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scattered and separated along the coast. After being praised by
Prospero, Ariel pleads for his freedom from the magician's service in return. Prospero declines, reminding him of the state he was in before Prospero rescued him: Ariel had been trapped by the witch Sycorax in a "cloven pine" as a punishment for resisting her commands. After 12 years of pain (and the death of Sycorax), Ariel was released from his prison by Prospero, who pressed the spirit into his service. The magician denies Ariel's request for freedom at this time, but promises that on the condition he follows the rest of his commands, he will grant his wish in two days. For the rest of the play, Ariel is Prospero's eyes and ears, spying on the shipwrecked sailors in invisible form: Only Prospero can see Ariel.
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needed was some sort of device to act on the signal of Ariel slapping his wings on the table. This device was probably a false table top which could be tripped by a boy underneath while the harpy's wings covered the food. When the wings lifted, the food would be gone, apparently by magic. Later in act three, when Ariel appears and disappears with thunder, another trick was probably used, involving some sort of basket on wires, covered in cloud designs, which the Globe theatre then had. Ariel may have descended from the air in this device as a harpy, spoken his lines, and ascended in the same device. Ariel may have descended on the back of an eagle, rather than clouds, or with no device at all—wires being attached to his harpy wings.
371:. Scholars have wondered whether Shakespeare originally intended the actor for Ariel to cover Ceres' role, and give it away in this line. The need for a dual role may have been caused by a shortage of boys capable of playing female parts (boys usually played all female roles in Shakespeare's day). This changing of parts requires a change in costume, which explains a lot of Ariel's delay in scene four in carrying out Prospero's orders. Time is allowed for the character to change from Ariel to Ceres and back. On the other side, Ceres may have been associated, by Shakespeare, to the
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379:" could merely mean that Ariel introduced Ceres to the gathering. More recent studies, however, have revealed that, given the small number of boys travelling with the King's Men and the large number of parts for them to fill, there would have been little choice in the matter. The entire scene comes together in a way that leads scholars to believe that the Masque scene with the three goddesses was added as an afterthought to work around costuming and role-playing issues.
36:
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foil
Caliban's plot to turn the sailors against Prospero and murder him. Later in the same act, he appears with a clap of thunder and rebukes those who were involved in the plot to banish Prospero to the island, displaying his fearful power to the men. He is later called on to gather the spirits of the island before Miranda and Ferdinand and to bring Trinculo, Stephano, and Caliban before Prospero for judgement.
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217:, the witch who previously inhabited the island. Prospero greets disobedience with a reminder that he saved Ariel from Sycorax's spells, and with promises to grant Ariel his freedom. Ariel is Prospero's eyes and ears throughout the play, using his magical abilities to cause the tempest in Act One which gives the play its name, and to foil other characters' plots to bring down their master.
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contains a character which may have been
Shakespeare's inspiration. The character, named Shrimp, is also an air demon controlled by a magician. A few scenes of the play feature this demon performing tasks nearly identical to those Shakespeare's Ariel performed. Since it is very likely Shakespeare was
296:
The '-el' ending of
Shakespeare's name translates in Hebrew as 'God', placing Ariel inline with more benevolent spirits, many of which were listed in sorcery books published in Shakespeare's day with similar suffixes. Jewish demonology, for example, had a figure by the name of Ariel who was described
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The source from which
Shakespeare got the idea for Ariel is not known, though there have been many candidates proposed by scholars. Sprites or demons such as Ariel were viewed during the Renaissance from either religious or scientific points of view: religion seeing them as either agents of the devil
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In the second act Ariel briefly appears to stop a conspiracy to kill Alonso, King of Naples, whose brother (and heir to the dukedom), Sebastian, plots to kill him in his sleep. Ariel sings in the ear of
Gonzalo, a counsellor to Alonso, to wake him and foil the plot. Ariel also appears in Act Three to
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29, Ariel is mentioned as another name for
Jerusalem. In the Geneva Bible, which Shakespeare and others of the time would have known, the entry carries an interesting footnote describing this Ariel as the "Lyon of God." Further descriptions of this Ariel as having the power to confuse and weaken his
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have clear instructions on how to create the illusion required, causing critics to make connections and guesses as to exactly what sort of technology would have been used in
Shakespeare's troupe to stage Ariel's role in the play. Also, a line by Ariel in Act IV allows scholars to ask whether, due to
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Though the actual source
Shakespeare used has not yet been determined, it seems clear that Shakespeare's Ariel and his relationship with Prospero reflects more closely the Renaissance idea of a neutral spirit under the control of a magician than the religious idea of a sprite. Shakespeare, however,
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In the final act, Ariel releases the prisoners of
Prospero and awakens what is left of the crew of the ship from a deep slumber. Thanks to Ariel's work, Ferdinand and Miranda have fallen in love. Prospero is so impressed by Ariel's matchmaking that he says that he would set Ariel free for that one
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Ariel first appears in the second scene of the play to report to Prospero on his success in carrying out his command to shipwreck the King of Naples and his crew in a violent tempest. Ariel adds that, as commanded, he saw that none of the group was harmed, but that all landed safely on the island,
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in portraying this scene. Ariel's actor would have been unable to hide the food himself, having harpy wings over his arms which cumbered movement. The actor would not even have been able to sweep the food into a receptacle behind the table, since the theatre had seating on three sides. What was
685:. However, in the episode "And the Happily Ever Afters", she disguises herself as a human (Hayley McLaughlin), with the watch on her necklace. She helps free the Librarians from Prospero's illusions, and is subsequently freed when the watch is destroyed in the real world.
