The Tempest (16 page)

Lines 219–357:
While Miranda sleeps, Ariel appears to do his master’s bidding. He describes how he performed and managed the tempest and has since dispersed the shipwrecked passengers around the island. Prospero has further tasks for him but Ariel reminds his master of his promise to restore his liberty. Prospero is enraged, reminding Ariel in turn of the debt of gratitude he owes. When he and Miranda arrived, the island was not deserted. Ariel had originally been servant to the witch Sycorax, herself banished to the island while pregnant with her son, Caliban. Because he refused to carry out her wicked commands, Sycorax had imprisoned Ariel for twelve years in a cloven pine, during which time she died. He suffered great pains until Prospero finally released him. Prospero threatens that he will imprison Ariel in an oak if he refuses to obey him, though he promises to discharge him in two days’ time. Ariel is now to turn himself into an invisible sea nymph.

Lines 375–437:
As Ariel departs, Prospero wakes Miranda, suggesting that they visit Caliban, now their slave. Miranda confesses her dislike of him but Prospero reminds her that they need him to perform all the menial tasks essential to their comfort and survival. The relationship between Prospero and Caliban is hostile and full of recriminations. Caliban curses him and Prospero responds with threats. Caliban relates his own version of Prospero’s arrival on the island. Initially a mutually beneficial relationship, Prospero taught him to speak his language and he willingly showed them “all the qualities o’th’isle.” He resents Prospero’s assumption of kingship: “For I am all the subjects that you have, / Which first was mine own king.” Prospero, however, disputes this account and accuses Caliban of having tried to violate Miranda sexually. Whatever he says, though, Caliban dare not disobey Prospero’s powerful magic.

Lines 438–589:
The now invisible Ariel returns singing and playing music. Ferdinand, shipwrecked son of the King of Naples, follows the sounds. Miranda and Ferdinand meet. Each initially thinks the other
a divinity from another world. Prospero accuses Ferdinand of being a traitor. Miranda defends him but Prospero remains impervious. Secretly, however, he’s delighted that the young people are falling in love and praises Ariel’s work. Miranda comforts Ferdinand.

Responses to Prospero and Caliban are crucial in determining overall interpretation of the play: Prospero’s language and threats betray his unquestioning assumption of authority as well as his irascible temper, Caliban’s stubborn defiance, his sense of injustice and ill-usage. The island is a microcosm which tests its inhabitants socially and morally, posing the issue of nature or nurture as the determinant factor in individual constitution, but this is not an isolated social laboratory; on the contrary, the shadows of the past haunt all the characters who have to resolve ancient inherited contentions.

The rest of the aristocratic survivors of the storm are together, attempting to come to terms with their situation. The attitude of each to their misadventure defines their character.

Lines 1–146:
The elderly courtier Gonzalo and the younger Adrian and Francisco are determined to be positive while Antonio and Sebastian jeer at them from the sidelines. Alonso is griefstricken by the loss, as he believes, of his son, Ferdinand. His brother, Sebastian, however, blames Alonso himself for the disaster by his determination to marry his daughter, Claribel, to the King of Tunis, an African on the far side of the Mediterranean. They were on the return voyage home when the tempest struck. The discussion of the wedding relates to another issue which the play raises: patriarchal control of daughters and the function of marriage in securing dynastic inheritance, a relevant theme in relation to Ferdinand and Miranda.

Lines 147–189:
Gonzalo offers his own idealized prescription for sovereignty as he imagines himself as king of the island.

Lines 190–361:
Ariel, still invisible, puts everyone to sleep except Antonio and Sebastian. Antonio proposes that they kill Alonso so
that Sebastian can become king of Naples. His speech reveals a complete moral bankruptcy as he dismisses Sebastian’s objections on the grounds of conscience. They are about to put their plan into action when Ariel intervenes once more to wake the other courtiers.

