Compound Questions and Answers from The Tempest by William Shakespeare
1. (a) Consider what has happened to Prospero. How do you suggest that what has happened to him is his own fault?
Answer
Prospero, before coming to the island used to be the Duke of Milan. But gradually the study of liberal arts attracted him more and more that he neglected his kingly duties towards his Kingdom. He handed over the governance of his Kingdom to his brother Antonio, who was treacherous, promoted officials who supported him and removed those who were in favor of Prospero or tried to mold them so as to serve his interests. He banished Prospero out from the Kingdom. He was led on a flimsy boat with his three-year-old daughter Miranda to die in the sea. But because of his knowledge of his studies, he survived having learned magic. But he had to remain stranded on an island away from civilization and raise his daughter there.
Therefore it can be concluded that by neglecting every day matters when he was the Duke of Milan, he gave his brother a chance to rise up against him. Therefore by entrusting all his powers blindly, Prospero was himself at fault for his undoing.
(b) How does Prospero relinquish or give up his powers?
Answer
Prospero's breaking of the magic staff and destroying of the magic books symbolizes his giving up of his magic. It also symbolizes him coming down to the level of others. He knows that going forward he will not possess the ability to make things go the way he wants them to go. The magic staff, the books, and the robe are representative of his magical powers and his higher status over other people. By giving up the items, he is giving up his magic and his ability to have things go his way, as we see him do earlier in the play. For example, he creates the tempest so that he can fix the wrongs done to him long before, he thus puzzles the nobles, and he keeps Caliban and Ariel under his control. The reader also sees him "giving up" these powers for a brief period of time when he talks to Miranda, as he puts down his staff and books, as well as taking off his magical robe. The act of destroying these things is his way of showing that he is giving up his magic and letting fate do its thing by not interfering with it.
Prospero is an aging magician who renounces his powers and at the same time relinquishes his daughter to a new life of which he might not be a part. By destroying these things, Prospero takes away his ability to control everything. He stops being this somewhat supernatural figure and chooses to become normal, or more human.
(c) What are the three things associated with Prospero's magical power?
Answer
Prospero initially finds solace in the pursuit of knowledge, especially in the subject of 'liberal arts. He becomes engrossed in it and so he allows his brother, Antonio to take care of the Dukedom. Holding this power, Antonio becomes greedy and wishes his brother to be gone, and he does that with the help of Alonso, the King of Naples. So, we find that Prospero's magic staff and his books represent his power.
Secondly, he resorts to making good use of his magical power, to alter the weather, put on dazzling wedding entertainment, bully his servants, manipulate his enemies, and orchestrate his daughter's marriage to the Prince of Naples.
Finally, when he realizes his dreams, he lays bare his powers to seek appreciation for all that he has done. He is the hero and his only flaw is his power be it magical or charismatic, whichever he chooses.
2. (a) What is Caliban's role in the play? Describe his physical appearance?
Answer
Caliban is the only native of the island. Born as the son of the witch Sycorax, he is a devil. He plays the perfect foil to Ariel's cheerful, delicate and patient spirit. As Caliban cannot be completely considered human, he comes across as an arrogant character, which is expected of someone who is all evil.
Throughout the play, Caliban is portrayed as the insolent and rebellious slave who cannot question his master. It is ironic that having been the master of the island once, he is later enslaved.
Prospero and Miranda who have washed ashore on this island behave as if the island belongs to them by all means. Caliban is brave as he does not have any magical powers but makes attempts to regain his island against the powerful Prospero.
Caliban wills to bring justice for himself and retribution for the sins against him by Prospero. Caliban however, is merely brutish but not wise enough to know whom he can trust to work against Prospero. The role of Caliban also reflects the times when colonization was predominantly making a presence in land unknown just as in the play.
Caliban is described as 'a savage and deformed slave'; he is disproportioned in his manners as he is in his shape.
"A freckled whelp, hag-born - not honored with a human shape."
Trinculo and Stephano, describe Caliban as less than human.
Trinculo doubts Caliban to be a man or a fish while Stephano describes Caliban as a 'mooncalf, a deformed creature.
(b) Explain the idea of innocence versus experience as it relates to the play.
Answer
Innocence and experience is juxtaposed in the play. Miranda in all her innocence has a sense of ingrained sophistication. Her declaration of love is directly against the ornate expression of Ferdinand who is aware of the rules of courting. Miranda is unaware of the working of young men, for her the only role model was her father who guided her to keep her in the dark about most of the things that mattered, especially her background and early upbringing.
On the other hand, we have Prospero who is strengthened because of his experiences, knowledge of magic and his understanding of the human character. We cannot say that he is innocent because apart from surviving he took over the island and its only native. He has been waiting patiently for the right time to take vengeance upon those who brought him and his daughter to this island.
Antonio, Sebastian, and Gonzalo are all players in the court who know how to play their cards but are powerless after coming to the island. Stephano and Trinculo experience according to their stations in society; they are cunning but not clever enough.
