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The Tempest
By William Shakespeare
This material was written by Karen Yager, Richmond River High School
The Audience’s Imaginative Journey
The Representation of the Imaginative Journey
Introduction
The main focus of the Area of Study is on the concepts that arise from examining a range of texts through the lens of Journeys. As your prescribed text is The Tempest, you are examining, questioning and reflecting on Imaginative Journeys. The English Stage 6 Prescriptions: Area of Study, Electives and Texts, HigherSchool Certificate 2007-2008 states that:
"Through this focus, students explore the ways in which texts depict imaginative journeys. These journeys take us into worlds of imagination, speculation and inspiration. Students explore a range of imaginative journeys, from journeys of intellectual discovery to those of pure imagination. Students examine the underlying assumptions about these imaginative journeys and consider the power of the imagination to challenge their thinking. In their responding and composing, students reflect on the ways imaginative journeys broaden their understanding of the world and themselves."
Therefore, when you examine The Tempest, one stimulus text and texts of your own choosing you will need to consider:
- How the composer represents the imaginative journey through textual features and details.
- The impact of the context and the times, the values of the text and the composer’s purpose and intended audience on the underlying assumptions of the texts.
- How your thinking has been challenged.
The Concept of Imaginative Journeys
The ability to conceptualise in an extended response such as a response to an Area of Study question in the HSC exam is an essential skill. After your study of The Tempest, the stimulus texts and texts of your own choosing what have you discovered about Imaginative Journeys? You must be able to articulate the key ideas or concepts that you have grasped from this study. These key ideas or concepts can then be used to shape and develop your sustained responses in Section III of Paper 1 of the HSC examination. The Stage 6 English Syllabus states that "Students explore the ways in which the concept of the journey is considered and expressed in and through texts" and in the 2005 Notes from the Marking Centre it was concluded that "Better responses skilfully analysed textual features in relation to a conceptual understanding of the journey, commenting on the impact of context." Using a conceptual framework invites integration, enabling you to make strong connections between The Tempest, the stimulus text and texts of your own choosing.
Exercise:
When developing key ideas or concepts, it is best to use mind maps as they allow you to visualise the concept and the links between the texts. Create mind maps based on at least three concepts that you have derived from your exploration of Imaginative Journeys. The following examples have been provided for you:
Example 1
Example 2
Example 3
The Tempest
The Audience’s Imaginative Journey
When we enter the imaginative world of a text we are confronted with a mirror of the world and humanity. Lewis Carroll stated "We use imaginative models to make sense of the world." Perhaps the composers would add that they would like us to make sense of ourselves. Shakespeare had Gonzalo wisely observe "Torment, trouble, wonder and amazement inhabits here." The world of The Tempest does feature a range of individuals who allegorically represent many aspects of humanity: the lust for power, the innocence of young lovers, the lack of loyalty, the inability to forgive, the lack of empathy, the need to dream, and the ability or inability to reconcile and confront the inner darkness.
Shakespeare - or is it Prospero? - takes his Jacobean audience and a modern audience on an amazing auditory, sensual imaginative journey to an island that only exists for the duration of the play – Gonzalo’s ‘utopian’ world meaning ironically ‘no place’. It is world that the Jacobean audience would never have experienced. This audience would have been extremely intrigued by this exotic world because they lived in a time of real exploration of ‘new worlds’. Shakespeare locates the island somewhere in the Mediterranean, near the route between Naples and Tunis and it shares some of the characteristics of the Caribbean and the Bermudas. Caliban’s mother’s God is Setebos, a Patagonian deity, so the island may be located somewhere near the New World of the Americas. The island is inhabited by a variety of exotic creatures and geographically it boasts mountains, deserts, bogs, fresh springs, beaches, etc and is host to boars, lions, wolves, bears, monkeys and much more.
