by Jacqueline Wong
[Context passage: Act I, Sc ii, lines 79-116. From "Being once perfected how to grant suits" to "To most ignoble stooping"]
Paying close attention to tone & imagery, comment on the presentation of Prospero and important ideas in the play raised here.
We are presented with the highly emotional and angst-filled account of past times in Milan narrated by the main protagonist of The Tempest, Prospero. The turbulence in his tale reminds us of the equally disturbing tempest in the previous scene with its general mood of disorder and destruction. Although there are no physical indication of violence as in the last scene, Prospero's report is coloured with such images. It is here, in Act 1 Scene 2 that we learn that Prospero's "art" had conjured up the "tempestuous" storm. Miranda's "piteous heart" demands a salvation for the "poor souls" onboard the ship but her father, the great magician, Prospero promises that, "there's no harm done". He proclaims, "tis' time" and sets out to explain his motive for raising The Tempest that is the driving force of the entire play.
As he speaks of the past, Prospero is no doubt reliving every single detail "in the dark backward and absym of time". He seems to have vengeance on his mind right now. Old wounds are cruelly re-opened and he re-experiences the bitterness of betrayal by is "false brother" and the pain of what had happened "twelve year since". At the same time, he is also stirring up lost memories in Miranda's "remembrance". We see Shakespeare's magic at work as well while he deftly weaves the plot into his audience's mind. Every time Prospero calls Miranda to attention, Shakespeare speaks through the lips of his creation to his audience, "Thou attend'st not?" Taking on the voice of father, magician and "prince of power", the bard leads us straight into the crux of The Tempest of Prospero's voice.
The usurped Duke of Milan speaks of the usurper, Antonio most vividly, using myriad images. We picture Antonio's brilliance in politics as Prospero tells of how his brother "being once perfected how to grant suits, how to deny them, who t' advance and which to trash for over-topping" supplanted him. He presents us with a hunting image as he acknowledges Antonio's skill & compliments him. Prospero uses a number of images in his speech to let us see Antonio as a political animal. He shows us how "having both the key of the officer and office" Antonio gained supporters and got rid of opposers. This double image aptly portrayed how he not only secured the authority entrusted to him; he also had the ability to assert that power to his own means -- "set all hearts i'th' state to what tune pleas'd his ear". At the same time, we notice that the play is one that rings of music, this is only one instance where music is mentioned. It is a recurring motif. He maneuvers his way into nature when he informs Miranda (and the audience) of "the ivy which hid my princely trunk and suck'd my vendure out on't". We see in our minds' eye the devious Antonio who sucked the power out of his brother's welcoming hands and so, his life, leaving only a dry shell. Through the use of such imagery, Shakespeare unfolds the passionate tale of usurpation before the "wondrous" Miranda and us, the audience.
The wise Prospero speaks of how he had laid himself wide open to harm in "being transported and rapt in secret studies". "Neglecting worldly ends, all dedicated to closeness and the bettering of his mind" he entrusted Milan into the hands of his treacherous brother and in doing so, "awak'd an evil nature" in his false brother. Not contented with his position, Antonio "new created the creatures that were mine, chang'd 'em or else new form'd 'em" and "confederates wi'th King of Naples" to bend Milan "to most ignoble stooping". It is obvious that Prospero was not conscious of what Antonio was doing and so, we, the sympathetic listeners feel for him although we know that he is partly at fault for his downfall. Prospero's anger and feelings of vengeance is understandable but we know that "there's no harm done". At the same time, as we listen to the usurped fling charge after charge at the amoral usurper like the sea waves beating relentlessly at the "yellow sands", Shakespeare questions the Prospero's usurpation of the "creatures" of the island -- Caliban and Ariel. We find out later that the powerful mage subjects the "most delicate monster", Caliban to "most ignoble stooping" and even the "fine apparition", Ariel is not spared from the magic of Prospero who has him at his beck and call. They cry for liberty but do they receive it from the usurped "master"? This is another of the important ideas raised in the play.
Miranda listens attentively to her father as he relives how he had placed his trust mistakenly on Antonio, "like a good parent" and how it "beget of him a falsehood in its contrary". "He needs will be absolute Milan." This convoluted image reminds us of how the unknowing Caliban had placed his trust and "loved thee and showed thee all the qualities o' th' isle." The situation of Prospero "twelve year since" mirrors that of the "abhorred slave", Caliban. Meanwhile, it also presents Antonio and Prospero as complex political creatures surviving in the "realism" of politics. The usurped did not refrain from usurping others in a different place and time. Here, we see the men as truly brothers because they are alike in their usurpation. The only difference lies in Prospero's benevolence in his decision towards reconciliation. We are given enough to be sure that Antonio will never consider the very idea because he "made a sinner of his own memory". The man created and shaped his own reality to suit his means and this is another recurring motif in the play.
We have seen how the people are unable to see through the illusion of the "tempest" and sometimes, they just do not understand their own reality because they do not want to see it. Prospero has made use of that weakness to "recover" his dukedom as he brings the plotters, Antonio, Sebastian and Alonso to the island for a lesson. We will meet the king of Naples who despairs of ever finding his beloved son, Ferdinand after The Tempest and refuses to entertain the hope of seeing him again but we know he does in the end. Power, "all prerogative" had gone into the plotters' heads and this veils the actual reality to become another reality in the mind. We encounter another motif in the play, that of fathers. We know that although the fathers (Prospero and Antonio) are enemies, they will forget their differences in the union of their child (Ferdinand and Miranda) eventually.
