The TempestThe Tempest (3): Textual Gaps in (3): Textual Gaps in

the Colonial Discourses -- the Colonial Discourses -- Act III and its AdaptationsAct III and its Adaptations

Plot SummaryPlot Summary

Act I Act I 1. the sea change – Alonso and the other courtiers’ posi1. the sea change – Alonso and the other courtiers’ posi

tions threatened; tions threatened; 2. Prospero re-telling history to Miranda, Ariel and Caliba2. Prospero re-telling history to Miranda, Ariel and Caliba

n; n; Act IIAct II

1. Sebastian and Antonio, planning the murder;1. Sebastian and Antonio, planning the murder; 2. Trinculo and Stefano, meeting Caliban;2. Trinculo and Stefano, meeting Caliban;

Act III—Act III—1. Ferdinand and Miranda on servitude, end with Prosper1. Ferdinand and Miranda on servitude, end with Prosper

o; o; 2. Caliban, Stefano and Trinculo’s2. Caliban, Stefano and Trinculo’s plotting;plotting; 3. Ariel gives indictment to the sinful three. 3. Ariel gives indictment to the sinful three.

Plot Summary (2)Plot Summary (2)

Act IV—Act IV—1.1. Prospero speaks to Ferdinand and asks him not to breProspero speaks to Ferdinand and asks him not to bre

ak Miranda’s “virgin-knot”;ak Miranda’s “virgin-knot”;2.2. Masque and Prospero’s famous speech on life as a drMasque and Prospero’s famous speech on life as a dr

eameam3.3. Trinculo and Stephano, coming from the wet pond, geTrinculo and Stephano, coming from the wet pond, ge

t crazy about stealing and wearing the fine garments it crazy about stealing and wearing the fine garments in front of P’s cave, forgetting about the plan of killing n front of P’s cave, forgetting about the plan of killing him.him.

Act V—Act V—1.1. Prospero puts on the garment he wore as Duke of MilaProspero puts on the garment he wore as Duke of Mila

n; promises to set Ariel free, and speaks to the other chn; promises to set Ariel free, and speaks to the other characters in their trance. Forgives Antonio without gettiaracters in their trance. Forgives Antonio without getting his response. Shows Alonso M and Ferdinand, and ng his response. Shows Alonso M and Ferdinand, and announces that reconciliation is complete. announces that reconciliation is complete.

P’s epilogue P’s epilogue

OutlineOutline

Starting Questions Starting Questions order, and gaps in Act III order, and gaps in Act III

– Scene IScene I: Miranda : Miranda – Scene IIScene II: Caliban/S/T vs. Ariel : Caliban/S/T vs. Ariel – Scene IIIScene III: Prospero’s order : Prospero’s order

Filmic Adaptations Filmic Adaptations and and Jarman’sJarman’s versi version on

Starting Questions Starting Questions How do you characterize Miranda? Is she a naïHow do you characterize Miranda? Is she a naï

ve girl in Act I, and grows to become stronger, ve girl in Act I, and grows to become stronger, more mature individual in Act III?more mature individual in Act III?

How is the order set among Caliban, Stepheno How is the order set among Caliban, Stepheno and Trinculo, and then disrupted by Ariel? and Trinculo, and then disrupted by Ariel?

What do you think about Caliban’s plan of kilWhat do you think about Caliban’s plan of killing Prospero? ling Prospero?

What roles does Ariel play in Scenes 2 and 3 of What roles does Ariel play in Scenes 2 and 3 of Act III? Does he serve merely as echoes and agAct III? Does he serve merely as echoes and agent of Prospero?ent of Prospero?

Miranda and Ferdinand: Miranda and Ferdinand: the order of love the order of love

The use of Renaissance sonnet traditioThe use of Renaissance sonnet tradition in n in The TempestThe Tempest

1.1. Act I: Prospero’s speech – Act I: Prospero’s speech – (p. 108; I. 2 – ll (p. 108; I. 2 – ll 120-) –the sympathy of natural elements; a transitio120-) –the sympathy of natural elements; a transition to the miraculous? n to the miraculous?

2.2. Act III: Ferdinand’s Act III: Ferdinand’s – –- use of paradoxes to show the power of love, - use of paradoxes to show the power of love, -- praising Miranda’s singularity; -- praising Miranda’s singularity; -- emphasizing his nobility-- emphasizing his nobility (but a slave to love) (but a slave to love)

Miranda’s responses Miranda’s responses Disobeys her father; Disobeys her father; Apparent submissiveness to F; (ll. 83 - )Apparent submissiveness to F; (ll. 83 - ) Can tell that Ferdinand is not willing to do the Can tell that Ferdinand is not willing to do the

work; work; Actively asking for love and marriage.Actively asking for love and marriage. Sexual implication: “What I desire to give; anSexual implication: “What I desire to give; an

d much less taked much less takeWhat I shall die to want. But this is trifling;What I shall die to want. But this is trifling;And all the more it seeks to hide itself,And all the more it seeks to hide itself,The bigger bulk it shows.”The bigger bulk it shows.”

