The Tempest Study Guide
When answering each question, indicate the scene and line where the answer is located.
Act I
1. Who causes the tempest that threatens the ship at the beginning of Act I?
Prospero
2. What is the result of this storm for the ship and for its passengers?
The ship is wrecked, washing up on Prospero’s island. The passengers are not harmed although Ferdinand is separated from the rest.
3. What do the people aboard the other ships believe has happened?
I.2.232-234. The rest of the fleet saw the wreck of the ship of the King of Naples. Thus, they thought that the king had died at sea.
4. How does Miranda react to the storm? What do her feelings reveal about her character? I.2.1-6. She is upset and says she suffers because she saw the people on board suffer. It shows that she is a sensitive, caring person, especially about others.
5. What motivates Prospero to have Ariel raise a tempest against this particular ship? What does Prospero hope to accomplish? I.2.178-184. Fortune showed him that his enemies were on board, and he hopes to reverse his own fortune he must act now. He wants his dukedom restored to him.
6. What position did Prospero once hold? How did Prospero lose his position?
I.2.53-59. Duke of Milan. I.2.66-105. His brother usurped the position while Prospero occupied himself with his scholarly pursuits.
7. Why are Prospero and Miranda on the island? What did Gonzalo do to help Prospero and Miranda survive? I.2.140-150 & 159. His enemies did not dare kill him so they put him at sea in a leaky ship. They were saved by Providence (God). I.2.160-168. He provided them with food, fresh water, clothing, linens, necessities, and Prospero’s books.
8. In what way did Prospero contribute to his own loss of power? I.2.88-92 & 109-110. His preoccupation with his studies and his trust in his brother.
9. Does he accept blame for this loss? Why, or why not? I.2.88-92. Yes, he does. He says that he neglected world ends and that he put too much trust in his brother.
10. Why does Ariel serve Prospero? I.2.279-284. The witch Sycorax had imprisoned Ariel in a tree and then Sycorax died. Prospero freed Ariel from the tree.
11. Why does Caliban serve Prospero? I.2.344-348. Propsero found Caliban on the island, living like an animal since Caliban’s mother Sycorax had died. Prospero treated Caliban kindly until Caliban tried to rape Miranda. Then he made Caliban his slave.
12. How does Prospero feel about Ariel? I.2.298-299. Prospero likes Ariel and promises to free him in two days time, after Ariel has finished helping Prospero accomplish what he wants.
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13. About Caliban? I.2.344-348. Prospero thinks Caliban is ungrateful and dislikes him strongly, especially since Caliban tried to rape Miranda. He thinks that he is a savage.
14. How does Ariel regard serving Prospero? I.2.245 & 296-298. Ariel wants his freedom, but is grateful for having been released from confinement by Prospero. He is not happy to continue serving Prospero but will finish out his term of servitude.
15. How does Caliban regard serving Prospero? I.2.320-374. Caliban is not happy at all about serving Prospero. He considers the island his; however, he also realizes that he must serve Prospero because Prospero’s power is even greater than Caliban’s mother’s.
16. What does Miranda think of Ferdinand when she sees him for the first time?
I.2.410-420. She thinks that he must be a spirit or something divine because he is so noble, so good-looking in appearance.
17. What does Ferdinand think of Miranda? I.2.421-428 & 448-450. He is struck by her beauty and thinks she must be a goddess. He asks if she is a maid. He says he will make her the Queen of Naples (in other words, his wife).
18. What does Prospero do to Ferdinand? I.2.454-465. He accuses Ferdinand of being a spy, a traitor upon the island, and he takes him captive.
19. Why do Miranda and Ferdinand each think that the other cannot be a mortal?
They both think that the other is the most beautiful, most wondrous, sweetest sounding person ever met.
20. Why does Prospero treat Ferdinand harshly? I.2.451-453. He believes that, although it is good that Miranda and Ferdinand are attracted to each other, their relationship has developed too fast. Thus, in order to make Miranda more valued, winning her should not be easy but a challenge.
21. What is Prospero’s “art”? How does this compare/contrast with Sycorax’s magic? Of what is Prospero’s art a result? What does Prospero control with his art?
Prospero’s art is magic. In I.2.372-375 Caliban says that Prospero’s art is strong enough to control his mother’s god. Prospero’s art is a result of his scholarly studies. Prospero controls Ariel and Caliban with his art.
22. In what way has the relationship between Prospero and Caliban changed since Prospero first came to the island? Why does Prospero treat Caliban harshly now? How does Caliban feel about his position on the island? How does Prospero feel about his position on the island? Who do you believe is in the right? I.2.331-351. Prospero treated Caliban with human care — he cared for him, fed him, taught him. However, once Caliban attempted to rape Miranda, Prospero has kept him caged or penned. Caliban believes that the island is his, that Prospero tricked him into showing him all the good things are the island. Prospero, again because of Caliban’s treatment of Miranda, believes that Caliban does not deserve to be free; besides, Prospero considers the island his own. Who is right? Caliban was there first, so the island really should be his just as our land really should be the Native Americans’. However, Prospero is right in his treatment of Caliban since Caliban attacked Miranda.