This tale that "would cure deafness" is the stepping stone of the entire play and we are presented with a multi-faceted Prospero -- the magician who usurps, the wronged who was usurped, the avenger, the father, the master, the duke. Can we really define him? Shakespeare leaves that intriguing thought in our minds as we take leave of this account full of "imagistic" qualities and themes.
Showing posts with label Prospero. Show all posts
Showing posts with label Prospero. Show all posts
Wednesday, January 27, 2010
Tuesday, January 26, 2010
Prospero Timeline
1.2.13: Prospero enters into the play with the command: "Be collected." He tells Miranda not to be shocked, there’s no harm done, in spite of the spectacle he’s created in the tempest. This could well be applied to all of the magic Prospero does through out the play – it’s spectacular, but it isn’t malicious or to be feared.
1.2.15: Prospero says all he’s ever done has been with the intention of caring for Miranda, and though she doesn’t know it, he is more than she thinks he is. He assures her he’s done no harm to the men on the boat, and now he’ll tell her about their life story.
1.2.47: Prospero marvels at what Miranda remembers. He asks what else she can see back in the darkness of time, but hearing that she doesn’t remember much more than her nursemaids, he tells her that their family once had the dukedom of Milan.
1.2.61: Prospero shows his enlightened perspective – he says it was foul how they were sent from Milan, but they were blessed (by Gonzalo and the good winds) that they made it safely to this island.
1.2.66: He continues to tell the story of how he became involved in his studies of the liberal arts, and trustingly gave over the run of his dukedom to Antonio. Prospero then details how Antonio contrived to steal the dukedom from him while he was busy with his books. He says his library was dukedom enough for him, and he did not anticipate his brother’s evil grab for power. He also doesn’t like that Antonio made Milan stoop to the King – this is below his (and Milan’s) dignity. The final detail is that Antonio opened the gates and sent Prospero and Miranda out of Milan under the cover of night, to a sad little boat.
1.2.153: Prospero shows his tenderness as a father – though he wept for all his loss, Miranda had a smile infused with the strength of heaven, and he gathered courage from her. They survived at first because of the things Gonzalo kindly made sure they had, including Prospero’s precious books, which he uses to teach Miranda. He claims she is better learned than other princesses that have more distractions and worse tutors.
1.2.177: Prospero admits that his art depends upon a star, and he must act in accordance to that special sign if he’s going to achieve anything. It’s time to get back to business, so he enchants Miranda to sleep.
1.2.193: Prospero has an exchange with Ariel, confirming that his bidding was done to bring the passengers of the wrecked ship to shore safely. He compliments Ariel lovingly, and says there’s much more work to be done.
1.2.244: When Ariel points his thoughts to the freedom Prospero promised, Prospero gets angry. He accuses Ariel of being moody, and quickly asks whether Ariel has forgotten what Prospero did for him.
1.2.257: Prospero chides Ariel for thinking that Prospero is asking too much. He claims Ariel has forgotten the witch Sycorax, and though he asks Ariel to tell what he remembers of her, he himself fills in all the details about who she was, why she came to the island, and why she imprisoned Ariel in a pine tree. He points out it was his own art that freed Ariel from his groaning torment in the tree, an act so powerful that Sycorax couldn’t have done it herself.
1.2.294: Prospero warns Ariel that if he so much as murmurs on this again, Prospero will return him to his tree prison so he can howl away another twelve winters. (Harsh.) He later promises Ariel will have his freedom after two more days of doing his master’s bidding.
1.2.307: Prospero wakes Miranda and asks her go with him to see Caliban, whom he admits does them a great service by bringing them wood and building their fire. He curses Caliban thoroughly, and promises his servant will suffer great torments for any curses he lays upon his master.
1.2.344: Prospero calls Caliban a lying slave, and recounts that he kept Caliban in his own cell (home) until Caliban tried to violate the honor of his daughter (not a good move). More cursing follows, with threats of cramps and aches that Caliban will get if he doesn’t follow Prospero’s orders to the letter.
1.2.413: Miranda accompanies Prospero to see Ferdinand from afar – Prospero tells her he’s the same form as they are (human), and moves her to pity him for his recent grief. Prospero makes an aside that he’s pleased with how the things are going with the young couple, and compliments Ariel for his fine work, which will earn the spirit’s freedom.
1.2.432: Prospero scolds Ferdinand for calling himself the King of Naples, and makes a pompous aside that the Duke of Milan and his daughter (i.e., Miranda) could control Naples (i.e., Ferdinand) if the time were right for it. This pompousness is left off to again compliment Ariel, and the aside continues with Prospero’s observation that he must make it hard for the two young lovers. If they don’t struggle, they won’t value their love for each other. Prospero now moves to harassing Ferdinand, whom he accuses of being a spy.
1.2.460: Prospero bids Ferdinand follow him, for he’ll chain him up as a traitor and feed him only withered roots and acorn shells. He dares Ferdinand to raise his sword, and promises to make him drop it by using his (magic) staff. When Miranda protests, he scolds her, too, saying that another word in defense of Ferdinand will make him chide her, if not hate her. He claims that Ferdinand is ugly, but she doesn’t know it because she doesn’t know anything of men. He has now wrapped Ferdinand in a charm.