Prospero controls the audience’s imaginative journey as he is essentially the creator of the play. This creation begins with the tempest and moves through his orchestration of the romance between Miranda and Ferdinand and to the final relinquishing of his power by the revelation that this was after all just a play. Prospero delivers lines that metaphorically epitomise the essence of the play and signify the imaginative nature of the journey:
"We are such stuff that dreams are made on:
And our little life is rounded with a sleep" (IV.i)
The soft use of sibilance and the alliterative ‘l’ sound are gently seductive, and the adjective ‘little’ reminds the audience that as life is ephemeral, we should value it and not allow our flaws to guide our imaginative journeys.
The opening scene with its violent, life-threatening tempest dramatically demands the audience’s attention – "tempestuous noise of thunder and lightning heard" (I.i) - and positions the audience to see that the natural order will be challenged in this new world with the lowly boatswain ordering the nobility below deck, "You mar our labour: keep your cabins: you do assist the storm" and dismissing the divinely natural order based on rank, "What cares these roarers for the name of king" It also creates exciting dramatic conflict that engages the audience.
When the audience meets the island’s inhabitants, a Jacobean and modern audience would respond differently. A Jacobean audience would dismiss Caliban’s claim to the island as being unlawful as he is a slave with no recourse to justice, whereas Prospero is noble and entitled to enslave Caliban and use his superior magical powers. Ariel, however who becomes Prospero’s spiritual guide, confronts the audience and Prospero with Caliban’s humanity – "Yes, Caliban her son." (I.ii) and Prospero’s wrongful focus on revenge:
"And the remainder mourning over them,
Brimful of sorrow and dismay; but chiefly
Him that you term'd, sir, 'The good old lord Gonzalo;'
His tears run down his beard, like winter's drops
From eaves of reeds. Your charm so strongly works 'em
That if you now beheld them, your affections
Would become tender. "(V.i)
Ariel’s tone is gently admonishing, using the soft sound of sibilance to focus on their ‘sorrow and dismay’ and the evocative simile to remind Prospero of Gonzalo’s age and his vulnerability. He persuasively uses the second person and the high modality ‘would’ to change Prospero’s perspective. He ironically adds that he would feel that way if ‘were I human.’ Prospero’s journey to personal growth is eventuated because of Ariel’s wisdom.
A modern audience, living in a postcolonial world would empathise with Caliban and be critical of Prospero’s bitterness and vengeance. They would be critical of a man who educates and loves his daughter, but denies her a voice and is willing to use her as a political pawn.
Regardless of an audience’s perspective, when the journey ends with ‘With the help of your good hands,’ they are forced to examine humanity’s weaknesses and strengths. Miranda innocently states at the end of the play:
‘How beauteous mankind is! Oh brave new world
That has such people in’t!’(V.i)
Her father replies cynically:
‘Tis new to thee.’
If Prospero had fulfilled his obligations as duke, he may not have been betrayed and usurped by his brother. He has come to acknowledge his own short-comings. He is forced to acknowledge the healing power of love, nature (Ariel) and clemency. Shakespeare’s imaginative journey has confronted the audience with characters who display the most human of flaws: ambition, desire for vengeance, egocentricity and greed. Yet at the end of the journey he forgives the audience, acknowledging human frailties and the capacity of some to grow and learn from their mistakes.
Prospero forgives his brother and Sebastian for their evil plans:
‘I do forgive thee,
Unnatural though thou art.’
And he states to the audience at the end of the play:
‘As you from crimes would pardoned be…’(Vi)
When the curtain falls, the audience has been transported to a magical world through poetry, song and imagery, introduced to a mix of interesting characters who represent flawed humanity, intrigued by Prospero’s tale of betrayal and the duplicitous plots of Antonio and Sebastian, entertained by the drunken and ambitious buffoons Trinculo and Stephano, heartened by the healing powers of love, and troubled by the silence of Antonio and Sebastian. Shakespeare has persuaded the audience to take an imaginative journey so that they, like Prospero and Alonso, can reflect and consider the journey they have chosen to take. Cicero’s conclusions about art continue to be applicable: "Comedy is an imitation of life, a mirror of manners and an image of truth."
