The Tempest Variety of style

Different levels of speech Variety of style Different levels of speech Shakespeare used different levels of speech and action to portray his characters from different angles. A character may suddenly switch from everyday prose to solemn verse. There is sometimes the insertion of allegorical scenes, songs, music and dances, magical transformations. Only Connect ... New Directions

From everyday prose to solemn verse Variety of style Prospero From everyday prose to solemn verse William Hamilton, Prospero and Ariel (from Shakespeare's The Tempest), 1797, Alte Nationalgalerie, Berlin Only Connect ... New Directions

Everyday prose: Act I scene II Variety of style Everyday prose: Act I scene II […]PROSPERO Ariel, thy charge Exactly is perform’d: but there’s more work. What is the time o’ th’ day? ARIEL Past the mid season. PROSPERO 240 At least two glasses. The time’ twixt six and now Must by us both be spent most preciously. […] Only Connect ... New Directions

SIGHT HEARING TASTE TOUCH Variety of style Solemn verse: Act V, Scene I Synaesthesia is typical of Prospero’s solemn speeches SIGHT HEARING TASTE TOUCH PROSPERO Ye elves of hills, brooks, standin lakes, and groves; And ye that on the sands with printless foot 35 Do chase the ebbing Neptune, and do fly him When he comes back; you demi-puppets that By moonshine do the green sour ringlets make, Whereof the ewe not bites; Only Connect ... New Directions

Only Connect ... New Directions Variety of style Ferdinand Solemn verse of love Angelica Kauffmann, Miranda and Ferdinand (1782), Austrian Gallery, Vienna Only Connect ... New Directions

Only Connect ... New Directions Variety of style Solemn verse of love: Act III, Scene I FERDINAND 33 ‘Tis fresh morning with me when you are by at night […] I am, in my condition, 60 A prince Miranda; I do think, a King; I would not so! […] Hear my soul speak: The very instant that I saw you, did 65 My Heart fly to your service; there resides, To make me slave to it. . Only Connect ... New Directions

Caliban Regression of the character Variety of style Caliban faces Prospero; Miranda sleeping in the cave (The Tempest, 1, 2), by Heinrich Fuseli, 1806-1810. Only Connect ... New Directions

Only Connect ... New Directions Variety of style Regression of the character: Act I, Scene II CALIBAN 331 As wicked dew as e’er my mother brush’d With raven’s feather from unwholesome fen Drop on you both! A south-west blow on ye And blister you all o’er! 363 You taught me language; and my profit on it Is how know how to curse. The red plague rid you For learning me your language! Only Connect ... New Directions

Only Connect ... New Directions Variety of style Regression of the character: Act II, Scene II CALIBAN 1 All the infections that the sun sucks up From bogs, fens, flats, on Prospero fall and make him By inch-meal a disease! CALIBAN SINGS DRUNKENLY 181 Farewell, master; farewell, farewell! Only Connect ... New Directions

Only Connect ... New Directions Variety of style Regression of the character: Act II, Scene II CALIBAN No more dams I’ll make for fish; Nor fetch in firing 185 At requiring; Nor scrape trenchering, nor wash dish: ‘Ban, ‘Ban, Ca-caliban Has a new master: get a new man. Freedom, high-day! High-day, freedom! Freedom, 190 High-day, freedom! Only Connect ... New Directions

Ariel Magic and the supernatural Variety of style Prospero and Ariel played by Dennis Kleinsmith and Don Pitsch in Auburn Regional Theatre’s 2007 production of The Tempest Only Connect ... New Directions

Only Connect ... New Directions Variety of style Magic and the supernatural: stage directions and songs Enter Ariel like a water-nymph (Act I, Scene II); Enter Ariel invisible playing and singing (Act I, Scene II); ARIEL SONG Come unto this yellow sands, And then take hands: Courtsied when you have and kiss’d 380 The wild waves whist: Foot it featly here and there, And sweet spirites bear The burthen. Hark hark! Only Connect ... New Directions

Only Connect ... New Directions Variety of style Shapes Music and dance Dance Theatre Adaptation of William Shakespeare’s The Thempest. October, 2007, McLennan College Theatre, Waco, Texas Only Connect ... New Directions

Only Connect ... New Directions Variety of style Music and dance: stage directions Solemn and strange music; and Prospero on the top (invisible). Enter several strange Shapes, bringing in a banquet; and dance about it with gentle actions of salutations, and inviting the king to eat, they depart. […] then to soft music enter the Shapes again, and dance, with mocks and mows, and carrying out the table. (Act III, Scene III) Only Connect ... New Directions