Hi Year 13 students. Your blog task requires you to:
1. Write a post in response to this one.
2. Head up with the 'essential question' you have chosen.
3. Write down your three 'subsidiary questions', and also your answers to each of these questions.
4. Conclude with your answer to the 'essential question' that you headed up with.
Make sense? Good. Get onto it.
EG
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13 comments:
Essential Question: When is vengeance justified?
->Who commits acts of vengeance and to whom are they directed at in The Winter's Tale and The Tempest ?
--> In The Winter's Tale, Leontes and Polixenes seek vengeance against one another. Leontes believed his wife, Hermione committed adultery with Polixenes. Sixteen years later, Polixenes seeks vengeance against the shepherd and Perdita for courting Florizel, is son and the Prince of Bohemia.
In the The Tempest , we believe that Prospero has brought Antonio and Alonso onto the island to exert his vengeance on them for overthrowing him from his position as Duke of Milan.. Additionally, throughout the play, Caliban seeks vengeance against Prospero for killing his mother, Sycorax and using him as a slave.
-> How does the vengeance-seeker go about executing his/her vengeance?
--> Leontes asks Camillo to kill Polixenes and locks his wife Hermione in a cell, sending the baby (unknowingly his own daughter, Hermione was innocent) to be abandoned along a desolate stretch of coastline. When Polixenes discovers sixteen years on that Florizel is to wed a girl that turns out to be Leontes’ daughter, Perdita he immediately insists that two don’t marry and for conspiring against the King and allowing his daughter to court a prince, Perdita’s adoptive father the Shepherd is to be executed and Perdita’s face is to be beaten of all beauty.
Prospero commanded his spirit, Ariel to create a tempest to wreck the king’s ship and maroon his party on the island. Prospero than forgives those that have done him wrong, and resumes his place as Duke of Milan in what could be considered a non-violent act of vengeance. In retribution for usurping his mother and claiming the island as his own, Caliban plots along with Stephano and Trinculo to kill Prospero.
->How does the seeking and carrying out of vengeance affect those involved in The Winter’s Tale and The Tempest ?
--> In The Winter’s Tale , Leontes sudden and irrational acts of vengeance have devastating consequences for all. Leontes falsely accuses his childhood friend, and after his attempt on Polixenes’ is foiled by Camillo, locks up his once beloved wife and abandons his child. Thus he is left with no one. No friends, children or wife. Hermione ends up killing herself over her husband’s manic deeds and Perdita is raised by a shepherd in Bohemia.
Prospero in The Tempest maroons a group of people, but without harming them, manipulates them to bring the group to him on the island. Those involved such as Alonso and even Caliban are ashamed by their actions as Prospero chastises them; his choice of vengeance. Antonio, the one that Prospero was mainly trying to get back at seems unfazed by Prospero’s rebuke. Nevertheless, Prospero assumes his rightful place as the Duke of Milan. Caliban’s attempt at vengeance gets him nowhere. He is foiled by Prospero and appears to feel remorse for what he has done. “...I’ll be wise hereafter / And seek for grace.”
Answer to essential question:
It seems that the way you go about seeking vengeance or retribution is the main factor to whether vengeance is justified or not. Shakespeare shows us in The Winter’s Tale that acting on impulse with rage leads to devastation. Leontes irrationally responds with murderous intent when he becomes paranoid about his wife’s supposed affair. This leads to him losing everyone he holds close.
This method of exerting vengeance contrasts greatly to Prospero’s. Prospero calmly and methodically exudes his own form of retribution, without resorting to anger or violence. He states that ‘The rarer action is / In virtue than in vengeance’ He then proceeds to forgive those that have wronged him before returning home as a duke. Prospero seems to state that he isn’t exacting vengeance, but I believe he is, albeit in a gentle form. He is gathering those that have wronged them against their will, before stripping Antonio of his title and reclaiming it as his own.
Shakespeare seems to tell us that resorting to violence and rage in order to reclaim what is yours or to attain justice will lead to nothing but pain for all those concerned, especially the vengeance-seeker. However, though Leontes loses those he holds dear, he is re-united with them all in the end of the play, perhaps suggesting that Shakespeare believes the desire for vengeance to be a very human emotion and should be forgiven. From the scenarios presented by Shakespeare, it seems that vengeance is justified when no violence is used, and the one seeking vengeance holds no real harmful ill will towards those that have wronged them, merely seeking to reclaim what should be theirs through diplomatic means.
