Miranda’s Diary from The Tempest Essay

                 Miranda's schooling in The Tempest shows the audience the conflicting arrangement white women in the Shakespearean drama as well as Shakespearean times are forced to act within.  Paul Brown points out that "the discourse of sexuality…offers the crucial nexus for the various domains of colonialist discourse" (208) and the conduct in Prospero manipulates his followers' sexuality is the mainstay of his power.  The Miranda-Prospero relationship servers to represent a sort of patriarchy, which is unarguably the system many Renaissance women and women of Shakespeare's time found themselves in.  It is thus unsurprising that Prospero controls Miranda and her sexuality as well.  The

worse than not having been exposed to society at all, and to live in a

I am nothing but a space that sometimes has to fill….I would not wish any companion in the world but you. Worlds collide, contexts intertwine and a cacophony of architectural designs is created, simply in words. Discoveries are integral to the rejuvenation of self – awareness that lead to new understandings and renewed perceptions of ourselves and others. This notion is widely explored in The Tempest through William Shakespeare’s portrayal of his protagonist, Prospero, progressing from a state of revenge towards a position of empathy and regret. God is also shown to rejuvenate through new understandings and renewed perceptions as he discovers the intense reality of the society that he once created, in the poem Postcards from God, written by Imtiaz Dharker.

Dear Diary, today I have been thinking if will ever be rescued from this horrible island. I no longer want to stay here anymore. My clothes got so filthy I could wear them anymore and my hair is longer then my nose. I want to go home and sleep in a nice warm bed and have a wonderful meal. Jack has turned very malevolent towards everyone even people in his own tribe. I wish I could delete the all the memories from this awful island. I had been thinking that we would soon be rescued. I think a large ship will pass by and see the signal fire and come a save us. Then would have a long travel home but there would be beds and warm meals that weren’t pig and fruit. When we would get home our parents would see the grown men we have turned in to. When

   A production of The Tempest should emphasize the idealized methods in which Prospero uses magic to solve the problem of revenge which is so prevalent throughout his tragedies, perhaps the production might be a direct allegory for the magic of the theatre itself.   In this conception of the play, the scattering and bringing together of the characters in the script is significant in that theatre also could be said to bring people together and allow them to share in an experience of emotion, magic, and finally, of resolution. In this way the production could be used as a vehicle for conveying the idealistic virtues of forgiveness, compassion, and of course knowledge. In his book, A

A utopian society is an ideal community. A society where people don't worry about criminal’s crime. William Shakespeare and Nathaniel Hawthorne both wrote stories about laws and action dealing with the New World. Shakespeare wrote the story, The Tempest, Hawthorne explains that if the people were not a certain way or did things a certain way they did not belong. In Hawthorne's story The Scarlet Letter described that if one committed a crime or didn't follow the laws you had to face the consequences. Even though both stories were written by different authors they both have similarities and differences.

"Rose! Dance on! I need more motion from you!" Ordered Prince Prospero as he beamed and grinned at the other dancers and musicians. I obeyed the Prince's orders and began skipping on beat with the rest of the dancers. I don't like taking orders from anyone, not even my mother about dance so that made me pretty bothered. Deaths are taking place due to how detectable the red death is becoming to the victims. This infection is taking away quality time from the victims and I feel like someone should put a stop to it.

The island of magic and mystery that Shakespeare creates in The Tempest is an extraordinary symbol of both the political and social realities of his contemporary society, and of the potential for a reformed New World. Shakespeare’s island is a creation which allows the juxtaposition of real and idealised worlds, and shows his audience both what they and what they ought to be. The seventeenth century was a time of ideological upheaval in Europe, with Medieval ideas of a hierarchical and ordered society being challenged by Renaissance thinkers. For the dynastic powers, including England under Elizabeth I, colonialism was an important opportunity to realise territorial ambition and prove religious

Discoveries offer new understandings and renewed perceptions of ourselves and others. William Shakespeare’s 1611 play The Tempest conveys unique aspects of discovery, depicted through all characters but particularly Miranda. The notion of discoveries leading to renewed perspectives is also highlighted by Genevieve Clay’s 2009 short film ¬Be My Brother, depicting a young man who changes the perspective of others at a bus stop. The short film challenges the viewer to examine the preconceived notions people subconsciously harbour about people who are socially different.

The Tempest Essay Though she does not have many lines, Miranda plays a key role in The Tempest. Shakespeare uses very extreme gender roles to contrast the characters in the play. Miranda is portrayed as the ideal woman during this time.

The Tempest is equipped with an elaborate sound track, in which episodes of violent, discordant, and chaotic noise are set against the harmonious songs and instrumental music performed by Ariel and his consort of spirits. It is not, of course, that this play entirely eschews spectacle, but The Tempest begins with a scene of storm and shipwreck that might appear calculated to vie with the scenic extravagance of masque. The storm called for in the opening stage direction one for which there are very few precedents in the canon can easily seem to be ushering in a display of spectacular theatricality; however, in a printed text that is unusually punctilious in its attentiveness to stage effects, what is particularly striking about the wording is its emphasis upon the aural a tempestuous noise of thunder and lightning heard.

   In discussing Derrida's view of Western literature, Geoffrey Hartman writes that "Western tradition has been marked . . . by a metaphysics of light, by the violence of light itself, from Apollonian cults to Cartesian philosophies. In the light of this emphatic light everything else appears obscure; especially the Hebraic development of aniconic writing and self-effacing commentary of textuality" (xix). This point is well illustrated by the nature of Prospero's power in The Tempest for his control of natural and supernatural forces is achieved through book-learning the bringing to life of Logos. That which Prospero does not control completely is the vilified character of Caliban. The

Although William Shakespeare’s The Tempest is often categorized as his late romance, its plots reflect the major social movement of that time—the Europeans settling in the New World. As the Europeans eagerly set out to find the New World, they left behind hopeful citizens pondering over what they would find. In The Tempest, through the characters, we can infer that the Europeans’ intentions ranged from creating the perfect government to interacting with the inhabitants. They discovered that their idea of the perfect government in which everyone is equal failed to exist. Nonetheless, they were correct in their anticipation that the New World would already be settled—by savage ‘Native Americans’. They eventually integrated the Native

     Shakespeare’s enchanted island in The Tempest is a restorative pastoral setting, a place where ‘no man was his own’ and a place that offers endless possibilities to the people that arrive on it’s shores. Although the actual location of the island is not known, the worlds of Seneca aptly describe it’s significance to the play – it represents the ‘bounds of things, the remotest shores of the world’. On the boundary of reality, the island partakes of both the natural and supernatural both the imaginative and the real. It allows the exploration of both man’s potential and his limitations, his capacity for reform through art and his affinity for political and social realities. It is constructing

From the beginning of the play we are told of how and why Prospero is