SCENE III.

_Another part of the island._

  _Enter ALONSO, SEBASTIAN, ANTONIO, GONZALO, ADRIAN, FRANCISCO,
  and others._

_Gon._ By'r lakin, I can go no further, sir;
My old bones ache: here's a maze trod, indeed,
Through forth-rights and meanders! By your patience,
I needs must rest me.

_Alon._             Old lord, I cannot blame thee,
Who am myself attach'd with weariness,                               5
To the dulling of my spirits: sit down, and rest.
Even here I will put off my hope, and keep it
No longer for my flatterer: he is drown'd
Whom thus we stray to find; and the sea mocks
Our frustrate search on land. Well, let him go.                     10

_Ant._ [_Aside to Seb._] I am right glad that he's so out of hope.
Do not, for one repulse, forego the purpose
That you resolved to effect.

_Seb._ [_Aside to Ant._] The next advantage
Will we take throughly.

_Ant._ [_Aside to Seb._] Let it be to-night;
For, now they are oppress'd with travel, they                       15
Will not, nor cannot, use such vigilance
As when they are fresh.

_Seb._ [_Aside to Ant._] I say, to-night: no more.

  [_Solemn and strange music._

_Alon._ What harmony is this?--My good friends, hark!

_Gon._ Marvellous sweet music!

  _Enter PROSPERO above, invisible. Enter several strange Shapes,
  bringing in a banquet: they dance about it with gentle actions of
  salutation; and, inviting the King, &c. to eat, they depart._

_Alon._ Give us kind keepers, heavens!--What were these?            20

_Seb._ A living drollery. Now I will believe
That there are unicorns; that in Arabia
There is one tree, the phoenix' throne; one phoenix
At this hour reigning there.

_Ant._                     I'll believe both;
And what does else want credit, come to me,                         25
And I'll be sworn 'tis true: travellers ne'er did lie,
Though fools at home condemn 'em.

_Gon._                          If in Naples
I should report this now, would they believe me?
If I should say, I saw such islanders,--
For, certes, these are people of the island,--                      30
Who, though they are of monstrous shape, yet, note,
Their manners are more gentle-kind than of
Our human generation you shall find
Many, nay, almost any.

_Pros._              [_Aside_] Honest lord,
Thou hast said well; for some of you there present                  35
Are worse than devils.

_Alon._              I cannot too much muse
Such shapes, such gesture, and such sound, expressing--
Although they want the use of tongue--a kind
Of excellent dumb discourse.

_Pros._                    [_Aside_] Praise in departing.

_Fran._ They vanish'd strangely.

_Seb._                         No matter, since                     40
They have left their viands behind; for we have stomachs.--
Will't please you taste of what is here?

_Alon._                                Not I.

_Gon._ Faith, sir, you need not fear. When we were boys,
Who would believe that there were mountaineers
Dew-lapp'd like bulls, whose throats had hanging at 'em             45
Wallets of flesh? or that there were such men
Whose heads stood in their breasts? which now we find
Each putter-out of five for one will bring us
Good warrant of.

_Alon._        I will stand to, and feed,
Although my last: no matter, since I feel                           50
The best is past. Brother, my lord the duke,
Stand to, and do as we.

  _Thunder and lightning. Enter ARIEL, like a harpy; claps his
  wings upon the table; and, with a quaint device, the banquet
  vanishes._

_Ari._ You are three men of sin, whom Destiny,--
That hath to instrument this lower world
And what is in't,--the never-surfeited sea                          55
Hath caused to belch up you; and on this island,
Where man doth not inhabit,--you 'mongst men
Being most unfit to live. I have made you mad;
And even with such-like valour men hang and drown
Their proper selves.    [_Alon., Seb. &c. draw their swords._
                   You fools! I and my fellows                      60
Are ministers of Fate: the elements,
Of whom your swords are temper'd, may as well
Wound the loud winds, or with bemock'd-at stabs
Kill the still-closing waters, as diminish
One dowle that's in my plume: my fellow-ministers                   65
Are like invulnerable. If you could hurt,
Your swords are now too massy for your strengths,
And will not be uplifted. But remember,--
For that's my business to you,--that you three
From Milan did supplant good Prospero;                              70
Exposed unto the sea, which hath requit it,
Him and his innocent child: for which foul deed
The powers, delaying, not forgetting, have
Incensed the seas and shores, yea, all the creatures,
Against your peace. Thee of thy son, Alonso,                        75
They have bereft; and do pronounce by me:
Lingering perdition--worse than any death
Can be at once--shall step by step attend
You and your ways; whose wraths to guard you from,--
Which here, in this most desolate isle, else falls                  80
Upon your heads,--is nothing but heart-sorrow
And a clear life ensuing.