Whoops, it's a bit long, sorry!
EQ: Through The Tempest and Cymbelline what is Shakespeare implying about forgiveness and whom can give it?
SQ: What is implyed about forgiveness in The Tempest?
- Christian reading of The Tempest casts Prospero in the roll of God, a forgiving figure. According to Grace Hall several events in the play are deliberately linked to the Christian sacrements (sailor's immersion in water=baptism, banquet=communion etc). Therfore it would follow that Prospero, in his role as God would have to be forgiving of the characters despite their actions.
- Prospero observes that "the rarer action is in virtue than in vengence" (V.i.27). Prospero forgives his brother for usurping him, implying Prospero is the better person because he has taken the "rarer action".
SQ: What is implyed about forgiveness in Cymbelline?
- From reading just the plot summary you quickly gather that at aome point in Cymbelline nearly every character lies or misleads another (for example through disguises). Despite the deliberate deceit, the characters who act with good intention or see the error of their ways are forgiven.
- However the Queen and her son Cloten her a deliberately manipulative of others for their own gain, recieve their just rewards. A lesson to those in the audience?
- Not having read Act V I'm not entirely sure if this statement is true but it seems to be Cymbelline who does all the forgiving in this play.
EQ answer:
Both plays have a powerful figure and ruler (Prospero and Cymbelline) who forgive various characters in the concluding act. At the time of Shakespeare, the common and accepted belief was that a ruler was appointed by God and was above his or her subjetcs. In portraying both Prospero and Cymbelline as forgivers, Shakespeare is implying they are not only good rulers but are on the same level as God, the ultimate forgiver so to speak. Shakespeare seems to be telling the audience that their crimes can be only forgiven by those in power, be it ruler or God.
The Tempest vs. Cymbeline
If you have nothing else to lose do you have ultimate power?
Who is wronged?
In the Tempest Prospero’s dukedom is usurped and he is left for dead. This means his brother Antonio is responsible for fratricide, regicide and taking a position not rightfully his. The other Italian noble men – King Alonso, Sebastian etc are accomplices/guilty through omission. Caliban attempts the rape of his Daughter and later attempts to kill Prospero. Throughout the play Prospero is the victim, (though does not act like one) and the other characters are the antagonists.
In Cymbeline, Imogen, Belarus and king Cymbeline himself are all wronged. However Cymbeline mirrors Prospero most. Cymbeline’s sons and heirs Guiderius and Arvigarus are stolen and presumed dead (stolen by Belarus). Cymbeline also suffers Cloten and Ichamo’s attempt to rape/dishonour his daughter Imogen. Cymbeline is throughout the play manipulated and made puppet by his second wife the queen. Cymbeline being wronged is similar to Prospero.
Why do the wronged have nothing left to lose?
In the Tempest Prospero has lost his dukedom, society and brother. He is essentially starved of freedom as he is confined on the island in his “cell”. Presumed dead no one searches for him or his daughter and has no way off the island. With lost freedom he lacks his most important possession and has nothing left to lose.
In Cymbeline, King Cymbeline has lost his sons and daughter and stepsons (presumably) as well as both his wives. He has little respect due to the actions he did under the manipulation of his wife – multiple banishing and refusal to pay Rome. His country is also losing a war against Rome. This situation leaves Cymbeline with very little choice and few to follow him essentially, he to has ‘hands-tied’.
How are the wronged powerful?
In the tempest, during Prospero’s banishment he masters the magic of his island, which leads to his orchestration of the play. When the cast enters his circle all are exposed for what they are. This pivotal moment means Prospero can reap revenge and kill his antagonists or forgive what was done against him and regain what he had lost. Not only can he regain what was lost to him, but also prove himself the ‘bigger man’ responsible for everyone around him life and also the exoneration for those who repented – this could not have been achieved by any other character making him the most powerful. Often described as omnipotent his final denial of his own magical power shows him of the strongest character.
