The Tempest

DHARMA Initiative Chemical Weapons
Research Station

The Tempest is a DHARMA Initiative station that produces, stores, and distributes a deadly toxic gas. Its location is about a day’s walk north of the survivors’ beach camp on the western coast. It was used by the Hostiles during the Purge to annihilate the DHARMA Initiative on the Island. It has since been disabled by Daniel and Charlotte.

Water (Fertility)

Sun (Fire)

Sky

Death (Plague)

Station History 

DHARMA Initiative

Very little is known about the history of the Tempest, although it was built by the DHARMA Initiative some time between the early 1970s and 1977. (“Namaste”) As the station’s only apparent purpose appears to be the manufacture and study of deadly gasses, it may be that the station was constructed in response to the escalating tensions between DHARMA and the Hostiles. (“The Other Woman”) Kate described the station to the other survivors as a “poison gas factory.” (“Ji Yeon”)

The Others

   

The ongoing feud with the DHARMA Initiative reached a critical point when the Hostiles seized control of the Tempest and initiated the Purge. The release of toxic gas on an Island-wide scale killed over 40 members of the DHARMA Initiative. (“The Man Behind the Curtain”)

   

Later, Goodwin was assigned to the Tempest and was treated by Juliet for a burn he sustained while working there. Goodwin claimed the station was a power plant, but Juliet recognized the injury as a chemical burn. While picnicking and swimming on a secluded beach, Goodwin confessed that with a flip of the wrong switch at the Tempest station, he could kill every “man, woman, and child” on the Island. (“The Other Woman”)

Season 4 (Days 91-100)

   

Daniel Faraday and Charlotte Lewis, two scientists from the Kahana, abruptly left the beach camp heading for the Tempest without explanation. Jack and Juliet followed – and it ultimately became clear that the scientists’ purpose was to neutralize the toxic gas at the station. Charlotte claimed that they did this to prevent Ben from using the gas to kill everyone on the Island. It seems likely that they were ordered to do this by Charles Widmore as one of their first steps on arriving on the Island. (“The Other Woman”)

Station

   

The Tempest consists of two levels: an upper level, featuring an entrance and main corridor leading to a catwalk; and the lower level chamber, containing the computer systems that control the station and several large metal tank like containers. Overall, the station appeared to be cleaner and in a better state of repair than other DHARMA stations.

Entrance and corridor

The exterior of the Tempest appears to be a large bunker-like structure set into the side of a mountain. A large blast door emblazoned with the station logo serves as the main entrance – leading into a central corridor. The corridor is long and dark with flickering lights. Speakers are placed at intervals along the walls. The corridor opens onto a catwalk that overlooks the facility’s lower level.

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Associated LOST Characters

Primary Symbolism: Water (Fertility) Deities

Water (Fertility)

MNEMOSYNE

HATHOR

BAST

Secondary Symbolism: Sun & Sky Deities

Sun (Fire)

APOLLO

THOTH

SOPDU

Sky

KHONSU




DHARMA STATION (Symbolic Deities Reference)

Decoded LOST Character (Charlotte Lewis)

Mnemosyne, source of the word mnemonic, was the personification of memory in Greek mythology. This titaness was the daughter of Gaia and Uranus and the mother of the nine Muses by Zeus.

In Hesiod’s Theogony, kings and poets receive their powers of authoritative speech from their possession of Mnemosyne and their special relationship with the Muses.

Zeus and Mnemosyne slept together for nine consecutive nights and thereby created the nine Muses. Mnemosyne also presided over a pool in Hades, counterpart to the river Lethe, according to a series of 4th century BC Greek funerary inscriptions in dactylic hexameter. Dead souls drank from Lethe so they would not remember their past lives when reincarnated. Initiates were encouraged to drink from the river Mnemosyne when they died, instead of Lethe. These inscriptions may have been connected with Orphic poetry (see Zuntz, 1971).

Similarly, those who wished to consult the oracle of Trophonius in Boeotia were made to drink alternately from two springs called “Lethe” and “Mnemosyne”. An analogous setup is described in the Myth of Er at the end of Plato’s Republic.

Source 



Decoded LOST Character (Horace Goodspeed)

Apollo is one of the most important and diverse of the Olympian deities in Greek and Roman mythology. The ideal of the kouros (a beardless, athletic youth), Apollo has been variously recognized as a god of light and the sun, truth and prophecy, medicine, healing, plague, music, poetry, arts and more. Apollo is the son of Zeus and Leto, and has a twin sister, the chaste huntress Artemis. Apollo is known in Greek-influenced Etruscan mythology as Apulu. Apollo was worshiped in both ancient Greek and Roman religion, and in the modern Greco–Roman Neopaganism.

As the patron of Delphi (Pythian Apollo), Apollo was an oracular god—the prophetic deity of the Delphic Oracle. Medicine and healing were associated with Apollo, whether through the god himself or mediated through his son Asclepius, yet Apollo was also seen as a god who could bring ill-health and deadly plague. Amongst the god’s custodial charges, Apollo became associated with dominion over colonists, and as the patron defender of herds and flocks. As the leader of the Muses (Apollon Musegetes) and director of their choir, Apollo functioned as the patron god of music and poetry. Hermes created the lyre for him, and the instrument became a common attribute of Apollo. Hymns sung to Apollo were called paeans.

