I. The Tempest Characters guide
Prospero: The main character of this play, Prospero used to be the legitimate Duke of Milan. Unfortunately his treacherous brother Antonio stole his title and banished Prospero to a Mediterranean island with his daughter Miranda. A great lover of the arts and in particular books, Prospero has harnessed the powers of magic whilst in exile.
Miranda: Prospero's daughter. Attractive and young at the tender age of fifteen years, Miranda has lived with her father in exile for twelve years. Aside from her father, she has seen few men in her life, and quickly enchants the shipwrecked Ferdinand.
Ariel: An airy spirit, Ariel serves his master Prospero well in his many tasks of magic on Prospero's island. Once enslaved by a witch, Ariel wants his freedom now from Prospero. At the conclusion of this play Ariel is made free.
Caliban: A giant misformed beast, Shakespeare describes Caliban as "a savage and deformed slave." Hating his master Prospero, Caliban works for him out of fear of Prospero's magic.
Iris, Ceres, Juno, Nymphs and Reapers: Spirits that appear by Prospero's will.
Characters who arrive at Prospero's Island by shipwreck:
Alonso: The King of Naples. When Prospero's brother Antonio, usurped (took) Prospero's dukedom, it was Alonso who recognized Prospero's brother, sealing Prospero's fate of living in exile.
Ferdinand: The much-loved son of the King of Naples. Shipwrecked, but alive, Ferdinand falls instantly in live with Miranda, when he first sees her on Prospero's island.
Sebastian: The brother of Alonso, the King of Naples. He plots to kill his king and take his title with the scheming Antonio.
Antonio: The brother of Prospero, he took Prospero's title from him when Prospero trusted him to manage his affairs. Having replaced his brother, he now encourages Sebastian to do the same to his brother, Alonso.
Gonzalo: An honest old counsellor. When Prospero was to have starved to death when exiled by boat, it was Gonzalo who provided food, clothing and books to comfort Prospero and the then three year old Miranda.
Stephano: A drunken butler, he attempts to kill Prospero and take the island for his own. Trinculo and Caliban whom he fools into believing he is a God help him.
Trinculo: A jester, who tries to kill Prospero.
Master of a ship, Boatswains, Mariners: Sailors who fight Prospero's storm but are ultimately shipwrecked on his island.
II. The Tempest Summary
Act I.
A huge storm batters a ship carrying Alonso, (the King of Naples), Sebastian, (Alonso's brother), Ferdinand (Alonso's son), Antonio, Gonzalo and others. They are likely to die by shipwreck...
On the island near the storm, Prospero and his daughter Miranda are introduced. We learn that Prospero has created the storm battling Alonso and company's ship. Miranda asks Prospero to stop the storm. We also learn that Prospero was once the Duke of Milan but was banished to this island with Miranda by Antonio, his brother who took over Prospero's dukedom of Milan.
We are introduced to Ariel, Prospero's magic fairy who tells us that the men onboard the ship have all made it ashore unharmed as planned. Caliban, a misformed beast is also introduced. Ariel leads Ferdinand to Miranda and the two immediately fall in love. Prospero decides to be rude to Ferdinand, fearful of too rapid a courtship.
Act II.
The rest of the shipwreck survivors wake up on the island. They are surprised that their clothes smell and feel as fresh as if they had just been bought at a market...
Ariel's song puts them all to sleep again except for Sebastian and Antonio. Antonio who replaced his brother Prospero as Duke of Milan manipulates Sebastian, King Alonso's brother into doing the same thing by replacing King Alonso. The two are about to kill Alonso in his sleep but Ariel awakens everyone and the two men quickly make an excuse for drawing their swords out.
Trinculo, a jester on the ship, discovers Caliban and quickly realizes that such a beast would earn a fortune for him as a novelty in England. Stephano, Trinculo's friend eventually finds Trinculo under Caliban's huge frame. Stephano gives Caliban alcohol, causing Caliban to think Stephano is more powerful than Prospero whom Caliban hates. The three men set off together later deciding to kill Prospero...
Act III.
Prospero who is now invisible to Ferdinand and Miranda, witnesses Ferdinand and Miranda expressing their deep love for one another in words that rival Romeo and Juliet in their tenderness. Ferdinand, realizing he is witnessing a truly rare meeting of hearts, approves of Ferdinand for his daughter. The scene ends with Ferdinand taking Miranda for his wife. Prospero is pleased but must now leave to attend to matters before supper...
Bottle in hand, Stephano, Trinculo and Caliban continue on their merry way together. Stephano starts getting delusions of grandeur, which Caliban blindly follows. Trinculo thinks Caliban is being foolish to follow Stephano so blindly. Caliban succeeds in convincing Stephano into killing Prospero and taking over the island and suggests several gruesome ways of killing Prospero. Ariel lures the group away with his entrancing sounds...
Alonso, Sebastian, Antonio, Gonzalo, Adrian and Francisco and others witness a banquet on the island but it is an illusion. Ariel returns and verbally punishes Alonso (King of Naples), Antonio and Sebastian for their roles in exiling Prospero, Ariel's master...
Act IV.
Prospero tells Ferdinand that he no longer will punish him, but instead will freely give his daughter's hand in marriage to him. Prospero conjures up a beautiful, mythical, illusory party to celebrate, complete with goddesses and nymphs.
Prospero instructs Ariel to lead the shipwrecked men on the island before him. Remembering Stephano, Caliban and Trinculo, Prospero has Ariel distract them with clothes, Caliban failing to keep his friends focused on killing Prospero. Prospero promises Ariel that he will soon be free...
