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The Storyline 5

1. The Storyline

The play opens with a shipwreck. When Alonso, King of Naples, was returning from
the wedding of his daughter to a prince abroad, his ship was caught in a terrible
storm. In his company were Duke Antonio of Milan and other gentlemen of the court.
As the storm rose in fury, it seemed certain the vessel would split and sink. The noble
travellers were forced to abandon the ship and trust their fortune in the open sea.

Story of Prospero: The tempest was raised by Prospero, a learned magician. The ship
sailed close to an isolated, enchanted island on which he and his young daughter
Miranda were the only human beings. Theirs had been a sad story. Prospero was the
Duke of Milan, who was devoted more to the study of magic than to his dukedom.
Antonio, his brother, seized the dukedom the help of the King of Naples. Antonio
with
set Prospero and his daughter adrift in a boat. Gonzalo, a noble of Naples took pity
on them and stocked their boat with food, water, clothes, and other necessities,
including books of magic and philosophy from Prosperos library.

Introduction of Caliban: The exiles drifted to an island which had been the refuge
of Sycorax, an evil sorceress. There Prospero found Caliban, a misshapen creature
of animal intelligence. He was only able to split wood and draw water. Obedient to

Prosperos will were many good spirits of air and water, whom he had freed from
torments of the sorceress Sycorax. Ariel, a lively sprite, was chief of them.

Introduction of Ferdinand: Prospero, having used his magic to draw the ship
bearing King Alonso and Duke Antonio close to his enchanted island, ordered Ariel
to bring the whole group safely ashore. Ferdinand, King Alonsos son, was moved by
Ariels singing to follow the spirit to Prosperos cell. Miranda, who remembered seeing
no human being but her father, at first sight fell in love with the young prince, and
he with her. Prospero was pleased to see the young people so attracted to each other,
but he withheld his pleasure, spoke harshly to them, and to test Ferdinand, ordered
him to do menial tasks.

Plot to Kill Alonso: Meanwhile Alonso, Sebastian, Antonio, and Gonzalo wandered

sadly along the beach. Alonso was in despair because he believed his son was
drowned. Ariel, invisible in air, played music, putting to sleep all except Sebastian
and Antonio. Drawing apart, they planned to kill King Alonso and his counsellors
and make Sebastian, the King of Naples. In the nick of time, Ariel awakened those
who were asleep before the plotters could carry out their plan.
6 The -
Tempest Workbook

Plot to Kill Prospero: On another part of the island Caliban, carrying a load of
wood, met Trinculo, the kings jester, and Stephano, the royal butler, both drunk.
They offered a drink to Caliban. The drunk monster declared he would be their slave
forever. Just as Sebastian and Antonio had plotted to murder Alonso, so Caliban,
Trinculo, and Stephano schemed to kill Prospero and become rulers of the island.
Stephano was to be the king, Miranda his consort; Trinculo and Caliban would be
viceroys. Unseen, Ariel overheard their evil designs and reported the plan to Prospero,

Miranda Falls in Love

Meanwhile Miranda had disobeyed her father by interrupting Ferdinands task of

rolling logs. The hidden magicians commands were forgotten; the two exchanged
lovers vows. Satisfied by the princes declarations of devotion, Prospero left them.
Prospero, went with Ariel, to mock Alonso and his followers by showing them a banquet
which vanished before the hungry could taste the rich dishes. Then Ariel, disguised
as a harpy, reproached them for their conspiracy against Prospero. Alonso thought
that Ferdinand has perished in the storm. Convinced that Ferdinands death was a
punishment for his own crime, Alonso was moved to repentance for his wicked deed.

A Pastoral Masque

Then, Prospero released Ferdinand from his hard toil. While spirits dressed as Ceres,
Iris, Juno, nymphs and reapers entertained Miranda and the Prince with a pastoral

masque, Prospero suddenly remembered the schemes which had been devised by
Caliban. Told to punish the plotters, Ariel first tempted them with a display of kingly
garments; then, urging on his fellow spirits in the shapes of fierce hunting dogs, he
drove them howling with pain through bogs and brier patches.

Theme of Forgiveness

Prospero that the King of Naples and his own brother Antonio had
was convinced
repented the evil deed they had done to him some years ago. Prospero commanded
Ariel to bring them into his cell. Ariel soon returned, bringing Alonso, Antonio,
Sebastian, and Gonzalo. At first they were astonished to see Prospero in the attire
of the wronged Duke of Milan. Prospero confirmed his identity, ordered Antonio to
restore his dukedom, and warned Sebastian not to plot further against the king.

Reconciliation and Rejoicing

Finally, Prospero took the repentant Alonso into the cell where Ferdinand and
Miranda were playing chess. There was a joyful reunion between father and son
at the unexpected meeting. During this scene of reconciliation and rejoicing, Ariel
appeared with the master and boatswajn of the wrecked ship. He said that the ship
was safe and they could continue the voyage. Caliban was ordered to prepare food
and set it before the guests. Prospero invited his brother and the King of Naples to
spend the night in his cell.

Before he left the island, Prospero freed Ariel from his service, leaving him to
wander as he wished. Ariel promised calm seas and auspicious winds for the voyage
back to Naples and Milan, where Prospero would journey to take possession of his
lost dukedom and to witness the marriage of his daughter and Prince Ferdinand.

2. Detailed Characterisation

Prospero

Prosperos early character. Prospero was the Duke of Milan, who was known for his
goodness and knowledge of the liberal arts. He neglected his duty of governing his
State and held himself aloof from the world, leading a life of meditation and study. He

put too much faith in his brother, Antonio whose character he did not judge correctly.
Finding Prospero engrossed in books, Antonio seized the opportunity to acquire more

power and succeeded in driving out Prospero from the State. He (Antonio) was helped
by the King of Naples with whom he had entered into a conspiracy. Thus Prospero
paid the penalty for his indifference to his duties as the Head of State. It was on
account of his popularity with the general public that his enemies did not dare to

destroy him. The noble Lord, Gonzalo, furnished him, at the time of his banishment,
with the provisions and books that Prospero valued above his Dukedom.

His sympathetic nature: The age and the experience of adversity did not in any
way embitter Prospero. His love for Miranda consoled him in his darkest hours and
enabled him to endure the hardships. Prospero uses terms of great endearment for
Miranda. He calls her a beloved darling, dear heart, a rich gift, a third of his own life.
Talking to Ferdinand, he lavishes the highest praise upon his daughter and says that
no amount of praise can do justice to her. The happiest time of his life was when he
found the love of Miranda and Ferdinand attaining its fulfilment.

Prosperos treatment of Ariel is also characterised by his tender feelings. It is true

that on one occasion he strongly rebuked Ariel but he always uses words of affection
and encouragement towards Ariel, like my brave spirit, delicate Ariel, my Ariel,
chick. When he is about to liberate Ariel, he says Why, thats my dainty Ariel. I shall
miss thee. Such a quality of tenderness makes Prospero very lovable.
His shrewdness on the
Prospero shows his shrewdness
island: in dealing With
people and spirits. In fact, he has become more vigilant now than earlier when he
Was the Duke of Milan. He now takes care to protect himself against the possibility of
being a victim. He has learnt to deal with human nature. He has come to know from
Caliban that no amount of educationand training can cure a person of his inborn
wickedness. In Milan, he gave his power into his brothers hands Without thinking
that any evil could come of it. Then the evil followed. Later on he tests Ferdinands
sincerity before entrusting his daughter to him. By now Prospero has learnt the ways
of the world through adversity.

Exercise of supernatural powers: Prospero does not use his supernatural powers
for evil purposes. He makes use of his powers only to bring about good results. He
causes the shipwreck to bring Ferdinand and Gonzalo as well as his enemies under
his influence. He leads Ferdinand to Miranda. He foils the plot of the traitors and
afterwards tells them that he was aware of it. Similarly, he frustrates the plot of
Caliban, Stephano and Trinculo. He makes Antonio, Sebastian and Alonso repent for
their sins. Finally, he regains his Dukedom.

His spirit of forgiveness: Forgiving nature is the most noble quality of Prospero.

Having unlimited power to punish his enemies, he treats them with leniency. He
believes that (forgiveness) the rarer action is in virtue than in vengeance. Instead
of satisfying his instinct for revenge he is satisfied with remorse and repentance on
the part of his enemies. When Ariel describes the distracted condition of Alonso and
the other sinners, Prospero softens towards them. In his last words, in the Epilogue,
Prospero speaks of mercy, prayer and forgiveness. Indeed, the spirit of forgiveness is
the most striking quality of Prospero.

Miranda

Miranda is one of the most charming feminine creations of Shakespeare. In the words
of Ferdinand, Miranda is so perfect and so peerless , and created of very creatures
best. She fascinates us by her natural charm and her simplicity, her trustfulness,
and her tenderness of disposition.

