finished_summaries/cliffnotes/The Tempest/section_7_part_0.txt
The Tempest.act 4.scene 1
scene 1
{"name": "Scene 1", "url": "https://web.archive.org/web/20201219151049/https://www.cliffsnotes.com/literature/t/the-tempest/summary-and-analysis/act-iv-scene-1", "summary": "Prospero, acknowledging that he has been harsh, now promises a reward that will rectify the young lovers' momentary suffering. Recognizing Ferdinand and Miranda's love for one another -- they have passed the trials that Prospero has set before them -- he offers Miranda to Ferdinand as his wife. Prospero next calls Ariel to help stage a celebration of the betrothal. The celebration includes a masque, presented by the spirits of the island. Suddenly Prospero remembers the three conspirators who have set out to murder him and calls a halt to the masque. He then summons Ariel, who reports that he led the three men, all of whom are very drunk, through a briar patch and into a filthy pond, where he left them wallowing. Prospero instructs Ariel to leave garish clothing on a tree to tempt the men. Soon Caliban, Stefano, and Trinculo appear, foul smelling and wet. Stefano and Trinculo lament the loss of their bottles but are much cheered when they see the clothing hanging nearby. The two ignore Caliban's pleas to continue on their mission and his warnings that their hesitation will lead Prospero to catch them. At that moment, Prospero and Ariel enter with spirits, disguised as hunters and hounds. The three conspirators flee, with the spirits in pursuit. Prospero, acknowledging the power he now holds over all his enemies, promises Ariel that he shall soon be free. Within a few minutes of the opening of this scene, the betrothal is complete, and Miranda and Ferdinand's future has been determined to Prospero's satisfaction. The virtue and honor of these young people transcends the actions of their fathers and, in this betrothal, lies the redemption of their families. For the first time, Prospero can fully reveal his true nature. Finally, there is no need to be punitive or autocratic, and he can simply enjoy his daughter's happiness. For these few moments, the audience can witness what Prospero is like without the weight of revenge or control motivating his actions. Even in his gentleness and goodwill toward Ferdinand, Prospero does not forget that he is still Miranda's father, and as such, he is responsible for her until she is safely wed. Consequently, a significant amount of time is spent warning Ferdinand that he must control his lust until the wedding takes place. Prospero warns the young man that \"barren hate, / Sour-eyed disdain, and discord,\" will be his reward if he cannot control his lust . All of this is in keeping with the expected parental role. Miranda is even more innocent than most young women, having had none of the socialization that other young women would experience. Because of her isolation, she is more vulnerable, and her father is aware of her purity of heart. However, he is also a father, facing the imminent loss of his only child, and so his excessive warnings to Ferdinand to control his lust are to be expected. The betrothal ceremony is sealed with a masque, and, in keeping with the motif of reality and illusion, this masque draws on mythical goddesses and on Greek and Roman mythology. The goddesses are selected for their symbolism and connections to nature and represent the promise of fertility and fecundity, heavenly harmony, and an eternal springtime of love. As the goddess of the rainbow, Iris is the promise of spring rains leading to a bountiful harvest. As a messenger from Juno, she also represents the gods' blessing on this betrothal. When Juno appears, her presence affirms the blessing of the heavens, and since Juno is the goddess of marriage and childbirth, her presence is the promise of a happy union for the couple and a blessing of many children. Finally, Ceres' appearance also promises nature's blessing on this marriage. Together, the goddesses are the promise of celestial harmony, fruitful harvests, and eternal seasons without winter. Venus, with her emphasis on abandon and sexual love is deliberately excluded, since the focus of the masque is on honorable marriage. The pastoral tradition focuses on a nostalgic image of the peace and simplicity of the life of shepherds and other rural folk in an idealized natural setting. Pastoral poetry is characterized by a state of contentment and a focus on the contemplative life. As is the case with most masques, Prospero's masque focuses on these pastoral motifs, with reapers and nymphs celebrating the fecundity of the land. The land is green, the harvesters sunburned, and the harvest worth celebrating. Love is innocent and romantic and not sexual. The country life, with its abundance of harvests and peaceful existence is an idealized world that ignores the realities of country life with its many hardships. But a wedding masque is not the time to remind the young couple of the possible hardships that they will face. Instead, Prospero focuses on the blessings of a happy marriage and the contentment that Ferdinand and Miranda will bring one another. At the conclusion of the masque, Prospero addresses Ferdinand and tells him that \"We are such stuff / As dreams are made on\" . This is a reminder that the masque, with all its heavenly creatures, is not real. Like the masque, life, too, will come to its inevitable end. Prospero reminds Ferdinand that each man's life is framed by dreams. The evidence of that life, with its earthly possessions, is only temporary. Again, this points to the role of the young couple as redeemers for their father's sins. Alonso, and through him, Antonio and Sebastian, have placed too much emphasis on worldly possessions and titles. Even Prospero, with his focus on books, has forgotten that they are also only temporary vestiges in this life. This reminder that corporeal riches are only temporary also seems to be directed toward Stefano and Trinculo. Many scholars and critics would like to see Shakespeare's autobiographical presence in Prospero's words. Those who think that Shakespeare is allowing Prospero to speak his farewell to the stage find \"Our revels now are ended\" to be a poignant reminder of the temporal plight of all men's lives. Since The Tempest comes near the end of Shakespeare's career and life, it is very tempting to read autobiography into Prospero's words. Still, his words may only be an impassioned reminder for each man to value life and accept its temporal limitations. At the scene's end, Prospero must shrug off the mantle of fatherhood and assume the cloak of ruler and deal with the three conspirators who plot his death: Caliban, Stefano, and Trinculo. The punishment that Ariel reports is more nuisance than painful, another reminder that Prospero's retribution includes no serious injuries. Aside from a few scratches, the trip through the briar patch and the putrid pond only injure the men's pride. Even the spirit hunters and dogs that give Caliban, Stefano, and Trinculo chase are little more than air, not capable of causing their prey any harm. This mild punishment reflects Prospero's inherent good nature and his willingness to forgive his enemies. He will make them suffer for their plotting, but he will do them no real injury. Although it was not always clear earlier in the play, by this act, Prospero's true nature, his goodness and his humanity, have become clear to the audience. Glossary genius either of two spirits, one good and one evil, supposed to influence one's destiny. Phoebus' steeds the mythological horses that drew the chariot of the sun. Here, the suggestion is that they are lame from the long day and overriding. vanity reference to an illusion or trick that Prospero has created. abstemious moderate, especially in eating and drinking; temperate. Prospero is warning Ferdinand once again about resisting lust before the wedding occurs. bring a corollary here, meaning to bring too many spirits rather than not enough. amain at or with great speed; here, Miranda's peacocks fly quickly. sicklemen reference to nymphs disguised as harvesters. unbacked not broken to the saddle: said of a horse. trumpery something showy but worthless; here, the gaudy clothing designated as bait for the three conspirators. frippery here, an old clothing shop. dropsy a disease characterized by the accumulation of fluid in the connective tissues, resulting in swelling. jerkin a short, closefitting jacket, often sleeveless. This scene opens with Ariel revealing to Prospero that Alonso, Sebastian, and Antonio are remorseful, worried, and