Imaginative Journeys

The Tempest and additional material

Overview
The Nature of Journeys
The Tempest as an imaginary journey
Structure and Characterisation
Techniques employed to depict the
imaginary journey
Reflection as an HSC response
Close analysis of text
Close analysis of supplementary material
Jonathon Livingstone Seagull Richard Bach

Types of Journeys

Inner

Imaginative

Physical

Obstacles to Journeys
societal

restraints
other individuals
personal limitations eg. ignorance,
denial of inner life, poor
commitment
others?.

Forces that Initiate

Journeys

maturation
internal desire
external events
influence of other people
spiritual
other?.

Sources of Assistance

mentors
significant others
competitors
faith
belief in self
the journeys of others

Nature of the Journey

linear
non-linear
gradual
fast
continuous
spasmodic
short eg. moment of epiphany
other?.

Consequences of Journeys

changes in the individualphysically, psychologically,

intellectually
changes in society eg. new
collective knowledge and
lifestyle through discoveries,
effect of physical conquests
may provide inspiration for
the journeys of others

Overview of Journey in The Tempest

What types of Journeys are present

in The Tempest?
What obstacles are present?
What are the forces that initiate the
journeys?
Sources of assistance?
Nature of the journey/s?
Consequences?

Structure of The Tempest

The play explores the interplay between what is real and what
is imagined. It is often difficult to ascertain where the real and
the imagined begin and end. However, this does not negate
the power of the play and should not be a distinction that is
laboured over. Just as the characters go on an imaginative
journey, so too should the audience. We are invited to suspend
disbelief and accept the world of the island as one where
Prosperos Art, Ariels power and Calibans form are the norm.
The play earns its definition as problematic as it leaves many
questions unanswered and opens debate as to the true nature
of man and the true nature of power. By leaving Ariel and
Caliban on the isle, the question remains as to who will
govern. Thus continuing the debate as to who has the right to
rule opened by Prospero. Also, one must question whether
Prospero will rule effectively as his true nature is as a man of
creativity and learning, which led to his downfall. Has Prospero
himself embarked on an imaginary journey? Has he learnt
enough to accept his role?

Structure cont

By placing the events on the island, Shakespeare enables the

responders to accept the role of the imagination at work on the
characters. Society restricts the imaginary journey preferring the
tangible and that which can be explained. The island embraces and
enhances the role of the imagination and creativity.
The play adheres to the Shakespearean tradition of five acts. Each
scene within this structure follows the journey of the characters
shipwrecked on the island. Prospero has separated them into 3 distinct
groups and we follow their journeys as they all work their way towards
Prosperos cell.

Ferdinand meets Miranda, their imagination is captured by each other and

they journey towards marriage
Alonso, Gonzalo, Sebastian, Antonio, Adrian, Francisco embark on the most
dramatic Imaginary journey as Prospero works his Art through Ariel to force
the characters to examine themselves and repent. Of course, we are left
with the unrepentant Antonio and Sebastian exploring the use of opposites
employed by Shakespeare.
Stephano and Trinculo embark on a drunken imaginative journey with
Caliban, continuing the power debate as they all have delusions of grandeur
until they meet with their superiors at the cell.

Characterisation

Shakespeare employs the use of OPPOSITES to explore the effect of

the imagination of the characters.
There are characters who are open to change and those who are
closed to it.
Prospero works on the others imaginations by using his own
imagination and Art to create forces and an environment for change.
Ferdinand and Miranda are open to change, their imagination is
captured by each other and once they meet they are irretrievably
changed.
Alonso and other noble men are open to change as their imagination
is susceptible to the power of creativity.
Sebastian and Antonio are closed to the restorative power of the
imagination. Power is taken away from them at the end of the play
but they do not repent.
Caliban is the most problematic once again. He is open to change
through his imagination but it is a false change as it is fuelled by
alcohol. Caliban is the epitome of emotion and reaction. Although he is
the anti-hero he is also the most realistic character in the play and as
such the responders empathise with him throughout.

Characterisation cont.

The oppositions of GOOD and EVIL are not clear cut.

Some characters such as Ferdinand and Miranda are almost
one dimensional and unsubstantiated.
Gonzalo is almost too GOOD
Antonio and Sebastian are portrayed as almost too EVIL
Caliban fits neither category despite the attempts by Prospero
and Miranda to depict him as a monster, villain, devil, lying
slave, hag-seed. He has morals I do not lie and speaks
beautifully in verse which belies his monstrous status.
How are we invited to view Prospero? Despite his attempts to
convince the responder that he is doing all for good, his
treatment of Caliban is cruel. Explore his treatment of others,
it is excusable or does it depict his cruelty and arrogance
again?