In Cymbeline, the king discovers his sons alive after many years, his forgiveness of the man that captured them rather than execution. His acceptance of his daughters marriage away from power, means that he attained her love again, as she was lost to him. This is seemingly paradox as with his power of choice he lost the power that could have come from a royal marriage.
Those scorned – Prospero and Cymbeline have nothing left to lose the same time hold the largest amount of power in the play. Through magic and status both have the power to have every character killed for the wrong doings against themselves. It is in their choice to preserve the flawed, and to not just spare their lives but to forgive them comes the ultimate power. To those with conscious in the plays forgiveness is a power belonging only to Prospero and Cymbeline. “rarer action is in virtue not vengeance”.
EQ: When is it OK to go against authority?
SQ: Who goes against authority?
-- In The Tempest it can be thought that Caliban goes against the authority of Prospero and in a way 'ditches him' for Stephano's rule (and Trinculo) Antonio can also be thought as going against authority as he goes against Prospero to take the authority away from him.
In The Winter's Tale, Camillo goes against King Leontes' authority that was given to him to poison Polixenes and instead, Camillo flees along with Polixenes away from Leontes.
SQ: What are the consequences of the characters that go against authority?
-- Caliban gets drunk...(can that be seen as a consequence as he seems to enjoy it) and returns to Prospero's authority (he knows that Prospero is much more powerful than Stephano? And he is scared?/or loyal?) Antonio gets his authority/ruler-ness taken away from him by Prospero (the rightful ruler)
Camillo flees, and although the consequence is that Leontes is quite mad at him, the consequence of him going against Leontes, shows him as a traitor in the King's eyes and to the King just confirms his suspicions of the 'adultery' that occurred. But!! Polixenes does live!! And when Leontes does find out that he was wrong, I guess he would be grateful?!?....
SQ: What seems to be the reason for the actions against the authority?
-- Caliban seems to go against Prospero's authority because Stephano treats him nicer and Caliban feels as though he can betray Prospero and be rid of him FOREVER!! Haha... Antonio goes against Prospero's authority because he wanted it, for his own personal gain.
Camillo goes against Leontes authority because he does not agree that Leontes is right and so 'takes things into his own hands' as such goes against Leontes' authority!! :D
When is it OK to go against authority?
-- There is never really an 'ok' reason to go against authority, although, the consequence of going against authority when it gets in the way of your 'morals' (as Camillo's belief of 'not guilty-ness') is not as 'severe' as the consequence of going against authority for your own personal gain. The saying 'what goes around comes around' and the belief of 'karma' comes to mind, if your reason for going against authority are 'pure' it COULD be seen as OK, but if your reasons for going against authority are for own selfish gain (etc) then it is not ok, and 'karma' deals with it accordingly, (eg. Antonio loses all his 'stolen' authority, Caliban ends up nowhere)
Man...I hope I did the right thing, if not...then...
Essential Question: How is the concept of ‘goodness’ perceived by Shakespeare?
Who is good in the The Tempest?
Miranda, daughter of Prospero, is compassionate and gentle. From her very first lines she displays a meek and emotional nature. “O, I have suffered / With those that I saw suffer!” she says of the shipwreck (I.ii.5–6). She is described by her father Prospero as having been “Infused with a fortitude from heaven”. Miranda is obedient, and unlike other characters, does not enslave others or crave authority.
Who is good in Pericles?
Marina, daughter of Pericles, is kidnapped and taken to a brothel. However, her virtue prevails, and she convinces every man who wants to buy her that it would be a crime to take her honor. She has an angelic nature and posesses the almost supernatural ability to evoke a desire for virtuosity within people she encounters.
What do these characters have in common?
Both are innocent, obedient and possess only honorable qualities. They do not desire power and they treat other characters with respect.
Answer to EQ:
Even in the romance genre, there are few characters who display entirely favourable qualities. Two of the most obviously ‘good’ characters are Miranda and Marina, the daughters of rulers. Shakespeare appears to be suggesting that innocence and virtue are what makes people (or females at least) ‘good’. It is these two qualities in particular that set Miranda and Marina apart from other characters, who often crave authority or manipulate others.
What relevance do Shakespeare’s Romance genre plays have in society today?
What similar themes are there between The Tempest and society today?
