Long Answer Type Questions from The Tempest by William Shakespeare
Answer
Conflict and action are the cruces of a play. Here is a play that deals with the clash of personalities, their fight with elemental nature, at both physical as well as psychological level. It is a tempest outside and in the hearts and minds of the people involved. So, it is apt to begin the play with a fierce storm that takes the passengers of a ship by surprise, creating panic and disturbance to their life.
Imagine a drama opening with a raging sea storm. The sound, the sight of rising waves, the majestic ship tossed helplessly by the huge waves, the shrieks and shouts of the crew and the royal entourage, all captured in semi-darkness creates an eerie feeling: most dramatic and gripping. A thrilling experience for the audience, making them wonder about the things to follow. Truly, a spectacular beginning is offered by Shakespeare through the first scene of the play.
The title "The Tempest' is most appropriate for the play as the rest of the actions depend on the consequences caused by the tempest. It is not only about the raging waves, but also an indication of the raging emotions, an inner turmoil, the characters undergo in the course of action. It throws the inmates of the ship in different directions only to meet each other in the place Prospero planned them to meet. Thus the storm is the beginning to an end planned by the protagonist of the play.
The play opens with the boatswain giving frantic directions to steer the ship to safety. Voices rise and emotions run riot as the intensity of the gale rises. There are royal personages inside but the boatswain, at this moment, is least bothered about that. He is criticized and made fun of by the other members. Sebastian and Antonio are outright rude to him and Gonzalo, in his characteristic way makes witty remarks about him. The old counsellor is pretty sure that the ship will not sink as the boatswain has the mark of gallows; since he will not die by drowning, the others can be hopeful that he also will not perish in the sea.
Prospero raises this tempest with his magic and with the help of supernatural powers of Ariel, the spirit of the air. The objective of this is to separate the inmates from their accustomed surroundings and life situations and people. It introduces them to a mysterious world where elements dominate, where people do not scheme under the influence of jealousy, hatred, and revenge. It provides them an opportunity to ponder upon life and relationships, about their mistakes and possible retribution. The main aim of Prospero is to make his offenders realize their crime and repent. For this, he has to create something shaking, shocking and awe-inspiring and this is what Shakespeare has achieved by the opening scene.
Ariel's role is well defined as he is the one who raises the magical storm at the behest of Prospero. He appears as flames, sometimes on the deck, at times in the cabin, on the topmast, at the beak or in the middle of the ship. This description puts shivers of thrill in the audience.
Just as the tempest subsides, the turbulent emotions of the sinners also leave them, making them calm and peaceful. Their good senses return and all is well that ends well. Miranda and Ferdinand find their life partner in each other, Alonso and his son reunite and above all Prospero fulfills his mission due to this tempest.
So, the opening scene provides high drama, leading to suspense, excitement and interest. We cannot conceive 'The Tempest' without its thrilling expository scene. The thrust it gives to the plot, its allegorical relevance, and dramatic purpose make it a aptest introduction to the play.
2. How do Gonzalo, Antonio, and Sebastian behave during the storm? What clues to their characters do you get in this scene?
Answer
In the opening act of ‘The Tempest,’ we witness a ship caught in the tempest or violent storm and breaking into pieces. All the personages and the crew are terrified by the sudden catastrophic weather. The lines spoken by the characters, in this life-debilitating circumstances just before their ship inks, uncover their actual nature and identities. What these three panicked of death, all the more with thoughts in their minds of suffocating in the high oceans.
Gonzalo is an old and honest counselor who feels for Prospero and had proved his faithfulness even at Prospero's departure from Milan. At the vessel, when all were frantic and worried by the heavy storm, Gonzalo maintained his composure. He did not react like others and even made some sarcastic comments, about the boatswain, as when he says:
"Methinks he hath no drowning mark upon him—his complexion is perfect gallows."
The calm counselor provides a sense of hope and optimism by telling that the ship would not sink because the boatswain is not a kind of man who is destined to die by drowning but is destined to die by hanging at the gallows, so there is no need to be worried. And the---
"I'll warrant him for drowning though the ship was no stronger than a nutshell and as leaky as an unstanched wench."
"He'll be hanged yet, though every drop of water swears against it and gape at widest to glut him."
Giving the evidence of his great humorousness, these statements sketch that Gonzalo was too sure about the vessel to be unsinkable that made him to face the difficult situation with calm and courage.