Act V.
Prospero brings everyone except Stephano, Caliban and Trinculo before him in a circle. Spellbound, he verbally reprimands several of the men who exiled him. Prospero tells Ariel that he will soon be free and that he will miss him. Prospero also intends to destroy his ability to use magic.
Making his presence known, Prospero forgives King Alonso, and tells Sebastian and Antonio he will keep secret their plan to kill Alonso, forgiving both.
The famously sweet scene of Ferdinand playing chess with Miranda occurs. King Alonso is overjoyed to see his son Ferdinand and soon learns of Ferdinand's imminent marriage to Miranda.
Prospero forgives Stephano and Trinculo. Caliban is embarrassed that he followed a fool (Trinculo). Caliban is given his freedom. Prospero announces that in the morning they will all set sail for Naples. Ariel is at last set free.
Epilogue:
Prospero asks the audience to free him to travel back to Naples reclaiming his life as Duke of Milan.
III. The Tempest Commentary
Act I. Scene I. - On a Ship at Sea. A tempestuous noise of thunder and lightning heard.
The Boatswain: "What cares these roarers for the name of king?"
A huge storm batters a ship carrying Alonso, (King of Naples), Sebastian, (Alonso's brother), Ferdinand (Alonso's son), Antonio, Gonzalo and others. Death looks likely...
The play begins to the sound of howling seas, strikes of lightning and the claps of thunder. Drenched in rain and salt, a Shipmaster and a Boatswain (sailor) enter or more likely, stagger into view. The Shipmaster tells the Boatswain to "speak to the mariners:" and ensure they all "fall to't yarely, or we run ourselves aground: bestir, bestir" (work together or we will run aground and be shipwrecked), (Line 3).
The Boatswain orders that the topsails be taken down, and now Alonso, Sebastian, Antonio, Ferdinand and Gonzalo, go up on deck.
Their presence on deck is not welcomed by the already busy Boatswain who tells Antonio that "You mar our labour: keep your cabins:" (you distract our work, go to your cabins), adding that their distraction helps the storm, not the sailors fighting to save their ship (Line 14).
Gonzalo tells the Boatswain (senior sailor commanding others) to "be patient" (Line 17). The Boatswain has little time for Gonzalo when his ship is so close to sinking and questions his superiors by asking "What cares these roarers [rollers or large waves] for the name of king?" (what cares these huge waves or rollers for the name of king or your positions for that matter?) again telling the gentlemen to retreat to their cabins (Line 19).
Gonzalo reminds the rude Boatswain whom he is shouting to, to which the Boatswain tells Gonzalo that as a counsellor if he cannot calm the seas then he should retire to his cabin (Line 22).
Gonzalo however, says he derives "great comfort from this fellow:" (great comfort from the boatswain) adding that since the Boatswain appears to be a man more likely to die by being hung than by drowning, he will probably live and therefore so will they. Says Gonzalo of the Boatswain, "If he be not born to be hanged, our case is miserable" (if this man was born to die by hanging then our hope of surviving this storm is miserable).
The Boatswain continues to bring down sails and now Sebastian returns on deck along with Antonio.
Sebastian insults the Boatswain, calling him a "bawling, blasphemous, incharitable dog!" (Line 46).
The Boatswain returns fire, telling Sebastian to work instead.
Antonio now insults the Boatswain as a "whoreson, insolent noisemaker," adding "we are less afraid to be drowned than thou art" (we are less afraid to die by drowning than you are), (Line 50).
The Boatswain ignores them now and a wet Mariner (sailor) exclaims "All lost!" (all is lost / we will die). Gonzalo calls on Sebastian and Antonio to join "The king and prince at prayers!" (praying), (Line 59).
Sebastian and Antonio worry that they will be cheated out of their lives by some lowly drunkards (the sailors) whilst Gonzalo maintains hope, adding that the Boatswain will "be hanged yet, / Though every drop of water swear against it," (the Boatswain will be hanged yet even though every drop of water swears that he will drown), (Line 64).
Fearing the end, Gonzalo, Antonio and Sebastian bid their lives good bye (Line 67 onwards).
Act I. Scene II. - The Island: before the Cell of Prospero.
Prospero: "They are both in either's powers: but this swift business / I must uneasy make, lest too light winning / Make the prize light."
On the island near the storm, Prospero and his daughter Miranda are introduced. We learn that Prospero has created the storm battling Alonso and company's ship. Miranda asks Prospero to stop the storm. We also learn that Prospero was once the Duke of Milan but was banished to this island with Miranda by Antonio, his brother who took over Prospero's dukedom of Milan. We are introduced to Ariel, Prospero's magic fairy who tells us that the men aboard the ship have all made it ashore unharmed as planned. Caliban, a misformed beast also makes his appearance. Ariel leads Ferdinand to Miranda and the two immediately fall in love. Prospero decides to be rude to Ferdinand fearing a rapid courtship.
Prospero and Miranda enter. Miranda knows that her father's magic has conjured up the storm the ship is experiencing and Miranda would like it stopped: "If by your art, my dearest father, you have / Put the wild waters in this roar, allay them" (dearest father, if by your art or magic you have created this storm, please stop it), (Line 1).
Miranda has felt Alonso and company's pain and regrets that these noble men are likely to be dashed or rather bashed to pieces when their ship breaks up: "O! I have suffer'd / With those that I saw suffer: a brave vessel, / Who had, no doubt, some noble creatures in her, / Dash'd all to pieces" (Line 5).