286:" can descend to lower regions quicker than thought, and, having taken on bodies from the denser air, appear visibly at times.... These spirits often disturb the air, stir up tempests and thunders. They do not retain one form, but take on various forms...."
228:"aerial". Scholars have compared Ariel to spirits depicted in other Elizabethan plays, and have managed to find several similarities between them, but one thing which makes Ariel unique is the human edge and personality given to Ariel by Shakespeare.
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The name Ariel might also be a simple derivation of aerial, though the character's abilities stretch beyond those of a typical air demon, encompassing fire and water demon abilities as well. Other scholars propose that the ca. 1589 play
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to be the best in the book. Many readers know that the title of the poem was changed to "The Horse" for the less discerning newspaper readers and think the poem Ariel is simply about her riding a wild horse. Others, however, such as
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contains more stage directions than most of Shakespeare's plays, giving scholars an opportunity to see into the portrayal of characters such as Ariel in Shakespeare's time. In Act III, Scene III, for example, when Ariel, as a
355:, is directed to clap his wings on a banquet table, he causes the food to disappear by a "quainte device". Scholars have tried to discover just what sort of "quainte device" would have been used by the
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or agents of God, and science viewing them as neutral subjects which could be brought under the control of the wise. Some scholars compare Ariel to demons of the air described in Renaissance
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are so precise, critics and historians are better able than with other Shakespeare plays to see how this play may originally have been performed. Several of the scenes involving
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figure, related to rhetorics, personating the opportune moment to present the convincing argument in a speech. Early critics were sceptical of the idea, saying that "
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Originally, the role would have been assumed by a boy-player, but beginning in Restoration adaptations, it would have been played by a woman. Since the male actor
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In all textual versions, Ariel is referred to with the male pronoun 'his' twice in the entire play. One example is in the stage directions at III.iii.around 52: "
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by Prospero when Shakespeare wrote her into the play. For most of the season, she appears as a small blue sprite imprisoned within Prospero's
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refuses to make Ariel a will-less character, infusing him with desires and near-human feelings uncharacteristic of most sprites of this type.
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Ed. Michael Dobson and Stanley Wells. Oxford University Press, 2001. Oxford Reference Online. Oxford University Press. Retrieved 3 July 2007
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539:" when shown the elaborate equipment in the World State in chapter 11. However, this line is in fact said by Puck from Shakespeare's
281:, while others claim that he is an archetype of a more neutral category of sprites. Several of these proposals are outlined below:
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as Ariel, 1838. The part was played by women from the mid-1600s to about 1930. From that time, both men and women played the role.
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act. Thus, having fulfilled all of Prospero's tasks, and Prospero himself now being free to leave the island, Ariel is set free.
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character Ariel and view the poem as talking about creativity and the dangerous direction her creativity was taking her.
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and joint winner of the 1968 Pulitzer prize and the 1978 Presidential Medal of Freedom, took her name from Ariel in
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Ariel is widely viewed as a male character, although this view has wavered over the years, especially in the
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familiar with the play, it is possible that Ariel is based on Shrimp, but evidence remains inconclusive.
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as part of the first incarnation of the group, Prospero's Men, alongside her master and Caliban.
