Hsc English Adv Discovery

Discoveries are multifarious catalysts for introspection, which prompt a transformative reconsideration of what is known and an impetus for reform. Discoveries, driven by wonder or necessity, can be challenging and confronting, compelling people to leave their comfort zones. Consequently, they prepare to sacrifice the old to embrace the new, transforming and gaining new insights on themselves and the world around them.  Shakespeare’s mythopoeic tragicomedy “The Tempest” (1611) portray individuals faced with moralistic experiences, who rediscover the necessity for compassion as a result of abusive power, leading them to re-evaluate their relations with other characters. Clint Eastwood’s film “Gran Torino” (2008) examines the contemporary issues of conflicting cultural diversity, depicting a similar process of self-reflection, which triggers characters to transform spiritually and emotionally. Through analysing these texts and its character’s experiences, responders gain a deeper understanding of (answer question).

By examining the obsessive desire for authority, both “The Tempest” and “Gran Torino” reveal the consequences of the abuse of power, provoking a rediscovery of compassion and the restoration of humanity. In The Tempest, Shakespeare establishes a microcosmic isle wherein characters, reconsider pursuits to enrich their humanitarian values through the prompt of catalysts. Initially consumed with the preconception of prioritising knowledge within his ‘magic books’, his brother Antonio’s betrayal awakens Prospero to the reality of realpolitik, an awareness that he expresses metaphorically: “Of all the world I loved… he was the ivy which sucked my virtue.” Transformed by this betrayal, Prospero becomes a creature of tyranny whose threats of violence: “I’ll render an oak and peg thee…” demonstrate the negative consequences of confronting discoveries. Ariel’s plea, “Your charm so strongly works ‘em / Your affections would become tender” awakens a sense of mercy and compassion. The ironic personification of the impassive spirits empathy, juxtaposed with Prospero’s apathy for redemption conjures reconsideration within Prospero, who discovers that “the rarer action is in virtue than in vengeance”. The ironic alliteration of virtue and vengeance, being contradictory values of providence and Machiavellianism signifies their bicameral influence over morality. This discovery of humanity, provokes a change of directive within Prospero from revenge to reconciliation from which Prospero is able to forgive Antonio, “thy rankest fault,” reassessing his desire for revenge. His spiritual revelation positions the reader to appreciate mercy, acknowledging that rediscoveries can stimulate favourable insights.

Similarly, Gran Torino examines the cultural and spiritual rediscoveries of a war veteran who enforced violence to reject the changes in his life. A low angle shot accentuates Walt’s conviction as he directs his gun towards the camera, accompanied by the chiaroscuro lighting creating a shadow on his face, acknowledges his ignorance for renewed discoveries and perspectives. Walt, as a veteran of Korea is embittered through prejudice, blaming his sufferance on Asians regardless of Origin. The catalyst for Walt’s retribution is his delinquent, Hmong neighbour, Tao. Walt mentors Tao’s Jungian quest from juvenile crime into maturation with distaste, sardonically addressing him by racial slangs like “chink” and “zipper-head”. Therefore, like Prospero, Walt must rediscover his humanity and progress from his sheltered world of violence, spiritually transforming him in search of a peaceful resolution. Depicted by a Christ-like mis-en-scene, a slow motion shot and combined with soft non-diegetic music, Walt is portrayed at peace as he falls, which is reflective of his spiritual transformation. The war medal he clutches in his hand serves as a symbol for the repentance of violence he had committed as well as the restoration of the honour he had lost long ago, emphasising the need for self-discoveries.