Prospero tells his daughter not to worry. "Tell your piteous heart / There's no harm done" he says (Line 14).
Now Prospero decides it is time for his daughter to know the truth; how she and her father came to this island: "I should inform thee [you] further" (Line 23).
Asking his daughter to take off his magic garment and laying down his mantle, he tells his daughter to "Wipe thou thine eyes;" (wipe away those tearful eyes of yours) which have obviously been crying for the men aboard the previously doomed ship (Line 25).
Miranda explains that many a time she was about to learn her past, but her father hesitated from telling her. Prospero asks Miranda about her earliest memories as a child. She remembers that four or five women once tended to her which Prospero confirms (Line 47).
Prospero explains to Miranda that she has been on this island for twelve years (Line 53) adding that her father (Prospero) was the Duke of Milan, her mother, "a piece of virtue," (had great virtue), (Line 56). Miranda now asks how if she were once a princess, why she should now live on an island in exile.
Prospero explains that he entrusted the matters of his state to his brother Antonio whilst he followed his love of art and in particular reading. Unfortunately, his brother turned his subordinates against him and had him exiled (Lines 65-116).
Seeking to replace Prospero completely, Antonio made a pact with the King of Naples to "Subject his coronet to his [the King's] crown," (be loyal to King Alonso), (Line 114).
Now allied with the King of Naples, Prospero and daughter were evicted from Milan (Lines 120-132). Ministers (agents) of Antonio's dark purpose, rushed Prospero and daughter onto a boat so decrepit, "the very rats / Instinctively have quit it:" (the very rats aboard it, left the boat as they instinctively thought it was unsafe for them), (Line 148).
Only "A noble Neapolitan [a person living in Naples], Gonzalo," helped them, charitably providing Prospero with "Rich garments, linens, stuffs," (clothes, supplies), (Line 164), and crucially, books from Prospero's own private library (Lines 163-168).
Now knowing the truth, Miranda asks about the necessity of the storm (Line 177). Prospero explains that it was good luck that his enemy's ship had come within his powers and having already picked up his mantle, Prospero uses his magic to cast Miranda asleep.
Ariel is now introduced. A spirit or fairy, Ariel explains that he has performed all that was asked of him. He created a great storm, but not a man was hurt and now the rest of the fleet have sailed on fearing this ship lost. The ship itself is now safely moored in one of the island's coves (Lines 188-236).
Ariel now brings up the issue of his freedom. Specifically he has none as a servant to Prospero. Prospero now reminds Ariel of the fate he found him in when he first landed on the island.
Prospero recounts how a cruel witch called Sycorax imprisoned Ariel for refusing to obey her, encasing him in a cloven pine. Sycorax died and Ariel remained imprisoned.
Now Prospero makes an important decision; Ariel will be free in two days if he does as commanded of him (Lines 249-301). He now bids Ariel away telling him to be invisible.
Miranda awakes and Prospero decides to visit his slave Caliban, son of the witch Sycorax. Caliban is gathering wood for Prospero. He insults his master, and Prospero commands a spell of aches and pains upon him as punishment.
Caliban curses Prospero for teaching him to speak and regrets telling Prospero of the entire island's charms (places to find food, fresh springs and so forth), (Line 340).
Prospero explains that he treated Caliban well. This only changed because Caliban overstepped the mark. He attempted to rape or as Prospero says, "violate / The honour of my child [Miranda]" in Prospero's own cell or home (Line 348) adding that Caliban deserves much more punishment than he presently receives (Lines 328-352).
Ferdinand now awakes from his sleep and his memories of the storm. He is alive, yet he hears music, beautiful music. Following the melody he cannot make sense of his actions, yet compelled, he follows the mesmerizing tune nonetheless.
Miranda, who has seen few men save her father, sees Ferdinand, asking "What is 't? a spirit? Lord, how it looks about! Believe me, sir, / It carries a brave form:" (what is it? a spirit. Lord, how it looks around! Believe me, it carries a brave, striking appearance), (Line 408).
Miranda is clearly impressed, "I might call him / A thing divine; for nothing natural / I ever saw so noble" (I might call this sight divine for I have never seen anything quite so noble), (Line 414).
Ferdinand is also bewitched, surprised that Miranda can speak the same language and asking if Miranda is a maid (women), (Lines 425-426).
Worried that Ariel's plan to get the two lovebirds together may be proceeding too fast, Prospero is now quite rude to Ferdinand. Ferdinand's wish to make Miranda his "Queen of Naples" intensifies this (Line 445).
Prospero decides that he must now slow things down between the two lovebirds: "They are both in either's powers: but this swift business / I must uneasy make, lest too light winning / Make the prize light" (they are both entranced by each other or in love but I must move quickly now to slow things down since a prize like my daughter's heart that is too easily won is less prized in its winning), (Lines 448-449).
Threatened with being manacled and chained, Ferdinand attempts to draw his sword in defense against Prospero but is charmed out of doing it.
Miranda begs her father for mercy. Now spellbound by Prospero, Ferdinand yields, and does Prospero's bidding.
Act II. Scene I. - Another Part of the Island.
