Act 5 — ACT V

PROSPERO'S TRIUMPH

Sum up the results consummated by Prospero's magic. Note Gonzalo's account of the play, and show the ethical results, and Ariel's part in Prospero's course of reconciliation. Explain how, if Prospero had regained his dukedom, and yet, if 'all of us,' as Gonzalo says, had not found ourselves, the triumph would have been material, not ethical. Show how this effect is enhanced by the plan to awaken dismay and remorse in the minds of the evil-doers and how the climax in Prospero's triumph is reached by the victory wrought in his own mind when he determines to take part with his 'nobler reason 'gainst his fury' in order to restore his enemies to themselves. What indications are there in the play that Prospero was high-strung and spirited,—a revenge-loving Italian? Trace the effects of remorse on each of the ill-doers. Is there any reason to suppose that Antonio, Stephano, or Trinculo are repentant? Is it out of character for Caliban to be?

POINTS. 1. The 'Faerie' of the play. Compare with that of 'Midsummer Night's Dream.' (See 'Fairy-lore of Midsummer Night's Dream,' Poet Lore, Vol. III, p. 177, April, 1891.) Victor Hugo notes the contrast as follows: '"Midsummer Night's Dream" depicts the action of the invisible world on man; "The Tempest" symbolizes the action of man on the invisible world.' (See also the 'Supernatural in Shakespeare's "Midsummer Night's Dream."' in Poet Lore, Vol. V, p. 490, October, 1893; in Shakespeare's 'Tempest,' p. 557, November, 1893.)

2. The duration of the play. Explain how it follows the 'unities'; and in this connection show the probable equality of 'three glasses' to three hours, and Shakespeare's mistake. (Shakespeare's use of nautical terms, approved by all seamen, seems to be here at fault in supposing a 'glass' equal to one, instead of to a half, hour.)

3. The game of chess and its pertinence here: Because so wise a father would have taught his daughter so intellectual a game; because Queen Elizabeth was fond of it, and it was par excellence a 'royal game'; or because Naples was the source and center of the chess furore at just this time?

4. Where is the scene of the 'Tempest' laid? Is the island real or unreal? (The main conjectures for a known place are Hunter's that it was Lampedusa, and Elze's that it was Pantelaria. Both argue that each island was so situated in the Mediterranean, between Milan or its port and Algiers, whence the sailors landed Sycorax, as to suit the requirements. Elze further urges the name of a town on the opposite African coast, Calibia, as suggesting Caliban's name. For an argument that the island is vaguely placed in the Mediterranean to suit the Old World plot and yet by many details made suggestive of the New World, see Introduction to 'The Tempest' in First Folio Edition.)

5. The influence of the New World on the writing of 'The Tempest,' and all allusions traceable to it. (See Notes of same edition for extracts from pamphlets on America, etc.)

QUERIES FOR DISCUSSION

What constitutes the interest in 'The Tempest,'—character, dramatic situations, movements, plot, poetry, or moral purpose?

VI

CHARACTER STUDIES

I. PROSPERO AND HIS SERVANTS

With the first word Shakespeare introduces Prospero as one who can raise and calm such a tempest as scene i describes, and the magician admits the power Miranda ascribes to him. Show from the story what his plans and motives were likely to prove. Would a sense of his own former neglect of duty be likely to embitter him against his brother or make him excuse him? Does he show signs of either? Prospero's magic, his garment, books, staff. How far is his magic in accord with the popular notions of such art? (See 'Prospero and Magic,' Poet Lore, Vol. III, p. 144, March, 1891.)

Show Ariel's qualities. What caused his first impatience? Is Prospero unnecessarily harsh and imperious with him? Aside from the popular supposition that spirits or familiars obeying magicians were always reluctant to serve longer than one hour (and, therefore, says Scot's 'Discovery of Witchcraft,' 'the magician must be careful to dismiss him'), how can you explain this quarrel,—as a dramatic expedient giving occasion for telling Ariel's story, or revealing the characters of both Prospero and Ariel? Note, also, its further use in introducing Prospero's second servant, Caliban, and his story. How do you explain Ariel's irrelevant rejoinder: 'Yes, Caliban, her son'; and Prospero's angry, 'Dull thing, I say so,' etc.? Do you think Moulton right in supposing that Prospero governs 'this incarnation of caprice by outcapricing him'; Rolfe, in supposing that Prospero is irritable because under the strain and suspense of conducting affairs within three hours perfectly, and upon which accuracy hangs his future and the happiness of his daughter? This was also his only chance of retrieving his own past error.