In conclusion, it can be said that innocence and experience strike a neat bargain in "The Tempest”.
(c) Compare and contrast Caliban and Ariel.
Answer
The characters of Caliban and Ariel play an important role in the play. They are a far cry from each other, with Caliban being defined as 'a brutish or brutalized man' and Ariel as 'a spirit of the air.' True to the meaning of the words, one belongs to the earth and the other to the air. One has a dark character and the other is more obliging for freedom at the end of the service. One was subjected to slavery and the other was rescued from bondage, only to render services later and to gain freedom at in the end.
Caliban and Ariel are united with the fact that they are both subjected to oppression at Prospero's hand. Caliban is rebellious as he feels that he is the rightful inhabitant of the island and Prospero cannot be his master but has to succumb to Prospero's magical powers. Ariel seems to be a willing slave and takes in all the tirades of Prospero. Caliban is unhappy and begrudges everything he has to do and seeks leadership in Stephano where his faith is misplaced. Moreover, we see that both are treated differently by Prospero and hence their reactions and responses are varied. Ariel is naive and is promised freedom at the end, whereas Caliban is wicked and his wickedness leads him to struggle.
3. (a) How is the image of 'water' and 'drowning' portrayed in the play?
Answer
The play is packed with references to water. The Mariners enter "wet" in Act I, and Caliban, Stephano, and Trinculo enter "all wet," after being led by Ariel into a swampy lake. Miranda's fear for the lives of the sailors in the "wild waters” causes her to weep. Alonso, believing his son died because of his own actions against Prospero, decides to drown himself, later in Act III.
For instance, the echo of Alonso's desire to drown himself to Prospero's promise to drown his book calls attention to the similarity of the sacrifices each man must make. Alonso is willing to give up his life in order to become truly penitent and to be forgiven for his treachery against Prospero. Again it is resounded by Prospero in Act V, when the magician promises that, once he has resolved with his enemies, "deeper than did ever plummet sound/I'll drown my book." Therefore in order to join the civilization again, Prospero wills to give up his magic and power.
It is as though the water from that storm runs through the language and action of the entire play.
(b) Is Caliban "marketable" or not. Give reasons.
Answer
Caliban is partly supernatural, but possesses no greater powers than those of ordinary mortals and can only do menial services. All he inherits from his parents is devilish attitude and deformity. This deformity marks him for life. There has always been a dispute between Caliban and Prospero, with Caliban always trying to gain his freedom.
The marketability of Caliban is first discussed by Trinculo, "A strange fish! Were I in England now, as once I was and had but this fish painted, not a holiday fool there but would give a piece of silver. There would this monster make a man. Any strange beast there makes a man. When they will not give a do it to relieve a lame beggar, they will lay out ten to see a dead Indian."
Trinculo, on laying eyes on Caliban, has only one thought that Caliban is a strange fish who can be marketed as an exhibition piece in England. He thinks to himself that if a 'dead Indian' could fetch money then how much more could Caliban fetch as strange creatures have always crowd and have aided in business.
In spite of everyone who sees Caliban as 'marketable', he cannot be considered marketable as he only desires freedom and therefore deserves a better chance to live well on his own island.
(c) The plot of Antonio and Sebastian to kill Alonso never comes to fruition. To what degree do you think Prospero is betraying Alonso by not telling him of the attempt on his life?
Answer
Act III Scene III reveals that Antonio and Sebastian are plotting their second attempt to kill Alonso, but are faced with music and food which distracts them, but all are left without any food as the banquet vanishes before them. Alonso is tired with no food and no hope that his son will be found. He is, therefore weary both in body and mind. This is a perfect chance for Sebastian and Antonio to kill him, but their plans are thwarted yet again by Ariel. Prospero even after moving them from the charmed grove, has conversations that deal with more his own exile and his predicament, the disappointments of life brought about by Antonio, his brother and by Alonso. Prospero desires retribution for the act of treachery but is least perturbed with the actions of Antonio and Sebastian who plotted against Alonso right there in the island. Though he impedes their plots, he betrays Alonso by withholding the truth, keeping himself the most powerful in terms of knowledge acting like God.
4. (a) How do you think that in the company of Stephano and Trinculo, Caliban is focused than the others? Give reasons.
Answer
Caliban, the native of the island, who lost his island to Prospero, desires badly to gain his freedom and the island back. However, that dream seems to come true for him, when he comes across Stephano and Trinculo. Caliban does not know who they are but finds an ally in them, hoping that Stephano can be made king, if he helps him in killing Prospero.
Stephano is fascinated by Caliban. Finding Caliban beastly and foolish, Stephano agrees to kill Prospero and become the king. Both Stephano and Trinculo are given in to wine and are not steady characters. Stephano is greedy to be the leader and enjoy the pleasures that come with it. Trinculo is too cowardly to defend himself or use better judgment.
Stephano makes Caliban drink, which calms him and gives him the courage to seek help from these strangers. And their plans are foiled when Prospero sends Ariel to drive them to a muddy puddle and put them in a fix. They come out worried about their appearances and what they would do if they become leaders, whereas, Caliban is reminding them of how limited time they have if they need to make their dream a reality.