  _He vanishes in thunder; then, to soft music, enter the Shapes
  again, and dance, with mocks and mows, and carrying out the
  table._

_Pros._ Bravely the figure of this harpy hast thou
Perform'd, my Ariel; a grace it had, devouring:
Of my instruction hast thou nothing bated                           85
In what thou hadst to say: so, with good life
And observation strange, my meaner ministers
Their several kinds have done. My high charms work,
And these mine enemies are all knit up
In their distractions: they now are in my power;                    90
And in these fits I leave them, while I visit
Young Ferdinand,--whom they suppose is drown'd,--
And his and mine loved darling.    [_Exit above._

_Gon._ I' the name of something holy, sir, why stand you
In this strange stare?

_Alon._              O, it is monstrous, monstrous!                 95
Methought the billows spoke, and told me of it;
The winds did sing it to me; and the thunder,
That deep and dreadful organ-pipe, pronounced
The name of Prosper: it did bass my trespass.
Therefore my son i' th' ooze is bedded; and                        100
I'll seek him deeper than e'er plummet sounded,
And with him there lie mudded.    [_Exit._

_Seb._                       But one fiend at a time,
I'll fight their legions o'er.

_Ant._                       I'll be thy second.

    [_Exeunt Seb. and Ant._

_Gon._ All three of them are desperate: their great guilt,
Like poison given to work a great time after,                      105
Now 'gins to bite the spirits. I do beseech you,
That are of suppler joints, follow them swiftly,
And hinder them from what this ecstasy
May now provoke them to.

_Adr._                 Follow, I pray you.    [_Exeunt._

  Notes: III, 3.

  2: _ache_] _ake_ F2 F3 F4. _akes_ F1.
  3: _forth-rights_] F2 F3 F4. _fourth rights_ F1.
  8: _flatterer_] F1. _flatterers_ F2 F3 F4.
  17: Prospero above] Malone. Prosper on the top Ff. See note (XIV).
  20: _were_] F1 F2 F3. _are_ F4.
  26: _'tis true_] _to 't_ Steevens conj.
  _did lie_] _lied_ Hanmer.
  29: _islanders_] F2 F3 F4. _islands_ F1.
  32: _gentle-kind_] Theobald. _gentle, kind_ Ff. _gentle kind_ Rowe.
  36: _muse_] F1 F2 F3. _muse_, F4. _muse_; Capell.
  48: _of five for one_] Ff. _on five for one_ Theobald.
    _of one for five_ Malone, (Thirlby conj.) See note (XV).
  49-51: _I will ... past_] Mason conjectured that these lines formed
    a rhyming couplet.
  53: SCENE IV. Pope.
  54: _instrument_] _instruments_ F4.
  56: _belch up you_] F1 F2 F3. _belch you up_ F4. _belch up_ Theobald.
  60: [... draw their swords] Hanmer.
  65: _dowle_] _down_ Pope.]
  _plume_] Rowe. _plumbe_ F1 F2 F3. _plumb_ F4.
  67: _strengths_] _strength_ F4.
  79: _wraths_] _wrath_ Theobald.
  81: _heart-sorrow_] Edd. _hearts-sorrow_ Ff. _heart's-sorrow_ Rowe.
    _heart's sorrow_ Pope.
  82: mocks] mopps Theobald.
  86: _life_] _list_ Johnson conj.
  90: _now_] om. Pope.
  92: _whom_] _who_ Hanmer.
  93: _mine_] _my_ Rowe.
  [Exit above] Theobald.]
  94: _something holy, sir_,] _something, holy Sir_, F4.
  99: _bass_] Johnson. _base_ Ff.
  106: _do_] om. Pope.