Antonio is the brother of Prospero while Sebastian is the brother of King Alonso. They seem to have some manners and likings in common that juxtapose to Gonzalo. Both of them do not show any nervousness in the face of danger which threatens the ship. When the boatswain speaks in an arrogant manner because of the peril situation, Sebastian rebukes him saying, "A pox o' your throat, you bawling, blasphemous, uncharitable do!" and again when the boatswain still behaves in the manner, Antonio utters harsh words as, "Hang. cur! Hang, you whoreson insolent noisemaker! We are less afraid to be drowned that thou art."
And after this, Sebastian says that he is losing his patience as he is doubtful of whether or not the sailors would be able to save the ship from drowning. Then to this Antonio replies, that they all are going to lose their lives by a bunch of drunken, incompetent sailors and he also curses the boatswain saying, "This wide-chopped rascal-would thou mightst lie drowning. The washing of ten tides!"
Later, when there seems to be no hope of their survival Antonio says that they should get ready to drown with their king, whereupon Sebastian agrees with him and says that they should go and bid farewell to the king.
These harsh remarks manifest some immoral essence in their characters. Also, it is transparent that instead of providing some help, the two are only hopeless and make harsh comments at the strenuous efforts of the boatswain.
3. Describe briefly but vividly the scene where Prospero reveals to Miranda, his brother's secret plot to kill them and usurp his dukedom.
What are your feelings for Prospero and Miranda's fate at the hands of a cruel brother?
Answer
Prospero made Antonio the absolute in charge of the management of the kingdom's affairs as he was busy in his secret study of magic. This made Antonio "ambitious" and in him "awaked an evil nature". Prospero tells that he believed that "he was indeed the duke; o'th' the substitution, and executing the outward face of royalty, with all prerogative." He tells that Antonio became expert in whom to promote and whom to thrash for overtopping. He compares Antonio to an 'ivy' that had hid his princely trunk and sucks'd his verdure out don't.
Antonio considered Prospero to be no longer capable of managing state affairs and thereby joined hands with Alonso, the King of Naples, who was his relentless enemy. Alonso agreed to help Antonio on two conditions i.e., "to give him annual tribute, do him homage, subject his coronet to his crown, and bend the dukedom, yet unbowed"---
The opportunist king of Naples agreed to "extirpate" Prospero from Milan along with his three-year-old daughter, Miranda and "Confer fair Milan, with all honors" on Antonio. Thereby, in the darkness of the night, Prospero and Miranda were carried on a ship and were left in the mid-sea on a ship having neither sail nor mast. They were thus left in a miserable state to die.
Though a reader feels sympathy for both Prospero and Miranda who were deceived by a cruel brother and uncle, whom they trusted so much, but one may also feel that Prospero should have exercised his powers prudently and should not have left the affairs of the state on his treacherous brother.
4. With close reference to Act I, Scene II describes how Ferdinand is charmed and led to Prospero's cave and his first meeting with Miranda.
Comment on Prospero's apparently cruel attitude towards Ferdinand.
Answer
After the opening scene of the play, the second scene is of great importance and is an integral part of it. Ferdinand is brought on the scene by Ariel. He follows Ariel's charming song which refers to his drowned father, and thus comes within the view of Prospero and Miranda.
Prospero points him out to Miranda. On seeing this handsome young man, Miranda expresses her unfeigned admiration for him. Ferdinand too is charmed by the beauty and grace of the young lady. Prospero is glad to see that they exchange glances.
In this very first meeting with Miranda, Ferdinand is so deeply charmed by the untouched beauty of the maiden that the offers to make Miranda the Queen of Naples, since Ferdinand is the heir of his father, who, he takes as drowned in the tempest, Prospero, however, wants to be sure about Ferdinand's clam that he is King of Naples, and calls him a traitor and spy and bids him to follow. On being insulted to this degree Ferdinand draws his sword but finds himself unable to lift it.
Miranda, who has fatten in love with Ferdinand at first sight, begs her father not be hard with him. Prospero discourages her admiration for Ferdinand sternly bids her to keep her mouth shut. But Miranda declares that she has not ambition to see a 'goodlier man'. Ferdinand submits to Prospero's biddings saying,
"Might I but through me prison once a day
Behold this maid. All corners else O'th' earth
Let liberty make use of space enough
Have I in such a prison"
Though Prospero apparently looks very strict while treating Ferdinand, he actually tests the strength of Ferdinand's love for Miranda, because Prospero is a father also with a tender heart for his daughter, his "Cherubin."