Her physical beauty: Her beauty has been conveyed to us not' through a catalogue
of qualities of her face, features and figure but through the effect which her image
produces not only on her youthful lover but also on elderly people. It is not only
Ferdinand her to be a goddess when he sees her for the first time.
who thinks
Even Alonso, at the first sight of her, says, Is she the goddess that hath served us
and brought us thus together? Caliban goes almost poetic in his reference to the
loveliness of Miranda.

Her sympathy and tenderness: Her most conspicuous quality is her sympathy.
Having seen the shipwreck, she has suffered greatly. The cries of the ships
passengers did knock against her very heart. On hearing her fathers narration of
his banishment, her heart is filled with sorrow, thinking of his distress. At Prosperos
reference to the concern of Gonzalo
goes out in sympathy
her heart towards him
and she expresses the wish to see that noble soul. Her deepest pity is aroused to see
Ferdinand suffering under the burden of toil imposed upon him by Prospero. She

pleads with her father on behalf of Ferdinand.

Her innocence: Miranda is free from hypocrisy and deceit. Untainted by the
sophistication of civilisation, her innocent nature knows no concealment. She declares
her love for Ferdinand With a remarkable frankness, discarding false modesty. Her
natural simplicity is seen in the following words spoken by her to Ferdinand:

Hence, bashml cunning!

And prompt me, plain and holy innocence:
I am your wife if you will marry me;
If not, I will die your maid.

Cheerful Temperament: Mirandas character is marked by Prospero when she was

a little child. Her smiles were a source of great comfort and strength to her father.
When she learns from her father that she is a princess by birth, she does not feel any
regret at having lost the royal life. On the contrary, she asks her father if there might
not be a blessing in their adversity.
Her love for Ferdinand: She falls in love with Ferdinand at first sight which is
quite natural because she had never seen a man with the exception of her fathert

Besides, Ferdinand is young and good-looking; but her love, though sudden is not a
passing fancy. Her love is deep, genuine and passionate. Because of her intense love
for Ferdinand, she forgets certain injunctions of her father. For Ferdinands sake,
she would gladly undergo the toil and labour of carrying logs of wood. Although her
devotion to her father is great, yet she is not prejudiced against Ferdinand by all the
disparaging words that her father says about him.
Her father is fully convinced of the depth and lasting nature of her passion; otherwise
he would never have offered her to Ferdinand in marriage. As an unseen observer of
their courtship, he comments on their love:

Fair encounter of two most rare affections:

Heavens rain grace on that which breeds between them!

Caliban

His appearance: Caliban is the son of the witch, Sycorax. In his outward
appearance, he has some resemblance to a fish, which Trinculo takes him to be. He is
half-monster and half-human. He is of an evil nature, is engaged in wicked projects
and uses abusive language. He is said to be as disproportioned in his manners
as in his shape. Thatis why he is referred to as the mis-shapen knave. He is
contemptuously addressed by Prospero as thou earth and thou tortoise.

His wickedness: His name is an anagram of cannibal. In other words, if we

earrange the letters of his name, we get the word cannibal.

And, indeed, he is

avage and brutal like a cannibal. His earthy nature presents a sharp contrast to the
celestial nature of Ariel. Caliban is gross and beastly. He resists all active occupation
and recognises no moral law.

He is regarded as an unconscious anticipation of the evolutionary missing link,

because he represents mankind at the brute stage. He is morally a devil.

His mind has rightly been compared to a dark cave, into which the light of
knowledge neither illuminates nor warms it, but only serves to put into motion
poisonous vapours.

His cowardice: is not moved by kindness. Only brutal torment can subdue
Caliban
him. He clings at Prosperos feet and trembles with fear when he thinks of Prosperos
tormenting Spirits. He is revengeful and would like to murder his master; but he
prefers to do it through the drunken sailors.

The manner in which he hatches the plot to kill Prospero in his sleep is clearly
indicative of his cowardice. His repentance and promise to reform, when his plot is
exposed, are a product of his cowardly nature, because he can never change.

His shrewdneu and common sense: In the execution of his plan to murder Prospero.
he shows much shrewdness and common sense. He gives sensible advice to his fellow
conspirators. He urges them first to seize Prosperos books, asking them further to
walk softly so that Prospero may not hear the sound of their footsteps.
 He is observant: Caliban has a complete knowledge of the island. He knows all the
qualities of the island, the fresh brine pits, the barren and fertile places. With his long
nails he can dig up pig-nuts. He promises Stephano to show him a jays nest and to
teach him how to catch the nimble monkeys. He can also get seagulls from the rocks.
Prospem has taught him to make dams for the fish, to wash dishes and to keep his
cell clean.

The rude eloquence of his speech: He has been taught the human language by
PNSpero. But his speech mainly reilects his earthy nature.
This is how he curses Prospero and Miranda to be affected by:

All the infections that the sun sucks up

From bogs, fens, flats,
This kind of language has become a regular habit with him. He called on toads,
beetles, bats, hedge-hogs, adders and moles in his curses.

Ariel

Ariel, a spirit of the air, is lighthearted and cheerful. Though a spirit of the air,
he is equally at home on earth, on sea and in fire. He can fly, swim, and penetrate
the earth. He can work both by day and by night. Unlike most spirits, he to feels
sympathetic towards human beings in their misery. After seeing King Alonso and
others in great distress, he reports their condition to Prospero in words that are
touched with sympathy. He had remained imprisoned for twelve years in a pine tree
where he had been confined by Sycorax. He was set free by Prospero.

His love of freedom: Ariel wants freedom from all control. When we first see him, he
is in melancholy and moody because PrOSpero is setting him tasks. Prospero repeats
his promise of freedom to Ariel several times in the course of the play, and twice Ariel
reminds him of the promise.
His sense of duty: Although Ariel loves freedom, he performs the duties imposed on him.
He is proud of the manner in which he is able to carry out Prosperos commands.
He does not shrink from work and frequently reminds Prospero of his usefulness.
Remember, I have done thee worthy service, he says to Prospero on one occasion.
His desire for praise is seen again when, after defeating the plot against Alonsos
life, he says to himself: PmSpero my lord should know what I have done.
Prospero from his side
gives him ungrudging praise, frequently using words of
encouragement and endearment. My brave spirit, '{fine apparition! my quaint Ariel,
my tricksy spirit are some of the phrases with which Prospero acknowledges the
services of Ariel.
His love for Prospero: Ariel is bound to Prospero by a feeling of gratitude and he
loves Prospero so far as love for any human being can enter into his being.

of great affection with his master. Barring one occasion on which

He is on terms
he shows impatience with Prospero for setting him so many tasks and postponing his
liberation, he shows a devotion to Prospero that is rarely found in spirits.

A Spirit of Mischief: His playful nature is shown by the zest with which he performs
those duties which enable him to use his powers on Stephano and Trinculo. The
scene in which he sows discord among Caliban, Stephano and Trinculo is full of
childish foolery. Later he gives an account of it to Prospero in a manner that shows
that he enjoyed the fun of it all. Ariels conduct towards Trinculo makes Stephano
complain to Caliban thus: Monster, your fairy which you say is a harmless fairy has
done little better than played the Jack with us.
Ariels music: This music of Ariel works irresistibly on those who hear it. His music
. iminishes the fury and passion of the waves; it lures Ferdinand towards Prosperos cell;
awakens Gonzalo at the time When Sebastian and Antonio are about to murder King
Alonso. It speaks through the elements to Alonso and arouses repentance in his heart.

Alonso

A villain: Alonso is a villain in the play. He is not completely a wicked man as

Antonio and Sebastian are. Ariel includes him in his denunciation of the three men

of sin, most unfit to live.

His crime: Alonsos relations with Prospero were strained when the latter was the
Duke of Milan. Antonios plan to usurp his brothers Dukedom had a chance to
succeed. Alonso gave his support to Antonio in this regard. If the plan succeeded,
Alonso would be entitled to an annual tribute from Antonio, who agreed to recognise
Alonso as his sovereign Lord and to make the State of Milan a tributary to Naples.
Alonso behaved unjustly towards Prospero by exposing him and his young daughter
to the mercy of the winds and waves.

His love for Ferdinand: Alonso is treacherous to Prospero. But he loved his son,
Ferdinand dearly. When he thinks his son to have been perished in the shipwreck he
is inconsolable. He wanders about the island in search of him. But he is not found.
Subsequently, on finding his son alive, he is exceedingly happy.

His repentance: Alonso is not as bad as Antonio. Antonio and Sebastian are

unscrupulous. Alonso becomes a rogue under the pressure of circumstances, while

the other two are radically rogues. That is the reason why Alonsos conscience is
 quickly awakened when Ariel accuses him of villainy. He is so overwhelmed by
remorse that he repents his bad action. He says to Prospero on meeting him:

Thy Dukedom I resign and do entreat,

Thou pardon me my wrongs.