3.1.32: Prospero looks on at Ferdinand and Miranda from a distance, and happily notes that Miranda is deeply in love. He is so pleased by their innocent encounter that he asks the heavens to rain grace on the love between them. He admits he can’t be as glad of their surprise love as they are (because he did plan it after all), but he does rejoice immensely. Then he’s back to the business that must be done before dinnertime.
3.3.83: Prospero watches the banquet laid out before Alonso, Antonio, and Sebastian. He makes an aside agreeing with Gonzalo’s comment on the heavenly nature of the spirits, grumbling that some of the people at the banquet are actually worse than devils. Later, he finds Ariel again, and praises him for his good carry-through on his instructions. He notes his enemies are all knit up by what they’ve seen, and are now in his power. He leaves the traitors to go visit Ferdinand.
4.1.1. Prospero speaks frankly with Ferdinand, telling him the trials were just to make sure that the boy deserved his daughter. Ferdinand has passed the test, and Prospero will now hand over a precious third of his life (i.e., Miranda). A few lines later, he warns that if Ferdinand touches Miranda before the proper wedding ceremony, he’s toast. Then Prospero calls Ariel to bring spirits to the place to perform "the vanity of mine art" for the young couple. He again warns Ferdinand to be good to his word. Then all attention is moved to the display of gods before them. Prospero tells the amazed children that these are spirits enacting Prospero’s present fancies.
4.1.139: Prospero calls off his magical drama production – he had forgotten Caliban’s plot against him, and must do something about it. He then notes that Ferdinand looks unhappy, or at the least worried about his soon-to-be father-in-law. Prospero gives a thoroughly lovely speech, proclaiming that the revels are ended, and he wraps metaphor upon metaphor about life being a play, which is a meta-metaphor given that they’re talking about the life outside of the play based on a play they’re watching in a play we’re watching. Totally post-modern chic. Anyway, this is one of Shakespeare’s most beautiful speeches, to challenge "tomorrow and tomorrow and tomorrow," we’d bet. Read it in its entirety for full effect.
4.1.184: Prospero asks Ariel to lay out his fine stuff (clothes and linens), knowing it will distract his drunken, greedy, would-be murderers. He then cusses Caliban as a born devil, whose nature cannot be bettered by nurture. Prospero vows to plague the plotters all to the point where they’ll roar out of anguish. He eggs on his spirit hounds that chase the group when they arrive, and promises the traitors will have cramps, convulsions, and pinches.
4.1.262: Prospero notes he has everybody right where he wants them: "At this hour Lie at my mercy all mine enemies." Will he use his power for good or evil, virtue or vengeance? Nobody knows, Jeeves, nobody knows.
5.1.20: Now we know! Prospero asked Ariel how the shipwrecked group is doing, and Ariel says they’re such a sad mess, they could make a person feel sympathy. Prospero takes Ariel’s words to heart – he should be capable, if not more than capable, of the spirit’s sympathetic feelings. Although the traitors have done him terrible wrong, he doesn’t want vengeance, and only wishes to see that they are sorry. He commands Ariel to release them from his charm.
5.1.33: In a gorgeously moving speech, Prospero recounts all the bits of magic he has seen and partaken in. He then announces that once this task is over, he will break his staff and drown his book, giving up his art of magic. This is kind of a big deal.
5.1.58: Prospero, surrounded by all first string bad guys, gives them a stern talking to. He greets Gonzalo gladly, and calls out Alonso, Sebastian, and Antonio for their role in his present condition (being banished to an island). He then subtly points out that Antonio and Sebastian would’ve murdered the King, bros or no. In a grand final gesture, Prospero declares he forgives them all, before realizing they don’t know who he is. He bids Ariel to bring him his hat and sword, which they’ll then recognize. ("Oh! I didn’t recognize you without your hat and sword!") As Ariel dresses him, he praises the spirit, and bids him to bring the mariners (sailors) that are safely sleeping in the King’s rescued ship.
5.1.107: Now that he’s wearing his hat, he says "Behold, sir King, The wronged Duke of Milan, Prospero." Having thus properly announced himself, he’ll dispel any fears they have that he is another illusion of the island by hugging them. He bids them all hearty welcome, and hugs all around, as the "You had me exiled with my infant daughter,"/ "You destroyed my ship and killed my son" feud is far in the past. He points out that he hasn’t outed Sebastian and Antonio (which basically outs them – slick). Prospero continues to be backhanded here; he turns to his brother Antonio and says that to call him brother "would even infect my mouth," which he immediately follows with "I do forgive thy rankest fault" and a follows that up essentially with "of course you’ll have to give me my dukedom back now, you simpering fool."
5.1.145: Prospero then plays a funny prank on Alonso, who is still mourning his dead son. He points out his daughter is also lost, and now Alonso gets to think about two dead children! Prospero quickly changes the subject back to himself, noting the others’ awe. He knows it’s amazing that he’s here, and he recaps the injustices done against him, but then after his long talk, he says its no time for long talk. He directs their attention to his cell, where Ferdinand and Miranda are playing a round of chess.
5.1.198: Alonso has a private moment with his son, thinking to ask his forgiveness for the wrong done against Milan, but Prospero interjects that they should not dwell on the past.
5.1.245: Alonso suggests that an oracle could explain all these strange happenings, but Prospero cuts him off and promises to clear it up himself later. Then Prospero commands Ariel to bring in Caliban, Trinculo, and Stephano.