MirandaMiranda

““O wonder!” she exclaims upon seeinO wonder!” she exclaims upon seeing the company Prospero has assembled. g the company Prospero has assembled. “How many goodly creatures are there “How many goodly creatures are there here! / How beauteous mankind is! O brhere! / How beauteous mankind is! O brave new world / That has such people inave new world / That has such people in’t!” (V.i.184–187). ’t!” (V.i.184–187).

Scene 2: Caliban and S+TScene 2: Caliban and S+T The “order” of conspiracy The “order” of conspiracy S- Caliban: servant monster S- Caliban: servant monster lieutenant lieutenant Monsieur Monsieur

monster monster T: --”Your lieutenant, if you list; he's no standard.” T: --”Your lieutenant, if you list; he's no standard.” Caliban – makes a distinction between the two; subseCaliban – makes a distinction between the two; subse

rvient to S only, asking his ‘lord’ to protect him.rvient to S only, asking his ‘lord’ to protect him. His plan – shows his awareness of the human order (1) His plan – shows his awareness of the human order (1)

the importance of language and knowledge/discourse;the importance of language and knowledge/discourse; 2) the importance of possessing the enemy’s woma 2) the importance of possessing the enemy’s woman). n).

His rejection of S/T’s tune (p. 162) His rejection of S/T’s tune (p. 162)

Scene 2: Caliban and S+TScene 2: Caliban and S+T

The disruption of conspiracy –The disruption of conspiracy –1.1. Ariel’s role “Thou liest.” Ariel’s role “Thou liest.”

– --in defense of P, he repeats Trinculo’s w--in defense of P, he repeats Trinculo’s words, which are also Prospero’s (“Thou ords, which are also Prospero’s (“Thou most lying slave”)—both in an attempt to most lying slave”)—both in an attempt to put Caliban in his old position.put Caliban in his old position.

– The third repetition: “thou” = S. The third repetition: “thou” = S. 2.2. Ariel’s music –interpreted two ways bAriel’s music –interpreted two ways b

y the two parties (pp 162) y the two parties (pp 162)

Scene 3 –an implicit hierarchyScene 3 –an implicit hierarchy

AlonsoAlonso

S+ T// Sebastian + AntonioS+ T// Sebastian + Antonio

GonzaloGonzalo

ProsperoProspero

islanders

Ariel

Prospero, as he does in Act I,

plays the role of God to assert

justice an artificial assertion of

order.

Order and GapsOrder and Gaps in the following Acts in the following Acts

Act IV:Act IV:1. virginity ensured; 1. virginity ensured; 2.2. the masque—a trio performs a masque celethe masque—a trio performs a masque cele

brating the lovers’ engagement. (Iris-- Junobrating the lovers’ engagement. (Iris-- Juno’s messenger and the goddess of the rainbo’s messenger and the goddess of the rainbow , Juno--queen of the gods , and Ceres --godw , Juno--queen of the gods , and Ceres --goddess of agriculture).dess of agriculture).

3.3. Prospero startles suddenly and then sends tProspero startles suddenly and then sends the spirits away. he spirits away.

Our revels now are ended. These our actors,As I foretold you, were all spirits, andAre melted into air, into thin air;And, like the baseless fabric of this vision,The cloud-capped towers, the gorgeous palaces,The solemn temples, the great globe itself,Yea, all which it inherit, shall dissolve;And, like this insubstantial pageant faded,Leave not a rack behind. We are such stuffAs dreams are made on, and our little lifeIs rounded with a sleep. (IV.i.148–158) Sir, I am vex'd:Bear with my weakness; my old brain is troubled.Be not disturb'd with my infirmity.If you be pleas'd, retire into my cellAnd there repose: a turn or two I'll walk,To still my beating mind. (158-63)

Our revels now are ended. These our actors,As I foretold you, were all spirits, andAre melted into air, into thin air;And, like the baseless fabric of this vision,The cloud-capped towers, the gorgeous palaces,The solemn temples, the great globe itself,Yea, all which it inherit, shall dissolve;And, like this insubstantial pageant faded,Leave not a rack behind. We are such stuffAs dreams are made on, and our little lifeIs rounded with a sleep. (IV.i.148–158) Sir, I am vex'd:Bear with my weakness; my old brain is troubled.Be not disturb'd with my infirmity.If you be pleas'd, retire into my cellAnd there repose: a turn or two I'll walk,To still my beating mind. (158-63)

Order and GapsOrder and Gaps in the following Acts in the following Acts

Prospero’s “Last Judgment” and recProspero’s “Last Judgment” and reconciliation -- onciliation -- – Gonzalo is an “honourable man” (V.i.62); Gonzalo is an “honourable man” (V.i.62); – Alonso did, and knows he did, treat ProsperAlonso did, and knows he did, treat Prosper

o “[m]ost cruelly” (V.i.71); o “[m]ost cruelly” (V.i.71); – Antonio is an “[u]nnatural” brother (V.i.7Antonio is an “[u]nnatural” brother (V.i.7

9). 9). But Antonio does not respond. But Antonio does not respond.

