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50 pages 1 hour read

William Shakespeare

The Tempest

Fiction | Play | Adult | Published in 1611

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Act IVChapter Summaries & Analyses

Act IV, Scene 1 Summary: “Before Prospero’s cell.”

Prospero frees Ferdinand and explains that “all thy vexations / Were but my trials of thy love, and thou / Hast strangely stood the test” (4.1.5-7). Prospero consents to Ferdinand’s marriage with Miranda but warns the young man that, should he bed her before the wedding, theirs will be a barren and discordant marriage. Ferdinand assures Prospero that he wants a long and happy life with her.

Prospero instructs Ariel to bring forth Alonso and his court so that Prospero can perform “another trick” on them in the form of a lavish entertainment called a masque. He tells Ariel to summon two of his fellow spirits, and together they appear as goddesses: Iris, rainbow maker and messenger; Ceres, lady of agriculture; and Juno, queen of the gods. The three sing a song of blessing to the young couple and summon nymphs and “reapers” who perform an elegant dance.

Prospero, suddenly remembering the plot on his own life, interrupts the masque and dismisses the sprites and other island deities. Ferdinand worries at the sudden halt to the festivities, and Miranda agrees that her father is angrier than she’s ever seen him. The magician tells Ferdinand that the performers “Are melted into air, into thin air” (4.1.150), much as life itself—which, at its end, will also dissolve like a dream. Prospero is merely troubled by his own thoughts and will go for a walk “to still my beating mind” (4.1.163).

Ariel reports to Prospero that Caliban, Trinculo, and Stephano remain quite drunk, but that Ariel, invisible, lured them with soothing music to follow him to a dank pool nearby, where they are now up to their necks. Prospero has Ariel hang some showy clothing on a line, and they retreat to watch.

Trinculo and Stephano, led by Caliban, enter the cave. Caliban points to the inner room and urges them to kill the sleeping Prospero, but Stephano and Trinculo are dazzled by the clothing and try it on, already imagining themselves the rulers of the island. Impatient, Caliban warns them that Prospero will soon awaken and turn them into “barnacles, or to apes / With foreheads villainous low” (4.1.246-47). But Stephano first wants Caliban to help him carry off the clothing to where they’ve stashed the liquor.

Spirits shaped like hunting dogs enter the room and, as Prospero and Ariel urge them on, chase the three men outdoors. Prospero tells Ariel to continue the chase and give the three miscreants cramps and convulsions. He adds, “Shortly shall all my labours end” (4.1.262), meaning all his enemies will be dealt with and Ariel will be free.

Act IV Analysis

In Act IV, Prospero frees Ferdinand, stages a “masque” or elaborate entertainment, and makes short work of Caliban’s conspiracy against him.

In setting free Ferdinand, Prospero explains to him his purpose. Ferdinand, by now so smitten with Miranda that nothing else bothers him, simply accepts his good fortune. Prospero, however, keeps the pressure on by warning Ferdinand not to break premarital chastity or the marriage will fail. He implies that curses are in place to foil the couple, should they break their restraints.

Prospero’s purpose remains the same: The pleasures of love must remain out of reach so that their commitment stays strong. Relations between Naples and Milan might not survive a divorce between the two young lovers. As a father of a lovely young daughter, one who was nearly raped by Caliban, Prospero feels the need to obsessively check that she will be in safe hands. Prospero has thought carefully about all this and prepared for every eventuality, and Ferdinand has the correct response: He promises to protect his and Miranda’s engagement.

In an already extravagant production—a stormy shipwreck, magical faeries, royalty in glorious, costumed regalia, and a passionate romance—the masque is a highlight. It’s an elaborate entertainment with music, songs, dance, costumes, and scenery. The script contains few directions, which opens the door to inventive staging by play producers.

Elsewhere, Shakespeare challenges his audience with ideas most contemporaries might believe are too lofty for the average theatergoer. His Gonzalo makes idealistic, futuristic proposals about governance. Prospero takes a far-thinking and sophisticated political stance when he offers to his enemies not revenge but redemption and forgiveness. He also says, “We are such stuff / As dreams are made on” (4.1.156-57), an ethereal, metaphysical conjecture that human life outside the theatre is itself a kind of illusion. Prospero will end the play by begging the audience to release him from the bondage of the play, as if he were a fictional character come to life. These are heavy ideas treated with lightness—deep issues that, in Shakespeare’s hands, float with gentle magic above the stage.

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