the text version. It helps convey the atmosphere, the emotions of the characters, and the mood of the piece in general. However, it leaves less to the imagination, which is the only advantage that the text version of the play has, as it allows the reader to paint a picture in their own mind.

Theater and Contemporary Culture

In the 21st century, the theater has to compete with cinema and animation, which forced many troupes to adapt and increase the entertainment value of its performance. As it is possible to see in the play, the Savage Rose company utilizes music, lighting, and the historical adaptation of the script to magnify the impact on the audience and make the messages clearer. In contemporary culture, theater remains the only true 3D experience that neither cinema nor animation is capable of replicating. Watching theater requires a certain suspension of disbelief, but the feeling of physical and emotional presence makes it all worthwhile.

References

Savage Rose Theater. (2014). The Tempest  full play. Web.

The Tempest. (n.d.). Web.

Introduction

The plays and sonnets of the great bard of Avon have no time constraints. The most admirable Shakespearean works are staged around the globe and continue to conquer worshipers hearts even nowadays. The majority of critics and art admirers treat such masterpieces as Othello, Hamlet, A Midsummer Nights Dream, and other known performances as a bright and authentic description of the European society of the Elizabethan epoch. The present research will review the play named The Tempest, which was performed by the Savage Rose Theatre in 2014. It is claimed to be the final work of Shakespeare unveiling the masters inimitable style and literary potential to the full extent.

Staging, Lighting, and Acting, and Their Role in the Performance Perception

The Savage Rose Companys interpretation of The Tempest is distinguished by a winning combination of tragedy with the traces of comedy. The decorations remain unchanged throughout the play; one can recognize the silhouettes of the ships stern harmoniously accommodating a captains cabin. A viewer may see clearly that the tempest is being summoned by Prospero (the protagonist), who is involved in sorcery. As the plot develops, the staging changes dynamically: the ship and its crew encounter the storm exactly the way it is depicted in the first act of the performance (Collins, 2015).

The accompanying sounds and lighting, emphasized by a professional actors work allow one to fully experience the terror these people face. The rumbling of thunder, light flashes and terrified characters wearing the Elizabethan era costumes help to sink into the atmosphere of absolute despair. One can see where the waves come from by watching the passengers rolling on the ships deck in one and the same direction. The idea of hopelessness is reflected in the way it was meant by Shakespeare.

Creating the Tone and Mood of the Play

The tone and mood of the play tend to vary as the acts and scenes become changed. The story begins with the scene of the wreck, during which the atmosphere of hopelessness and terror prevails. Tarnishing lights assist in creating a somber mood evoking nothing but sympathy for the passengers and the members of the crew. The next scene, however, conjures feelings and emotions that entirely different from those described earlier. The conversation between Prospero and Miranda (his daughter) makes one laugh at the remarks and adorably watch the dialogue. Lights, sounds, and emotional cues serve as the factors to predefine the overall tone of the narration.

The Easiest Parts for a Viewers Comprehension

The first part introduces the tempest and the other one depicting how Ferdinand, Miranda, and Prospero finally meet, which can probably be viewed as the least complex to understand for the audience. The décor elements used to remind of the catastrophe and the feelings of the two young people are the details that kept standing out through the performance. The presence of these both constituents stimulates ones undisguised desire to witness the further plots development (Hatchuel & Vienne-Guerrin, 2017). By the reaction of the audience, one can speak of peoples genuine interest in this kind of art. In its turn, it drives to the assumption that theatre takes a remarkable place in contemporary culture and can successfully compete with cinema and television.

Conclusion

Summarizing the facts, one has to admit that the play ideally reflects the folklore and traditions of sixteenth-century Europe. The stage decorations, costumes, and lighting help to reach the atmosphere, which would keep the audience engaged throughout the performance. Also, the laughter and praising remarks heard from the spectators serve as proof that people are eager to visit the theatre, even though globalization shows the tendency to switch their attention towards electronics.

References

Collins, M. J. (2015). The Tempest by Shakespeare Theatre Company. Shakespeare Bulletin, 33(2), 350-354.

Hatchuel, S., & Vienne-Guerrin, N. (Eds.). (2017). Shakespeare on screen. Cambridge, UK: Cambridge University Press.

The art of the theater is a unique kind of art that has not lost its popularity for many centuries. Among the well-known playwrights whose plays are considered to be the most celebrated, the English genius William Shakespeare occupies one of the leading positions. His works have not lost their popularity up to this day. They are always adapted to modern society while maintaining a common idea. However, only classical interpretations can convey the mood of the era of Shakespeares life, and one of such performances is the staging of the world-famous play The Tempest by Savage Rose Theater Company.

General Details of the Staging

For the audience to feel the spirit of the period in which Shakespeare lived, Moore (2014), who was the director of this version of the staging, did everything possible to concentrate his attention on acting as much as possible. After all, The Tempest does not just reflect some problem or an unusual situation. Reynolds (2016) calls the play a magnetic socio-political conductor, and the director faced a rather arduous task of realizing the idea so that it might convey an entire Shakespearean coloring. (p. 190). Therefore, the accent in The Tempest by Savage Rose Theater Company is done primarily on a detailed depiction of the characters.

When it comes to visual effects, there is no play of light and shadow in the staging of the play, and the director does not resort to a complicated sound accompaniment. However, the costumes of the characters are carefully thought out, and the images in the play look quite harmonious and reliable. The general mood of The Tempest is not tense; viewers can observe the gradual development of the plot, which is more based on the dialogues of the actors than on the abrupt change of plans. The script almost completely coincides with the original version of the play, which emphasizes a traditional approach to staging.

Detailed Features of the Performance

Thanks to carefully designed characters on the stage, a unique action is created, and the audience is completely immersed in the atmosphere of the play. A small stage allows examining all the participants of the performance in detail and finding those features that were inherent in the Shakespearean images. The communication among the characters makes it possible to understand all the scenes easily, which is observed at the beginning of the play and in the culmination. Richards (2017) notes that the staging of The Tempest, where there are no effects or technologies, is the most successful decision that shows what it means to be a human. Perhaps, it is what the director wanted to convey to the audience when he was working on the play.

The staging of this play by a modern theater, as well as the fact that it has long been popular among the public confirm that Shakespeares works and, in general, the whole direction of drama have not lost its relevance by this day. Modern culture, perhaps, is distinguished by the development of all the spheres of art, but the role of theater in cultural life is rather difficult to overestimate. The performance by Savage Rose Theater Company proves once again that viewers interest in this art form is still not lost, and serves as a weighty argument for the assertion that life without the theater would be less bright.

Therefore, such a classical interpretation of Shakespeares The Tempest helps to convey the way of life of that era and draws peoples attention to the works of this playwright. Probably, the theater of that time differs from the modern; however, as it becomes clear, to convey the right mood, there is no need to arrange a big show. The fact that people watch the play written several centuries ago with interest-only confirms the power of art.

References

Moore, K. (2014). The Tempest  full play. Web.

Reynolds, B. (2016). Performing transversally: Reimagining Shakespeare and the critical future. New York, NY: Palgrave Macmillan.

Richards, J. (2017). The Tempest [Review of the play The Tempest, by W. Shakespeare]. Shakespeare Bulletin, 35(2), 342-345.