The Tempest, Act III PDF

*The Tempest, Act III* *Scene i* *Scene i is set in front of Prospero's shack. Ferdinand enters, carrying a log. Ferdinand is* *taking over Caliban's duties, at Prospero's direction. He says his work would be difficult* *and unpleasant if it were not for a mistress (Miranda) who makes his work s...

*The Tempest, Act III* *Scene i* *Scene i is set in front of Prospero's shack. Ferdinand enters, carrying a log. Ferdinand is* *taking over Caliban's duties, at Prospero's direction. He says his work would be difficult* *and unpleasant if it were not for a mistress (Miranda) who makes his work seem* *like pleasure.* *Ferdinand. \... O, she is* *Ten times more gentle than her father's crabbed;* *And he's composed of harshness. I must remove* *Some thousands of these logs and pile them up.* *Upon a sore injunction.1* *My sweet mistress* *Weeps when she sees me work \...* *Miranda enters, and Prospero is behind her, unseen. Miranda begs Ferdinand not to* *work so hard and tells him to take a break while her father is busy studying. She offers* *to help Ferdinand, but he replies that he'd rather break his back than have her work* *while he sits. Prospero notes in an aside that he can see Miranda's in love.* *Ferdinand asks Miranda for her name. She tells him, although she knows she is* *disobeying her father. Ferdinand says no woman he has met is as perfect as she is.* *Miranda replies that she has never seen another woman's face and that Ferdinand and* *her father are the only two men she has seen. But she swears that she would not want* *to be with anyone but Ferdinand.* *Ferdinand next says that he is a prince---and may be a king now. As such, under normal* *circumstances, he wouldn't do the work of carrying logs. But he can endure it to serve* *her. Miranda asks if he loves her. He does, "beyond all limit." Prospero, in another aside,* *hopes that heaven will bless the love forming between Ferdinand and Miranda.* *Miranda. I am your wife, if you will marry me;* *If not, I'll die your maid. To be your fellow2* *You may deny me; but I'll be your servant,* *Whether you will or no.* *Ferdinand. My mistress, dearest,* *And I thus humble ever.* *Miranda. My husband then?* *William Shakespeare* *The Tempest, Act III* *Ferdinand. Ay, with a heart as willing* *bondage e'er of freedom.3* *Here's my hand.* *Miranda. And mine, with my heart in't; and now farewell* *Till half an hour hence.* *Ferdinand. A thousand thousand!* *Ferdinand. Ay, with a heart as willing* *bondage e'er of freedom.* *Here's my hand.* *Miranda. And mine, with my heart in't; and now farewell* *Till half an hour hence.* *Ferdinand. A thousand thousand!* *Ferdinand and Miranda exit in different directions. Prospero couldn't be happier. He says* *that he must go and study magic because he has work to do related to his plans.* *Scene ii* *Scene ii is set on another part of the island. Caliban, Stephano, and Trinculo enter.* *Stephano says that they'll drink water only when the barrel of wine is finished. He then* *tells his "servant monster" (Caliban) to drink up. Trinculo makes fun of Caliban.* *Caliban offers to lick Stephano's shoe as a sign of his devotion. But, he says, he won't* *serve Trinculo, who he thinks is a coward. Trinculo calls Caliban a liar who is half-fish* *and half-monster. Caliban appeals to Stephano for help. Stephano tells Trinculo to stop* *because he won't allow Caliban, his subject, to be insulted.* *Caliban. I thank my noble lord. Wilt thou be pleased to hearken* *once again to the suit I made to thee?* *Stephano. Marry,4* *will I. Kneel and repeat it; I will stand, and so* *shall Trinculo.* *\[Enter Ariel, invisible.\]* *Caliban. As I told thee before, I am subject to a tyrant,* *A sorcerer, that by his cunning hath* *Cheated me of the island.* *Ariel. Thou liest.* *Caliban. Thou liest, thou jesting monkey thou!* *I would my valiant master would destroy thee.* *I do not lie.* *Stephano. Trinculo, if you trouble him any more in's tale, by* *this hand, I will supplant some of your teeth.* *Trinculo. Why, I said nothing.* *Stephano. Mum then, and no more. Proceed.* *Caliban. I say by sorcery he got this isle;* *From me he got it. If thy greatness will* *dare not---* *Stephano. That's most certain.* *Caliban. Thou shalt be lord of it, and I'll serve thee.* *Caliban says that he can bring Stephano to where Prospero sleeps so that he can harm* *him. Ariel, who is invisible, declares again that Caliban is lying.* *Caliban---not seeing Ariel---thinks that Trinculo called him a liar. Stephano threatens* *Trinculo again for interrupting what Caliban was saying. The innocent Trinculo tries to* *defend himself, but when Ariel chimes in again, things get worse for Trinculo.* *Trinculo. Why, what did I? I did nothing. I'll go farther off.* *Stephano. Didst thou not say he lied?* *Ariel. Thou liest.* *Stephano. Do I so? Take thou that. \[Strikes Trinculo.\] As you like* *this, give me the lie another time.* *Trinculo. I did not give the lie. \...