The rest of the shipwreck survivors wake up on the island. They are surprised that their clothes smell and feel as fresh as if they had just been bought at a market... Ariel's song puts them all to sleep again except for Sebastian and Antonio. Antonio who replaced his brother Prospero as Duke of Milan, manipulates Sebastian, King Alonso's brother into doing the same by replacing King Alonso. The two are about to kill Alonso in his sleep but Ariel wakes everyone up and the two men make an excuse for drawing their swords out.
Alonso, Sebastian, Antonio, Adrian, Francisco and Gonzalo, who have all survived the shipwreck, now ponder their position on the island (Lines 1-64).
Gonzalo remarks on how odd it is that their clothes should be "new-dyed" (freshly dyed or colored) in appearance rather than stained with salt from their shipwreck (Line 64-68). We learn from Gonzalo that Alonso and company were returning from Africa, where they attended the marriage of the "king's [Alonso's] fair daughter Claribel to the King of Tunis" (Line 70).
Gonzalo repeats his fresh clothes observation to Alonso (Line 100), but Alonso has more pressing fears. He believes that he has lost his son Ferdinand forever (Lines 113-119). Francisco tries to offer hope, saying that he is sure he saw Ferdinand escape the ship alive (Lines 120-129).
Alonso however, is convinced that he has lost his son, and asks his subjects now for, "Prithee, peace" (quiet), (Line 134). Sebastian adds that it is the King's fault he lost his son, since the voyage to Africa was advised against "By all of us;" (by all of us), (Line 136).
Gonzalo scolds Sebastian for this thinking and then daydreams about what he would do with his new island home as a part of a commonwealth (Line 154). This earns Gonzalo the mockery of both Antonio and Sebastian (Lines 143-192).
Ariel now enters, invisible and playing solemn music. This music has a powerful effect on our survivors; they each fall asleep except for Antonio and Sebastian (Lines 192-210).
Now alone, Antonio begins to convince Sebastian to kill his brother, The King of Naples (Alonso), by telling him that "My strong imagination sees a crown / Dropping upon thy head" (my strong imagination sees the crown of your father, King Alonso falling on your head. I can see you replacing your brother as king), (Line 216).
Sebastian is at first reluctant to accept this but is gradually convinced by Antonio's guarantees that the King's men will follow him. Antonio further points out that he has experience in this; he did after all, replace his brother Prospero by similar means and was successful.
Drawing their swords to kill Alonso in his sleep, Ariel reappears and with a song in Gonzalo's ear awakens him, Gonzalo's shouting then waking the King (Lines 308-316). Alonso and then Gonzalo ask why Sebastian and Antonio have their swords drawn (Lines 320-332).
Sebastian explains that they heard "a hollow burst of bellowing / Like bulls, or rather lions;" (We heard noises like bulls or lions and so we drew our swords out as protection), (Line 320). This appears to convince all present. Ariel departs, pledging to tell Prospero of his deed and telling Alonso to "go safely on to seek thy son" (go safely on to look for your son, Ferdinand), (End of scene).
Act II. Scene II. - Another Part of the Island.
Trinculo, a jester on the ship, discovers Caliban and quickly realizes that such a beast would earn him a fortune as a novelty in England. Stephano, Trinculo's friend eventually finds Trinculo under Caliban's huge frame. Stephano gives Caliban alcohol, causing Caliban to think Stephano is more powerful than Prospero whom Caliban hates. The three set off together...
Caliban enters our view, carrying a heavy burden of wood. Caliban is cursing his master Prospero. Trinculo now appears. Caliban seeing this jester, assumes that he must be a spirit: "Here comes a spirit of his [Prospero], and to torment me / For bringing wood in slowly:" (here comes another one of Prospero's spirits to torment me for bringing the wood in too slowly), he says, deciding to lie flat on the ground to hopefully avoid it's attention (Line 15).
Trinculo, dressed in his jester costume fears the elements. He has a solution, and decides to hide his head under Caliban's large frame. Not sure whether Caliban is man or fish, such is his smell, Trinculo nonetheless uses Caliban as shelter. Furthermore, he believes that should Caliban be a fish, he would earn Trinculo a good living back in England as a novelty.
Stephano now arrives, singing, bottle in hand. Caliban again believes this man to be a spirit telling Stephano to leave him alone. "Do not torment me:" he Caliban cries (Line 59).
The sight of Caliban amazes Stephano. At first he believes this monster to have four legs and two heads but later realizes it is just his friend Trinculo crawling under the frame of Caliban. Probing Caliban, Stephano like Trinculo, realizes that Caliban would be worth a fortune back in England as a "monster of the isle with four legs," (Line 69). Caliban, however is not enjoying any of this, telling Stephano to leave him alone.
Discovering Caliban's head, Stephano pours his alcohol into Caliban's mouth (Lines 87-127). Stephano now discovers his friend Trinculo under Caliban's frame.
The alcohol however has affected Caliban profoundly. Spellbound by what he believes is a celestial drink, Caliban renounces (rejects) Prospero, and pledges his loyalty to Stephano whom he believes has fallen from heaven and will be powerful enough to free him from Prospero. Caliban will fish for his new leader, find wood and pick berries (Lines 172-180). Stephano now decides that with the King and all his followers likely drowned, he will inherit this island. Together they follow Caliban, newly united as three.
Act III. Scene I. - Before Prospero's Cell.
Miranda: "Do you love me?"
Prospero who is now invisible to Ferdinand and Miranda, witnesses Ferdinand and Miranda expressing their deep love for one another in words that rival Romeo and Juliet in their tenderness. Ferdinand, realizing that he is witnessing a truly rare meeting of hearts, approves of Ferdinand for his daughter. The scene ends with Ferdinand taking Miranda for his wife. Prospero is pleased but must now leave to attend to matters before supper...