They reject Caliban's ideas and take the glittering clothes, which unknown to them have been displayed by Prospero to deflect their plans of murder. Caliban is focused and is conscious of implementing the plan and urges them to finish the task. But, Stephano and Trinculo are concerned of what could be, and not about what needs to be done.
(b) How does Prospero treat Ariel towards the end of the play and why do you think so?
Answer
Prospero seems to be much more cordial with Ariel, appreciating him and requesting him to complete just one more task before he is set free. We understand that Prospero is glad that all his plans have come to fruition and he has everything and everyone in place because Ariel and the other spirits have obeyed him. He knows very well that without Ariel's help he would not have been able to do all that he has done. And Ariel has been quite congenial in spite of Prospero's lashing out at him very often.
Ariel though very eager to be set free waits for his time to come and keeps reminding Prospero of the 'sixth hour' getting over and that he had done his best in all the tasks. Prospero is extremely glad that he has been able to accomplish all that he ever wanted and willing to relinquish his 'power play,' releases Ariel from the bondage.
(c) How does the theme of colonization reveal itself in The Tempest?
Answer
Caliban is the "native" and is thus subject to the various practices of colonization. Stephano and Trinculo befuddle him with alcohol, all the while wondering how they can get him back to Italy alive to make their fortune from displaying him. Interestingly enough, Prospero in the same reaction enslaved Caliban and also overtook his territory.
While Caliban is mostly portrayed as the "noble savage" who has had his homeland taken away and is therefore justifiably vengeful, it seems that earlier readers saw him as a creature or brute (described as "savage and deformed slave") who benefited from the introduction of Western civilization and culture. His refusal to accept such civilization was seen as the reaction of an animal and not that of a human being who resents his land being overrun. Ultimately, this question remains subject to an individual interpretation; however, Gonzalo's musings on the perfect state (in Act II Sc. I, including reference to "plantation"), suggest that Shakespeare may have thought that not everything was going as it should in the new colonies.
5. (a) How would you describe Gonzalo's optimism and his Utopian dream?
Answer
As the plot moves forward, Gonzalo's character deepens as compared to Act I, where his attention was focused on the storm and on the boatswain's insolence. Instead of making efforts to comfort and reassure his king. Gonzalo relates a vision of a Utopian society. In this society, he would be king. There would be no commerce or law and no servant class. No one would grow food, and no one would work. Nature would simply create all that man needs. This vision reveals that Gonzalo, too, has some concerns about authority and privilege. In Gonzalo's vision, there would be no inherited wealth. and the land would not be enclosed. Thus, there would be no aristocracy and no country estates.
(b) How would you differentiate Sebastian and Antonio from Gonzalo?
Answer
Antonio and Sebastian are portrayed as unpleasant and arrogant characters. Their sarcastic sides counter Gonzalo's good humor. They not only point out the flaws in Gonzalo's Utopian dream, but they go beyond by competing between themselves to see who can devise the cruelest ridicule of both Alonso and Gonzalo. The two remind us of schoolboys, who giggle and whisper in the classroom, in defiance of their teacher. While the good-hearted Gonzalo makes efforts to comfort and console the king who is in misery because of the loss of his son. Ferdinand, they are good at casting accusations and they blame Alonso that had he not marry his daughter to the African, they would not be on this journey and Ferdinand would not be drowned. They are extremely thoughtless and cruel since they are in the middle forming a conspiracy to murder their King.
Antonio and Sebastian's behavior also reveals the brutish and unkind characteristics that mark them throughout the play, while on the other hand, Gonzalo is kind and honest as he was the one who helped Prospero and Miranda to escape after Antonio usurped Prospero's kingdom.
(c) Distinguish illusion and reality in earlier scenes of 'The Tempest'.
Answer
The blending of illusion and reality, created in Act I with the imaginary storm, is carried forward in Act II Scene I, with Gonzalo's observation that their clothing is unharmed by the saltwater, appearing as it did before the storm occurred. Gonzalo envisions a Utopian world, but the impossibility of such a thing happening is best illustrated by Antonio and Sebastian's plot. Even when there is no reason to plot a murder, they do so. It is in their nature. It is also one reason why Gonzalo's vision lacks reality because he neglects to consider human nature, which fails to bow to an illusion.
The party's whole existence on the island is an illusion and nothing is as it appears. Behind the scene, watching and manipulating all the action is Prospero. Although he never appears in this scene, he is very much present, functioning as a God-like entity. Antonio and Sebastian's swords stay because a higher authority prevents their actions. Prospero functions as a God would, protecting the innocent and preventing the actions of the wicked. However, Prospero is not a God, and that, perhaps, is the greatest illusion of all.
6. (a) Who are the four characters introduced in the beginning of the play and how do they influence the storyline?
Answer
Apart from the minor characters, such as the master and the boatswain, we are introduced to Alonso, Antonio, Sebastian, and Gonzalo, with Ferdinand being present there among others. The scene also gives a hint to illusions and deceptions that are about to occur and the characters introduced will give a peek into the narrative.