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23. Of what word is Caliban’s name an anagram? In what way might Caliban’s character represent Shakespeare’s response to Montaigne’s elevation of “natural” society? Does Shakespeare present Caliban as a “noble savage” or as something else? In your response, focus on the description of Caliban in the list of dramatis personae, other characters’ descriptions of Caliban, and Caliban’s own words and deeds. Caliban’s name is an anagram for “cannibal.” Most likely Shakespeare’s character is a response to Montaigne’s essay. Shakespeare definitely does not present Caliban as a noble savage. In the dramatis personae, he is described as “a savage and deformed slave.” Caliban is described by Prospero in I.2.285 as “dull thing.” In l. 309 he says Caliban never has a kind response. In the same line Miranda calls him a villain. Later Prospero calls him “poisonous slave, got by the devil himself...” (l. 319) and “...most lying slave” (l. 344). Caliban wishes both Prospero and Miranda ill in ll. 321-324. Miranda calls him “Abhorred slave” (l. 351). Prospero and Caliban have a lively interchange of ill will and name-calling in lines 363-371.
24. Where is Act I, Scene 1 set? In what way is nature portrayed in this scene? Scenes such as Act I, Scene 1 are sometimes called window scenes because, like windows, such scenes allow some light to be shed upon the action of the play. Window scenes often involve minor characters, such as the ship-master, boatswain, and mariners, who do not figure in the action of the rest of the play. These characters typically comment on the social or political climate in which the play is situated. What does the boatswain reveal about the limits of political authority? In the boatswain’s view, what is more powerful, nature or humans? In what way is this view of nature undercut when the cause of the storm is revealed? The setting is on a ship at sea. Nature is stormy; as the play opens a tempestuous noise of thunder and lightning heard. In lines 16-18 the boatswain indicates that the name of king means nothing to the sea/nature. He complains that Alonso and the nobles keep getting in the way. When Gonzalo reminds him who he has aboard, the boatswain tells him that if he can command the elements (make the storm stop), he should do so immediately and they can quit fighting the storm. Clearly the boatswain believes in the power of nature over humans. A human, Prospero, has caused the storm through white magic.
25. Ariel’s song “Full fathom five thy father lies” in Act I, Scene 2 focuses upon a theme central to many of Shakespeare’s romances — transformation. What is being transformed in this song and in what way? How does this theme of magical transformation relate to what Prospero is attempting to accomplish? I.2.397-405. Ariel comments on how the old Alonso is now gone, to the bottom of the sea, but that he is being transformed or changed “Into something rich and strange.” Prospero wants his dukedom restored to him; in order for that to be successful, he will need Alonso, the King of Naples, to come to his side — to awaken to the wrong he has done in the past, to repent, to want to change.
The Tempest Study Guide
Act II
26. According to Gonzalo, why should the nobles be happy? II.1.1-9. They are alive. They have survived the shipwreck, and very few live to say that.
27. In what way do Gonzalo and Adrian perceive the island?
Adrian - l. 38: uninhabitable, and almost inaccessible; ll.1. 42-43: ...of subtle, tender, and delicate temperance; l. 1.47: “The air breathes upon us here most sweetly.”
Gonzalo - l. 1.50: “Here is every thing advantageous to life.”; l. 1.53-54: “How lush and lusty the grass looks! How green!”
28. In what way do Antonio and Sebastian perceive the island? ll.1. 47- 55: They say that the air stinks, that there’s no means to live on the island, that the ground is brown not green.
29. Why do you think that Gonzalo and Adrian see the island differently than Antonio and Sebastian do? What does this difference reveal about their characters?
The positions of Gonzalo and Adrian have been those of glorified servants. On the other hand, Antonio and Sebastian have both been exposed to more wealth and power, as the second sons of ruling families. In some ways they have been spoiled by privilege. Gonzalo and Adrian, on the other hand, are simpler people — more able to appreciate the simpler beauties of the world.
30. Why do Antonio and Sebastian scorn and make fun of Gonzalo? ll. 1.62-68: Gonzalo says that their clothes have not faded with their dip in the salty sea; rather their clothes look newly died. They have not noticed that difference. They also believe that he talks too much and probably lies.
31. What does Gonzalo say he would do with the island if he were the king of it? What type of place would the island be? ll.1.148-157, 160-165: He would have a commonwealth, not trade, no scholarly study, no wealth, no poverty, no servants, no ownership of property, no farming, no vineyards, no work for men or women, no government, no crime or war. Nature would provide everything. It sounds like a utopia.
32. What problem do Antonio and Sebastian point out with Gonzalo’s daydream? II.1.157 - No government, yet he would be king.