The theme of colonisation/governance is particularly relevant in New Zealand society today. Prospero inhabiting the island and assuming political control could be seen as a parallel to the European settlers colonising New Zealand and assuming governance. In this parallel, Caliban, who from birth had established settlement on the island, is representative of the Maori race who first inhabited New Zealand. The detest Caliban shows for Prospero’s ‘unrightful’ rule on the island can be likened to the distaste some Maori show for ‘unrightful’ European settlers in the claim to ‘tino rangatiratanga’.
What similar themes are there between Cymbeline and society today?
In Cymbeline, King Cymbeline disapproves of his daughter Imogen’s secret marriage to the common man Posthumus, and has him banished from the kingdom. This disapproval is based on the low-class society rank of Posthumus, who Cymbeline obviously sees as unworthy of Imogen. The disapproval also stems somewhat from selfish reasoning; Cymbeline will gain nothing in terms of power from his daughter marrying a commoner. In society today, parental disapproval of marriage is still very common and widespread for many reasons, such as social class differences, wealth and race. Although the banishment of a condemned spouse is not so common, estrangement between parent and child often results.
What timeless individual “human” concepts feature in these plays that are still relevant today?
There are a number of concepts evident in both The Tempest and Cymbeline that are human nature; and it seems this has not changed over the few centuries that have passed since Shakespearean times and modern society today. These “human” concepts include:
- the tendency to deceive and betray others for personal gain
- the hunger for power
- the need for eventual forgiveness and reconciliation
- the need to resolve past issues
- seeking supernatural/religious figures to aid issues
Answer to EQ
Shakespeare’s Romance plays are relevant in society today as they are the most realistic in terms of the issues they raise and the behaviours the characters display to resolves these issues.
Unlike the extreme dramatics of the Tragedy and Comedy genres, Shakespeare’s Romance plays parallel real life by acting as the equilibrium of outcomes. Not everyone will die from conflicts like in the Tragedies, but not everyone will laugh and end up happily ever after like in Comedies. Shakespeare's Romance plays have been cited as the most bizarre and unrealistic (eg. magic to create a storm, people living in caves) but, aside from these idealistic setups, the 'bones' of the play shows the same concepts that are dealt with daily in society today; such is the timelessness of Shakespeare's writing. The realism of the Romance genre shows that “you’ll win some and you’ll lose some” – not everyone end up entirely happy but at least through careful and rational workings, the conflict is peacefully resolved. In this way, it is much like real life and society today - Romance plays shows the need for compromise.
Essential Question: Who commands the right to determine marriages between individuals as perceived by Shakespeare?
Subsidiary Question 1: Who marries who in The Tempest and who orchestrated the marriage?
A: In The Tempest, Miranda, the daughter of Prospero (the primary authority figure of the play) marries Ferdinand, the son of Alonso (the King of Naples). It was Prospero who initially schemed the marriage and has ultimately achieved his desire via the manipulation of characters and events throughout the course of the play. Prospero's motif in the swift marriage is to secure his ascension to his rightful place on the throne of Milan hence by engaging his daughter to the prince of Naples, Prospero has conducted an effective political maneuver as to aid in his personal desire.
Subsidiary Question 2: Who marries who in Pericles and who orchestrated the marriage?
A: Pericles, the prince of Tyre marries Thaisa, the daughter of Simonedes (King of Pentapolis) after winning a tournament held by the king. Simonedes is initially doubtful about the union, but soon authorises the marriage as he has come to like Pericles as a person.
Subsidiary Question 3: What feelings are shared between the married couples as they learn of their chosen fate?
Within The Tempest, both Miranda and Ferdinand fall in love with each other almost instantly after they first meet. Ferdinand is willing to obey every order Prospero has given him in order to gain Miranda's hand in marriage. Therefore, Prospero organising the marriage for them fully complies with the thoughts and feelings of both couples.
Within Pericles, Thaisa becomes deeply attracted to Pericles as he enters her father's tournament. This also proves Pericle's love for her as he is willing to fight for Thaisa's hand in marriage. Therefore, both couples are content with Simonedes's decision of securing their union after Pericles is declared the winner.