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when I presented Ceres / I thought to have told thee of it / but I feared lest I might anger thee
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Aerial is the name of a Gundam-type mobile suit owned by Prospera Mercury in the anime series
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played the part in 1930, the role has been played by both men and women. In the 2010
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a shortage of boy actors, the original actor playing Ariel also played the part of
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The character of Ariel, as played by David Haughton, appears in the 1978 film
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version of the play, also filmed and available on DVD, Ariel is played by
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A True Reportory of the Wracke and Redemption of Sir Thomas Gates, Knight
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wings upon the table; and, with a quaint device, the banquet vanishes.
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feature Ariel as well as several other characters from The Tempest.
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291:– Randall Hutchins, on the nature of sprites in Shakespeare's day.
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610:'s most famous book of poetry is the 1965 posthumously published
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Ariel could put a girdle 'round the Earth in forty minutes
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Thunder and lightning. Enter ARIEL, like a harpy; claps
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enemies with sounds and tempests increase the parallel.
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Adams, John C. "The Staging of The Tempest, III. iii."
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Smith, Irwin. "Ariel and the Masque in The Tempest."
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is named Ariel; the book contains other allusions to
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Reed, Robert R. Jr. "The Probable Origin of Ariel."
60:. Unsourced material may be challenged and removed.
702:, subs for another student as Ariel in episode 2.
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578:franchise is named after and inspired by Ariel.
251:when, for the most part, women played the role.
415:All hail, great master! grave sir, hail! I come
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459:played Ariel in the Globe Theatre in London.
440:film version of the play, Ariel is played by
297:as the spirit of the waters. Another spirit,
758:Johnson, W. Stacy. "The Genesis of Ariel."
671:Ariel appears in the 2015 second season of
421:On the curl'd clouds; to thy strong bidding
1197:Mobile Suit Gundam: The Witch from Mercury
866:
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718:Mobile Suit Gundam: the Witch From Mercury
535:, the character John Savage remarks that "
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754:
752:
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720:; the series contains other allusions to
417:To answer thy best pleasure; be't to fly,
395:form, at Prospero's command, depicted by
120:Learn how and when to remove this message
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616:. It is named so because she considered
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556:, an analogue to Ariel can be found in
419:To swim, to dive into the fire, to ride
209:. Ariel is bound to serve the magician
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569:is named after and inspired by Ariel.
1552:Theatre characters introduced in 1611
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504:The League of Extraordinary Gentlemen
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1216:Scene from Shakespeare's The Tempest
832:The Oxford Companion to Shakespeare.
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363:Later Act IV, Scene 1, Ariel says: "
58:adding citations to reliable sources
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492:, subsequently directed a film of
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691:Life Is Strange: Before the Storm
563:A monster in the 2007 video game
546:In the 1956 science fiction film
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220:Ariel means "Lion of God" in the
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797:Smith, Irwin. "Ariel as Ceres."
705:Ariel is the origin of the 1900
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231:Because the stage directions in
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1373:Noises, Sounds & Sweet Airs
814:. (July 1970) 21.3 pgs. 213–222
788:. (Oct 1938) 14.56 pgs. 404–419
688:In episode 1 of the video game
543:, making the quote inaccurate.
45:needs additional citations for
1250:Return to the Forbidden Planet
801:. (July 1958) 9.3 pgs. 430–432
762:. (July 1951) 2.3 pgs. 205–210
591:is offered the part of Ariel.