33. What attitude toward a completely “natural” society do you think Shakespeare is expressing in Act II, Scene 1? From what Gonzalo says (See #31.), I believe he thinks such a society ludicrous, impossible.
34. What plan does Antonio suggest to Sebastian? What prevents this plan from being carried out? ll. 1.203-297 - That they kill Alonso and Gonzalo — Antonio will take care of Alonso, while Sebastian sees to Gonzalo. Then Sebastian will be able to assume the throne of Naples. Ariel, acting on Prospero’s behalf, awakens Gonzalo just in time, and Gonzalo awakens Alonso — ll. 1.298-308.
35. In what way is the relationship between the two sets of brothers, Prospero and Antonio, and Alonso and Sebastian, similar? Both Antonio and Sebastian are the second sons and, therefore, are not legitimate heirs to the throne. They both realize that with their elder brothers out of the way that they would then be rulers of their respective cities.
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36. To what emotions does Antonio appeal to convince Sebastian to carry out his scheme? He appeals to his greed and his desire for power (ll. 1.272-275).
37. In what way do Trinculo and Stephano perceive Caliban?
They see Caliban as some sort of monster (ll. 2.144-188).
38. In what way does Caliban perceive Stephano?
ll. 2.116-118 — as a god; l. 2.136 — as someone from heaven
39. What does Caliban decide to do after meeting Stephano and Trinculo?
ll. 2. 153-164 — he will become his subject and serve him, showing him the best of the island, fishing for him, getting him wood, etc.
40. What are Stephano’s plans for the island?
ll. 2.174-176 - He and Trinculo will rule the island.
41. What does the way in which Stephano and Trinculo continue to view Caliban reveal about their attitudes toward people of non-European cultures?
Their description of him as a monster says much. But they also describe him as weak, very shallow, puppy-headed, scurvy, abominable, ridiculous — obviously he cannot be very smart or savvy if he will follow a couple of drunkards.
42. Compare Caliban’s reaction and promises to Stephano to the initial relationship between Caliban and Prospero described in Act I. What effect has contact with Europeans had on Caliban? Caliban first willingly served Prospero in the same way he says he will serve Stephano. He obviously believes that it is his role to serve; he does not see himself as an equal or a friend. He probably believes that Europeans are superior because of his contact with Prospero, who clearly had greater powers than even Caliban’s mother.
43. In Act II, characters perceive both the island and each other in vastly different ways. Why do these characters perceive the outside world so differently? What do you think Shakespeare is indicating about perception and reality? It is interesting to note that how the characters perceive the island is “colored” by their prior experiences and positions. Those who have had much — power, wealth, advantages — do not see the island as having much to offer. Those who have not had as much see the island as a paradise, a utopia, a desirable place. Perhaps Shakespeare is saying that perception and reality are relative.
44. What faults in the so-called “civilized” world are pointed out in Act II? What adverse effects does Shakespeare reveal that a “civilized” world can have upon a “natural” one? Note Trinculo’s comments about the English in ll. 2.27-33. It is also interesting how easily Antonio can convince Sebastian to kill Alonso and Gonzalo, easily shrugging off any feelings of guilt. One of the credos of the civilized world seems to be: Take what you want. Antonio’s sin of the civilized world is ready to corrupt the natural world.
45. What emotions are stirred in the “civilized” characters when they come into contact with a “natural” world? What flaws does Shakespeare reveal in Caliban, the representative of a “natural” world? All of the civilized characters seem to scramble for power in the natural world — they want to rule. Caliban, the representative of the “natural” world is too naive, too gullible, unable to see when he is being used — even after his experience with Prospero.
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46. What makes the island in The Tempest otherworldly and magical, as the setting?
Its remoteness, its lack of true natives (other than Caliban), its lack of its own civilization/society
47. What elements of Act II create a comic effect?
Sebastian & Antonio making fun of Gonzalo, their opposing views of the island
the drunken interchange among Trinculo, Sebastian, and Caliban
48. What conflicts and troubling events undercut the comic effect of Act II?
Antonio & Sebastian’s plan to kill Alonso & Gonzalo.
Alonso’s grief for the loss of his son Ferdinand and his lack of desire to live
49. Would you classify as a utopia Gonzalo’s vision of how the island would be if he were king? Explain. It would be difficult to classify it as a utopia because of the contradictions in his vision. Points of it are definitely utopian. Points of it are illogical, unreasonable, impractical. Obviously it is just the seed of an idea, one that has not been very carefully thought out.
50. Would you classify as a utopia the island as it is portrayed in Acts I and II? Explain.
The magic definitely makes it seem a utopia. However, the clashes and disharmony with Caliban and Prospero’s strong-arm rule make it seem more of a distopia.
The Tempest Study Guide, Act III
Act III
51. Why doesn’t Ferdinand mind laboring for Prospero? ll. 1.4-15 - He says that Miranda makes it worthwhile; she enlivens what would otherwise be boring, and makes his toil a pleasure. She also weeps when she see him work and says no such work was ever done by one so noble.
