Prospero’s Epilogue is delivered much like a benediction, tying everything together in a beautiful knot, and giving readers a sense of peace at the play’s ending. For all of the play Prospero has been the “chess master,” moving people like chess pieces at his whim; always a step ahead of the game. Through the story he goes from being depicted as a tyrant to becoming this very human figure, who wants to be understood. Prospero’s machinations, while they were frequent and underhanded, were done out of love for his daughter and the knowledge that he can’t protect her from the world forever (the crux of parenthood).  Like any parent he used all the tools within his power to make sure his daughter was not only safe, but well taken care of, if that meant he had to lie, cheat or steal he would gladly do it a hundred times over. In the end when all his manipulations and persuasions created a very peaceful and fair outcome, he asks those who have been along for the ride with him throughout the play –his audience, for forgiveness.

Now my charms are all o’erthrown,
And what strength I have’s mine own,
Which is most faint: now, ’tis true,
I must be here confined by you,
Or sent to Naples. Let me not,
Since I have my dukedom got
And pardon’d the deceiver, dwell
In this bare island by your spell;
But release me from my bands
With the help of your good hands

Prospero is not only asking for forgiveness for controlling the minds of those on the island, but for controlling the minds of the audience as well. According to Cicero,  the goals of an orator are “docere, delectare, et movere.” 1. To prove your reasoning to the audience 2. To enchant the audience, and 3. To emotionally move the audience. All these points he succeeded at; now that he has done his job by molding this image of himself in the minds of his audience, and sharing his story he wants to be released. Maybe, Shakespeare through Prospero was bidding his audience “Adieu;” thanking them for the power they had given him through their patronage, while giving them back their crown (thus taking off the burden of being a playwright) and becoming a normal civilian (audience member).

Ariel is a very interesting character. I imagined Ariel as a he, even though the only Ariel I know of is the Little Mermaid and there are no gender-specific pronouns, because of a film adaptation I watched that had Ariel being played by a young man (though in this film, Prospero was a woman). But Ariel is interesting for another reason. They (because ‘it’ seems rude) seem vastly powerful and almost Puck-like in wittiness and Iago-like in manipulativeness.

Caliban states, “I must obey. His art is of such pow’r it would control my dam’s god, Setebos, and make a vassal of him” (1.2.372-374). This makes Prospero seem mighty powerful, but we haven’t really seen such powers. His most threatening power is being able to lock up Ariel in the tree again, but then again it doesn’t seem like that takes much power since Caliban’s mother could do that as well—and from what Caliban says Prospero is stronger than the god that Sycorax follows, who would be stronger than her. So the caliber of magic needed to trap Ariel doesn’t seem like it has to be at its best.

And while Prospero couldn’t stop himself from being forced out of his home with his magic, Ariel shows scary power throughout these three acts, even when compared to what is said of Prospero. Ariel is able to turn into wind and water and make a storm (the tempest) powerful enough to make a ship sink, but have so much control that he makes it more of a show and helps the overboard royalty safely get to land. Ariel can also become invisible and put little ideas into a person’s head. And like Prospero, Ariel was able to put people to sleep. Prospero is able to inflict pain on to Caliban, and that is where his powers are, but he doesn’t seem to be able to inflict pains on a spirit like Ariel.

When I think of Ariel, it makes sense that his gender is not stated… he’s not human, possibly not mortal so it could very so be that he is genderless. Perhaps here Shakespeare is using his writing to convey something the audience may have trouble envisioning without cues like how he made it clear the begining scene was on a boat by starting with boatswain. I think if I was creating Ariel they would be as gender-ambiguous and not necessarily human looking—perhaps some root imagery at the feet or base of the character to resemble the tree they were entrapped within.

The play is called “The Tempest” which is the storm made by Ariel in the first scene, Ariel doesn’t get as much attention as the other characters. If Prospero is a representation of Shakespeare, then is Ariel an assistant of his that did all the work and got no credit for it?

When reading The Tempest, two things that seem to be stuck in my mind is Prospero’s control of the past and his realtionship with Ariel and Caliban. Prospero creates a seastorm to bring members of his past life to the right the wrongs. Prospero is essentially forcing others to the island for more people to have authority over.To me he seems a bit sinister for it  yet when he tells his daughter the story of how they got to the island, he victimizes himself for sympathy and makes himself weaker than he is. Prospero wants to regain power over people and still be in their favor. With Prospero being the only one telling stories of the past, he controls it and makes himself to be the protagonist of the play.