Ferdinand is lifting logs for Prospero. This doesn't bother him unduly, because, as Ferdinand puts it, his labors will lead to richer ends, namely the heart of Miranda: "There be some sports are painful, and their labour / Delight in them sets off: some kinds of baseness / Are nobly undergone, and most poor matters / Point to rich ends" Ferdinand remarks (Line 1).
Ferdinand knows his work is hard, but the thought of Miranda gives him strength: "This my mean task / Would be as heavy to me as odious; but / The mistress [Miranda] which I serve quickens what's dead / And makes my labours pleasures: O! she is / Ten times more gentle than her father's crabbed, / And he's composed of harshness" (Line 4).
Ferdinand is aware that the sight of Miranda's love (Ferdinand) working so hard saddens Miranda (Line 10-12), but his thoughts of Miranda inspire him to go on: "But these sweet thoughts do even refresh my labours," (Line 14).
Miranda enters, oblivious to the invisible Prospero behind her. She asks Ferdinand not to work so hard, telling Ferdinand that "My father / Is hard at study;" asking him to "pray now, rest yourself:" since Prospero will be away for at least three hours (Lines 19-20).
Miranda tells Ferdinand to sit down, she will "bear" or carry his logs for a while. Ferdinand, ever the noble gentleman, refuses Miranda's kind offer, telling her "No, precious creature: / I had rather crack my sinews, break my back, / Than you should such dishonour undergo, / While I sit lazy by" (no precious creature, I would rather break my back than see you dishonored by carrying logs while I sit idly by), (Line 26).
Miranda decides to try again, and Prospero who is nearby but because of his magic cloak is invisible, realizes that Miranda must be in love (Line 30-31).
Ferdinand now asks for Miranda's name so that he may use it in his prayers. Miranda answers with her name, immediately realizing that she has a broken a "hest" (promise or command) to her father in doing so (Line 37).
Ferdinand now speaks of his deep admiration for Miranda, telling her that she is "worth / What's dearest to the world!" (Line 39). Ferdinand has seen many fair ladies in his time, but all had some defect in his opinion (Line 44). Miranda, however is someone completely unique. She is "So perfect and so peerless," (so perfect and without equal), that she is clearly created "Of every creature's best" (clearly made from the best of every creature) (Line 47).
Miranda explains to Ferdinand that she remembers no women's face but her own, nor has she seen "More that I may call men than you, good friend, / And my dear father:" (more men than you, good friend and my father), (Line 51). Nonetheless Miranda tells Ferdinand that she "would not wish / Any companion in the world but you;" (would want no companion other than you, Ferdinand), nor could she imagine any better shape (Line 55).
Ferdinand now explains to Miranda that, "The very instant that I saw you did / My heart fly to your service; there resides, / To make me slave to it; and for your sake / Am I this patient log-man" (the very instant I saw you, my heart flew into your service, and it stays there making me a slave to it, and it is for you that I patiently have become a logman to be close to you), (Line 64).
Miranda now sweetly asks Ferdinand, "Do you love me?" (Line 67).
Ferdinand is almost ashamed that he is even being asked... "O! heaven! O earth! bear witness to this sound," he says for as he explains to Miranda, "I, / Beyond all limit of what else i' the world, / Do love, prize, honour you" (I, beyond all limit of what else is in the world, love, prize and honor you), (Line 72).
Miranda replies that, "I am a fool / To weep at what I am glad of" (I am a fool to weep at what makes me happy), (Line 74).
Prospero too is pleased, describing this courtship in an aside (private speech) as a "Fair encounter / Of two most rare affections!" (a fair and good joining of two most rare loves) whilst adding "Heavens rain grace / On that which breeds between 'em!" (Heaven rain grace on that which breeds or grows between them), (Line 75).
Miranda now weeps at her unworthiness of Ferdinand.
Ferdinand will have none of it, telling her that she will always make him humble, so lucky does he feel to be loved by her (Line 87).
Ferdinand and Miranda continue to trade deep affections for each other and Miranda explains that should Ferdinand not accept her as his wife, she will nonetheless forever be his servant "Whether you will or no" (whether you will it or not), (Line 85).
Ferdinand naturally takes Miranda as his wife with all his willing heart.
Prospero, a silent, invisible witness to all of this, approves. He must however, leave for before "supper time," since he has much business to do.
Act III. Scene II. - Another Part of the Island.
Bottle in hand, Stephano, Trinculo and Caliban continue on their merry way. Stephano starts getting delusions of grandeur, which Caliban blindly follows. Trinculo thinks Caliban is being foolish to follow Stephano so blindly. Caliban suggests several gruesome ways to kill Prospero. Ariel lures the group away with his entrancing sounds...
Meanwhile, some distance away on the island, Stephano, Caliban and Trinculo proceed on their way together about the island. They are not aided by their increasingly drunken stupor. Stephano is increasingly seeing himself in a grandiose light, aided by Caliban's blind devotion of him. Trinculo is not at all impressed by this, deriding both Caliban and Stephano and Caliban now sick of being insulted by Trinculo, demands that something be done.
Stephano, not willing to lose his loyal monster, tells Trinculo to "keep a good tongue" in his head, and not to offend Caliban nor himself (Line 41).