52. Why does Miranda offer to labor for Ferdinand, both at this present task and in the future as his maid? ll.1.28-32 - She says that her heart would be in it, whereas his is not, because she would be laboring for him. She also says that he looks tired. And in ll. 1.54-55 she says that she would not wish for any other companion in the world but him.
53. Why does Prospero call this scene between Ferdinand and Miranda a “fair encounter of two most rare affections”? ll.1.74-76 - He is happy that it is mutual admiration, that they are kindred souls, that they both feel so strongly one for the other. This has become evident in this scene.
54. Why does Prospero consider the fact that Ferdinand and Miranda are willing to serve each other a sign of true and enduring love? In lines 75-76 he says may good fortune be theirs in their union. In lines 92-94 he says that this took them by surprise, but he is not surprised. He also says that nothing could give him greater pleasure.
55. What plan does Caliban suggest to Stephano? Caliban suggests that Stephano kill Prospero while he sleeps by putting a nail in his head (ll.59-60). Then Caliban will serve Stephano as lord of the island (l.56).
56. In what ways is Caliban and Stephano’s plan similar to Antonio and Sebastian’s plan? Both plans are to be carried out while the victims are sleeping, as if it would not be possible while they are awake. Both plans are to kills someone so that the perpetrators may rule.
57. What do Ariel and Prospero cause to appear before Alonso and the nobles? What happens to this apparition when Alonso, Antonio, and Sebastian approach it? Ff. l. 19 several spirits bring in a sumptuous banquet and dance around it, inviting Alonso and his party to eat. Ff. l. 52 just as they are about to eat, Ariel enters looking like a Harpy and causes the banquet to vanish.
58. What does Ariel say the apparition, and what becomes of it, reveals about the characters of Alonso, Antonio, and Sebastian? ll. 3.53-82 - He says that they are sinful and not fit to live. He reminds them of their sin against Prospero and that if they don’t want God’s wrath lowered upon them on this island, they must repent and live a blameless life from no on.
59. Why might Prospero have decided to reveal the true characters of these men in this way? It shows them as men with faults and fears, men who act with force (when they draw their swords) to get what they want. At this point they do not appear very noble at all.
60. What does Ariel say caused the tempest? ll. 3.53-58 & 73-75. Providence, Destiny, the powers (gods) have caused the tempest.
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61. What does Ariel say about Ferdinand? ll. 3.75-76 - He tells Alonso that it is the gods who have taken his son Ferdinand from him.
62. What happens to Alonso, Antonio, and Sebastian? To what does Gonzalo attribute their strange behavior? ll. 3.96-102 - Alonso is distraught; he says that he’ll join his son. On the other hand, Sebastian and Antonio are defiant and say they’ll fight the fiends one at a time, ll. 3.102-103. Gonzalo attributes their strange behavior to their guilt, which has finally taken hold (ll. 3.104-109).
63. What does Alonso believe has pronounced his guilt? The waves, the wind, and the thunder — in other words, nature (ll. 3.96-99).
64. What is his state of mind after Ariel tells him the reason for the tempest and what happened to Ferdinand? He is distraught, filled with guilt; he goes off to commit suicide (ll. 3.95-102).
65. Why do you think Caliban comes up with such a cruel scheme? Is his essential nature ambitious and wicked like Antonio’s, or is his behavior a result of the corrupting infuence of civilization upon his character? Explain. I am more inclined to think that cruelty is part of Caliban’s nature — this is evidenced by his attempt to rape Miranda and his lack of repentance when talking about it. He believes that the island is rightfully his and early on indicates his desire to rule it. It seems that he has never really recognized Prospero as the ruler of it. His mother was somewhat wicked — look what she did to Ariel. Thus, it seems logical that Caliban inherited some of this wickedness from her.
66. To what extent is Prospero playing God in Act III? Is he guilty of hubris? Why or why not? I do not really see Prospero as an overly proud man. Rather, I believe that he has come to realize the error of his ways. I think that he believes that he can be a better (most certainly, fairer) ruler than Antonio. Thus, he is ready to use the means at hand to help him resume his rule. He does not do this through force, but only through psychological means.
67. Who suffers more, Alonso or Antonio and Sebastian? Whom would you expect Prospero to be most interested in punishing? Is Alonso’s punishment at his point in the play fair, or do you think Prospero is going too far in punishing his “inveterate enemy” Alonso? Alonso definitely suffers most — he is ready to commit suicide, to join his supposedly dead son Ferdinand. Antonio and Sebastian are not ready to own up to their guilt — they plan to go off and fight the fiends. However, I would expect Prospero to be most interest in punishing Antonio, his own brother who betrayed him. True, he could not have done it without Alonso’s help, but... No, I do not think Prospero has gone too far; obviously, he will not allow Alonso to carry out his scheme to commit suicide.