5.1.267: Prospero tells Caliban’s life story in a not-so-nice way, calls Caliban’s mom a witch, highlighting that the three have robbed and plotted to kill him. He then teases Stephano, who is in a cramp of pain and drunkenness, asking if he would be king of the isle. Prospero magnanimously dismisses Caliban to tidy up his cell for dinner, so that Caliban can again be in his good graces.
5.1.301: Prospero invites everyone to stay at his cell for the night, where he’ll tell his life story. In the morning they will all take the ship home to Naples, where the kids can get married and Prospero can revel in his dukedom and obsess about his own death.
5.1.314: His last command to Ariel is to make sure the seas are good for sailing, and then he sets him free to the elements, as he calls the audience near.
Epilogue: Essentially, "If you clap, I'll be satisfied and be able to get off the stage already."
1.2.15: Prospero says all he’s ever done has been with the intention of caring for Miranda, and though she doesn’t know it, he is more than she thinks he is. He assures her he’s done no harm to the men on the boat, and now he’ll tell her about their life story.
1.2.47: Prospero marvels at what Miranda remembers. He asks what else she can see back in the darkness of time, but hearing that she doesn’t remember much more than her nursemaids, he tells her that their family once had the dukedom of Milan.
1.2.61: Prospero shows his enlightened perspective – he says it was foul how they were sent from Milan, but they were blessed (by Gonzalo and the good winds) that they made it safely to this island.
1.2.66: He continues to tell the story of how he became involved in his studies of the liberal arts, and trustingly gave over the run of his dukedom to Antonio. Prospero then details how Antonio contrived to steal the dukedom from him while he was busy with his books. He says his library was dukedom enough for him, and he did not anticipate his brother’s evil grab for power. He also doesn’t like that Antonio made Milan stoop to the King – this is below his (and Milan’s) dignity. The final detail is that Antonio opened the gates and sent Prospero and Miranda out of Milan under the cover of night, to a sad little boat.
1.2.153: Prospero shows his tenderness as a father – though he wept for all his loss, Miranda had a smile infused with the strength of heaven, and he gathered courage from her. They survived at first because of the things Gonzalo kindly made sure they had, including Prospero’s precious books, which he uses to teach Miranda. He claims she is better learned than other princesses that have more distractions and worse tutors.
1.2.177: Prospero admits that his art depends upon a star, and he must act in accordance to that special sign if he’s going to achieve anything. It’s time to get back to business, so he enchants Miranda to sleep.
1.2.193: Prospero has an exchange with Ariel, confirming that his bidding was done to bring the passengers of the wrecked ship to shore safely. He compliments Ariel lovingly, and says there’s much more work to be done.
1.2.244: When Ariel points his thoughts to the freedom Prospero promised, Prospero gets angry. He accuses Ariel of being moody, and quickly asks whether Ariel has forgotten what Prospero did for him.
1.2.257: Prospero chides Ariel for thinking that Prospero is asking too much. He claims Ariel has forgotten the witch Sycorax, and though he asks Ariel to tell what he remembers of her, he himself fills in all the details about who she was, why she came to the island, and why she imprisoned Ariel in a pine tree. He points out it was his own art that freed Ariel from his groaning torment in the tree, an act so powerful that Sycorax couldn’t have done it herself.
1.2.294: Prospero warns Ariel that if he so much as murmurs on this again, Prospero will return him to his tree prison so he can howl away another twelve winters. (Harsh.) He later promises Ariel will have his freedom after two more days of doing his master’s bidding.
1.2.307: Prospero wakes Miranda and asks her go with him to see Caliban, whom he admits does them a great service by bringing them wood and building their fire. He curses Caliban thoroughly, and promises his servant will suffer great torments for any curses he lays upon his master.
1.2.344: Prospero calls Caliban a lying slave, and recounts that he kept Caliban in his own cell (home) until Caliban tried to violate the honor of his daughter (not a good move). More cursing follows, with threats of cramps and aches that Caliban will get if he doesn’t follow Prospero’s orders to the letter.
1.2.413: Miranda accompanies Prospero to see Ferdinand from afar – Prospero tells her he’s the same form as they are (human), and moves her to pity him for his recent grief. Prospero makes an aside that he’s pleased with how the things are going with the young couple, and compliments Ariel for his fine work, which will earn the spirit’s freedom.
1.2.432: Prospero scolds Ferdinand for calling himself the King of Naples, and makes a pompous aside that the Duke of Milan and his daughter (i.e., Miranda) could control Naples (i.e., Ferdinand) if the time were right for it. This pompousness is left off to again compliment Ariel, and the aside continues with Prospero’s observation that he must make it hard for the two young lovers. If they don’t struggle, they won’t value their love for each other. Prospero now moves to harassing Ferdinand, whom he accuses of being a spy.
1.2.460: Prospero bids Ferdinand follow him, for he’ll chain him up as a traitor and feed him only withered roots and acorn shells. He dares Ferdinand to raise his sword, and promises to make him drop it by using his (magic) staff. When Miranda protests, he scolds her, too, saying that another word in defense of Ferdinand will make him chide her, if not hate her. He claims that Ferdinand is ugly, but she doesn’t know it because she doesn’t know anything of men. He has now wrapped Ferdinand in a charm.