Ariel, who is invisible, now enters and causes dissension (trouble) in the ranks. When Caliban explains that he is "a subject of a tyrant" (is ruled over by a tyrant, Prospero), Ariel defends Prospero, telling Caliban that, "Thou liest" (you lie), (Line 52). Further comments by Ariel, which mimic Trinculo's voice earn Trinculo a beating (Lines 58-86).
Caliban who has successfully convinced (Lines 44-69) Stephano to kill Prospero and take over the island, now outlines his plan to kill Prospero whilst he is asleep, noting his timetable and the importance of first taking away Prospero's books, the source of his magic. Caliban also makes his attraction for Miranda whom we know he attempted to molest, quite clear (Lines 112-116). Caliban also suggests several grotesque ways of killing his hated master (Prospero), (Lines 100-114).
Stephano now decides that he will become both "king and queen,-" of this island and will kill both Prospero and Miranda. Stephano and Trinculo put their earlier disagreements behind them (Lines 117-124).
Stephano on Caliban's request starts to sing.
Ariel plays a tune now on tabor and pipe (noticed by Stephano, Line 136) and is almost caught out, but Caliban explains that "the isle is full of noises, / Sounds and sweet airs," (this isle or island is full of deceptive, entrancing sounds and smells), (Line 148) and that they should not be alarmed (Lines 147-154).
The murderous threesome now continue on their way.
Act III. Scene III. - Another Part of the Island.
Sebastian: "Now I will believe / That there are unicorns; that in Arabia / There is one tree...."
Alonso, Sebastian, Antonio, Gonzalo, Adrian and Francisco and others witness a banquet on the island but it is an illusion. Ariel returns and verbally punishes Alonso (the King of Naples), Antonio and Sebastian for their roles in exiling Prospero, Ariel's master...
Alonso, Sebastian, Antonio, Gonzalo, Adrian, Francisco and others are exhausted from walking the maze that is the island. At Gonzalo's suggestion, they choose to rest (Line 1).
Strange and solemn music is heard. Prospero emerges from above, completely invisible. Various strange shapes appear, "bringing in a banquet: they dance about it with gentle actions of salutation; and, inviting the King, &c., [and company] to eat, they depart."
Sebastian amazed by what he sees, exclaims that "Now I will believe / That there are unicorns; that in Arabia / There is one tree," (now I believe that unicorns exist and that there is just one tree in all of Arabia), (Line 21).
Antonio agrees and Gonzalo wonders if anyone would believe this story back in Naples (Line 28).
Prospero now dismisses the strange shapes (Line 39). Sebastian does not mind since "They have left their viands behind;" and the court now very hungry can eat what is left (Lines 40-42).
Ariel enters amid thunder and lightning. Clapping his wings upon the table, Ariel uses "a quaint devise" to make the banquet disappear.
Now that the banquet has been removed, Ariel who can be heard, begins to bring to account all those who crossed his master Prospero twelve years ago. Specifically, Ariel singles out three men who are most responsible for Prospero's exile, namely Antonio, Prospero's traitorous brother, Alonso, the King of Naples and Sebastian.
Ariel describes the three men as "three men of sin," (Line 53). Alonso and Sebastian draw out their swords on Ariel only to be called "fools!" by Ariel (Line 60). Antonio is guilty for having abused his brothers trust, the King of Naples for recognizing Antonio's new rule of Milan in exchange for an annual tribute (money) and Sebastian for plotting to kill the King of Naples (Alonso) with Antonio.
Prospero is pleased with Ariel's work and especially that all three men heard Ariel's judgment of them. This affects each man differently. Alonso now finds his conscience, telling Gonzalo how the winds spoke to him and exits (Lines 98-102).
Sebastian and Antonio, not regretting their deeds follow, leaving Gonzalo to comment on the three men's great guilt. Adrian, on Gonzalo's command follows the three men to prevent them coming to strife or injuring themselves.
IV. Themes, Motifs & Symbols
1. Themes
Themes are the “ideas” explored in a literary work.
The Illusion of Justice
The Tempest tells a fairly straightforward story involving an unjust act, the usurpation of Prospero's throne by his brother, and Prospero's quest to re-establish justice by restoring himself to power. However, the idea of justice that the play works toward seems highly subjective, since this idea represents the view of one character who controls the fate of all the other characters. Though Prospero presents himself as a victim of injustice working to right the wrongs that have been done to him, Prospero's idea of justice and injustice is somewhat hypocritical—though he is furious with his brother for taking his power, he has no qualms about enslaving Ariel and Caliban in order to achieve his ends. At many moments throughout the play, Prospero's sense of justice seems extremely one-sided and mainly involves what is good for Prospero. Moreover, because the play offers no notion of higher order or justice to supersede Prospero's interpretation of events, the play is morally ambiguous.
As the play progresses, however, it becomes more and more involved with the idea of creativity and art, and Prospero's role begins to mirror more explicitly the role of an author creating a story around him. With this metaphor in mind, and especially if we accept Prospero as a surrogate for Shakespeare himself, Prospero's sense of justice begins to seem, if not perfect, at least sympathetic. Moreover, the means he uses to achieve his idea of justice mirror the machinations of the artist, who also seeks to enable others to see his view of the world. Playwrights arrange their stories in such a way that their own idea of justice is imposed upon events. In The Tempest, the author is in the play, and the fact that he establishes his idea of justice and creates a happy ending for all the characters becomes a cause for celebration, not criticism.