Ferdinand

Ferdinand is the hero of the romantic plot in the story. He produces a good impression
on us, right from the beginning.

His courage and strength: During the shipwreck, Ferdinand shows courage and
presence of mind. He braves the fury of the waves. He undergoes the hardship
imposed upon him by Prospero and shows himself as a fearless and courageous man.
Prospero says that Ferdinand has acquired Miranda by worthily passing the test to
which he was subjected.

His love for his father: Ferdinand loved his father and was much attached to him.
He has been gloomy grieving over the supposed loss of his father. He says that, since
he saw the ship wrecked, his eyes have not been at ebb. Prospero speaks of him as

something stained with grief. When he meets his father, he experiences a thrill of

joy and kneels before him with a sons devotion.

His love for Miranda: He is deeply in love with Miranda. He falls in love with her at
first sight. He says that, if he can have a glimpse of her, it would compensate him
for all his hard work to which Prospero is subjecting him. He says that he has come
in contact with many ladies possessing several qualities but he always found some
flaw in each of them. But Miranda is to him perfect and peerless and created of
every creatures For her sake, he readily undergoes
best. the task given to him by
Prospero but he is willing to sacrifice his crown in order to stay on with Miranda.
When Miranda offers to share his work in carrying the logs, he says:

No, precious creature;

I had rather crack my sinews, break my back,
Than you should such dishonour undergo,
While I sit lazy by.

Ferdinand is brave, honourable, and pure in his thoughts. In his relationship

With Miranda he displays loyalty, grace, and self-sacrifice.
 Gonzalo

His loyalty: Gonzalo is a lord at the court of King Alonso. His most striking qualities
are his sympathetic nature and his loyalty to his King. When Alonso is sad at the
supposed loss of his son, Gonzalo consoles him. When Sebastian makes Alonso
more miserable by saying that he himself is responsible for his misfortunes, Gonzalo
rebukes him to set him on the right path.

His sympathetic nature is clearly revealed to us in the manner in which he tries

to help Prospero at the time of the latters banishment. He not only supplied ample

provisions on the boat but also a number of books which Prospero valued above his
Dukedom.

Talkative Nature: Gonzalo had a talkative

disposition. In Act II, Scene I, we see his
talkative nature. Though the King does not want to listen to Gonzalo, yet he does
not stop talking. You cramp these words into mine ears, against the stomach of my
sense, says King Alonso to Gonzalo, but that does not dampen Gonzalos zest for talk.
His cheerfulness: In the opening scene, when the ship was in danger of being wrecked,
he talks in a lighter mood, deriving comfort from the Boatswain who exercises his
authority on the ship. In the midst of the danger, he feels hopeful, on the ground that
the Boatswain has no drowning marks upon him and that he (Boatswain) will die of

hanging on land.

Antonio

The villain of the play: Antonio is the brother of Prospero the Duke of Milan. Having
been entrusted the work of administering
with the country, he employs all kinds of
unfair means for the attainment of his objective of becoming the Duke. He causes his
brother Prospero to be banished but he even tries, to bring about the death of both
Prospero and his infant daughter Miranda. I-Ie seeks the support of Prosperos worst
enemy, Alonso, to whom he agrees to pay a certain sum of money every year.
In dealingwith Sebastian,he uses flattery, appealsto the latters ambition. When
Sebastian asks him whether conscience does not make him uneasy, he say that there
is no such thing as a conscience. Conscience, he says, should not stand between a
man and his ambition.

A scoffer: Being devoid of human feeling, Antonio joins Sebastian in mocking at

Gonzalo when the latter tries to console Alonso in his grief. The mockery in which he

L.
indulges is a kind of a screen for his crafty designs. He would take advantage of the
Kings grief. Speaking to Sebastian, he says:
I am right glad that he s so out of hope.
Do not, for one repulse, forego the purpose
That you resolved to effect.

When several strange shapes appear, bringing delicious dishes at a banquet,

Antonio indulges in loose talk. When Ariel denounces the three culprits, Antonio is
not affected by remorse as Alonso is; on the contrary he persists in an attitude of
self-defence.
Sebastian

Sebastian is the brother of King Alonso. He is a villain. He becomes a partner with

Antonio in the conspiracy against his brother, Alonso. The fact is that Sebastian is
not the author of the conspiracy. The .plot is suggested by Antonio though Sebastian
offers to work for it. There is an unconscious ambition in him. He hardly offers any
resistance to the evil which Antonio injects into him.
His cruelty: Sebastians cruelty appears not only in joining the plot to murder Alonso
and Gonzalo. When Gonzalo tries to console Alonso in the latters grief over the

supposed death of his son Ferdinand, Sebastian simply aggravates the Kings gloom.
Further he aggravates Alonsos grief by putting the blame for the whole misfortune
on Alonso.

A scoffer: Antonio and Sebastian form an excellent pair both for intrigue and for
ridiculing others. Sebastians mockery is merely a cloak for his own guilt. When Ariel
threatens the three sinners with dire consequences, Sebastian is a defiant.

No repentance in him: Of the three criminals responsible for the wrong done to
Prospero, Alonso is the only one who is filled with remorse and repentance. In the
case of Sebastian, like that of Antonio, we do not find any signs of repentance.

Stephano

A drunken butler: Stephano is King Alonsos butler. He has a strong liking for liquor.
Having escaped on a cask of wine, he is now making an excellent use of that cask. He
has been drinking all the time since the shipwreck. When it was suggested to him that
he should stOp drinking, he insists that he will not stop till the whole cask is emptied.
Indeed, his drunkenness is very amusing. The bottle of wine is as sacred to him as
the Bible. When he has lost his bottle in the filthy pool into which he was led by Ariel,
he bemoans the loss and would like to go back to the pool to recover his bottle.
 A bully and a braggart: At a suggestion from Caliban, Stephano begins to think
himself the King of the island. He looks upon Trinculo and Caliban as his subjects.
When Caliban complains to him against Trinculo, Stephano rebukes Trinculo and
warns him against any further disgrace to Caliban. Later, he slaps Trinculo for being
disrespectful to him. He is tempted by Calibans plot to murder Prospero because
then he would make Miranda his queen. But all his courage is derived from liquor.
When Ariel invisible plays upon a drum and a pipe, Stephano is frightened and prays
to heaven for mercy.

His misadventures: Led by Ariels music, Stephano with his comrades plunges into
a filthy pond in Which he loses his bottle of wine. Then he is tricked by Prospero into

mistaking the frippery hanging upon the line for regal robes. A little later, he, along
with his comrades, is chased away by dogs and hounds. Indeed, his drunkenness
has exposed him to these comic situations.

Trinculo

Trinculo is King Alonsos jester. He is not one of those Shakespearean clowns who
possesses both wit and wisdom. Trinculo is rather a fool by nature. When we meet
him first, he is trembling with fear because another storm is brewing and he does
not know where to take shelter. On seeing Caliban who is crouching on the ground,
T rinculo thinks him to be some strange variety of fish. He feels very happy to meet

Stephano on the island, because he had thought himself to be the only survivor of
the shipwreck.

He has a great weakness for liquor, but he has sense enough to perceive the
absurdity of Caliban treating Stephano as a god descended from heaven. When Caliban
cringes before Stephano, Trinculo makes amusing comments on the situation.
Trinculo is not much interested in the plot against Prospero, though he does
co-operate with the other two in their conspiracy. Like the other two, he is also
chased away by dogs and hounds.

3. Plots

The Unity of action requires that a play should contain one main plot. Strictly
speaking, the Unity of action does not permit any sub-plots. There should be one

single plot, and all situations and incidents should contribute to its development,
Without diverting the attention of the audience to other things. However, the romantic
 contain one main plot and severalsubplots,which are related
playsof Shakespeare
to the main plot. The plots in The Tempest are:
The Main Plot

The main plot in The Tempest has the story of Prosperos revenge on his enemies by
using his magic powers. Prospero has been deprived of his dukedom by his brother,
Antonio, with the support of Alonso, the King of Naples. Along with his infant daughter,
Miranda, he was exposed to the dangers of waves and winds on the sea. Only by the
grace of God did he land safely on an island. He uses supematural powers for taking
revenge on his enemies. But Prosperos revenge is forgiveness, Rarer action is in
virtue rather than in Vengeance, he says. But the evil-doers must not be forgiven too
easily. They must be made to realise their guilt and they must be repentant. Through
the agency of Ariel, Prospero succeeds in awakening the conscience of Alonso and of
Antonio and Sebastian. The play ends with a scene of repentance and reconciliation.

