Writer's Techniques Revision Notes for OCR A-Level English Literature

Writer's Techniques

When analysing The Tempest, it's important to move beyond examining individual words and phrases. Examiners want to see analysis of Shakespeare's overall intentions and methods. The best approach is to consider how the writer's techniques work across the entire play to convey his messages. This note explores three key areas: form, structure and language.

Form

The Tempest as a Shakespearean comedy

The Tempest is classified as a Shakespearean comedy. Understanding the conventions of this genre helps you analyse how Shakespeare constructs meaning in the play. The play also contains elements of romantic comedy, which shapes how the story unfolds and what messages Shakespeare conveys.

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Recognising genre conventions is essential for understanding how Shakespeare creates meaning. The Tempest follows established patterns of comedy, but Shakespeare also subverts expectations to create unique dramatic effects.

Key conventions of Shakespearean comedy

Shakespearean comedies typically include several recognisable features:

Setting and atmosphere:

Usually set in idyllic or celebratory locations
The Tempest differs slightly as it doesn't include a traditional festival
However, the magical island provides an enchanted setting removed from everyday life

Love complications:

The main characters experience a love triangle or dilemma involving mistakes and misunderstandings
In The Tempest, the romantic triangle involves Miranda, Ferdinand and Prospero
Prospero manipulates and controls the relationship between Miranda and Ferdinand without their knowledge
He eavesdrops on their conversations and interferes with their romance through trickery

Dramatic irony:

This occurs when the audience knows something the characters don't
Prospero's asides and soliloquies reveal his plots to the audience whilst characters remain unaware
This creates humour as audiences watch characters being deceived
For example, when Antonio and Sebastian pretend innocence after drawing swords on Alonso, audiences know Ariel has tricked them

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Understanding Dramatic Irony: Dramatic irony is a powerful technique that creates dual awareness in the audience. When writing about this technique, always explain how Shakespeare deliberately creates moments where audiences have superior knowledge to characters. This dynamic affects how audiences judge characters and understand Shakespeare's messages, whilst also heightening dramatic effect by creating tension and humour simultaneously.

Juxtaposition of emotions:

Scenes alternate between disorder and order, creating emotional ups and downs
Prospero and Ariel create chaos through magical arts
Authority figures become vulnerable outside their usual domains
The shipwrecked noblemen appear out of control on different parts of the island
These tense scenes contrast with magical illusions, songs and drunken celebrations

Comic villains:

A character who attempts to disrupt the hero or heroine's happiness
Caliban serves as the vengeful villain wanting to overthrow Miranda and Prospero's control
His schemes with Stephano and Trinculo provide comedic moments

Humour through folly:

Human foolishness, trickery and gullibility create comedy
Slapstick physical comedy appears in scenes with drunk characters
Trinculo and Stephano provide humour through witty exchanges and clumsy arguments
Sexual jokes, satire and parody add layers of comedy

Characters in disguise:

Prospero makes himself invisible using a magic garment
Ariel functions as an invisible spirit creating illusions and casting spells
These disguises enable trickery and dramatic irony

Comic resolution:

Misunderstandings become clarified by the end
Prospero releases both Caliban and Ariel from his control
He forgives his enemies and they reconcile
The marriage between Miranda and Ferdinand brings peace between Milan and Naples
The Duke of Milan returns the title to Prospero

Ending with marriage:

Provides a sense of catharsis and satisfaction
The Tempest concludes with Miranda and Ferdinand's happy marriage
Prospero returns to Milan, leaving the island behind

Understanding audience expectations

A Jacobean audience would have been very familiar with comedy conventions, particularly Shakespearean comedy. They would expect plays to follow these established patterns. Shakespeare sometimes met these expectations and sometimes subverted them, creating particular effects.