Approaches to The Tempest
As you are examining your prescribed text The Tempest you need to take into account what the syllabus requirements and expectations are, and what the ‘Feedback from the Marking Centre’ has concluded about the candidates’ responses to the Area of Study. Firstly the questions for Section III in Paper 1 of the HSC examination are derived from the syllabus. Secondly, the feedback indicates the strengths and weaknesses of the candidates’ responses so it is a worthwhile read. For example in 2005 it was noted that better responses "commented effectively on holistic dramatic features such as structure, characterisation, conflict and setting."
Context and Times of The Tempest
"Students examine, question and reflect on the assumptions underlying the representations of the journeys" (Stage 6 English Syllabus).
In the introduction it was stated that you are expected to be able to discuss the underlying assumptions of The Tempest; therefore, it is important that you consider the context and times of the play.
- The Tempest is one of the few plays of Shakespeare’s that is "born of the imagination"; however there are several contributing texts such as: An Italian poem about a real-life Duke Prospero of Milan who owned an extensive library, Virgil’s Aeneid featuring a hero who is purged of his burden of guilt on an island, and Strachy’s 1610 account of the shipwreck of Sea Adventure off the Bermuda.
- 1611 is a time of political unrest with wide spread discontent about the persecution and execution of Catholics by James 1. Shakespeare was well aware of the implications of Machiavellian politics in Italy, and his own family had been Catholics.
- Shakespeare’s father had lost his wife’s Arden inheritance; thus there is concern about restoration.
- The Tempest as Shakespeare’s last play as sole playwright melds the themes and concerns of his major plays such as: ambition, greed, betrayal, abuse of power and the healing power of love. Stephen Greenblatt (2004) stated in his text Will in the World: How Shakespeare became Shakespeare: "the bones of his works had suffered a sea change into something rich and strange."
- The play was performed at Blackfriar’s Theatre - a small, intimate theatre that offered special effects in lighting, sound and staging.
- Shakespeare was influenced by Ovid’s humanist view expressed in Metamorphoses. This is also reflected in Gonzalo’s appropriation of Montaigne’s essay on the ‘noble savage’.
- Shakespeare’s audience would have been Eurocentric as England and Europe were considered to be the civilised centres of the world, and nature was regarded as savage and untamed.
- Exploration had opened up Africa and the Americas introducing the English to new worlds and the so-called ‘savages’.
Exercise:
Discuss the significance of the contextual information in relation to Shakespeare’s representation of the imaginative journeys of his characters and the intended imaginative journey of the audience.
The Representation of the Imaginative Journey
"Students examine, question and reflect on their observation and understanding of the portrayed events, people, ideas and the societies that they encounter" (Stage 6 English Syllabus).
An understanding of the context and times of The Tempest will enable you to appreciate Shakespeare’s representation of the imaginative journey of his audience and his characters. You need to consider how the characters in the play use their imaginative powers and where their imaginative journey takes them.
Exercise 1:
Complete the following table, which has been started for you on the characters:
| Characters | Imaginative Journeys | Textual features |
|---|---|---|
| Prospero: Main character and storyteller – the deposed Duke of Milan |
Prospero is not on the island for twelve years by choice, so he regards the island as a ‘poor cell’ and he is not inspired by his natural surroundings like Caliban to let his imagination soar. Instead he uses his imagination to journey back to his betrayal and banishment by his brother Antonio and to exploit the magic of the island so that he can use it for vengeance against those who have wronged him. Prospero’s narrative to Miranda and the audience is heightened by intrigue, treachery and betrayal. When Prospero does recall what happened in Milan, he is honest enough to acknowledge that he was partly responsible for his demise as he neglected his duties as ruler of Milan. Exploiting Ariel’s magical powers for revenge fosters a close relationship between Ariel and Prospero. Although Ariel is Prospero’s slave, Prospero respects his wisdom and often accepts his sage advice. Ariel uses his poetic, lyrical words and song to persuade Prospero to feel sympathy and compassion for his victims and to abandon vengeance and to embark on a moral journey to knowledge and understanding. |