Alonso, Sebastian, Antonio, and Gonzalo give the backdrop of the play and the beginning of the denouement of all things that transpired with the characters introduced and the ones who will follow.
The characters on the boat are divided into nobles, such as Antonio and Gonzalo, and servants or professionals, such as the boatswain. The mortal danger of the storm upsets the usual balance between these two groups, and the boatswain, attempting to save the ship, comes into direct conflict with the hapless nobles, who despite their helplessness are extremely irritated at being rudely spoken to by a commoner.
Apart from these skirmishes between the men, we get to know the 'nobles do reveal their nature of being dominating and at the same time clueless as to what their future will be like after the storm. They are worried about their status and how the master and the boatswain treat them. The storm does not deter them from being who they are. Gonzalo tries to make things lighter but Antonio and Sebastian are impatient and angry, willing to get rid of those who are trying to save their lives. They are thankless and like 'nobles' they are of no practical help at such a situation.
Their characters influence the storyline because the play is all about them and the deeds they have done earlier.
(b) What is the role of Stephano and Trinculo in the play?
Answer
Stephano, the drunken butler, and Trinculo, the court jester are present only for comic relief in the play. The presence of Caliban with Stephano and Trinculo allows Shakespeare to use the murder sub-plot to reinforce the conspirative world of the play and to emphasize the significant theme of the master-servant relationship.
Nonetheless, these characters are not especially funny in themselves: the humour comes more from what they do than what they say. An example of this is the "gabardine scene".
Shakespeare removes any superfluousness about them in Act 3, Scene 3. in which he links them into the main plot by creating their desire to overthrow Prospero and rule the island. This idea in itself is amusing, as it is apparent from the beginning that the drunken trio of Trinculo, Stephano and Caliban do not have the least chance against Prospero and his Art.
(c) Caliban gives the reader a picture of sound and music. How does he do it ?
Answer
The noises, sounds, and music of the play are made most significant by Caliban's speech about the noises of the island. Shakespeare shows Caliban in the thrall of magic, which the theater audience also experiences as the illusion of thunder, rain, invisibility. In his striking and apparently heartfelt speech, he assures others not to worry about the strange noises and music.
We are reminded of Caliban's very close connection to the island-Caliban is not only a symbolic "native" in the colonial allegory of the play. He is also a real native of the island, having been born there. This monologue is noble because there is no servility in it, only a thoughtful and profound understanding of the magic on the island. The speech gives Caliban a moment of freedom from Prospero and his own drunkenness. In his anger and sadness, Caliban seems to have risen above his wretched role as Stephano's fool, even if it was for a moment.
7. (a) What tricks do Prospero and Ariel play on Alonso's group?
Answer
Prospero plans to punish Alonso, Sebastian, and Antonio for the way they brutally ill-treated him. As a magician, he has the power to be invisible and through the tricks, Ariel performs, he wishes to understand if his adversaries are repentant. At the beginning of his magical performance, Gonzalo is weary, and Alonso has given up hope that his son might still be alive. Therefore taking advantage of the situation, Antonio plots with Sebastian to murder Alonso and Gonzalo when they go to sleep.
But their plan fails the moment they are about to execute it. Strange music begins to play, and Prospero enters, invisible. Before the eyes of King Alonso and shipwrecked lords, friendly spirits lay a magical banquet and invite the King, and company to eat. All wonder at the strange sight for a while, thinking about this unbelievable incident. Before they can dig into their meals, Ariel appears in the shape of a harpy and the food disappears. The harpy stuns the men and declares that three men of sin are at the table. The harpy says Destiny has caused the sea to put them on this uninhabited land because they are men unfit to live. He vanishes, and the procession of spirits enters again and removes the banquet table. Prospero, still invisible, applauds the work of his spirits and announces with satisfaction that his enemies are now in his control.
Prospero's decision to use Ariel as an illusory instrument of "fate" is designed to govern the thinking of the nobles at the table by imposing his own ideas of justice and right action upon their minds. Prospero merely uses Ariel to further his persuasion and control. He knows that a supernatural creature claiming to represent nature will make a greater impression in advancing his argument than he himself could hope to.
(b) How does Prospero treat Miranda and Ferdinand's relationship?
Answer
Prospero loves his daughter very much but he also leads her according to his whims and fancies. He brings Miranda and Ferdinand together and then creates a distance between them also.
Prospero chooses to isolate Ferdinand from his father Alonso and plans to make Ferdinand fall in love with Miranda and at the same time seek revenge upon Alonso. We almost believe that he does it all in the most altruistic manner. He sets the ball rolling by making Ferdinand fall in love with Miranda and asks Miranda to keep away from him. To add to it, Prospero puts a price on Miranda by asking Ferdinand to carry logs for him. He uses the card of humiliation in retaliation, in revenge for his own humiliation and exile. Ferdinand becomes a scapegoat for Prospero's evil plans while bending Miranda to his will except for the few times when she speaks her mind.