Subplot-l: The Conspiracy of Antonio and Sebastian

Subplot in the play is the conspiracy of Antonio and Sebastian to murder Alonso.
Finding Alonso and other members of the group asleep, Antonio instigates Sebastian
to murder his brother Alonso, a suggestion to which Sebastian agrees. This plot
is foiled by Ariel. Just When the two villains are about to strike at their victims,
Ariel awakens the unsuspecting Alonso and Gonzalo. This subplot which serves
to emphasise the villainy of Antonio and Sebastian and thereby makes Prosperos
forgiveness of these evil-doers look even nobler. Besides, this intrigue is an example
of What is known as parallelism. Just as Antonio was treacherous towards his
brother Prospero, so was Sebastian towards his brother Alonso.

Subplot-Z: The Intrigue of Caliban

The intrigue of Caliban against Prospero is a comic subplot in the play. In spite of
Prosperos efforts to civilise Caliban, the latter remains a beast. This monster curses
Prospero. When he meets the drunken Stephano and Trinculo, he hatches a plan
to murder Prospero. The plot is frustrated by Ariel and all the three conspirators
are chased away by Prosperos spirits appearing in the shape of dogs and hounds.
Calibans intrigue is not closely connected with the main plot of Prosperos revenge
on his enemies, Antonio, Alonso, and Sebastian. Calibans subplot provides a comic
relief in the play and serves as a relief to the tension caused by the conspiracy of
Antonio and Sebastian against Alonso.

Subplot-3: The Love of Ferdinand and Miranda

The love story of Ferdinand and Miranda is another subplot. It is interconnected with
the main plot. Miranda is the daughter of Prospero, while Ferdinand is the son of
 Prosperos enemy, Alonso. The falling in love of these two is intended to emphasise the
reconciliation which is the theme of the play. The union of Ferdinand and Miranda
sets the seal upon the forgiveness and binds Prospero and Alonso with a close tie.
Thus, the love affair of Ferdinand and Miranda, apart from providing a romantic
interest in the play, appears to be an inseparable part of the larger design of bringing
about the final reconciliation.

4. Themes

1. THE PURSUIT or POWER

One of the leading themes of The Tempest is the pursuit of power. Several characters
in the play have a strong desire for attaining power and for asserting themselves.

1. Prosperos use of his Supernatural Powers

Prospero acquired supernatural powers by developing his mind. He uses them only
for good purposes because he has subdued his evil instincts and therefore feels no
desire to do damage to anybody.

By his supernatural powers, Prospero controls even Ariel, Who is himself a

supernatural being; and he controls numerous other spirits as well. Prospero creates
a great turmoil in the sea and in the sky. By his supernatural powers, he could make
the rocks tremble and uproot the pine and cedar trees. Prospero further says that, at
his command the graves used to open and allow the ghosts to come out.

The action of The Tempest is governed by Prosperos supernatural powers which

he exercises through Ariel. It is by such powers that he subdues his enemies and
creates situations in which they are led to repent for their past actions.

2. Ariels Use of Supernatural Powers

Ariel exercises his supernatural powers under the command of Prospero. He cause
a storm on the sea; he saves the ship, he saves the passengers and the crew. Ha
scatters the passengers on the island. He lures Ferdinand to Prosperos cell. He foil-
the conspiracy hatched by Antonio and Sebastian against Alonsos life. He bring
Alonso and the others into Prosperos presence. Finally, he makes arrangements fo
Prospero and all the others to embark upon a voyage to Naples.

3. Pursuit of Power by Antonio and Alonso

The power which Antonio sought was political. Having been entrusted with th
responsibility to govern the state of Milan, Antonio became ambitious. Finding that
his brother was engrossed in study, Antonio began to arrogate to himself mor

M J"
authority which, in reality, belonged to Prospero. Using all unfair means, Antonio
acquired a hold on all the organs of the government, and ultimately entered into a
secret agreement with Alonso, the King of Naples. Antonio carried out his plan to oust
Prospero from his dukedom.
Alonso helped Antonio in his plan because he had been a sworn enemy of Prospero
and by helping Antonio, he could add to his own power. According to his agreement
with Antonio, Antonio was to pay him an annual tribute of money and submit to his
authority. Thus, Alonsos motive for helping Antonio was to extend his own power.

4. Sebastians Desire for Political Power

Later in the play, Antonio instigates Sebastian to murder his brother Alonso, who is
asleep. Antonio succeeds in convincing Sebastian that, if Alonso is murdered, he could
become the King of Naples. Sebastians motive in agreeing to Antonios suggestion is
the same as Antonios motive in expelling Prospero from Milan. Sebastian hopes to
become the King of Naples by murdering his brother Alonso. Thus, Sebastians quest
for power motivates him to agree to Antonios suggestion.

5. Stephanos Ambition for Power

On a lower level, Stephano wishes to become the king of the island. Caliban instigates
Stephano to murder Prospero if he wants to become the king. Stephano, who is
already semi-drunk, accepts C. 'bans suggestion promptly because he sees a bright
future for himself. He goes so f . as to appoint both Caliban and Trinculo as his
deputies. Stephano begins to exe ise his authority by slapping Trinculo and by
threatening Caliban with expulsion if he does not obey his orders. However, there is
a sad fate awaiting Stephano. v e becomes the object of Prosperos wrath and faces
defeat because of Ariels act' . a.

II. SIN, ATONEMENTAND RECONCILIATION

Such a theme pattern in Shakespeares

is a common later plays. It is usually
given expression in the love story of the members of a younger generation, who, in
their innocence, cancel the betrayal by their elders. Thus, is the happy ending of
Shakespeares romances. It is a dramatic statement of the way in which the evil can
be overcome by good.

The theme of sin, atonement, and reconciliation is seen throughout the play. The
story of The Tempest tells us that Prospero, the Duke of Milan, allowed his dukedom
to be usurped by his brother, Antonio. This is the starting point of the chain of events
Which lasts till the end of the play.
 In the course of the play, Alonso suffers the loss of his son, Ferdinand, and in his
grief (and under Ariels direction), he recalls his sin against Prospero, repents of it, and
is reconciled with Prospero. He has atoned for the evil he has done. The reconciliation
is cemented by the marriage of Ferdinand to Prosperos daughter, Miranda.

III. CONTRABT semen Nam m Socm'n'

One of the most pervasive themes of The Tempest is the contrast between nature and
society. Caliban is the central ligure here. Caliban's name is probably an anagram
of cannibal. The conventional view that society is, by definition,
Renaissance goo¢
But the man outside of society, in his natural state, is bad.
For the orthodox Renaissance thinker, society with its rules, and hierarchical
order was of a divine creation. It is this notion of a divine order in society that lies
behind Shakespeares historical plays and also behind the historical doctrine of the
divine right of kings. That is: since society was a divinely created organism, those
in the uncivilised state are hardly better than the beasts. It was commonly held for
much of the inhumanity shown to the natives of Africa and the New World by the
Elizabethan explorers.

IV. ILLusz VERSUS REALITY

(a) Another theme which runs through the play is that of illusion versus reality. The
opening scene portrays a violent storm Which appears to place the ship in grave
danger. The reality of the situation is that there is no danger from the storm at all.
The passengers find themselves safe on shore, with even their garments unsoiled.
The king is separated from his son, and each supposes the other has drowned.
Ariels songs to Ferdinand about his father seem to state that the king is drowned,
but the reality indicates that he is alive and transformed to a better state. In the
final scene, Prospero tells Alonso that he (Prospero) has lost a daughter, just as
the king has lost a son. Alonso takes this to mean that Miranda has died, while
in reality it simply denotes that the fathers have lost their children to love and
marriage.

(b) Sebastian and Antonio show that they are loyal to Alonso, while in fact, they are
plotting against his life. Antonio himself is only an illusory duke, as he has stolen
his offices, and does not possess it by divine right. Caliban warships Stephano as
a god although Stephanos power is no more than a drunken illusion. At the same
time, he spurns Prospero, who is the real controller of his fate.
It is noteworthy that, what happens on the island is an illusion which returns
all the characters to reality. Each is returned to his proper position, and is restore
through magic and drama.
 5. Masque

A masque" refers to a dramatic presentation during the Elizabethan times, consisting

of declamation and dialogue; music and dance coupled with exotic scenery. It was
usually enacted by the members of the nobility, sometimes even by the King and the
Queen. Masques were a favourite form of entertainment at Queen Elizabeths court.
Several Elizabethan dramatists wrote masques.

Early in the 17th century, the masque was a regular form of court entertainment.
Masques were elaborate spectacles, designed to appeal to the audiences senses and
to glorify the monarch. The masque fulfilled another important function of recapturing
the past. Prosperos masque is focused on pastoral motifs, with reapers and nymphs
celebrating the fertility of the land.