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68. A foil is a character whose attributes, or characteristics, contrast with and therefore throw into relief the attributes of another character. In many ways, Miranda and Caliban are similar: they were both raised by a solitary magical parent, Prospero educated Miranda who in turn educated Caliban with her father’s help, both have lived far from civilization and have seen few people, and both believe that nobles are gods when they first see them. Why then might Miranda and Caliban be considered each other’s foils? In what way do their similar backgrounds highlight their differences? One might ask how it is that Miranda can be so caring, so loving, so sensitive while Caliban is cruel, wicked, mean. Miranda is appreciative of how she has been raised, what she has been given. Caliban, on the other hand, sees the education he has been given as a plague; he takes advantage of what he has been given by Prospero and Miranda by trying to force himself on Miranda. They make good foils for each other because they are, in a way, both “ruled” by Prospero, the one other person with whom they have lived on the island; yet their reactions to that “rule” is in direct opposition one to the other.
69. In The Tempest, Antonio and Sebastian’s plot to acquire kingship of Naples parallels Caliban and Stephano’s plan to acquire kingship of the island. These plots also parallel the background of the play, when Antonio and Alonso schemed to deprive Prospero of his dukedom. Why do you think Shakespeare creates three parallel plots in which character strive to gain political power? What do these plots reveal about the “civilized” world? about the “natural” world? In what way do the plots or the persons doing the scheming differ? In what way do their similarities comment upon such schemes in general? Perhaps the 3 parallel plots help to emphasize how important power and politics is in the civilized world, how much of life revolves around power and politics. Possibly, there is also the implication that man and nature are incompatible, that whenever more than a few people come together, there will be power struggles. Antonio & Alonso’s plot against Prospero did not include murdering him; however, the plot of Antonio & Sebastian & that of Caliban and Stephano both include murder. Alonso, Antonio, & Sebastian all three have had exposure to ruling; on the other hand, neither Caliban nor Stephano have had the experience/education for ruling. The similarities in the schemes help to point out how emotion is often the ruling factor, rather than logic or reason.
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70. As a general rule, Shakespeare usually wrote lines for his characters of noble background or high status in iambic pentameter, while he wrote the lines of characters of low status in prose. Caliban often speaks in prose, but he also speaks in verse. Analyze Caliban’s speech: “Be not afeard; the isle is full of noises,” in Act III, Scene 2 to determine its meter. In what way would you characterize the language in this speech — is it poetic or is it the language of everyday speech? What does the fact that Shakespeare chose to have Caliban speak in verse such as this reveal about Caliban’s character? Caliban’s speech — ll. 134-142 — is close to iambic pentameter in meter; however, the meter is not consistent. The speech is definitely poetic, but it is also close to everyday speech, since iambic pentameter is the meter which is most like everyday speech. By
having Caliban speak in verse, I believe that Shakespeare is saying that there is more to Caliban than it appears on the surface, there is a greater depth to him than one might first assume.
71. Spectacle is all the elements that are presented to the senses of the audience, including the lights, setting, costumes, makeup, music, sound effects, and movements of the actors. What extraordinary elements of spectacle are used in the banquet incident in Act III, Scene 3? This scene could be a director’s delight and his bane. First spirits (how to create this ethereal quality) have to produce a sumptuous banquet. Prospero is supposed to be present, but invisible. Then with thunder and lightning Ariel appears looking like a Harpy, complete with wings. These wings or some sort of device need to be used to make the banquet vanish from the table. After Ariel attacks Alonso, Antonio, and Sebastian verbally (without the other nobles present being aware of all that has thus far gone on in the scene), he needs to vanish with another round of thunder; and the spirits must appear again to remove the table. Yes, this scene is full of spectacle.
72. In the sixteenth and seventeenth centuries, masques were popular among courtiers. These were brief allegorical dramas that were lavish in spectacle and were performed by masked actors. In what way is the banquet incident similar to a court masque? If the banquet is an element of an allegory, what does its appearance and disappearance represent? Definitely the spectacle is evident in the banquet scene. Ariel is in disguise, like the masked actors, and the spirits are also unknown to the characters for whom all this is staged. There is an air of mystery to this whole scene. Perhaps the appearance represents a purpose to be served, a lesson to be learned; once that purpose is accomplished, the lesson is learned, then the banquet is no longer necessary — it just disappears.
The Tempest Study Guide, Act IV
Act IV
73. What does Prospero tell Ferdinand he must not do before marriage? ll. 15-23 - Ferdinand must not take Miranda’s virginity before marriage.
74. What does Prospero say will happen if Ferdinand does not follow his advice? ll. 15-23 - If they sleep together before marriage, their union will be denied the sweet grace of heaven. Barren hate, sour looks of disdain, & conflict will characterize the marriage, & they’ll both hate it. The greatest threat is the barrenness — no children to bless the marriage.
75. What does Ferdinand say about Prospero’s advice? ll. 23-31 - He says he hopes for peace, a family, and long life, together with enduring love. Thus nothing can or will turn his honor to lust. It would spoil the enjoyment of their wedding day.