desperate. Gonzalo is worried and grief-stricken at his king's pain. Prospero reassures Ariel that he will be compassionate in dealing with his enemies and asks that Ariel bring the group to him. While he is waiting for the king and his party to appear, Prospero soliloquizes about what he has accomplished with magic and, at the soliloquy's end, promises that he will now give up his magic, bury his magic staff, and drown his magic book at sea. Almost immediately, Ariel enters with the royal party, who appear to be in a trance, and places them within the magic circle that Prospero had earlier drawn. With a few chanted words, the spell is removed. Prospero, clothed in the garments of the duke of Milan -- his rightful position -- appears before them. In a gesture of reconciliation, Prospero embraces Alonso, who is filled with remorse and immediately gives up Prospero's dukedom. Gonzalo is also embraced in turn, and then Prospero turns to Sebastian and Antonio. Prospero tells them that he will not charge them as traitors, at this time. Antonio is forgiven and required to renounce his claims on Prospero's dukedom. While Alonso continues to mourn the loss of his son, Prospero relates that he too has lost his child, his daughter. But he means that he has lost her in marriage and pulls back a curtain to reveal Ferdinand and Miranda playing chess. Ferdinand explains to his father that he is betrothed to Miranda and that this event occurred while he thought his father dead. Alonso quickly welcomes Miranda and says he will be a second father to his son's affianced. At the sight of the couple, Gonzalo begins to cry and thanks God for having worked such a miracle. Ariel enters with the master of the boat and boatswain. Although the ship lay in harbor and in perfect shape, the puzzled men cannot explain how any of this has occurred. Alonso is also mystified, but Prospero tells him not to trouble his mind with such concerns. Next, Ariel leads in Caliban, Stefano, and Trinculo, who are still drunk. Prospero explains that these men have robbed him and plotted to murder him. Caliban immediately repents and promises to seek grace. The three conspirators, who have sobered somewhat since confronted with Prospero and the king, are sent to decorate Prospero's cell. Prospero invites his guests to spend the night with him, where he will tell them of his adventures and of his life during these past 12 years. Ariel's last duty to Prospero is to provide calm seas when they sail the next morning.", "analysis": "This final scene indicates the extent of Prospero's forgiveness and provides an example of humanity toward one's enemies. Before he confronts his enemies, Prospero tells Ariel that \"The rarer action is / In virtue than in vengeance\" . That is, it is better to forgive than to hate one's enemies. This is the example that Prospero provides in reuniting everyone in this final scene. When he emerges from his trance, Alonso moves quickly to embrace Prospero, and just as quickly, he renounces his claims to Prospero's dukedom. This is the behavior the audience expects of Ferdinand's father, and it is what Prospero requires to resolve this conflict. Ferdinand is an honorable young man, filled with love and charity, and it is reasonable to expect that he learned these values from his father, even if his father has, on occasion, forgotten them. Alonso is honestly delighted in Ferdinand's engagement and welcomes Miranda with authentic grace. It is to be predicted that he is happy at recovering his son, but he is also clearly pleased to have gained a daughter. These spontaneous actions reveal that Alonso is as humane and honest as Prospero. It is equally clear that Antonio and Sebastian each lack the humanity of their respective brothers. No apology is forthcoming from Antonio, and Sebastian thinks that Prospero is very likely the devil. Antonio never directly addresses Prospero, not even to justify his previous actions. And although both Prospero and Miranda might have died when cast out on to the sea some 12 years earlier, Antonio has no words for his niece. In spite of the obvious absence of regret from his brother, Prospero is true to his promise and seeks no revenge against Antonio. There is no reason to assume that shame restrains Antonio from speaking, and in all likelihood, he only regrets having been caught. Although Prospero warns his brother that he might still charge him with treason in the future, this warning is unlikely to restrain such a recalcitrant as Antonio. Prospero's humanity is clearly obvious in his treatment of Antonio, whom he calls traitor but whom he declines to treat as a traitor. Critics and audience might be tempted to label Antonio as an unnatural brother, as would also be true for Sebastian. But their cruelty only indicates that nature provides for both goodness and evil. In the Christian world of the Shakespeare's time, evil is chosen, not destined, and nature provides for all outcomes, those who are virtuous and their counterparts, those who are corrupt. Hence, evil siblings are as natural as good siblings. Although the self-serving behavior of Antonio and Sebastian may be despicable, they are still a part of the natural world. Caliban is also from the natural world, although as the child of a witch and devil. He is certainly different from the other humans on the island, but in this final scene, he displays more humanity than many of Prospero's \"civilized\" enemies. Antonio's only remark in this whole scene is to suggest that Caliban provides an opportunity to make money . Antonio and Sebastian echo Stefano and Trinculo's earlier notion of exhibiting Caliban for profit, and in doing so, they reaffirm the impression that even the upper classes can be as lacking in morals as the two examples of the lower class, a butler and a court jester. Caliban, however, has risen above his companions and willingly admits his errors. In admitting his fault, Caliban proves himself more honorable than those who are socially his superior, Antonio and Sebastian. Caliban is often celebrated as a natural man, one who is unspoiled by civilization. And yet, he easily embraces the worse that civilization has to offer. When exposed to Stefano and Trinculo, Caliban embraces their drunkenness and, in return, entices them to help plan a heinous crime. Many critics justify Caliban's actions by pointing to Prospero's persecution of Caliban. But nowhere in this play does Shakespeare validate this kind of revenge. Prospero may enslave Caliban, but he does not threaten his very existence. Certainly there is no way to justify slavery, and Shakespeare makes no attempt to do so. In the end, Prospero leaves Caliban to his island and to the natural world that he craves. The conclusion is about redemption, the personal redemption that so many of the participants reach. Caliban's regret during this final scene indicates he, too, has found the way to reconciliation. Gonzalo is one of the few participants who has no need to ask forgiveness nor any cause to regret his actions. Upon discovering that Ferdinand is alive and that he is betrothed to Miranda, Gonzalo quite properly thanks God, who has \"chalked forth the way\" . Gonzalo also sees the irony in Miranda's offspring inheriting all that was her father's and all that belongs to his enemy. He also observes that there is much that has been restored: Ferdinand to his father, and with him, a wife. But there is more. Prospero's dukedom has been restored, as has the ship and all its missing crew. Yet more important than people or objects, other essential components of civilized society have been restored: authority, harmony, and order. Even before this reconciliation scene occurs, Prospero has promised to put aside his magic and dispose of his magic book and staff, which are the source of his power. He has used magic to work in concert with nature, not to control or evoke evil. Now that he has his enemies under his control, Prospero permits compassion to replace magic. This putting away of his magic also signifies that Prospero's game is at an end. He has used magic to restore harmony and now needs it no more. The play ends with the promise of Ariel's freedom and the restoration of Prospero to a life filled with all that nature and God intended. Glossary mantle to enclose or envelop. furtherer an accomplice. rapier a slender two-edged sword used chiefly in thrusting. subtleties here, the illusions. requite to make return or repayment to for a benefit, injury, and so on; reward. tight and yare sound and ready. The ship is ready to sail. coragio take courage ."}
ACT IV. SCENE I.