Alonso, Adrian, Francisco, Sebastian, Antonio, and Gonzalo are still wandering about the island, and Alonzo has finally given up any hope of his son Ferdinand being alive. Antonio and Sebastian decide to make their murderous move later that night, but their conspiracy is interrupted by Prospero sending in a huge banquet via his spirits, with he himself there, but invisible. They are all amazed, but not too taken aback that they will not eat the food; but, as they are about to eat, a vengeful Ariel enters, taking credit for their shipwreck, and makes the banquet vanish. Alonso recognizes Ariel's words as being of Prospero's pen, and the great guilt of Alonso, Antonio, and Sebastian begins to take them over, at the thought of Prospero being alive, and so nearby.

Ferdinand is stripped of the privileges of his rank by Prospero, who did the same to Caliban by making him a slave as well. Prospero's action in this case might not be fair, but Ferdinand bears it, and in so doing, legitimates Prospero's rule, just as Caliban did; this case again stresses the theme that willful obedience is a legitimate source of power. Prospero's tone, when speaking of Ferdinand in this act, is a curious mix of affection and distaste; he refers to Ferdinand as "poor worm," which could be taken as a statement of endearment. However, the worm was often used as a symbol of corruption and lust, as mentioned in Act 2, scene 4 of Twelfth Night, and as it is represented in William Blake's poem "The Rose". In this case, the symbolic meaning foreshadows Prospero's suspicious warnings to the couple to wait until their wedding ceremony, and recalls his accusation of Ferdinand of treason and bad faith in the first act. In his speech in this act, Ferdinand employs paradox, overstatement, etc. in his many entreaties to Miranda. The mistress which I serve quickens what's dead, and makes my labours pleasures," Ferdinand says, using paradoxes that communicate how magical and wonderful his beloved is, to turn the unpleasant pleasant. A contrast between Miranda and her father shows her to be much more pleasant than her father, who's "composed of harshness": yet, he declares, with overstatement, that he will carry "some thousands of these logs" for his stern taskmaster, because of the great sweetness of Miranda. Ferdinand overstates his resolve, in order to impress upon Miranda how much he would do for her; he swears that he would rather "crack sinews, break back" than see her work, though his work could scarcely be hard enough to cause these injuries. They make all the vows of marriage to each other; Ferdinand swears to "love, prize, and honour" Miranda, and in turn Miranda pledges to give him her "modesty," meaning her virginity. They give each other their hands, and Miranda declares him her "husband"; the show of love is nice, but they know almost nothing about each other, and given that they have been together for less than twenty-four hours, the sentiment is rather rash, and almost foolish. Ferdinand and Miranda speak with a poetic, romantic, unrealistic tone that is very similar to the tone used by Romeo and Juliet when they spoke to each other; the same devices, of overstatement, paradox, contrast, and comparison are used to make elegant compliments to each other, and high-flown declarations of love. Ferdinand slips into conventional, polished phrases when speaking to this woman whom he hardly knows, an example being when he tells her "'tis fresh morning with me when you are by at night," though they have not been through a night together at all. Indeed, Ferdinand and Miranda's love is the same sort of instant physical attraction that Romeo and Juliet had, though Romeo and Juliet's love was not influenced by a mischievous sprite like Ariel. Although Ferdinand hardly knows Miranda, he brazenly declares her "perfect and peerless," though she cannot be either of those. The mood and feel of these passages is very different from those appearing before it, and are guided by a blind sort of idealism, and a naive, young love. The language in these sections of the play also turns distinctly sexual, with maidenly Miranda showing her hidden, but mature knowledge of desire and sexual politics. Miranda explains the urgency of her love to Ferdinand by telling him "all the more it seeks to hide itself, the bigger bulk it shows"; note the image of a concealed pregnancy in her description, which coincides with the increase in their declared desire. Miranda "dare not offer what desire to give" to Ferdinand, betraying the lust behind her maidenly exterior; and she acknowledges the sexual exchange inherent in marriage, that the "jewel in dower" is the main treasure which she has to attract a husband. Miranda may seem young and isolated, but this scene shows that she is far more knowledgeable about worldly matters than one might expect, given her upbringing on this remote island

