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The Tempest Revision - Coggle Diagram

- - - - "Miranda has acted as Prospero's preserver" - Sandra Clark
    - - "Caliban is demoralised, detribalised and dispossessed" - James Miller
      - "Caliban is 'the other' and Prospero has power over him through language" - Berry
      - Caliban is a "noble being" - Coleridge
    - - "No audience has ever liked Prospero" - Harold Bloom
      - Prospero is the "controller, the manipulator" - Robert Wilson
      - "The action of the play is Prospero's discovery of an ethic of forgiveness" - Doran
      - "True reconcillation is not achieved as Prospero feels free to forgive those who sinned against him only after he has emerged triumphant and has seen the men, now mournful and "penitent", pay for their transgressions" - Amanda Mabillard
    - - "All power corrupts and absolute power corrupts absolutely" - Lord Acton
      - "The Tempest is about the problem of power" - Ross McDonald
      - "Prospero is the major source of power in the play" - Andrew Green
    - - "Ariel is the swiftness of thought personified, the emodiment of imaginery power" - Lindley
      - Ariel is "an elemental spirit robbed of freedom and tortured by the loss" - Coleridge
  - - - Shipwrecked characters imitating today's political powers as satire which debases their ideas by making them comical, and looked over
      - Irish man as Caliban to make the modern and colonial links to the play
    - - Caliban covered by rope highlighting theme of entrapment
      - Prospero presented with empathy when speaking to family and other characters
      - Fiery stage when betrayal happens (Sebastian and Alonso try to kill Antonio and Gonzalo)
      - Prospero wears jacket that nobels wear when seeing the others to cover up his rags showing how desperate he is to be proven as duke, and his want for power
      - At the beginning the working men are in sea uniforms, nobels are in full ceremonial dress however they have a lack of power
      - The masque is immersive, digital, loud, colourful and terrifying at the end to show the full extent of power and magic that the spirits and Prospero have
      - Sebastian in lots of gold, whereas Gonzalo is in grey and darker colours
      - Focuses on themes of power and status
      - emphasises that Miranda hasn't seen other men, when Ferdinand states "she's mine", it's a joke when Miranda is touching and looking at the other men
- - - - Act 1, Scene 2 - Ariel is invisible to everyone except Prospero, singing his song informing Ferdinand that his father did not survive - "suffering the sea change" "full fathom five"
      - Act 1, Scene 3 - Ariel makes Gonzalo and Alonso fall asleep, giving Antonio and Sebastian to carry out their treacherous plotting. Then sings a song to Gonzalo to make him wake up, relaying a direct message of the treachery.
    - - Ferdinand's grief of his father is highlighted by music showing this theme to the audience.
      - Inner feelings - low notes in the music, showing human misery and sadness. -> groaning Prospero, bereveaved Alonso, enslaved Ferdinand and Caliban. Ariel's music -> transforms Alonso's grief into a wonderful "heavy drowsiness" which the characters "sink" into.
      - Music drives the themes - the play wouldn't exist without the "strange" airs, the thunder or the singing of Ariel. All these sounds are directed to a singlar objective of Prospero which is to bring suffering to recover his dukedom and make his enemies recognise their past errors.
    - - E.g. Ariel uses a song to make Caliban, Stephano and Trinculo scared. Caliban knows the island's music - "full of noises", "sounds and sweet airs that give delight and hurt not"
      - Caliban - music lulls him to sleep, making a calm and peaceful mood. Music evokes vivid lovely dreams of the island, which in turn makes Caliban want to kill Prospero so he can enjoy the music for freedom.
      - The music serve to awaken desires in the characters to assert themselves and bend them to do as Prospero wishes - Di Salvo
    - - "Ariel is Shakespeare's most musical character" - unknown critic
        
        As Ariel is so often accompanied by music as he travels around the island doing Prospero’s bidding, it is clear that the noises, sounds, and sweet airs are his doing. He controls the musical landscape of Shakespeare’s most musical play, and this makes him Shakespeare’s most musical character.
      - Shakespeare uses his songs to drive the play's plot, as they make characters act in certain ways and Ariel as the vessel for this.
      - "come unto these yellow sands... bow wow wow" (Act 1, Scene 2) In this scene, Ariel appears as a water-nymph, invisible to everyone except for his master, Prospero. He uses this song to calm the stormy seas which has shipwrecked Ferdinand and his father’s ship, to calm Ferdinand, and to lead him further into the island. The “burthen” is believed to be a chorus of spirits who answer Ariel, and the animal noises they make disorientate Ferdinand, putting him at the mercy of Prospero.
      - "full fathom five thy father lies" (Act 1, Scene 2) Ariel continues to lead Ferdinand with his singing, convincing him that his father has drowned in the storm. Ferdinand cannot tell where the ownerless voice is coming from, and comments that it seems to come from above him.
      - "beware: awake awake!" (Act 2, Scene 2) Here, Ariel awakens Gonzalo from an enchanted sleep with this song, and saves him from being murdered by Sebastian. Again, Gonzalo is confused by the spirit’s voice and believes he heard only a “humming”.
      - "where the bee sucks... merrily, merrily" (Act 5, Scene 1)
        Ariel spends the whole play waiting to be freed from the service of his master, Prospero. In the final act of the play, Prospero promises that he will soon be free, and Ariel sings as he helps to dress the enchanter. The song here does not work as a spell on any character, but seems to be spontaneous, and anticipates Ariel’s freedom to go where he pleases as an “airy spirit” once he is released.