By using magic and tricks that echo the special effects and spectacles of the theater, Prospero gradually persuades the other characters and the audience of the rightness of his case. As he does so, the ambiguities surrounding his methods slowly resolve themselves. Prospero forgives his enemies, releases his slaves, and relinquishes his magic power, so that, at the end of the play, he is only an old man whose work has been responsible for all the audience's pleasure. The establishment of Prospero's idea of justice becomes less a commentary on justice in life than on the nature of morality in art. Happy endings are possible, Shakespeare seems to say, because the creativity of artists can create them, even if the moral values that establish the happy ending originate from nowhere but the imagination of the artist.
The Difficulty of Distinguishing “Men” from “Monsters”
Upon seeing Ferdinand for the first time, Miranda says that he is “the third man that e'er I saw” (I.ii.449). The other two are, presumably, Prospero and Caliban. In their first conversation with Caliban, however, Miranda and Prospero say very little that shows they consider him to be human. Miranda reminds Caliban that before she taught him language, he gabbled “like / A thing most brutish” (I.ii.59-60) and Prospero says that he gave Caliban “human care” (I.ii.349), implying that this was something Caliban ultimately did not deserve. Caliban's exact nature continues to be slightly ambiguous later. In Act IV, scene i, reminded of Caliban's plot, Prospero refers to him as a “devil, a born devil, on whose nature / Nurture can never stick” (IV.i.188-189). Miranda and Prospero both have contradictory views of Caliban's humanity. On the one hand, they think that their education of him has lifted him from his formerly brutish status. On the other hand, they seem to see him as inherently brutish. His devilish nature can never be overcome by nurture, according to Prospero. Miranda expresses a similar sentiment in Act I, scene ii: “thy vile race, / Though thou didst learn, had that in't which good natures / Could not abide to be with” (I.ii.361-363). The inhuman part of Caliban drives out the human part, the “good nature,” that is imposed on him.
Caliban claims that he was kind to Prospero, and that Prospero repaid that kindness by imprisoning him (see I.ii.347). In contrast, Prospero claims that he stopped being kind to Caliban once Caliban had tried to rape Miranda (I.ii.347-351). Which character the audience decides to believe depends on whether it views Caliban as inherently brutish, or as made brutish by oppression. The play leaves the matter ambiguous. Caliban balances all of his eloquent speeches, such as his curses in Act I, scene ii and his speech about the isle's “noises” in Act III, scene ii, with the most degrading kind of drunken, servile behavior. But Trinculo's speech upon first seeing Caliban (II.ii.18-38), the longest speech in the play, reproaches too harsh a view of Caliban and blurs the distinction between men and monsters. In England, which he visited once, Trinculo says, Caliban could be shown off for money: “There would this monster make a man. Any strange beast there makes a man. When they will not give a doit to relieve a lame beggar, they will lay out ten to see a dead Indian” (II.ii.28-31). What seems most monstrous in these sentences is not the “dead Indian,” or “any strange beast,” but the cruel voyeurism of those who capture and gape at them.
The Allure of Ruling a Colony
The nearly uninhabited island presents the sense of infinite possibility to almost everyone who lands there. Prospero has found it, in its isolation, an ideal place to school his daughter. Sycorax, Caliban's mother, worked her magic there after she was exiled from Algeria. Caliban, once alone on the island, now Prospero's slave, laments that he had been his own king (I.ii.344-345). As he attempts to comfort Alonso, Gonzalo imagines a utopian society on the island, over which he would rule (II.i.148-156). In Act III, scene ii, Caliban suggests that Stefano kill Prospero, and Stefano immediately envisions his own reign: “Monster, I will kill this man. His daughter and I will be King and Queen—save our graces!—and Trinculo and thyself shall be my viceroys” (III.ii.101-103). Stefano particularly looks forward to taking advantage of the spirits that make “noises” on the isle; they will provide music for his kingdom for free. All these characters envision the island as a space of freedom and unrealized potential.
The tone of the play, however, toward the hopes of the would-be colonizers is vexed at best. Gonzalo's utopian vision in Act II, scene i is undercut by a sharp retort from the usually foolish Sebastian and Antonio. When Gonzalo says that there would be no commerce or work or “sovereignty” in his society, Sebastian replies, “yet he would be king on't,” and Antonio adds, “The latter end of his commonwealth forgets the beginning” (II.i.156-157). Gonzalo's fantasy thus involves him ruling the island while seeming not to rule it, and in this he becomes a kind of parody of Prospero.
While there are many representatives of the colonial impulse in the play, the colonized have only one representative: Caliban. We might develop sympathy for him at first, when Prospero seeks him out merely to abuse him, and when we see him tormented by spirits. However, this sympathy is made more difficult by his willingness to abase himself before Stefano in Act II, scene ii. Even as Caliban plots to kill one colonial master (Prospero) in Act III, scene ii, he sets up another (Stefano). The urge to rule and the urge to be ruled seem inextricably intertwined.
2. Motifs
Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text's major themes.
Masters and Servants
Nearly every scene in the play either explicitly or implicitly portrays a relationship between a figure that possesses power and a figure that is subject to that power. The play explores the master-servant dynamic most harshly in cases in which the harmony of the relationship is threatened or disrupted, as by the rebellion of a servant or the ineptitude of a master. For instance, in the opening scene, the “servant” (the Boatswain) is dismissive and angry toward his “masters” (the noblemen), whose ineptitude threatens to lead to a shipwreck in the storm. From then on, master-servant relationships like these dominate the play: Prospero and Caliban; Prospero and Ariel; Alonso and his nobles; the nobles and Gonzalo; Stefano, Trinculo, and Caliban; and so forth. The play explores the psychological and social dynamics of power relationships from a number of contrasting angles, such as the generally positive relationship between Prospero and Ariel, the generally negative relationship between Prospero and Caliban, and the treachery in Alonso's relationship to his nobles.