Structure

The structure of a comedy

Classical comedy follows conventions established in Greek drama. The main features include:

Unity of time, place and action
Events which mirror everyday life
A plot that ridicules and satirises human folly or vices

Five-part structure in Shakespearean comedy

Shakespearean comedies generally follow a five-part dramatic structure:

Exposition:

The play opens with a scene full of tension
Conflict is foreshadowed early in the action
In The Tempest, a ship battles a violent storm
Sailors argue with interfering noblemen, suggesting role reversals
The audience learns Prospero and Ariel created the storm to seek revenge
Miranda also becomes subject to Prospero's magic

Rising action:

The initial conflict develops as characters experience tricks and deceptions
Prospero controls the noblemen as they wash up on different parts of the island
His resentful relationship with Caliban manifests in bitter disputes
Ariel protests against Prospero's manipulation and enslavement
Ferdinand is magically led to Miranda and they fall in love
Prospero tests Ferdinand and Miranda without their knowledge

Turning point:

The climax brings chaos and an impasse (a situation with no easy solution)
Caliban plots to murder Prospero with Stephano's help
Prospero begins recognising the distress he causes Miranda and Ferdinand
Antonio and Sebastian become entrenched in their plot to murder Alonso
Multiple conflicts reach critical points simultaneously

Falling action:

Misunderstandings are revealed and exposed
Ariel punishes Antonio and Sebastian with a stark warning
Prospero reflects on his actions and prepares to abandon magic
He forgives Antonio for the betrayal

Resolution:

Problems are resolved and harmony is restored
The play ends with marriage, bringing catharsis
Prospero throws his books into the sea, renouncing magic
Antonio returns the dukedom to Prospero
Miranda and Ferdinand's marriage brings peace to Naples and Milan
Ariel and Caliban are released from servitude

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Exam Technique: Referencing Structural Points

When analysing The Tempest, reference different parts of the play using comedy terminology to demonstrate sophisticated understanding.

Instead of writing: "Shakespeare shows magic causes confusion early in the play."

Write: "In the rising action of the comedy, Shakespeare shows how magic causes confusion, contributing to the humour as we witness the characters' ignorance."

This demonstrates understanding of dramatic structure whilst analysing Shakespeare's methods.

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Tracing theme development through the play's structure shows sophisticated analysis. Consider how dramatic methods or techniques convey Shakespeare's messages with comedic effect at different structural points. This approach demonstrates understanding of Shakespeare's craft and use of comedy conventions.

Language

Poetry and prose

Shakespeare shifts between verse and prose to indicate mood and character status. In The Tempest, much dialogue uses iambic pentameter. Generally, lower-status or comic characters speak in prose, whilst those with power and knowledge speak in verse. Notably, Caliban speaks in verse using sophisticated language, presenting him as intellectual despite his savage appearance and lack of authority.

Blank verse

Blank verse consists of unrhymed lines, usually ten syllables, though not always exactly following this pattern. Lines have regular rhythm but don't necessarily rhyme.

Shakespeare typically uses verse to represent characters' emotions, often in intimate speeches or soliloquies:

Prospero's complex sentence structures and sophisticated soliloquies present him as intellectual and powerful
Caliban's iambic pentameter speeches convey his sense of outrage
Prospero speaks in verse when relating his betrayal to Miranda, showing emotional depth

Rhymed verse

Rhymed verse consists of rhyming couplets (two successive lines that rhyme at the end).

In the resolution, Prospero delivers an epilogue using rhyming couplets: "Now my charms are all o'erthrown,/And what strength I have 's mine own". His final speech is poetic and sophisticated, indicating his wisdom and power.

Ariel and other spirits use rhyming couplets in their enchanting songs. Ariel's rhymes create an innocent quality contributing to the magical atmosphere: "Sea-nymphs hourly ring his knell./Hark, now I hear them, ding dong bell".

Prose

Prose consists of unrhymed lines with no pattern or rhythm. Shakespeare uses prose for dialogue of comedic or lower-class characters.

In The Tempest, Trinculo particularly speaks in prose. He functions as the fool or jester, dressing up, drinking excessively and providing comic relief. His prose dialogue creates humour as he argues with Stephano and falls victim to Ariel's tricks.

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Language and Character Status

Shakespeare's choice between verse and prose is rarely random. The language form immediately signals to the audience:

Character social status
Emotional state or intensity of feeling
Whether a scene is serious or comedic
The level of sophistication in a character's thinking

Pay attention to moments when characters switch between forms, as this often indicates a significant shift in tone or meaning.