Though Prospero wants the best for his daughter, he does things that cannot be applauded but leave the audience appalled. In the end, love conquers all.
(c) What is Prospero's reaction when Alonso tries to apologize to Miranda for sending her and her father away?
Answer
Prospero has almost succeeded in bringing all his adversaries to their knees. Alonso is the only person who apologizes for his wrongdoing and when he does so, Prospero stops him from doing so. Prospero's purpose in staging the storm and the incidents thereafter, everything that he had desired has happened and he is now a contented man. He does not want to mar the special occasion that has culminated after all the struggle.
Alonso is ecstatic at the discovery. Meanwhile, the sight of more human beings impresses Miranda. Alonso embraces his son and daughter-in-law to be and begs Miranda’s forgiveness for the treacherous of twelve years ago. Prospero silences Alonso’s apologies, insisting that the reconciliation is complete. The reconciliation brings about joy and hope for new beginnings.
8. (a) How does Stephano and Trinculo offer the comic element in Act II, Scene II?
Answer
Trinculo and Stephano act as comic relief to the main action, and will in later acts become specific parodies of Antonio and Sebastian. At this point, their role is to present comically some of the more serious issues in the play concerning Prospero and Caliban.
Trinculo is looking for shelter from the coming storm when he sees Caliban. With his body partially covered with the cloak, Caliban appears to be half man and half fish, as per Trinculo's initial impression. Trinculo immediately sees the possibilities that this creature presents. He can take this "monster” back to civilization and display it, charging admission to spectators who want to view this aberration of nature. Yet after touching Caliban, Trinculo discovers that he is not half man and half fish, but an islander. With the coming storm. Trinculo decides to seek shelter under Caliban's cloak.
The king's butler, Stephano, enters, clearly drunk. Stephano stops at the sight of the object on the ground, covered with a cloak and with four legs sticking out. Like Trinculo, Stephano immediately sees the financial possibilities that such a creature offers back home. But all of Stephano's poking has alarmed Caliban, who thinks that he is about to experience a new form of torture, beyond what Prospero has provided.
The poking and prodding of one another and alternating sounds from underneath the cloak brings comic relief.
(b) How do Stephano and Trinculo's plot to claim the island similar to Antonio and Sebastian?
Answer
Stephano and Trinculo readily fall into an agreement with Caliban and plot to commit the murder because they think there is a profit to be made. But there is another reason, as well. Stephano enjoys his new status as Caliban's God. He takes delight in the adoration, a reversal of fortune. He has risen from butler to God and sees it as a huge improvement in status. Just as Sebastian and Antonio expect power as a reward for violent behaviour, the butler and the court jester would like power with a minimal amount of effort. If murdering Prospero will make them kings of the island, they are ready to do Caliban's bidding. Of course, just as Sebastian and Antonio were being watched, so too are these three drunken conspirators.
Although Sebastian and Antonio's plot might represent a real danger to Alonso (if Prospero were to permit it), Trinculo and Stephano's plot can only represent impotence. Their plan to murder Prospero and ravish Miranda is doomed from the start, and the audience is always aware of this. In their drunkenness, they are ineffectual. Caliban in his innocence has allied himself with buffoons. He bribes his accomplices with promises of food and is too gullible to realize that these men would also enslave him if given the opportunity.
(c) How does Ariel bring an end to Stephano, Trinculo, and Caliban plan to kill Prospero?
Answer
Caliban, Trinculo, and Stephano continue to drink and wander about the island. Stephano now refers to Caliban as "servant monster” and repeatedly orders him to drink. Caliban seems happy to obey. The men begin to quarrel, mostly in jest, in their drunkenness. Stephano has now assumed the title of the Lord of the Island and he promises to hang Trinculo if, Trinculo should mock his servant monster. Ariel being invisible enters just as Caliban is telling the men that he is "subject to a tyrant, a sorcerer, that by his cunning hath cheated me of the island.” Ariel begins to stir up trouble, calling out, “Thou liest.” Caliban cannot see Ariel and thinks that Trinculo said this. He threatens Trinculo, and Stephano tells Trinculo not to interrupt Caliban anymore. Trinculo protests that he said nothing. Drunkenly, they continue talking, and Caliban tells them of his desire to get revenge against Prospero. Ariel continues to interrupt now and then with the words, “Thou liest." Ariel's whispering ultimately results in Stephano hitting Trinculo.
Ariel plays a tune on his flute and tabor-drum. Stephano and Trinculo are scared at this noise, but Caliban tells them that it is nothing to fear. Stephano relishes the thought of possessing this island kingdom, "Where I shall have my music for nothing." Then the men decide to follow the music and deal with killing Prospero later.
They are quite fickle-minded so much so that instead of sticking to their original plan they decide to follow the music. Their plan to kill Prospero is foiled.
9. (a) How do you explain the elusive banquet and what does it bring out in the characters involved?