The performance of a masque traditionally took place on festive occasions and

at marriage celebrations. The theatre company producing it would hire professional
singers and musicians and the monarch and the courtiers would in the dancing.
join
It was an opportunity to praise the monarch, a celebration of his presence and of his
authority.

Some of the features of a masque were:

(a) The masque was written in rhymed verse.

(b) The object of masque generally was to celebrate marriages in high society.

(c) The subject was generally allegorical and mythical.

(d) The characters were generally gods and goddesses of ancient mythology.
(e) The duration of a masque was shorter than that of a regular drama.
The Tempest contains a masque in Act IV. It has the following features:
° It is put up in honour of the forthcoming marriage of Ferdinand and Miranda.

Nymphs and Reapers dance in costly costumes, presenting a lovely pageant.

0:0 It is written in rhymed verse.

'30 It takes place in the open air and the characters are mythological.

'30 The whole show presents majestic vision that is harmoniously charming.
The masque in Act IV is connected with the story of the play, in so far as it is related
to the betrothal and forthcoming marriage of the young lovers.
 TheTempest
]
I
Detailed 7 '
StudyzAct-I I
ACT 1, SCENE 1

Summary

The play opens on board a ship at sea, in the midst of a fierce storm. It is a noisy scene.
The storm is driving the ship ashore. The captain of the ship tells the boatswain to
inspire the crew of the ship to be alert and to fight the storm. The boatswain is going
to give his orders, when Alonso, Sebastian, Antonio, Ferdinand, Gonzalo and other
royal passengers of the ship appear on the deck.

Alonso, the King of Naples, speaks to the boatswain. He wants to know the
whereabouts of the captain of the ship. The boatswain does not have the time to
respect royalty When the ship is in the midst of such a terrible storm. He says:
What cares these roarers for the name of king? He orders them to return to their
cabin since they are merely being a hindrance to the crews effort in saving the ship.
After that the boatswain totally ignores them despite the cursing by Sebastian and
Antonio, who are not satisiied with the sailors attempt in saving the ship.

Though equally fearful of sinking, Gonzalo, an older courtier, makes light of the
situation by saying that the boatswain is so rude he must be destined to be hanged.
Thus, hes not likely to be drowned, and with him aboard, the ship is safe. But
this half-hearted joke doesnt calm anyone. In fact, by this time, the passengers are
deserting the ship for the open waves, and Gonzalos last words, I would fain die a
dry death, hold out little hope for their survival.

Critical Appreciation

This is a boisterous scene with noise and confusion. spectacle. It

It is a dramatic
is designed to catch the audiences attention and keep them in suspense as they
Wonder whether or not the ship will make it through the storm.

Accurate depiction of seamanship

The scene has many terms of seamanship, which shows Shakespeares familiarity
with the subject. The graphic picture of a ship drifting towards the rocky coast of an
island, the action to be taken by the sailors to keep the ship under control, suggest
some knowledge of the ships and sailing.
Stage Devices

Today, the storms on a stage are re-created with modern staging devices, i.e., lighting
changes, prerecorded sound effects, mechanical methods of jostling pieces of scenery
to suggest the crashing waves, or wind or rain-making machines. In Shakespeares
days, such options did not exist. The storms wild noises were made with cymbals
and drums, and the sailors yells by actors off-stage. But the most important way for
the playwright to suggest the storm was to show its effect on the characters aboard
the ship. Shakespeare shows in this context how the entire royal party is frightened
and its reactions to the storm.

Creation of suspense through dialogue

The opening scene with noise and confusion is designed to create suspense, since the
fate of the ship and its passengers is uncertain. The playwright suggests the storm
by showing its effect on eharacters on the ships deck. The dramatist manages to
depict the fright of the royal entourage with remarkable skill. The feeble attempt of
King Alonso to command the attention of the boatswain is a foreshadow of his lack of
control over the events that are about to unfold. Sebastians and Antonios cursing of
the sailors reveals their cynical humour and complete disbelief in any supernatural
power. It also portrays them as self-seeking men who would even betray their king in
moments of crisis.

Only Gonzalo, the older courtier, emerges as the one trying to cling to his sense
of humour, with the attempted joke about the boatswain. One of his last statements
(The wills above be done) shows that he, unlike the other two, has some faith in an
ultimate authority that is controlling the events. The scene ends on a hopeless note,
leaving the audience in suspenseabout the fate of the ship and its passengers.
The sense of light-heartedness,

The scene is not very tragic despite the terrible storm and the fact that so many lives
are at stake. Shakespeare lets us know that he does not want us to be too serious,
because he makes use of subtle dramatic devices like the boatswain ignoring royal
presence amidst the storm and the devastating wit of GonZalo. There is suspense and
the danger presented by the storm. But Gonzalos satire relieves it to a great extent.

The title of the play

The storm gives the play its title. It is a very short scene, consisting of about sixty five
lines. But the scene is of vital importance, since every subsequent event of the play
flows from the tempest and the consequent shipwreck.
 ACT I, SCENE 2

Summary

This scene, the longest in the play, can be divided into three main parts:
1. Prosperos tale to Miranda

2. The Introduction of Ariel and Caliban

3. The initial meeting of Ferdinand and Miranda

The first two provide a fiashback to previous events by explaining how the plays
current situation came to be, while the third provides the first contact between
the young couple that will form the plays romantic theme. These three parts are
summarised below:

Part1

Miranda describes to her father the terrible storm and a shipwreck she has seen
03 the coast of the island. Prospero says that he has caused the storm, and he
says everyone who was on board is saved from harm with his magical powers. Then
Prospero narrates the story of how they came on the island. Prospero tells, that 12
years ago, he was the Duke of Milan. He was more interested in studying philosophy
and magic, and he left the administration of states affairsto his brother, Antonio.
Antonio made a secret pact with the King of Naples to oust him. So one night the
army came and seized him and his then three-year-old daughter, i.e., Miranda.

Then Antonio ordered that Prospero and his infant daughter be put in a dilapidated
boat, and left to the mercy of the sea. Gonzalo, a noble of Naples, who was incharge
of the operation, provided them with food, water and clothing. Above all, he provided
Prospero with his books on magic, which were dearer to him than the dukedom.
Then, the two of them on the boat managed to brave the sea and landed on a lonely
island. There, Prospero became Mirandas teacher, and made her more skilled than
any other princess.

Prospero tells Mirandas that now fate had brought his enemies close to the shore
of the island. He wishes to make use of the opportunity to reform his enemies. After
that he uses his magic charm to put Miranda to sleep.

Part II

A little later Prospero summons Ariel, who describes how he staged the storm. With
great balls of fire, tremendous hashes of lightning and claps of thunder, Ariel so
terrified the passengers that they jumped into the sea. But he has brought them all
safely to shore, in small groups at different places. The sailors stayed in a charme
sleep with the ship, which was now in a quiet bay.

Ariel does not want to do more

Prospero reminds him of how he was free
work.
from the evil spell of the witch Sycorax, who had controlled the island before Prosper
arrived. The witch died leaving Ariel trapped in a pine tree. Prospero released Ariel o
the understanding that he would work for him. Prospero promises to free him soo
if he performs well until then. Ariel is grateful and hurries off to carry out Prospero
command.

Now Prospero wakes up Miranda, and makes her meet Caliban, the half-human
son of the witch Sycorax. Caliban enters cursing them both. Caliban complains tha
he trusted them when they first arrived on the island. He showed them all around
the island; and that they treated him well then, but they have now reduced him t
a prisoner in a tiny corner of the island which he once ruled. Prospero answers tha
they were kind to him at first, teaching him how to speak and many other things.
Since then they have kept him as their slave, to carry wood and do other menial
tasks.

Part III

Ariel returns, luring Ferdinand with some music. Ferdinand believes his father has
died during the storm, and the words Ariel sings reinforce impression. When this
Miranda and Ferdinand see each other, they fall in love at first sight, as Prospero
had planned. But Prospero does not want his daughter to be so easily won over
lest too light the prize light;
winning/Make so he speaks harply to Ferdinand. He
accuses him the heir to the throne of Naples as he claims,
of not being but a spy
trying to steal the island from him. Prospero sayshe will keep him in chains and give
him seawater to drink and dry roots to eat. When Ferdinand tries to resist, Prospero
prevents him from moving his hands with a spell. Miranda begs her father to release
him, but he tells her to be quiet. Ferdinand is so attracted to Miranda that he accepts
his capture With these words:

Might I but through my prison once a-day

Behold this maid: all comers else 0 the earth

Let liberty make use of; space enough

Have I in such a prison.

Miranda pleads with her father not to be so harsh to Ferdinand.

 6 m. -eau...»