_Before PROSPERO'S cell._

  _Enter PROSPERO, FERDINAND, and MIRANDA._

_Pros._ If I have too austerely punish'd you,
Your compensation makes amends; for I
Have given you here a third of mine own life,
Or that for which I live; who once again
I tender to thy hand: all thy vexations                              5
Were but my trials of thy love, and thou
Hast strangely stood the test: here, afore Heaven,
I ratify this my rich gift. O Ferdinand,
Do not smile at me that I boast her off,
For thou shalt find she will outstrip all praise,                   10
And make it halt behind her.

_Fer._                     I do believe it
Against an oracle.

_Pros._          Then, as my gift, and thine own acquisition
Worthily purchased, take my daughter: but
If thou dost break her virgin-knot before                           15
All sanctimonious ceremonies may
With full and holy rite be minister'd,
No sweet aspersion shall the heavens let fall
To make this contract grow; but barren hate,
Sour-eyed disdain and discord shall bestrew                         20
The union of your bed with weeds so loathly
That you shall hate it both: therefore take heed,
As Hymen's lamps shall light you.

_Fer._                          As I hope
For quiet days, fair issue and long life,
With such love as 'tis now, the murkiest den,                       25
The most opportune place, the strong'st suggestion
Our worser Genius can, shall never melt
Mine honour into lust, to take away
The edge of that day's celebration
When I shall think, or Phoebus' steeds are founder'd,               30
Or Night kept chain'd below.

_Pros._                    Fairly spoke.
Sit, then, and talk with her; she is thine own.
What, Ariel! my industrious servant, Ariel!

  _Enter ARIEL._

_Ari._ What would my potent master? here I am.

_Pros._ Thou and thy meaner fellows your last service               35
Did worthily perform; and I must use you
In such another trick. Go bring the rabble,
O'er whom I give thee power, here to this place:
Incite them to quick motion; for I must
Bestow upon the eyes of this young couple                           40
Some vanity of mine art: it is my promise,
And they expect it from me.

_Ari._                    Presently?

_Pros._ Ay, with a twink.

_Ari._ Before you can say, 'come,' and 'go,'
            And breathe twice, and cry, 'so, so,'                   45
            Each one, tripping on his toe,
            Will be here with mop and mow.
            Do you love me, master? no?

_Pros._ Dearly, my delicate Ariel. Do not approach
Till thou dost hear me call.

_Ari._                     Well, I conceive.    [_Exit._            50

_Pros._ Look thou be true; do not give dalliance
Too much the rein: the strongest oaths are straw
To the fire i' the blood: be more abstemious,
Or else, good night your vow!

_Fer._                      I warrant you, sir;
The white cold virgin snow upon my heart                            55
Abates the ardour of my liver.