3.1.32: Prospero looks on at Ferdinand and Miranda from a distance, and happily notes that Miranda is deeply in love. He is so pleased by their innocent encounter that he asks the heavens to rain grace on the love between them. He admits he can’t be as glad of their surprise love as they are (because he did plan it after all), but he does rejoice immensely. Then he’s back to the business that must be done before dinnertime.
3.3.83: Prospero watches the banquet laid out before Alonso, Antonio, and Sebastian. He makes an aside agreeing with Gonzalo’s comment on the heavenly nature of the spirits, grumbling that some of the people at the banquet are actually worse than devils. Later, he finds Ariel again, and praises him for his good carry-through on his instructions. He notes his enemies are all knit up by what they’ve seen, and are now in his power. He leaves the traitors to go visit Ferdinand.
4.1.1. Prospero speaks frankly with Ferdinand, telling him the trials were just to make sure that the boy deserved his daughter. Ferdinand has passed the test, and Prospero will now hand over a precious third of his life (i.e., Miranda). A few lines later, he warns that if Ferdinand touches Miranda before the proper wedding ceremony, he’s toast. Then Prospero calls Ariel to bring spirits to the place to perform "the vanity of mine art" for the young couple. He again warns Ferdinand to be good to his word. Then all attention is moved to the display of gods before them. Prospero tells the amazed children that these are spirits enacting Prospero’s present fancies.
4.1.139: Prospero calls off his magical drama production – he had forgotten Caliban’s plot against him, and must do something about it. He then notes that Ferdinand looks unhappy, or at the least worried about his soon-to-be father-in-law. Prospero gives a thoroughly lovely speech, proclaiming that the revels are ended, and he wraps metaphor upon metaphor about life being a play, which is a meta-metaphor given that they’re talking about the life outside of the play based on a play they’re watching in a play we’re watching. Totally post-modern chic. Anyway, this is one of Shakespeare’s most beautiful speeches, to challenge "tomorrow and tomorrow and tomorrow," we’d bet. Read it in its entirety for full effect.
4.1.184: Prospero asks Ariel to lay out his fine stuff (clothes and linens), knowing it will distract his drunken, greedy, would-be murderers. He then cusses Caliban as a born devil, whose nature cannot be bettered by nurture. Prospero vows to plague the plotters all to the point where they’ll roar out of anguish. He eggs on his spirit hounds that chase the group when they arrive, and promises the traitors will have cramps, convulsions, and pinches.
4.1.262: Prospero notes he has everybody right where he wants them: "At this hour Lie at my mercy all mine enemies." Will he use his power for good or evil, virtue or vengeance? Nobody knows, Jeeves, nobody knows.
5.1.20: Now we know! Prospero asked Ariel how the shipwrecked group is doing, and Ariel says they’re such a sad mess, they could make a person feel sympathy. Prospero takes Ariel’s words to heart – he should be capable, if not more than capable, of the spirit’s sympathetic feelings. Although the traitors have done him terrible wrong, he doesn’t want vengeance, and only wishes to see that they are sorry. He commands Ariel to release them from his charm.
5.1.33: In a gorgeously moving speech, Prospero recounts all the bits of magic he has seen and partaken in. He then announces that once this task is over, he will break his staff and drown his book, giving up his art of magic. This is kind of a big deal.
5.1.58: Prospero, surrounded by all first string bad guys, gives them a stern talking to. He greets Gonzalo gladly, and calls out Alonso, Sebastian, and Antonio for their role in his present condition (being banished to an island). He then subtly points out that Antonio and Sebastian would’ve murdered the King, bros or no. In a grand final gesture, Prospero declares he forgives them all, before realizing they don’t know who he is. He bids Ariel to bring him his hat and sword, which they’ll then recognize. ("Oh! I didn’t recognize you without your hat and sword!") As Ariel dresses him, he praises the spirit, and bids him to bring the mariners (sailors) that are safely sleeping in the King’s rescued ship.
5.1.107: Now that he’s wearing his hat, he says "Behold, sir King, The wronged Duke of Milan, Prospero." Having thus properly announced himself, he’ll dispel any fears they have that he is another illusion of the island by hugging them. He bids them all hearty welcome, and hugs all around, as the "You had me exiled with my infant daughter,"/ "You destroyed my ship and killed my son" feud is far in the past. He points out that he hasn’t outed Sebastian and Antonio (which basically outs them – slick). Prospero continues to be backhanded here; he turns to his brother Antonio and says that to call him brother "would even infect my mouth," which he immediately follows with "I do forgive thy rankest fault" and a follows that up essentially with "of course you’ll have to give me my dukedom back now, you simpering fool."
5.1.145: Prospero then plays a funny prank on Alonso, who is still mourning his dead son. He points out his daughter is also lost, and now Alonso gets to think about two dead children! Prospero quickly changes the subject back to himself, noting the others’ awe. He knows it’s amazing that he’s here, and he recaps the injustices done against him, but then after his long talk, he says its no time for long talk. He directs their attention to his cell, where Ferdinand and Miranda are playing a round of chess.
5.1.198: Alonso has a private moment with his son, thinking to ask his forgiveness for the wrong done against Milan, but Prospero interjects that they should not dwell on the past.
5.1.245: Alonso suggests that an oracle could explain all these strange happenings, but Prospero cuts him off and promises to clear it up himself later. Then Prospero commands Ariel to bring in Caliban, Trinculo, and Stephano.