Symbolism

Man and nature

The play's title and opening scene introduce symbolism around nature and human power. The word "tempest" means storm, foreshadowing the turbulent, chaotic events about to unfold.

In the opening scene, sailors challenge the noblemen and king, explaining that nature doesn't observe man-made social hierarchies. Nature drowns kings as easily as lowly sailors. This ironic scene conveys human vulnerability when facing natural forces.

Miranda, who has lived on the island for years, shows fear of nature's power. She describes "wild waters" and a sky that "seems would pour down stinking pitch".

Prospero symbolises human power, though aided by supernatural spirits and magical arts. He repeatedly refers to "charms" and magical "arts" whilst communicating with spirits. Although he controls the island, by the resolution he learns that human power has limitations, particularly emotional ones.

Caliban symbolises the native inhabitant's connection to nature. He speaks of nature's gods, teaches Prospero about the land, and is described in animalistic terms. Others insult his connections to barbarism, calling him a "demi-devil" and "puppy-headed monster". In Act III Scene II, he describes island noises which "give delight and hurt not", highlighting his close natural connection. He believes Stephano when claiming to be the "Man i'th'Moon", showing his spiritual understanding.

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Foil Characters: Shakespeare presents foil characters (contrasting characters) to emphasise conflicts between civilisation and nature. Caliban's wild savagery contrasts with Miranda's civilised, tame nature. This dramatic technique strengthens thematic development by making the contrast explicit through characterisation.

Knowledge and power

The exposition makes clear that Prospero's magical powers come from his extensive library of books. He uses this knowledge-based power to control inhabitants and force some into servitude. However, by the resolution, Prospero's wisdom overrides his desire for control.

Caliban instructs Stephano to steal Prospero's books and "brain him" by hitting his skull. This suggests Caliban understands where Prospero's power truly lies.

During rising action, Caliban expresses outrage that their shared knowledge has benefited Prospero unfairly. His exclamatory language cursing Prospero conveys anger: "my profit on 't/Is I know how to curse. The red plague rid you/For learning me your language!"

The chess game in Act V Scene I could symbolically allude to how Prospero has "captured" King Alonso and won back his dukedom. Miranda and Ferdinand play chess when Prospero reveals to Alonso that his son lives. This might represent Prospero's strategic mind-play. He misuses knowledge to maintain full control, showing off his power to Alonso. His power manifests in his superior knowledge that Alonso's son lives and that he has married them without the king's knowledge.

Political subversion appears disguised within comedic relief. Prospero's magical "arts" control and subvert authority figures, making them vulnerable on unfamiliar territory as victims of nature and the supernatural.

In the resolution, Prospero denounces magic and relinquishes control by symbolically throwing his books in the ocean: "I'll drown my book".

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Some argue that Prospero represents Shakespeare himself, as The Tempest was Shakespeare's final play. The books could represent Shakespeare's words and drama's power. This metatheatrical reading adds another layer of meaning to Prospero's renunciation of his "art".

Prospero's magical garment symbolises changing attitudes toward power. First, in Act I Scene II, he tells Miranda to "pluck my magic garment from me. So, lie there, my art". He removes it again in Act V Scene I to symbolise rejecting powerful magic. Ariel helps dress him in a duke's robe, suggestive of their influence on his decisions. The garment is likely a cloak, such as an academic or sorcerer's gown.

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Key Points to Remember:

The Tempest follows Shakespearean comedy conventions including dramatic irony, love complications, disguised characters, and resolution through marriage
The five-part structure (exposition, rising action, turning point, falling action, resolution) traces the development of conflict and themes
Shakespeare shifts between blank verse, rhymed verse and prose to indicate character status, emotion and comedic effect
Symbolism of nature versus civilisation explores human vulnerability and the limits of power
Knowledge represented through books symbolises Prospero's power and ultimately Shakespeare's dramatic art
Always reference structural terminology and writer's techniques when analysing the play to demonstrate sophisticated understanding

Writer's Techniques (OCR A-Level English Literature): Revision Notes