* *Trinculo curses Stephano's wine and curses Caliban, who laughs. Caliban continues* *by saying that Prospero has a habit of napping in the afternoon. During one of these* *naps, Caliban explains, Stephano must first grab Prospero's books and then kill him. He* *emphasizes the importance of grabbing the books first---without them, Prospero has no* *power. Caliban also notes that Prospero has a beautiful daughter. Stephano agrees to* *the plan, saying he will kill Prospero and make Miranda his queen. Ariel, who has been* *listening, decides to report the plot to Prospero.* *Caliban then asks Stephano if he will sing the song he taught him recently. Stephano* *agrees and encourages Trinculo to join him. Ariel begins to play a tune on a small drum* *and pipe. This invisible musician leads Stephano and Trinculo to think that a devil might* *be among them. Caliban tells Stephano not to be afraid, for the island is full of sounds* *and music that are harmless.* *Caliban. Be not afeard; the isle is full of noises,* *Sounds and sweet airs that give delight and hurt not.* *Sometimes a thousand twangling instruments* *Will hum about mine ears; and sometimes voices* *That, if I then had waked after long sleep* *Will make me sleep again; and then, in dreaming,* *The clouds methought would open and show riches* *Ready to drop upon me, that, when I waked,* *I cried to dream again.* Elements ELA.10.R.1.1: Analyze how key elements enhance or add layers of meaning and/or style in a literary text. Benchmark Clarifications: Clarification 1: Key elements of a literary text are setting, plot, characterization, conflict, point of view, theme, and tone. Clarification 2: For layers of meaning, any methodology or model may be used as long as students understand that text may have multiple layers and that authors use techniques to achieve those layers. A very workable model for looking at layers of meaning is that of I.A. Richards: Layer 1) the literal level, what the words actually mean Layer 2) mood, those feelings that are evoked in the reader Layer 3) tone, the author's attitude Layer 4) author's purpose (interpretation of author's purpose as it is often inferred) Clarification 3: Style is the way in which the writer uses techniques for effect. It is distinct from meaning but can be used to make the author's message more effective. The components of style are diction, syntax, grammar, and use of figurative language. Style helps to create the author's voice. Theme ELA.10.R.1.2: Analyze and compare universal themes and their development throughout a literary text. Benchmark Clarifications: Clarification 1: A universal theme is an idea that applies to anyone, anywhere, regardless of cultural differences. Examples include but are not limited to an individual's or a community's confrontation with nature; an individual's struggle toward understanding, awareness, and/or spiritual enlightenment; the tension between the ideal and the real; the conflict between human beings and advancements in technology/science; the impact of the past on the present; the inevitability of fate; the struggle for equality; and the loss of innocence. ELA.10.R.3 Reading Across Genres Interpreting Figurative Language ELA.10.R.3.1: Analyze how figurative language creates mood in text(s). BenchmarkClarifications: Clarification 1: Figurative language use that students will analyze are metaphor, simile, alliteration, onomatopoeia, personification, hyperbole, meiosis (understatement), allusion, and idiom. Other examples can be used in instruction. Clarification 2: See Secondary Figurative Language. Figurative Language Description Example alliteration The repetition of usually initial consonant sounds in two or more neighboring words or syllables "Doubting, dreaming dreams no mortal ever dared to dream before" - \"The Raven,\" Edgar Allan Poe allusion A brief and indirect reference to a person, place, thing, or idea of historical, cultural, literary, or political significance "The morning wind forever blows, the poem of creation is uninterrupted; but few are the ears that hear it. Olympus is but the outside of the earth everywhere." Walden, Henry David Thoreau hyperbole Exaggerated statements or claims not meant to be taken literally "At that time Bogota was a remote, lugubrious city where an insomniac rain had been falling since the beginning of the 16th century.\" -Living to Tell the Tale, Gabriel García Márquez idiom An expression that cannot be understood from the meanings of its separate words but must be learned as a whole "Old Marley was as dead as a door-nail." -A Christmas Carol, Charles Dickens imagery Writing about objects, actions, and ideas in such a way that it appeals to our five physicalsenses "Or sinking as the light wind lives or dies; And full-grown lambs loud bleat from hilly bourn; Hedge-crickets sing; and now with treble soft The redbreast whistles from a garden-croft, And gathering swallows twitter in the skies." -"To Autumn," John Keats meiosis (understatement) The presentation of a thing with underemphasis especially in order to achieve a greater effect; understatement \"Ay, ay, a scratch, a scratch." -Mercutio after he is mortally wounded by Tybalt - Romeo and Juliet, Shakespeare metaphor A word or phrase for one thing that is used to refer to another thing in order to show or suggest that they are similar "Our words are but crumbs that fall down from the feast of the