_Pros._                      Well.
Now come, my Ariel! bring a corollary,
Rather than want a spirit: appear, and pertly!
No tongue! all eyes! be silent.                  [_Soft music._

    _Enter IRIS._

  _Iris._ Ceres, most bounteous lady, thy rich leas                 60
    Of wheat, rye, barley, vetches, oats, and pease;
    Thy turfy mountains, where live nibbling sheep,
    And flat meads thatch'd with stover, them to keep;
    Thy banks with pioned and twilled brims,
    Which spongy April at thy best betrims,                         65
    To make cold nymphs chaste crowns; and thy broom-groves,
    Whose shadow the dismissed bachelor loves,
    Being lass-lorn; thy pole-clipt vineyard;
    And thy sea-marge, sterile and rocky-hard,
    Where thou thyself dost air;--the queen o' the sky,             70
    Whose watery arch and messenger am I,
    Bids thee leave these; and with her sovereign grace,
    Here on this grass-plot, in this very place,
    To come and sport:--her peacocks fly amain:
    Approach, rich Ceres, her to entertain.                         75

    _Enter CERES._

  _Cer._ Hail, many-colour'd messenger, that ne'er
    Dost disobey the wife of Jupiter;
    Who, with thy saffron wings, upon my flowers
    Diffusest honey-drops, refreshing showers;
    And with each end of thy blue bow dost crown                    80
    My bosky acres and my unshrubb'd down,
    Rich scarf to my proud earth;--why hath thy queen
    Summon'd me hither, to this short-grass'd green?

  _Iris._ A contract of true love to celebrate;
    And some donation freely to estate                              85
    On the blest lovers.

  _Cer._             Tell me, heavenly bow,
    If Venus or her son, as thou dost know,
    Do now attend the queen? Since they did plot
    The means that dusky Dis my daughter got,
    Her and her blind boy's scandal'd company                       90
    I have forsworn.

  _Iris._        Of her society
    Be not afraid: I met her Deity
    Cutting the clouds towards Paphos, and her son
    Dove-drawn with her. Here thought they to have done
    Some wanton charm upon this man and maid,                       95
    Whose vows are, that no bed-right shall be paid
    Till Hymen's torch be lighted: but in vain;
    Mars's hot minion is returned again;
    Her waspish-headed son has broke his arrows,
    Swears he will shoot no more, but play with sparrows,          100
    And be a boy right out.

  _Cer._                High'st queen of state,
    Great Juno, comes; I know her by her gait.

    _Enter JUNO._

  _Juno._ How does my bounteous sister? Go with me
    To bless this twain, that they may prosperous be,
    And honour'd in their issue.         [_They sing:_             105

  _Juno._ Honour, riches, marriage-blessing,
            Long continuance, and increasing,
            Hourly joys be still upon you!
            Juno sings her blessings on you.

  _Cer._  Earth's increase, foison plenty,                         110
            Barns and garners never empty;
            Vines with clustering bunches growing;
            Plants with goodly burthen bowing;
            Spring come to you at the farthest
            In the very end of harvest!                            115
            Scarcity and want shall shun you;
            Ceres' blessing so is on you.

_Fer._ This is a most majestic vision, and
Harmonious charmingly. May I be bold
To think these spirits?

_Pros._               Spirits, which by mine art                   120
I have from their confines call'd to enact
My present fancies.

_Fer._            Let me live here ever;
So rare a wonder'd father and a wife
Makes this place Paradise.

    [_Juno and Ceres whisper, and send Iris on employment._

_Pros._                  Sweet, now, silence!
Juno and Ceres whisper seriously;                                  125
There's something else to do: hush, and be mute,
Or else our spell is marr'd.

  _Iris._ You nymphs, call'd Naiads, of the windring brooks,
            With your sedged crowns and ever-harmless looks,
            Leave your crisp channels, and on this green land      130
            Answer your summons; Juno does command:
            Come, temperate nymphs, and help to celebrate
            A contract of true love; be not too late.

    _Enter certain Nymphs._

            You sunburnt sicklemen, of August weary,
            Come hither from the furrow, and be merry:             135
            Make holiday; your rye-straw hats put on,
            And these fresh nymphs encounter every one
            In country footing.

    _Enter certain Reapers, properly habited: they join with the
    Nymphs in a graceful dance; towards the end whereof PROSPERO
    starts suddenly, and speaks; after which, to a strange, hollow,
    and confused noise, they heavily vanish._

_Pros._ [_Aside_] I had forgot that foul conspiracy
Of the beast Caliban and his confederates                          140
Against my life: the minute of their plot
Is almost come. [_To the Spirits._] Well done! avoid; no more!

_Fer._ This is strange: your father's in some passion
That works him strongly.

_Mir._                 Never till this day
Saw I him touch'd with anger so distemper'd.                       145

_Pros._ You do look, my son, in a moved sort,
As if you were dismay'd: be cheerful, sir.
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:                                150
And, like the baseless fabric of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,                        155
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep. Sir, I am vex'd;
Bear with my weakness; my old brain is troubled:
Be not disturb'd with my infirmity:                                160
If you be pleased, retire into my cell,
And there repose: a turn or two I'll walk,
To still my beating mind.

_Fer._ _Mir._           We wish your peace.    [_Exeunt._

_Pros._ Come with a thought. I thank thee, Ariel: come.

  _Enter ARIEL._

_Ari._ Thy thoughts I cleave to. What's thy pleasure?              165

_Pros._                                             Spirit,
We must prepare to meet with Caliban.

_Ari._ Ay, my commander: when I presented Ceres,
I thought to have told thee of it; but I fear'd
Lest I might anger thee.