Prospero’s treatment of Ariel and Caliban are speaks on his misguided representation of himself. Prospero rescues Ariel from the evil Sycorax yet still enslaves Ariel but he calls it servitude this time. Prospero seems to only finds it evil when someone other than him has power. He expects Ariel to adore him because he changes Ariel’s slavery from an eternity to 12 years. Caliban helps Prospero survive on the island when he first arrives reminiscent of Native Americans and Pilgrims. After Prospero gains the necessary skills to survive, he again makes a servant out of someone. Just like Ariels case, Prospero considers Caliban ungrateful because Prospero taught Caliban about a “civilized” way of living. Prospero does nothing of magnificence to garner the power and respect he thinks he deserves yet still fees justified to it.

As the play goes on, I am interested in what ways Prospero will try to receive empathy and favor during his quest for power and if someone else speaks on the past to offer opposition to Prospero’s claim of protagonist.

Two things caught my attention in act five of Antony and Cleopatra. One is Caesar reaction to Antony’s death and two is Cleopatra’s motive of killing herself.

When Decretas advised Caesar of Antony’s death Caesar states “But yet let me lament with tears as sovereign as the blood of hearts that thou, my brother, my competitor in top of all design, my mate in empire, friend and companion in the front of war” (5.1.40).  Here Anthony is showing his loyalty towards Anthony and the respect he has towards him. Antony’s sentiment towards Caesar’s death shows that he only went to war for political reason and not because he wanted to.

One thing I have trouble understanding is Cleopatra’s motive for killing herself. I wonder, if Cleopatra killed herself in order to be with Antony in heaven and if so why did she wait to hear what Caesar had planed for her to kill herself?

The final Act of Antony and Cleopatra play is very intense and tragic. The death of Antony created a great lament of everyone who knew him. Even Caesar, despite the feud between him and Antony admits the loss of a great warrior. Emperor states that half of the world died together with Mark Antony and the universe should have a greater reaction to it:

The breaking of so great a thing should make

A greater crack. The round world

Should have shook lions into civil streets

And citizens to their dens. (5.1. 14-17)

What is interesting to point out is that the weeping of Caesar is almost as dramatic as the one of Cleopatra, which shows the special relationship the triumvirs had. The lament turned the figure of Antony into someone with supernatural and godlike features: voice sounded like “tuned spheres” when calm and like “rattling thunder” when angry (5.2.84-86), according to Egyptian Queen.

The tragedy of Cleopatra is in her own fear of being not only concurred but also humiliated and put on display for Romans’ amusement: “Shall they hoist me up and show me to the shouting varletry of censuring Rome?” (5.2.55-57). This fear pushes her to choose suicide just like Antony in order to escape humiliation. But she can not die unprepared, even death for Cleopatra has to be staged and orchestrated according to her vision. She decides that she has to look her best and glorious and there must be no blood, therefor the asps that Clown brings her come in handy. The scene gets a little comical towards the end where she gets jealous that Iras dies before her and may reach Mark Anthony faster.

Caesar, to my opinion, shows himself as a very noble ruler, he does not deny Antony and Cleopatra a proper burial and insists that entire Roman army should attend it to show their respect to the deceased.

It is painful to sit back and watch Antony’s life falling apart because of his irresponsible decision based on his love for Cleopatra. Regardless of Antony’s peers discouraging Antony from furthering his relationship with Cleopatra, he does whatever he must, sacrificing everything and anything of value within his life for the sake of their relationship. Their relationship has been a disaster from the beginning, and it is blatantly obvious for everyone surrounding them.

While reading Acts III-IV, there are specific events that create a chronology of Antony’s downfall. In Acts I-II, we see that Cleopatra’s sincerity is questionable at best, but in Acts III-IV, her flaws create catastrophic events for Antony. It is equally Antony’s fault for not quitting while ahead, as he is given ample opportunities to end the relationship before it gets worse. However, he doesn’t quit while he is ahead, and, unfortunately, it does get worse.