Dramatic Techniques

The play employs many techniques to invite the responder

into the imaginary journeys of the characters.

Music, this is played to all characters during the play, apparently

coming from the sky. The effect on each character is different.
Visions are employed banquets, spirits appear and disappear
working on the imaginations of the characters, inturn appeasing
and then frightening them.
Restoration of apparent destruction the shipwreck, the clothes
of the survivors, our garments seem now as fresh as when we
were at Tunis.
Change in setting (scene changes) although we are given the
impression that the island is small, there are 3 distinct and very
separate journeys upon it.
Magical creatures Ariel and the other spirits, Caliban, all play a
part in creating a perfect setting for imaginary journeys.

Reflection 1

Write a brief reflection in which you

consider how Shakespeare explores
the imaginary journey and the issue
of power in The Tempest.

Descriptive Reflection

The imaginary journey is employed by

Shakespeare to explore the issue of
power. By placing the events of the play
on an island, Shakespeare is able to show
how the manipulation of the imagination
by magical creatures, music and visuals
can lead to restoration of rightful power. I
found it interesting to see how the
question of rightful ownership was
emphasised not only by Prospero but also
by the laments of Caliban and Ariel.

Descriptive Reflection

Recount/describe ideas and the

process(es) that led to the
formation of these new
understandings

Dialoguic Reflection

It is often difficult to define the imaginary journey

and recognise the differences between what is real and
what is imagined. The opposites of the characters and
their reactions to events whilst on the island are
problematic. On the one hand I can empathise with
Prosperos desire to regain his rightful title as Duke of
Milan, as he was wrongly usurped by his brother.
However, as he was not fulfilling his role, preferring to
pursue his love of learning and creativity, it can be
seen that there was need for a proper ruler in Milan.
The fact that the King Alonso supported this highlights
the fact that Prospero was not an effective ruler.
Prospero employs magic to work on the imaginations of
the characters, whether these events are real or in the
minds is not relevant to the outcome.

Dialoguic Reflection

Consider, debate and question your

views in relation to the views of
others.

Critical Reflection

The imaginary journeys within The Tempest represent a

microcosm of society. By placing the events on an island, the
characters are susceptible to the machinations of Prospero as
he works his art to restore power without the intrusions of
society. The philosophical perspectives of political and
personal power are explored as we are led to question not
only the rightful political ruler but also their responsibilities.
The play deals with the societal struggle between forces of
power and the forces of creativity which appear to be
incompatible. The question remains as to whether Prospero
has learnt by his exile and will be able to effectively rule. His
callous treatment of Caliban would suggest not. The scene is
set for a new negotiation of power between Ariel and Caliban
highlighting Shakespeare inability to resolve the debate. The
imaginary journeys undertaken by the characters and the
responders require the suspension of disbelief yet are left
unsolved and problematic for the responder.

Critical Reflection

Consider your views in light of

larger societal issues and
philosophical perspectives.

Purpose of Reflection

Recount/describe ideas and the

process(es) that led to the formation of
these new understandings. Descriptive
Reflection.
Consider, debate and question your views
in relation to the views of others.
Dialoguic Reflection.
Consider your views in light of larger
societal issues and philosophical
perspectives. Critical Reflection.

Reflection
Aim:
The process of reflection challenges you to move to
a sophisticated understanding of the texts and an
awareness of how your understanding was formed.
What modes of reflection are valued?
all modes but not in equal proportions.
Answers should favour Critical Reflection
Descriptive Reflection
Dialoguic Reflection
Critical Reflection

Little
Some
Lots!

Reflection

Conventions of Reflection in HSC

English
First Person narrative- I
Personal perspective on text and topic
Paragraphing, organization and other
standard conventions still apply
Close textual analysis and use of
examples
Use of appropriate literary terminology
and concepts

Reflection

Reflection IS NOT
Simply a stream of consciousness
monologue
Unsupported assertions
Your life story with some links to
the texts

What is missing from the samples just

provided?

Specific examples
Close textual analysis
Terminology of English
Links with additional texts

Lets rectify this!....

Close Analysis of Text - Act 3 Sc 2

Modelled
Imperative,
shows the
power of
Caliban

High modality, strength

of feeling shown by the
power of his words

Caliban: Why, as I told thee, tis a custom with

him
Ithafternoon to sleep. There thou mayst brain
him,
Having first seized his books; or with a log
Batter his skull, or paunch him with a stake,
Or cut his wezand with thy knife. Remember
First to possess his books; for without them
Hes but a sot, as I am, nor hath not
One spirit to command they all do hate him
As rootedly as I. Burn but his books;
Alliteration for impact

Repetition of
books, the
source of his art

Close Analysis of Text cont

Metaphor of
house and
utensils setting
up the idea of
impermanence,
playing house.