Through emotive words and evocative imagery Miranda and the audience are persuaded to accompany Prospero on this journey back in time:
‘one midnight Fated to th’ purpose did Antonio open The gates of Milan, and I’th’dead of darkness The ministers of th’purpose hurried thence Me, and thy crying self. (I.ii) The lack of punctuation, the symbolic references to death and darkness sharpened by the alliterative ‘d’ coupled with the image of an innocent crying child, convey dread and terrible haste. These descriptive lines are quickly followed by a harrowing, frenetic description of their experience at sea in ‘a rotten carcass of a butt’: ‘There they hoist us To cry to th’sea, that roared at us; to sigh To th’winds, whose pity sighing back again Did us but loving wrong.’ (I.ii The master storyteller personifies the sea, and uses repetitive onomatopoeia ‘sigh’, and descriptive verbs – ‘hoist’ and ‘roared’ – to enable the audience and Miranda to imagine the traumatic events of the night. ‘the rarer action is in virtue than in vengeance’ - the alliterative ‘v’ coupled with a reflective, accepting tone signifies that he has grown wiser. Prospero metaphorically acknowledges that Caliban’s darker flaws are also his, "this thing of darkness I acknowledge mine." (v.i) |
| Caliban: The ‘monster’ of the island, Caliban believes that the island is rightfully his. He challenges the Jacobean audience through his lyrical and poetic use of blank verse. |
Caliban responds deeply and poetically to the island. Its beauty and natural attributes inspire his imagination. His imaginative journey is to a time when he is ruler of the island and Miranda is his wife bearing his children. He also uses his imagination to visualise pain and suffering for Prospero who has enslaved and abused him. His imaginative journey encompassing power over the island that he values parodies Prospero’s desire to return to Milan where he is the rightful ruler – "This island’s mine…which thou tak’st from me" Shakespeare has created a paradoxical character who invites our scorn, laughter and our sympathy. He is represented as a lowly creature; yet he speaks in the blank verse often reserved for nobility. He is a political rebel who questions Prospero’s authority claiming that all men are equal; a popular renaissance view during Shakespeare’s time and supported by French philosopher Montaigne: ‘For I am all the subjects that you have, Which first was mine own king.’ (I.ii) |
‘the isle is full of noise, sounds and sweet airs, That bring delight and hurt not.’ His affectionate tone melded with the soft sibilant ‘s’ conveys his love for the natural world of the island. This crucial speech delivered while this contradictory creature is drunk and servile, is eloquently beautiful and invites the audience to venture with Caliban on his imaginative journey and appreciate the richness and beauty of the world and the power of the imagination: ‘and then in dreaming The clouds methought would open and show riches Ready to drop on me, that when I waked I cried to dream again.’ (III.ii) |
| Gonzalo: The benevolent and idealistic councillor who appreciates the world and life. |
As an idealist and a visionary, the island inspires Gonzalo and he uses his imagination to construct a perfect commonwealth - a ‘Utopia’ – an ideal world of equality and ‘no sovereignty,’ but ironically where he is the benevolent dictator. Through his imagination, Gonzalo is able to escape the harsh realities of politics and enable the audience to confront the flaws of their world and appreciate the value of nature: ’Treason, felony, Sword, pike, knife, gun, or need of engine Would I not have; but nature should bring forth Of it own kind, all foison, all abundance To feed my innocent people.’ (II.i) The stuff that his dreams are made of is optimistic and idealistic. |
Gonzalo, through exclamatory statements and descriptive language enables the audience to further imagine this strange island: ‘The air breathes upon us here most sweetly’ and ‘How lush and lusty the grass looks!’ |
| Stephano and Trinculo: A drunken butler and a jester who emulate the ambitions of Antonio and Sebastian. |
These conniving schemers use their imagination to envisage an island based on the European social structure with the exception that they are in charge; thus providing a comic parody of Antonio’s usurpation of the dukedom. The meeting with Caliban whom they perceive to be a monster triggers an imaginative journey coloured by greed and ruthless ambition. | They imagine the wealth they will accrue by displaying the ‘monster’ and Stephano imagines what it would be like to be in control in this new world: ‘Monster, I will kill this man. His daughter and I will be king and queen – save our graces! – and Trinculo and thyself shall be viceroys’ (II.ii) This is anachronistic and farcical on an island where Prospero holds all power. The two buffoons use only prose when they are speaking, signifying their drunkenness and lowly social standing. |