*****SPOILER ALERT*****

In Act III, Scene vii, during the battle scene, Antony’s love for Cleopatra overcomes his better judgement as an accomplished general. Antony wants to meet Caesar at sea, but Camidius and Enobarbus object. Everyone objects to a sea battle. Camidius complains that Cleopatra is in charge:

III.vii.68-69: (Camidius) Soldier, thou art; but his whole action grows not in the power on’t: so our leader’s led, and we women’s men.

In Act III, Scene x, Antony was winning until Cleopatra’s ship fled, followed by Antony’s fleet. Caesar wins and Antony’s soldiers are sickened by the battle. Camidius, along with everyone leaves to join Caesar, except for Enobarbus.

III.x.15-16: That I beheld: Mine eyes did sicken at the sight, and could not endure a further view.

This is the first event of Antony’s downfall that could have been avoided. Everyone objected to a battle at sea, but Cleopatra is the one who talked Antony into doing it. He also made the mistake of trusting her naval fleet, as they were quick to abandon the battle and leaving Antony to take care of it himself.

In Act III, Scene xi, Antony berates himself. It is at this point that Antony starts developing a significant amount of guilt and shame for his failure.

III.xi.49/51-53: I have offended reputation, a most unnoble swerving…See how I convey my shame out of thine eyes by looking back what I have left behind ‘stroyed in dishonor.

Cleopatra apologizes for her actions.

III.xi.54-55: O my lord, my lord, forgive my fearful sails! I little thought you would have followed.

This would be a perfect opportunity for Antony to end the relationship with Cleopatra, as his poor, love-based judgement has cost him this battle. It is questionable as to whether you can consider this a true betrayal, but it should be obvious that Cleopatra should not be trusted at this point.

In Act III, Scene xii, Antony’s ambassador meets with Caeser. He asks for Antony to live in Egypt, and gives Cleopatra’s request that Egypt be passed onto her heirs. Caesar dismissed Antony’s request and offers Cleopatra a fair trial if she expels Antony from Egypt or executes him. Caesar sends Thadius to Cleopatra with terms, hoping she will betray Antony.

In Act III, Scene xiii, Thadius delivers Caeser’s terms to Cleopatra. Cleopatra agrees.

III.xiii.74: (Cleopatra) Most kind messenger, say to great Caesar this: in deputation I kiss his conqu’ring hand; tell him I am prompt to lay my crown at’s feet, and there to kneel. Tell him, from his all-obeying breath I hear the doom of Egypt

Even though Antony witnesses this, he is only temporarily angry at Cleopatra for her betrayal, but she easily talks her way out of it. Antony’s endless poor judgement regarding Cleopatra drives Enobarbus to decide to abandon Antony. Antony ignores the macrocosmic consequences of following his heart, as his love for Cleopatra is significant for everyone around him.

Nothing significant happens between Antony and Cleopatra until Act IV, Scene iv. Here, Antony prepares for battle with Cleopatra’s help. Surprisingly, by Act IV, Scene viii, Antony wins the battle, retaking Alexandria with force. In Act IV, Scene xii, Antony watches the naval battle with Scarus. Antony watches as Cleopatra’s fleet betrays him. After Antony’s men inevitably lose the battle, he blames Cleopatra for the loss and threatens to kill her for her betrayal.

IV.xii.31: (Cleopatra) Why is my lord enraged against his love?

IV.xii.32/46-48: (Antony) Vanish, or I shall give you thee thy deserving…The witch shall die: to the young Roman boy she hath sold me, and I fall under this plot: she dies for’t. Eros, ho!

Antony has finally came to his senses, ultimately ready to murder Cleopatra for her betrayal. It is a shame he didn’t pay attention to the warning signs earlier, but later is better than never.

In Act IV, Scene xiv, Antony arms himself to kill Cleopatra, telling Eros that he doesn’t know who he is anymore.

IV.xiv.22: (Antony) O, thy vile lady! She has robbed me of my sword.

Mardian delivers the false report that Cleopatra has killed herself. Antony now wants to join her in death. After Enos kills himself, he falls on his sword out of a combination of grieving, guilt, shame, and admiration for Enos’ honorable suicide.

IV.xiv.104-105: (Antony) I have done my work ill, friends. O, make an end of what I have begun.