76. What may Prospero worry will happen to his plans to regain political power if Ferdinand and Miranda do not follow his advice? He is hoping that their union will bind Alonso (and consequently the city of Naples) to him, rather than against him as in the past. However, it is important that this be done honorably through marriage.
77. What qualities or characteristics does Prospero seem to value? Does Ferdinand possess these characteristics? Explain. He seems to value Ferdinand’s love and affection for Miranda, his willingness to undergo anything for that love, his respect for Miranda and the sanctity of marriage. Definitely Ferdinand possesses these values, otherwise Prospero would not consent to give Miranda to Ferdinand.
78. Why might Miranda remain silent throughout her father’s and Ferdinand’s conversation, as well as through most of Act IV? Who knows for certain — perhaps because she is so happy that she cannot speak, so happy that she is about to realize her dream of marriage to Ferdinand. Perhaps it is because she realizes that she lives in a man’s world, that she understands her future is in the hands of Prospero and Ferdinand.
79. What goddesses appear in the masque that Prospero presents, and what blessings do they give Ferdinand and Miranda? Iris, Greek goddess of the rainbow; Ceres, Roman goddess of agriculture; and, Juno, Roman goddess of the heavens. The blessings they bestow are spelled out in their song, ll. 106-117: honor, riches, long & happy marriage, ample crops and harvests, scarcity and want shall shun them.
80. What gods does Iris say have been frustrated in their schemes? What were these gods trying to do? ll. 87-101 - Venus and Cupid — They had placed a spell on Ceres’ daughter Dis and Paphos, who’d vowed that they’d be chaste until they married; however, the spell didn’t work. Thus Dis lost her virginity to Paphos before marriage.
81. Who else does Prospero cause to appear? ll. 127-139 — He has called forth the nymphs, the Naiads, and reapers to dance in celebration of the contract of true love.
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82. What is Prospero’s motivation for showing this scene to Ferdinand and Miranda? What vision of marriage does Prospero present in this scene? Prospero seems to want to show them that he truly approves of their marriage, that he believes that nothing but good can come of it. Obviously, he believes in a marriage of true love, one that brings nothing but happiness and prosperity to the couple.
83. What does Prospero suddenly remember? ll. 139-142 — He has forgotten the plot against him by Caliban, Stephano, and Trinculo, and that he must deal with that.
84. What does Miranda say about her father? ll. 144-145 — She says she has never seen him so angry, so out of temper.
85. What does Prospero say about Caliban’s nature? ll. 189-194 — He says that Caliban is a devil, a born devil, whose nature can’t be permanently changed by a civilized upbringing. The time and trouble for humane reasons that he took to work with Caliban has been wasted. He says that as he grows uglier with age, so correspondingly his mind gets fouler.
86. What does he plan to do to the conspirators? l. 188 — He plans to catch them in the act. l. 193-194 — He will make them all suffer until they scream.
87. Why is Prospero especially angry with Caliban? Is his anger justified? See #85. He tried with Caliban, but failed. Yes, I believe his anger is justified, especially since Caliban tried to rape Miranda.
88. Of what similar experience might Caliban’s plot remind him? Of Antonio’s plot to depose Prospero; of Sebastian and Antonio’s plot to kill Alonso.
89. What does Prospero instruct Ariel to do to foil the conspirators’ plot? l. 187 — to bring some trivial articles, showy things, from his house to act as bait for catching them. l. 194 — he has Ariel hang the glittering, gaudy clothes and eye-catching accessories on a tree.
90. Which characters are fooled by this trick? Stephano & Trinculo
91. Which character is not fooled by this trick? Caliban
92. What does Caliban’s reaction to Prospero’s trick reveal about his character? Caliban is much brighter than his appearance leads people to believe. He also is not about to be sidetracked from his goal — the death of Prospero.
93. What do Stephano’s and Trinculo’s reactions reveal about their characters? Stephano and Trinculo are easily tricked — they are gullible; they definitely judge by appearance — even though the clothing is trash, as Caliban points out, they see only the glitter, the showiness.
94. In what way is the masque in Act IV similar to the masque in Act III? Again, it involves spectacle — with the appearance of spirits. Again there is the dancing of nymphs. And again, it is all an illusion.
95. In what way is it different? This masque is meant to be pleasant, to celebrate love, rather than to remind the audience of past sins. The goddesses and nymphs are not meant to scare, as the harpy did in Act III.
96. Compare/contrast Prospero’s motivation for presenting each of these masques. Both of the masques are meant to express Prospero’s feelings, but in Act III he is expressing negative feelings, and in Act IV he is expressing positive emotions.
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97. Why does Prospero break off the masque in Act III? Essentially he has accomplished his purpose — to bring out the guilt of their actions 12 years earlier against him.