| Miranda: Her imaginative journey has been shaped and manipulated by her father. |
Prospero has controlled much of Miranda’s imaginative journey for the past twelve years. He has educated her and taken her on a journey to the past through his narrative. Until, she meets Ferdinand, the audience rarely hears her voice and is not privy to her imaginative thoughts. As a typical Jacobean female she is insignificant and marginalised. The audience of her times would not question her representation as a modern audience would. | When Miranda meets Ferdinand, she enters the world of love and she boldly and directly declares her intention:
‘I am your wife, if you will marry me: If not, I’ll die your maid.’ (III.ii) The audience through the colourful, celebratory masque and the playful, almost comic love between Miranda and Ferdinand is persuaded that love is a powerful, healing force. |
| Antonio: Prospero’s brother who has usurped his dukedom and is willing to allow blind ambition to rule his conscience. His imaginative journey is to a dark place where he has absolute power. |
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| Sebastian: The King Alonso’s brother who is easily manipulated by Antonio. His imaginative journey has been created by Antonio. |
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| Ariel: The wise spirit of the island who has been doing Prospero’s bidding, but who uses his imaginative powers to enable Prospero to acknowledge that revenge is foolish. |
Exercise 2:
"Students consider the power of the imaginative journey to challenge their thinking" (Stage 6 English Syllabus).
Add at least three or more key ideas of the play that are raised by the Imaginative Journeys to the following table and consider how they have challenged your thinking:
| Ideas | Reflections |
|---|---|
| Imaginative Journeys may never become a reality. | Gonzalo’s imaginative journey to Utopian world free of corruption is challenged by the presence of scheming and amoral nobles. The supernatural elements of the play and the epilogue remind the audience that they have been on an imaginative journey through a magical theatrical experience. "Let your indulgence set me free." |
| Imaginative Journeys reveal the flawed nature of humanity. | The counter voices continue to resonate despite the spirit of reconciliation and harmony – Antonio and Sebastian have not expressed regret or acknowledged their dark flaws. Miranda’s innocent response – ‘O brave new world that has such creatures in it’ – is cynically countered by her father’s observation. |
| We can use our imagination to journey to a dark place. | Antonio uses his imagination to see "a crown/ Dropping upon thy head." He persuades Sebastian to consider killing his brother Alonso so he can become king and Antonio can have more power. |
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Textual Features
"Students explore and examine relationships between language and text, and interrelationships among texts. They examine closely the individual qualities of texts while considering the texts’ relationship with the wider context of the Area of Study" (Stage 6 English Syllabus).
As indicated already by the notes in the columns on character and key ideas, how Shakespeare uses language and dramatic features to represent Imaginative Journeys must be considered. The ‘Notes from the 2005 Marking Centre’ stated that students were expected to refer to "specific language features such as the use of rhyme, verse, imagery and irony." You must refer to a range of textual features for all of the texts that you refer to in your response; however, it is paramount that you link these features specifically to the concepts you are exploring for the Imaginative Journey, and do not deal with them in isolation.
Consider the following when you are discussing The Tempest:
- Its form & construction:
- Hybrid genre: comedy, romance and tragedy
- Conflict
- Contrast between scenes
- Prospero’s retrospective narration
- The masque
- Self- reflexivity on the nature of theatre
- Humour and parody
- Language features such as: Caliban’s lyrical discourse with his imagery drawn from the island, figurative language, etc
Structuring your response
This is a SYNTHESIS response - linking and considering the ideas and concepts of texts and arriving at a better understanding of the concept of Imaginative Journeys. The question must shape your response – the prepared essay can be a problem if you are inflexible and do not know your texts well.
Suggestions:
- Respond immediately to the question or statement. You could agree or challenge it.
