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Interruption and Distraction in The Tempest
In Shakespeare's play The Tempest, there are numerous interruptions that hinder the outcomes of the play. Simultaneously, through magic and song, the wedding masque is a subtle distraction that could have altered the result of the play. In The Tempest, interruption equals distraction, in turn causing restraints. This promotes confusion, disturbance, mental intrusion, and diversion amongst the characters in the play.
We are introduced to Ariel (Prospero's invisible servant). Ariel sings beautiful songs that distract the characters and the audience as well. Ariel's songs inspire subliminal messages; these messages are mental and physical acts of destruction. The exquisite noise that Ferdinand hears is caused by anxiety of sea imagery:
Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were in his eyes;
But doth suffer a sea change
Into something rich and strange"
Sea nymphs hourly ring his knell: (1.2.400)
More than likely these are the very words that provoke Ferdinand's curiosity. Hearing that his father is outstretched at the bottom of the sea, his bones deteriorating, there is a change, a certain change that involves wealth and the ringing of a bell possibly at death. "This music crept by me upon the waters/ Thence I have followed it, Or it hath drawn me rather; but 'tis gone"(1.2.392-94). This hodgepodge of imagery is somewhat chaotic sounding to Ferdinand's ears because he does not know where the music is coming from, or its intentional meanings.
At this point, Ferdinand is supposed to be looking for his father. Instead, he is distracted by Ariel's song, "And then take hands. Curtsied when you have and kissed / Th...
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...e subjected to winter: Ariel's song excludes misery.
Stephen Greenblatt describes Ariel's interruptions as an "artful manipulation of anxiety" (158). He notes that the events that take place lead one to believe that Ariel's purpose is to detract the mind from the mind's purpose. Ariel's tool of distraction makes way for unintended events to take place. Essentially due to the interruptions in The Tempest, they become distracting. The interruptions in The Tempest are subtle and not of the obvious.
Works Cited
Greenblatt, Stephen. "The Use of Salutary Anxiety in The Tempest." The Tempest. Ed. Robert Langbaum. Signet Classic Shakespeare. New York: Signet-NAL, 1998. 156-79. Rpt. from Shakespearean Negotiations. Berkeley: U of California P, 1988.
Shakespeare, William. The Tempest. Ed. Robert Langbaum. Signet Classic Shakespeare. New York: Signet-NAL, 1998.
With the semester coming to an end, many students are excited. This especially includes those who will be graduating soon. However, graduation can be seen as a bittersweet moment. On one hand, the graduates enter into a new chapter in their lives. On the other hand, they may lose communication with some of their friends. Unfortunately, this is a natural aspect of each person’s life. Everyone will experience some kind of loss in their life, whether it is person or an object. In The Tempest, Shakespeare discusses the topic of loss. While this theme is not talked about much compared to other themes in the play, it is very important since it is a theme that is included in the 1956 movie adaptation Forbidden Planet. While both works illustrate the ways people deals a loss, the later work demonstrates how the advancement in the world have affected the way modern society
John Wilders' lecture on The Tempest given at Oxford University - Worcester College - August 4th, 1999.
Before considering the purpose of Prospero's experiment, we should note how central to all his magic Ariel is. And Ariel is not human but a magical spirit who has been released from natural bondage (being riven up in a tree) by Prospero's book learning. The earlier inhabitants of the island, Sycorax and Caliban, had no sense of how to use Ariel, and so they simply imprisoned him in the world which governs them, raw nature. Prospero's power depends, in large part, on Ariel's release and willing service. In that sense, Ariel can be seen as some imaginative power which makes the effects of the theatre (like lightning in the masts of the boat) possible. One of the great attractions of this view of the play as a celeb...
The Tempest by William Shakespeare is one of the most relevant and studied plays of the Elizabethan period among scholars, from both, ancient and actual times. One of the many readings that have prevailed suggests that the play’s protagonist, Prospero, and his two su-pernatural servants, Ariel and Caliban, can work as a single psychological unit is constantly discussed by the academics. This reading is not new; it has been considered for longer than the idea of The Tempest as an autobiographical allegory, being first proposed by Thomas Campbell in 1838 (Yachnin).
In this brief examination of the Tempest, it becomes obvious that the play is a mirror image of the progression of events in the Bible. This use of Christian elements in the play is not obvious upon first reading the play, but becomes undeniable as the action progresses. The motif of Christianity in other Shakespearean works is not as structured and in-depth as the motif found in the Tempest.