5.1.267: Prospero tells Caliban’s life story in a not-so-nice way, calls Caliban’s mom a witch, highlighting that the three have robbed and plotted to kill him. He then teases Stephano, who is in a cramp of pain and drunkenness, asking if he would be king of the isle. Prospero magnanimously dismisses Caliban to tidy up his cell for dinner, so that Caliban can again be in his good graces.
5.1.301: Prospero invites everyone to stay at his cell for the night, where he’ll tell his life story. In the morning they will all take the ship home to Naples, where the kids can get married and Prospero can revel in his dukedom and obsess about his own death.
5.1.314: His last command to Ariel is to make sure the seas are good for sailing, and then he sets him free to the elements, as he calls the audience near.
Epilogue: Essentially, "If you clap, I'll be satisfied and be able to get off the stage already."
Forgiveness and Reconciliation in The Tempest
Many scholars argue that, along with Shakespeare’s other late romances, The Tempest is a play about reconciliation, forgiveness, and faith in future generations to seal such reconciliation. However, while it is clear that the theme of forgiveness is at the heart of the drama, what is up for debate is to what extent the author realizes this forgiveness. An examination of the attitudes and actions of the major characters in the play, specifically Prospero, illustrates that there is little, if any, true forgiveness and reconciliation in The Tempest.
We must first set a standard by which to judge the effectiveness of forgiveness in the play. Undoubtedly, the most important Christian lesson on the true nature of forgiveness can be found in Christ’s Sermon on the Mount:
But I say to unto you which hear, love yourenemies, do good to them which hateyouBless them that curse you, and pray for themwhich despiseth you… For if ye love themwhich love you, what thank have ye? Forsinners also do even the same. But loveyour enemies, and do good, and lend,hoping for nothing again… (Luke 6:27-35)
Prospero’s conduct from the moment the play begins seems to contradict the basic tenets of Christian forgiveness. Fortune has brought his enemies within his grasp and Prospero seizes the opportunity for revenge. “Desire for vengeance has apparently lain dormant in Prospero through the years of banishment, and now, with the sudden advent of his foes, the great wrong of twelve years before is stirringly present again, arousing the passions and stimulating the will to action” (Davidson 225). While it is true that Prospero does not intend to harm anyone on the ship, and asks his servant sprite with all sincerity, "But are they, Ariel, safe?" (1.1.218), he does not hesitate to put the men through the agony of what they believe is a horrible disaster resulting in the death of Prince Ferdinand. Prospero insists that those who wronged him suffer for their crimes, before he offers them his forgiveness, even if it means innocent and noble men, like Gonzalo, suffer as well. Later in the drama Ariel tells Prospero that "The good old lord, Gonzalo/His tears run down his beard" (5.1.15-6), and it is Ariel’s plea that convinces Prospero to end their misery: "if you now beheld them / Your affections would become tender" (5.1.19-20).
Some critics believe that, through Ariel’s expression of genuine concern for the shipwrecked men, Prospero undergoes a transformation – that he comes to a "Christ-like" realization (Solomon 232). A close reading of the magician’s response reveals that his newfound regard for the command "love thine enemies" comes after he has achieved his revenge:
…the rarer action isIn virtue than invengeance: they being penitent,The sole drift of my purpose doth extendNot a frown further.
Prospero feels free to forgive those who sinned against him only after he has emerged triumphant and has seen the men, now mournful and "penitent", pay for their transgressions. Further evidence to support the claim that Prospero’s quality of mercy is strained, and that a truly sincere reconciliation fails to develop, comes when Prospero finally confronts King Alonso, Sebastian, and Antonio and announces that he is the right Duke of Milan.
Prospero hopes that his plan to shipwreck the King and his courtiers will result in both their ultimate acceptance of him as Duke and their deep apologies for wronging him. But King Alonso’s initial reaction is not profound regret for setting Prospero out to sea in a rickety boat and stealing his title, but profound relief that someone on the island, be he real or no, has bid him a "hearty welcome" (5.1.89). Alonso does ask Prospero to pardon his wrongs, but the regret seems perfunctory and matter-of-fact, rather than genuine. It seems that Alonso’s only true regret is that his betrayal of Prospero has resulted in the loss of his son, Ferdinand. Nevertheless, Alonso’s brief and conciliatory "pardon me" is enough to please Prospero: "First, noble friend/Let me embrace thine age, whose honor cannot be measured or confined" (5.1.124-6). This exchange of pleasantries confirms Prospero’s penchant for forgiveness and the reconciliation of the two men, but only in the most superficial sense. And does Prospero truly forgive those who "hate" him? His reaction to Antonio speaks volumes:
For you, most wicked sir, whom to call brotherWould even infect my mouth, I do forgiveThy rankest fault, -- all of them; and requireMy dukedom of thee, which perforce, I know,Thou must restore. (5.1.130-4)
Prospero goes through the motions of forgiveness, but his sincerity is lost to us. Moreover, there is clearly no reconciliation amongst Prospero, Sebastian, and Antonio. Prospero still considers Antonio a "most wicked sir" (5.1.130) and Antonio, focussed on slaying the island fiends, will not even acknowledge Prospero.