Now we're back to Alonso, Sebastian, Antonio, Gonzalo, and their attendant lords somewhere else on the island. Gonzalo is weary, and Alonso has given up hope that his son might still be alive. Antonio, hearing this news, utters an aside to Sebastian, reminding him of their plan. Antonio says they will murder the King tonight when everyone else sleeps. Strange music then begins to play, and Prospero enters, invisible. Before the eyes of the King and shipwrecked lords, a magical banquet is laid by welcoming spirits who invite the King and company to eat. All wonder at the strange sight for a while, thinking they could now believe anything. Sebastian is done with oohing and ahhing for a while, and suggests that since they are hungry, they should eat what the spirits have given them. Alonso refuses, and Gonzalo comforts him by saying there were lots of things they wouldn't have believed when they were young that turn out to be true--like girls don't actually have cooties and Santa isn't real. Alonso decides to eat in spite of the risk, as "the best is past," meaning life can't get much worse than it is now. He invites everyone to the table. Before they can dig in to their meal, Ariel appears in the shape of a harpy and the food disappears. The harpy stuns the men, and declares that three men of sin are at the table. The harpy says Destiny has caused the sea to put them on this uninhabited land because they are men unfit to live. The men draw their swords, and the harpy laughs at their foolishness, as their swords are no good against the natural elements she wields. The monster reminds them of the evil they did Prospero and the baby Miranda, and claims the sea paid them back for their crimes, taking Ferdinand and dooming the rest of them. If they repent their evil deeds, a better life might follow. Ariel then vanishes, and the spirits come once more to carry away the banquet table. Prospero praises Ariel for his good work, which he has watched while invisible. Gonzalo breaks the stunned silence when he asks what Alonso, Antonio, and Sebastian are looking so shocked about. King Alonso admits that the sea and thunder spoke to him of his ill deeds against Prospero, and has claimed his son as punishment. Sebastian and Antonio are unmoved. Instead of repenting, they agree to fight the ills that might befall them, one at a time. As the three exit, Gonzalo notes that Alonso, Antonio, and Sebastian's treachery against Prospero is catching up to them. The kind councilor asks the rest of the group to follow the three traitors and stop them from whatever craziness they might attempt in their stunned, post-harpy encounter state.

The royal party has searched futilely for Ferdinand and collapses, exhausted upon the beach. Unknown to the royal party, Prospero arrives and watches their actions. Within a few moments, a number of ghostly shapes arrive and with them, a lavish banquet. After gesturing to the party that they should approach and eat, the spirit shapes depart. The royal party is incredulous, but they are also hungry and ready to eat. Yet Ariel appears, disguised as a harpy. He makes the banquet disappear and accuses Antonio, Sebastian, and Alonso of being the instruments of sin. Although the men draw their swords, they are frozen in place by magic and unable to lift up their arms. The king is shaken by what he has seen and heard, and he flees, as do Antonio and Sebastian. Worried that they might do themselves harm, Gonzalo sends Adrian and Francisco to watch them.

This scene provides the climax of Prospero's plan and the denouement of Antonio's many plots. Antonio, Sebastian, and Alonso are powerless against Prospero's magic. Their plotting against him -- and Antonio and Sebastian's subsequent plotting against Alonso -- is ineffectual in the face of Prospero's greater power. This is the moment of revenge that Prospero has awaited for 12 long years, and he offers no clue what form the punishment will take. However, because he has encouraged Miranda and Ferdinand's love, it is clear that any retribution directed toward Alonso will not be severe, since he would not risk his daughter's happiness in such a way. That is not the case, however, for Sebastian and Antonio, who have every reason for concern. As he has from the beginning, Ariel carries out Prospero's wishes efficiently and effectively. Ariel, who projects delicacy and eagerness in all that he does, is a spirit of the air. He is eager to be free, and his freedom has been promised in two days, at the conclusion of this mission. Ariel is eager to please Prospero, who freed him from Sycorax, the witch who had imprisoned him in a tree for refusing to do her bidding. Although he wants his freedom in exchange, Ariel approaches his tasks with enthusiasm, quickly doing what is asked and reporting promptly any activities that he observes. Earlier, Ariel had reported the plot to murder Prospero, and now he assists in punishing Prospero's enemies. Ariel's obedience is an important symbol of Prospero's humanity because he ameliorates Prospero's role on the island and humanizes the action that he takes against his old adversaries. Finally, Ariel's willing obedience of Prospero's wishes stands in stark contrast to Caliban's cursing and plotting against the same master. This scene illustrates the deep disparity between what is real and what is imagined. The disappearing banquet was never real, although it briefly appears so to the hungry captives. Ariel appears briefly as a harpy, a mythical creature with a vulture's wings and claws and the face of a woman, yet it is not Ariel's voice that speaks but a deep voice that seems to come from the heavens. Neither the harpy nor the voice is real. None of this is real, and all of it is carefully staged, a theatrical spectacle designed to frighten and punish Prospero's enemies. Prospero is the puppet-master, carefully pulling the strings and manipulating the action. But he remains unseen and, like the deep voice and the banquet, even this scene is illusionary. His victims cannot know that Prospero waits, unseen in the wings. All that is real is the madness that this confrontation has evoked in the three sinners. Glossary Br'r lakin "By your ladykin"; a referece to the Virgin Mary. a living drollery probably a puppet-show with live actors. Wallets here, meaning wattle, the fleshy, wrinkled, often brightly colored piece of skin that hangs from throat of a turkey. dowle small feather. too massy unable to move. Here, through magic, the men are paralyzed. bass my trespass Here, meaning that the condemnation  was uttered in a deep bass voice. The thunder proclaimed his sin, according to Alonso, like a noise from the heavens.