Caliban enters carrying wood, still cursing Prospero and complaining of his ill treatment. When he sees Trinculo he believes him to be a spirit sent to torment him and hides himself on the ground. Unable to identify this curious creature, Trinculo nevertheless immediately recognizes his potential for exploitation. If he were in England people would pay good money to see this “strange fish” (l. 27). Trinculo fears another storm and takes shelter with the creature as the storm breaks. The drunken Stephano arrives but Caliban mistakes his tuneless singing for another punishment and begs him to stop. Stephano is bemused by the appearance of the “monster” and he too thinks of taking him back to Naples as a prize for his own profit. He offers Caliban a drink, but, recognizing his friend’s voice, Trinculo greets the butler. Stephano is by now thoroughly confused by the two-headed, four-legged monster. He finally disengages Trinculo and the two celebrate their reunion. Caliban, meanwhile, takes him for a god and his liquor for celestial drink. He agrees to serve him and in a reprise of Prospero’s arrival immediately offers to show them around the island. Believing that the royal party are all drowned, Stephano suggests that he and Trinculo can now inherit the island. Meanwhile, Caliban is delighted to have exchanged masters and leads them off singing drunkenly.

The attitudes of the two strangers to the island toward its native inhabitants are callous, opportunistic, and self-serving. Caliban, meanwhile, is revealed to be ingenuous and naïve.

Ferdinand enters carrying wood but, in contrast to Caliban, is happy to perform this menial task because of his love for Miranda, despite her father’s harshness toward him. She visits him and offers to carry
the logs herself. He refuses and asks her name, which, against her father’s injunction, she tells him. Ferdinand then confesses his deep admiration and love and she innocently acknowledges her own. Unbeknownst to them both, Prospero has been watching the scene.

Caliban, Stephano, and Trinculo are drunk. Caliban and Trinculo quarrel. Stephano, however, defends Caliban and threatens to hang Trinculo. Caliban then relates his own history and tells them about Prospero and Miranda. He details plans for Prospero’s murder, dwelling on the need to destroy his books (ll. 86–91). The interventions of the invisible Ariel lead to further contention. Again Stephano restores peace and they set off to kill Prospero and make Stephano king of the island and Miranda his queen. The sound of Ariel’s music instills fear in the others, but in a passage of arresting poetry Caliban reassures them about the island and its “noises, / Sounds and sweet airs” (ll. 131–139). They follow the music offstage.

The courtiers are tired and weary of wandering around the island seeking Ferdinand. They rest while Antonio and Sebastian in asides reiterate their plan to murder Alonso at the next opportunity.

Meanwhile Prospero, now invisible, enters accompanied by the sounds of music and by “strange shapes” who set out a banquet. The courtiers are amazed but prepare to eat when they are interrupted by thunder and lightning. Ariel enters as a harpy this time and causes the banquet to vanish. He addresses Alonso, Sebastian, and Antonio as “three men of sin” (l. 64). As they draw their swords Prospero tells them that he and his fellows are invulnerable and goes on to relate his real concern, their part in Prospero’s overthrow many years before, for which reason they are now being punished and Alonso is “bereft” of his son (l. 87). Ariel vanishes in another clap of thunder and the shapes reenter to remove the table. Prospero congratulates Ariel on his performance and the fact that his enemies
are now in his power. Alonso is deeply affected by the experience, wishing only to join his son (ll. 107–114). Gonzalo fears that the “great guilt” of the three will make them desperate.

The fourth act comprises one long running scene.

Lines 1–65:
Prospero explains to Ferdinand that his harsh treatment was designed as a test of his character and love. Having passed the test he is rewarded by being given Miranda in marriage, with the warning that any premarital sex would curse their union. Ferdinand reassures him that his thoughts are chaste. He tells them to sit and calls for Ariel, who is now to bring “the rabble” to that place. In the meantime Prospero plans a demonstration of his magical arts for the pair.

Lines 66–177:
He stages a nuptial masque of the goddesses Iris, Juno, and Ceres to celebrate “a contract of true love.” Ferdinand is impressed by the spectacle: the goddesses are then joined by a group of pastoral rustics and they dance gracefully together until Prospero suddenly remembers Caliban’s plot to kill him. The masque figures vanish instantly. Prospero attempts to disguise his fury before Ferdinand and Miranda in a speech that has been regarded by some critics as a rehearsal of Shakespeare’s own symbolic farewell to the theater, “Our revels now are ended. These our actors, / As I foretold you, were all spirits and / Are melted into air, into thin air” (ll. 161–171). He tells Ferdinand and Miranda to retire to his cell.