Contrast Ariel with Caliban. Show the skill of Caliban's first appearance as some slow-moving thing, half of water, half of earth, in contrast with Ariel's second appearance as a nymph. What may be learned of Caliban's traits from Miranda's speech (as in the Folio, but by various editors given to Prospero): 'Abhorred slave,' etc.? Do you think this speech should be given to Prospero? What signs are there of Caliban's having a good mind? Do you think Prospero's tyranny over Caliban altogether justified? Is Caliban's penitence consistent with his nature? How far does Ariel proceed independently of Prospero? Is he really fond of him?

QUERIES FOR DISCUSSION

Is there any bond of love between Prospero and his servants? Do the relations between them illustrate the impossibility of gratitude?

2. THE LOVERS

Is the love of Ferdinand and Miranda an enchantment caused by Prospero, or an emotion he can help, but not cause? If not caused by him, does Shakespeare depart from magic to the detriment of the play? Would it be better, for example, if a love philter was introduced for consistency's sake? (For literary use of the love philter, see Tennyson's 'Lucretius.') Does it reflect against Ferdinand's courage that he was first to quit the ship? Are Miranda's speeches about her grandmother (I, ii, 140) and to Caliban inconsistent with the maidenly innocence assumed to be characteristic of her? Do you consider her talk with Ferdinand (III, i) in character? Is she undutiful to her father? Unmaidenly in her speedy declaration of love (III, i, 67, 89, 94-106, 110)? Should she be represented as ignorant or innocent of the world, or as in love? Describe the characters and relations to each other of the lovers from all that is given about them. Compare with Florizel and Perdita in 'The Winter's Tale.'

QUERIES FOR DISCUSSION

Are Miranda and Ferdinand undeveloped characters whose relation to each other is more important to the play than they themselves are?

3. THE MINOR CHARACTERS

Which is the most important of the lesser characters and why? Is Gonzalo blamable at all under the circumstances for following the command to turn Prospero and Miranda adrift? Why is Gonzalo of better cheer than his companions? What do you think of his philosophy in itself and as an index to his character? Is his knowledge superior to that of his companions? Does he suspect the evil intent of Antonio and Sebastian? Show how his frankness and loyalty came out in Act III, and how his uprightness is rewarded in Act V. Do you think it significant that he closes the play? Francisco considered as the least important personage in the play: should his speech describing Ferdinand's swimming be given to Gonzalo? The sailors considered as examples of Shakespeare's skill in outline portraits. Are Stephano and Trinculo more highly developed types than Caliban? Would the play be better if they were left out?

QUERIES FOR DISCUSSION

Is Gonzalo more like Polonius in 'Hamlet' or Rent in 'Lear'?

VII

A STUDY OF ARTISTIC DESIGN

THE SYMBOLISM OF 'THE TEMPEST'

Did Shakespeare typify himself as Prospero? Prospero (says Montégut) alludes to his own age, and intimates that the time has come for retirement to private life. What indications can you find that Prospero images Shakespeare? If he is so interpreted, what parts may Ariel and Caliban be supposed to play? Is the history of the Enchanted Island and the transformation wrought a parallel with the history of the Stage and the transformation Shakespeare wrought? According to Montégut, Caliban stands for Marlowe, Ariel for the English Genius which Shakespeare frees from its barbaric prison. Dowden ('Mind and Art of Shakespeare') fancies Prospero as the great artist lacking at first in practical faculty, cast out therefore from practical worldly success; but bearing with him Art in her infancy, the child Miranda, finds at last an enchanted country where his arts can work their magic, subduing the grosser appetites and passions (Caliban), and commanding the offices of the imaginative genius of poetry (Ariel). He supposes Ferdinand to be Shakespeare's heir as a playwright (Fletcher). Lowell ('Among my Books') considers that the characters do not illustrate a class of persons, but belong to universal nature,—Imagination embodied in Prospero; Fancy in Ariel; brute understanding in Caliban, who, with his wits liquor-warmed, plots against his natural lord, the higher reason; Miranda, abstract Womanhood; Ferdinand, Youth, compelled to drudge till sacrifice of will and self win him the ideal in Miranda. Browning makes an incidentally interesting contribution to this subject by symbolizing in Caliban rudimentary theologizing man, in his poem 'Caliban.' (See Poet Lore, Vol. V, p. 562, November, 1893.)

QUERIES FOR DISCUSSION

Is 'The Tempest' an allegory? Is it in any sense an autobiographical play? Does its symbolism have much in common with that of modern symbolistic plays, such as Maeterlinck's 'Joyzelle,' for example? In what respects may it be said, do you think, as Maeterlinck himself has informed us, that 'Joyzelle' grew from 'The Tempest?'