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.

Prospero stops Ferdinand's punishment, and decides to finally give Miranda to him, since he has proven his love for her through his service. Prospero accepts the union, but issues them a warning; if Ferdinand takes Miranda's virginity before a ceremony can be performed, then their union will be cursed. Ferdinand swears to Prospero that they shall wait until the ceremony to consummate their marriage, and then Prospero calls upon Ariel to perform one of his last acts of magic. A betrothal masque is performed for the party by some of Prospero's magical spirits; Juno, Ceres, and Iris are the goddesses who are represented within the masque, and the play speaks about the bounties of a good marriage, and blesses the happy couple. This act of magic so captivates Prospero that he forgets Caliban's plot to kill him; for a moment, he almost loses control, but manages to pull himself out of his reverie and take action. Caliban, Stephano, and Trinculo come looking for Prospero, and swipe a few garments of Prospero's on their way. Caliban still wants very much to kill Prospero, and carry out this plot; however, Trinculo and Stephano are very drunk, as usual, and prove completely incapable of anything but petty theft. Prospero catches themnot difficult, since they are making a huge amount of noise--and sends Ariel after them as they flee.

Prospero tries to dismiss his tyrannical demands for Ferdinand's service as "trials of thy love"but also makes mention in this first scene that he has "punished" Ferdinand, which implies a need for retribution for a wrongdoing . The word "punished" that he uses recalls the fabricated charges Prospero raises against Ferdinand in the first act, of Ferdinand being a spy or a potential usurper; and the irony is that Prospero heaps his suspicion on Ferdinand, who has no such designs, while forgetting the very real plots of Caliban and his brothers. Prospero's actions, however, were unfair and ungrounded; he uses the couple's love to try to excuse himself in this instance, but Prospero is not the just judge he would have himself appear to be. Ironically, Prospero's decision to let Miranda and Ferdinand marry was made even before Ferdinand came to the island, and was made because the marriage would secure Prospero's position back home, and would make his daughter queen as well. The work Prospero made Ferdinand do, coupled with the enchantment that he put his daughter and Ferdinand under so they would fall in love, merely assured that Prospero's plan would succeed, as it finally does. But, be wary of the difference between the way Prospero's character appears, and the machinations and plans lying beneath the appearance he would like to project, especially in instances such as this one. However, just as Prospero begins to promise a blessing upon their union, his tone again becomes threatening. It is so important to Prospero that they not consummate their marriage before "full and holy rite be ministered," that he would wish them "barren hate" if they do, and continues with enough bitter, harsh-toned rhetoric to hopefully drive his point home . Prospero conjures up a frightful image of disdain, personified as being "sour-eyed"; and, in meaningful contrast with the traditional flower-strewn marriage bed, an image of hateful weeds symbolizing the downfall and pollution of the marriage. Prospero's language, heavy with unpleasant images and symbols, does yield some result; Ferdinand, in earnest, forswears his "worser genius," or any possible influence of lust and dishonor within him. Prospero seems preoccupied with Miranda's virginity because it is inextricably bound up with Prospero's own power. Her virginity is their prime bargaining chip in winning an advantageous marriage that will secure both of their positions; and if she does marry Ferdinand, their power back in Italy is secured for both of them. Virginity was often an important bargaining pointmost notably, for Queen Elizabeth, who used her eligibility to gain a great deal of power throughout her reign. If Miranda's virginity is thrown away, then Prospero's greatest hope for regaining his estate and position is gone too; so Prospero tries his best to keep Miranda well-informed of her importance, and keep Ferdinand warned as to the potential consequences of his actions. Prospero's great concern foreshadows the importance of this theme in the betrothal masque; in the masque, Iris makes mention that the couple cannot be together "till Hymen's torch be lighted," her language parallel to that in Prospero's earlier entreaty to the lovers. Prospero reduces his daughter, who is intelligent and worthy, to a mere object, wrapping her with the language of exchange when speaking of her to Ferdinand. Prospero refers to his daughter, not by her name, but as a "rich gift," "compensation" for Ferdinand's pains; he says his daughter has been "worthily purchased" as an "acquisition," further building up his metaphor of his daughter as a thing of exchange. Prospero's metaphors, and overstatement of his daughter's perfection could be meant to distract Ferdinand from what Prospero and Miranda are getting in the bargain. Indeed, Prospero