Answer
"Solemn and strange music" fills the stage, and a procession of spirits in several strange shapes" enter, bringing a banquet of food. The spirits dance about the table, invite the king and his party to eat, and then dance away. Prospero enters at this time as well, having rendered himself magically invisible to everyone except the audience. The men disagree at first about whether to eat, but Gonzalo persuades them it will be all right, noting that travellers are returning every day with stories of unbelievable but true events. This, he says, might be just such an event.
Just as the men are about to eat, however, a noise of thunder erupts, and Ariel enters in the shape of a harpy. He claps his wings upon the table and the banquet vanishes. Ariel mocks the men for attempting to draw their swords, which magically have been made to feel heavy. Calling himself an instrument of Fate and Destiny, he goes on to accuse Alonso, Sebastian, and Antonio for driving Prospero from Milan and leaving him and his child at the mercy of the sea. For this sin, Ariel tells them, the powers of nature and the sea have exacted revenge on Alonso by taking Ferdinand. He vanishes, and the procession of spirits enters again and removes the banquet table. Prospero, still invisible, applauds the work of his spirit and announces with satisfaction that his enemies are now in his control.
Ariel's appearance as a punishing harpy, represents the climax of Prospero's revenge, as Antonio, Alonso, and the other lords are confronted with their crimes and threatened with punishment. From Prospero's perspective, the disguised Ariel signifies justice and the powers of nature. He has arrived to rectify the wrongs that have been done to Prospero and to punish the wicked for their sins. However, the readers know that Ariel is not an angel or characteristic of a higher moral power, but merely mouths the script that Prospero has taught him. Ariel's only true concern, of course, is to win his freedom from Prospero.
(b) Discuss the Masque that Prospero sets up for Miranda and Ferdinand's wedding and why does he remove it?
Answer
Prospero gives his blessing to Ferdinand and Miranda, warning Ferdinand that he should take care not to break Miranda's "virgin-knot" before the wedding has been solemnized. Ferdinand promises to comply. Prospero then calls in Ariel and asks him to summon spirits to perform a masque for Ferdinand and Miranda. Soon, three spirits appear in the shapes of the mythological figures of Iris (Juno's messenger and the Goddess of the rainbow), Juno (queen of the Gods), and Ceres (Goddess of agriculture). This trio performs a masque celebrating the lovers' engagement. First, Iris enters and asks Ceres to appear at Juno's wish, to celebrate "a contract of true love." Ceres appears, and then Juno enters. Juno and Ceres together bless the couple, with Juno wishing them honour and riches, and Ceres wishing them natural prosperity. The spectacle awes Ferdinand and he says that he would like to live on the island forever, with Prospero as his father and Miranda as his wife. Juno and Ceres send Iris to fetch some nymphs and reapers to perform a country dance. Just as this dance begins, however, Prospero startles suddenly and then sends the spirits away. Prospero, who had forgotten about Caliban's plot against him, suddenly remembers that the 'hour' has nearly come for Caliban and the conspirators to make their attempt on his life.
Prospero's apparent anger alarms Ferdinand and Miranda, but Prospero assures the young couple that his consternation is largely a result of his age: he says that a walk will soothe him. Prospero makes a short speech about the masque, saying that the world itself is as insubstantial as a play and that human beings are "such stuff, as dreams are made on."
Prospero clearly works his magic to get things done, but the next moment he becomes angry and bothered, and spends his energy on punishing Caliban.
(c) How does Prospero's magic differ from that of the witch, Sycorax?
Answer
Sycorax is an unseen character in the Tempest portrayed as a powerful and vicious witch and the mother of Caliban, and one of the few native inhabitants of the island in which Prospero is stranded presently.
We come to understand that Sycorax while pregnant was banished from her home in Algiers to the island where the story takes place. Sycorax has died many years before the action in the Tempest begins. Caliban claims the island as his own because his mother lived there and so rightfully it is his. This leads to one of the main conflicts between Prospero and Caliban throughout the play, where one overpowers and the other rebels. We hear Prospero reminding Ariel that Sycorax had treated him cruelly mostly in order to keep Ariel's service for himself. Sycorax always enslaved spirits and used to punish them severely for any disobedience and that was the reason why Ariel was locked in a Pine tree.
On the other hand, Prospero's use of magic is more to bring about retribution and reconciliation, whereas Sycorax kept punishing the spirits and putting them in confinement for longer periods. There seems to be a method in Prospero's madness of keeping nature and people in his control. And though he treats everyone badly, especially Ariel and Caliban, one can also say that Prospero has been patient to bring his ideas and power into fruition. Prospero also sets Ariel free as he had promised, and we find that he is benevolent when he wishes to be.
Prospero uses his power to bring people in his life together, whereas Sycorax has died neither freeing Ariel nor her son, Caliban.
10. (a) In his occupation of the island, Prospero relies heavily on the services of others. What does this tell us about his character?
Answer
Prospero seems to need Caliban to carry out chores, but surely a powerful magician such as he would have no need of someone carrying out menial labour as his magic could perform those tasks. This shows his need to feel strong and powerful, intimidating all in his path, including Ferdinand whom he hopes that his daughter will marry someday.