5. Miranda's appeal lies in her sweet innocence, gentle nature and pure, unselfish love for Ferdinand. Referring closely to the text bring out the truth of the statement.
Answer
It is a true estimate of Miranda that her appeal lies in her sweet innocence, gentle nature and pure and unselfish love for Ferdinand. The above qualities are manifest in Miranda. That's why seeing the shipwreck she believes that the people have perished, and she says "O, I have suffered with those that I saw suffer." She further states, "O the cry did knock against my very heart! and wishes if I had been any god of power, I would have sunk the sea within the earth; or ere, it should the good ship so have swallowed and the draughting souls within her."
When Miranda meets Ferdinand for the first time in Act 1-Sc. II, she says, "What is't-a spirit" ? She says to her father "Believe me Sir, it carries a brave form; but "tis a spirit", as she had so far only seen her father and Caliban. She takes Ferdinand to be a spirit but Prospero tells her that he is a human being and she falls in love, i.e., " love at first sight". She finds Ferdinand to be "noble", but is shocked to see her father behaving in a strange manner and requests him to be kind and gentle towards him.
Miranda is convinced that Ferdinand is one in whom "Nothing can dwell in such a temple. When Prospero orders Ferdinand to be obedient to his commands, Miranda pleads for him to her father, "Dear father, Make not too rash a trial of him, for He's gentle and not fearful." On being rebuked by her father, she implores mercy on behalf of Ferdinand and says, "Sir, have pity,: I be his surety." It is an example of her innocence.
She tries to convince Ferdinand by saying, "my father's of a better nature, Sir, than he appears by speech." When her father says that there are better-looking men in the world than Ferdinand, she says. "My affections are then most humble; I have no ambition to see a goodlier man!" What honest love!
On seeing Ferdinand carrying logs of wood, against the orders of her father, she goes to meet him and is even willing to carry that for him. She finds the task so hard and laborious that she remorses by saying, "when this slogs) burns I will weep for having wearied you”, and then she asks him to take some rest.
Miranda is an example of innocence and straightforwardness. Her conversations with Ferdinand lacks cunningness and shrewdness. She is overjoyed when told that Ferdinand also loves, and she considers herself to be very lucky to had his love as a great reward.
6. Though mischievous and playful, Ariel is most sincere in his devotion towards his master Prospero. Discuss
Answer
Many a supernatural character has been created by Shakespeare and other playwrights, but Ariel is unmatched. Unlike most supernatural characters Ariel possesses many human qualities like love for freedom, gratitude, sympathy, desire for praise, dedication to his master and faculty of mischief. When examined deeply, two aspects of his character given him a good height, these are his latent faculty of mischief and his sincere devotion towards his master Prospero.
Ariel cannot give full exercise to his faculty of mischief because he is not an independent agent like Shakespeare's Puck in 'A Midsummer Night's Dream'. But Ariel's playful nature finds expression by his jest with which he performs those duties that enable him to practice his powers upon such beings as Stephano and Trinculo. The scene in which he successfully plants a discard among Stephano. Trinculo and Caliban is full of excellent befooling. The manner, in which he gives an account of it to Prospero, shows that he enjoyed the fun of this foolery. There are many instances when Ariel successfully muses and giggles the readers or the audience when read or enacted.
Ariel is an ardent lover of freedom, yet he is bound to Prospero by a feeling of sincere devotion towards him. He performs those tasks and duties punctually and promptly which are imposed upon him by his master. Except for a single occasion, when he shows impatience with Prospero for assigning him so many tasks and postponing his liberation, throughout the play he shows a total devotion to his master Prospero which seems to be a rare quality in supernatural creatures.
That Ariel is most sincere in his devotion towards his master Prospero, though mischievous and playful, is quite true and not an exaggeration.
7. Write about the wit and humor in the play.
Answer
"The Tempest' is a play that deals with the conflict between man and external elements, and also that takes place in the minds of the principal characters of the play. So, a thread of seriousness and sombreness runs throughout the play. However, it has comic elements interspersed with it, which relieves the tension and seriousness, placing it in the genre of tragic-comedy.
