READING QUESTIONS, THE TEMPEST, ACTS, THREE, FOUR, AND FIVE
Act 3, Scene 1:
This act opens with a sweet exchange between Ferdinand and Miranda (both are good at
speaking their love, even though Shakespeare doesnt offer much to show what it is
about each, beyond appearance, that attracts the other).
Does Prosperos last speech in this scene ("So glad of this as they I cannot
be," p. 51) mean that hes NOT glad?
Scene 2:
Re-enter the comic relief, all three characters now seriously drunk. Note, though, that
Caliban--despite his condition, keeps his eyes on the prize. What does he want from
Stephano and Trinculo?
Note Calibans emphasis on Prosperos books, p. 55.
Note that the comic characters usually speak in prose, not poetry. But Caliban always
speaks in poetry: why? (The name for the kind of poetry in Shakespeares plays is
IAMBIC PENTAMETER.)
Scene 3:
A continuation of Act 2, scene 1; the nobility is still wandering around trying to find
Ferdinand. What is Alonsos mood here?
What attitude is behind Gonzalos speech, p. 59 ("If in Naples I should report
this now")?
When someone speaks "aside," it means the remarks are directed to the audience
and cant be heard by others on stage.
At the end of Ariels "harpy" speech (60-61), he says Alonso is condemned
to "lingring perdition" unless . . . what?
Prospero compliments Ariels performance. What is Prosperos attitude here
toward Alonso, Sebastian, and Antonio? Whats Alonsos attitude, p. 62
("O,
it is monstrous, monstrous!")?
Act 4, scene 1:
Note Prosperos seemingly-altered attitude toward the Ferdinand-Miranda relationship.
He makes a strong point about Ferdinand not breaking her "virgin-knot" before
all "ceremonies may with full and holy rite be ministred"
(63)--why?
Prospero directs Ariel to prepare a little entertainment in honor of their approaching
marriage. This section of the play is called a MASK or MASQUE (a play-within-a-play,
usually, based on a mythological or allegorical theme). Masks provide an occasion for singing, dance, and spectacular
costumes. Here, the mask also serves to impress Ferdinand with the powers of his
father-in-law-to-be (see his speech p. 68).
Near the climax, Prospero remembers Caliban and brings the mask to a sudden end. Pay
careful attention to Prosperos long speech, 69-70--one of the plays most
famous speeches. This is one of the moments in which Prospero sounds like Shakespeare.
What does Prosperos speech p. 71 show about his attitude toward Caliban? What does
he mean when he says Caliban is a being "on whose nature nurture can never
stick?"
When the comic characters re-appear, note again Calibans seriousness.
ACT FIVE
Scene 1:
Ariel prods Prospero to be "tender"(75). Read Prospero's response
carefully. What distinction does he make between Ariel and himself? What does he mean by,
"The rarer action is in virtue than in vengeance"?
The source for Prospero's "elves" speech (76) is Ovid's Metamorphoses,
p. 104 in your edition. Compare the two (Ovid is telling the story of Medea). Why is
Prospero giving up his magic at this point?
Alonso's kingly nature is revealed in his gesture toward Prospero (78-79). Contrast
Prospero's followng interaction with Sebastian.
Read carefully Prospero's conversation with Alonso (beginning with Alonso's line, "If
thou be'st Prospero," 79) to appreciate the art with which Prospero reveals that
Ferdinand is not dead.
Miranda's famous line about "goodly creatures" (81)--what kind of beauty is
she talking about?
When Gonzalo says, "Was Milan thrust from Milan that his issue should become kings of
Naples" (82), what does he mean? (If Gary forgets to mention this speech, be
sure to ask him what "FELIX CULPA" means.)
Prospero calls Caliban "this thing of darkness" (85). What's his
attitude toward Caliban at this point?
How do you read Caliban's last speech (86)? Does it show that Prospero was wrong
about how well "nurture" works, or is this speech a further sign of Caliban's
unredeemable nature? Is Caliban just "sucking up" to power here?
The "Epilogue" is another speech in which Prospero seems to speak for
Shakespeare. What does he mean by, "But release me from my bands / With the help of
your good hands"?