English Study Buddy

A. Write a close critical commentary on the language and tone of this speech, showing its significance at this point in the play:

Prospero:  Ye elves of hills, brooks, standing lakes, and groves;
And ye that on the sands with printless foot
Do chase the ebbing Neptune, and do fly him
When he comes back; you demi-puppets that
By moonshine do the green sour ringlets make,
Whereof the ewe not bites; and you whose pastime
Is to make midnight mushrooms, that rejoice
To hear the solemn curfew; by whose aid
Weak masters though ye be - I have bedimm’d
The noontide sun, call’d forth the mutinous winds,
And ‘twixt the green sea and the azur’d vault
Set roaring war. To the dread rattling thunder
Have I given fire, and rifted Jove’s stout oak
With his own bolt; the strong-bas’d promontory
Have I made shake, and by the spurs pluck’d up
The pine and cedar. Graves at my command
Have wak’d their sleepers, op’d, and let ‘em forth,
By my so potent art. But this rough magic
I here abjure; and, when I have requir’d
Some heavenly music - which even now I do
To work mine end upon their senses that
This airy charm is for, I’ll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound I’ll drown my book.
[Here enters ARIEL before; then ALONSO, with a frantic gesture, attended by GONZALO; SEBASTIAN and ANTONIO in like manner, attended by ADRIAN and FRANCISCO. They all enter the circle which Prospero had made, and there stand charm’d; which Prospero observing, speaks.]
A solemn air, and the best comforter
To an unsettled fancy, cure thy brains,
Now useless, boil’d within thy skull! There stand,
For you are spell-stopp’d.
Act V, Scene 1, lines 33-61

A. In The Tempest, Shakespeare penetrates deep into the motives which animate human behavior.” Discuss.

B. How do the play’s striking visual and musical effects contribute to its overall meaning?

C. Consider the dramatic effectiveness of Shakespeare’s use of the supernatural in The Tempest.

D. A simple tale for sophisticated tastes.” In what ways is The Tempest more than “a simple tale”?

E. Now my charms are all o’erthrown,
And what strength I have’s mine own,
Which is most faint. . .

To what extent is The Tempest about human frailty and susceptibility?

A. Compare and contrast the roles of Ariel and Caliban in the play.

B. In what ways, and how successfully, does Shakespeare blend comedy, magic and the spectacular with serious concerns in this play?

C. “Prospero may be the best that humanity can offer in the play but he is by no means an ideal figure.”  Do you agree with this assessment?

D. Discuss the view that The Tempest is an imaginary tale about real human problems.

E. At one point in the play Caliban exclaims, “This island’s mine”. Discuss the symbolic significance of the struggle for control of the island in The Tempest.

1. Write about the way Shakespeare presents King Henry, as a king and as a leader. You should consider some or all of the following:

A. How he responds to important events

B. How he appears and speaks in public

C. How he speaks to individual people

D. His private feelings.

2. Answer both parts of the question. You should spend half your time on part B.

A. Read King Henry’s speech before the Battle of Agincourt, near the start of Act Four, Scene 3, which begins:

What’s he that wishes so?
My cousin Westmorland? No, my fair cousin;

How does Henry inspire his troops in this speech?

B. How do other characters (French and English) compare with Henry in their ideas of honor and their behavior in the play as a whole?

A. “Shakespeare has an unlikely story to tell, and in its unlikelihood lies not only its charm, but largely its very being; nevertheless it has deep inner truths.” Discuss.

B. In what way can this play be categorized as a romance?

C. What reasons would you give as to why this particular Shakespearean play should be studied by A-level students.

Cytherea,
How bravely thou becomest thy bed! fresh lily!
And whiter than the sheets! That I might touch!
But kiss; one kiss! Rubies unparagon’d,
How dearly they do’t! ‘Tis her breathing that
Perfumes the chamber thus: the flame o’ the taper
Bows toward her, and would under-peep her lids
To see the enclosed lights, now canopied
Under these windows, white and azure, laced
With blue of heaven’s own tinct. But my design,
To note the chamber: I will write all down:
Such and such pictures; there the window, such
The adornment of her bed; the arras, figures,
Why, such and such; and the contents o’ the story
Ah, but some natural notes about her body
Above ten thousand meaner moveables
Would testify, to enrich mine inventory.
O sleep, thou ape of death, lie dull upon her!
And be her sense but as a monument,
Thus in a chapel Iying! Come off, come off:
[Taking off her bracelet.]
As slippery as the Gordian knot was hard!
‘Tis mine; and this will witness outwardly,
As strongly as the conscience does within,
To the madding of her lord. On her left breast
A mole cinque-spotted, like the crimson drops
I’ the bottom of a cowslip: here’s a voucher,
Stronger than ever law could make: this secret
Will force him think I have pick’d the lock and ta’en
The treasure of her honour.

A. Explain briefly how this situation arose.
B. Discuss the imagery in lines 6-10 (”the flame o’ the taper…heaven’s own tinct”).
C. Explain the reference to the Gordian knot (line 21).
D. What does this speech reveal of the character of the speaker?
E. Consider the impact that the episode would have on an audience.