Answer to essential question:
From Pericles and The Templest, we can see that although it was the father of the daughter that ultimately wields the ability to bind the couples into union, both pairs are very glad to be in their respective positions due to the love they share between them hence, both are more than happy when being orchestrated into their 'arranged' marriages. Therefore, as both couples are very suitable for each other and their engagements were prepositioned via their 'elders', Shakespeare may be suggesting that ultimately, the power of determining marriages between individuals should lie in the hands of the parents of the betrothed.
Essential Question: What is the play suggesting about trust and betrayal?
-Who is trusted?
In The Tempest, Prospero entrusts his duchy to his brother Antonio. Miranda trusts everything that her father tells her. In The Winter’s Tale, Camillo is trusted by Leontes to kill Polixenes and Hermione is trusted by Leontes to be faithful.
-Who is betrayed?
Antonio betrays Prospero by exiling him and usurping his position. Camillo betrays Leontes by running away with Polixenes and Hermione is thought to have betrayed Leontes.
-How are trust and betrayal linked in each play?
In each play, it seems as though betrayal is a consequence of trust. Camillo betrays Leontes’s trust in him by not carrying out his commands and Prospero is betrayed by his brother who he trusted to govern his duchy while he worked on his magic.
ANSWER TO EQ:
Shakespeare does not portray trust in a good light. It is implied through the texts that betrayal is a result of trust and inevitable in human beings. Antonio abuses the trust that Prospero placed in him and saw it as a chance to satisfy his personal desire for power. Prospero is exiled from Milan as a result of trusting his brother to govern his duchy. Camillo, a supposedly loyal nobleman, defies Leontes’s command and runs away with his enemy. Even Hermione, a virtuous and faithful queen, is thought to be perfidious by her husband. Leontes’s suspicion of Hermione shows that as humans, we know it as a fact that betrayal is likely to occur as a result of trust. Even in marriage, betrayal is not a redundant option. However, Ariel, Prospero’s spirit, is shown to be trustworthy through and through. He never objects to Prospero’s demands, no matter what he asks of Ariel. This difference between Ariel, a ‘super-human’ and the likes of Antonio, a human, suggests that humans are destined to betray one another while super humans do not.
Essential Question: How is the concept of ‘goodness’ perceived by Shakespeare?
Who is good in the The Tempest? Who is good in Pericles?
Throughout both the Tempest and Pericles those who are 'good' are rewarded and those 'bad' almost get their come upings. In both Pericles and the Tempest young girls are used to embody this idea of goodness. Marina in Pericles is so virtues that she is able to discourage men who come to her at the brothel and keep her 'virtue' and virginal/pure status. Miranda’s perceptions of other people tend to be naive and non-judgmental. She is compassionate, generous, and loyal to her father, all these implying a goodly person.
Both these young women display innocent and obedient qualities. Almost like those required when being apart and loyal to the Christan faith. After being at first skeptical of The Tempest Christian reading iam now partial to tShakespeare subtly encouraging Christan morals through his Romance plays. Why else would he show the ideal peoples eg Marina and Miranda, if not to give people an example as to what to aspire to be.
He also shows those who are good being rewarded. Pericles is re-united with his family because he never displays negative actions. When his wife dies he does not 'give up' but rather tries to regain composure. He helps king Cleon and his wife Dionyza who are suffering from famine (gives them corn), this guy is like...Jesus. Shakespeare was just trying to convert people to Christianity through his Romance plays.
Essential Question: What relevance do Shakespeare’s Romance plays have on society today?
What similar themes are there between The Tempest and society today?
the struggle for authority and governance is still present in todays society. in the tempest, Prospero's Brother Takes his power; Caliban believes he is the rightful leader for the island because he was here first and gets others to assist in getting rid of Prospero. This same reasoning is relevant with many countries, for example, Rwanda, Fiji, etc, there are militant coup's raging and creating a civil war; In Rwanda's case it is based on this same belief of each different tribal race being the rightful leaders of the nation. the same goes for the struggle in the middle east, between the Muslim and Jews, over the holy city. i guess you could say these are on a much larger and somewhat more modern scale, but this struggle for the "rightful" governance is still occurring in today's world. Not just in New Zealand, as Charlotte said.
Though this world scale is arguably not out "society".