_Pros._ Say again, where didst thou leave these varlets?           170

_Ari._ I told you, sir, they were red-hot with drinking;
So full of valour that they smote the air
For breathing in their faces; beat the ground
For kissing of their feet; yet always bending
Towards their project. Then I beat my tabor;                       175
At which, like unback'd colts, they prick'd their ears,
Advanced their eyelids, lifted up their noses
As they smelt music: so I charm'd their ears,
That, calf-like, they my lowing follow'd through
Tooth'd briers, sharp furzes, pricking goss, and thorns,           180
Which enter'd their frail shins: at last I left them
I' the filthy-mantled pool beyond your cell,
There dancing up to the chins, that the foul lake
O'erstunk their feet.

_Pros._             This was well done, my bird.
Thy shape invisible retain thou still:                             185
The trumpery in my house, go bring it hither,
For stale to catch these thieves.

_Ari._                          I go, I go.    [_Exit._

_Pros._ A devil, a born devil, on whose nature
Nurture can never stick; on whom my pains,
Humanely taken, all, all lost, quite lost;                         190
And as with age his body uglier grows,
So his mind cankers. I will plague them all,
Even to roaring.

  _Re-enter ARIEL, loaden with glistering apparel, &c._

Come, hang them on this line.

  _PROSPERO and ARIEL remain, invisible. Enter CALIBAN, STEPHANO,
  and TRINCULO, all wet._

_Cal._ Pray you, tread softly, that the blind mole may not
Hear a foot fall: we now are near his cell.                        195

_Ste._ Monster, your fairy, which you say is a harmless
fairy, has done little better than played the Jack with us.

_Trin._ Monster, I do smell all horse-piss; at which my
nose is in great indignation.

_Ste._ So is mine. Do you hear, monster? If I should               200
take a displeasure against you, look you,--

_Trin._ Thou wert but a lost monster.

_Cal._ Good my lord, give me thy favour still.
Be patient, for the prize I'll bring thee to
Shall hoodwink this mischance: therefore speak softly.             205
All's hush'd as midnight yet.

_Trin._ Ay, but to lose our bottles in the pool,--

_Ste._ There is not only disgrace and dishonour in that,
monster, but an infinite loss.

_Trin._ That's more to me than my wetting: yet this is             210
your harmless fairy, monster.

_Ste._ I will fetch off my bottle, though I be o'er ears for
my labour.

_Cal._ Prithee, my king, be quiet. See'st thou here,
This is the mouth o' the cell: no noise, and enter.                215
Do that good mischief which may make this island
Thine own for ever, and I, thy Caliban,
For aye thy foot-licker.

_Ste._ Give me thy hand. I do begin to have bloody
thoughts.                                                          220

_Trin._ O King Stephano! O peer! O worthy Stephano!
look what a wardrobe here is for thee!

_Cal._ Let it alone, thou fool; it is but trash.

_Trin._ O, ho, monster! we know what belongs to a frippery.
O King Stephano!                                                   225

_Ste._ Put off that gown, Trinculo; by this hand, I'll
have that gown.

_Trin._ Thy Grace shall have it.

_Cal._ The dropsy drown this fool! what do you mean
To dote thus on such luggage? Let's alone,                         230
And do the murder first: if he awake,
From toe to crown he'll fill our skins with pinches,
Make us strange stuff.

_Ste._ Be you quiet, monster. Mistress line, is not this
my jerkin? Now is the jerkin under the line: now, jerkin,          235
you are like to lose your hair, and prove a bald jerkin.

_Trin._ Do, do: we steal by line and level, an't like your
Grace.

_Ste._ I thank thee for that jest; here's a garment for't:
wit shall not go unrewarded while I am king of this country.       240
'Steal by line and level' is an excellent pass of pate;
there's another garment for't.

_Trin._ Monster, come, put some lime upon your fingers,
and away with the rest.

_Cal._ I will have none on't: we shall lose our time,              245
And all be turn'd to barnacles, or to apes
With foreheads villanous low.

_Ste._ Monster, lay-to your fingers: help to bear this
away where my hogshead of wine is, or I'll turn you out
of my kingdom: go to, carry this.                                  250

_Trin._ And this.

_Ste._ Ay, and this.

  _A noise of hunters heard. Enter divers Spirits, in shape of
  dogs and hounds, and hunt them about, PROSPERO and ARIEL setting
  them on._

_Pros._ Hey, Mountain, hey!

_Ari._ Silver! there it goes, Silver!

_Pros._ Fury, fury! there, Tyrant, there! hark, hark!              255
                        [_Cal., Ste., and Trin. are driven out._

Go charge my goblins that they grind their joints
With dry convulsions; shorten up their sinews
With aged cramps; and more pinch-spotted make them
Then pard or cat o' mountain.

_Ari._                      Hark, they roar!

_Pros._ Let them be hunted soundly. At this hour                   260
Lie at my mercy all mine enemies:
Shortly shall all my labours end, and thou
Shalt have the air at freedom: for a little
Follow, and do me service.    [_Exeunt._


  Notes: IV, 1.