A. “These strong Egyptian fetters I must break Or lose myself in dotage.”

To what extent, in your opinion, does Antony “lose” himself in Egypt?

B.  Discuss the view that much of what Cleopatra says and does can appear ambiguous to an audience.

Comment on the dramatic effectiveness of this passage which comes from near the end of the play. (In your answer you should consider staging methods, relation to the play as a whole, character development, language and handling of themes.)

Antony. When I did make thee free, swor’st thou not then
To do this when I bade thee? Do it at once,
Or thy precedent services are all
But accidents unpurposed. Draw, and come.
Eros. Turn from me then that noble countenance
Wherein the worship of the whole world lies.
Antony.Lo thee!
He turns from him
Eros. My sword is drawn.
Antony. Then let it do at once
The thing why thou has drawn it.
Eros. My dear master,
My captain, and my emperor, let me say,
Before I strike this bloody stroke, farewell.
ANTONY. ‘Tis said, man, and farewell.
Eros. Farewell, great chief. Shall I strike now?
Antony. Now, Eros.
Eros. Why, there then! Thus I do escape the sorrow
Of Antony’s death. He kills himself.
Antony. Thrice nobler than myself,
Thou teachest me, O valiant Eros, what
I should, and thou couldst not. My queen and Eros
Have by their brave instruction got upon me
A nobleness in record. But I will be
A bridegroom in my death, and run into’t
As to a lover’s bed. Come then; and, Eros,
Thy master dies thy scholar. To do thus I learned of thee.
[He falls on his sword.]
How? Not dead? Not dead?
The guard, ho! O, dispatch me!
[Enter Dercetas and a company of the Guard.]
First Guard. What’s the noise?
Antony. I have done my work ill, friends. O, make an end
Of what I have begun.
Second Guard. The star is fallen.
First Guard. And time is at his period.
All the Guards. Alas, and woe!
Antony. Let him that loves me strike me dead.
First Guard. Not I.
Second Guard. Nor I.
Third Guard. Nor anyone. [Exit Guards.]
Dercetas. Thy death and fortunes bid thy followers fly.
This sword but shown to Caesar, with this tidings,
Shall enter me with him.
[Enter Diomedes.]
Diomedes. Where’s Antony?
Dercetas. There, Diomed, there.
Diomedes. Lives he?
Wilt thou not answer, man? [Exit Dercetas.]
Antony. Art thou there, Diomed?
Draw thy sword, and give me
Sufficing strokes for death.
Diomedes. Most absolute lord,
My mistress Cleopatra sent me to thee.
Antony. When did she send thee?
Diomedes. Now, my lord.
Antony. Where is she?
Diomedes. Locked in her monument.
She had a prophesying fear
Of what hath come to pass; for when she saw-
Which never shall be found - you did suspect
She had disposed with Caesar, and that your rage
Would not be purged, she sent you word she was dead;
But, fearing since how it might work, hath sent
Me to proclaim the truth, and I am come,
I dread, too late.
Antony. Too late, good Diomed. Call my guard, I prithee.
Diomedes. What ho! The Emperor’s guard! The guard! what ho! Come, your lord calls!
[Enter four or five of the Guard of Antony]
Antony. Bear me, good friends, where Cleopatra bides.
‘Tis the last service that I shall command you.
First Guard. Woe, woe are we, sir, you may not live to wear
All your true followers out.
All the Guards. Most heavy day!
Antony. Nay, good my fellows, do not please sharp fate
To grace it with your sorrows. Bid that welcome
Which comes to punish us, and we punish it,
Seeming to bear it lightly. Take me up.
I have led you oft; carry me now, good friends,
And have my thanks for all.
[Exit, bearing Antony.]

Read carefully the passage below and discuss the extent to which Shakespeare’s presentation of the relationship between Antony and Cleopatra in this passage is typical of how he presents it in the rest of the play.