- Develop a thesis or concept and sustain this line of argument throughout your response that relates to the question or statement. Avoid confining your thesis to the physical aspects of the journey by referring to the philosophical aspects of Imaginative Journeys. You could use an insightful quote you have found that supports your concept or thesis.
- Use your texts to support or challenge the thesis or concept.
- Give a brief overview of the composer’s context and the composer’s representation of the journey, values and attitude towards the journey, and how this shapes the underlying assumptions.
- Examine the relevant aspects of the texts in relation to Imaginative journeys. Do not retell the plot and balance the discussion of your texts.
- Remember you are required to focus on how a text shapes meaning so you must discuss and compare HOW this is done in all of the texts. For The Tempest that means discussing language and dramatic features.
- You must demonstrate an understanding of how you are positioned by texts.
- Move from concrete details to general statements about your focus to abstract notions of journeys.
- Select the texts of your own choosing that you are enthusiastic about.
- Let your voice and ideas be heard on the concept of journeys and the texts!
- Ensure that you use texts that either contain an imaginative journey or involve the composer and responder embarking on a journey beyond the realms of everyday experience.
As your response should be shaped by the concepts that you are focusing, it is essential that you integrate your discussion and make strong connections between the texts. Use the texts to support and challenge your concepts.
You could make connections between:
- How the composers take the responder on an imaginative journey.
- The individuals’ responses to their Imaginative Journeys.
- Issues or ideas conveyed by the Imaginative Journey.
- How the Imaginative Journeys of the texts have challenged your way of thinking.
"Better responses were more discerning about their choice from the stimulus booklet allowing them to link and integrate their chosen texts to the specific question" (‘2005 Notes from the Marking Centre’).
You are only required to discuss one of the stimulus texts in your Section III response. Choose the stimulus text that:
- Aptly represents an Imaginative Journey.
- Appeals to you as a text.
- Enables you to make comparisons and contrasts with The Tempest and your texts of own choosing.
- Supports or challenges your concepts and the examination question.
Although you are only required to refer to one stimulus text, it is important that you have considered more than one text in relation to Imaginative Journeys; especially when you consider how diverse the question could be in the HSC examination.
Complete and add to the following table that has been started for you:
| Stimulus Text | Connections |
|---|---|
| Frost’s poem ‘The Road not Taken’: Imaginative contemplation of life’s journey conveying internal dilemma: ‘Oh I kept the first for another day…’ Although the persona seems to express acceptance of his life’s choices, the repetition of the personal pronoun ‘I’ and the onomatopoeic ‘sigh’ signify that there will always be some regret. | At the end of the play order and position have been rightfully restored, yet the silence of the perpetrators Antonio and Sebastian resonates, and Caliban’s acceptance of his misdeeds is questionable. |
| Grahame’s ‘The Wind in the Willows’: Different responses to imaginative journeys: Toad – naïve & adventurous; Rat –conservative and pragmatic. This extract has been taken out of context as Grahame like Rat was critical of change at the turn of the century. | Like Toad Gonzalo uses his imagination to envisage an ideal world. Antonio and Sebastian respond cynically and mockingly to his imaginative journey. |
| Lim’s ‘The Town Where Time Stands Still’ focuses on the enlightenment that travellers experience when they travel – ‘genii loci’ – ‘guardian of the place’ – special quality of a place. | Prospero will return to Milan ‘blessed and altered’; however, this is not true of all travellers as Antonio and Sebastian remain unchanged by the external geography of the island or by Prospero’s forgiveness. Their ‘baser motives’ remain dominant and they are unrepentant. |
| Attwood’s poem ‘Journey to the Interior’ – Evocative use of imagery; marginalisation of women; using the imagination to confront our flaws and fears; the inner conflict experienced by an artist. |
Suggested Scaffold:
- The question must drive and shape your response.
- Your thesis must be developed and sustained.
- The key ideas or concepts that you have gleaned from your study of the texts must be sustained and developed in your response.
- Integrate your discussion of the concepts and the textual features and details of your texts.
- Your personal response to the Imaginative Journeys of the texts and how your thinking has been challenged are valued!