98. Why does he break off the masque in Act IV? He is interrupted in the celebration of Miranda & Ferdinand’s betrothal by remembering that he has to deal with Caliban, Stephano, and Trinculo and their plot against him.
99. Prospero’s speech in Act IV, Scene 1, beginning “These our actors...were all spirits” is sometimes regarded as Shakespeare’s farewell to the theater. The term globe might refer to Shakespeare’s Globe Theater as well as to the world, and when Prospero says “We are such stuff as dreams are made on,” he might be referring to actors or even to playwrights. In what ways is Prospero like a playwright? Do you think Shakespeare intended this passage as his farewell to the theater? Could the passage be read as a farewell to life itself? If so, what philosophy does the speech present? Prospero is certainly conducting his own drama — with his machinations against Alonso, et. al, with his bringing together of Miranda & Ferdinand, with his actions against Caliban. Although Shakespeare may have been planning his retirement from the theater, I do not believe that this speech was intended as a farewell to the theater. I also do not believe that it is intended as a farewell to life itself. I prefer to interpret this speech to refer to the lovely illusion that he has created for Miranda and Ferdinand with all the blessings on the forthcoming marriage — he is saying that we are made of the same stuff as dreams, that, in other words, they can have in their marriage all of the blessings that the goddesses in the illusion has bestowed on them.
The Tempest Study Guide, Act V
Act V
100. What does Ariel say would happen to Prospero if he saw the condition of the nobles? ll. 18-19 — “Your affections would become tender.” In other words, his feelings would be touched.
101. Does Prospero agree? According to Prospero, what is the nobler and “rarer action”? l. 19 — Prospero asks, “Dost thou think so, spirit?” In line 20 Ariel replies, “Mine would, sir, were I human.” Then Prospero responds, “And mine shall.”
102. In what way is Prospero’s character changing in this act? This is a matter of opinion, but it seems that Prospero is softening now that thinks are turning in his favor.
103. Which of his magical powers does Prospero describe in detail in his speech in Act V beginning with the line “Ye elves of hills, brooks, standing lakes, and groves”?
ll. 33-50 — He says he has dimmed the sun at noon, summoned violent storms, and made the green sea and the blue sky wage roaring war. He has added fireballs to fearful, booming thunder, and split stout oaks with his own thunderbolts. He has shaken rock-solid headlands, and plucked up pines and cedars by the roots. He has awakened and released the dead. In other words, he has messed with nature.
104. What does he resolve to do in this speech? ll. 50-57 — He will give up his magic, break his wand in two, bury it in the earth, and drown his magician’s book.
105. What attitude does Prospero express toward his magic in the first part of this speech? In the first part of the speech, he seems full of the power of his magic. He says it is greater than that of the elves of hills, brooks, calm lakes, and groves, greater than that of the spirits that chase the ocean tides, greater than the fairies who make rings on village greens by moonlight so that ewes won’t crop the grass, greater than those whose pastime is to make the mushrooms grow at midnight. He says that they are lesser spirits than his magic.
106. In the latter part? He seems to realize that he no longer has use for the magic, and perhaps that he should no longer use it. He is taking drastic steps by breaking and burying his wand and throwing his magician’s book into the ocean. He is not merely setting it aside; he will no longer use it. He is abjuring or renouncing magic forever.
107. Why does Prospero make this resolution? Explain whether Prospero has conflicting feelings about making this decision. The answer is not clear in what he says. Perhaps he realizes that he must rule according to the “rules” of the civilized world; perhaps he does not want to be detracted from his duty of ruling as he was in the past. If the latter is true, then he probably has conflicting feelings about making this decision; he probably realizes that he needs to make “a clean break” so that he is not tempted to resume his studies in the future.
108. In Act V, in the speech beginning with the line “A solemn air, and the best comforter,” in what way does Prospero describe his brother Antonio? ll. 74-89 — He says that his brother allowed ambition to be a substitute for compassion and fraternal feelings. He forgives him, unnatural though he is.
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109. How does Prospero say he feels about Antonio’s past actions? Same as #108. He basically says that he thinks they are unnatural, that he can’t understand how ambition could supplant compassion and brotherly feelings.
110. With what does Prospero later threaten Antonio and Sebastian in an aside? ll.126-129 — He threatens them with exposure to Alonso, with proving they are traitors. He says that right now he’ll tell no tales.
111. What would “infect” Prospero’s mouth? ll. 130-131 — calling Antonio brother
112. What does Prospero require of Antonio? Does Antonio have a choice in this matter? ll. 132-134 — He requires that Antonio return his dukedom to Prospero, saying that Antonio really has no alternative but to give it back.