  3: _a third_] _a thread_ Theobald. _the thread_ Williams conj.
  4: _who_] _whom_ Pope.
  7: _test_] F1. _rest_ F2 F3 F4.
  9: _off_] F2 F3 F4. _of_ F1.
  11: _do_] om. Pope.
  13: _gift_] Rowe. _guest_ Ff.
  14: _but_] F1. om. F2 F3 F4.
  25: _'tis_] _is_ Capell.
  30: _Phoebus'_] _Phoebus_ F1. _Phoedus_ F2 F3. _Phoeduus_ F4.
  34: SCENE II. Pope.
  41: _vanity_] _rarity_ S. Walker conj.
  48: _no_?] _no_. Rowe.
  53: _abstemious_] _abstenious_ F1.
  60: SCENE III. A MASQUE. Pope.]
  _thy_] F1. _the_ F2 F3 F4.
  64: _pioned_] _pionied_ Warburton. _peonied_ Steevens.
  _twilled_] _tulip'd_ Rowe. _tilled_ Capell (Holt conj.). _lilied_
    Steevens.]
  66: _broom-groves_] _brown groves_ Hanmer.
  68: _pole-clipt_] _pale-clipt_ Hanmer.
  72: After this line Ff. have the stage direction, '_Juno descends._'
  74: _her_] Rowe. _here_ Ff.
  83: _short-grass'd_] F3 F4. _short gras'd_ F1 F2. _short-grass_ Pope.
  96: _bed-right_] _bed-rite_ Singer.
  101: _High'st_] _High_ Pope.
  102: Enter JUNO] om. Ff.
  110: Cer.] Theobald. om. Ff.
  _foison_] F1 _and foison_ F2 F3 F4.
  114: _Spring_] _Rain_ Collier MS.
  119: _charmingly_] _charming lay_ Hanmer. _charming lays_ Warburton.
    _Harmoniously charming_ Steevens conj.
  121: _from their_] F1. _from all their_ F2 F3 F4.
  123: _wife_] F1 (var.). Rowe. _wise_ F1 (var.) F2 F3 F4.
  124: _Makes_] _make_ Pope.
  _sweet, now, silence_] _now, silence, sweet_ Hanmer.
  124: In Ff. the stage direction [Juno, &c. follows line 127.
    Capell made the change.
  128: _windring_] _winding_ Rowe. _wand'ring_ Steevens.
  129: _sedged_] _sedge_ Collier MS.
  136: _holiday_] _holly day_ F1 F2 F3. _holy-day_ F4.
  139: SCENE IV. Pope.
  143: _This is_] _This'_ (for This 's) S. Walker conj.]
  _strange_] _most strange_ Hanmer.
  145: Ff put a comma after _anger_. Warburton omitted it.
  146: _do_] om. Pope. See note (XVI).
  151: _this_] F1. _their_ F2 F3 F4. _th' air visions_ Warburton.
  156: _rack_] F3 F4. _racke_ F1 F2. _track_ Hanmer. _wreck_ Dyce
    (Malone conj.).
  163: _your_] F1 F2 F3. _you_ F4.
  164: _I thank thee, Ariel: come._] _I thank you:--Ariel, come._
    Theobald.
  169: _Lest_] F4. _Least_ F1 F2 F3.
  170: _Say again_] _Well, say again_ Capell.
  180: _furzes_] Rowe. _firzes_ Ff.
  181: _shins_] _skins_ Warburton conj. (note, V. 1. p. 87).
  182: _filthy-mantled_] _filthy mantled_ Ff. _filth-ymantled_
    Steevens conj.
  184: _feet_] _fear_ Spedding conj.
  190: _all, all_] _are all_ Malone conj.
  193: _them on_ Rowe. _on them_ Ff.
  Prospero ... invisible. Theobald, Capell. om. Ff.
  194: SCENE V. Pope.
  230: _Let's alone_] _Let's along_ Theobald. _Let it alone_ Hanmer.
    _Let 't alone_ Collier. See note (XVII).
  246: _to apes_] om. _to_ Pope.
  255: Stage direction added by Theobald.
  256: _they_] F1 F3 F4. _thou_ F2.
  261: _Lie_] Rowe. _lies_ Ff.