Healer God & Protector from the evil

The function of Apollo as a “healer” is connected with Paean (Παιών-Παιήων) the physician of the Gods in Iliad,who seems to come from a more primitive religion. Paeοn is probably connected with the Mycenean Pa-ja-wo,but the etymology is the only evidence. He did not have a separate cult,but he was the personification of the holy magic-song sang by the magicians that was supposed to cure the diseases. Later the Greeks knew the original meaning of the relevant song “paeαn” (παιάν). The magicians were also called “seer-doctors” (ιατρομάντεις) and they used an exstatic prophetic art which was used exactly by the god Apollo at the oracles. In Ilias Apollo is the healer under the gods, but he is also the bringer of the diseases and of death with his arrows, in a similar way with the function of the Vedic terrible god of diseases Rudra. He sends a terrible plague (λοιμός) to the Achaeans. The god who sends a disease can also prevent from it, therefore when it stops they make a purifying ceremony and they offer him an “hecatomb” to keep away the evil. When the oath of his priest appeases, they pray and with a song they call their own god, the beautiful Paean. Some common epithets of Apollo as a healer are “paion”(παιών:touching), “epikourios” (επικουρώ:help), “oulios” (ουλή:cured wound) and “loimios” (λοiμός:plague). In classical times his srong function in popular religion was to keep away the evil, therefore he was called “apotropaios” (αποτρέπω:to divert) and “alexikakos” (αλέξω-κακό:defend, throw away the evil) In later writers, the word, usually spelled “Paean”, becomes a mere epithet of Apollo in his capacity as a god of healing.

Homer illustrated Paeon the god, and the song both of apotropaic thanksgiving or triumph. Such songs were originally addressed to Apollo, and afterwards to other gods: to Dionysus, to Apollo Helios, to Apollo’s son Asclepius the healer. About the 4th century BCE, the paean became merely a formula of adulation; its object was either to implore protection against disease and misfortune, or to offer thanks after such protection had been rendered. It was in this way that Apollo had become recognised as the god of music. Apollo’s role as the slayer of the Python led to his association with battle and victory; hence it became the Roman custom for a paean to be sung by an army on the march and before entering into battle, when a fleet left the harbour, and also after a victory had been won.

Source



DHARMA STATION (Symbolic Literary Reference)

Wiki Info

The Tempest is a play by William Shakespeare, believed to have been written in 1610–11, and thought by many critics to be the last play that Shakespeare wrote alone. It is set on a remote island, where Prospero, the exiled Duke of Milan, plots to restore his daughter Miranda to her rightful place, using illusion and skillful manipulation. He conjures up a storm, the eponymous tempest, to lure to the island his usurping brother Antonio and the complicit Alonso, King of Naples. There, his machinations bring about the revelation of Antonio’s low nature, the redemption of Alonso, and the marriage of Miranda to Alonso’s son, Ferdinand.

Synopsis

The magician Prospero, rightful Duke of Milan, and his daughter, Miranda, have been stranded for twelve years on an island after Prospero’s jealous brother Antonio—helped by Alonso, the King of Naples—deposed him and set him adrift with the then three-year-old Miranda. Gonzalo, the King’s counsellor, had secretly supplied their boat with plenty of food, water, clothes and the most-prized books from Prospero’s library. Possessing magic powers due to his great learning, Prospero is reluctantly served by a spirit, Ariel, whom Prospero had rescued from a tree in which he had been trapped by the witch Sycorax. Prospero maintains Ariel’s loyalty by repeatedly promising to release the “airy spirit” from servitude. Sycorax had been banished to the island, and had died before Prospero’s arrival. Her son, Caliban, a deformed monster and the only non-spiritual inhabitant before the arrival of Prospero, was initially adopted and raised by him. He taught Prospero how to survive on the island, while Prospero and Miranda taught Caliban religion and their own language. Following Caliban’s attempted rape of Miranda, he had been compelled by Prospero to serve as the magician’s slave. In slavery, Caliban has come to view Prospero as a usurper and has grown to resent him and his daughter. Prospero and Miranda in turn view Caliban with contempt and disgust.

The play opens as Prospero, having divined that his brother, Antonio, is on a ship passing close by the island, has raised a tempest which causes the ship to run aground. Also on the ship are Antonio’s friend and fellow conspirator, King Alonso of Naples, Alonso’s brother and son (Sebastian and Ferdinand), and Alonso’s advisor, Gonzalo. All these passengers are returning from the wedding of Alonso’s daughter Claribel with the King of Tunis. Prospero contrives to separate the shipwreck survivors into several groups by his spells, and so Alonso and Ferdinand are separated believing the other to be dead.

Three plots then alternate through the play. In one, Caliban falls in with Stephano and Trinculo, two drunkards, whom he believes to have come from the moon. They attempt to raise a rebellion against Prospero, which ultimately fails. In another, Prospero works to establish a romantic relationship between Ferdinand and Miranda; the two fall immediately in love, but Prospero worries that “too light winning [may] make the prize light”, and compels Ferdinand to become his servant, pretending that he regards him as a spy. In the third subplot, Antonio and Sebastian conspire to kill Alonso and Gonzalo so that Sebastian can become King. They are thwarted by Ariel, at Prospero’s command. Ariel appears to the “three men of sin” (Alonso, Antonio and Sebastian) as a harpy, reprimanding them for their betrayal of Prospero. Prospero manipulates the course of his enemies’ path through the island, drawing them closer and closer to him.

In the conclusion, all the main characters are brought together before Prospero, who forgives Alonso. He also forgives Antonio and Sebastian, but warns them against further betrayal. Ariel is charged to prepare the proper sailing weather to guide Alonso and his entourage (including Prospero and Miranda) back to the Royal fleet and then to Naples, where Ferdinand and Miranda will be married. After discharging this task, Ariel will finally be free. Prospero pardons Caliban, who is sent to prepare Prospero’s cell, to which Alonso and his party are invited for a final night before their departure. Prospero indicates that he intends to entertain them with the story of his life on the island. Prospero has resolved to break and bury his magic staff, and “drown” his book of magic, and in his epilogue, shorn of his magic powers, he invites the audience to set him free from the island with their applause.

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