Water and Drowning
The play is awash with references to water. The Mariners enter “wet” in Act I, scene i, and Caliban, Stefano, and Trinculo enter “all wet,” after being led by Ariel into a swampy lake (IV.i.193). Miranda's fear for the lives of the sailors in the “wild waters” (I.ii.2) causes her to weep. Alonso, believing his son dead because of his own actions against Prospero, decides in Act III, scene iii to drown himself. His language is echoed by Prospero in Act V, scene i when the magician promises that, once he has reconciled with his enemies, “deeper than did ever plummet sound / I'll drown my book” (V.i.56-57).
These are only a few of the references to water in the play. Occasionally, the references to water are used to compare characters. For example, the echo of Alonso's desire to drown himself in Prospero's promise to drown his book calls attention to the similarity of the sacrifices each man must make. Alonso must be willing to give up his life in order to become truly penitent and to be forgiven for his treachery against Prospero. Similarly, in order to rejoin the world he has been driven from, Prospero must be willing to give up his magic and his power.
Perhaps the most important overall effect of this water motif is to heighten the symbolic importance of the tempest itself. It is as though the water from that storm runs through the language and action of the entire play—just as the tempest itself literally and crucially affects the lives and actions of all the characters.
Mysterious Noises
The isle is indeed, as Caliban says, “full of noises” (III.ii.130). The play begins with a “tempestuous noise of thunder and lightning” (I.i.1, stage direction), and the splitting of the ship is signaled in part by “a confused noise within” (I.i.54, stage direction). Much of the noise of the play is musical, and much of the music is Ariel's. Ferdinand is led to Miranda by Ariel's music. Ariel's music also wakes Gonzalo just as Antonio and Sebastian are about to kill Alonso in Act II, scene i. Moreover, the magical banquet of Act III, scene iii is laid out to the tune of “Solemn and strange music” (III.iii.18, stage direction), and Juno and Ceres sing in the wedding masque (IV.i.106-117).
The noises, sounds, and music of the play are made most significant by Caliban's speech about the noises of the island at III.ii.130-138. Shakespeare shows Caliban in the thrall of magic, which the theater audience also experiences as the illusion of thunder, rain, invisibility. The action of The Tempest is very simple. What gives the play most of its hypnotic, magical atmosphere is the series of dreamlike events it stages, such as the tempest, the magical banquet, and the wedding masque. Accompanied by music, these present a feast for the eye and the ear and convince us of the magical glory of Prospero's enchanted isle.
3. Symbols
Symbol vs allegory
open-endedness: the infinity of possible referents (vs fixed referent)
the sign and the signified mutually co-dependent, inextricably involved in and with each other, interpermeating each other (the sign valued insofar as it leads to the signified)
relatively independent or extricable from the one core cultural code, if there is such a code (strict dependence on the code)
The Tempest
The tempest that begins the play, and which puts all of Prospero's enemies at his disposal, symbolizes the suffering Prospero endured, and which he wants to inflict on others. All of those shipwrecked are put at the mercy of the sea, just as Prospero and his infant daughter were twelve years ago, when some loyal friends helped them out to sea in a ragged little boat (see I.ii.144-151). Prospero must make his enemies suffer as he has suffered so that they will learn from their suffering, as he has from his. The tempest is also a symbol of Prospero's magic, and of the frightening, potentially malevolent side of his power.
The Game of Chess
The object of chess is to capture the king. That, at the simplest level, is the symbolic significance of Prospero revealing Ferdinand and Miranda playing chess in the final scene. Prospero has caught the king—Alonso—and reprimanded him for his treachery. In doing so, Prospero has married Alonso's son to his own daughter without the king's knowledge, a deft political maneuver that assures Alonso's support because Alonso will have no interest in upsetting a dukedom to which his own son is heir. This is the final move in Prospero's plot, which began with the tempest. He has maneuvered the different passengers of Alonso's ship around the island with the skill of a great chess player.
Caught up in their game, Miranda and Ferdinand also symbolize something ominous about Prospero's power. They do not even notice the others staring at them for a few lines. “Sweet lord, you play me false,” Miranda says, and Ferdinand assures her that he “would not for the world” do so (V.i.174-176). The theatrical tableau is almost too perfect: Ferdinand and Miranda, suddenly and unexpectedly revealed behind a curtain, playing chess and talking gently of love and faith, seem entirely removed from the world around them. Though he has promised to relinquish his magic, Prospero still seems to see his daughter as a mere pawn in his game.
Prospero's Books
Like the tempest, Prospero's books are a symbol of his power. “Remember / First to possess his books,” Caliban says to Stefano and Trinculo, “for without them / He's but a sot” (III.ii.86-88). The books are also, however, a symbol of Prospero's dangerous desire to withdraw entirely from the world. It was his devotion to study that put him at the mercy of his ambitious brother, and it is this same devotion to study that has made him content to raise Miranda in isolation. Yet, Miranda's isolation has made her ignorant of where she came from (see I.ii.33-36), and Prospero's own isolation provides him with little company. In order to return to the world where his knowledge means something more than power, Prospero must let go of his magic.
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