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Matthew Arnold (24 December 1822 – 15 April 1888) was a British poet and cultural critic who worked as an inspector of schools. Best known for his poem “Dover Beach”.

Joyce saw Arnold as a distasteful “tidier,” a man of “little opinion” (The Study of Languages).

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Prospero’s observation here cuts several different ways. He speaks literally of the lives of the characters, but also the lives of the actors and the audience (including us).

Again Prospero leaves little or no room for an afterlife. His conception of waking life is that of a dream, whereas death itself has no dreams but instead is “rounded with a sleep.”

https://www.youtube.com/watch?v=vg3zHxVLBFQ

The line was famously paraphrased in the 1941 film noir The Maltese Falcon, starring Humphrey Bogart:

https://www.youtube.com/watch?v=i8_hGlwau3A

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Prospero betrays his nihilism: there is no hint of God in his equation. Calling life an “insubstantial pageant faded,” he conjures another famous Shakespearean speech, that of Macbeth over the body of Lady Macbeth.

…[life is a] t is a tale
Told by an idiot, full of sound and fury
Signifying nothing.

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Just as a play with its “baseless fabric” will end so will all of human endeavor. No “cloud-capp’d towers” or “gorgeous palaces” will be spared.

By adding the “great globe itself” Prospero is referring not only to the globe that is earth but also the Globe Theater where many of Shakespeare’s plays were performed.

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More proof of the metaphor of life-as-play extending to Shakespeare’s life. Actors will come to life on the stage and fade into the wings much like each person will have their lives and exit. There is a note of sadness in Prospero speech. “As I foretold you” hints at the fact that Prospero knew of the end to his magic but laments it just the same.

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Revels was a technical dramatic term used for the final dance between masquers and spectators in the court masque.

Prospero’s speech is often cited as relating to Shakespeare himself, though there is much debate surrounding that clam. The Tempest was Shakespeare’s last play he wrote by himself and therefore is his most personal. It is often called his retirement speech.

Prospero is the Duke of Milan who has learned sorcery from books secretly given to him. He uses the sorcery (called Art in the play) to cast control over the other characters.

Prospero is remembering the plot against his life. He says the “revels” have ended. This is often read as if coming from Shakespeare himself. Prospero, the great magician, is so wrapped up in his own sorcery that he forgets the concerns of reality. Much like Shakespeare at this point in his life, Prosero is having a memento mori, a revelation of his own mortality. The fun is over and he will set aside his magic.

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Tate playfully brings us back to the Jesus we’re used to. The one that loves donkeys and everybody.

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Perhaps Jesus also dreamed of zombies?

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By making Jesus do daily things, Tate introduces us to a new kind of Jesus. A Jesus who sleeps in. We associate Jesus with divinity – preforming miracles and rising from the dead – it is easy to forget that he was also part human.

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Puck bids the audience goodbye, as the sprite of the woods (his character) as the the actor playing the part of Puck. He asks for their “hands” i.e. their applause so that Puck can “restore amends.”

Comedy, in the greek sense, did not mean simply a story that makes you laugh. It was used to describe stories with a happy ending as opposed to a tragedy, where everyone dies. Although A Midsummer Night’s Dream has its plenty of laughs, it is categorized with other Shakespeare comedies because of its happy ending. But with Shakespeare it is never that simple. The play is at times absurd and outlandish. A meditation on dreams versus reality and the stage versus life.

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