Diomedes reports that Cleopatra is actually alive. Dying, Antony commands his guards to bring his body to Cleopatra.

In Act IV, Scene xv, the final meeting between Antony & Cleopatra takes place. Even after being betrayed three times and attempting suicide because of a false message Cleopatra sent to him, it is very sad that Antony wants to see Cleopatra.

IV.xv.18-21 (Antony) I am dying, Egypt, dying; only I here importune death awhile, until of many thousand kisses the poor last I lay upon thy lips.

Ultimately, the relationship between Antony & Cleopatra is a severely toxic one. They are having a childish relationship, but with serious, adult consequences. The political ramifications of each bad decision Antony makes based on his love is one that fills him with guilt, and ultimately seals his faith. There was numerous reasons to end the relationship with Cleopatra, and it is no one’s fault but Antony’s for the fate that he has encountered. Starting out as an honorable, respectable military general and dying as a broken, despised, pathetic man, the story of Antony is truly tragic. By the end of Act IV, we find Antony dead and Cleopatra alive, and based on Cleopatra’s unpredictable nature, it is nearly impossible to imagine what we can expect in the final act.

In the final act of Othello, we see the resolution to many of the play’s ongoing issues. One major issue that we see resolved, and may not be easily notice, is the conclusion to Othello’s inner struggle to live a dual existence. Othello, for most of  the play, acts and thinks like a Venetian. We see this after the brawl in Act 2 scene 3 when Othello stated, “Are we turned Turks…For Christian shame put by this barabrous brawl.” These lines say so much in so few words. They place the Turks into a barabric light, and use that light to shame the supposedly more civil Ventians (very similar to what was seen previously in Titus Andronicus). With this in mind, we recall that Othello was once a Turk and was later turned Venetian. We see that he clearly believes he is Venetian by the use of language, but we see that many characters still see him as an outsider/ Turk despite his baptism and conversion. This is similar to the events in Merchant of Venice, where Jessica wants to renounce her Jewishness/her father and become Christian although viewers and characters in the play will still be very aware of the fact that she can change her title but she cannot change what she truly is/ what is in her blood. Othello is in the same boat; no matter how much he tries or tells himself he is Venetian, he will always be and will be looked upon as a Turk/Moor/Barbarian. Othello in some ways could be compared to an alley/street cat pretending to be a house cat; the cat will never be able to change its’ inner makings. This also shows that Othello is essentially his own worst enemy;  this becomes more clear as we see Iago’s lies work their way into Othello’s mind. As Othello begins to believe Iago’s lies, he begins a decent into barbarism,  a reflection of his former Turk self. His magical way with words (a symbol for his Venetian-ness), which encaptured Desdemona’s heart and love, starts to diminish as barbaric thoughts consume him (very similar to Titus’ descent into barabarism). Although, like Titus, Othello gives in to his inner barbarian by commiting a barbaric act, making him turn into the enemy he had fought in war at the start of the play, he is able to redeem himself. This is the point where he ascends into his former self, unlike Titus. This is recognized through the transition in language use with Othello’s final lines where he regains his speech and even mentions his duality, “Where a malignant and turbanned Turk Beat a Venetian and traduced the state…” (Line 414-415 Act 5 Sc. 2) These lines show the conflict of his Venetian self from the early parts of the play losing to his Turkish side as he believed Iago’s deceptions and killed his loving wife. The speech ends with, “…I took by th’ throat the circumcised dog, And smote him, thus.” He punctuates these final lines by stabbing himself. This final act shows the return to his inner Venetian/Christian self, as well as his resistance to his Turk identity. As an enemy to all things Turkish he has no choice but to kill himself. This concludes his identity conflict as his dual life has reached its breaking point.  He could go no further living the lie he lived for so long.

Hi Everyone,

I was first introduced to Othello in High School. It  was an interesting play but, now that I have been rereading it- it seems different and feels different. The plot remains the same, we have the same character but the language seems more aggressive. As I reread the play, I realized how much of Othello’s physical appearance is described. Specially because it is done in such a way that it sometimes sounds vulgar. I sit in the train shocked by Iago’s brutal descriptions of Othello.  In fact, Othello is not argued to be beneath Iago and Roderigo because he is not from Venice but because he is a “moor”.