mind." -Sand and Foam, Khalil Gibran onomatopoeia The forming of a word (as "buzz" or "hiss") in imitation of a natural sound "Keeping time, time, time, In a sort of Runic rhyme, To the tintinnabulation that so musically wells From the bells, bells, bells, bells, Bells, bells, bells--- From the jingling and the tinkling of the bells." -"The Bells," Edgar Allan Poe personification Representing a thing or idea as a person in art, literature "Because I could not stop for Death -- He kindly stopped for me -- The Carriage held but just Ourselves -- And Immortality." - "Because I could not stop for Death," Emily Dickinson simile A comparison of two unlike things, often introduced by like or as "In the eastern sky there was a yellow patch like a rug laid for the feet of the coming sun..." - "The Red Badge of Courage," Stephen Crane 177 Rhetoric Rhetorical Devices Device Description Example Antithesis an-ˈti-thə-səs the rhetorical contrast of ideas by means of parallel arrangements of words, clauses, or sentences "It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way." A Tale of Two Cities, Charles Dickens Asyndeton ə-ˈsin-də-ˌtän omission of the conjunctions that ordinarily join coordinate words or clauses "I came; I saw; I conquered." Julius Caesar, William Shakespeare Chiasmus kī-ˈaz-məs an inverted relationship between the syntactic elements of parallel phrases "In his face Divine compassion visibly appeerd Love without end, and without measure Grace" Paradise Lost, John Milton Irony the use of words to express something other than and especially the opposite of the literal meaning "Go ask his name: if he be married. My grave is like to be my wedding bed." Romeo and Juliet, William Shakespeare Metonymy mə-ˈtä-nə-mē a figure of speech consisting of the use of the name of one thing for that of another of which it is an attribute or with which it is associated "The pen is mightier than the sword." Edward Bulwer Lytton Rhetorical question a statement made in the form of a question with no expectation of an answer "To be or not to be---that is the question. Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them?" Hamlet, William Shakespeare Synecdoche sə-ˈnek-də- (ˌ)kē a figure of speech by which a part is put for the whole "I had not intended to love him; the reader knows I had wrought hard to extirpate from my soul the germs of love there detected; and now, at the first renewed view of him, they spontaneously arrived, green and strong! He made me love him without looking at me." Jane Eyre, Charlotte Brontë - Zeugma ˈzüg-mə the use of a word to modify or govern two or more words usually in such a manner that it applies to each in a different sense or makes sense with only one "Miss Bolo...went home in a flood of tears and a sedan chair." Pickwick Papers, Charles Dickens 178 Rhetorical Appeals Rhetoric Descriptor Example Ethos An appeal to credibility, ethics, or moral principles A text written to encourage support for the protection of the Florida panther features an interview with a renowned biologist who is an expert on endangered species. Kairos An appeal to time or place A text written to evoke haste in responding to the declining Florida panther population discusses the implication of panther mortality rates. Logos An appeal to logic or reason A text incorporates sound reasoning supported by the citation of relevant statistics in order to attract monetary support for legislation proposed to protect endangered species. Pathos An appeal to emotion A text includes the use of vivid, emotive language, intended to incite intense feeling in a reader regarding the destruction of the Florida panther's natural habitat. Paraphrasing and Summarizing ELA.10.R.3.2: Paraphrase content from grade-level texts. Benchmark Clarifications: Clarification 1: Most grade-level texts are appropriate for this benchmark. Context and Connotation ELA.11.V.1.3: Apply knowledge of context clues, figurative language, word relationships, reference materials, and/or background knowledge to determine the connotative and denotative meaning of words and phrases, appropriate to grade level. Benchmark Clarifications: Clarification 1: Review of words learned in this way is critical to building background knowledge and related vocabulary. Clarification 2: See Context Clues and Word Relationships. Clarification 3: See ELA.11.R.3.1 and Secondary Figurative Language. Type Definition Example Definition The definition of the word is incorporated into the text. Carey was lethargic; she did not have enough energy to get out of bed and go to swim practice. Synonyms The author uses a word having the same or similar meaning to other words in a sentence. Rebecca, my best friend, has been a companion to me for many years. Antonyms The author hints at the meaning by providing a non-example or opposite. Kim was anxious about the test, but Christy was not worried at all. Examples The definition of the word is given in the form of an example. Krystle will serve cold beverages, such as soda, tea, and juice, to the guests. Inference The reader is able to make an educated guess, use reasoning or background knowledge to determine the meaning of an unknown word. You can speak candidly to Mrs. D