Although he is happy to be near Miranda, Ferdinabad views his forced labour as a form of slavery, carried out by a ‘prisoner of war, “ whereas Prospero views it as a test and therefore closer to servitude. One can realize that he is carrying out the same duties as Caliban is told to do.
Prospero uses Ariel to perform all the magical chores in exchange for promised freedom at the end of the year. We see that neither Ariel or Caliban are having a life of any outside of their work for Prospero: Ariel disappears when he is released, while we are led to believe that Caliban will live alone on the island once the others have left.
Prospero by his actions and punishments towards others, reveal that he wants to be a master and is unwilling to let go of power and command.
(b) How is the theme of Fate and Justice dealt with in The Tempest?
Answer
Fate and justice are recurrent themes of The Tempest. The two are interlinked: to what extent does fate punish sin, and to what degree are we accountable for our actions, either in this life or the next? Indeed, the main plot of the play is about Prospero exacting some form of revenge for being usurped as the Duke of Milan. As carefully as Prospero manages the various characters to achieve his aim with maximum effect, there are factors that are beyond his control and must be left to fate. There are two main instances in which destiny could be said to have enabled Prospero's plans to come to fruition and that he was unable to control with his magic. The first is the arrival of Miranda and him on the island "by providence divine," the second is the royal wedding that forced his “victims" to pass in close proximity to the island, third is casting of the tempest "By accident most strange,", thus setting off the chain of events that we see in the play. Central to Prospero's designs is the speech given by Ariel in the guise of a harpy after the fairy banquet has vanished. Here Prospero, although orchestrating the punishment of the sinners throughout, presents the harpy as a minister of fate - exactly what Ariel is not. It, therefore, seems important to Prospero that Alonso, Antonio, and Sebastian believe themselves to be punished by some higher power, rather than a mere human. It is impossible to know whether the "three men of sin" would actually have been punished (by fate) if Prospero had not intervened (indeed, in the play Prospero does not punish Antonio and Sebastian for their plot to do away with Alonso), nor does he punish Antonio or Alonso for their wrongdoing in ousting him from Milan in the first place. Note, also, how Prospero is both the judge and jury.
(c) Discuss whether the island is a paradise or prison to the characters?
Answer
To each one his own, that would seem right to describe whether the island was paradise or prison to the characters. Caliban has lost his freedom and is willing to take the inept Stephano asking if it means that he can gain relief from Prospero and his torments. Stephano and Trinculo are more like bungling fools who prefer inebriation, which would be a paradise for them.
Gonzalo a nobleman, whose state can be considered as 'collateral damage in Prospero's pursuit of vengeance. He dreams of a Utopian island devoid of classes and if that comes true; it would be his paradise.
Alonso is weary and finds it strange on the island and his spirits are low on the thought that he has lost his son. Antonio and Sebastian find this whole experience rather a nuisance and are willing to 'make hay while the sun shines i.e., plot to kill Alonso.
Ferdinand, though he is carrying logs and is being punished for essentially no reason, except for falling in love with Miranda is quite eager to risk his status to do menial tasks. And when Prospero's calls for the masque, he wishes to stay there forever.
Miranda is amazed by the 'brave new world' when all the stranded characters are brought together in front of her.
On the whole, one can see that each character of the play including Prospero is in a prison of their own making or in the charming prison Prospero has created.
11. (a) Discuss how Prospero would not have done what he accomplished without magic.
Answer
Magic is central to The Tempest and its main character, Prospero. Without magic, Prospero would not be able to engineer the events in the manner he wanted to. He would have no hope of recovering his throne, and he would possibly be the same as the other courtiers - a ruler caught up in the intrigues of power and court life. Years before the play, magically kept him aloof from the concerns of daily governance, and that separation ultimately led to his deposition; but it is magic that also gave him the necessary tools to exact his vengeance. He does have some magical power, though: setting Miranda to sleep. charming Ferdinand and the courtiers into immobility are feats he seems to perform himself - and, of course, it was his magic that set Ariel free from the imprisonment of the dead witch Sycorax, in the first place. Interestingly enough, two major events are wholly beyond Prospero's magical powers and are the result of fate or chance: the first is the stranding of himself and Miranda on the island "by providence divine," and the second is the courtiers sailing nearby "By accident most strange." One could argue that it is exactly these events that are central to the whole story - without them, there is no play! The use of magic seems limited. It would seem that Prospero's magic was not powerful enough to allow him and Miranda to go home before the ships passed by. It was strong enough, however, for him to know who was on the ship. In many ways, his magic de-humanizes Prospero, making it necessary for him to give it up in order to return to the real, human, world at the end of the play.
(b) Prospero's pursuit of knowledge aids him in the island. How does he do it?
Answer
Prospero's talents are demonstrated when his brother and the Neapolitans are ship-wrecked in a storm on his island kingdom. With Ariel to do his bidding and other spirits to perform as commanded, Prospero carefully engineers the tempest, the dispersing of the characters, and what they are allowed to see and do. Any discomfort, either physical or emotional, is temporary, occurring only to lead the characters to the possibility of a positive transformation.