Scene 1
Prospero, acknowledging that he has been harsh, now promises a reward that will rectify the young lovers' momentary suffering. Recognizing Ferdinand and Miranda's love for one another -- they have passed the trials that Prospero has set before them -- he offers Miranda to Ferdinand as his wife. Prospero next calls Ariel to help stage a celebration of the betrothal. The celebration includes a masque, presented by the spirits of the island. Suddenly Prospero remembers the three conspirators who have set out to murder him and calls a halt to the masque. He then summons Ariel, who reports that he led the three men, all of whom are very drunk, through a briar patch and into a filthy pond, where he left them wallowing. Prospero instructs Ariel to leave garish clothing on a tree to tempt the men. Soon Caliban, Stefano, and Trinculo appear, foul smelling and wet. Stefano and Trinculo lament the loss of their bottles but are much cheered when they see the clothing hanging nearby. The two ignore Caliban's pleas to continue on their mission and his warnings that their hesitation will lead Prospero to catch them. At that moment, Prospero and Ariel enter with spirits, disguised as hunters and hounds. The three conspirators flee, with the spirits in pursuit. Prospero, acknowledging the power he now holds over all his enemies, promises Ariel that he shall soon be free. Within a few minutes of the opening of this scene, the betrothal is complete, and Miranda and Ferdinand's future has been determined to Prospero's satisfaction. The virtue and honor of these young people transcends the actions of their fathers and, in this betrothal, lies the redemption of their families. For the first time, Prospero can fully reveal his true nature. Finally, there is no need to be punitive or autocratic, and he can simply enjoy his daughter's happiness. For these few moments, the audience can witness what Prospero is like without the weight of revenge or control motivating his actions. Even in his gentleness and goodwill toward Ferdinand, Prospero does not forget that he is still Miranda's father, and as such, he is responsible for her until she is safely wed. Consequently, a significant amount of time is spent warning Ferdinand that he must control his lust until the wedding takes place. Prospero warns the young man that "barren hate, / Sour-eyed disdain, and discord," will be his reward if he cannot control his lust . All of this is in keeping with the expected parental role. Miranda is even more innocent than most young women, having had none of the socialization that other young women would experience. Because of her isolation, she is more vulnerable, and her father is aware of her purity of heart. However, he is also a father, facing the imminent loss of his only child, and so his excessive warnings to Ferdinand to control his lust are to be expected. The betrothal ceremony is sealed with a masque, and, in keeping with the motif of reality and illusion, this masque draws on mythical goddesses and on Greek and Roman mythology. The goddesses are selected for their symbolism and connections to nature and represent the promise of fertility and fecundity, heavenly harmony, and an eternal springtime of love. As the goddess of the rainbow, Iris is the promise of spring rains leading to a bountiful harvest. As a messenger from Juno, she also represents the gods' blessing on this betrothal. When Juno appears, her presence affirms the blessing of the heavens, and since Juno is the goddess of marriage and childbirth, her presence is the promise of a happy union for the couple and a blessing of many children. Finally, Ceres' appearance also promises nature's blessing on this marriage. Together, the goddesses are the promise of celestial harmony, fruitful harvests, and eternal seasons without winter. Venus, with her emphasis on abandon and sexual love is deliberately excluded, since the focus of the masque is on honorable marriage. The pastoral tradition focuses on a nostalgic image of the peace and simplicity of the life of shepherds and other rural folk in an idealized natural setting. Pastoral poetry is characterized by a state of contentment and a focus on the contemplative life. As is the case with most masques, Prospero's masque focuses on these pastoral motifs, with reapers and nymphs celebrating the fecundity of the land. The land is green, the harvesters sunburned, and the harvest worth celebrating. Love is innocent and romantic and not sexual. The country life, with its abundance of harvests and peaceful existence is an idealized world that ignores the realities of country life with its many hardships. But a wedding masque is not the time to remind the young couple of the possible hardships that they will face. Instead, Prospero focuses on the blessings of a happy marriage and the contentment that Ferdinand and Miranda will bring one another. At the conclusion of the masque, Prospero addresses Ferdinand and tells him that "We are such stuff / As dreams are made on" . This is a reminder that the masque, with all its heavenly creatures, is not real. Like the masque, life, too, will come to its inevitable end. Prospero reminds Ferdinand that each man's life is framed by dreams. The evidence of that life, with its earthly possessions, is only temporary. Again, this points to the role of the young couple as redeemers for their father's sins. Alonso, and through him, Antonio and Sebastian, have placed too much emphasis on worldly possessions and titles. Even Prospero, with his focus on books, has forgotten that they are also only temporary vestiges in this life. This reminder that corporeal riches are only temporary also seems to be directed toward Stefano and Trinculo. Many scholars and critics would like to see Shakespeare's autobiographical presence in Prospero's words. Those who think that Shakespeare is allowing Prospero to speak his farewell to the stage find "Our revels now are ended" to be a poignant reminder of the temporal plight of all men's lives. Since The Tempest comes near the end of Shakespeare's career and life, it is very tempting to read autobiography into Prospero's words. Still, his words may only be an impassioned reminder for each man to value life and accept its temporal limitations. At the scene's end, Prospero must shrug off the mantle of fatherhood and assume the cloak of ruler and deal with the three conspirators who plot his death: Caliban, Stefano, and Trinculo. The punishment that Ariel reports is more nuisance than painful, another reminder that Prospero's retribution includes no serious injuries. Aside from a few scratches, the trip through the briar patch and the putrid pond only injure the men's pride. Even the spirit hunters and dogs that give Caliban, Stefano, and Trinculo chase are little more than air, not capable of causing their prey any harm. This mild punishment reflects Prospero's inherent good nature and his willingness to forgive his enemies. He will make them suffer for their plotting, but he will do them no real injury. Although it was not always clear earlier in the play, by this act, Prospero's true nature, his goodness and his humanity, have become clear to the audience. Glossary genius either of two spirits, one good and one evil, supposed to influence one's destiny. Phoebus' steeds the mythological horses that drew the chariot of the sun. Here, the suggestion is that they are lame from the long day and overriding. vanity reference to an illusion or trick that Prospero has created. abstemious moderate, especially in eating and drinking; temperate. Prospero is warning Ferdinand once again about resisting lust before the wedding occurs. bring a corollary here, meaning to bring too many spirits rather than not enough. amain at or with great speed; here, Miranda's peacocks fly quickly. sicklemen reference to nymphs disguised as harvesters. unbacked not broken to the saddle: said of a horse. trumpery something showy but worthless; here, the gaudy clothing designated as bait for the three conspirators. frippery here, an old clothing shop. dropsy a disease characterized by the accumulation of fluid in the connective tissues, resulting in swelling. jerkin a short, closefitting jacket, often sleeveless. This scene opens with Ariel revealing to Prospero that Alonso, Sebastian, and Antonio are remorseful, worried, and desperate. Gonzalo is worried and grief-stricken at his king's pain. Prospero reassures Ariel that he will be