The comedy in the play is verbal as well as situational and certain characters also make us laugh. Sometimes it becomes too farcical and crude too. At the same time, some witty dialogues are classy and evoke humour. For example, Gonzalo's remark that boatswain does not have the mark of drowning but of the gallows, so they all can hope to survive a shipwreck, as their fate is linked with that of the boatswain, is witty and classy. He also is willing to trade furlongs of sea for an acre of barren land as he does care for a 'dry death'. Along with these are the sarcastic comments by Antonio and Sebastian about the boatswain as well as the old councillor. Their remarks on the ideal commonwealth caricatured by the old lord are sharp, yet amusing. Sebastian points out the absurdity of the concept by saying Gonzalo wants to be the king of the commonwealth when according to the ideal conception, there will not be any sovereignty. Gonzalo's conception that there will be no agriculture, industry or trade and all will spend their life lazily without doing any work is the height of absurdity. It is meant to make a lighter mood so that the king's depressing thoughts can be averted.
Apart from this, farcical situations are created by the entry of Stephano and Trinculo, the court jester. Trinculo mistaking Caliban for a stinking fish, then a body struck by lightning and then taking shelter under the same coat elicits loud laughter. His remarks that the strange fish can be taken to English market to make some money as the English are ready to pay a lot to see something strange, even if they do not help a man in need is a good-humoured dig at the general mentality. The drunken Stephano seeing four legs and two mouths at each end of the cloak and pouring drinks in Caliban's mouth is truly comical. Caliban accepting Stephano as some god as he wants more drink is also amusing. Ariel, leading the drunken trio into a stinking pool where he leaves them dancing and singing is a humorous description. In the end, all the three are chased by dogs and Prospero and Ariel encouraging the dogs to be after them, gives scope for more laughter.
Thus, we can say, the humour in 'The Tempest' is sometimes witty and appeals to the intelligence whereas, at times, it is crass and unrefined intended to draw guffaws from the audience. The most important point is, humour is used to relieve the tension of the tragic sequences by providing dramatic relief.
8. How are Caliban and Ariel different? What are the differences between the two servants?
Answer
Ariel and Caliban are especially unique in nature and appearance. Ariel, as his name recommends, is an airy spirit, ethereal, while Caliban is gross and brutish. Both are associated with the witch Sycorax who managed the island before Prospero. Ariel was detained and held captivated by her before being rescued by Prospero as it was unable to carry out her harsh and extremely unpleasant activities, while Caliban is her son, a devil with unpleasant and devilish mindset. Both are workers of Prospero. Ariel displaces out immense supernatural accomplishments at his lord's summon while Caliban is just a hireling.
Caliban protests all the time at his bondage; he hates Prospero profoundly and in the end abandons him for another Stephano and plans to kill him, in spite of the fact that he will be thwarted and failed in this. Ariel seems, by all accounts, to be much more exceptionally esteemed as a hireling by Prospero than is the savage Caliban, however Ariel, too hints at some discontent with his bondage, reminding Prospero mightily at one purpose of Prospero's guarantee to free him. However, when Prospero is irritated by this, he rapidly apologizes.
Caliban curses Prospero throughout the play for the ill-treatment he receives and also for the fact that Prospero took over and rules the island which he thinks belongs to him, while Ariel is very obedient and follows everything that Prospero speaks because he is its master. He also apologized for getting off task and obediently got back to work.
Caliban is a conscious and keenly observant person. He is also eloquent and forceful. A poetical touch in his nature seems to be the only redeeming feature in his character. His curses show the vigour and intensity of his feelings and show how he abuses the language taught to him.
Ariel on the other hand, on orders of his master, creates magical auras and beautiful music that can hypnotize anybody. As Ariel comes closer to his freedom, his demeanour becomes more confident and less submissive. He becomes more independent, and thus more strength in character. Whereas in Caliban there grows more hatred for Prospero and a pessimistic attitude that things would not change for him in a positive way. He is scared to have been punished again eventually. In the end, judged as per deeds, Ariel gets his freedom and Caliban also gets forgiven for his misdeeds but receives the punishment of cleaning Prospero's cell.
9. Antonio is an out and out villain. With close reference to what he says and does, show how far you agree with this statement.
Answer
Antonio is the most wicked and hateful character in the play. he does evil without remorse or sense of any guilt. He does not regret his deeds towards his brother Prospero. He is loyal to none. He even plots to kill Alonso and instigates Sebastian against him. Prospero calls him "Perfidious", a "false uncle" while narrating his tale to Miranda.
Antonio betrayed Prospero's trust in him and usurped his dukedom. He cruelly put his brother and his three-year-old daughter in a deserted ship and left them to the mercy of the sea. He was not guilty or ashamed, but instead boasted to Sebastian later :
"And look how well my garments sit upon me.