The TempestThe Tempest

William Woodman’s (1985) William Woodman’s (1985) What do you think about its costumes aWhat do you think about its costumes a

nd acting? nd acting?

Derek JarmanDerek Jarman

The concept of forgivenessThe concept of forgiveness in in The TempThe Tempestest attracted me; it's a rare enough quali attracted me; it's a rare enough quality and almost absent in our world. To knty and almost absent in our world. To know who your enemies are, but to accept ow who your enemies are, but to accept them for what they are, befriend them, athem for what they are, befriend them, and plan for a happier future is somethinnd plan for a happier future is something we sorely need." g we sorely need." Dancing LedgeDancing Ledge

Jarman’s Jarman’s The TempestThe Tempest

scenes of contrast – scenes of contrast – 1.1. Prospero’s treatment of Caliban (sec. Prospero’s treatment of Caliban (sec.

1) 1) 2.2. Ferdinand’s emergence from the sea Ferdinand’s emergence from the sea

(as Venus?) (as Venus?) 3.3. Miranda and Caliban (sec 3)Miranda and Caliban (sec 3)4.4. Prospero and Ariel (sec. 8) Prospero and Ariel (sec. 8) 5.5. The masque and the ending (sec 12) The masque and the ending (sec 12)

Jarman’s Jarman’s The TempestThe Tempest

intervening the production of its past; intervening the production of its past; ““Catherine Belsey's: "history as costume drCatherine Belsey's: "history as costume dr

ama, the reconstruction of the past as the prama, the reconstruction of the past as the present in fancy dress." esent in fancy dress."

While it is impossible for an actor to resurrecWhile it is impossible for an actor to resurrect the seventeenth-century body in performant the seventeenth-century body in performance, it should be possible at least to trouble ace, it should be possible at least to trouble an unproblematized reception of the body as n unproblematized reception of the body as completely familiar or knowable. ” (Ellis)completely familiar or knowable. ” (Ellis)

The issue of Race The issue of Race

Caliban as an appetitive, physically excessivCaliban as an appetitive, physically excessive, working-class Northerner. e, working-class Northerner.

Why does the film presents a white Caliban? Why does the film presents a white Caliban? For some critics, it is a glaring mistake of JarFor some critics, it is a glaring mistake of Jarman’s. man’s.

The issue of Race The issue of Race

Ellis: in the 16th century, there is no distincEllis: in the 16th century, there is no distinction between the Irish, the masterless, the Rtion between the Irish, the masterless, the Renaissance ‘moor,’ the Indian and Turksenaissance ‘moor,’ the Indian and Turks– all are 'erring barbarians.’ – all are 'erring barbarians.’

Caliban, has links with Africa, the Caribbean,Caliban, has links with Africa, the Caribbean, North America, and Ireland. North America, and Ireland.

““A black Caliban is thus an invitation to unA black Caliban is thus an invitation to unwitting anachronisms” (Ellis 268). witting anachronisms” (Ellis 268).

The issue of Race –the masque The issue of Race –the masque ““As such the masque was crucially involved iAs such the masque was crucially involved i

n the establishment of cultural difference, so tn the establishment of cultural difference, so that it is not surprising that many masques feahat it is not surprising that many masques featured tured cultural others who were positioned as tcultural others who were positioned as threatshreats to order or as disorder itself, such as Af to order or as disorder itself, such as Africans, Gypsies, or masterless men. ricans, Gypsies, or masterless men.

The issue of Race –the masque The issue of Race –the masque ““Jarman's version of Jarman's version of The TempestThe Tempest takes up t takes up t

hese crucial aspects of the masque in order to hese crucial aspects of the masque in order to comment on both comment on both The TempestThe Tempest's cultural hist's cultural history and the current state of England. His aim, ory and the current state of England. His aim, as with the early modern masque, is to create as with the early modern masque, is to create through spectacle the grounds for through spectacle the grounds for a new coma new communitymunity.” .”

References References

Jim Ellis "Conjuring The Tempest Derek Jim Ellis "Conjuring The Tempest Derek Jarman and the Spectacle of RedemptioJarman and the Spectacle of Redemption" n" GLQ: A Journal of Lesbian and Gay StGLQ: A Journal of Lesbian and Gay Studiesudies 7.2 (2001) 265-284. 7.2 (2001) 265-284.