It is always best to allow the question or the statement provided to shape your response; however a scaffold has been included if you need the support. You do not have to start with The Tempest, but remember if you are pushed for time it is your prescribed text.
Paragraph 1: Immediately address the question or statement and introduce your thesis or concept that challenges or supports it. You could introduce an insightful quote that encapsulates your thesis or concept.
Paragraph 2: Connect to the question or statement through The Tempest by discussing whether the text supports or challenges the question or statement. Briefly discuss Shakespeare’s context and times – such as the ethnocentricity and Eurocentricity - and his perspectives, and how these influence his play and his reasons for taking the audience on an imaginative journey and the underlying assumptions of the play.
Paragraphs 3 - 5: Use the question or statement to discuss those aspects of the play that are relevant. As you discuss, for example, how Prospero journeys to self-awareness and knowledge, integrate an analysis of the textual features and details that convey the journey. Use quotes from the text, but don’t use lengthy quotes that are not explained or linked to your discussion. Make connections with one or more of the other texts.
Paragraph 6: Link the discussion of The Tempest with your next text – it could be a stimulus text. State if the text challenges or supports the question or statement or how this text further illustrates your concept. Describe the context and times of the text and their relevance to the text.
Paragraphs 7 - 9: Now use the question or statement to discuss those aspects of the text that are relevant. As you discuss, for example, how Atwood focuses on the inner workings of the artist’s imagination to examine the difficult and at times challenging journey of the artist, integrate an analysis of the textual features and details that convey this. Use quotes from the text, but don’t use lengthy quotes that are not explained or linked to your discussion. Make connections with one or more of the other texts such as how Prospero learns to acknowledge his inner darkness – his flaws.
Paragraph 10: Link the discussion of your next text – could be text of own choosing the stimulus text and The Tempest. State if the text challenges or supports the question or statement or how this text further illustrates your concept. Describe the context and times of the text and their relevance to the text.
Paragraphs 11 – 13: Now use the question or statement to discuss those aspects of the text that are relevant. Use quotes and integrate your discussion of the textual features and details. Make connections with The Tempest and/or the previous text.
Paragraph 14: Conclude by returning to your concept or premise and what you have discovered. You must link back to the question or statement.
Exercise 1:
Combine the tables you have been working on using The Tempest, one stimulus text and at least two texts of your own choosing with at least three concepts. In the table explain how the concept is reflected in the texts through the imaginative journeys of the characters and the use of language and dramatic features. It is important that you do not have a separate column for textual features as they should be integrally linked to your discussion. This will help you to prepare for you synthesis response.
| The Tempest | Stimulus Text | Related Text | Related Text |
|---|---|---|---|
| Concept 1: |
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| Concept 2: |
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| Concept 3: |
Exercise 2:
Use the information you have collated in the various tables to compose a response to the following sample questions. Remember that you should have a conceptual framework that is developed and sustained in your response.
- "Texts can take us on a journey we never dreamed of taking."
Have you found this to be true in the texts you have examined this year? In your answer refer to your prescribed text, at least one item from the stimulus booklet; and at least one text of your own choosing.
- The NSW English Teachers’ Association (ETA) has organised for HSC students a panel of individuals who will be discussing how Imaginative Journeys are represented in a range of texts. You have been invited to select the panel and the texts they will be discussing. You have included your prescribed text The Tempest, one stimulus text and at least two texts of your own choosing.
Compose the transcript of the panel’s discussion.
- You have been asked to write an article for the NSW English Teachers’ Association (ETA) web site focusing on how Imaginative Journeys have been explored in a range of texts.
In the article targeting students you must refer to your prescribed text The Tempest, one stimulus text and at least one text of your own choosing.
Suggested Related Texts
Select texts that you are passionate about and that enable you to make strong links with your key concepts. You will write best about the texts that you enjoy. Try to avoid using the same related texts as the rest of your class.