Much feater than before."
Antonio speaks ill about Gonzalo and calls him a talkative person. He instigates Sebastian to kill Alonso so that, he would be free from the tribute he has to pay to Alonso. He forgets all the help Alonso had extended to him in order to remove Prospero from Milan.
He laughs at Gonzalo for his loyalty and is ready to kill him and the king of Naples in sleep. Prospero at the end remarks about Antonio---
-For you wicked Sir,
Whom to call a brother
Would even infect my mouth."
Thus, we see that Antonio is an out and out villain.
10. What is Masque? Give the relevance of Masque in the play, The Tempest'.
Answer
The masque was pageantry, an opulent show that offered a splendid experience to the royalty. It was a mostly allegorical representation that contained lots of scope for music, song, and dance. It was intended to display royal power and prestige and pay respect to the guests invited. So a spectacular atmosphere had to be created with special attention to scenes set up and characters who often used to be celestial beings. It can be compared to an opera due to its high musical content and ballet due to the plenty of dances involved. The expensive display was mostly encouraged and patronized by the court. The masque in The Tempest' is believed to have been written and staged on the occasion of the wedding of Princess Elizabeth.
The spectacular show led by Juno and other goddesses, adds to the overall impact of the play. It suits its intrinsic supernatural and magical charm and is a veritable treat to the eyes and ears. It also offers a moral meaning, which is in keeping with the betrothal of the two young characters of the play.
The masque begins with the appearance of Iris, the goddess of the rainbow who invites Ceres, the goddess of Earth to appear and answer to the summons of Juno, the wife of Jupiter. Together they bless the couple wishing them honour, wealth, long life and many children and hourly joys. Ceres blesses them with a storehouse of corn, fruits and everything in abundance. Then, a large number of nymphs and reapers present a graceful dance along with melodious music. Much to the disappointment of Ferdinand, who is awestruck by the spectacle, Prospero brings an end to the show and orders the performers to vanish. He then points out all things in the world are ephemeral and vanish without leaving any trace just as the spirits have vanished. The Tempest would be incomplete, and it will be deprived much of its appeal and character without this masterstroke. The romantic episode involving Miranda and Ferdinand is rendered more sacred and substantial by the blessings of heavenly beings. The blessings of Juno and Ceres show that the marriage of the two has divine sanction. Further, it has been arranged by Prospero as a special delight to impress his would-be son-in-law; also he wants to show off his magical powers and needless to say, this brings great delight to the audience.
There is no doubt that the masque in the play is in perfect harmony with the atmosphere which is dominated by the supernatural. It shows Prospero's power over the elements of the island. That Miranda-Ferdinand love story is reaching its culmination is made evident with the masque. The blessings rendered on the couple can be taken as Prospero's blessings too. It also gives time for Caliban's plot to mature. The reference to Venus and her son adds amusement to the scene. Anyway, the elaborate setting and the resulting aura is most enjoyable to every type of audience, and we cannot conceive The Tempest without this extravaganza.
11. Critically review Shakespeare's use of supernatural elements in the play.
Answer
One cannot set apart the supernatural and the play "The Tempest'. Right from the beginning to the end, the element of supernatural dominates the actions. Much of the charm of the play is because of the supernatural.
The play opens with a terrible storm. It is not a natural one but manipulated by Prospero, the master magician. Ariel, the spirit of air, a slave of Prospero, executes the storm with supreme finesse. It is awesome, to say the least, and marks a dramatic beginning to the play.
Prospero, the protagonist, is a learned man expert in the science of the occult. He loses his dukedom to his obsession with learning its art. He survives in a lonely island with his daughter, making full use of this art. He saves Ariel from the curse of a witch and makes the son of that witch, Caliban, a slave with his sorcery. He becomes so powerful that he masters the elements of nature, making use of them at his own will.
Prospero heavily depends on Ariel to execute his plan of teaching a lesson to the sinners, who plotted against him. Acting on the wishes of Prospero, Ariel produces a storm in which the passengers get panicky. He brings them safely to shore where they undergo supernatural experiences. First, they are served a feast which vanishes, then they are accosted by a Harpy which reprimands them for their misdeeds, then they are put in a lime grove where some undergo a transformation of character. Ariel's songs also have a great role to play. Ferdinand is led to the presence of Prospero and Miranda with his song. He also averts the plot against the life of Alonso by waking up Gonzalo with his song. Again, it is Ariel's ditties that lead the three rogues of the minor plot to dirty water. They are also chased by the spirits in the form of barking dogs to teach them a good lesson.