A thorough discussion of the themes of forgiveness and reconciliation in the play must consider Prospero’s treatment of Caliban. When Prospero came to the island he taught Caliban his language and mannerisms. At the beginning Caliban welcomed Prospero, delighting in the attention he would receive: "Thou strok’st me, and made much of me" (1.2.334). In return, Caliban showed Prospero "all the qualities o’ th’ isle" (1.2.339), as there was little else he could give his new master. But Caliban, in an expression of his natural instincts, tried to ravage Miranda. It is an atrocious deed, but, to Caliban, it is a basic biological urge, springing from no premeditation but his simple desire to procreate, and can be equated to the crimes of a child, which is itself an ironic juxtaposition. Caliban is "unlike the incontinent man, whose appetites subdue his will, and the malicious man, whose will is perverted to evil ends" (Kermode xlii). Caliban is, in fact, "the bestial man [with] no sense of right and wrong, and therefore sees no difference between good and evil. His state is less guilty” (Kermode xlii). While he should have taken measures to prevent such an occurrence from ever happening again, Prospero goes further to ensure that Caliban pay dearly for his actions. He threatens continually to "rack [him] with old cramps" (1.2.371), and confines him "in this hard rock" (1.2.345) away from the rest of the island. For Caliban Prospero has no mercy or forgiveness. Prospero brands him "a born devil, on whose name/Nurture can never stick" (4.1.188-9), and vows, "I will plague them all" (4.1.192). It is also true that Caliban is guilty of planning the murder of Prospero after he finds a new master, Stephano, whom, he believes, will treat him better than Prospero. But, again, Caliban, in his primitive (and drunken) state cannot be held accountable. Even though Prospero understands that Caliban’s bad behaviour is like that of a child, he does not offer mercy and forgiveness as freely and earnestly as one should. The best Prospero can do is couch a rather lackluster pardon inside a command:
Go, sirrah, to my cell;Take with you your companions; as you lookTo have my pardon, trim it handsomely. (5.1.292)
Shakespeare no doubt understood that ending the play with this sour meeting would leave the reader wanting, so he crafts the union of Miranda and Ferdinand as a vehicle by which the two fathers can further their reconciliation. It is fitting that the most innocent and virtuous of all the characters in the play, Gonzalo, should express the most hope for the future:
Was Milan thrust from Milan, that hisIssue Should become kings of Naples? O rejoiceBeyond a common joy, and set it downWith gold on lasting pillars: in one voyageDid Claribel her husband find at Tunis,And Ferdinand her brother found a wifeWhere he himself was lost: Prospero his dukedomIn a poor isle; and all of us ourselves,Where no man was his own. (5.1.204-12)
With these words of hope invested in the new royal couple, Alonso and Prospero rejoice together as the play comes to a close. But, despite the traditional happy ending befitting a Shakespeare comedy, ultimately, we are left with the feeling that true forgiveness and reconciliation have not been realized.
References
Davidson, Frank. The Tempest: An Interpretation. In The Tempest: A Casebook. Ed. D.J. Palmer. London: Macmillan & Co. Ltd., 1968.Kermode, Frank.
Introduction. The Tempest. By William Shakespeare. Cambridge: Harvard UP, 1958.
Solomon, Andrew. A Reading of the Tempest. In Shakespeare’s Late Plays. Ed. Richard C. Tobias and Paul G. Zolbrod. Athens: Ohio UP, 1974.
Shakespeare, William. The Tempest. Ed. Frank Kermode. Cambridge: Harvard UP, 1958.
We must first set a standard by which to judge the effectiveness of forgiveness in the play. Undoubtedly, the most important Christian lesson on the true nature of forgiveness can be found in Christ’s Sermon on the Mount:
But I say to unto you which hear, love yourenemies, do good to them which hateyouBless them that curse you, and pray for themwhich despiseth you… For if ye love themwhich love you, what thank have ye? Forsinners also do even the same. But loveyour enemies, and do good, and lend,hoping for nothing again… (Luke 6:27-35)
Prospero’s conduct from the moment the play begins seems to contradict the basic tenets of Christian forgiveness. Fortune has brought his enemies within his grasp and Prospero seizes the opportunity for revenge. “Desire for vengeance has apparently lain dormant in Prospero through the years of banishment, and now, with the sudden advent of his foes, the great wrong of twelve years before is stirringly present again, arousing the passions and stimulating the will to action” (Davidson 225). While it is true that Prospero does not intend to harm anyone on the ship, and asks his servant sprite with all sincerity, "But are they, Ariel, safe?" (1.1.218), he does not hesitate to put the men through the agony of what they believe is a horrible disaster resulting in the death of Prince Ferdinand. Prospero insists that those who wronged him suffer for their crimes, before he offers them his forgiveness, even if it means innocent and noble men, like Gonzalo, suffer as well. Later in the drama Ariel tells Prospero that "The good old lord, Gonzalo/His tears run down his beard" (5.1.15-6), and it is Ariel’s plea that convinces Prospero to end their misery: "if you now beheld them / Your affections would become tender" (5.1.19-20).
Some critics believe that, through Ariel’s expression of genuine concern for the shipwrecked men, Prospero undergoes a transformation – that he comes to a "Christ-like" realization (Solomon 232). A close reading of the magician’s response reveals that his newfound regard for the command "love thine enemies" comes after he has achieved his revenge:
…the rarer action isIn virtue than invengeance: they being penitent,The sole drift of my purpose doth extendNot a frown further.