Critical Appreciation
m 79" WW WV

Information on main characters

Shakespeare makes Prospero narrate his story. The narrative is mingled with varied
bits of dialogue, while the narration maintains the dramatic intensity of the scene. The
narration is like the Prologue of Greek tragedy. This is done to provide background
information required to understand the play. The same thing is done in the case of
Ariel and Caliban as well, as we are informed about their history. In this scene, the
main aim of Shakespeare is to provide retrospective information that is the past
history of the main characters.

Ariel

Ariel and Caliban are non-human beings because they are devoid of moral sense
which is the essential element in human nature. Ariel is an Air Spirit whereas Caliban
is an Earth Spirit. Ariel is swift, light and free and restless in motion all qualities
of the air.

Ariels is very charming. Prospero calls him delicate, quaint, dainty and
tricksy. He is a merry, mischievous spirit. Though non-human, he seems to have
some of his masters sensitivity. He is tender towards Prosperos sorrow, and despite
his reluctance to serve his master there is nonetheless an unmistakable gratitude
towards him.

Caliban is the antithesis of Ariel

Caliban is Ariels antithesis. His name is taken from the word, Canibal or Caribal,
which means a native of the Caribbean Islands. He is the Earthy Spirit of the play. He
is in fact a devil, a born devil. The essence of his character is lowness.

Caliban represents the natural man: He is associated with the uncivilised inhabitant
of the Indies and with the wild or savage man of Europe. There were reports from the
Indies of curious specimens.

Caliban is a Slave: Caliban, thus, represents the lower side of mankind, while Ariel
represents the higher side. Physically he is almost human. Some critics believe that
he represents the debased humanity. He symbolises the aboriginal and uncivilised
tribes who were being deprived of their territories in the New World in America by the
'Elizabethans from England.
The varied interpretations of Caliban: Caliban symbolises the barbaric man who
Was first tamed and then ruthlessly exploited by the invading colonialists. To some
 critics he is a symbol of the unthinking man. He personifies the natural man WhOSe
lack of ability to learn was so ruthlessly exploited by the colonial masters. In any Case
his physical deformity was depicted by Shakespeare more to please the credulous
common people who believed in bizarre stories about far-iiung areas where the
colonialists had forcibly taken possession.

The similarity between Caliban and Ariel

Though Caliban and Ariel are two opposite entities in many ways, yet they have One
major similarity. They both represent natural forces which are held in check with
Prosperos magic. Both are unhappy about it. Ariel wants freedom; Caliban wants to
be the ruler of the island. Both carry forward the action of the play. Ariel personiiies
the manifestation of Prosperos will, while Caliban is the leader of the instigation of
an intrigue to oust Prospero. Thus, Ariel is involved with the primary plot, whereas
Caliban is involved with the parallel subplot (Calibans intrigue to murder Prospero
and get back his island) that is a reflection of the villainous intentions of the courtiers.

The depiction of positive characters

This scene presents the positive characters of the play such as Prospero, Miranda and
Ariel; as opposed to the depiction of negative characters such as Alonso, Sebastian
and Antonio in scene one. The first scene had the ocean as its setting, where as this
scene is set on the island.

Device of flashback

The scene covers the span of twelve years and more through the device of iiashback.
Shakespeare does this because he knows that the action of these twelve years
could not be dramatically enacted on stage. The banishments of Prospero from his
dukedom, his sufferings at the sea with his threeyearold daughter, the depiction of
the storm in the sea all this could not have been depicted on stage, especially with
the primitive facilities that were available during Shakespeares time.

The observance of the unities

Shakespeare wanted to prove that he could observe the three unities of the play with
absolute brilliance. That is to say:

1. The unity of Place: The action of the play is restricted to a small island,
2. The unity of Time: The whole play takes no more than four hours;
3. The unity of Action: The story is limited entirely to Prospero undoing the
wrong done to him. It is to achieve all this that Shakespeare had to write
such a lengthy scene. His simple decision to maintain the classical unities
necessitated such a lengthy scene.
 He made other compromises as well. The romantic scene between Miranda
and Ferdinand is very short so that it does not clash with the unity of the main
actionthat is of Prosperos revenge. It is subservient to Prospero's theme.

spirits of are, water, air and earth

There are four spirits that formed a part of the supernatural machinery of Prospero.
Theywerethe spirits 0f fire, water,air and earth.Prosperousesall the four groups
of spirits through Ariel.
1. Prospero uses the spirits of air to show the vanity of his art, the Masque of
Juno in which spirits appear as goddesses.
2. The spirits of earth are the goblins who are employed by Prospero as
instruments of punishment.

3. The spirits of water are the sea-nymphs or elves of brooks and lakes who act
in the masque.
4. The ship is in flamed amazement and the fire and cracks of sulphurous
roaring. Caliban curses Prospero for ordering the spirits to Lead me, like a
flrebrand [11. ii. 6].

The love of Ferdinand and Miranda

The love at first sight was

an important theme in Shakespeares comedies. This
theme cannot be given long periods of courtship if the dramatic unities have to
be maintained. Secondly, this play was written to be performed at the wedding of
the daughter of King James. Since she was to be married to a German ruler, the
lovescene between Ferdinand and Miranda had to be brief and idealised.
 The Tempest
Detailed Study : ActII

ACT 11, SCENE 1

Summary

A large number of courtiers, who survived in the shipwreck are seen on the island,
They are badtempered and discouraged. Gonzalo tries to cheer up Alonso by telling
him that they are lucky enough to be saved. Alonso is sad because of the supposed
death of his son, Ferdinand. In order to cheer him up, Sebastian and Antonio use
a series of puns making fun of Gonzalo. Then Sebastian says that its all the kings
fault for marrying off his daughter to the King of Tunis, causing the need for their
long journey. Gonzalo criticises Sebastian for his lack of sensitivity.

Gonzalo says that if he were the ruler of the island, he would keep it in a completely
uncivilised state with no money, commerce, learning, laws, servants, masters,
farming, work, technology; and no weapons. Nothing would be allowed to intrude on
its natural state. As Sebastian and Antonio begin to ridicule his idea, Ariel enters the

scene, putting to sleep everyone except Antonio and Sebastian.

Antonio gives Sebastian the idea of murdering Alonso (his brother) and seizing his

kingdom. Thinking Ferdinand is drowned and Alonsos daughter Claribel is far away
in Tunis to succeed Alonso, Sebastian realises he could easily become the next king.
He recalls that Antonio similarly overthrew his brother and asks if his conscience
bothers him. Antonio says, I feel not/ This deity in my bosom. They agree to draw
their swords, one to kill Alonso and the other, Gonzalo. They judge the other men will
be docile enough to go along with their new rulers. But Ariel awakens Gonzalo, who
Wakes up the others with a shout, and they all see the two standing in their midst
with their weapons out.

They are surprised to see Antonio and Sebastian in their midst with their swords
drawn. Sebastian comes out with an excuse that he had heard a roar at a distance.
and had mistaken it for the sound of lions. The two had drawn their swords merely to

protect themselves. The entire party decides to leave the spot to avoid the approaching
lions. Moreover they still have the task of looking for Ferdinand. As they depart, Ariel
leaves too, so that he can give Prospero the latest news.

.1
 Critical Appreciation
The major portion of this sceneis devotedto courtly humour, through which differen
characters like Gonzalo, Antonio and Sebastian are depicted. Shakespeares audien
Wasdelighted by witty word-play, which was appreciated mainly by the educated
Upper-classes.

Negative Characters: Antonio and Sebastian are negative characters. They

expresstheir cynical feelingsin a series of puns aimed at Gonzalo, Whosepersisten
good humour irritates them. For every positive word uttered by Gonzalo, Antonio offerg
a negative remark and Sebastian follows it up with another. Even more significant is
the plot hatched by Antonio and Sebastian, while the others are in a Charmed sleep)
to murder Alonso and Gonzalo, and take over Naples.
It is Antonio who initiates the plot to murder Alonso by putting the idea into
Sebastians head. He suggests that since Ferdinand is drowned and Claribel, the
daughter is far away in Tunis, Sebastian is the next rightful heir to Alonsos throne.
When Sebastian asks whether Antonio himself felt any remorse after similarly
overthrowing his brother (Prospero), Antonio replies that he has never found his
conscience to cause him any pain.

Contrasting Characters: A further example of the contrasting characters of these

three is shown in their reaction to Gonzalos description of Utopia, or the ideal state,
that he visualisesfor the island. Gonzalo says he would ban every element of civilised
society and keep the island in an unspoiled condition. This vision has no impact on
Sebastian and Antonio, who are the products of completely man~made world of the
court and city. Instead of considering the possibilities such a state might offer, they
its logical inconsistencies - for instance,
begin to pin-point that Gonzalo has said if
he were king hed set up a state where there were no kings. But in reality, he himself
would be the head of the idealised state. Their comments further show that their
cleverness is always used to criticise others.