A major role is played by the masque which is entirely the product of supernatural power. Ariel gathers all the spirits of the island, who perform a grand show to entertain Ferdinand. He is awed by the grandeur and the audience also shares the same state of mind. The celestial creatures of the masque take the play to an entirely different level. Goddesses Juno, Ceres and Iris descend on the island and bless the betrothal of the young couple. Nymphs and reapers dance to the accompaniment of supernatural tunes played by Ariel. In fact, the whole play is steeped in music, thanks to the Spirit of Air.6 W 8
Apart from Ariel, there is a demi-devil in the form of Caliban. He is the son of a witch, Sycorax. He has been the ruler of his own destiny until Prospero appeared. He represents the evil side of nature even as Ariel represents the good. He is earthy, crass and monstrous in looks and behaviour.
In Shakespeare's times, belief in magic and supernatural was rampant. So the audience of his times could identify with the characters. In fact, they enjoyed the staging of the play, mainly for this element. It suffices to say that the whole play hinges on the supernatural and the episodes involving this are most gripping, awe-inspiring and adds to the overall appeal of the play.
12. 'The fifth act sees the play moving smoothly to its expected closure. Outline briefly but vividly the main events that take place in Act
Answer
"The Tempest' is estimated as Shakespeare's last completed work and is interpreted by many as his will and testament. Prospero is the matured spirit of Shakespeare- a peaceful soul, seasoned to human weaknesses.
In the last Act, Prospero's project is nearly complete.
"Now does my project gather to ahead
My charms crack not, my spirit obey and time
Goes upright with his carriage."
Ariel has tortured and tormented all the courtiers with his mirages, illusions and magical powers making then almost out of their minds. With grief and fear, they are held in a state of complete handicap. Ariel is moved to gaiety and tells Prospero :
"...if you now behold them, your affections
would become tender."
Prospero is deeply moved by these words and he realizes that
“Though with their high wrongs, I am struck to th' quick.
yet with my nobler reason against my fury
Do I take part? The rarer action is
In virtue than in vengeance..."
He prepares to release the prisoners but before that he surrenders his magical art and his soliloquy allows us a glimpse of the depth of his art...
"To the dread rattling thunder
Have I given fire...
“Graves at my command
Have waked their sleepers, op'd and let' forth...
But this "rough magic" he now abjures
"I'll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I’II drown my book”
When Ariel brings his enemies into his presence, he at first addresses Gonzalo as an honourable man, his "true preserve." He forgives Alonso and Sebastian and even Antonio.
"that entertain'd ambition
Expell’d remorse and nature"
He presents himself as he was a Milan, Gonzalo is overjoyed. Alonso begs for forgiveness and is absolutely perplexed.
"How should Prospero be living and be here"?
Prospero could easily justify Sebastian and Antonio as traitors, but at this time he prefers not to tell any "tales".
Prospero gets back his dukedom and restores Ferdinand to Alonso. When he draws back the curtain of his cave we see Ferdinand and Miranda playing chess. Alonso overwhelmed with joy, exclaims
"If this proves
A vision of the island, one dear son
Shall I twice lose."
Miranda is struck with amazement at the sight of so many goodly creatures (human beings)---
"...... O wonder!
How many goodly creatures are there here!
How beauteous mankind, is! O brave new world that has such people isn't !"
With the marriage of Ferdinand and Miranda, Milan will be reunited with Naples. Everyone will find themselves "when no man was his own."
The boatswain is brought before this gathering by Ariel and he reports that the ship is 'tight and yare' and 'bravely Rigg'd'. His report makes confirmation that "these are not natural events, they now strengthen from strange to stranger."
Caliban and his companions are then dealt with amnesty despite the fact that he is a "demi devil" and plotted to kill Prospero. Caliban promises to be "wise hereafter" and "seek for grace". He realizes his foolishness and there is hope for his realization as well.
Prospero grants freedom to Ariel after he has brought the ships safely back to Naples. He promises to enlighten Alonso with his life's story and experiences on this island and prepares to return to the old world of Milan.
Prospero finally bids farewell to his audience, asking their forgiveness for his faults, and appreciation for his efforts to please and muse them in the end.