He seeks his revenge not by any ultimate death, but by the death of pride and treachery that pervades to all levels among the stranded passengers. The plots of the stranded to kill Alonso and Prospero are done away with. No harm or danger takes place and all ends well.
(c) Humanity is expressed through the play. How would you support it?
Answer
The Tempest shows the positive traits of humankind, epitomized by Prospero and Miranda, but no character is merely a representation of virtue. Prospero is still understandably angry about his brother's treachery, and he harshly tests Ferdinand's love for Miranda. Gonzalo helped Prospero when he was exiled and seems a positive character, but his optimism is not without naivety.
Antonio and Sebastian, on the other hand, seem to lack any virtues. They are arrogant and rude to the crew during the tempest, contributing nothing.
In short, all characteristics of humanity are represented in the play. One of the most prevalent is greed. Antonio's greed for temporal power compels him to displace Prospero as Duke and banish him and his daughter Miranda. Antonio also easily seduces Sebastian to murder his own brother Alonzo, the King of Naples, to usurp his kingdom even though he and his brother are shipwrecked together with no certain means of return. Stephano is just as effortlessly persuaded to kill Prospero in order to rule the island with Miranda as his queen and Caliban and Trinculo as viceroys. Caliban's drunkenness prevents him from inferring that Miranda might not accept such a bond with her father's murderer.
12. (a) What are the main conflicts in the play, and how are they resolved?
Answer
The prime conflict in the play is the conflict between Prospero and his brother Antonio, from which stems all other conflicts. Prospero who once had been the Duke of Milan should have ruled it, but his mission of learning the dark arts gave leeway to Antonio, to usurp the Dukedom with the help of Alonso the King of Naples. Prospero who had been put on a ship by his friend Gonzalo is stranded upon an island, which he claims as his own, and becomes its master with the help of his magical powers.
Prospero who had waited for twelve long years to take revenge on his adversaries necessitates the tempest and brings them all to the island to mete out justice. Prospero now has all his adversaries on his turf and it is in his power to punish or pardon them. We see that Prospero gives them the illusion of severe punishment and when they are bereft and bare, he orchestrates their meeting and eventually plays the high priest who forgives them and has only goodness in heart, now willing to get back to retirement in Milan.
Another conflict is between Prospero and Caliban where the former enslaves the latter for menial work. While Caliban is working, he runs into Trinculo and Stephano and they all agree upon a plan to take Prospero's place by murdering him. Prospero finds out about this and decides to get back at them.
The last conflict is of Antonio and Sebastian. They both plot to kill Alonso, so Sebastian can become king. Ariel overhears their conversation and wakes Gonzalo who then wakes up Alonso; thus foils their wicked plot.
(b) What is ironic about Miranda's, "brave new world" lines?
Answer
Miranda is beautiful, modest, tender, unsophisticated, very delicately refined making her ethereal. There is none to compare her with, for she is amidst her old father, Caliban, and Ariel. There was nothing beyond these three that she is aware of. In addition, she knows the tales of her father which are vague as she has nothing to base her thoughts on.
Therefore, when she comes upon Ferdinand, she is smitten with this heavenly specimen of mankind and does not miss a beat to express her love.
Prospero plays a role in guiding them by exposing Miranda to Ferdinand so that they fall in love with each other.
Later, when she meets the rest of the nobility, she is totally drawn to them and exclaims, "brave new world" i.e., on seeing many people together for the first time, it appears like a wonderful new world to her.
When she sees Alonso and the others all together, Miranda is amazed and happy because to her they were a wonderful sight. But this is clearly ironical, as she is ignorant of the fact that those same men are not as wonderful as they appear as they were responsible for banishing her and her father from their actual home and forced to live on the island isolated from humanity.
(c) Trace Alonso's character development through the play.
Answer
Alonso, the King of Naples, is neither a good guy nor a bad guy. He is easily swayed and has fallen to Antonio's self-interested flattery. In the later scenes, we come to know that he is a sentimental person. He is grief-stricken when he learns about his son's death by drowning in the sea. But later he is overjoyed when he finds that Ferdinand is alive. Alonso shoulders some of the responsibilities for the incidents that happened in Prospero's life. Alonso had given in to the proposition of usurping Antonio's brother Prospero. He gave in to the flattery and he feels that he has been punished for his sins. He is wrought with remorse and regrets marrying his daughter to the Prince of Tunis on the apparent death of his son.
Ariel's expletives and condemnation at the vanishing feast makes him believe that his son has drowned. He is in a trance, and when he awakes he is in front of Prospero from whom he seeks pardon and restores the Dukedom to Prospero. He is reconciled with Prospero, when he realizes that his son is alive, he is more than glad to give permission to Ferdinand to marry Miranda. The circle of sin and retribution, injustice and forgiveness, being lost and found all together redeem Alonso.