What similar themes are there between Cymbeline and society today?
although its not necessarily relevant to our "society", the evil step-mother is relevant with the fairy tales that we, as children, read and watch. Snow White and Cinderella all have to deal with a cruel narcissistic and power-hungry step mother.
But i agree with Charlotte, that the disapproving parents are still relevant today. i know of a couple, one is Muslim and one is Hindu and their relationship is hidden because they know their parents will not allow them to be with each other. But this is not only relevant because of religious backgrounds; class and family have a lot of influences on the approval of parents.
What timeless concepts do these plays suggest about humans?
i think it shows a lot about humans that despite hundreds of years, our basic structure and instincts are still relevant and being studied. Shakespeare illustrates several of these "natures" within both the tempest and Cymbeline they are:
-The reunification of family, above all else (the importance of family)
-the eternal debate of the right power or authority
-hunger for power and prestige
-the need for resolution and closure
-the difficulty and need to be able to forgive (also the "godliness" of those who can forgive and forget)
-betrayal for personal gain
-the weight given to a girl/woman for being virtuous and virginal. (still present today, even though it isn't as commonly expected as it once was)
answer to essential question- What relevance do Shakespeare’s Romance plays have in society today?:
although the Romances as a rule, include very unrealistic aspects such as magic, resurrection, confusion about who they really are, etc. i think the romances where Shakespeares most realistic plays, because unlike comedies, they change and learn things before their happy endings, and not everyone reaches them; and unlike tragedies, not everyone dies.
though within each of Shakespeare's plays he was trying to say something, whether it was that killing a king is bad, love is good, or simply retelling the history of a great king; but the romance plays are the plays in which a more realistic sense of humans and society shines through, despite the absurdity and supernatural elements.
Essential question: What do these plays say about those who possess authority?
1.Who possesses authority in The Tempest?
A number of minor characters throughout this play possess authority at certain points. Alonso, as the King of Naples has great power, although we rarely see him use it. Antonio has power after usurping his title of Duke of Milan. Stephano is given power by the slave Caliban who promises to “kneel to him” and “kiss thy foot.” Prospero has the ultimate authority, and through the use of his magic, can control all of the islands inhabitants.
2.Who possesses authority in Cymbeline?
As the King, Cymbeline has the greatest authority. The Queen also has authority, but her craving for more power ultimately leads to her downfall. At the conclusion of the play, Posthumus is restored to his rightful place and is granted power/authority over other characters (such as Iachimo who betrayed him)
3.How do those who are in positions of authority use their power throughout the play?
In Cymbeline, the King, at first, uses his authority for his own gains. He imprisons his own daughter and banishes her husband just because he is not happy with their marriage. However at the end of the play he seems to become more compassionate and uses his power for the 'greater good' to restore peace with Rome. Stephano from The Tempest uses his limited authority for his own personal gain. As soon as Caliban starts calling him “God” and “Master” the power seems to go to his head – Stephano threatens Trinculo, someone who was his close friend only minutes earlier, with violence, and then in fact starts to beat him up.
Answer to EQ:
Through providing us with a look at a number of different 'leaders' with authority in each play, Shakespeare appears to be highlighting the flaws in each character that authority/power causes to rise to the surface. He also seems to be suggesting that an authority figure can only achieve true greatness through the use of mercy. We can see this through the shared themes of forgiveness in both The Tempest and Cymbeline. Prospero, despite his weaknesses that arise from his power, manages to forgive those who have crossed him, including Antonio his brother who shows no remorse despite his attempt to murder Prospero. Prospero declares “The rarer action is/ In virtue than in vengeance.”
Posthumus, from Cymbeline, also forgives those who have betrayed him. He does not punish Iachimo but tells him “The pow'r that I have on you is to spare you;/ The malice towards you to forgive you.” Shakespeare repeatedly seems to be suggesting that forgiveness is the 'right' thing to give, it's the Christian thing to do. Shakespeare also seems to show both ends of the spectrum with regards to Authority. There is Gonzalo, who craves authority only to let it go in a Utopian world he dreams of with “No name of magistrate”. He wants to free everyone and form a world with no authority, but in reality this would be impossible. Whereas the Queen craves power only for herself, for her own gain in Cymbeline. Prospero seems to be set in between these two characters, he has his own weaknesses, but we still see him as a good leader.
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