A suggested list has been included in case you are unsure of what to use:
Films
- Apocalypse Now: This dark film aptly reflects Prospero’s admission:
‘this thing of darkness, I
Acknowledge mine.’ (V.i)
The establishing sequence brilliantly reflects the dark imaginative journey of the main character back into the horror of the Vietnam War. - Baraka: Like The Tempest this amazing documentary challenges the viewer through evocative and at times disturbing images to acknowledge our dark past and the damage being done now to Earth.
- Chocolat: Like The Tempest the power of optimism and clemency in the face of prejudice and negativity are privileged in this delightful film.
- Crouching Tiger, Hidden Dragon: The journey to enlightenment and the darker side of humanity are common to this film and The Tempest.
- Metropolis: Satirical anime that echoes Orwell’s and Huxley’s concerns about humanity’s plans and short sightedness.
- Motor Cycle Diaries: A sensitive journey of two friends who experience personal growth and self-discovery – as does Prospero who realises that his destiny was to rule his people.
- O Brother Where art Thou?: Humorous journey appropriating The Odyssey that takes the audience on the imaginative journey of three men who learn the importance of love and friendship.
- Shrek: An ugly ogre who like Caliban challenges our prejudices.
- Spirited Away: Spiritual journey through anime that also examines humanity’s flaws.
- The Road Home: A lyrical Chinese film that conveys the importance of stoicism, loyalty and hope – Gonzalo’s optimism, honesty and stoicism are juxtaposed with Antonio and Sebastian’s cynicism and duplicity.
- Tracker: A dark, postcolonial film that exposes humanity’s cruelty, prejudices and ethnocentricity. The director uses paintings to enable the viewer to imagine the tragic experiences of the Aboriginal people.
Novels
- Charles Frazier - ColdMountain: The power of love and hope – Inman provides an interesting contrast to Prospero who is preoccupied with power and revenge.
- William Golding – Lord of the Flies: Humanity isolated from civilization and its moral and legal boundaries – again humanity’s flaws – interesting to compare and contrast the characters with those in The Tempest.
- Alex Miller – Journey to the Stone Country: Imaginative journey of self-discovery and understanding.
- Mary Shelley – Frankenstein: Frankenstein’s monster like Caliban is given a poetic voice and conveys to the responder his loneliness and despair at the cruelty of his maker, just as Caliban is deeply hurt by Prospero’s cruelty. These creatures invite empathy and represent the monster within all of us.
- Mark Twain – The Adventures of Tom Sawyer: Personal growth and growing awareness of humanity’s flaws: greed, revenge, cruelty and prejudice.
Picture Books
- Jeannie Baker – Belonging
- Gary Crew – Memorial :Prospero’s story to Miranda emphasises the significant role of narrative. Memorial privileges collective memories and the stories that can be passed on.
- John Marsden – The Rabbits
- Shaun Tan – The Red Tree
- Colin Thompson – The Violin Man
Songs
- John Lennon – ‘Imagine’
- Lincoln Park – ‘My December’: The importance of resolving conflict and dealing with regrets – like Prospero.
- Evanescence – ‘Imaginary’: Imaginative Journeys can be used as a refuge from reality. The persona sings of escaping reality into a dream state; similarly Gonzalo envisages a utopian world.
Short Stories
- Tim Winton – The Turning: The first story ‘Big World’ narrates the journey of two year 12 leavers who take a road trip. The focus is not on the destination but the journey of self-discovery and the obstacles we face in life.
Recommended Reading:
Essays on The Tempest, http://www.shakespeare-online.com/essays/tempestessays.html 
, Accessed may 2006. (Montaigne’s essay ‘On Cannibals’ can be accessed here as can some interesting essays on the play. Some of the links to essays are no longer active.)
Greenblatt, S. (2004). Will in the World: How Shakespeare became Shakespeare. London: Norton & Co.
(The book and the film provide an informative and enlightening look at Shakespeare and The Tempest.)
Spark Notes: The Tempest, http://www.sparknotes.com/shakespeare/tempest/ . Accessed May 2006. (A general, rather simplistic examination of the play. Good to use when you are just beginning to study the play.)
Wood, M. (2003). In Search of Shakespeare. London: BBC World Wide Publishing.