446:Stratford Shakespeare Festival
13:
1:
1562:Male Shakespearean characters
786:The Review of English Studies
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575:Huntik: Secrets & Seekers
313:John a Kent and John a Cumber
224:. Ariel may also be a simple
775:. (Jan 1960) 11.1 pgs. 61–65
7:
510:Ariel appears in the song "
199:is a spirit who appears in
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444:, but in that same year's
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1572:Characters in The Tempest
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301:, is also comparable. In
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1224:Ferdinand Lured by Ariel
963:Decades of the New World
654:One of the castaways in
529:'s 1932 dystopian novel
335:Ferdinand Lured by Ariel
69:"Ariel" The Tempest
27:Character in The Tempest
1511:What's past is prologue
1219:(c, 1736-1738, Hogarth)
1189:Shakespeare's Shitstorm
1082:Three Shakespeare Songs
836:Oxford Reference Online
455:In the Summer of 2013,
180:In-universe information
1467:The Book of Watermarks
1417:The Sea and the Mirror
1165:The Journey to Melonia
1123:Don't Pay the Ferryman
698:. The main character,
516:Claude Achille Debussy
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1243:Beach Blanket Tempest
812:Shakespeare Quarterly
799:Shakespeare Quarterly
773:Shakespeare Quarterly
760:Shakespeare Quarterly
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1410:Caliban upon Setebos
1389:The Enchanted Island
709:by Uruguayan author
643:, wife of historian
566:Silent Hill: Origins
479:Queen Elizabeth II's
340:John Everett Millais
54:improve this article
1432:A Midsummer Tempest
875:William Shakespeare
581:In the 2012 series
552:, an adaptation of
518:(1884) and text by
423:task Ariel and all
391:Ariel taking on an
201:William Shakespeare
174:William Shakespeare
134:Fictional character
18:Ariel (Shakespeare)
1085:(Vaughan Williams)
1000:Commedia dell'arte
597:Théâtre Illuminata
512:La Romance d'Ariel
463:In popular culture
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1557:Fictional fairies
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1314:I'll Be The Devil
711:José Enrique Rodó
594:The novel series
501:Ariel appears in
475:Queen Elizabeth I
450:Julyana Soelistyo
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16:(Redirected from
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1567:Fictional slaves
1497:Full fathom five
1357:Die Geisterinsel
1352:(1798 Reichardt)
1349:Die Geisterinsel
1341:Die Geisterinsel
1290:The Mock Tempest
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488:s director,
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110:January 2022
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52:Please help
47:verification
44:
1529:The Tempest
1459:Video Games
1392:(2011 Sams)
1384:(Adès 2004)
1381:The Tempest
1333:The Tempest
1298:Une Tempête
1275:The Tempest
1200:(2022-2023)
1181:The Tempest
1113:The Tempest
1106:The Tempest
1098:The Tempest
1090:The Tempest
1067:Adaptations
1006:Sea Venture
880:The Tempest
733:Dan Simmons
727:The novels
722:The Tempest
700:Chloe Price
696:The Tempest
679:The Tempest
666:The Tempest
649:The Tempest
645:Will Durant
554:The Tempest
495:The Tempest
442:Ben Whishaw
393:illusionary
348:The Tempest
249:Restoration
233:The Tempest
206:The Tempest
185:Affiliation
147:The Tempest
1546:Categories
1504:Sea change
1435:(Anderson)
1400:Poetry and
1141:Yellow Sky
1117:(Nordheim)
1101:(Sibelius)
1093:(Sullivan)
994:Naufragium
992:Erasmus's
888:Characters
739:References
624:Nick Mount
357:King's Men
279:demonology
170:Created by
80:newspapers
1521:Sculpture
1419:" (Auden)
1365:Der Sturm
1115:(ballet)
920:Ferdinand
498:in 1979.
481:England.
477:visiting
427:quality.
150:character
1451:(Atwood)
1448:Hag-Seed
1443:(Rogers)
1427:(Warner)
1278:(Dryden)
1235:Musicals
1208:Painting
1125:" (1982)
930:Stephano
895:Prospero
618:the poem
211:Prospero
203:'s play
189:Prospero
1482:Phrases
1257:Amaluna
1157:Tempest
977:Ovid's
948:Sources
925:Gonzalo
915:Sycorax
910:Caliban
900:Miranda
661:The End
629:YouTube
483:Jubilee
470:Jubilee
272:Sources
215:Sycorax
94:scholar
1532:(1966)
1470:(1999)
1440:Island
1424:Indigo
1317:(2008)
1309:(1973)
1192:(2020)
1184:(1998)
1176:(1991)
1168:(1989)
1160:(1982)
1152:(1956)
1144:(1948)
1133:Screen
971:Essays
373:Kairos
369:Masque
342:, 1850
303:Isaiah
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1325:Opera
1267:Plays
1074:Music
1016:Films
905:Ariel
828:Ariel
613:Ariel
600:, by
486:'
353:harpy
338:, by
299:Uriel
242:Ceres
237:magic
197:Ariel
140:Ariel
101:JSTOR
87:books
1058:2010
1053:1992
1048:1980
1043:1979
1038:1963
1033:1960
1028:1911
1023:1908
73:news
877:'s
830:."
731:by
627:on
525:In
425:his
406:his
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