| Arguably, prospero become all the more any at caliban for his treatment of Miranda because _ | Calibans attempted rape of Miranda simply reflects prospero’s incestuous desire, Freudian critics |
| Caliban is prospero’s _ representative of _ | shadow, part of himself he finds unacceptable and therefore projects onto caliban, psycologist Carl Jung |
| Prospero’s harshness to Miranda when she praises Ferdinand could show either _ or _ | He feels he should test her love as well as ferdinands, In Freudian terms he resents Ferdinand as a rival, critics |
| Prospero knows he must _ | Do the right thing and forgive his enemies: he manages to do it but reluctantly and only after a struggle, former Archbishop of Canterbury Rowan Williams |
| Language in the tempest becomes _ and | A prime means of colonial oppression, Prospero, even if unintentionally, has imposed his own world-view on caliban through language, post-colonial critics |
| Prospero’s treatment if caliban highlights _ | Prospero’s assumption that his culture is the civilised norm, and that caliban is a brute, whose speech is nonsensical, post – colonial critics |
| The masque _ although it’s language is | Contributes to the plays magical atmosphere and gives a distinctive quality to its structure, not very impressive, frank kermode |
| The view can be taken that Miranda’s _ should _ | Speech beginning abhorred slave, be spoken by Prospero |
| The tempest is concerned _ and the plays title _ | Above all with the power of language, refers to the storm of speech that constitutes the play, Colin McGinn |
| Director believes it is _ which finally moves Prospero _ | Ariels comment on pitying the nobles, to forgive them, Trevor nunn |
| In handing over rulership To his brother _ therefore | Prospero was failing in his responsibilities, he is to blame for Antonio quite naturally wanting full authority, Marxist critics |
| Pairs of _ have been identified in the play | Character doubles, critics |
| Prospero _ and sycorax _ are _ | The true magus, witch, poles apart, yates |
| Sycorax’s role in the play is defined as | Nothing less important than the islands other magician to which Prospero is implicitly compared, dan harder |
| Prospero strictly uses _ | His magico-scientific powers for good, Yates |
| Prospero is identified traditionally as _ | The very Shakespeare himself… Of the tempest, Coleridge |
| Prospero’s power over other characters in the play _ | Is far from being benign, serene or admirable, as it has been traditionally presented, Gordon McMullan |
| The play was first identified as _ | Allegorical, romantic criticism |
| Prospero’s humanity when he tells Miranda about their past was further emphasised by _ | Roger Allam as Prospero symbolically laying aside his staff alongside his ‘magic garment’, the globes 2013 production |
| Prospero’s compassion begins to dominate his psyche in act 1 scene 2, meaning that _ | Anything that might have been disagreeable to us in the magician, is reconciled and shaded in the humanity and natural feelings of the father, Coleridge |
| Ariel identified with _ and caliban with _ | Air, Earth, schlegel |
| Caliban equated with _ Ariel with _ and Prospero _ | True brute understanding, fancy, imagination, Lowell |
| Shakespeare underlines that Prospero _ | Loves his daughter, but uses her as a dynastic pawn, Gordon McMullan |
| Properly is seen to _ in an attempt to resolve his own history | Control and manipulate his daughter Miranda with a rhetoric that is, at best, economical with the truth, Gordon McMullan |
| Audiences generally sympathiese with Prospero but _ | Don’t necessarily admire the means he deploys to negotiate his return to the corridors of power in Europe, Gordon McMullan |
| After the view that _established, Prospero became identified as Shakespeare | Creativity was the outward sign of inward growth, romantics |
The tempest criticisms
July 16, 2019