never makes mention of the power and position that he and his daughter are regaining because of this "rich gift," or the true purchase price of his daughter's hand. It is strange to think of the "liver," as Ferdinand mentions it, as having anything to do with love; but, in Shakespeare's time, the organ was a symbol of lust and passion, just as these emotions are associated with the heart today. The heart was also related to love, but was thought to be more pure and honorable in the feelings originating there. We know now, of course, that feelings originate in the brain, and that these relations of organs and emotions are quaint in their backwardness; but, the heart remains a symbol related to love, and despite our modern medical knowledge, this ancient literary device continues to be used. Though the marriage rites to be performed are Christian, allusions to ancient pagan mythology abound. Prospero invokes Hymen, god of marriageand a figure uniquely opposed to his wish for "holy rites" for his daughter. Ferdinand mentions "Phoebus' steeds," as symbols of day-time and the sun, and the characters in Prospero's masque originate in classical myths as well. Allusions to Greek and Roman myth were common in Elizabethan literature, but especially common in the first few court masques that were performed, which often featured the same goddesses as characters that appear in this masque. Prospero calls upon Iris, the messenger of the gods and also the goddess of the rainbow, to perform a betrothal masque for Ferdinand and Miranda. A betrothal masque also appears in As You Like It that is presided over by Hymen; but otherwise, the spectacle was mostly reserved for weddings of state and almost exclusively for court functions. In this respect, the masque does confirm that the wedding is an important oneeleven were actually performed at the court of King James, and some of these for occasions of the marriage of rich and important people. Masques were special ritual-type plays in which the monarch was always the protagonist, and the subject was how royalty made things harmonious and resolved tensions between people. Although Shakespeare's masque took some inspiration from earlier ones, thematically it is entirely innovative. Royal power is displayed as power over nature, and the idea of the masque as the projection of a royal vision first appeared in this masque in The Tempest, and were to appear again in Jonson's court masques of later years. Within the masque are a few parallels to events within the play. Ceres presides over the play, because she symbolizes order and plenty; Ceres is credited with teaching men agriculture, thus civilizing them and stopping their wild hunter-gatherer ways. Prospero's mission parallels this, as Prospero also sought to civilize and bring order to the island, and to the wild Caliban, though he did not manage to succeed. Also, Ceres mentions "dusky Dis," meaning Pluto, the god who abducted Ceres' daughter Proserpine, inspired by Cupid and Venus. Caliban is reminiscent of the dark figure of Pluto, in his attempts to abduct and rape Miranda; and the story also recalls the plot Caliban later fosters, to get Miranda for Stephano. The parallels might be faint, but it is, after all, Prospero who has "called to enact present fancies"; the inclusion of the Pluto/ Proserpine story is so tangential to the concerns of the masque, that it must have been included by Prospero on purpose, as some sort of reminder to himself . Once again, Prospero almost loses control because he is absorbed by his art; but here, he is able to shake himself from his reverie, and becomes conscious of time again. The moment is important because Prospero is in real danger of losing control, and almost gives up his chance to act because of the pull of his magic. The moment is a humanizing one for Prospero, as he realizes his mortality and his forgetfulness, as well as the limits of his magic. The masque, which he created from his own power, disappears in an instant; and finally, Prospero realizes that his works of magic are all in vain, as they are made of "baseless fabric" and will not last. He sees that "we are such stuff as dreams are made on," and at last realizes that his mind has aged and his powers are fragile and faltering . It is a sobering moment for Prospero, to admit his "weakness" and "infirmity"; and this marks the beginning of his surrender of his magic. It is not Caliban and his drunken friends, whom Ariel describes in a simile as being "like unbacked colts," that Prospero has to worry about . Indeed, the thought of Caliban upsets Prospero more than the plot, as Prospero again curses the one "on whose nature nurture can never stick" . Prospero thinks that Caliban is bad because he has not adopted the "civilized" ways of thinking that Prospero has, and must be bad natured because of this; but Prospero fails to realize that Caliban's relative goodness has been more spoiled by the way Prospero treats him than by any refusal to adopt foreign ways of thinking. Prospero, for all his learning, still espouses a haughty, colonial point of view when it comes to Caliban, and lets this prejudiced treatment corrupt a potentially good man's nature.