113. Does Prospero truly forgive his brother, or is he simply interested in regaining his dukedom? Why is the fact that Antonio remains silent in this act significant? Are the brothers reconciled? Explain. When he says that to call Antonio brother would “infect” his mouth, it seems that he really does not forgive his brother. Yet, immediately afterward, in ll. 131-132, he says that he forgives the foulest of Antonio’s deeds, in fact all of them. Taken literally then, it seems that Prospero forgives the deeds, but not really his brother. I believe that Antonio’s silence is an indication that he is not happy with the turn of events, but that he is resigned to accept them, or suffer the consequences. Thus, it would seem that the brothers are not reconciled — they have merely accepted the circumstances, if begrudgingly. And perhaps it really is the dukedom in which Prospero is most interested, not in a reconciliation with his brother.
114. What does Alonso restore to Prospero? ll. 118-119 — He says, “Thy dukedom I resign, and do entreat / Thou pardon me my wrongs.” In other words, he restores Prospero’s dukedom to him and begs forgiveness for the wrongs he has done to Prospero.
115. According to Prospero, why does he embrace Alonso? ll. 108-109 — Prospero says, “For more assurance that a living prince / Does now speak to thee, I embrace thy body...” He hugs Alonso so that Alonso will now that he is real, not some illusion.
116. What does Prospero say that he too has lost? ll. 148-149 — “...for I / Have lost my daughter.”
117. For what does Alonso wish? ll. 149-152 — He says that he wishes they were both living in Naples as king and queen. If that could be, he’d wish himself buried in the oozy mud of the seabed, where his son lies.
118. What “wonder” does Prospero show Alonso to “content” him? ll. 165-171 — Prospero shows Alonso the cell where he lives, but the “wonder” is that Alonso’s son is alive, playing chess with Miranda in the cell. That is the “wonder” that he brings forth, to “content” Alonso as much as Prospero has been with his dukedom.
119. What does Prospero’s embrace of Alonso represent? It probably represents the peace that has been established between them, but more so than that, it also represents Prospero’s forgiveness of the wrong Alonso has done him.
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120. Why do you think Prospero continues to let Alonso believe that Ferdinand and Miranda are dead for a while? What is Prospero hoping to see in Alonso? Prospero probably lets Alonso believe that Ferdinand and Miranda are dead for a while because he is measuring the actual extent to which Alonso is sorry for the wrong done to Prospero. Alonso’s wish that he were dead instead of Ferdinand is the evidence for which Prospero is looking.
121. In this act, Prospero says of Caliban, “this thing of darkness I / Acknowledge mine.” This line has sometimes been interpreted to mean that Caliban represents Prospero’s dark side and that Prospero is acknowledging this aspect of himself. Are Prospero and Caliban similar in any way, or are they completely different? What might Prospero’s dark side be? Why might his acknowledgment and acceptance of this dark side be important? Explain whether or not you find this to be a reasonable interpretation of this line. ll. 276-277 -- One might say that they are similar in that they use people for their own purposes. However, basically Prospero is a good person, while basically Caliban is evil. If Caliban is indeed a representation of Prospero’s dark side, then that dark side is probably Prospero’s magic and his use of it to bend things and people to his benefit/advantage. Then it would make sense that renouncing his magic is renouncing his dark side. In other words, he will no longer use that side of him to act. In that way, the acknowledgment and acceptance of his dark side is most important — it indicates how Prospero will live the remainder of his life. Thus, it is a reasonable interpretation of the line. On the other hand, the line might only indicate that since Prospero is the one who introduced Caliban to the “civilized world,” he sees Caliban as his duty and responsibility, just as Stephano and Trinculo are Alonso’s responsibility.
122. In the epilogue, to what is Shakespeare comparing a magician without his magic? Why is Prospero in a similar position to all the characters who have been held captive in the play? ll. 2-3 — to a feeble man at the mercy of his king. Prospero’s future now rests with God/Destiny/the spirits. Whether he must remain on the island or will be allowed to return to Naples and his dukedom, is up to God...He begs for mercy, just as Alonso earlier begged for forgiveness.
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123. Is Prospero motivated by virtue and mercy or by the desire to regain his own political power? Why did Prospero choose Ferdinand as Miranda’s future husband? How might this marriage further his goals? Why does he renounce his powers? I believe that he is motivated by all three — virtue (realizing that he earlier did not accept responsibility as he should have), mercy (which he definitely has shown to Alonso, to some extent to Antonio and Sebastian, and to Caliban in assuming responsibility for him), and desire to regain his own political power (mentioning his dukedom in the epilogue, expressing his desire to return to Milan in the last few lines of the play, restoring Ferdinand to Alonso after Alonso restores his dukedom to him). Earlier in the play he said that Fate had indicated the time to act was now, that if he were to reclaim his dukedom and accept the responsibility that he had shirked, he must take action. I believe Prospero chose Ferdinand as Miranda’s future husband to cement the relationship between Naples and Milan, to ensure that in the future Alonso would not turn on him once again. But, I also believe that he recognized their affection/love for each other and that he truly desired that for Miranda, that she be happy. In renouncing his powers, Prospero has truly accepted his responsibility as duke of Milan; he will not allow them to sidetrack him from his responsibilities as they did in the past. He may also be renouncing his dark side.