Even now, now, very now, an old black ram
Is tupping your white ewe. Arise, arise;
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.
Arise I say! (1.1.9)- Iago

I am one, sir, that comes to tell you your daughter
and the Moor are now making the beast with two backs.
you’ll have your daughter covered with a Barbary horse;
you’ll have your nephews neigh to you. (1.1.7)- Iago

Othello is belittled because of his race and I believe that it is what leads to Desdemona’s death. According to Iago, Desdemona will eventually realize that someone of her rank and color deserves so someone better therefore she will regret marrying Othello. Arguing how it is unnatural for Desdemona to love a “moor”.This plants the seed of doubt in Othello’s mind and starts to question Desdemona’s feelings for him because of Iago

Ay, there’s the point: as—to be bold with you—
Not to affect many proposed matches
Of her own clime, complexion, and degree,
Whereto we see in all things nature tends—
Foh! one may smell in such a will most rank,
Foul disproportion thoughts unnatural.
But pardon me. I do not in position
Distinctly speak of her, though I may fear
Her will, recoiling to her better judgment,
May fall to match you with her country forms
And happily repent. (3.3.29)- Iago

I’ve always looked at Othello like the tragedy it is because it’s horribly sad, and there’s death and some humor. Part of that humor that makes it so tragic is the accuracy with which it exhibits relationships on a psychological level, making it all the more reaching, as love hasn’t changed with time. It even has “the blow up.”

The blow up in Othello is the scene where Othello begins to suspect Cassio and Desdemona of foul play, Act 3, Scene 3. The blow up is preceded by Cassio’s leaving of Desdemona. At first Othello just inquires, and makes no assumption of Cassio. However, when Desdemona begins to talk so highly of Cassio in order to get Othello to forgive him, Othello replies, “Prithee, no more. Let him come when he will, I will deny thee nothing” (75-76). He grants her wish and allows Cassio to come, despite delivering the line with a variable. The variable is “I will deny thee nothing.” That could mean “I will not deny you your wish of me forgiving Cassio,” or “I will not deny you your wish to have Cassio come back to the house.” The reason for this line causing a blow up, as the reason for most blow ups, is that Othello meant it to be ambiguous. He wanted Desdemona to have the chance to take that with a grain of salt to evoke an emotion from her; not necessarily anger, but passion. Unfortunately passion is often expressed as anger.

When Desdemona hears Othello’s response she replies:

Why, this is not a boon,

‘Tis as I should entreat you wear your gloves,

Or feed on nourishing dishes, or keep you warm,

Or sue to you to do a peculiar profit

To your own person. Nay, when I have a suit

Wherein I mean to touch your love indeed

It shall be full of poise and difficult weight

And fearful to be granted. (77-83)

She gets upset quickly because she took what Othello said in a harmful way. Her response reflects her frustration of having to tell Othello to do something for his own good. She even goes on to threaten Othello, telling him that proving his love to her will be difficult and something to be feared. This unnecessary hostility is employed to avenge her emotions and evoke passion from Othello. The tension brought upon the couple is clearly not worth the satisfaction of evoking reactions from their loved one. Instead of enjoying her company, he sends her away because its now up to him to evoke an emotion from her. The irrationality of this sequence is pushed aside by the character’s emotions as it is in the real relationships of today. It’s nuts.

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Something else.

Encounters is publishing a couple of poems I wrote with Shakespeare references. I showed them to Professor Deutermann, and she suggest I post them. They’re attached. They’re subject to change within the last stages of editing, titles included, but just about done.

Remorse

Im No Jim Morrison

Hey everyone!

Othello is personally one of my favorite Shakespearean plays and this opening is stellar. Iago is the main focus being a better Aaron than Aaron, by starting off the very beginning of the play setting a major plan into action. His very surrounding is in the haze and cover of night. Traditionally dusk is where trickery and evil is present and this will be seen throughout the rest of the play. Interestingly enough we see a common them in the plays we have read in which Shakespeare creates a power player who is just outside the realm of vision of the victims/tragic heroes. When Barbanzio and crew charge into the Duke’s meeting the focus is on Othello and crew, however Iago influence is there but it’s as if his presence is not. Shakespeare was a master of creating these characters. This will be a constant theme and it will be interesting to discuss how Iago’s presence is always around like a spectre influencing the characters of the play.