Antony. Most sweet queen.
Cleopatra: Nay, pray you seek no colour for your going,
But bid farewell, and go. When you sued staying,
Then was the time for words. No going then!
Eternity was in our lips and eyes,
Bliss in our brows’ bent; none our parts so poor
But was a race of heaven. They are so still,
Or thou, the greatest soldier of the world,
Art turned the greatest liar.
Antony. How now, lady!
Cleopatra. I would I had thy inches. Thou shouldst know
There were a heart in Egypt.
Antony. Hear me, Queen.
The strong necessity of time commands
Our services awhile; but my full heart
Remains in use with you. Our Italy
Shines o’er with civil swords. Sextus Pompeius
Makes his approaches to the port of Rome.
Equality of two domestic powers
Breed scrupulous faction; the hated, grown to strength,
Are newly grown to love. The condemned Pompey,
Rich in his father’s honour, creeps apace
Into the hearts of such as have not thrived
Upon the present state, whose numbers threaten;
And quietness, grown sick of rest, would purge
By any desperate change. My more particular,
And that which most with you should safe my going,
Is Fulvia’s death.
Cleopatra. Though age from folly could not give me freedom,
It does from childishness. Can Fulvia die?
Antony. She’s dead, my queen.
Look here,[he gives her the letter)
and at thy sovereign leisure read
The garboils she awaked. At the last, best,
See when and where she died.
Cleopatra. O most false love!
Where be the sacred vials thou shouldst fill
With sorrowful water? Now I see, I see,
In Fulvia’s death, how mine received shall be.
Antony. Quarrel no more, but be prepared to know
The purposes I bear; which are, or cease,
As you shall give th’advice. By the fire
That quickens Nilus’ slime, I go from hence
Thy soldier-servant, making peace or war
As thou affects.
Cleopatra. Cut my lace, Charmian, come.
But let it be. I am quickly ill and well,
So Antony loves.
Antony. My precious queen, forbear,
And give true evidence to his love, which stands
An honourable trial.
Cleopatra. So Fulvia told me.
I prithee turn aside and weep for her;
Then bid adieu to me, and say the tears
Belong to Egypt. Good now, play one scene
Of excellent dissembling, and let it look
Like perfect honour.
Antony. You’ll heat my blood; no more.
Cleopatra. You can do better yet; but this is meetly.
Antony. Now by my sword
Cleopatra. And target. Still he mends.
But this is not the best. Look, prithee, Charmian,
How this Herculean Roman does become
The carriage of his chafe.
Antony. I’ll leave you, lady.
Cleopatra. Courteous lord, one word.
Sir, you and I must part, but that’s not it.
Sir, you and I have loved, but there’s not it.
That you know well. Something it is I would
O, my oblivion is a very Antony,
And I am all forgotten.

Read the following passage carefully and answer the questions below it.

[Enter THIDIAS.]
Cleopatra. Caesar’s will?
Thidias. Hear it apart.
Cleopatra. None but friends. Say boldly.
Thidias. Say, haply, are they friends to Antony.
Enobarbus. He needs as many, sir, as Caesar has, Or needs not us.
If Caesar please, our master
Will leap to be his friend. For us, you know,
Whose he is, we are, and that is Caesar’s.
Thidias. So. Thus then, thou most renowned, Caesar entreats
Not to consider in what case thou stand’st
Further than he is Caesar.
Cleopatra. Go on: right royal.
Thidias. He knows that you embraced not Antony
As you did love, but as you feared him.
The scars upon your honour, therefore, he
Does pity as constrained blemishes,
Not as deserved.
Cleopatra. He is a god, and knows.
What is most right. Mine honour was not yielded,
But conquered merely.
Enobarbus [aside]: To be sure of that,
I will ask Antony. Sir, sir, thou art so leaky
That we must leave thee to thy sinking, for
Thy dearest quit thee.
[Exit ENOBARBUS.]
Thidias. Shall I say to Caesar
What you require of him?
For he partly begs
To be desired to give.
It much would please him
That of his fortunes you should make a staff
To lean upon. But it would warm his spirits
To hear from me you had left Antony,
And put yourself under his shroud,
The universal landlord.
Cleopatra. What’s your name?
Thidias. My name is Thidias.
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.
Thidias. ‘Tis your noblest course.
Wisdom and fortune combating together,
If that the former dare but what it can,
No chance may shake it. Give me grace to lay
My duty on your hand.
Cleopatra. Your Caesar’s father oft,
When he hath mused of taking kingdoms in,
Bestowed his lips on that unworthy place,
As it rained kisses.
[Enter ANTONY and ENOBARBUS.]
Antony. Favours? By jove that thunders!
What art thou fellow?
Thidias. One that but performs
The bidding of the fullest man, and worthiest
To have command obeyed.
Enobarbus [aside]: You will be whipped.
Antony [calling for SERVANTS]: Approach there!-Ah, you kite-
Now, gods and devils! Authority melts from me.
Of late, when I cried “Ho!”
Like boys unto a muss, kings would start forth
And cry “Your will?” Have you no ears?
I am Antony yet.
[Enter SERVANTS.]
Take hence this Jack, and whip him.
Enobarbus [aside]: ‘Tis better playing with a lion’s whelp,
Than with an old one dying.
Antony.  Moon and stars!
Whip him! Were’t twenty of the greatest tributaries
That do acknowledge Caesar, should I find them
So saucy with the hand of she here-what’s her name
Since she was Cleopatra? Whip him, fellows,
Till like a boy you see him cringe his face
And whine aloud for mercy. Take him hence.
Thidias. Mark Antony!
Antony. Tug him away! Being whipped,
Bring him again. This Jack of Caesar’s shall
Bear us an errand to him.
[Exit SERVANTS with THIDIAS.]
You were half blasted ere I knew you. Ha?
Have I my pillow left unpressed in Rome,
Forborne the getting of a lawful race,
And by a gem of women, to be abused
By one that looks on feeders?
Cleopatra. Good my lord,-
Antony. You have been a boggler ever,
But when we in our viciousness grow hard-
O misery on’t!-the wise gods seel our eyes,
In our own filth drop our clear judgements, make us
Adore our errors, laugh at’s while we strut
To our confusion.
Cleopatra. O, is’t come to this?

Consider the dramatic effectiveness of this extract.  Discuss the extent to which Enobarbus’ function here is characteristic of his role throughout the play.