The Tempest

because Caliban doesn't really understand the purpose of a king

In Shakespeare's "The Tempest," Juno is the Roman goddess of marriage and childbirth, often associated with the protection of women and family. She appears in Act IV during the wedding masque that is presented to Ferdinand and Miranda, symbolizing the union and blessings of their marriage. Juno's presence underscores themes of harmony and divine favor in the play, highlighting the transformative power of love and reconciliation.

Tempest is another word for storm. Usually a very large, dangerous one.

Stephano thinks Trinculo has called him a liar. But it is actually Ariel who called him a liar, imitating Trinculo's voice. This in in Act III Scene 2.

Prospero can be seen as an unsympathetic character due to his vengeful nature and manipulation of others for personal gain. His desire for revenge against those who wronged him leads to the suffering of innocent characters, such as Caliban and Ariel. Additionally, his authoritarian control over the island and its inhabitants reveals a self-serving attitude, prioritizing his own desires over the well-being of others. This complexity can make it difficult for audiences to fully empathize with him.

Holling utilizes dramatic techniques such as intonation, pacing, and gestures as he quotes lines from "The Tempest." These techniques help him convey the emotions and intentions of the characters in the play effectively. By incorporating these dramatic elements, Holling brings the text to life and engages his audience in a more dynamic and compelling manner.

His body posture is stooped, and his clothing is ragged.

The Tempest is about a man called Prospero, who used to be Duke of Milan but was soon betrayed by his own brother called Antonio whilst Prospero studied magic. He was sent out to sea on a boat with his daughter called Miranda, who has never seen a man except her dad and Caliban (who comes up at a later point).

Prospero and Miranda soon find themselves on land that they have never seen before, where Caliban shows them around.

12 years later and Prospero is the ruler, with 2 slaves: Ariel, who is neither a Male nor Female. Then there is Caliban, the "dark creature" mentioned before, who does his best to disobey Prospero. Prospero soon discovers that a ship carrying Antonio, Alonso and Ferdinand (the people who overthrew him) was passing near the island. With help from Ariel, Prospero summons The Tempest, a huge storm, to shipwreck them on the island. The stranded try to search for each other, hindered by Ariel along the way. Then Alonso and Ferdinand reunite, but Ferdinand finds Miranda and decides to marry her (without knowing that his father Alonso was the person who banished Prospero).

Eventually the situation ends, and Prospero using his magic makes them all forgive each other, and then sets Ariel free. He gives up his magic and returns back home, with everyone except Caliban. Prospero is then reinstated as Duke of Milan.

(Oh, and can people PLEASE stop answering if they are just going to go off topic)

It includes romance and magic, but also murder plots.

Explanation: Apex

Shakespeare did not write novels. Ever. The Tempest is not a novel. It is a totally different thing called a play.

Not really. Prospero is always in charge, and he is a good guy, and so are Ariel and Miranda. There is no real threat from the castaways or from Caliban, no matter how malicious he might seem. The ending does not have the ambiguity of the endings of such plays as Measure for Measure or All's Well, and is far removed from the unsatisfying and bleak resolution of Troilus and Cressida. In the Tempest, the young couple are happily married, Ariel is freed, the bad guys repent and Prospero retires. A pleasant resolution all around.

Only one shipwreck occurs in The Tempest. Several Italians, including Alonso, King of Naples, are shipwrecked in Act 1 of The Tempest.

At least seven pages worth of stuff. It's a long scene, and it is almost all Prospero talking and Miranda falling asleep.

William Shakespeare wrote the Tempest in 1611.

Ariel's appearance as an avenging harpy represents the climax of Prospero's revenge, as Antonio, Alonso, and the other lords are confronted with their crimes and threatened with punishment. From Prospero's perspective, the disguised Ariel represents justice and the powers of nature. He has arrived to right the wrongs that have been done to Prospero, and to punish the wicked for their sins. However, the audience knows that Ariel is not an angel or representative of a higher moral power, but merely mouths the script that Prospero has taught him. Ariel's only true concern, of course, is to win his freedom from Prospero. Thus, the vision of justice presented in this scene is artificial and staged.

Ariel's display has less to do with fate or justice than with Prospero's ability to manipulate the thoughts and feelings of others. Just as his frequent recitations of history to Ariel, Miranda, and Caliban are designed to govern their thinking by imposing his own rhetoric upon it, Prospero's decision to use Ariel as an illusory instrument of "fate" is designed to govern the thinking of the nobles at the table by imposing his own ideas of justice and right action upon their minds. Whether or not Prospero's case is really just-as it may well be-his use of Ariel in this scene is done purely to further his persuasion and control. He knows that a supernatural creature claiming to represent nature will make a greater impression in advancing his argument than he himself could hope to. If Prospero simply appeared before the table and stated his case, it would seem tainted with selfish desire. However, for Ariel to present Prospero's case in this fashion makes it seem like the inevitable natural order of the universe-even though Prospero himself is behind everything Ariel says.

This state of affairs gets at the heart of the central problem of reading The Tempest. The play seems to present Prospero's notion of justice as the only viable one, but it simultaneously undercuts Prospero's notion of justice by presenting the artificiality of his method of obtaining justice. We are left to wonder if justice really exists when it appears that only a sorcerer can bring about justice. Alternatively, Prospero's manipulations may put us in mind of what playwrights do when they arrange events into meaningful patterns, rewarding the good and punishing the bad.

Antonio put Prospero and Miranda to sea in a leaky boat with insufficient supplies.

Ariel is played by two actors wearing feathered leggings and body paint.

The Tempest was not written to communicate a moral; it was not written for a Sunday School Class. It was written to entertain. The audience may derive a better understanding of something by means of the action of the play, but that depends entirely on what the audience wants to take away from it.

In any case, of all of Shakespeare's plays, The Tempest is one of the least didactic and most ambiguous. What kind of silly moral would you propose: that if you keep a girl from seeing other people, she'll fall for the first man she sees?

According to the OED, it should be pronounced as we would expect, to rhyme with "hair".