Lines 178–269:
Ariel describes how he has led Caliban and his companions into a foul pool. Prospero praises him and orders him to fetch fine clothing. Meanwhile, Prospero complains of Caliban’s inherent wickedness and threatens further punishment. Ariel returns with the clothes. Caliban warns Stephano and Trinculo to be wary but they are disgruntled by their recent drubbing. As soon as they see the finery, they want to put it on, despite Caliban’s efforts to concentrate their minds on murder. He is disgusted by their frivolity but Stephano threatens banishment from the island, which he regards
as his kingdom, if Caliban refuses to carry the clothes back to his wine store.

Lines 270–282:
A noise is heard and spirits enter as dogs and hounds who chase the three, while Prospero threatens further punishments. Now all his enemies are at his mercy and his labors nearly ended. Ariel is promised his freedom very soon.

Again, one long scene in which all the characters finally assemble and many of the confusions and issues are resolved.

Lines 1–37:
Prospero sees his project “gather to a head.” Ariel tells him that Alonso, Alonso’s brother Sebastian, and Prospero’s brother Antonio are all prisoners, paralyzed by enchantment until he releases them. The others, meanwhile, weep over their fate. Ariel though tells Prospero that he believes if he were to see them for himself, he too would feel pity for them, as he would himself if he were human. Prospero is struck by the irony of the nonhuman Ariel feeling human sympathy for these creatures. The lesson in humanity chastens him and he vows that he will indeed take pity on them. He tells Ariel to release them and he will restore them to their senses.

Lines 38–108:
As Ariel departs Prospero conjures for the last time, resolving to give up all his charms and spells: “But this rough magic / I here abjure” (ll. 55–56), to break his staff and drown his book. Ariel returns with the courtiers, who enter Prospero’s magic circle. He addresses each in turn: quieting Alonso’s distress, blessing Gonzalo’s kindness, and even forgiving his brother, Antonio. They don’t recognize him dressed as he is, so he sends Ariel for his hat and rapier, and then sends him to rouse the mariners, safe asleep on the ship.

Lines 109–245:
Prospero, now in his courtly garments, turns to the nobles again and tells them who he is. Alonso, at first incredulous, begs forgiveness for past wrongdoing. Prospero embraces Gonzalo and forgives Antonio, who, on a disturbing note in the general atmosphere of harmony and reconciliation, fails to respond. Alonso
asks for particulars of his story and how he arrived on this shore where he fears his son has been lost. Prospero explains that he too has lost a daughter, which leads Alonso to exclaim that he wishes they were both alive and King and Queen of Naples. Prospero says that his story will have to be told another day, but leads Alonso to his cell, where he reveals Ferdinand and Miranda together playing chess. Miranda accuses Ferdinand of cheating. He exclaims that he would not do such a thing, but with a surprising touch of realpolitik, Miranda suggests that “for a score of kingdoms you should wrangle, / And I would call it fair play” (ll. 192–193). Alonso and Ferdinand are reunited, even Sebastian is touched and Miranda amazed by the sight of so many new faces: “O brave new world, / That has such people in’t” (ll. 205–206). Ferdinand tells his father that Miranda is to be his wife. Alonso is immediately reconciled and questions whether the events might not record the workings of a providential design: “Was Milan thrust from Milan that his issue / Should become kings of Naples?” (ll. 233–234).

Lines 246–289:
Ariel appears followed by the ship’s Master and Boatswain, who announces that all are safe and the ship is ready to sail. Alonso is convinced that all these events are unnatural. Prospero endeavors to set his mind at rest. He praises Ariel and asks him finally to bring Caliban, Stephano, and Trinculo to him.

Lines 290–339:
They appear still in their finery. Caliban recognizes that Prospero too is in his finery and fears that he will be punished. Prospero identifies Caliban to the other nobles and tells them about the plot to murder him. They must know who the other two are, but Caliban he finally acknowledges as belonging to him, “this thing of darkness I / Acknowledge mine” (ll. 311–312). He tells Caliban to go to his cell with his companions and prepare it for the company. Caliban now realizes his folly in worshipping the pair and promises to “seek for grace” (l. 333) in the future.