The Idea of Unspoiled State

(i) The idea of a completely unspoiled state proposed by Gonzalo, is borrowed

from the French philosopher, Michel Montaigne. In one of his essays,
Of Cannibalis, Montaigne contrasts the natural life of the savages found in
the New World with the civilised European living in the Old World. This essay
makes the radical suggestion that civilisation is an artificial and corrupting
force, while the natural way of life of native people makes them much strongef
and healthier an ideawhich later cameto be known as the theoryhofthe
noble savage.
(ii) The idea that the natural is better than the artificial has been passed down
in many different forms in this century and survives in the back to the
land movement that began in the 1960s. The attraction of organic fruit and
vegetables, the development of renewable forms of energy and the conservation
of wilderness are other contemporary expressions of this same basic idea.

(iii) The idea as Gonzalo describes it free of labour and money, masters and
slaves, farming and fighting is dismissed by Antonio and Sebastian. If
everyone were as harmless and good natured as Gonzalo, such an idealised
situation could exist. But it is individuals such as the other two, who prey on
others for their own advancement, that make it impossible to attain.

(11") Caliban is another example against the supremacy of the natural state and
the possibility of attaining a society unspoiled by any hint of civilisation.
 ACT II, SCENE 2

Summary

Caliban enters, cursing Prosperofor his labours. He seesTrinculo, the jester, coming
towards him. Seeing his wild costume and fearing he is another of Prosperos spirits
coming to torment him, Caliban lies down on the ground to hide himself. Trinculo,
who swam ashore alone, enters singing a sailors song. He spots the strange looking
creature and makes a long funny inspection of him, until he hears thunder and
thinking a downpour is about to begin, crawls under Calibans loose garment to take
shelter.

Stephano, the drunken butler, enters the scene. After drifting ashore clinging
to a barrel of wine and making a portable container out of birch~bark, Stephano has
been wandering about in the island drinking wine. By now he is quite drunk. He
too goes through an investigation of what now looks like some bizarre fourlegged
creature of the island.

Just like Trinculo, Stephano believes that if he can tame the monster and get him
to Naples, he would be a good present for an emperor. Furthermore, he could make a
fortune by putting him on display in side-shows in Europe. Suddenly, Caliban cries
out, fearing that one of Prosperos spirits has come to torment him. Stephano hears
his cries and pours some wine down his throat. After a comical exchange, Stephano
drags Trinculo out from under Calibans coat. The two tell each other how they have
escaped from the shipwreck. During their talk the two friends give Caliban wine
to drink. Soon Caliban is drunk. He promises to show them every fertile inch othe
island provided they become his masters, and let him be their slave. He tells them
that he will pluck berries, catch fish and get wood for them, and that he would forever
serve them instead of serving Prospero. The two courtiers ask Caliban to lead the way
to show them the island.

Critical Appreciation

Comic Relief

This scene is provided as a comic relief and relies on one of the standard comic
routines still being used today: that is, the state of being drunk. The sight of the
monstrous Caliban, Trinculo in the colourful costume of the court jester, and
Stephano, the selfdeclared king of the island, all move around the scene, intoxicated.
This creates a hilarious scene. The humour of these characters, with their sailors
 song. drunkenness and profane suggestions (kiss the book meaning take a drink),
are contrasted with, the courtly witticisms of the previous scene. In this scene, we
see the formation of the group of three -~ Caliban, Stephano and Trinculo who will
stick together until the end of the play.

Nature Versus Civilisation

The theme of natural versus civilised life is touched upon in this scene. The idea of
both Stephano and Trinculo taking Caliban to Europe to be displayed in a side-show
is an obvious comment on some of the cruder forms of entertainment found in a
civilised state. Besides, Calibans exalted praises of Stephano and his drink - Thats
a brave god and bears celestial liquor, Hast thou not droppd from heaven? are
predictions of what often happened when Europeans reached North America in the
century after Shakespeare. The native Americans were deprived of their land and
were made to work as slaves by the colonial masters.

The highest fruit of civilisation offered to Caliban by the new arrivals to the island
is liquor, which is a product of mans technology. Both the things - the side-show
and the abuse of liquor are examples of the corrupting forces of civilisation on the
noble savage that Caliban represents.

Poetic quality of Calibans words

The poetic quality in Calibans words, even in his cursing, shows him possessing
a higher sensitivity than that of Stephano and Trinculo, the so called civilised
men. Calibans error lies in succumbing to the alcoholic lure offered by others and
the alcohol brings out the worst within him. He loses his lyrical quality and his
self-esteem, and offers to become a slave.

Caliban often speaks in verse whereas Stephano and Trinculo speak in prose.
Only characters from lower strata spoke in prose in Shakespeares plays. Shakespeare
wanted to stress that both Stephano and Trinculo belong to the lower strata, whereas
Caliban is definitely superior to them. Caliban actually falls to a lower level by stooping
to their strata.

A Farcical Scene

There is no development of the story in this scene. It is of pure comedy with some
farce.

0 The first farcical situation is seen in the figure of Caliban lying hat on the
ground. To Trinculo, he appears as a strange creature, almost like a ash. What
have we here? a man or a fish, he says, and then creeps under Trinculos
garment to save himself from the storm.
The second farcical situation is provided by the entry of Stephano, singing
in a state of drunkenness. He sees Trinculos legs protruding from Calibans
garment, and thinks that Caliban is a fourlegged creature.
Caliban himself thinks Trinculo as one of Prosperos spirit who has come to
torment him.

The already intoxicated Stephano pours large portions of liquor down Calibans
throat, who deems it to be celestial liquor sent by some brave god.
When liquor takes its effect, Caliban wants to worship Stephano and fall onto
his feet to pay his obeisance. Stephano agrees to accept his services, but
Trinculo shows contempt towards the abominable, most scurvy monster.
 The Tempest
Detailed Study : ActI II

ACT III, SCENE 1

Summary

The scene takes place outside Prosperos cell. Ferdinand enters carrying a log of
wood. Prospero has given this work to Ferdinand in order to make sure that he has
the genuine qualities to be the husband of his daughter. Miranda is extremely sad to
see Ferdinand working so hard. She wishes that lightning should Burn up those logs
that he was asked to pile. She requests Ferdinand to rest, but Ferdinand wants to
remind her that he has to finish the task before the sun sets. Miranda wants to carry
the logs in his place so that he can take some rest, but Ferdinand declines the offer.

Prospero had ordered Ferdinand to pile up the logs of wood also as a punishment
for invading the island. But he is pleased to find the two young people fall in love with
each other. This is exactly what he had planned and that was why he had ordered
Ariel to lure Ferdinand to his cell. Miranda thinks that Prospero is not present when
she speaks to Ferdinand, but he is actually hidden Miranda close by. When
wants
to know whether Ferdinand loves her, he swears by heaven and earth that he does.
When Miranda hears this she bursts out into tears. She tells Ferdinand that though
she is not worthy of him, she would be his wife if he want her. Ferdinand accepts her
offer instantly, much to the pleasure of hidden Prospero.

Critical Appreciation

Hurried Courtship: Shakespeare has kept the courtship between Miranda and
Ferdinand short. He intends to portray idealised love between two young peOple. A
prolonged duration of courtship would have necessitated the arousal of passions,
which would have destroyed the innocent love between the couple.

Love at first sight

In Shakespeares comedies characters fall in love at first sight; and love ends in
marriage. The is a comedy in a sense and falling in love of Miranda and
Tempest
Ferdinand was immediately after they set their eyes on each other. Though a proposal
for marriage within ten minutes of first meeting may look odd, yet it was vital from
Shakespeares point of view. In this case, he wanted to maintain the three unities of
classicaldrama, and he could not introduce a prolonged period of courting and yet
maintain unity of time as well as of action. This is the reason why Ferdinand and
Mirandacould not be developedas credible characterswithin the short time.
ferdinand and the menial task
--
Ferdinand is given the task of carrying logs of wood something which Prospero had
Continually ordered Caliban to do. Ferdinands first reaction to it is to resist; but this
quickly changes into meek submission. This is done to show his love for Miranda. The
heir-apparent to the throne of Naples, happily submits himself to the most menial of
works to prove his love. It is necessary for Ferdinand to show discipline, hard work
and humility as his character traits to convince Prospero to give his daughter in
marriage to him.

Calibans hard work

Caliban is reduced to relentless hard worker, his work remains unrewarded. He resists
endlessly, and is punished just as relentlessly for it. His sole guiding factor is instinct,
which abhors any suggestion of external control.