compassionate in dealing with his enemies and asks that Ariel bring the group to him. While he is waiting for the king and his party to appear, Prospero soliloquizes about what he has accomplished with magic and, at the soliloquy's end, promises that he will now give up his magic, bury his magic staff, and drown his magic book at sea. Almost immediately, Ariel enters with the royal party, who appear to be in a trance, and places them within the magic circle that Prospero had earlier drawn. With a few chanted words, the spell is removed. Prospero, clothed in the garments of the duke of Milan -- his rightful position -- appears before them. In a gesture of reconciliation, Prospero embraces Alonso, who is filled with remorse and immediately gives up Prospero's dukedom. Gonzalo is also embraced in turn, and then Prospero turns to Sebastian and Antonio. Prospero tells them that he will not charge them as traitors, at this time. Antonio is forgiven and required to renounce his claims on Prospero's dukedom. While Alonso continues to mourn the loss of his son, Prospero relates that he too has lost his child, his daughter. But he means that he has lost her in marriage and pulls back a curtain to reveal Ferdinand and Miranda playing chess. Ferdinand explains to his father that he is betrothed to Miranda and that this event occurred while he thought his father dead. Alonso quickly welcomes Miranda and says he will be a second father to his son's affianced. At the sight of the couple, Gonzalo begins to cry and thanks God for having worked such a miracle. Ariel enters with the master of the boat and boatswain. Although the ship lay in harbor and in perfect shape, the puzzled men cannot explain how any of this has occurred. Alonso is also mystified, but Prospero tells him not to trouble his mind with such concerns. Next, Ariel leads in Caliban, Stefano, and Trinculo, who are still drunk. Prospero explains that these men have robbed him and plotted to murder him. Caliban immediately repents and promises to seek grace. The three conspirators, who have sobered somewhat since confronted with Prospero and the king, are sent to decorate Prospero's cell. Prospero invites his guests to spend the night with him, where he will tell them of his adventures and of his life during these past 12 years. Ariel's last duty to Prospero is to provide calm seas when they sail the next morning.
This final scene indicates the extent of Prospero's forgiveness and provides an example of humanity toward one's enemies. Before he confronts his enemies, Prospero tells Ariel that "The rarer action is / In virtue than in vengeance" . That is, it is better to forgive than to hate one's enemies. This is the example that Prospero provides in reuniting everyone in this final scene. When he emerges from his trance, Alonso moves quickly to embrace Prospero, and just as quickly, he renounces his claims to Prospero's dukedom. This is the behavior the audience expects of Ferdinand's father, and it is what Prospero requires to resolve this conflict. Ferdinand is an honorable young man, filled with love and charity, and it is reasonable to expect that he learned these values from his father, even if his father has, on occasion, forgotten them. Alonso is honestly delighted in Ferdinand's engagement and welcomes Miranda with authentic grace. It is to be predicted that he is happy at recovering his son, but he is also clearly pleased to have gained a daughter. These spontaneous actions reveal that Alonso is as humane and honest as Prospero. It is equally clear that Antonio and Sebastian each lack the humanity of their respective brothers. No apology is forthcoming from Antonio, and Sebastian thinks that Prospero is very likely the devil. Antonio never directly addresses Prospero, not even to justify his previous actions. And although both Prospero and Miranda might have died when cast out on to the sea some 12 years earlier, Antonio has no words for his niece. In spite of the obvious absence of regret from his brother, Prospero is true to his promise and seeks no revenge against Antonio. There is no reason to assume that shame restrains Antonio from speaking, and in all likelihood, he only regrets having been caught. Although Prospero warns his brother that he might still charge him with treason in the future, this warning is unlikely to restrain such a recalcitrant as Antonio. Prospero's humanity is clearly obvious in his treatment of Antonio, whom he calls traitor but whom he declines to treat as a traitor. Critics and audience might be tempted to label Antonio as an unnatural brother, as would also be true for Sebastian. But their cruelty only indicates that nature provides for both goodness and evil. In the Christian world of the Shakespeare's time, evil is chosen, not destined, and nature provides for all outcomes, those who are virtuous and their counterparts, those who are corrupt. Hence, evil siblings are as natural as good siblings. Although the self-serving behavior of Antonio and Sebastian may be despicable, they are still a part of the natural world. Caliban is also from the natural world, although as the child of a witch and devil. He is certainly different from the other humans on the island, but in this final scene, he displays more humanity than many of Prospero's "civilized" enemies. Antonio's only remark in this whole scene is to suggest that Caliban provides an opportunity to make money . Antonio and Sebastian echo Stefano and Trinculo's earlier notion of exhibiting Caliban for profit, and in doing so, they reaffirm the impression that even the upper classes can be as lacking in morals as the two examples of the lower class, a butler and a court jester. Caliban, however, has risen above his companions and willingly admits his errors. In admitting his fault, Caliban proves himself more honorable than those who are socially his superior, Antonio and Sebastian. Caliban is often celebrated as a natural man, one who is unspoiled by civilization. And yet, he easily embraces the worse that civilization has to offer. When exposed to Stefano and Trinculo, Caliban embraces their drunkenness and, in return, entices them to help plan a heinous crime. Many critics justify Caliban's actions by pointing to Prospero's persecution of Caliban. But nowhere in this play does Shakespeare validate this kind of revenge. Prospero may enslave Caliban, but he does not threaten his very existence. Certainly there is no way to justify slavery, and Shakespeare makes no attempt to do so. In the end, Prospero leaves Caliban to his island and to the natural world that he craves. The conclusion is about redemption, the personal redemption that so many of the participants reach. Caliban's regret during this final scene indicates he, too, has found the way to reconciliation. Gonzalo is one of the few participants who has no need to ask forgiveness nor any cause to regret his actions. Upon discovering that Ferdinand is alive and that he is betrothed to Miranda, Gonzalo quite properly thanks God, who has "chalked forth the way" . Gonzalo also sees the irony in Miranda's offspring inheriting all that was her father's and all that belongs to his enemy. He also observes that there is much that has been restored: Ferdinand to his father, and with him, a wife. But there is more. Prospero's dukedom has been restored, as has the ship and all its missing crew. Yet more important than people or objects, other essential components of civilized society have been restored: authority, harmony, and order. Even before this reconciliation scene occurs, Prospero has promised to put aside his magic and dispose of his magic book and staff, which are the source of his power. He has used magic to work in concert with nature, not to control or evoke evil. Now that he has his enemies under his control, Prospero permits compassion to replace magic. This putting away of his magic also signifies that Prospero's game is at an end. He has used magic to restore harmony and now needs it no more. The play ends with the promise of Ariel's freedom and the restoration of Prospero to a life filled with all that nature and God intended. Glossary mantle to enclose or envelop. furtherer an accomplice. rapier a slender two-edged sword used chiefly in thrusting. subtleties here, the illusions. requite to make return or repayment to for a benefit, injury, and so on; reward. tight and yare sound and ready. The ship is ready to sail. coragio take courage .