Ignorance has been said to be bliss. To equate appearance with reality is a facet of ignorance, and leads to a part of the bliss. Many of Shakespeare's characters find the bliss of ignorance and revel in it, and some end up coming to terms with their gullibility. Some few are unwilling to abandon their ignorance even when they can see real truth. All are experiencing different stages of the human cycle. Coming into the world, we are equipped with nothing more than recognition of appearance. We must learn to the distinguish what is real from what is seen. Those who have the opportunity to learn this difference will often deny the truth to live in bliss a moment longer, those who are no longer ignorant can occasionally re-enter the cycle in a moment of absolute trust and wonder, and finally there are those who have spilled off one end of the cycle or the other, and are trapped in a particular stage for their life. In all cases, real truth is irrelevant to the human goal of happiness.
Many people today feel insecure about their bodies. They feel that people will judge them more if they have a crooked nose or eyes that are too close to each other. Some get liposuction if they feel too fat or breast implants because they think it will make them more attractive to the opposite sex. These people who do not feel happy about the way their bodies portray themselves to others often feel that way because, according to psychologist Alan Feingold, “Physically attractive people often receive preferential treatment and are perceived by others as more sociable, dominant, mentally healthy, and intelligent than less attractive people.” (Feingold, 304-341) The individuals who think they are ugly can transform themselves from “ugly ducklings” to “swans” by using plastic surgery.
Sometimes teenagers have certain features that can benefit from plastic surgery, but most of the time society makes teenagers have an altered sense of the perfect body image. In reality, the perfect body image is something that does not exist. Plastic surgeons comment about how common it is to meet a young patient who would like to have features of their favorite celebrities. Young women want Jennifer Lopez’s bottom, Jennifer Aniston’s nose, and Britney Spears’ facial features. Young men would like to have Brad Pitt’s facial features. To me, such expectations seem implausible. God made me the way I am. I would not change a thing. But I am sure that at one time the teenagers who are receiving these procedures believed th...
The play, The Tempest, by William Shakespeare is a very cleverly thought out piece of work. Shakespeare very deliberately inter-relates several different forms of power during the course of the play. There is political power, shown through the plethora of political characters and their schemes, while at the same time parodied by the comic characters. The power of magic and love, and its ability to reunite and absolve also plays a major role in the play. Throughout the play, Prospero, the main character, takes great advantage of his power and authority, both properly and improperly. The epiphany of this however, is realized at the end of the play.
This essay will discuss the part that illusion and reality plays in developing and illuminating the theme of Shakespeare's The Tempest. This pair of opposites will be contrasted to show what they represent in the context of the play. Further, the characters associated with these terms, and how the association becomes meaningful in the play, will be discussed.
The Tempest. Arden Shakespeare, 1997. Print. Third Series Smith, Hallet Darius. Twentieth Century Interpretations of The Tempest; A Collection of Critical Essays, Englewood Cliffs, NJ: Prentice-Hall, 1969.
Compared to plays written for public playhouses, The Tempest offers a unique emphasis on music. Hiring extra musicians, along with the time constraints usually resulted in small attention given to this area (Long 95). Given the large degree of detail allotted to music in the play, it is believed the audience to have been upper class, however, music of The Tempest serves a variety of functions beyond that of mere entertainment. By exploring the evidence provided in The Tempest, we can reveal some of these functions that music serves in the play.
Shakespeare, William, and Robert Woodrow Langbaum. The Tempest: With New and Updated Critical Essays and A Revised Bibliography. New York, NY, USA: Signet Classic, 1998. Print.
Ariel brings compassion and sympathy to situations where those two characteristics are hidden in power seeking Prospero. Gradually throughout the play Ariel is able to provoke understanding and sympathy from Prospero, by using reasoning to decide what Prospero needs and wants to hear about the men on the island. Through Ariel, Shakespeare influences the final choices of the play. Prospero decided to allow the men to return to their normal mindset, rather than a weak and pathetic state. Ariel guides Prospero to find his way out of a controlling and power seeking mindset, into a compassionate man and father. Shakespeare proves through compassion, sympathy, reason, and cleverness one can be successful. Ariel is not only successful in manipulating Prospero, but he is also successful in effectively completing his tasks for Prospero and eventually becoming a free spirit.
The Tempest was written when masques were becoming exceedingly popular in England, and were often performed at weddings to honor marriages. The Tempest is heavily influenced by elements of the masque, and can be performed with the same purposes as one, although it is far too rich to be classified simply into that genre of plays.