He has brave utensils for so he calls them

Which when he has a house, hell deck withal.
And that most deeply to consider, is
The beauty of his daughter. He himself
Calls her a nonpareil. I never saw a woman
But only Sycorax my dam, and she:
But she as far surpasseth Sycorax
As greatst does least.

Balance of statement, poetic,

emphasise the problematic
nature of Caliban as animal,
yet higher order poetical
speech

Close Analysis of Text - Act 5 Sc 1

Guided
Ariel (to Prospero)
Prospero (to Ariel)
Alonso

Prospero

wast well done?

Bravely, my diligence. Thou shalt be
free.
This is as strange a maze as eer men
trod,
And there is business more than nature
Was ever conduct of. Some oracle
Must rectify our knowledge.
Sir, my liege
Do not infest your mind with beating on
The strangeness of this business. At
picked leisure,

Close Analysis of Text cont

Which will be shortly single, Ill resolve you,
Which to you shall seem probable, of every
These happened accidents. Till when, be
cheerful
And think of each thing well (to Ariel) Come hither
spirit
Set Caliban and his companions free:
Untie the spell.

Close Analysis of Text Act 2 Sc 1

Sebastian
Antonio
Sebastian

Antonio

What a strange drowsiness possesses them?

It is the quality othclimate.
Why
Doth it not then our eyelids sink? I find
Myself not disposed to sleep.
Nor I; my spirits are nimble.
They fell together by all, as by consent
They dropped, as by a thunder stroke. What
might
Worthy Sebastian, O, what might? no more.
And yet methinks I see it in thy face,
What thou shouldst be. Thoccasion speaks
thee and
My strong imagination sees a crown
Dropping on thy head.

Close Analysis of Text cont

Sebastian
Antonio
Sebastian

Antonio

What? Are thou waking?

Do you not hear me speak?
I do and surely
It is a sleepy language, and thou speakst
Out of thy sleep. What is it thou didst say?
This is a strange repose, to be asleep
With eyes wide open; standing, speaking,
moving
And yet so fast asleep.
Noble Sebastian,
Thou letst thy fortune sleep die rather,
winkst
Whiles thou art waking.

Close Analysis of Text cont

Sebastian

Antonio

Sebastian
Antonio
Sebastian

Thou dost snore distinctly;

Theres meaning in thy snores.
I am more serious than my custom. You
Must be so too, if heed me; which to do,
Trebles thee oer.
Well: I am standing water.
Ill teach you how to flow.
Do so to ebb
Hereditary sloth instructs me.

Reflection

Refine your response to the earlier

reflection
Write a brief reflection in which you
consider how Shakespeare explores
the imaginary journey and the issue
of power in The Tempest.

What was present in your

reflection?

Descriptive Reflection
Dialoguic Reflection
Critical Reflection lots.
Specific examples
Close textual analysis of The Tempest
Use of technical terms

So what is still missing

Reference to other texts.

Additional Material
Jonathon Livingstone Seagull

The parable of Jonathon Livingstone Seagull explores

the use of imagination in exceeding limitations of the
flesh.
It is an imaginary journey of the changes that can
occur if one is able to transcend boundaries and believe
in oneself.
It is structured into 3 sections which parallel the
sections of Jonathons life.

Section 1 he is outcast, isolated but refusing to limit

himself.
Section 2 he is taught about freedom and love and the
use of the imagination to set oneself free from societal
restraints
Section 3 he returns to teach others to use the
imagination to transcend boundaries and be truly free.

Techniques Employed

Intertextuality

Biblical references
Heaven and hell
God and devil
Use of Proverbs The gull sees farthest who
flies highest

Constant use of alliteration

Juxtaposition

Juxtaposes the limitations of the landlocked,

the Flock, with the beauty and freedom of the
flyers

Techniques

Repetition of key ideas and phrases

Flight
Freedom
Perfection
Regrets - sorry
Mind over matter, the power of the
imagination

Sustained metaphor of flying

equalling freedom

Reflection:
Over to you.

In your study of Imaginative

Journeys you have explored aspects
of journeys and their various
manifestations.
Select one aspect and write a short
reflection on how your study of The
Tempest and JLS has contributed to
your understanding of this aspect of
Imaginative Journeys