Prospero gives his blessing to Ferdinand and Miranda, warning Ferdinand only that he take care not to break Miranda's "virgin-knot" before the wedding has been solemnized . Ferdinand promises to comply. Prospero then calls in Ariel and asks him to summon spirits to perform a masque for Ferdinand and Miranda. Soon, three spirits appear in the shapes of the mythological figures of Iris , Juno , and Ceres . This trio performs a masque celebrating the lovers' engagement. First, Iris enters and asks Ceres to appear at Juno's wish, to celebrate "a contract of true love." Ceres appears, and then Juno enters. Juno and Ceres together bless the couple, with Juno wishing them honor and riches, and Ceres wishing them natural prosperity and plenty. The spectacle awes Ferdinand and he says that he would like to live on the island forever, with Prospero as his father and Miranda as his wife. Juno and Ceres send Iris to fetch some nymphs and reapers to perform a country dance. Just as this dance begins, however, Prospero startles suddenly and then sends the spirits away. Prospero, who had forgotten about Caliban's plot against him, suddenly remembers that the hour nearly has come for Caliban and the conspirators to make their attempt on his life. Our revels now are ended. These our actors,As I foretold you, were all spirits, andAre melted into air, into thin air;And, like the baseless fabric of this vision,The cloud-capped towers, the gorgeous palaces,The solemn temples, the great globe itself,Yea, all which it inherit, shall dissolve;And, like this insubstantial pageant faded,Leave not a rack behind. We are such stuffAs dreams are made on, and our little lifeIs rounded with a sleep. Prospero's apparent anger alarms Ferdinand and Miranda, but Prospero assures the young couple that his consternation is largely a result of his age; he says that a walk will soothe him. Prospero makes a short speech about the masque, saying that the world itself is as insubstantial as a play, and that human beings are "such stuff / As dreams are made on." Ferdinand and Miranda leave Prospero to himself, and the old enchanter immediately summons Ariel, who seems to have made a mistake by not reminding Prospero of Caliban's plot before the beginning of the masque. Prospero now asks Ariel to tell him again what the three conspirators are up to, and Ariel tells him of the men's drunken scheme to steal Prospero's book and kill him. Ariel reports that he used his music to lead these men through rough and prickly briars and then into a filthy pond. Prospero thanks his trusty spirit, and the two set a trap for the three would-be assassins. On a clothesline in Prospero's cell, Prospero and Ariel hang an array of fine apparel for the men to attempt to steal, after which they render themselves invisible. Caliban, Trinculo, and Stephano enter, wet from the filthy pond. The fine clothing immediately distracts Stephano and Trinculo. They want to steal it, despite the protests of Caliban, who wants to stick to the plan and kill Prospero. Stephano and Trinculo ignore him. Soon after they touch the clothing, there is "A noise of hunters" . A pack of spirits in the shape of hounds, set on by Ariel and Prospero, drives the thieves out.

