Tempest Critics 0.0 / 5 ? English LiteratureThe TempestA2/A-levelOCR Created by: CatrionafearingCreated on: 17-05-19 12:08 Grindlay the women's identities are forged by the language the male characters used to describe them 1 of 32 Grindlay all of the terrible hellish language used to describe Sycorax comes from Prospero 2 of 32 Grindlay magic in the hands of the male character is a thing of awe and wonder, but in the hands of a woman is it represents dangerous empowerment 3 of 32 Grindlay Sycorax connotes female autonomy and independence 4 of 32 Grindlay Profound male anxieties about the power that comes with a women's ability to bare a child 5 of 32 Blystone As a women, Sycorax is weaker more evil and more sexually deviant 6 of 32 Loomba Prospero uses language of misogony as well as racism 7 of 32 Berry Caliban is the other and Prospero has control over him through language 8 of 32 Griffiths Caliban is lost without the civilising influence exerted on him by Prospero 9 of 32 Coleridge Caliban is a noble being 10 of 32 Greenblat [the island] serves as an experimental space for testing the ethics of authority 11 of 32 Devlin Caliban shows the white mans attitude towards the indigenous population 12 of 32 Green Through magic and control of characters Prospero takes on an almost saditic quality 13 of 32 Rolfe Miranda is the ideal maiden, a child of virtue 14 of 32 O'Brien theirs is not the wild passion of Romeo and Juliet 15 of 32 Grindlay Miranda is a pawn in a game to gain ultimate control 16 of 32 Howard marriage is the goal of every Shakespeare play 17 of 32 Thompson The pay denies the importance and even in some cases the presence of female characters 18 of 32 Todd Trinculo's role is combining with Stephano to provide comic relief 19 of 32 Tanner The real monsters of the island are Sebastian and Antonio 20 of 32 Moseley In this scene Stephano and Trinculo are more repulsive than Caliban 21 of 32 Pester Reversal of stereotypes [Caliban and Stephano] 22 of 32 Poole [Antonio and Sebastian] Civilisation has only case hardened their selfishness 23 of 32 Dijkhuizen Masques serve as images of order, peace and harmony... the anti-masque offers an image of vice and disorder 24 of 32 Dijkhuizen The masque invokes Shakespeare's theme of life as an illusion 25 of 32 Hebron The play is not attacking marriage but suggesting that it tests our humanity 26 of 32 Hebron [Prospero renouncing his marriage] is a necessary step to resuming his worldly duty as duke 27 of 32 Riches Prospero has a liberating transformation through journeying and suffering 28 of 32 Riches Such honesty and self-realisation is more admirable than the most awful magic 29 of 32 Orgel Prospero's monologue in Act 5 is the most powerful assertion of magic that the play gives us 30 of 32 Ledingham Having relinquished his power we see him reduced to the level of an ordinary mortal 31 of 32 Ledingham Prospero is a fundamentally enigmatic creation whose true self is largely concealed 32 of 32
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