Prospero feels free to forgive those who sinned against him only after he has emerged triumphant and has seen the men, now mournful and "penitent", pay for their transgressions. Further evidence to support the claim that Prospero’s quality of mercy is strained, and that a truly sincere reconciliation fails to develop, comes when Prospero finally confronts King Alonso, Sebastian, and Antonio and announces that he is the right Duke of Milan.
Prospero hopes that his plan to shipwreck the King and his courtiers will result in both their ultimate acceptance of him as Duke and their deep apologies for wronging him. But King Alonso’s initial reaction is not profound regret for setting Prospero out to sea in a rickety boat and stealing his title, but profound relief that someone on the island, be he real or no, has bid him a "hearty welcome" (5.1.89). Alonso does ask Prospero to pardon his wrongs, but the regret seems perfunctory and matter-of-fact, rather than genuine. It seems that Alonso’s only true regret is that his betrayal of Prospero has resulted in the loss of his son, Ferdinand. Nevertheless, Alonso’s brief and conciliatory "pardon me" is enough to please Prospero: "First, noble friend/Let me embrace thine age, whose honor cannot be measured or confined" (5.1.124-6). This exchange of pleasantries confirms Prospero’s penchant for forgiveness and the reconciliation of the two men, but only in the most superficial sense. And does Prospero truly forgive those who "hate" him? His reaction to Antonio speaks volumes:
For you, most wicked sir, whom to call brotherWould even infect my mouth, I do forgiveThy rankest fault, -- all of them; and requireMy dukedom of thee, which perforce, I know,Thou must restore. (5.1.130-4)
Prospero goes through the motions of forgiveness, but his sincerity is lost to us. Moreover, there is clearly no reconciliation amongst Prospero, Sebastian, and Antonio. Prospero still considers Antonio a "most wicked sir" (5.1.130) and Antonio, focussed on slaying the island fiends, will not even acknowledge Prospero.
A thorough discussion of the themes of forgiveness and reconciliation in the play must consider Prospero’s treatment of Caliban. When Prospero came to the island he taught Caliban his language and mannerisms. At the beginning Caliban welcomed Prospero, delighting in the attention he would receive: "Thou strok’st me, and made much of me" (1.2.334). In return, Caliban showed Prospero "all the qualities o’ th’ isle" (1.2.339), as there was little else he could give his new master. But Caliban, in an expression of his natural instincts, tried to ravage Miranda. It is an atrocious deed, but, to Caliban, it is a basic biological urge, springing from no premeditation but his simple desire to procreate, and can be equated to the crimes of a child, which is itself an ironic juxtaposition. Caliban is "unlike the incontinent man, whose appetites subdue his will, and the malicious man, whose will is perverted to evil ends" (Kermode xlii). Caliban is, in fact, "the bestial man [with] no sense of right and wrong, and therefore sees no difference between good and evil. His state is less guilty” (Kermode xlii). While he should have taken measures to prevent such an occurrence from ever happening again, Prospero goes further to ensure that Caliban pay dearly for his actions. He threatens continually to "rack [him] with old cramps" (1.2.371), and confines him "in this hard rock" (1.2.345) away from the rest of the island. For Caliban Prospero has no mercy or forgiveness. Prospero brands him "a born devil, on whose name/Nurture can never stick" (4.1.188-9), and vows, "I will plague them all" (4.1.192). It is also true that Caliban is guilty of planning the murder of Prospero after he finds a new master, Stephano, whom, he believes, will treat him better than Prospero. But, again, Caliban, in his primitive (and drunken) state cannot be held accountable. Even though Prospero understands that Caliban’s bad behaviour is like that of a child, he does not offer mercy and forgiveness as freely and earnestly as one should. The best Prospero can do is couch a rather lackluster pardon inside a command:
Go, sirrah, to my cell;Take with you your companions; as you lookTo have my pardon, trim it handsomely. (5.1.292)
Shakespeare no doubt understood that ending the play with this sour meeting would leave the reader wanting, so he crafts the union of Miranda and Ferdinand as a vehicle by which the two fathers can further their reconciliation. It is fitting that the most innocent and virtuous of all the characters in the play, Gonzalo, should express the most hope for the future:
Was Milan thrust from Milan, that hisIssue Should become kings of Naples? O rejoiceBeyond a common joy, and set it downWith gold on lasting pillars: in one voyageDid Claribel her husband find at Tunis,And Ferdinand her brother found a wifeWhere he himself was lost: Prospero his dukedomIn a poor isle; and all of us ourselves,Where no man was his own. (5.1.204-12)
With these words of hope invested in the new royal couple, Alonso and Prospero rejoice together as the play comes to a close. But, despite the traditional happy ending befitting a Shakespeare comedy, ultimately, we are left with the feeling that true forgiveness and reconciliation have not been realized.
References
Davidson, Frank. The Tempest: An Interpretation. In The Tempest: A Casebook. Ed. D.J. Palmer. London: Macmillan & Co. Ltd., 1968.Kermode, Frank.
Introduction. The Tempest. By William Shakespeare. Cambridge: Harvard UP, 1958.
Solomon, Andrew. A Reading of the Tempest. In Shakespeare’s Late Plays. Ed. Richard C. Tobias and Paul G. Zolbrod. Athens: Ohio UP, 1974.
Shakespeare, William. The Tempest. Ed. Frank Kermode. Cambridge: Harvard UP, 1958.
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