Analysis The wedding of Ferdinand and Miranda draws near. Thus, Act IV, scene i explores marriage from several different angles. Prospero and Ferdinand's surprisingly coarse discussion of Miranda's virginity at the beginning of the scene serves to emphasize the disparity in knowledge and experience between Miranda and her future husband. Prospero has kept his daughter extremely innocent. As a result, Ferdinand's vulgar description of the pleasures of the wedding-bed reminds the audience  that the end of Miranda's innocence is now imminent. Her wedding-night will come, she will lose her virginity, and she will be in some way changed. This discussion is a blunt reminder that change is inevitable and that Miranda will soon give herself, in an entirely new way, to a man besides her father. Though Prospero somewhat perfunctorily initiates and participates in the sexual discussion, he also seems to be affected by it. In the later parts of the scene, he makes unprecedented comments on the transitory nature of life and on his own old age. Very likely, the prospect of Miranda's marriage and growing up calls these ideas to his mind. After the discussion of sexuality, Prospero introduces the masque, which moves the exploration of marriage to the somewhat more comfortable realms of society and family. In the sixteenth and seventeenth centuries, masques were popular forms of entertainment in England. Masques featured masked actors performing allegorical, often highly ritualized stories drawn from mythology and folklore. Prospero's masque features Juno, the symbol of marriage and family life in Roman mythology, and Ceres, the symbol of agriculture, and thus of nature, growth, prosperity, and rebirth, all notions intimately connected to marriage. The united blessing of the union by Juno and Ceres is a blessing on the couple that wishes them prosperity and wealth while explicitly tying their marriage to notions of social propriety  and harmony with the Earth. In this way, marriage is subtly glorified as both the foundation of society and as part of the natural order of things, given the accord between marriage and nature in Ceres' speech. Interestingly, Juno and Ceres de-emphasize the role of love, personal feeling, and sexuality in marriage, choosing instead to focus on marriage's place in the social and natural orders. When Ceres wonders to Iris where Venus and Cupid, the deities of love and sex, are, she says that she hopes not to see them because their lustful powers caused Pluto, god of the underworld, to kidnap Persephone, Ceres's daughter . Iris assures Ceres that Venus and Cupid are nowhere in sight. Venus and Cupid had hoped to foil the purity of the impending union, "but in vain" . Ceres, Juno, and Iris have kept the gods of lust at bay; it seems that, through his masque, Prospero is trying to suppress entirely the lasciviousness of Ferdinand's tone when he discusses Miranda's virginity. In almost all of Shakespeare's comedies, marriage is used as a symbol of a harmonious and healthy social order. In these plays, misunderstandings erupt, conflicts break out, and at the end, love triumphs and marriage sets everything right. The Tempest, a romance, is not exactly a comedy. However, it is deeply concerned with the social order, both in terms of the explicit conflict of the play and in terms of the play's constant exploration of the master-servant dynamic, especially when the dynamic appears unsettled or discordant. One reason Shakespeare might shift the focus of the play to marriage at this point is to prepare the audience for the mending of the disrupted social order that takes place at the end of the story. Calling upon all the social and dramatic associations of marriage, and underscoring them heavily with the solemnity of the masque, Shakespeare creates a sense that, even though the play's major conflict is still unresolved, the world of the play is beginning to heal itself. What is interesting about this technique is that the sense of healing has little to do with anything intrinsic to the characters themselves. Throughout this scene, Ferdinand seems unduly coarse, Miranda merely a threatened innocent, and Prospero somewhat weary and sad. But the fact of marriage itself, as it is presented in the masque, is enough to settle the turbulent waters of the story. After this detailed exploration of marriage, the culmination of Caliban's plot against Prospero occurs merely as a moment of comic relief, exposing the weaknesses of Stephano and Trinculo and giving the conspirators their just desserts. Any hint of sympathy we may have had for Caliban earlier in the play has vanished, partly because Caliban's behavior has been vicious and degraded, but also because Prospero has become more appealing. Prospero has come to seem more fully human because of his poignant feelings for his daughter and his discussion of his old age. As a result, he is far easier to identify with than he was in the first Act. Simply by accenting aspects of character we have already seen, namely Prospero's love for Miranda and the conspirators' absurd incompetence, Shakespeare substantially rehabilitates Prospero in the eyes of the audience. We can cheer wholeheartedly for Prospero in his humorous defeat of Caliban now; this is one of the first really uncomplicated moments in the play. After this moment, Prospero becomes easier to sympathize with as the rest of the story unfolds.