Subplot joined to the main plot

The main plot of forgiveness is developed in the subplot of the play. The main plot
involves Prosperos forgiveness of his enemies. The subplot of the love between
Miranda and Ferdinand is vital for the main plot. The Tempest is about pardon and
atonement for the sins and mistakes of one generation, through the second generation
through the love of the young generation. Such a theme is developed in The
Tempest. This process of reconciliation through sons and daughters naturally is slow
one. Shakespeare brings about reconciliation by unfolding of an old wrong, gathering
all those who were injured and those who caused injury. Then he transformed his
- all this was done in a short period of three hours.
revenge into forgiveness
The right of colonialisation

Shakespeares views on slavery and colonisation are seen in The Tempest. The
s:aVageCaliban complains about it.

This islands mine, by Sycorax my mother,

Which thou takst from me.

This is Calibans claim on the island and it is left to us to establish whether or

hOtProspero had any right to control Caliban and his natural island. However, at the
and of the play Caliban is given undisturbed possession of the island. The situation
f Caliban had to be undergone by millions of natives in their
country due to the
colonialists. The tribal peoplewereno match for the cunning ways 01
hHSClupulous
the European invaders. Most of them succumbed to the worthless burdens imposed
on them by the colonialists. To a large extent more than half the world is stlll a Vlctlm
to the materialism and consumerism of the colonialists.
 ACT [11, SCENE 2

Summary

On another part of the island the intoxicated group of Caliban, Stephano and Trinculo
are talking among themselves. Trinculo makes fun of Caliban, but Stephano warns
him not to use his tongue in such an ugly manner. The drunken Caliban wishes to
lick the shoe of Stephano. He does not want to serve Trinculo, because he does n0t
find him valiant.

Caliban tells Trinculo and Stephano that he is subject to a tyrant, - a sorcerer,

that by his cunning hath cheated me of this island. He tells them to murder Prospero,
He tells them that Prospero normally sleeps in the afternoon, and that they can get
rid of him while he is asleep, provided they take away his magic books first. He tells
Stephano that he can then have Miranda as his wife after he murders Prospero.
Stephano then proclaims that he would murder Prospero and become the king of the
island. He will make Miranda his queen and Trinculo and Caliban as his viceroys.

Ariel plays a tune on a tabor and pipe. Stephano

Then the invisible is surprised
to hear the music. Trinculo says that it is a music played by the picture of Nobody.
Stephano defies the person who is playing the music. Trinculo is frightened and asks
forgiveness from God for his sins. Caliban starts a discussion on the strange music
that the island is full of. They decide that they will first iind the source of the music
and then kill Prospero.

Qritical Appreciation
This comic scene follows the romantic scene between Ferdinand and Miranda. The
subplot with Caliban, Trinculo and Stephano is further developed in this scene.
Caliban asks Stephano to murder Prospero. The proposal is accepted by the latter.
There is the use of parallelism: Calibans plot to murder Prospero is kept parallel to
Antonios plot to murder Alonso. Sebastianagrees to Antonios plot and Calibans
plot is accepted by Stephano. Since two such unconnected plots occur in a short time
it is felt that the morality in the world has gone topsy turvy.

Nature of Calibans revenge

The scene throws light on Calibans character which has the deceitful quality of
revenge. Caliban reaches out to Stephano and Trinculo, because he thinks Stephano
and Trinculo are capable of murdering Prospero. Calibans mind is influenced by
alcohol, the other two might well have appeared powerful to a drunkard. Caliban
 a sorcerer and a tyrant, who by his magic cheated him of his island,
callsProspero
his ability to manipulate others.
acre:Caliban displays
The theme of the natural versus the civilised man is once again shown as Caliban
the natural man shows civilised pretensions and cunningness. He calls PmSpero
cunning, though he himself is no better. There is sufficient merit about his anger over
prosperofor robbing him of his island; it was a crime that colonialists were guilty of
in North America. They had displaced the natural habitat of the tribals Wherever they
reached.Caliban plans to take his revenge by murdering Prospero with the help of
Stephano and Trinculo, who are symbols of the European way of life.

Effect of alcohol on the three men

Calibans attitude is humble and servile towards Stephano but he is hostile towards
Trinculo. To Caliban, Stephano is like some kind of a god. He has two Opposing
emotions of reverence and hostility towards Stephano and Trinculo respectively.
These feelings are aroused in Caliban, due to consumption of liquor. Stephanos self
importance in shown in this scene, wherein he proclaims himself as the would be
king of the island.
 ACT III, SCENE 3

Summary

Alonso,Antonio and the kings courtiers are tired after a long searchfor Ferdinand
Gonzalo suggests that they stop for some rest. Alonso himself admits that he to
is tired. He is convinced that Ferdinand is drowned, and thus Alonso has no ho
of finding him alive. Antonio, in an aside to Sebastian, tells him that he is happy
that the king is so much in despair. This would help them to carry out their plaIL
Sebastian and Antonio agree to take advantage of their weariness due to travel and
consequent lack of vigilance to take care of their safety. They decide to carry out their
plan later in the evening.
While the two are plotting to commit the murder, some strange music is heard
Prospero enters the scene amidst the music, he is invisible to others. Along with him
enter several strange shapes. They are carrying with them a banquet of food. They
dance about With proper salutation and invite the king and others to eat. Before

they could touch the food, the strange shapes disappear leaving the food behind.
Everyone is taken aback by surprise. Sebastian says that he would no longer doubt
the incredible tales narrated by travellers. Antonio too agrees with him.

comes a thunderclap,
There and Ariel enters the scene in the shape of a harpy,
with the face of a woman, and the body of a vulture. Immediately, the banquet
vanishes through a quaint device. Ariel, accuses Alonso, Sebastian and Antonio for
their sin. Though Ariels speech is in the presence of others, it is heard only by the
three men whom he accuses.

The three men draw their swords to attack, but Ariel warns them not draw their
swords against ministers of fate, for they may well be stabbing the waves or using
the swords against the Wind. Ariel tells them that it is destiny that brought them
to the island to be punished for their sin of usurping the dukedom from Prospero
and abandoning him on the wild sea. He tells them that Alonsos son is dead, which
they must consider to be the beginning of their sorrows. Then Ariel vanishes amidSt
thunder and Prospero congratulates Ariel for his good performance.

The three persons are so affected by what they heard that they run away. Gonzalo
had not heard the speech, but when he sees Alonso running away he assumesthe1t
their guilt has worked on them like a slow poison. He asks those who are strong
enough to follow them so that they do not harm themselves after being provoked1
such a strange manner.
 Critical Appreciation

This scene is included in the plot to bring about the moral theme of the play.
Shakespeare invokes supernatural powers on the sinners through phantoms.

The purpose of the illusory banquet

The banquet has its roots in old legends, where magicians are often said to have

given proof of their supernatural power by presenting banquets. The banquet in this
scene could be an allegorical interpretation of the scriptures. Eve in the Bible was
tempted with an apple; and Christ, with an illusory banquet. The former type of
temptation was successful, as with the men of sin in this scene. The latter was a
failure as Christ to the temptation as the case is with Gonzalo.
did not succumb
Milton, who was profoundly acquainted with medieval legends, made Satan tempt
Christ in the wilderness with a magic banquet. It is referred to in his book, The
Paradise Regained.

The significance of Ariel as a harpy

Ariel appears in this scene, as a harpy. As per classical mythology harpies are
represented as disgusting monsters. They are birds with the heads of maidens. They
have long claws, and their faces are pale with hunger. The gods sent them to torment
the blind Phineus. food was placed in front of him these harpies pounced
Whenever
on the food. They either carried the food with them, or defiled it. Ariel denounces
the crime of Antonio, Sebastian and Alonso. Alonso seems to be the most affected
with the proclamations of Ariel. Since Alonso is Ferdinands father, it is proper that
Miranda should have a father-in-law, who is a man of integrity. It is necessary that
Alonso repents his sins, and reforms his life.

The symbolic meaning of the banquet

The play shows the moral values of each of the courtiers in the way they react to the

banquet. The banquet represents an illusory offering of material comforts which the
courtiers have been chasing in their lives. Banquet shows immoral greed because
the courtiers wanted it for themselves without having either earned or deserved it. It
refers to the usurping of undeserved dukedom and unduly banishing of Prospero. The
banquet is also a reflection of the parasites code that Alonso, Antonio and Sebastian
had been pursuing. What they want is powerand fame, which they want to get like
Parasites without working for it.
The other effects of the scene

The scene has practical lessons:

It includes the impeachment of the three sinners and the proposed repentance
for their sins, followed by Alonsos remorse for his part of crime against Prospero.
The scene is a satire on travellers and their tales. On seeing the banquet
Sebastian thinks that he can now believe even in the existence of the mythical
unicorn and the phoenix.

Gonzalo speaks of mountaineers with huge masses of flesh hanging from their
throat that gives them the appearance of bulls.

The outburst of these men in their dazed state is a refiection of what travellers
used to tell others about their fantastic tales of travel.